urder. _ .......... you go

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AFTER LAURETTE

written by

Danielle Hill

REVISIONS: BLUE - MAY 19, 1995 PINK - MAY 27, 1995

FINAL DRAFT MAY 9, 1995

This is the shooting script for the 1995 made-for-TV-movie"ln the Name of Love: A Texas Tragedy, which was originally titled "After Laurette." My best friend Dennis and I wrangled nothing jobs on the movie ... and he swiped a copy of the script. I swear it wasn't me. No, really. But he's dead now, so it's mine ... mine, all mine!!!! Whoops, Daffy Duck moment there.

Wish I could say that something exciting happened during the shoot. The coolest part was when they burned the Laura Leighton dummy, which was eerily realistic inside and out. Not that it was anatomically correct or anything (I'm guessing) but it had plastic bones and plastic veins and other things that looked gnarly when it was burned. Unfortunately, you didn't see that. They only had one dummy, which was picked over by crew members and other onlookers at the end of the day, and after it was discovered that the film was damaged, the body parts couldn't all be located for a reshoot.

As for the script, I watched the film as it aired and made notes about omissions and other scene changes in the film. Dunno what the hell I was thinking, but I'm having scanner issues and in a time crunch, so my barely legible notes are intact.

Also included are a few surviving call sheets, a letter that was sent out to Aubrey, TX residents, Laura Leighton's autograph (See? This really was Dennis's!) and a few reviews. And maybe something or other else that's cool. Va never know.

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3A

"AFTER LAURETTE"

ACT ONE

FADE IN:

.•. The haunting sound of a BASS GUITAR WRINGING OUT deep, dark tones of homegrown blues ... OVER:

EXT. COTTON FIELD - LATE AFTERNOON

The land is flat, endless, crisp and beautiful. The sky bleeds red as a colossal November sun sinks behind ancient black spruce trees. Mist rises off the bayou.

Three pair of thick BOOTS CRUNCH through brown STUBS of just harvested cotton. Breath in the cold air, plaid jackets, rifles. A couple high pitched chortles as 26-year-old yuppie good ole' boy BILLY FARBER and pal TERRY BUFFET fool around, pass a bottle back and forth. DAVEY COOMBS, the third hunter, declines the bottle. Terry shivers as he takes another pull.

TERRY I'm ready to give this one up.

But Billy suddenly sees something, halts, nudges the others to be quiet.

I-ACT 1

2-ACT 1

* *

ANGLE ON COTTONTAIL 3-ACT 1

as it moves through the cotton stubs.

BILLY (hushed voice)

Don't give up just yet.

Billy hoists his RIFLE, aims ... and SHOOTS ... Davey laughs ...

DAVEY Losin' your touch in your old age, Billy Boy.

3A-ACT 1 *

*

Billy impetuously SHOOTS OFF a few more reckless ROUNDS.

BILLY Might as well kiss off the whole damn day.

TERRY Whole damn week's more like it.

4

2.

ANOTHER ANGLE 4-ACT 1

as Billy, Davey and Terry head into the trees, thrash through thick brush. It gets darker, eerie, Spanish moss hanging low, WIND DRUMMING through, the BLUES GUITAR accenting the scene.

When they come out the other side, they spot a trail of rich black smoke caught in an updraft.

DAVEY They ain't supposed to be burnin' now. No wonder the game's scared off. ..

They walk, Davey in the lead, toward the source, hack their way down a hill to a bayou. Suddenly, they see something, stop short with alarm.

DAVEY Oh, my God, geez ...

Dry TWIGS CRACK underfoot as the three draw closer. In the grass at water's edge is a pyre of sticks and branches, a raging fire.

As the men reach the blaze, a loud sound like a LOG FALLING as things shift inside it. A POPPING noise. Charred bone, an arm and hand, scorched skin stretched tight, fall outside the pyre.

*

*

*

*

Davey turns away, horrified, tries to control his * emotions as he covers his face with his hands, dropping his gun to the ground. Billy blanches, the fire coloring and shading his features. He feels sick, looks like he might cry.

BILLY That's where it was all headed. Somebody was bound to die.

DAVEY We got to call the sheriffs.

Billy looks at Terry with trepidation, truly tormented.

BILLY (whispering) The lid's gonna blow around here. Maybe we should forget we ever saw it.

TERRY We got to do it, Billy. you protectin'? There's else we can do.

Who're nothin'

Billy looks back toward the black smoke. Sickness and dread fill his soul.

*

* *

5

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7

3.

OMIT 5-ACT 1

ANGLE ON the fire still raging ••. BLEED INTO: 6-ACT 1

ANOTHER SUNSET. SUPERIMPOSE: A few years earlier. 7-ACT 1

A long, thin stretch of highway cuts through endless acres of cotton. A red convertible, loaded to the gills, comes INTO VIEW, travelling at a clip.

The driver, LUCAS CONSTABLE III, 24, (known as Luke), a charming young man with a killer smile, next to beautiful ELAINE PHELPS. Luggage is piled in the back seat .

... when suddenly out of the fields bombs a dark low-to­the-ground, redneck car, spiralling dust, chasing down the convertible. PRODUCTION NOTE: This is 1993. *

The driver, Billy Farber , dressed in rumpled preppie wear, whoops it up, cranks down on the throttle and ROARS into the lane next to Luke at breakneck speed.

Luke laughs. Both guys hoot wild west noises.

LUKE (yelling over the engine)

Hey, Billy, what ' re you doin'? You comin' to my party?

Billy shakes an open whiskey bottle in the air.

BILLY You kiddin' me? Already started my pre-party party. Beat you there.

Luke digs his foot into the gas pedal, taking up the challenge to race. Both boys vamp and scream war whoops, vying neck and neck. Elaine screeches in fear.

ELAINE Lucas, you got to slow down.

Luke puts his arm around her, still driving at demon speed but now one handed.

LUKE It's okay, honey . All under control.

Then he removes his other hand.

ELAINE (hysterical)

Luke! Stop it! I swear it's all over, you don't slow down.

4.

He grins, takes the wheel again, slows, so Billy surges ahead, outdistancing them.

ELAINE Just because ya' have a big engine doesn't mean ya' all the time have ta use it.

LUKE (flirting)

That all depends on what kind a engine we're talkin' about, don' it?

Up ahead, all alone, a sultry young woman in a short dress (LAURETTE WILDER) leans against a green highway sign holding out her thumb, trying to hitch a ride. Her clunker car is pulled off the highway onto the shoulder, its hood up and steam coming from the engine.

LUKE (with a teasing salacious smile)

What say? Give her a lift? Maybe we could invite her to the party.

Elaine hugs his arm.

ELAINE Yeah, sure. Your granddaddy'd go for that.

But as Luke passes, he blatantly twists his neck to get a better look at the woman. She stares right at him, seductive as all hell, but gives nothing away.

L~E

Who is that anyway?

ELAINE (jealous)

How would I know? Laurette something. She went to the public school.

She snuggles up next to him, sees Luke can't tear his eyes off that hot woman receding in his rearview mirror.

ELAINE Everybody says she's trash, Luke.

a

9

5.

She draws his face around, kisses him passionately on the lips. He gets into it, has trouble keeping his eyes on the road until he swings the car through a gate marked "White Oaks Ranch."

EXT. RANCH ROAD - SAME TIME a-ACT 1

Luke's car meets a truck coming toward him.

The vehicles stop side by side. Luke reaches out, shakes the hand of plantation foreman, HERSCHEL WITCOMB, a good­looking black man in his late 30s.

LUKE Where you goin' just when I get home? Aren't you comin' to the party?

HERSCHEL Fen's truck broke down. go get him. Weren't you to show up yesterday?

LUKE

Said I'd supposed

I told 'em I couldn't make it 'til today.

HERSCHEL Well, your granddaddy's hot over it.

A slight shadow grazes Luke's face, but he holds onto his upbeat demeanor.

LUKE He'll get over it. Always does.

HERSCHEL You check in with me. I - want to hear what you're up to.

Luke gives him the high sign and both vehicles proceed.

POV EXT MANSION - SAME TIME

as Luke's car pulls up to an elegant antebellum mansion with upscale cars, a limo or two, parked out front.

9-ACT 1

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6.

EXT. PATIO - SAME TIME 10-ACT 1

Though casually dressed, Luke glows with aristocratic grace as he and Elaine glide through an elaborate barbecue by the pool. Guests, black and white, dressed to the hilt in white ducks and blazers. A band. Flowing liquor. The works. Every few steps, someone greets them. Billy Farber's already at the bar. He tips his * drink to them.

Before Luke can make his way over, LUCAS CONSTABLE, SR. (to be known as Lucas Sr.), emerges a short distance away. The eye contact is compelling, but the grand old man, still vital in his 70s, masking an astute iron will with thick country charm, breaks out a welcoming grin, approaches and embraces the boy.

LUCAS SR. (with a double edge)

Glad to see you could make it, son.

LUKE (as Lucas Sr. kisses Elaine)

I was real clear with Aunt Alice about when I'd get here.

LUCAS SR. (his arm around him)

Never mind. You're home. (waylaying a waiter)

Better get yourself a drink 'cuz you're about to be the center 'of attention.

LUKE You swore to me you were gonna keep this thing low key.

Lucas Sr. thrusts some drinks at Luke and Elaine.

LUCAS SR. Milestones need to be recognized with some fanfare. You'll appreciate that when you get to be my age.

He turns, picks up and rings a large dinner bell in the direction of the guests. Annoyed but enduring it, Luke takes a large swallow out of his drink.

LUCAS SR. (loud, booming voice)

All right, everybody. Now that my wayward grandson's finally home, we can eat ... Well almost can. First, you're gonna have to listen to my speech.

A few mock moans from the crowd then laughter. Luke steels himself.

LUCAS SR. Now y'all know how it works. It's the price of admission. And y'all know why we're here. To celebrate Luke receivin' his graduate degree in agriculture and business.

(holding up his glass) Top man in his class.

The guests, including Elaine, toast and applaud.

LUKE (joking but jousting back)

We all know it's a Texas prerogative to exaggerate. What he forgot to mention was the couple of women who came in ahead a me.

7.

The crowd laughs. Lucas Sr. good naturedly pats Luke's back. He becomes serious.

LUCAS SR. I want to say, with his mama and daddy gone, raising this boy is the proudest achievement of my life. And I'm proud that his roots and his heart are here in this land. Generations of Constables have struggled to hold this place together, to expand on it so it would be his to run someday. So he could pass it on to his own son ... Luke, I can't tell you how happy we are to have you with us again. Welcome home, boy.

Luke is moved. He hugs his grandfather as a warm applause arises from the guests.

LUKE I realize I've been given a lot. I hope I can give some of it back.

AUNT ALICE, a dignified older woman, touches Luke's arm.

11

ALICE (to the crowd)

I may not be as showy as his granddaddy, but I'm gonna take some credit, too.

Luke hugs her, too, to the sound of more applause. LUKE

Thanks, Aunt Alice.

EXT. NECKING SPOT BY LAKE - NIGHT

8.

11-ACTI * Teenagers in cars. Luke and Elaine in his convertible. Heavy petting. Luke starts to unbutton her dress. She stops him.

ELAINE This is crazy, us out here with a bunch of teenagers.

LUKE (persistent)

Adds a little spice, don't you think?

ELAINE (with a smile)

I'm warnin' ya'. I'm not gonna do it in the car with everybody lookin'. In fact, I'm not gonna do it. You know that.

LUKE (grinning, running his hand up her thigh)

Come on, Elaine. Give 'em something to talk about.

ELAINE Yeah, 'til we're old and gray and married a hundred years.

LUKE (kissing her neck)

It'll be something great to tell our grandkids.

They hear GIGGLING and SHRIEKING outside the car. Headlights expose Laurette Wilder, the girl they saw on the highway, running across the grass barefoot and barelegged with Billy in pursuit. He catches her and they sprawl on the ground in an embrace.

12

LUKE (sparking up, amused, fascinated)

Is that that girl? That Laurette something. What's Billy doin' with her?

ELAINE You know Billy. He gets drunk. He loses his ability to discriminate.

Luke is captured by what's going on between Billy and Laurette and Elaine sees it.

ELAINE Let's go, Luke. It's gettin' a little chilly out here.

LUKE Chilly? I was just gettin' warmed up.

ELAINE You want a little warm up?

9.

She draws Luke in for her version of a hot kiss, but Luke can't help but check out what's going on outside the car. For a flash he and Laurette lock eyes. Elaine pulls him out of view for a heavier embrace.

ANGLE ON LAURETTE AND BILLY 12-ACT 1

still on the ground. She pulls away from him, sits up on her elbows eyeing Luke's fancy new car as he tries to continue fondling her. He's pretty drunk.

LAURETTE I can't do this anymore.

BILLY Why not?

LAURETTE Because I'm not gonna end up in a shanty shack, all the life gone outa' me at 25 ... like some I seen.

BILLY What're you talking about, Laurette? Nabady's offering you a shanty shack. Just a bottle of bourbon and a good time.

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10.

LAURETTE I'm done with all that. I got dreams.

He shakes a bottle of bourbon in front of her. BILLY

Everybody's got dreams. What's wrong with a little fun? It's no good havin' a body like yours if you don't use it .

She smiles, soaking in the compliment, but pretends she could care less, still staring off in the direction of Luke's car. Billy, however, plants the bottle between her knees and starts to kiss his way seductively up her arm.

BILLY Come on, Laurette . You know you like it.

LAURETTE (with a teasing, seductive smile)

What do you know? You're just a boy who's got a fancy name and whose daddy lost all his money.

She grabs the bottle from his grip and drinks, then slides her hand inside his shirt and kisses him, lies on top of him, pushing him flat to the ground.

She giggles raucously, slides off her panties, wads them up and tosses them, her eyes never leaving his.

LAURETTE Even so, you're still kinda fun to fool around with.

They kiss, roll in the grass.

INT. LUKE'S CONVERTIBLE - SAME TIME

Elaine runs her fingertips across Luke's mouth.

ELAINE Warm enough to drive me home now?

He turns the key in the ignition. As he pulls away, he takes in the two rolling in the grass.

EXT. HIGHWAY - NIGHT

Darkness. SLOW MOTION. Two searing white headlights appear over a crest, bobbing ghost-like across the landscape.

13-ACT 1

14-ACT 1

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16

17

17A

11.

INTERCUT Luke's convertible beating its way down a deeply rutted dirt road. Elaine kissing his ear, his cheek, hls neck. Giggling. Him trying to keep control of the wheel.

INTERCUT the headlights drawing closer. A cowboy driving a truck, his mind set on getting home.

INTERCUT Luke's convertible as it pulls out of a dirt road onto the two lane highway. Elaine still kissing, giggling and teasing.

IS-ACT 1

*

16-ACT 1

17-ACT 1

The truck rounds a bend in the road; headlights drawing closer, still.

17A-ACT 1

17B Luke's not looking at the road, he's kissing his 17B-ACT 1 girl, as the convertible swings across the center line.

17C The truck as the cowboy sees the headlights coming 17C-ACT 1 directly at him. He tries to swerve, banging on his HORN.

18 INT. LUKE'S CONVERTIBLE - SAME TIME 18-ACT 1

19

Luke reacts to the horn, sees the oncoming headlights. He desperately twists the wheel, narrowly avoiding the truck. But Luke can't straighten the wheel fast enough. Trees rush INTO VIEW. The deafening sound of a CRASH. Flying hubcaps. Twisted metal. BREAKING GLASS. Shards slice Elaine's beautiful face. She screams.

ELAINE Luke!

The HORN BLEATS through the sudden stillness. Luke is bent up against the steering wheel, covered in blood. She shakes him hysterically.

ELAINE Luke! Luke, wake up! We have to get out of here!

EXT. HIGHWAY - NIGHT 19-ACT 1

Red emergency lights. SIRENS. Feet running. Flashlights. Still shaken cowboy sitting on the ground. Frantic action. FLARES SIZZLE. Stretchers pop up, wheel across pavement.

20

12.

Elaine's on her feet, dazed in the chaos, aided by an emergency worker who tears her away as Luke's bloody body is tugged clumsily from the wreck.

PARAMEDIC We got a pulse. We got a pulse.

Elaine holds her torn, bloody face in shock. Luke looks like a rubber doll -- all dead weight. Blood everywhere. She tries to get to him.

INT. CONSTABLE LIVING ROOM - DAY 20-ACT 1

Luke sits on a sofa, his back to the door, when Elaine enters the room. She wears dark glasses in an attempt to cover some nasty scars that mar her face. He looks up as she approaches. His heart leaps.

LUKE Hey.

ELAINE Hey.

LUKE Wondered when you'd come see me.

ELAINE (nervous)

My parents had me prisoner. They thought I needed rest.

(touching her face) I still have one more operation ...

LUKE I am so sorry for what happened.

(indicating the spot next to him)

Come on. Sit down here. I want to see you.

She is very nervous, but she sits.

LUKE Let's see. It's not so bad.

He tries to take her dark glasses off.

ELAINE (not letting him)

Not compared to what you've been through ...

LUKE (trying to lighten things up)

Doctors said it was my stubborn streak that saved me.

ELAINE (trying to stay with his tone)

I guess I know about that stubborn streak.

LUKE (touching her face)

This is killin' me. I missed you.

She tears up, can't look at him directly, gets up.

ELAINE Luke ...

LUKE Listen, I understand why you postponed the wedding ... I understand that, but you couldn't come see me? I coulda used a little inspiration.

ELAINE I told you, my parents ...

LUKE No, I'm talking about you.

ELAINE You got to understand this is the first bad thing that's happened in my life. I'm having a hard time handling it ...

He doesn't say anything.

ELAINE I know what you're feeling. This whole thing had caused a lot a people a lot of pain. I don't want to feel that pain anymore.

LUKE Are you telling me it's over? Is that it?

ELAINE My parents are worried about my future ...

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14.

LUKE with someone who can't walk? Why don't you check with me before making any rash decisions?

He pulls a walker out from beside the couch, rallies all his energy ...

LUKE They tell me I won't walk again, I tell 'em they're wrong.

pressing his hands hard against the walker to stand. It is an agonizing moment as he pushes himself up to a standing position, supporting his full weight with his upper body. His body trembles. She's horrified.

LUKE It's not going to be like this forever. I'm gonna conquer this. We can get through it.

ELAINE I know you can. But I can't ...

After a beat, she runs from the room in tears.

LUKE Elaine! Wait!

She doesn't. Devastated, he sinks back down in the sofa.

EXT. FIELDS - DAY 21-ACT 1

Lucas Sr. drives Luke through the fields on a 4-wheeler, * lost in the vastness of the land that surrounds them. Luke wears shades, holds a super size convenience store cup. The matching plastic straw is his intravenous connection to the world.

LUCAS SR. You haven't said whether you're goin' to Dallas with me next week.

LUKE I got too much to do here.

LUCAS SR. And plenty of people to do it. I bought you that car with hand controls. You never been past the county line. You're not hidin' out, are ya'?

LUKE (with an edge)

I like to think I'm indispensable here.

LUCAS SR. You work hard, but there's two sides to this business. One here and one out there. Neither's good without the other.

LUKE (getting angry)

What the hell do you want from me? I'm never gonna be the golden boy you planned on. I'd be a detriment out there.

LUCAS SR. That's bull. That accident tested you. And it's gonna keep on testing you. And you're gonna keep on gettin ' perfect marks.

LUKE I never got perfect marks.

LUCAS SR. No, you always held back just enough to spite me.

LUKE I held back just enough so it'd be my life, not yours.

LUCAS SR. (hard)

Well, you don't have that lUxury anymore. Now you got to do twice as much as the next guy.

LUKE Why is that? You want to tell me why the Constables have to be something more than human?

LUCAS SR. Because that's what it's taken to hold this land together. In this family we push and when there's nowhere else to push, we push harder.

LUKE And if we can't push hard enough, we break?

15.

*

• ..r .... '"

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16.

LUCAS SR. Or we die ... like your father .

LUKE (angry)

Why do you keep bringin' him into everything? This has got to do with me ..• not him.

LUCAS SR. (looks away for a beat, then covers his sadness with anger)

Because your father was a quitter. He didn't have the guts to fight it out when times got tough.

LUKE That's not what I remember about my daddy. Your sayin' it don't make it true.

LUCAS SR. He never had the kinda strength we have ... you and me ... not the right kind.

LUKE (shakes his head)

That don't mean he wasn't a man.

LUCAS SR. Not the kind it takes to get through things like this accident. And you're gonna get through this, boy, I'm makin' sure of it. And in the end, you're gonna have the kinda life your aunt and I always wanted for you. In every way.

And all Luke can do is shake his head at his grandfather's vehemence.

EXT. RANCH OUTBUILDINGS - DAY (EQUIP. YD.)

Luke and the field hands bring the tractors in for the night. Luke throws his walker down, scoots off the machine as if he's been doing it all his life.

HERSCHEL See you tomorrow .

He heads out with the other field hands.

LUKE Night.

22-ACT 1*

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17.

For a minute Luke seems lonely. He looks for busy work when Billy Farber drives up in his truck. *

BILLY You doin' anything tonight?

LUKE Like what?

BILLY Come on. I got some brew. We'll do up some barbecue in my yard.

LUKE (after a beat)

Sure, why not?

INT. BILLY'S TRUCK - DAY 23-ACT 1*

Billy pulls his truck in front of a once gracious house, now badly in need of paint. The grill, half an oil barrel on legs, is already smokin' up a storm and two girls in tight jeans and spaghetti strap tops lounge in front of it with drinks.

One is Laurette Wilder, the other PAMELA JO PAYTON.

LUKE Whoa. Who's that? What're you doin' to me?

BILLY Hey, it ain't nothin'. They're just a couple good aI' girls who like to fool around a little. Maybe we'll get us some.

LUKE You coulda told me.

BILLY Why? You woulda found some kinda excuse.

EXT. BILLY'S HOUSE - SAME TIME 24-ACT 1

Luke wears a pained expressed as he gets out and hobbles across the lawn on his walker. Billy doesn't wait. He hauls a boom box out of the truck.

BILLY Let's get us some music gain' here.

He snaps on some COUNTRY WESTERN, grabs Pamela Jo for a dance.

BILLY Luke, meet a couple red hot killer Texas women. Pamela Jo Payton and Laurette Wilder. Ladies, this here's Luke. You ' ll want to watch out for him. He's a real ladies' man.

18.

Luke seems awkward as he reaches the others. He checks Laurette out. She looks right at Luke, sensuality hanging thick in the air around her.

LUKE And Billy's always been a foolish liar.

LAURETTE (offering him a beer)

Sit down, have a beer.

PAMELA JO You're gonna have to catch up quick. We already got a good head start.

Billy dances over to the grill, checks it out.

BILLY Ooh, you women don't cook much, do you? Luke, throw me that bag a charcoal. We got to get this fire back on some kinda even keel.

Luke reaches down next to his chair, lifts a twenty-five pound bag of charcoal with one hand.

LAURETTE Let me help you .

LUKE (pulling away)

I got it.

He tosses the bag to Billy who lets go of Pamela Jo long enough to catch it. Laurette's impressed.

LAURETTE I guess you do.

Billy and Pamela Jo continue to sway along to the MUSIC as he adds charcoal to the grill.

LUKE (to Laurette as he sits, takes the beer)

Don't I know you?

25

19.

LAURETTE I think I woulda remembered if I met you before.

BILLY I think she likes ya, Luke. You like him, Laurette?

LAURETTE (with a seductive smile)

Sure, why not?

BILLY Good. Then let's get the birds on the grill here and eat.

(to Pamela Jo) Honey, hand me that chicken, will ya?

Pamela Jo goes to a picnic table for the chicken.

LUKE (to Laurette)

This county's not all that big. How come I haven't met you before?

PAMELA JO She's lived here since she was born. Her daddy's a gin man up in Slidell.

LAURETTE (embarrassed)

You don't have to tell my whole life story.

(to Luke) I guess we run in different circles.

EXT. BILLY'S HOUSE - LATER THAT NIGHT 25-ACT 1

Plates with chicken bones. More MUSIC, this time slow and sexy. Billy and Pamela Jo dance close, begin to make out big time. Luke sits awkwardly, nursing a beer, trying not to be bothered by it. Laurette sits on a blanket at his feet.

LAURETTE You don't look so comfortable. Why don't you come on down here?

The sexual tension between them is almost tangible, but Luke can't acknowledge it, so he makes a joke.

26 DN\r\

20.

LUKE You don't want to be part of gettin' me back up again.

(louder to Billy) Hey, Billy, I have ta get up in the mornin'.

Billy's engrossed, doesn't answer. Laurette stands.

LAURETTE You don't want ta break that spell they got goin'. I'll take ya home if that's what ya want.

LUKE (ambivalent)

Okay, great.

He puts his beer down, struggles to pull himself up to his walker.

LUKE (calls as he leaves)

Thanks, Billy.

BILLY (jolted from his embrace)

Hey, where ya'll goin'?

LAURETTE (taking Luke's arm)

We're gonna get to know each other better.

ANGLE ON LAURETTE'S CLUNKER CONVERTIBLE

as Luke and Laurette approach.

LUKE This car looks like it's been through a war.

(joking) Maybe I ought to drive.

LAURETTE Me and my car's seen a lot a action is all.

LUKE What kinda action?

LAURETTE I'm a magnet for good 01' boys.

26-ACT 1

27

LUKE (stopping at the car, grinning)

That right?

LAURETTE (staring him in the eye, with stark frankness)

Yeah, they like to tap me to say hello.

21.

She opens the door so Luke can get in, then tries to help him pull his walker in the back.

LUKE (flaring at her)

I can do it.

LAURETTE Whoa, I guess I shoulda learned by now. You're the independent type.

LUKE Anything wrong with that?

LAURETTE No, I like a man who can handle himself. Seems like you're one of 'em who can.

He wants to believe her, doesn't know if he should. She goes to the driver's side while he struggles to get the walker in.

LUKE I live down at White Oaks.

LAURETTE I know where you live. Everybody in the county does.

LUKE I thought you didn't know me.

LAURETTE I said, I never met you.

And Laurette peels out, top down, RADIO BLARING.

OMIT

* *

28

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22.

EXT. RANCH - NIGHT 28-ACT 1

Laurette and Luke pull in in her car and park behind the house near a corral.

INT. LAURETTE'S CLUNKER CONVERTIBLE - SAME TIME

The MOTOR still RUNNING, BLUES on the RADIO, Luke and Laurette.

LAURETTE You own all this?

LUKE (distrusting what she's after)

Right now my granddaddy does.

LAURETTE But you're gonna get it someday.

LUKE (teasing)

You checkin' my assets?

She smiles an elusive smile . It's hard to read her.

LAURETTE I don't have to.

Luke reaches over and turns OFF the IGNITION. A look passes between them. It's quiet. A HORSE WHINNIES in the corral outside.

LAURETTE One time I had a horse, but my daddy had to sell it.

She puts her hand on the headrest behind Luke, looks at him with a deep gaze.

LAURETTE Was the first and worst heartbreak of my life.

Sexual tension crackles. Luke gets nervous.

LUKE Billy's outta control. Sorry if your night was wasted.

LAURETTE I've wasted some of my nights, but this wasn't one of 'em.

29-ACT 1

30

LUKE You makin' fun of me?

LAURETTE I don't do that. Not ever. There's enough hurt in this world.

He laughs, but she is dead on serious.

LAURETTE I mean that. I never say or do anything unless I mean it.

23.

Her eyes lock to his. She reaches over, kisses him on the lips. The pent up passion breaks loose. They're all over each other. She crawls on his lap, facing him, her knees hugging his hips, unbuttons his shirt, kisses his chest. *

LAURETTE (feeling his pain)

I guess you really been through it.

LUKE Yeah. You want to corne inside?

LAURETTE Yeah, I do.

INT. MANSION - LUKE'S BEDROOM - NIGHT 30-ACT 1

Luke lies down awkwardly on the single bed. Laurette takes his breath away as she lowers her spaghetti straps and lets her blouse drop to the , floor.

LUKE (nervous, but trying to be casual)

I don't know how much I'm gonna be able to do here.

LAURETTE (moving in on him)

I think we can manage. I got plenty a defects of my own.

LUKE That's somethin' I find hard to believe.

She kisses him gently.

LAURETTE My kind a defects you can't see.

LUKE (embarrassed)

I'm gonna need to take off my leg braces.

LAURETTE will you let me help you with this?

24.

She starts to remove his pants. Luke closes his eyes, then suddenly pushes her hand away.

LUKE Damn ...

(on Laurette's look) It's just ... I haven't been with a woman since the accident. I'm not sure ..•

I am.

LAURETTE (touching his face)

LUKE (smiles slightly, relaxes, looks into her eyes)

Those defects. You gonna tell me what they are?

LAURETTE (this troubles her but tries to cover)

Something happened to me so I can't have babies. I guess you could say I'm damaged goods.

LUKE (trying to lighten things)

Hey, so I guess we're birds of a feather, huh?

She kisses him again, more strongly this time.

LAURETTE I bet your problems have deepened you. I bet you feel things more intensely than most other people.

31

32

33

It seems that, to make love. He hasn't felt her alive.

25.

physically at least, he does as they begin It drives Luke wild as the passion grows. like this in a long time. He could eat

EXT. MANSION - EARLY MORNING 31-ACT 1

TO ESTABLISH. First light of day.

INT. MANSION - DOWNSTAIRS HALLWAY - SAME TIME 32-ACT 1

Laurette sneaks out of a downstairs bathroom in one of Luke's T-shirts just as Lucas Sr. passes through at the other end of the hall. Neither speaks. After a moment, Lucas Sr. gives her a curt nod, then turns and leaves so quickly that Laurette is left there, mouth half-open; her response caught in her throat.

EXT. BARN - SAME TIME 33-ACT 1

Luke and Laurette watch Herschel saddle two horses.

LAURETTE I should just go home and die.

LUKE Don't worry so much. My granddaddy sowed his own wild oats in his day.

LAURETTE (eyes trying to read him)

Is that what this was?

LUKE I don't know, was it?

LAURETTE (nailing her eyes to him)

It seemed like more than that to me.

*

Luke's heart flips over, but Herschel approaches with a * horse, breaking the spell.

LUKE You wanted to ride. Go on, get up there.

LAURETTE What the hell, right?

34

26.

She mounts a horse with grace, smiles back at him and takes off at a fast pace in her tight jeans and spaghetti strap blouse.

LUKE Did you ever see a woman that looked that good?

HERSCHEL (teasing, shaking his head)

Canlt say she'd be my type.

LUKE (smiling, indicating his horse)

Come on, help me up on this thing.

HERSCHEL Youlre gonna be sorry later ... if you live through it ...

LUKE 11m gonna do this.

Herschel manages to get Luke up on the horse and Luke takes off after Laurette as his grandfather approaches.

LUCAS SR. What the hell's he think he's doin ' ? He's gonna wreck himself. Who's that girl?

HERSCHEL Some friend a Billy Farber.

LUCAS SR. Billy Farber? That boy's got a natural instinct for the gutter. What's her name?

HERSCHEL Don't know.

*

*

*

ANGLE ON LUKE AND LAURETTE 34-ACT 1

He spurs his horse with the reins to chase her. Both are exhilarated, happy.

35 ANGLE ON LUCAS SR.

He scowls.

LUCAS SR. Well, find out. Woman like that only wants one thing. She better think twice if she thinks she's gonna get it here .

END OF ONE

27 .

35-ACT 1

FADE OUT.

=-- -- "" "-.==-"""'""=

28.

ACT TWO

FADE IN:

36 INT. MANSION - LUKE'S BEDROOM - ANGLE ON LEG BRACES - DAY

36-ACT 2

Next to a massage table. PAN UP TO Herschel rubbing Luke down. Luke moans, obvious l y in pain.

HERSCHEL You sure did do a job on yourself.

LUKE I feel good. I never felt better. Ow.

HERSCHEL Uh huh.

Lucas Sr. enters, dressed in a coat and tie.

LUCAS SR. (angry re : Luke's wounds)

That was a real smart thing to do.

LUKE A small price to pay for what I got from it.

During Luke's response, Lucas Sr. motions for Herschel * to leave. Herschel wipes h i s hands on a towel and does so . *

LUCAS SR. A small price now . It was Alice's intention that you get to know the Jennings girl at t his dinner tonight. Not to bring that woman.

(as Lucas rolls his eyes )

Listen here, it ' s no secret that for generations men in this county have had all kinds of women on the side, but it's not something you flaunt .. .

LUKE lIm not flauntin' anything. I like this girl. She's got somethin' nobody else can give me.

LUCAS SR. Look, son, I know you're still smartin' from Elaine doin' what she did but that don't mean you gotta get serious over the first girl that lets you lift her skirt.

(M Cl-,<-)

LUCAS SR. (CONT'D) (beat)

I've seen women like this one ... Hell, they're a dime a dozen all over Texas. Right now, she's hooking you in, playing on your vulnerabilities. You're not careful, she's gonna tear up your insides like she tore up your legs.

LUKE I guess I'm gonna have to take that risk.

LUCAS SR. So you're gonna bring her back into this house?

LUKE Seems I'm old enough to choose my own friends.

LUCAS SR. Well, you better think about it. I don't want you embarrassin' your Aunt Alice, you hear me?

LUKE I hear you, sir. And what I think is maybe I need a place of my own.

LUCAS SR. And where would that be? Some trailer park?

LUKE I'd like to move into the back house.

LUCAS SR. That ain't been open since your daddy ...

LUKE (cuts him off)

I know. But I remember my mamma and daddy being happy there ... and I ...

LUCAS SR. (with some pain)

I've told you ... I don't believe your daddy ever was happy.

(hardens) NOW are you gonna make some excuse to this girl about tonight?

29.

37

38

39

30.

LUKE No. I'm not.

Lucas Sr. glares at him, turns on his heel and leaves.

OMIT 37-ACT 2*

EXT. - PAMELA JO'S HOUSE - EVENING 38-ACT 2*

An old man burns trash in a barrel, black smoke chokes the air. Luke drives up in a fancy high-powered sports car, and pulls up behind Laurette's banged up the car in the driveway.

INT. - PAMELA JO'S HOUSE - SAME TIME

Pamela Jo peers out a crack in the curtain, sees Luke unload his walker and start towards the door.

PAMELA JO What's goin' on, Laurette? You run through all the guys with legs in this county?

Laurette runs around behind her, in a very short black dress, getting her purse, putting on lipstick. She's sexy, all legs.

LAURETTE I like him.

PAMELA JO You get off on some weird stuff.

LAURETTE Well, you got to admit the other choices have a lot to be desired.

PAMELA JO (be bemused sarcasm)

You're not talkin' about my Billy now, are you?

LAURETTE Billy's all right. You just got to decide if you want to go after the ones on the way up or on the way down.

PAMELA JO You and me, we've been playing it loose here for awhile. You're not gonna get serious on me now?

39-ACT 2*

40

41

42

LAURETTE I might.

PAMELA JO I love you. I don't want to see you get hurt.

LAURETTE I'm gonna be fine .

(blowing a kiss) Don't wait up.

She hustles out.

31.

EXT. PAMELA JO'S HOUSE - SAME TIME 40-ACT 2*

Luke stops, as Laurette runs out to meet him. He admires the legs, the dress, the whole picture. She notices.

LAURETTE I couldn't decide what to wear. Then I said, hey, I'll wear what I like. Am I okay?

LUKE Better'n okay.

She takes his arm and guides him back to his sports car.

LAURETTE I missed you.

He looks at her. The magnetic charge she arouses is powerful. He smiles.

LUKE Yeah, me too.

EXT. MANSION - NIGHT 41-ACT 2

Luke and Laurette drive up just as two other couples are about to enter the house. They're well coiffed, conservatively dressed.

* * *

INT. LUKE'S SPORTS CAR - SAME TIME 42-ACT 2

LAURETTE Why'd I go and wear this dress anyway? I'm always doin' things, then I wanta kick myself later.

She tries to pull the dress down to cover more of her thigh. He reaches down, pushes the dress back up. She shudders at his touch. They look into each other's eyes, kiss and can't stop.

43

44

45

32.

INT. MANSION LIVING ROOM - SAME TIME 43-ACT 2*

The guests mingle as Lucas Sr. mixes a drink at a table by the window, in conversation with MR. JENNINGS, MRS. JENNINGS, and their daughter VICTORIA, a plump but attractive 27-year old.

MR . JENNINGS How'd that golf game a yours turn out on Saturday?

LUCAS SR. You don't want to hear about that. I've seen lots better days.

But they're all distracted by the arrival of:

* * *

*

ANGLE ON LUKE AND LAURETTE 44-ACT 2

As they enter the living room, Laurette tugging self­consciously at her skirt, Luke on his walker.

LUKE Hey, everyone, I want y'all to meet Laurette Wilder. She's got the best pair of legs in the county, haven't you, darlin'?

The guests stop cold in their tracks and stare, a somber contrast to the flushed couple. Alice is almost funereal in a sedate black dress and pearls.

LAURETTE (jabbing him, taking it with humor)

Luke, stop it. Nice to meet y'all.

Well, here.

ALICE (after a beat)

I'm glad you finally got We'll eat now.

The line has been drawn in the sand. Laurette knows exactly where she stands. She and Alice stare at each other.

INT. MANSION DINING ROOM - NIGHT 45-ACT 2*

Laurette sits to Lucas Sr. ' s left at a large Queen Anne table. Luke is in the middle on the opposite side next to Victoria, with Alice, the Jennings and other guests interspersed. A servant in a white coat offers a platter of food to Laurette ...

ALICE Victoria, what's all this I've been hearin' about you bein' made head of the Junior League ...

33.

Because she's nervous, Laurette accidentally knocks the serving fork to the floor. Action stops. The servant falters. But without missing a beat, Laurette picks up her own fork and offers i t to the servant for effect.

LAURETTE Here, don't worry. I got two. You can use one a mine.

Luke's amused. Everyone else is appalled, but the servant takes the fork and just keeps moving.

LAURETTE That looks wonderful. My mama makes the best fried chicken, but this looks really good.

It's pousson. and figs.

ALICE Made with olives

LUKE That's a fancy way of sayin' baby chi,ckens.

Knowing everyone is looking at her, Laurette licks her fingers.

LAURETTE Does it taste better or somethin' if you can't pronounce it?

Luke laughs. MRS. JENNINGS tries to be polite.

MRS. JENNINGS What's your mama ' s name, dear? Do I know her?

LAURETTE Urn, I don't think so.

VICTORIA Don't be so sure . Mama knows just about everybody i n the whole county.

LUKE Laurette's from up in Slidell.

LUCAS SR. I believe your daddy's a gin man up there, isn't he?

46

LAURETTE (in a teasing way)

How did you know that? Did you check up on me?

LUCAS SR. I'm a politician. I make it my business to know who people are.

LAURETTE Well, my family has lived in this county for generations and for your information, they're fine, respectable, law-abiding, church­going people.

The guests are uncomfortable, don't know what to say.

ALICE I'm sure they are.

LAURETTE (again with charm)

Well, around here people think it's some kind of criminal act if you don't have money and belong to the country club.

Loving it, Luke smiles.

LUCAS SR. (with false grace)

On the contrary, I've always believed that good breedin' is determined not by material goods but by one's actions and the motive behind those actions.

LAURETTE And just exactly what do you think my motives are, Mr. Constable?

LUCAS SR. I think you know that better than I do.

Laurette doesn't flinch from Lucas Sr.'s gaze.

EXT. MANSION - PORCH - LATER

Laurette and Luke are alone on the porch.

LUKE Come on, Laurette. Aunt Alice is serving coffee.

34.

46-ACT 2

*

(

LAURETTE I won't go back in there.

LUKE The hell with that. You set a little fire. Was the best thing to happen in a long time.

LAURETTE I just gave 'em what they wanted. They hated me the minute I walked in that room. What they saw was a poor white trash hussy.

LUKE Texas is built on snobbery. So what? There's not one a them in there who didn't come from good 01' country folks some time or other.

LAURETTE Yeah, good 01' country folks who got family in the state capital and more money than God. I want to go.

He touches her arm.

LUKE I don't want you to.

LAURETTE I like you, Luke, and I wanted to like your family, but they make me feel like I'm some kinda road kill or somethin'. I don't need that.

She walks down the steps.

LUKE So go back in there and show 'em that you're not.

She walks to his car, turns.

LAURETTE I want to go home, Luke. If you won't drive me, I'll walk.

LUKE All right. Stay right there ... I'll go tell 'em.

He goes back inside.

35.

* *

47

48

INT. DINING ROOM - SAME TIME

Luke enters. Everyone looks up, stares.

LUKE Laurette's not feeling well.

LUCAS SR. I'll get someone to drive her home.

LUKE (staring him down)

No, I'll do it.

ALICE Lucas, you don't want to be rude to our guests.

VICTORIA .It's okay. Please, I think he should drive her .

LUKE victoria's a smart woman. She knows this was all a charade to start with.

(leaning on his walker to shake hands with the Jennings)

I know deep down you're relieved to be off the hook.

The Jennings don't know how to respond.

LUCAS SR. Lucas!

LUKE Don't wait up .

VICTORIA (trying to help)

Good night.

But he's out the door.

EXT. NECKING SPOT BY THE LAKE - NIGHT

36.

47-ACT 2 *

48-ACT 2 *

Luke's CAR ROARS in. Laurette stands head to * waist outside the sunroof, her arms raised above her, the wind beating on her, screami ng into the night with wild abandon.

49

37.

INT. SPORTS CAR - SAME TIME 49-ACT 2

As the car parks, Laurette moves back inside next to Luke * and kisses him on the cheek. *

LAURETTE I'm feelin' a lot better now. * I'm feelin' real good. *

L~E

(as he looks around) * I'm not sure this was the best thing * ••. comin' here . Maybe we better * drive someplace else. *

LAURETTE (gently) This bring back your accident?

LUKE Thought I was over it.

LAURETTE Maybe some things you never get over. (then, trying to cheer him) C'mon •.• lets go down by the water. Leave the radio on.

And in a flash, she's out of the car.

* *

*

* * * *

* 50 NECKING SPOT BY THE LAKE - SAME TIME 50-ACT 2

51

51A

Luke opens his door and takes his walker from the back * of the car. Laurette moves to the water, THE BLUES * STILL PLAYING ON THE RADIO . Luke watches her for a beat, * then makes his way to the grassy area where he saw Laurette * with Billy the night of his accident. He sits down on the * grass, memories of that night overtaking him. For a moment, * as he looks around, thinking of the boy he was before * the crash, he seems close to tears; the only time we've * ever seen him this way. After a beat, he looks at: *

LUKE'S POV 51-Act 2 *

Laurette - dancing barefoot at the edge of the moonlit water ... sexy and desirable as hell. *

* BACK TO LUKE - SAME TIME

Luke smiles, shakes his head , calls out to her.

LUKE Hey, Laurette .. . you know what I'm thinkin', darlin'? You're bringin' this 01' boy back to life!

(MORE)

51A-Act 2 *

*

* * *

51B

52

53

38 And with a laugh, she runs toward him, falling on top * of him, pushing him back on the grass, kissing him wildly~ *

ANGLE ON LUKE AND LAURETTE - SAME TIME 5IB-Act 2 *

Making love on the grass near the edge of the water, the BLUES FROM THE RADIO banging out the rhythm.

OMIT

INT. BARN - DAY

Luke walks in in sunglasses. His grandfather looks up from his talks.

LUCAS SR. You didn't come home last night.

LUKE I want you to stop ridin' me.

LUCAS SR. (surprised at Luke's tone)

For a minute, I thought it was your father standin' there, talkin' to me like that.

LUKE I'm not my father.

LUCAS SR. No, but that's the kinda bull he usta try with me.

LUKE (uncomfortable but forging ahead)

I told Herschel to start openin' up the back house today.

LUCAS SR. You think you can go over my head on something like that?

LUKE Grandpa, I love you ... and I don't want to keep fightin' you. Now we can work together side by side ... or we can keep clawin' at each other. Which is i t gonna' be?

Lucas Sr. doesn't respond.

* *

52-Act 2

53-ACT 2

S4

39

INT. LUKE'S HOUSE - DAY 54-ACT 2

Windows and the front door are open to air it out. It's pretty much empty except for a few odds and ends of furniture and some dusty drapes. Luke and Laurette walk within it, imagining.

LAURETTE And then I'd put a big, round table over there and I'd put fresh flowers on it every day.

L~E

And what would you put in the bedroom? A big, round bed?

Laurette laughs, studies him for a beat.

LAURETTE Is there anything you want that your family doesn't give you?

LUKE Everything I've gotten in this world I've earned one way or another.

(turning, leaning toward her on his walker)

Right now there's only one thing I really do want. That's you.

LAURETTE (smiling)

You pretty much have me already.

LUKE No, I want to marry you.

She's stunned, stares at him for a moment, then turns away.

LAURETTE You don't know what you're getting into. There's a lot of things you don't know about me.

LUKE Like what?

LAURETTE Like I've been married before. A football player I met in school.

55

LUKE Oh yeah, a big guy, huh? Probably some kind of stud.

LAURETTE He wasn't half the man you are.

(beat) There've been a lot of men in my life. Too many.

LUKE Billy?

LAURETTE Billy and I horsed around a little.

LUKE (approaches her, touches her)

None of that matters, so long as I'm the last one you horse around with.

40

She looks at him a minute, then throws her arms around him.

LAURETTE I'd love to marry you. And I don't want you to ever doubt that you are the most beautiful man I've ever known.

INT. MANSION LIBRARY ROOM - DAY

Luke sits straight-backed in an armchair. His grandfather paces angrily.

LUKE I'm gonna do this thing. It's what I want. We love each other.

LUCAS SR. She loves your money.

LUKE You think I got no value other than that?

LUCAS SR. I didn't say that. I know you can do better'n this.

55-ACT 2*

LUKE If you don't think she's good enough to be a part of this family, maybe you should look a few generations back. This family didn't start with money.

LUCAS SR. Listen to me, Luke. I've had her checked out.

(on Luke's look of disbel i ef)

Dammit! I care about you ... and I had to make sure . . . She's been married before ... and went through a battle royal with her first husband.

LUKE She told me about him.

LUCAS SR.

41

Did she tell ya' she wiped him out? * And did she tell ya' she left him with nothin'? *

(as the two men glare at each other) * And the same thing's gonna happen to you. She can take this ranch and make it hell for you.

LUKE without her, it'll be hell for me.

LUCAS SR. You're makin' a mistake. Try thinkin' above your belt, why don't you?

The two men glare at each other.

LUKE Just so you understand, grandpa. The only thing that'll keep me from marrying Laurette is if she changes her mind . Mine's made up.

56

57

42.

FADE IN:

INT. PAMELA JO'S HOUSE - DAY 56-ACT 3*

Pamela Jo brushes mucky hair coloring into Laurette's roots. Her hair sticks straight up. In an oversized T-shirt, no makeup, she's her raw self. Pamela Jo peers out the window.

PAMELA JO Isn't that Luke's Granddaddy's car?

LAURETTE Damn, what's he doin' here?

She scrambles to try to put herself together when there's a KNOCK at the door.

LAURETTE Tell him I'm not here.

EXT. PAMELA JO'S HOUSE - SAME TIME

Pamela Jo cracks the door, peeks out at Lucas Sr.

PAMELA JO Laurette's not here just now.

Lucas Sr. takes a fat envelope from his pocket, offers it.

LUCAS SR. Well, you give her this. Tell her there'S twice as much where that came from if she leaves my boy alone.

57-ACT 3

Pamela Jo takes the envelope, watches him turn and leave. Like wildfire behind her, Laurette snatches the envelope, is out the door, hot on his path.

LAURETTE What the hell is this? Who do you think I am? I never was a cheap whore, and I won't be an expensive one either.

Lucas Sr. stands next to his elegant car, watching Laurette as she furiously tosses the envelope of money at his feet. After a beat:

LUCAS SR. If money won't do it ...

LAURETTE That's not what this is about. I love Luke.

LUCAS SR. (studies her for a beat)

I love him too. And I don't want him hurt.

LAURETTE Why are you so damn sure I'm gonna hurt him? Seems to me he's been hurt enough.

LUCAS SR. He has ... and you know what, little lady? I always thought I could protect him. But I found out I couldn't. Not from the pain when his mamma and daddy ... died. Not from the accident that crippled him. But I'll be damned if I can't protect him from someone like you.

LAURETTE Maybe he doesn't want to be protected from me. Maybe he loves me as much as I love him.

LUCAS SR. He's got love confused with ... other things. And when those things go, he'll start lookin' at how you fit into other parts of his life ... Now I'm not saying this to hurt you but I don't think you ever will fit in ... so why not do the right thing now and spare everybody?

LAURETTE I know you believe what you're sayin', Mr. Constable, but you're wrong. And I'm tellin' ya, there ain't nothin' that's gonna keep me from marryin' your grandson.

43.

Lucas Sr. shakes his head, starts to open the car door and get in, then turns back to Laurette.

LUCAS SR. Then it's up to me to keep you from hurt in I him too much before the divorce. 'Cause that's where this marriage is gonna end ... just as sure as I'm standin' here.

44.

He gets in the car. Laurette looks after him a moment, then rushes to pick up the envelope of money which she hurls at him through the open window. The money flies over him while the two just stare at each other. without another word, he STARTS up his big CAR and elegantly glides away, leaving us to HOLD ON Laurette's frustration. - e.f'd. D\ oct ~ (Fr-\U Ou.-i)

l' r 'is INT. MANSION LIVING ROOM - EARLY MORNING

Aunt Alice arranges a huge vase of all white flowers while Luke sits drinking his morning coffee.

ALICE (making conversation for Luke's benefit)

Nervous?

LUKE (big grin)

Nope, just happy.

Alice tries to smile back.

LUKE Aunt Alice, you never say too much about my mamma and daddy ... they were happy together, weren't they?

Alice is touched by the question, sits across from him.

ALICE From everything I know, they were ... And when your mamma died ... I thought your daddy was gonna go with her, he was so broken up. As it was, he only lasted about another year.

LUKE He musta loved her like I love Laurette. Am I very much like him?

Alice takes a beat, then:

ALICE Very much ... he was strong in his own way just like you are ... 'course that led to all kinds of trouble with your grandaddy ... as good a man as your daddy was .. . your grandaddy always wanted him to be more.

58-ACT 3

S8A

LUKE Just like with me . Well, maybe this weddin' will change things.

Alice looks at him for a moment, then, not wanting to hurt him:

ALICE Maybe it will, Luke.

(then, unable to stop herself)

I just pray it makes 'em better, not worse.

AtT0~ INT. PAMELA JO'S HOUSE - DAY

Laurette, in her slip, and Pamela Jo, dressed in her bridesmaid's outfit, tear the room apart, looking for something. The wedding dress lies on the bed.

LAURETTE I can't believe I can't find it.

PAMELA JO The wedding's not gonna be a bust without the garter.

LAURETTE I want it to be perfect.

PAMELA JO It won't be perfect if you're late.

LAURETTE Luke's used to me bein' late. 'Least I guess he ' ll have to get used to it.

PAMELA JO You don't have to go through with this out a' principle, you know.

LAURETTE What the hell does that mean?

PAMELA JO You aren't just tryin' to prove you can get in that family, are ya?

LAURETTE Whose side are you on?

PAMELA JO Darlin', you got to admit the money's got somethin' to do with it.

45.

S8A-ACT 3

59

LAVRETTE (stops, looks at her, defiant)

Well yeah, money's part of the package. l'd rather have it than live in a trailer somewhere. But you know what? Luke appreciates me, he needs me like nobody else ever has and I don't give a damn what anybody else thinks about it.

(annoyed, pulling on her dress)

Come on, help me with this.

PAMELA JO (helping with the dress)

I'm just worried how long you're gonna be able to live with a cripple? I mean, how's the sex thing with him, anyway?

LAURETTE The sex thing is just fine, thank you. Why is everybody dead against this except me and Luke?

(lifts the veil, finds red garter)

See, there it is.

PAMELA JO You can think about this some more. You don't have to do it right this minute .

LAURETTE I know.

(checks herself in the mirror)

Let's go.

46.

She grabs up her bouquet and heads for the door with the veil.

EXT. MANSION GARDENS - DAY 59-ACT 3

A small, oddly mixed group sits waiting on fragile gold chairs: Billy, good old boys CHEETER DAVIS, Terry Buffet, some of Laurette's girlfriends, one or two of the Constable friends, a few house servants and a stern Aunt Alice. The patience of the wedding guests has worn thin. A string quartet plays the music over and over. Heads in * the chairs turn as Lucas Sr. gets up and goes to the back where Luke stands with Herschel.

60

61

47.

LUCAS SR. (touches Luke's arm)

It's gain' on an hour. Maybe it's time we called this one, son.

LUKE It's 45 minutes. She'll be here.

Just as he says it, Laurette's rattletrap CAR SCREECHES up. Luke smiles in relief.

LUKE See, what'd I tell ya?

LAURETTE AND LUKE

TIME CUT TO:

60-ACT 3

Laurette and Luke look lovely standing in front of the minister, say their vows in tandem, simultaneously placing rings on the other's finger, an awkward trick for Luke.

LUKE LAURETTE I, Luke, take Laurette as my lawfully wedded wife, through sickness and health, 'til death do us part.

I, Laurette, take Luke as my lawfully wedded husband, through sickness and health, 'til death do us part.

The last phrase overlaps. faced.

The congregation is stone-

LAURETTE (to the minister)

Well, aren't ya gonna tell him to kiss the bride?

She grabs Luke's face, kisses the hell out of him as if in defiance of everybody. And achieves the desired effect. Luke gets into it. His family is further alienated. The good 01' boys whistle and stomp, egging them on, all except Billy who looks on amused.

EXT. MANSION GARDENS - DAY 61-ACT 3

A photographer fusses over Laurette's veil as the couple poses on the porch for pictures. Luke leans over quietly to him.

LUKE You'll keep the walker out of the shot?

62

63

48.

The photographer nods, bounds off the steps to take the photo. The wedding guests cluster in separate groups, watching.

Photos snap. Polite applause. Laurette looks straight at Lucas Sr., lifts her wedding dress way up her thigh, balances on one foot and removes the red garter.

Alice and her cronies look like they could die. Laurette throws the garter out to the crowd, straight at Lucas Sr. He has no choice but to catch it. She smiles a self­satisfied smile.

EXT. CRESCENT COURT HOTEL - DAY 62-ACT 3 *

Luke's car with papers streamers and a "Just Married" sign pulls up in front.

This is the hotel, old guard and elegant. A handsome young VALET opens the car door for Laurette. She wears one of her outrageously sexy dresses.

VALET Welcome to the Crescent Court.

LAURETTE Why, thank you.

He helps her from the car , cannot help ogling her in that dress she's wearing.

As a bellman assists Luke and Laurette inside, the Valet and a second bellman observe.

VALET It's a real shame seein' a body like that go to waste.

*

ANGLE ON LUKE 63-ACT 3

as he overhears this remark. He grips his walker tighter, tries not to let it bother him. Laurette takes his arm.

LAURETTE Thank you for bringin' me. My whole life I wanted to stay in this hotel.

Her happiness cheers him. He smiles at her.

64

64A

65

66

67

EXT. HOTEL SWIMMING POOL - DAY

Laurette walks out to the pool in a bikini. Every male in her path tunes in immediately. Step by agonizing step, Luke pulls himself along behind her, in sports shirt and long pants, pained at the attention his wife is getting. She lays a towel on a chaise lounge for him and helps him ease into it.

LUKE I don't need a nurse, Laurette.

LAURETTE What's wrong with you?

LUKE (between his teeth)

Every man in this place is looking at your ass.

She kisses him.

LAURETTE What do you care? The ass they're lookin' at belongs to you.

And as she smiles at him, he's reassured ..• laughs at her response.

49.

64-ACT 3

* *

* *

OMIT 64A-ACT 3*

OMIT

EXT. RANCH - DAY

Lucas Sr. and Alice watch from the porch as a happy Luke and Laurette drive in.

EXT. LUKE'S NEW HOUSE - DAY

65-ACT 3*

66-ACT 3

* *

67-ACT 3

The newlyweds stand at the front entrance, just horne from their honeymoon. Laurette cracks the door open.

LUKE Get on my back.

(as she looks at him quizzically)

I'm gonna carry you over the threshold.

68

69

50.

She gives out a robust Debra Winger kind of laugh, grabs him around the neck from behind and hoists herself on his back fireman style, legs around his waist. He loves it, gathers all his energy and carries her the few steps inside.

INT. LUKE'S HOUSE - SAME TIME 68-ACT 3

They're both still laughing when she gets down, but her laughter stops abruptly when she sees the place has been decorated to the gills with ugly Victorian antiques. She's taken aback.

LUKE Don't you like it? It's our wedding present from Aunt Alice.

LAURETTE I kinda thought we'd get to decorate the house ourselves, like we talked about.

LUKE I think she's tryin' to please us. This furniture's been in the family for years.

LAURETTE It's awful. I mean, it just doesn't seem like a place you could get comfortable in now.

OFF her look of disappointment ...

INT. LUKE'S HOUSE - BEDROOM - NIGHT

It is hot and humid. Laurette and Luke lie in bed wide awake. Laurette throws the covers off herself.

LAURETTE It's stiflin' in here.

69-ACT 3

She crawls over to him, slides the sheet off him, kisses his sweaty chest.

LAURETTE Let's go for a swim.

He looks at her for a beat then smiles.

LUKE You're crazier than I am, you know that?

70

71

72

73

74

51.

EXT. RANCH - NIGHT

Luke follows after Laurette in his bathrobe. She wears only a short silk thing. A few employees peek out windows, catch a glimpse of them traipsing past the big house, giggling, hugging each other.

70-ACT 3

ANGLE ON WINDOW OF ALICE'S ROOM - SAME TIME 71-ACT 3

After a beat, a light goes on and we see Alice, dressed in her nightgown, move to the window. She looks down with contempt at the couple, giggling across the yard.

EXT. POOL - NIGHT 72-ACT 3

Laurette sheds her clothes and dives off the edge into the cool water. She pops up a distance from the edge of the pool.

LAURETTE Come on, Luke, get in here.

Seated at the edge, Luke sheds his robe, suddenly does a cannonball kind of thing and rolls off the edge into the water. Laurette laughs as he swims to her. She kisses him.

ANGLE ON LUKE AND LAURETTE 73-ACT 3

rolling in the water. Sex in total abandon.

EXT. YARD IN FRONT OF LUKE'S HOUSE - DAY 74-ACT 3

Laurette plants flowers. She wears jeans and a T-shirt, looks like a happy, fresh-faced farm girl. Alice approaches.

ALICE You don't need to do that, Laurette. The gardeners will take care of it.

LAURETTE But I like puttin ' my hands in the dirt once in awhile.

ALICE It's been arranged. The plantings are carefully color coordinated. Now, will you please take these back in the shed?

Laurette angrily shoves her spade into the soil.

LAURETTE I thought this house belonged to Luke and me.

ALICE It will become Luke's only after his grandfather and I are dead. Didn't he tell you that?

LAURETTE He must not a' seen a reason to.

ALICE Well, it should have been clear before you married. But y'all were in such a hurry neither a' you would listen to anybody.

LAURETTE Do you think if lid known that, I wouldnit've married him?

ALICE I don't know why you married him, but I do know it's a big responsibility running this property. A lot of people depend on us. We need to set an example. We simply cannot have behavior that's inappropriate.

LAURETTE Are we still talkin' about flowers?

ALICE I'm talkin' about order. I'm talkin' about proper dress, about runnin' around all hours of the night. Traipsin' here and there.

LAURETTE (offended and defensive)

Luke has had a lot of pain in his life. He deserves to have a little fun once in awhile.

ALICE You know, when I look at you, I can almost understand what Luke sees in you. You're like a puppy.

(beat) But just because I might let a puppy into the house doesn't mean I'm gonna let him pee allover my rug.

52.

53.

She turns on her heel and walks away, leaving Laurette appalled.

FADE OUT.

~EE

76

tN\\T

FADE IN:

EXT. RANCH - DAY

Laurette lies on a blanket, close to Luke, writing in her diary. The remains of a picnic lunch are scattered next to them. After a moment ...

Luke ...

Hrnrn?

LAURETTE

LUKE (contented, sleepy)

LAURETTE What would you think about sellin' some a the wedding presents we got and buyin' real furniture?

LUKE You can't sell those things, Laurette. My mother'd twirl in her grave.

LAURETTE Well then, you can return them to your Aunt Alice.

LUKE Is it worth the hurt you'll cause her?

LAURETTE Hurt? She's the one doin' the hurtin'. If you won't return it, I'll put it in a pile and I'll burn it. I swear.

54.

75-ACT

She angrily shuts her diary, gets up and starts gathering the picnic stuff.

LUKE

Laurette ...

And when she doesn't respond but goes on with what she's doing, Luke knows he has no choice.

4*

* * *

* *

* * *

* * *

*

* *

* *

* *

* *

EXT. BARN - DAY 76-ACT 4

Luke stands by as a line of field hands cart Alice's furniture inside. Lucas Sr. comes up behind him.

LUCAS SR. What's going on?

77

OMl1

55.

tUKE Laurette and I feel like we want to pick out our own furniture.

LUCAS SR. And just where are you going to get the money to pay for it?

LUKE I been thinkin' maybe it's time you pay me some wages.

LUCAS SR. For what, boy? For workin' land that'll belong to you someday? For makin' sure this all stays in the family?

LUKE We hafta have some kinda independence.

LUCAS SR. It's your wife wantin' independence ... I never heard you talk this way before. Now have that stuff moved back to the house before your aunt finds out about this.

LUKE My wages ...

LUCAS SR. We can talk about it again later ... when your wife's learned a little respect for other people's feelings.

EXT. LUKE'S HOUSE - DAY

Laurette and Pamela Jo sit on a porch glider, drinking beer out of bottles.

LAURETTE So we can't buy new furniture and we can't use the pool at night and we can't do anything they don't approve of first. I can't even plant flowers.

PAMELA JO Life with prince charmin' coolin' off some?

77-ACT 4

* *

78

78A

56.

LAURETTE I love him. I really do. If his family'd just go off somewhere and die, we'd be just fine.

PAMELA JO Nothin's ever free. His granddaddy's got a stranglehold on him 'cuz a' the land.

LAURETTE He loves the land. He loves working it.

PAMELA JO Maybe he's just determined to do what his daddy didn't? Outlive the old bastard?

LAURETTE Old man's perverse enough to live forever.

PAMELA JO Well, Luke ought to take a piece of what's his now. He's a grown- up. Hell, what's the use of havin' all this if you can't have a life a your own?

For Laurette this is an interesting new solution.

EXT. LUKE'S HOUSE - NIGHT

Sparks and smoke fly from the chimney.

'\t\ O~ INT. LUKE'S HOUSE - LIVING ROOM - SAME TIME

When Luke comes in from a long day, Laurette is waiting for him in something sexy. She offers him a drink. He kisses her.

LAURETTE I've been thinkin'.

LUKE Why do I have the feelin' I better sit down for this?

He sits in a big armchair.

*

78-ACT 4

78A-ACT4

LAURETTE It just seems like we're never gonna be anything like independent until we have a piece of this property for ourselves. I'd help you. We could build a little house that's ours. All ours.

LUKE It doesn'~ make sense this day and age to split the land.

LAURETTE You're not afraid to go up against your granddaddy, are ya?

LUKE Th~s is about basic economics. The farm's a corporation. It can't be split.

(beat) Anyways, I keep thinkin' lowe him.

LAURETTE For what? For controllin' every part of your life?

LUKE He raised me ... He and Aunt Alice raised me ...

LAURETTE And now you're grown ... they owe you as much as you owe them. You're the one keepin' the land going ...

LUKE I have to. It's land that's gonna be mine someday.

LAURETTE What about right now?

LUKE I got to handle things in my own way. I got to show my granddaddy I can be my own man. Not his. Can't you understand that?

57.

* * *

* *

* * * *

79

80

81

LAURETTE (sarcastic)

Sure I can. And while you're figurin' out how to do that, what am I supposed to do? Nothin? When I married you, I married you, not your family. And if I don't get out of here a little, I'm gonna go crazy.

She leaves the room.

58.

* * * *

INT. LUKE'S HOUSE - BEDROOM - SAME TIME 79-ACT 4

Luke enters as Laurette pulls on some tight jeans.

LAURETTE I'm not goin' to dinner. I'm not gonna spend one more night with them torturin' me. I'm not gonna be trapped here like a fly in a dish. Maybe you like that. If you do, you go to dinner. I'm goin' out. *

OMIT 80-ACT 4 * 5tq;() A~ T 4/ J

INT. REDNECK BAR - NIGHT

The place is jammed with hard drinking good 01' boys, white trash women and LOUD COUNTRY MUSIC. Luke and Laurette make their way through the crush.

LAURETTE Cheer up. We're goin' to have some fun for a change.

Billy hails them to a table where he sits with Cheeter Davis.

BILLY Hey, Luke, I got a chair here waitin' for ya.

LAURETTE (to Luke)

I'll get us some drinks.

8I-ACT 4

She heads to the bar where Terry Buffet stands. As Luke makes his way to Billy, people clear a path, stare.

82

83

59.

LAURETTE (yelling to bartender)

Hey, Phil, get me a couple a stingers.

TERRY Hey, Laurette. Haven't seen you for awhile. How's married life treatin' ya?

LAURETTE It's good, Terry. It's good.

ANGLE ON LUKE

He watches with a pained expression as Terry grabs Laurette by the belt loops of her tightly-packed jeans and hauls her out for a quick spin around the dance floor. She looks to Luke for permission.

82-ACT 4

He's got no choice. He indicates good-natured approval. Laurette laughs, seems to be having fun. Cheeter watches, rocks back and forth on his heels.

CHEETER Honeymoon ain't over, is it?

Luke sets his chin, doesn't say anything. He's miserable, trapped, tormented by how sexy his wife looks.

EXT. BAR PARKING LOT - LATER 83-ACT 4

Luke, Laurette, Billy, Terry Buffet and Cheeter come out. Cheeter can barely walk and his pals aren't much better.

LAURETTE How 'bout we give you a ride? Be about your only hope a gettin' home alive.

BILLY (stumbling )

I'm doin' fine.

Laurette opens the front door of the car so Luke can get in, then swings open the back door.

LAURETTE Luke, make 'em get in the car. We already got enough road kill on the highway.

LUKE Do what the lady says. We'll get ya a ride over to pick up your truck Tamara.

84

BILLY (giggling)

Forget tamara. Tamara's already a lost cause for these boys.

Somehow the drunks get shoved in the back of the car.

EXT. BILLY'S HOUSE - NIGHT

Laurette pulls in Billy's driveway and stops the car.

60.

84-ACT 4

The drunks in the back seat giggle like jackasses. Billy opens the door.

BILLY (to his pals)

Corne on, get the hell out before you puke allover the car.

He gets out, makes his way toward the house. The other two snicker, push at each other. Cheeter gets one foot out the door just as Laurette lifts her hair off her neck to get some air. He reaches out, paws her, gives her a slobbery kiss on the neck. Laurette jerks away from him.

LAURETTE Cut it out, Cheeter.

CHEETER Come on, Laurette, everybody knows you like it.

Luke is stunned. He stares straight ahead.

LAURETTE (screams at Luke)

What do you want? You want me to do them a favor?

Luke grabs her arm. The two lock eyes and, for a moment, * we think he might hit her. Then he takes his hand away * and, like a viper, wraps it around Cheeter's arm. *

LUKE You need to get outta the car now.

CHEETER (slobbery drunk, still on Laurette)

Come on, Luke. I bet your woman's tired of having to get on top. I bet she's ready for somethin' different.

LUKE (tightening his grip)

Cheeter, I'm telling you to get on outta the car.

85

86

61.

They stare each other down, then Luke loosens his grip.

Terry, who sits behind Luke and who's been watching this thing eagerly, suddenly wraps both arms around him, pinning him.

TERRY Both a us together, we could handle it real good. Right, Cheeter?

Laurette starts screaming as Cheeter reaches around in front of her and pulls her blouse out of her jeans.

LAURETTE Let your hands off a me!

LUKE (straining to loosen Terry's grip)

Let go! Damnit, I'll kill you.

TERRY Cool out, Luke. It's not like she's a virgin or somethin'? We'll send her back happy.

ANGLE OUTSIDE THE CAR

Billy hears Laurette SCREAM, but he's drunk and wobbly.

INT. LAURETTE'S CLUNKER CONVERTIBLE

85-ACT 4

86-ACT 4

Luke struggles with Terry, but he's pinned. Laurette screams, fights, scratches and kicks as Cheeter gets more suggestive and violent. It's an ugly free-for-all.

BILLY Hey.

He opens Terry's door, pulls him out. Now free, it looks like Luke is going to kill Cheeter. He pummels him, cracks his head against the inside of the car and ...

LUKE Get out before somebody kills you.

throws him out bodily. Laurette reaches back, angrily yanks the door closed and spits up rocks, squealing the hell out of there, the other back door flapping in the air stream.

87

88

ANGLE ON CHEETER

picking himself up off the ground, yells after them .••

CHEETER Thinks he owns her just 'cuz he bought and paid for her.

INT. LAURETTE'S CLUNKER CONVERTIBLE - SAME TIME

LAURETTE You got great friends!

LUKE (angry at her, angry at his own impotence)

Well, Laurette, you're lookin' for it, aren't ya? Why else you dress like that with all that makeup?

LAURETTE All that makeup? I wear this for you. I want ta look good for you.

She uses the back of her hand to rub her lipstick off with a vengeance.

LAURETTE But if you don't want me to wear it, I won't wear it.

Her face ends up with a smear of lipstick across it.

LUKE There's some reason they think they can get away with it. Maybe it's because a what you are.

LAURETTE Maybe it's because they know they can go up against you and you won't be able to stop 'em.

(knowing she's crossed a boundary; growing more hysterical)

What do you want? You want me to do it with them? I'll do it with them.

She stomps on the brakes, then jams the GEARS into REVERSE and SCREECHES backwards.

LAURETTE will that make you happy? 'cuz that's all I want to do is make you happy.

62.

87-ACT 4

88-ACT 4

89

63.

She starts to cry, loses control. He grabs the wheel. She starts slapping at him hysterically.

LUKE Stop it, Laurette.

She jams the brakes hard so the car jerks to a halt in the middle of the highway. She leaves the car. .

EXT. HIGHWAY - NIGHT 89-ACT 4

Laurette looks off over the fields, her back to the car. She's got tears, runny nose, the whole works. Luke approaches on his walker. She senses his presence behind her.

LAURETTE I'm not that way anymore. Some things happened to me when I was too small to know what hit me. Later I wanted to show the world and myself I didn't care who did what to me or when. When I married you I thought that part of my life was over.

(turning to him) Now I got your family ... your friends ... walkin' allover me. And you let 'em. You blame me just like everybody else.

LUKE (in anguish)

I feel like I'm caught in the middle of a war here.

LAURETTE I love you, Luke. I don't care about the rest of them, but you got to respect me. We got to somehow create our own world. If you can't handle that ...

LUKE ... I'm just scared of losin' you.

This confession surprises her, but she won't let go of her momentum.

LAURETTE Then show it sometime. Stand up for me. Stand up for yourself. Be your own man like ya' say and stand up to your granddaddy. Get him to give you some a' this land. It's the only way we're gonna make this work.

*

64.

Luke doesn't say anything, so she reaches over to him.

LAURETTE I don't want anybody but you.

He can't resist. They kiss .

F~T.

END~ FOUR

90

65.

F~N: EXT. BARN/FIELDS - DAY 90- ACT 5

It's windy. From his four-wheeler, Luke huddles with Herschel, makes notes on a pad amidst back breaking activity.

Laurette gallops across a field on her horse. Luke looks up, sees her coming toward them. He seems pained.

LUKE (when she draws close)

Hey, Laurette.

LAURETTE It must be about time for your lunch break so I brought us some sandwiches and stuff.

LUKE We're in a crunch here. It's kinda hard to stop right now.

LAURETTE Did you talk to your granddaddy?

LUKE (indicating the action around him)

See what's happenin'? It doesn't seem like the right time to talk about this.

LAURETTE Can't you just answer a simple question?

LUKE (sheepish)

I asked him and he said no.

LAURETTE (getting loud)

Well then you just didn't ask him strong enough. You could get a lawyer. You could push a little.

The field hands stare. Herschel tries to escape by pouring a drink from his Thermos.

*

* *

LUKE (quietly, behind his teeth)

Laurette, this is not the place to be talkin' about this.

LAURETTE Why not? All these people know I'm just the family whore anyway. What I think or what I want doesn't count.

Laurette catches Herschel looking at her.

LAURETTE What're you lookin' at?

She pulls her shirt out of her jeans defiantly.

LAURETTE Maybe you want some, too?

66.

She pops open the button on her jeans. Herschel doesn't know what to do, so he empties his coffee on the ground and screws the lid back on his Thermos.

LAURETTE (growing more and more out of control)

Are you ignorin' me? I asked you a question.

Luke approaches.

LUKE Laurette, stop it right now!

But Laurette ignores him, shrilly explodes on Herschel.

LAURETTE You answer me! I'm married to Lucas Constable the third and I ought to be treated with respect. Do you hear me?

HERSCHEL I hear ya.

He turns his back and walks away.

LAURETTE (screeching at him)

Don't you turn your back on me!

But Herschel won't give. Looking briefly at Luke, Laurette rides furiously away.

91

92

LUKE (losing it, yelling after her)

Laurette, you come back here! These people mean something to me. Nobody's gonna treat 'em like that.

67.

EXT. RANCH - DAY 91-ACT 5

Luke, in his truck, heads toward his house, licking up dust. He passes his granddaddy, who yells after him.

LUCAS SR. I heard about what happened out there. That wife a' yours is drivin' a stake right through the heart of this family. You get her under control, you hear me?

*

INT. LUKE'S HOUSE - BEDROOM - DAY 92-ACT 5

Laurette throws her things into a suitcase. Luke storms in on his walker.

LUKE What're you doin'?

LAURETTE What does it look like? I'm leavin'.

LUKE You're actin' like a damned child. When are you gonna grow up?

LAURETTE There's only one way left. You can come with me.

LUKE I'm not goin' anywhere.

LAURETTE Why the hell not? You built yourself up. You got yourself out of a wheelchair when they all said you'd never walk again. You can do anything you damn well want to.

LUKE Well, it's not what I want. What I want is to stay here with you. This land's a part of me. I'm tied to it.

93

94

68.

LAURETTE You sure are. I guess you need all these people runnin' around babyin' you all the time.

She slams her bag shut and she leaves.

LUKE Laurette, get your ass back here! I'm not done talkin' to you!

EXT. MANSION PORCH - SAME TIME

Lucas Sr. watches as Laurette's car races past the big house. Then Luke's chases after. Aunt Alice comes out on the porch.

ALICE (upset to Lucas Sr.)

Lucas, you got to do somethin' ... all this fightin'. I'm afraid for Luke.

LUCAS SR. Well, don't be. The only thing that makes him weak is that woman. And I'd say she's leavin'.

(beat, shakes his head)

Just like I always knew she would.

93-ACT 5

EXT. RANCH ROAD - SAME TIME 94-ACT 5

Luke's car is much more powerful than Laurette's and he easily gains on her, pulling up next to her.

LUKE Laurette, stop the car.

LAURETTE Forget it, Luke!

She keeps trying to drive, so he pulls out front, blocking her, forcing her off the road next to a bayou.

She screams, slams on the BRAKES, SKIDS out down into a ditch and stalls.

Luke draws his car near to hers above the ditch.

Laurette angrily turns the key until her CAR STARTS again. She GUNS the ENGINE, digging the tires in the mud, unable to budge. Luke gets out of his car, hobbles toward her on his walker as her tires spin wildly, digging in deeper.

69.

L~E This is not how this is gonna go.

He yanks her car door open and with one hand, pulls her out. She's furious.

LAURETTE Tell me, Luke, how is it gonna go?

LUKE You're gonna come back with me. You're gonna apologize to Herschel. You're gonna get along with my family.

LAURETTE That what your grandpa told you to tell me? The hell with that.

She pulls away from him, walks toward his car.

LAURETTE Since you saw fit to run my car into the ground, I'm gonna borrow yours.

LUKE Laurette, you're not goin' anywhere.

He starts after her, hobbling quickly, reaches her just as she is about to get in his car. He pulls on her with one hand, wedges himself so she can't close the door.

LAURETTE Let go a' the door.

LUKE You're not gonna do this.

LAURETTE I can do anything I want. Go back to your safe, stupid little life, Luke.

LUKE You go back to hell. That's where I found you.

In a fury, she pushes him out of the way. He loses his footing and falls.

LAURETTE Hell's better than this.

She gets in the car, slams the door and speeds off.

70.

94A ANGLE ON LUKE as he watches his car disappear. 94A-ACT 5 For a moment he seems defeated, but spies the mansion in the distance. Crawling to his walker, he manages to pick himself up and slowly begins to make his way home. ~~~ o~~

eATAer ). AL\.5 --:y

95 INT. REDNECK BAR - DAY 95-ACT 5

Laurette is shooting some pool with the local boys when their game is interrupted, by Herschel, carrying a manila envelope. PRODUCTION NOTE: This is now 1994. *

HERSCHEL I looked for you over at Miz Payton's .•. she said you'd be here. I was told you're supposed to sign these.

He hands her the manila envelope ... she opens it up, pulls out some documents and looks at him; a long, hard look.

HERSCHEL (not bending under her look)

I was told to wait 'til you did.

She holds out her hand for a pen which he takes from his shirt pocket. She signs on the pool table without bothering to read, then twists off her wedding ring and drops it in the sawdust at his feet.

HERSCHEL I'm supposed to give you this too.

He holds up a check, much to the "enjoyment of the guys she was playing with (and beating).

LAURETTE I don't want any damn check.

She walks away as he retrieves the ring, then chases her through the bar with the check.

HERSCHEL Take the check, Mrs. Constable.

LAURETTE I don't want it.

He stops her, presses the check into her hand.

HERSCHEL Take it ... please. You gonna need some money ... after the divorce.

She jams it in her jeans pocket, and yells after him as he turns to leave. ,

* *

* *

96

97

98

99

71.

LAURETTE You tell Mister Constable, I'll be by for the rest of my things.

EXT. HERSCHEL'S HOUSE - DAY 96-ACT 5*

Luke and Herschel sit, tinkering with machinery. Luke wipes his hands. He seems depressed.

LUKE I'm done for the day. I'm goin' back to the house.

HERSCHEL Maybe you shouldn't do that.

LUKE Why not?

(off Herschel not wanting to answer him)

I said, why not?

HERSCHEL Your wife's movin' her things out.

Luke stands at his walker.

LUKE Everybody knows this and they didn't see fit to tell me?

He hurries as fast as he can toward his truck.

HERSCHEL Your granddaddy didn't want you upset.

Luke keeps moving with an angry expression.

EXT. LUKE'S HOUSE - DAY

Laurette leaves the house with her keys and a cardboard box. She's all business, opens her car door, and gets in. She STARTS the MOTOR, does not look back.

*

97-ACT 5

EXT. HERSCHEL'S HOUSE - SAME TIME 98-ACT 5*

Laurette drives past as Luke is about to get into his .truck. He and Laurette make quick, painful eye contact as she passes. He's devastated.

CLOSE ON LAURETTE THROUGH the windshield, unable to hold back her tears.

* *

99-ACT 5

99A

100

Luke's grandfather comes up behind him.

LUCAS SR. She filed for divorce. Sent the papers to George Maines.

72.

99A-ACT 5

* Luke sets his jaw, refuses to respond. Lucas Sr. tries to touch his shoulder.

LUCAS SR. This is the best thing, boy. Right now you might not think so. .. but ...

Luke jerks away, gets into his truck.

LUCAS SR. (calls after)

You're gonna thank your lucky stars ... Now this family can get back to what it used to be.

EXT. BILLY'S HOUSE - DAY

It would be pushing it to call this target practice. Like maniac kids, Billy and Luke drink heavily out of fruit jars and SHOOT wildly at just about everything.

Yahoo!

BILLY (overlapping)

LUKE (growing suddenly morbidly quiet)

Yeah, yahoo.

BILLY Come on, Luke. You got to get over this.

LUKE That's what you keep tellin' me.

BILLY Hell, when I set you up, I saw it as a one night stand. That's how it shoulda stayed.

LUKE You heard anything? You know where she's gone?

*

lOa-ACT 5

101

BILLY If I did, I wouldn't tell you. When are you gonna see it? Everyone knows she turned out to be nothin' but a damned gold digger.

LUKE (his soul aching)

That right?

BILLY Well, I been hearin' rumors that your granddaddy paid her off pretty good to leave. She took the money, Luke. Nice usin' ya and goodbye.

This is news to Luke. It socks him where it hurts.

LUKE It's a crock. People 'round here talk. What else they got to do?

INT. LUKE'S HOUSE - BEDROOM - NIGHT

73.

101-ACT 5

Before going to bed, Luke opens a drawer and removes a wedding photo of himself and Laurette. He sets it on the nightstand, lies back, FLASHES TO a fragmented memory of their lovemaking. It tortures him. He closes his eyes. His heartache is palpable.

102

103

74.

F¥N: EXT. SMALL TOWN - DAY 102-ACT 6 * The town is poor" dreary with boarded-up storefronts * and a languishing black population.

steam rises as a black woman sweats up a storm, grilling ribs over a barrel at her rib stand. Blues play. * PRODUCTION NOTE: It's now 1995. *

SUPERIMPOSE: 10 MONTHS LATER.

A nervous CLERK eating lunch in the town square bandstand * watches as Laurette pays the woman for some ribs. The Clerk follows her with his eyes as she tosses one to a stray dog that's hanging around.

CLERK You feed that stray better than you feed yourself.

LAURETTE (trying to blow him off)

Yeah, well, what can I say?

As she turns to leave with a package of ribs •.•

CLERK You want to go to the movies, Laurette?

LAURETTE There's no movie for 40 miles.

CLERK I got a satellite dish.

LAURETTE You also got a wife.

She leaves him knowing he blew it, and walks down the street. THE BLUES STILL PLAYING.

EXT. BEACH-SIDE APARTMENT - DECK - DAY 103-ACT 6

Laurette sits on a ground floor deck with the twin to Luke's wedding photo nearby , intently scribbling in her diary when her LANDLADY, an over-the-hill blonde, comes toward her, calls:

104

105

106

OMi\

75.

LANDLADY Laurette.

(Laurette looks up as she approaches)

This is too nerve wrackin' on my husband ... You said you'd pay something on Tuesday. I've gotta have it by tamara or your gonna hafta leave.

LAURETTE I'll be gone by tamara. You'll hafta take it out a' my last month's rent.

LANDLADY You already used up your last month's rent.

LAURETTE Well, this town wasn't exactly no land a' opportunity. On any level. I'll have to send it to you.

EXT. BEACH-SIDE APARTMENTS - DAY

Laurette jams a last box and the wedding photo into a silver Grand Prix. She's about to climb in when the Landlady runs out.

LANDLADY What about the rest of that stuff you left in there?

LAURETTE None a' that matters to me. Throw it towards what lowe you.

She STARTS up her ENGINE and leaves, leaving the woman exasperated.

EXT. HIGHWAY - DAY

l04-ACT 6

lOS-ACT 6

Laurette drives her Grand Prix down the highway, passing the green "ENTERING DENTON COUNTY" sign.

INT. REDNECK BAR - AFTERNOON l06-ACT 6

Laurette sits with pamela Jo at the bar. It's depressing. Only the bartender, a couple of shit kickers and professional drinkers.

107

PAMELA JO There's this guy ... Means I'm kinda cramped for space. Let's just say it's not a scene you'd want to be a part of.

76.

One of the drunks gives Laurette a salacious look. She turns around on her stool, chews on a cocktail straw.

LAURETTE You seen Luke?

PAMELA JO Why? What you lookin' for, more turbulence and strife?

LAURETTE Maybe.

(beat) I blew it last time. This time I'm not gonna.

EXT. ABANDONED SITE - NIGHT 107-ACT 6*

Luke waits in his sports car in the shadow of an abandoned peanut drying plant, drumming his fingers across the moon when Laurette's car creeps in. She slides her car right up next to his, matching her window to his, inches apart. The old spark between them is ferocious.

LUKE New car?

LAURETTE You bought it for me, Luke, with the divorce settlement.

A flicker of pain crosses his face.

LUKE Yeah, well, somethin' good came out of that, I guess.

LAURETTE (after a beat)

I didn't know how much I missed you 'til I saw you just now.

A tremor passes through him.

LUKE You gonna get in here or do I have to come over to you?

*

108

109

110

77.

INT. LUKE'S SPORTS CAR - SAME TIME 108-ACT 6

Laurette slides into the seat next to him. Their eyes meet, revealing a hunger long gone unfed. It is barely a beat before they come together with the same ferocity as the night they first met, lips and hands allover each other.

He moans.

LAURETTE I kept tellin' everybody I'm not goin' back around you. But I guess I just can't help myself.

EXT. ABANDONED SITE - LATER 109-ACT 6

RAIN begins to SPLASH on the lid of an empty oil DRUM a few DROPS DRUMMING, then a torrent with the full force of Heaven.

INT. LUKE'S SPORTS CAR - NIGHT lI0-ACT 6

Luke and Laurette shiver in blankets, RAIN POURING around them~ *

LUKE We can't sit here shiverin' all night.

LAURETTE (testing him with her eyes)

Where'm I supposed to go?

LUKE Come home with me.

LAURETTE I can't do that.

(turning her eyes away)

Luke, I'm gonna need some money.

He flinches almost imperceptibly, is hurt, wary.

LUKE Is that what this is about?

LAURETTE I had a hard time after the divorce. I need a new start. I think I might find that start in Dallas.

111 oMI1

78.

LUKE And I'm supposed to fund it?

LAURETTE You're the only one that can. Once I get settled I'd pay you back.

LUKE I can't do that.

LAURETTE You can do it.

LUKE I won't do it.

LAURETTE Why?

LUKE 'Cuz I don't want you in Dallas. I want you here.

LAURETTE (after a beat)

And I wanta' be here. I wanta' be with you. But the one thing I'm not goin' to do is deal with your family.

LUKE You won't have to . I promise it'll be different. I promise you.

(beat) Just come home with me. Now.

INT. LUKE'S HOUSE - BEDROOM - NIGHT 111-ACT 6

Luke and Laurette enter with some of Laurette's things. She sees the wedding photo by his bed. She looks at him.

LUKE Guess I forgot to take that down.

But they both know the power of the attraction between them. She slides her fingers 'round the back of his neck.

LAURETTE Maybe you really do love me as much as I lov9 you.

He ~urns his face and smothers his lips in her arm.

112

79.

INT. LUKE'S HOUSE - BEDROOM - DAY 112-ACT 6

The place is a shambles. Li quor bottles, glasses, clothes allover. Luke and Laurette are dead to the world, entangled in the sheets. Instantaneously, * Lucas Sr. bursts in, leaving two field hands stationed in the hall.

LUCAS SR. So what I been hearin' is true. You come back!

Laurette opens her eyes as he, quick, and dirty, yanks the covers off the bed. They snag on the bodies for a moment, but he gives them an extra vicious pull ...

LUCAS SR. All right, I want you out!

leaving Luke and Laurette exposed. Laurette fumbles to hide herself with a pillow. Luke pulls himself up He's outraged.

LUKE What the hell is this?

LAURETTE (hot-tempered, to Luke)

I told you I'm not gonna deal with him.

But Lucas Sr. doesn't want to hear this.

LUCAS SR. Get dressed. I want you off my property. Now!

LUKE (livid, to his grandfather)

Don't you talk to her like that!

Laurette angrily yanks the sheet out of Lucas Sr. 's hand to cover herself.

LAURETTE He's just a sick, dirty old man.

LUKE (yelling to his grandfather)

You've got no right here!

* *

LUCAS SR. (ignoring him, picking up clothing)

Come on, move. You've got three minutes.

80.

Luke rises to his feet at his walker, clad only in boxer shorts, and yells at Lucas Sr.

LUKE This is my house. I'll do what I damned well want in it.

LUCAS SR. She's run through her money. Ripped right through her divorce settlement. Hasn't she? Ask her! Ask her!

LUKE (fighting back)

I don't have to ask. It doesn't matter to me ...

LUCAS SR. (fast, on top of Luke's lines)

Then you really are stupid ...

LUKE ... and it sure as hell shouldn't matter to you.

LUCAS SR. This white trash woman's turned you into a snot-nosed kid with no idea which end to wipe. It's not enough what she did to you the first time. She's back to suck you dry.

LAURETTE Me? What about you? What have you turned him into? Some kinda puppet who can't think for himself without your permission? A grown man who's afraid ...

LUCAS SR. That's enough outa you. You're finished doin' your damage. If you don't get out ...

(waving his head toward his men)

I'll have you thrown out.

* *

113

114

LUKE If she goes, I go.

Lucas Sr. stares at Luke for a beat.

LUCAS SR. I never thought I'd be saying this to you, son .•• go then.

(pained) But you go with nothin'. You both got three minutes.

LUKE Fine!

He starts to gather ' up his clothes with a vengeance, given the restrictions of his disabilities.

LUCAS SR. (just before storming out the door)

When she dumps you by the side a' the road to lie in your own waste, don't expect me to pick you up.

LUKE Go to hell.

Ff'tiJE t;VvT [AJ 0 I\LT 5

EXT. MOTEL - NIGHT

81.

113-ACT 6

The marquee boasts "TV & Air Condition." The neon "Vacancy" sign blinks faintly as Luke and Laurette roll into a parking lot alongside pickups, tinny Japanese cars owned by fertilizer salesmen. Laurette gets out. Luke offers her a credit card through his open window.

LUKE Here, give 'em this.

She takes the card, kisses him, goes inside to register.

INT. MOTEL ROOM - NIGHT 114-ACT 6

Luke sits on the bed, exhausted, while Laurette struggles to get the last of their bags inside.

LAURETTE I'll call and get us a pizza.

She gets her purse. There's a KNOCK at the door.

LAURETTE I told 'em we didn't want to be bothered.

114A

She opens the door a crack, finds the NIGHT MANAGER there.

NIGHT MANAGER That credit card you gave me's no good.

LUKE (getting up in b.g.)

why the hell not?

NIGHT MANAGER Doesn't matter. I'm gonna have to ask you to move on.

LUKE (angry, reaching for his wallet)

Is that right? Well, then about cash? will that do?

how

NIGHT MANAGER Won't. I don't like people tryin' to put one over on me. You're gonna have to go.

82.

Laurette suddenly notices something behind the Manager. It's two field hands running across the street from Herschel's truck.

*

EXT. MOTEL - NIGHT 114A-ACT 6*

LAURETTE What's goin' on? What're they doin' here?

The field hands open the door to Luke's car.

LUKE Hey!

He pushes past the Manager toward his car, but the field hands are inside, STARTING up the ENGINE.

LUKE Where you goin' with that? You hear me, I'm talking to you?

The men don't answer, they haul ass out of there as Luke draws near. Then he spots Herschel across the street. He and Luke look at one another for a beat, then Herschel quickly turns away, stares straight ahead and pulls out from the shadows, gliding on the tail of Luke's sports ear_

-- -- - ---- - - - .-~-~~

115

116

OMIT

NIGHT MANAGER (from behind Luke)

You hear what I'm tellin' ya. I want you out. Or I'll call the sheriff.

LUKE You just go ahead and do that!

LAURETTE Come on, Luke. Simmer down. We still got my car . We'll get Pamela Jo to take us in.

INT. PAMELA JO'S HOUSE - NIGHT

As Laurette and Pamela Jo enter carrying Luke and Laurette's things, we see Cheeter Davis lying on a couch watching TV and drinking beer.

CHEETER Well, well, look what the cat drug.

Laurette gives him a look.

PAMELA JO It may be cramped, but it's life among friends, I guess.

83.

115-ACT 6

116-ACT 6*

* *

Luke enters the house more slowly, behind the two women. When he comes in, he sees Cheeter, goes ballistic.

* *

LUKE No way. We're not stayin' here with him.

LAURETTE Well, we need some kinda roof over our head, don't we? You got another choice?

LUKE Yeah, we got another choice.

LAURETTE You want to tell me what that is?

Luke glares at Cheeter.

CHEETER You don't look too gOOd. One a' you wome n get ole Luke a beer.

117

11S

11SA

119

Realizing he doesn't have another option, Luke sits, resigned and exhausted. The house seems small, oppressive. So this is what his life has become. He takes a beer from Pamela Jo.

84.

*

INT. PAMELA JO'S HOUSE - NIGHT ll7-ACT 6*

Bunched up on a narrow couch, Luke listens to the TINKLE Of ICE CUBES, LAUGHTER, CRICKETS that can be heard outside.

INTERCUT WITH:

EXT. PAMELA JO'S HOUSE - NIGHT 11S-ACT 6*

Pamela Jo, Laurette and Cheeter sit in rusty cobwebbed lawn chairs, drinking.

PAMELA JO 'Member one time you said money was part of the package? What're you gonna do about that now?

LAURETTE Well, there is such a thing as workin' for a livin'.

PAMELA JO Yeah, there's a pack-load a' jobs in this county.

CHEETER What's Laurette need a job for? She's got her golden goose right inside.

LAURETTE Shut up, Cheeter.

INTERCUT Luke. He closes his eyes.

INT. PAMELA JO'S HOUSE - LATER

With GIGGLING and WHISPERING sounds coming from the bedroom, Laurette snuggles up next to Luke, tries to interest him in some affection, but he pulls away.

LAURETTE what's the matter?

LUKE Nothin'. Nothin's the matter.

But it's clear there is.

11SA-ACT 6

l19-ACT 6*

85.

LAURETTE All right. If that1s how it is.

She starts to get up, but before she gets far, he sits up, reaches out and grabs her arm with a firm grip. She turns to him, not knowing what to expect. He pulls her back, holding her to his chest. She snuggles close; missing the look that crosses his face; an equal combination of anger and fear.

FADE OUT.

END OF ACT SIX

120

86.

ACT SEVEN

FADE IN:

EXT. PAMELA JO'S HOUSE - MORNING 120-ACT 7*

Luke sits on the steps of Pamela Jo's house with a cheap cordless phone. Laurette's at a nearby picnic table, dumping her purse, counting out rumpled bills.

LUKE I don't know what the hell you want me to do.

LAURETTE I want you to make a few more calls. You know about grow in , stuff better than anybody 'round here. Somebody ' ll give you work.

LUKE Everybody's turned me down. Nobody's gonna go up against my granddaddy.

Cheeter barges from the trailer/white trash house past Luke, kick STARTS his BMW and ROARS OFF without a word. His attitude incenses Laurette.

LAURETTE I say, we get in the car and go as far as the money will take us.

LUKE (sarcastic)

And then what? It'll all somehow work out?

LAURETTE If you don't have the stamina for a few hard times, you better think twice about this thing.

Luke rubs some imaginary thing off his hands, doesn't reply.

LAURETTE Luke?

LUKE I'm just wonderin' what you're gonna do now that your golden goose's lost his luster.

LAURETTE What're you talkin' about?

* *

121

122

123

LUKE I'm talkin' about just what is it you want from this deal.

LAURETTE I want you.

LUKE You want a broken-down cripple with no means of support? That's your big dream?

She walks over, leans close to him.

LAURETTE Yeah, that's exactly what I want. You can believe me or not.

INT. PAMELA JO'S HOUSE - LATER THAT DAY

Luke is by himself. He steels himself to dial the cheap cordless phone on the end table.

LUCAS SR. (V.O.) This is Lucas Constable.

LUKE (into phone)

I want to talk to you. I want to work something out.

INTERCUT LUCAS SR. IN BARN

on his cellular.

LUCAS SR. You still with that woman?

LUKE (into phone)

Yeah, I'm with her.

ANGLE ON LUCAS SR. as his face saddens; then, after a beat, he slowly takes the cellular from his ear and shuts it off.

87.

121-ACT 7*

* *

122-ACT 7

*

123-ACT 7

124 ANGLE ON LUKE'S REACTION. It stings and infuriates. 124-ACT 7

125 EXT. PAMELA JO'S HOUSE - NIGHT 125-ACT 7*

CLOSE ON some fish as Laurette filets it and throws it on the hot grill. Pamela Jo makes salad, sips wine from a jelly glass and eyes the boys, Luke, Billy and Cheater, kicked back in the la¥n chairs a distance away.

126

PAMELA JO I don't like bein' the one to push ya' but sooner or later you're gonna have to make a decision about what your next move is.

LAURETTE (looking over at Luke)

Doesn't matter what I do, life always seems to have a way of decidin' my plans for me.

ANGLE ON BILLY as he tries to stuff some bills into Luke's pocket, but Luke resists.

BILLY I'm just paying ya' back for all the money you slipped me over the years.

LUKE (strong, pushing his hand away)

I don't want it.

BILLY (more insistently stuffing it in)

You got to take it.

He gets up. Luke takes the money out of his pocket, clutching his walker with one hand, tries to stand to give it back.

LUKE Hey, I said I don't want it.

Billy comes back, snatches the money ...

BILLY Hell.

... and walks off.

CHEETER (lifting his beer bottle)

Long live the prince.

Still angry, Luke sits back down, jabs his finger at Cheeter.

LUKE Hey. Get off my damned back.

88.

126-ACT 7

127

128

CHEETER I'm gonna' do and say anything I damn well please, boy. An' you know why? 'Cause finally, you and me ... we're equals.

Luke stares at him.

CHEETER 'Cept maybe I'm a little better 'cause I got reasons for bein' the way I am ... I always been poor. But the only reason you got for endin' up here is that you're not a man.

LUKE Shut up. You don ' t know anything.

CHEETER (laughs)

I know you got a beautiful handful over there and you ain't got any way of keepin' her. That's unless your granddaddy drops dead or somethin' .

89.

Luke looks over at Laurette, laughing with Pamela Jo, her face aglow from the light of the grill. A look of angry frustration crosses his face as he begins to think about Cheeter's words.

*

EXT. PAMELA JO'S HOUSE - DAY 127-ACT 7*

Luke wears dark glasses, sits in a metal lawn chair, making almost imperceptible rocking movements, an edge to his expression. He drinks from a beer bottle, raises a HANDGUN from his lap and PICKS OFF an empty from a line of bottles mounted along a wooden fence.

INTERCUT INSIDE PAMELA JO'S HOUSE 128-ACT 7*

Laurette is writing in her diary. She hears the shot as Luke FIRES ,the PISTOL, popping off more beer bottles, and she flinches

LUKE (O.S.) (from outside)

Laurette!

Reluctantly she picks up a sandwich off the table and goes out to him.

* * *

*

129 EXT. PAMELA JO'S HOUSE - SAME TIME

Laurette brings the sandwich over to Luke.

LUKE I told you I don't want it.

(re: a stash of bottles at his feet)

Line 'em up for me.

LAURETTE You have to eat sooner or later. We could go out. The drive'd do you good.

LUKE Put the sandwich down and line 'em up.

Laurette is disgusted, but she does what he says.

90.

129-ACT 7*

As she lays the bottles on the fence, he lines his gun right at her back. She seems to sense it, turns and sees.

LAURETTE Is that what you want, you want to kill me?

without flinching, she marches straight toward him.

LAURETTE I'm sick a this, Luke. I'm going out. You can come with me or sit around here and drown in your own self pity.

He holds the gun steady, following her movements with his aim, then points the gun threateningly at his own head.

LAURETTE I'd rather have you shoot me.

She walks away. BLAM behind her. She turns in horror, but he has edged the gun over and shoots more bottles.

LAURETTE I can't watch this anymore.

He does not look at her as she walks to her car and drives away.

130

131

132

133

134

91.

INT. REDNECK BAR - NIGHT 130-ACT 7

Laurette takes the final winning shot in a pool game. A GOOD OLE' BOY hands over a wad of cash.

A GOOD OLE' BOY You're hot tonight, Laurette.

LAURETTE (adding the cash to a stash she's accumulated)

I have to be . Want another go?

EXT. PAMELA JO'S HOUSE - NIGHT 131-ACT 7*

The sounds of CRICKETS. Luke still sits there; his hands tensely gripping the gun. His fingers move over the trigger again and again. After a long beat, he reaches for the cheap cordless phone and dials.

LUKE (into phone)

I want you to come get me. Now.

* *

EXT. LUKE'S HOUSE - NIGHT 132-ACT 7

A truck, driven by one of the field hands, pulls up in front where Lucas Sr. and Alice wait.

INT. TRUCK - SAME TIME

Hot wired and nervous, Luke's hand goes to his jacket pocket and grips the gun as if reassuring himself it's still there.

Alice runs to the truck, ecstatic to see him.

ALICE I'm so glad to have you home.

Luke tries to smile as she opens the truck door.

133-ACT 7

EXT. LUKE'S HOUSE - SAME TIME 134-ACT 7

Luke hauls out his walker and gets out of the truck. His grandfather squeezes his arm.

LUCAS SR. Good to have you back, son.

Luke nods to him, tries to mask his hatred.

135

136

137

LUKE I gotta' talk to you.

LUCAS SR. I've got some business right now, son. But I'll be by to see you later.

LUKE Can't it wait? I need to talk to you alone.

LUCAS SR. If it's about that woman, there's nothin' more to talk about. You know that. Now get inside and get some rest. If I can't get by later, I'll see you in the morning.

92.

One last hug from Alice. Frustrated by his grandfather's words, Luke manages a grim smile as he watches Lucas Sr. and Alice leave.

INT. LUKE'S HOUSE - LATER 135-ACT 7

Luke sits in the dark drinking. The gun sits on the table next to him. After a long moment, he reaches for his walker, hoists himself up, picks up the gun and leaves.

EXT. MANSION - A FEW MINUTES LATER

Luke moves to the den window and looks in; seeing his grandfather in conversation on the telephone.

*

136-ACT 7

*

'Luke stares for a beat; hatred written allover his face. He slowly raises the gun but just as he seems about to pull the trigger, Aunt Alice crosses in front of Lucas Sr. with a small tray of sandwiches and coffee. Luke lowers the gun as Aunt Alice fusses about and after a beat, sits down next to Lucas Sr., pouring him some coffee. Luke, now unsure, stands there for some few moments, then turns and slowly begins to make his way back to the house.

-INT. PAMELA JO'S HOUSE - NIGHT 137-ACT 7*

Cheeter's in the dark in front of the TV when Laurette enters.

LAURETTE Where's Luke?

138

139

140

141

142

143

144

CHEETER Luke, he went back home. I guess all that land and money was worth more to him than you were.

LAURETTE That bastard.

93.

She turns to leave again when Cheeter calls after her.

CHEETER Where you gain'? I could use a little company.

But she ignores him, heads back outside, slamming the door behind her.

EXT. HIGHWAY - NIGHT 138-ACT 7

Laurette goes to turn into the ranch, but finds the entrance gates are closed. Exasperated, she gets out, looks at the gate; then back at her car.

* *

EXT. MANSION - NIGHT 139-ACT 7*

Laurette, bathed in moonlight, marches across the lawn to Luke's, the glow of the big house illuminating her as she goes past it.

* * *

EXT. LUKE'S HOUSE - SAME TIME 140-ACT 7

Everything is absolutely quiet except the WIND and sounds of TREE FROGS. Laurette marches straight up to the front door. Knocks. When she gets no answer, she slowly opens the door.

INT. LUKE'S HOUSE - SAME TIME 141-ACT 7

Luke is now very drunk. He sees the door open, takes another drink, reaches for the gun on the table in front of him.

LAURETTE'S POV - Making her way in, Laurette sees only dark shadows.

LUKE'S POV - He cannot make out who has entered. He raises the gun. He's a nervous wreck.

LAURETTE'S POV - She reaches for a small lamp, turns it on, gasps when she sees Luke sitting in ~he shadows with the gun in his hand. She freezes.

142-ACT 7

143-ACT 7

144-ACT 7

LUKE (hand shaking, surprised as she is)

Laurette.

LAURETTE You coulda just told me you made your choice. You coulda had the decency to let me in on it. But you don't have to worry about it anymore 'cuz I raked up enough money to get me to Dallas, to keep me goin' for a month.

She turns away.

LUKE What are you talkin' about?

LAURETTE (turning back)

You son of a bitch. You gave up. You might want to blame it on your legs, but it's not your body that's got the problem. All a this woulda turned out the same even if you never had your accident. Your body's not what's paralyzin' you.

LUKE Shut up! Just shut up! You don't know what you're sayin'.

LAURETTE No, you can't just blot out what you don't like. I'm goin' to Dallas. Maybe every now and then the little boy can sneak away from his granddaddy and come up and see me. We can try to capture old times.

She starts for the door.

LUKE Listen to me, damn it!

LAURETTE (without looking back)

I'm tired of listenin' to you 'cause no matter what you say, no thin , ever changes.

To get her attention, he aims the gun directly at her. She doesn't flinch at all.

94.

* *

145

146

147

148

149

LAURETTE Go on, Luke. Do it. Show me you got the strength.

Luke's hand shakes. with a sudden reflex action, his finger tugs the trigger. She crumbles to the ground.

Luke, appalled at what he's done, immediately crawls, clawing his way to the body. He takes Laurette in his arms, rocks her, but she's obviously dead. He dissolves into tears.

, LUKE My God. My God ...

95.

DISSOLVE TO:

*

*

*

INT. LUKE'S HOUSE - DAY 145-ACT 7

Luke continues to hold Laurette, dead still, a glazed look in his eye, his clothes, his skin soaked with blood.

DISSOLVE TO:

LUKE - one hand bracing himself at his walker, he uses the other to painfully drag Laurette's body up by the arm. It's slow and excruciating.

INT. LUKE'S TRUCK - DAY

Luke drives with the body slumped next to him.

EXT. FIELD - DAY

146-ACT 7

147-ACT 7

148-ACT 7*

Deep into the trees by the bayou, the sun is beginning to set, a flame in the sky. Luke has Laurette on the funeral pyre. He floods it with gasoline.

He pulls out his lighter and fires it up. For a flash ...

... he sees her as he did the first time he met her.

After a moment, he touches the flame to the pyre. The TWIGS CRACKLE in the heat. He sobs. He readies the gun, looking as though he will take his own life. His hand shakes. He howls like an animal in pain.

But just as he is about to pull the trigger, he hears a SHOT.

ANGLE ON BILLY 149-ACT 7

as he pulls the trigger while hunting rabbits as we saw earlier.

96.

150 ANGLE ON LUKE. He hears Billy's subsequent SHOTS. ISO-ACT 7 He is unsure for a minute, but animal instinct kicks in. panicked, he heads for his truck. One last look at Laurette, tears in his eyes.

LUKE I'm sorry.

* FADE OUT.

END OF ACT SEVEN

151

152

97.

ACT EIGHT

FADE IN:

EXT. MANSION - NIGHT lSI-ACT 8*

A line of sheriff's cars arrive with their lights flashing. Lucas Sr. comes rushing out as the sheriff's cars plow by, SIRENS BLARING. He runs after them.

EXT. LUKE'S HOUSE - ANGLE ON LUKE'S TRUCK -SAME TIME

152-ACT 8

The back of Luke's head can be seen as the cop cars converge from all directions, encircling him.

The officers get out, guns drawn, using car doors for shields.

DEPUTY WALTERS Luke, you're gonna have to get out a the truck. We're gonna need to talk to you.

Luke doesn't move.

DEPUTY WALTERS Come on, Luke. We don't want anyone else hurt in this thing.

(when he doesn't respond)

All right. Let's get him outta there.

The cops storm Luke's truck from the they yank open the door and pull him mess with dried blood allover him. arrives, just as they flop him over, and cuff him.

rear. Guns ready, out. He's a sorry His grandfather his face in the mud,

DEPUTY WALTERS You have the right to remain silent ...

LUCAS SR. (authoritative)

What's going on here? You can't just ...

The officers yank Luke to his feet.

Lucas Sr. stops short, sees the blood, Luke's stagger­ingly pathetic appearance. They look at each other as Luke is dragged to the cop car and shoved inside.

*

*

*

153

154

LUKE (to his grandfather as he's being dragged)

You were wrong about my father. He had the strength to die. And I didn't. I didn't.

98.

Lucas Sr. watches him being hauled away, knowing deep in his soul the part he had in his grandson's demise.

*

EXT. CEMETERY - DAY 153-ACT 8

Pamela Jo and a few others, including Billy in the back, lay Laurette to rest in a cherry box in the ground.

Pamela Jo steps forward with Laurette's diary.

PAMELA JO I just feel like nobody understands exactly why this thing happened. And I guess I want to bring a little bit of Laurette back to life so I'm going to read something from her diary. A poem she wrote a few days before she died.

She opens Laurette's diary to a marked page.

PAMELA JO (merging with Laurette

(V.O.) If you're not there by Judgement Day, I'll know you went the other way. I'll give the angels back their wings, their golden harps and other things. *

INT. PRISON CELL - ANGLE ON LUKE - DAY 154-ACT 8

LAURETTE (V.O.) And just to show you what I'll do, I'd even go to hell for you ... I can't live without you. I just can't ...

Luke sits in a wheelchair behind cell bars. As we hear the V.O., the CAMERA MOVES PAST him as he stares straight ahead, lost in thought, and SETTLES ON a picture taped to the cell wall; the wedding picture of Luke and Laurette.

FADE OUT.

THE END

* * *

* * *

· >

WESTGATE PRODUCTIONS

June 5, 1995

Dear Resident,

We will be fillling several scenes on location for a Fox television movie of the week which will air on the Fox network Fall, 1995. The movie is entitled, "After Laurette," and will star Richard Crenna, Laura Leighton (Melrose Place), and Michael Hayden.

The filming will take place at a neighboring home in the 400 blk of w. Pecan St. beginning on the afternoon of Wednesday, June 7th through Friday (eve), June 9th. We will be filming exterior and interior scenes, and due to camera angles and sound control it will be necessary to have intermittent traffic control. It will be very helpful to allow a few extra minutes to your normal comings & goings to minimize these delays. As we will generally be filming from mid-day into the late night, it would also be helpful if mowing or other such loud work could be done in the morning on these days, and not during filming. As this filming may go late into the night, we will bl:' exercising all caution to work as quietly as possible.

We will have police officers a:ssist with traffic/pedestrian control and safety, and to discourage ,lny cut-through traffic by non-residents of the street. Please aention to the officers that you are a resident and need access to your per80niill clri vevay. Arrangements have been made to park our equipment vehicles and cars on private lots and the street. We appreciate your co()peration regarding our filming activities and extra vehicles in the neig:tlborhood .

One scene to be filmed on Wednl~ depicts a young man having target practice on some bottles. You may, thereifore, hear the special effects of gunshots ringing out during that time . Another scene on Thursday will depict a man burning tras:n in a barrel, so you may see smoke effects for a brief period.

We are certainly looking forward to filming in the historic town of Aubrey, Texas. piease call me @ 214/804-4265 (pager/voice mail) if you have any questions, helpful suggestions, or any personal conflicts with our scheduled filming dates.

~l~ ~tt:'tt:'c L-

ette G. Alberts Location Manager

/DGA

All Colis Subject to Change

" AFTEn LAUF1ETTE II

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, . Lauret,\:'c"-vJestgate Pr"ods •

"Cemetery II

Ro11 vm~ Cf.)!!lot.el~Y

Fm ~55 (W. of Snnger) (btWl1 FM 24~O & 135)

*******************

SE1': "Billy's House"

LOCA'J'ION: Kinnncl Residence H2 Moneynolds Rd .

(E. of Sanger)

380---.t:~~~4~-l"""')-~-"""'-I-';"';"- TOI HoKlnney

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To: MoKinncy

~l}lJl~CTlONS: Xr.9..m..Radt$sonJ19~~L_ TO ... hCeIl!Jlt.'H:Y.~~lW. of SangQr)

1. Turn....r..!BbJ on service road, go t o light

~. Turn ll11 on AV~o.p~, gO to 11ght

3. Turn lQft to: J~_~.e.-:NQ.rth. get i n middle lane

U4. Take Ia~-:"'P.rth-'·Okl aoo.A"CJ.1Y..:. go about 11 mil as

!;. EXIT .4.1.ft~ .... hfM-455-Pllpl ."9.1nt/801 bA~:', con' t on service rd 5/10 m1 to stopsign (past Dairy Queen)

e. Turn left on ~lL4S5-WesJ::, go 3 . 7 miles (os you approach Bolivar sign says "reduced speed ahe~~"t.

: ~ ' '. ~

7. BolIvar Cemetery is on the l~ft., park as directed. @ Church or add1tional pa~king plac~s 8S marked.

••••• COMPANY MOVE ••••• .

1. Turn tight on fl!' 455-Eo8t, go 3. 6 mUes

2. Go .traighJ under 135, go abou t 4/10 mi to

3. Turn right on ~.nd StroQt, go south 8/10 mile (cross Bo11ve.r St. @ stopsign t o Cherry st . )

4. Turn!n1 on ~h~""(Y .. St, gO one block

6. Turn rJg.hl on 1st 8t. go one bl ock

8. Turn hlt on YHllQ'/L,S,t., go two blocks (over Rn) follow detour signs ...

7. Turn ~ on Railroad Ave, turn Lish1 on next st (unmarked), street ourves right to Willow.

9. Turn hll on Willow st wh1 ch becomes McR~.YnaJ..q$..J~~, con' t east one mile to "Billy's House" , park as directed.

RETURN DIB~CIJONS: TQ-~!l.tQfj

t. Turn rJ1Lhi on Mch§Yn.Ql~.~_J~d., go east 1.5 miles ~. Turn ri.Qh1 on Ht2164 (no sign), go south 6.7 mlles 3. Turn r..1Bhl on lJKn!. ~?'~JI-We.n, !lO 3 miles (follow s1gns

to loop right to service rd to 135-South). 4. Take J.35~South, go about 3.0 miles (get in left lane to ... ) 5. TRke 135~-SO.tJ.t.b_~'Da.lJ.'.Q~' .... 6. J;.~U '466-D:_ .. ':~y_~nue 'D·-to Radisson Hotel

All Calls, Sublec' '0 Change WI: 8\(31\ I E I'IlOlJllC I kJtlS

324 E. McKlnnoy Shool Donlon,l X 76201

(017)59\·0400 (OOO)So:) . t s t , (0171591·'51 I rl\x

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"AFTER LAURErTE " k OtJ;Y

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Wed esday, June 28, 1995IDcnton Record-Chronicle

Stars shine . for locals

By JeMie. DeLeo Sta1TWrtter

Becky Napier was driving down the road with her driver's ducation teacher, Larry

Futch. Passing by her in a yel­low convertible was Laura Leighton, star of "Melrose Place."

Ms. Leighton was filming the Fox Television movie "Mter Laurette" near Sanger and Bo­livar. Becky didn't realize they were filming a movie until she was about to turn onto another road. A man at the corner was signaling when cars could pass by. As Becky made the turn, she waved at Ms. Leighton.

"It was pretty cool," Becky said.

nCIRCUS

D&JIfTON IlECOJtD.CJfltON'CJ.&.aAJUtON UIDLlfM 4

The cast and crew were film­ing on the Forester Ranch in Bolivar on Tuesday. They also were in Aubrey, Pilot Point, Coppell and at Lewisville Lake for the 19-day shoot. While filming will wrap up today in Dallas and Carrollton, the memories will live on for the Denton County residents who got to be a part ofthe action.

Television star Laura Leightonjilms the Fox Tllevision movie "After Laurette . ..

"After Laurette" depicts the story of a man, played by Mi­chael Hayden of "NYPD Blue," who falls in love with a woman, portrayed by Ms. Leighton, who is from the wrong side of

From/i A thing," aid Mr. Hamm, who cst', ..cd that she must have ~lgned 90 pounds.

Ms. Leighton igned auto­graphs for the kid between scenes. Actor Crenn stonnPtl to have his picture taken with onlookers.

Mr. Hamm didn't realize he had walked past the actor until somebody pointed it out to him.

'1 didn't even rccogniz him," Mr. Hamm aid .

Local residents were obvious---b _.---

• ECONOMIC benefits /3A

the tracks. The relationship be­comes soul. when Mr. Hayden's character faces a struggle with his grandfather, played by

ly enthusiastic to have the cast and crew in town. They even asked the stand-ins for their auto aphs.

"Everybody' been coopera­tive," said Phyllis Alli on, a Dallas actor who erved as Ms. Leighton's tand-in.

While most of the cast and I crew stayed in Denton, M . Al­li on commuted from Dalla .. It's a long drive after working I 12 to 16 hours every day, but she said it was worth it. "After; Laurette" marks the first time she has been on a movie et for

Richard CreJllla. While Be:ky only got a

glimpse of ~ s . Leighton, Au­brey City ouncilman Tim Hamm met le star when she was. filmin , around the city last week.

"She did 't look like 3 'l' I ; .

the entire shoot. "Once you're here," she said,

"you're glad to be here." David Day, an Arlington resi­

dent who serves as the set's paramedic, said the production has run smoothly.

"Bur bites - that's about the most critical thing," he said.

Local residents long will rem­. inisce about the time the movie crew from Los Angeles visited.

As Mr. Hamm says, "It looked like a circus was in town."

longed in Aubrey," he said. Mr. Hamm, who said he was

a big fan of "Melrose Place," said he was surprised by how small she was.

"She looked like a little-bitty