"I AM SAM"

Screenplay by

Kristine Johnson

Jessie Nelson

2001

SHOOTING DRAFT

INT. STARBUCKS - 7:30 A.M.

We're watching a pair of hands arrange white sugar packets,

blue Equal packets, and pink Sweet and Low into small

containers.  With precision and lightning speed, the mixed up

colors and crumpled packets are transformed into neat little

color-coded rows.  Wait, this container has three Equals and

four Sweet 'n' lows.  The hand quickly plucks the mutant

Sweet 'n' Low.  There.  Symmetry.

We move up those hands and meet SAM DAWSON as he surveys his

domain.  Something about him.  He's extremely compelling,

uniquely handsome.  But it's more than that.  Those eyes,

they sparkle with the wonder of a child.  Life's cynical edge

has not etched it's path across this face.  They light on a

COFFEE CUP held by one of the Regulars.

SAM

Double double decaf low-fat Cap.

BRUCE

You got it, buddy.

SAM

Good choice very good choice.

Sam moves along, commenting to CUSTOMERS as he places Sweet

'n Lows on tables, the self-appointed host of Starbucks.

SAM (CONT'D)

Mocha rumba Frappuccino no whipped, half

low, half non.  Excellent choice.  Very

good choice.

He stops in front of sale mugs and turns them so that the

logos all face the same way.  His boss GEORGE approaches.

GEORGE

Sam, they called.  It's time for you to

go.

Sam FREEZES, but doesn't turn around.

GEORGE (CONT'D)

Sam, did you hear me?

SAM

"It's time for you to go."

GEORGE

Yes.

SAM

It's time.

GEORGE

Good luck.

Without another word, Sam walks straight out the door.

EXT. LOS ANGELES STREET - DAY

Sam, still in his white apron, walks down the busy street.

He has a fast, loping gait that doesn't slow or hesitate for

anyone. A COUPLE argue on the sidewalk.  Sam WALKS RIGHT

BETWEEN THEM.

SAM

It's time.  It's time.

Sam keeps moving, he crosses the street without stopping.

Traffic SCREECHES to a HALT!  Cars HONK, a taxi driver YELLS.

SAM (CONT'D)

It's time, it's time for you to go.

INT. HALLWAY - LATER

Sam plows down the hall and comes to room 324.

SAM

Rebecca!

Sam pushes the DOOR OPEN.  And we REALIZE we are entering: A

HOSPITAL LABOR DELIVERY ROOM AT LA COUNTY HOSPITAL.

REBECCA is in the middle of a major contraction.  Her face is

the opposite of Sam's.  Hardened.  She lets out a scream that

stops Sam dead in his tracks.  GERTIE, a no-nonsense Black

Nurse, looks up from the monitor.

GERTIE

You the one responsible for this?

Sam nods, taking Gertie quite literally.

SAM

I'm sorry.

GERTIE

Too late for sorries, daddy, get over

here and hold her hand.

Sam reaches for Rebecca's hand.  She pulls it away.  ANOTHER

CONTRACTION - Rebecca screams.  Sam SCREAMS.

NURSE

You got a live one, Gert.

INT. LABOR ROOM - LATER

DR. JAMISON

Okay, this is it!

SAM

(spins in circles)

This is it!  This is it!

DR. JAMISON

And it's a girl...

The BABY lets out her first cry.  Sam watches, awestruck.

Gertie wraps the baby in a blanket and holds her out to

Rebecca.  Rebecca shakes her head - NOT NOW.  Gertie walks

over to Sam.

GERTIE

There's someone who's been waitin' an

awful long time to see you, Sam.

She places the BABY into SAM'S ARMS.  Suddenly Sam's whole

body RELAXES and becomes very still.  He looks to Rebecca,

but she has turned away.  He meets Gertie's eyes.  Then in

quiet amazement:

SAM

This is it.

GERTIE

What's her name?

SAM

(looks at clock)

Let me see let me see let me see.

12:17, March 2nd.  Lucy in the Sky with

Diamonds.  Recorded March 2nd.  1967.

Lyrics by John Lennon, music by Paul

McCartney.  Lucy Diamond Dawson.

We hear LIKE A LULLABY, "Picture yourself on a boat in a

river with tangerine trees and marmalade skies..."

EXT. HOSPITAL - NEXT MORNING

Sam, holding the baby, and Becca, having just checked out,

walk down the steps of the hospital holding their

complimentary plastic baby bag.  Sam is nervous haling the

precious cargo and Becca is agitated.  They see the bus

pulling up and down the street and Sam moves quickly so they

can hurry and catch it.  As he approaches the bus, he looks

to Becca by his side, but she is not there.  He looks around

and no sign of her.

Frantically turning in a full circle, he sees the fabric of

her dress disappearing into the crowd down the street.  He

screams.

SAM

Becca!  Becca!

The more he screams the faster she moves away.  Till there's

no trace of her.  Sam stands in the middle of the busy block

holding Lucy to his chest, devastated.

We hear, "Look for the girl with the clouds in her eyes, but

she's gone."

SMASH CUT TO:

INT. BUS - NIGHT

Sam holds the now sleeping baby to his chest.  Next to him is

the plastic bag from the hospital containing diapers, two

cans of formula and a half empty bottle of milk.  Sam is

surrounded by PASSENGERS, the eerie world of the underground

at night.  Instinctively, Sam holds her even tighter, two

against the world.

INT. SAM'S APARTMENT - DAWN

A marvel of organization.  A closet reveals clothes on

hangers exactly equidistant from each other; precisely folded

T-shirts, underwear and socks organized by color.  A

carefully systemized record collection fills makeshift

bookshelves.

Beatles posters from every era decorate the walls.  Becca's

things sit in one corner.  An island of chaos in an "Hold

Everything" showroom.  The kitchen counter has been

transformed into a changing table.  Bottles and pacifiers

lined up next to a stack of cloth diapers.  Underneath, a

clothes line of baby clothes.

The sound of a CRYING BABY breaks the silence.  The camera

follows and finds the CRADLE: a DRAWER tucked snugly into a

blanket hanging like a hammock between two chairs.  An

exhausted SAM POPS up from his bed, behind the hammock.  He

swings the hammock, hoping against hope the baby will go back

to sleep.

SAM

Didn't you just fall asleep, little

girl?

(Lucy cries harder)

Okay, if you say it's time to get up,

then it's time to get up, time to get

up.

(Sam sniffs the air)

Oh my, oh my, oh my.  Quite a bit of

business.

He rushes over to the kitchen counter and unsnaps the baby's

pajamas, revealing a cloth diaper held together with

promotional buttons: one says "Hertz, #1 for Car Rentals",

the other a picture of Magic Johnson and reads "Go, Lakers,

Go!"  Sam undoes it.

SAM (CONT'D)

Oh my God, oh my God, oh my God.  Let me

see let me see let me see.

Sam attempts to clean and diaper her.  He finally manages to

pin the buttons so that it at least stays on.

SAM (CONT'D)

You look very beautiful this morning,

very beautiful.

He holds her up, and the diaper falls down around her ankles.

CUT TO:

We pan across a row of diapers on a supermarket shelf:

HUGGIES, PAMPERS, EXTRA ABSORBENT PAMPERS, LUVS...

INT. WALMART - DAY

Sam stares at the "Great Wall of Diapers", awed.  He reaches

for the Pampers, balancing Lucy, then the Luvs, no, the

Huggies.  Sam stops moving, Lucy starts CRYING, so he jogs in

place.  Sam decides on one of each.  He heads to the FORMULA

AISLE.  Gerber, Carnation, Carnation Iron Fortified.  He

stops.  Lucy WAILS.  WE HEAR THE SONG "HELP, I NEED SOMEBODY"

INT. SAM'S APARTMENT - 9 P.M.

Sam paces, carrying Lucy who screams at the top of her lungs.

INT. SAM'S APARTMENT - 11:25 P.M.

Sam rocks the CRYING BABY in the hammock.  He's exhausted,

but she's just getting started.  He puts another blanket on

her.

INT. SAM'S APARTMENT - 1:30 A.M.

Peace.  A punch-drunk Sam lays the sleeping baby into the

cradle as if she were a bomb that might detonate.

He tiptoes, his FIST raised victoriously - "YES!"  He doesn't

get two steps before Lucy wakes screaming.  Defeated, he

picks her up.  HELP.  The PHONE RINGS.  HE PRESSES speaker.

RASPY WOMAN (O.S.)

What the hell are you doing to that

baby?!

He looks out his window and sees ANNIE CASSELL, his neighbor

on the phone, watching him through her window.  She is a

strange creature with very thick glasses.  We sense a

uniquely profound intelligence behind all that armor.

SAM

Everything's so tiny, tiny.  Tiny.

Everything.  Won't you please come over?

Help.  I need somebody.  Won't you

please please help me.

ANNIE

You know I can't do that.  What does her

mother say?

SAM

Her mother?  Her mother said "This isn't

my life.  I'm outta here when she comes.

It didn't mean anything, Sam.  It was

just one night.  The two of you.  That's

all I need..." Annie, what if she's

sick?

EXT. HALLWAY - CONTINUOUS

ANNIE has her door open a crack.  Annie feels the baby's

forehead.  Lucy stares up at her, quiet now, fascinated.

ANNIE

She's overheated and not eating enough.

How often are you feeding her?

SAM

A lot, Gerber, Carnation, Gerber.

ANNIE

What's a lot?

SAM

Breakfast, lunch, and dinner.  Three

squares hot.

ANNIE

Babies need food every two hours, Sam.

SAM

Oh.  I'm sorry Lucy Diamond.

ANNIE

What time does the little diamond wake

up?

SAM

She never really goes to sleep.

ANNIE

Okaaaay.  Well, let's assume she's up at

six.  Keep your TV on Nickelodeon.  I

want you to feed her first while

"Bewitched" is on.  Then again, when

"Hogan's Heroes" starts.  After that,

well until "Father Knows Best..."

CUT:

INT. SAM'S APARTMENT - EVENING

We are watching "Hogan's Heroes".  We hear SHULTZ'S INFAMOUS

RESPONSE: "I know nothing, absolutely nothing!"  Sam feeds a

content Lucy.

DISSOLVE TO:

INT. SAM'S APARTMENT - LATER

"Father Knows Best" on TV.  Lucy blissfully falls asleep in

Sam's arms.  Euphoric, he tiptoes to the cradle and places

her ever so gently, when suddenly, the FRONT DOOR FLIES OPEN.

Sam's BEST FRIENDS DESCEND inside: IFTY, a Pakistani

gentlemen with a gentle face and a wide smile, carrying a

large stuffed giraffe with a bow on it.  BRAD, who sees

himself as a real ladies man, in tight jeans and a Farrah

Fawcett T-shirt; and ROBERT, highly paranoid, thinks the

world's out to get him.  Lucy WAILS.  Sam RUNS to the CRIB.

SAM

What are you doing here now?!  Her first

sound sleep, not a sound, not a sound.

BRAD

Eight years every Thursday Video Night

and you forgot?!

SAM

Oh my god, Video Night.  First Thursday

of the month.  Video night at Sam's

house.  I'm sorry, I forgot.

IFTY

Becca's gone.  "Gone with the Wind" is a

very sad movie.

ROBERT

Oh here we go...Everything changes now.

Soon you'll forget about Wednesday night

Denny's and Friday night Karaoke.  And I

got hit by a car today.

SAM

You did?

ROBERT

It's probably that guy from the V.A.

BRAD

What guy?

ROBERT

(closing window)

I can't discuss it.  And now this.

Ifty makes ORIGAMI BIRDS out of newspapers.  Lucy's rapt.

SAM

She looks smart, doesn't she?

IFTY

Of course, look.  She's already reading

the newspaper.  I have five smart

sisters in Pakistan.  I am only brother.

"Seven Brides for Seven Brothers" was a

wonderful movie I forgot to bring last

week for Video Night...

BRAD

Did you get "Blade Runner" for tonight?

ROBERT

Now it's all my fault?!

BRUCE

Don't tell me you forgot again.  I broke

a date with a daydream to come here.

There's a knock at the door.  Ifty goes to get it.  Brad

moans when he sees his 65 YEAR OLD MOTHER, ESTELLE, standing

in the doorway.

BRAD

Mom!  I told you Video Night's over at

nine!  It's only six-thirty!

ESTELLE

(unaware of the baby)

Sorry.  I'll wait in the lobby.

She exits.  Lucy begins to CRY.  Brad takes her - like a hot

potato, Robert takes her - now Ifty runs around in circles.

IFTY

She needs motion.  My father drove my

sisters in his taxi to get them to go to

sleep.  Two-fifty surcharge on all

taxi's from the airport...

ROBERT

I got hit by a taxi on Tuesday.

And it all starts again and we --

CUT TO:

EXT. BUS - NIGHT

An empty bus makes its way through the city at night.

INT. BUS - NIGHT

BUS DRIVER

Main and Temple...again.  She out yet?

The camera moves along and stops on the long seat at the

back.  Sam lies with Lucy spooned into the crook of his arm,

almost asleep.

SAM

Almost there, almost there.  One more

round and she'll be down for the night.

We hear the song "Golden Slumbers".  In a SERIES OF

DISSOLVES, we see Lucy and Sam in DIFFERENT SLEEPING

POSITIONS on the bus seat.  Gradually, she GROWS in HIS

PROTECTIVE EMBRACE --

ONE MONTH,  THEN TWO.  NOW FIVE.  She's BIG AND ROUND at SIX

MONTHS.  And on and on into the night...

INT. WALMART'S PHOTO BOOTH - DAY

We see Sam and Lucy CRAMMED into the booth, wearing birthday

hats, taking HER FIRST BIRTHDAY picture.  We see the PHOTO

STRIP as it comes out of the slot.  Sam's shoulder with

Lucy's ear - Lucy's nose with Sam's elbow, their faces never

made it into the picture.

INT. STARBUCKS - 8:30 A.M.

The place is packed.  Sam moves from table to table,

cleaning.

SAM

Double macciatto, low foam, low-fat.

Good choice, very good choice.

Sam turns and WE SEE LUCY attached to him in a handmade

snugly, crocheted by Annie.  She faces outward, all hands,

all 16 MONTHS of her; too big for the snugly.  She grabs a

croissant from a customer.  George looks confused.  Then

makes a SWIPE for a customer's coffee, knocking it to the

ground.  It SPLATTERS all over an anorexic, on-her-fourth

double-latte WOMAN in a designer exercise outfit.  She begins

shrieking.  George looks at Sam, this can't go on.

INT. APARTMENT HALLWAY - MORNING

Sam, Lucy by his side, has his foot in Annie's door.

SAM

Please, Annie!  She's too big to take to

work.

ANNIE

I'm not a baby-sitter.  I'm too busy.

LUCY

Annie, Annie, Annie...

ANNIE

(suspicious)

Did you teach her that?

SAM

It was her first word.  Very first word.

Annie opens the door, takes Lucy's hand, and pulls her in.

ANNIE

And people worry you're not smart.

INT. ANNIE'S APARTMENT - ONE WEEK LATER

The apartment looks like a fallout shelter.  The kitchen

contains enough canned goods to last a year.  Brightly

colored crocheted doilies - Annie's hobby - adorn every

available surface.  The BRIGHTLY COLORED WEB of an

AGORAPHOBE.

Lucy sits in Annie's lap, getting her first piano lesson.  WE

SEE LUCY'S TINY FINGERS on the keys.  In a SERIES OF

DISSOLVES, it is joined by Annie's hand tapping out one note,

now two notes, and as the weeks pass, a chord.  Until finally

the notes merge to become the most unlikely duet of "Twinkle,

Twinkle, Little Star".

ANNIE

This is Mozart.  He did twenty-two

variations of "Twinkle Twinkle Little

Star".  You smell good.  You can tell a

lot about a person by their smell.  If

they've got too much perfume on they're

covering something up.  You gotta watch

someone who smells like soap.  Gotta

wonder what their priorities are.

Nervous people.  People who try too

hard.  They smell like fish.  But you.

You smell like milk.  Milk and hope.

Lucy leaves the piano and toddles over to Annie's loom and

plays with a ball yarn.

VOICE (O.S.)

Groceries, Annie.

ANNIE

Thanks.

Annie opens the door to pull in the groceries.  The ball of

yarn ROLLS OUT the door and Lucy chases after it.  Annie,

terrified, bellows:

ANNIE (CONT'D)

Lucy!  Come back here!  Come back!

It becomes obvious Annie can't walk outside.  Trembling:

ANNIE (CONT'D)

"Lucy in the sky with diamonds..."

Hearing the familiar tune, Lucy stops and toddles back.

Annie sweeps her up, relieved and we --

INT. KARAOKE BAR - NIGHT

Sam on stage, with Ifty and Brad as his back-up singers,

continuing the song in the oddest, most heartfelt version to

Lucy who sits on Robert's lap and in heaven.

EXT. PARK - DAY

A beautiful blue sky.  And "Lucy in the Sky with Diamonds"

continues as Lucy's THREE YEAR OLD laughing face SWINGS INTO

FRAME on a swing then DISAPPEARS out THE OTHER END OF FRAME.

Now Lucy SWINGS BACK DOWN and out of the other end again...

Sam's FACE, glowing with delight, APPEARS AGAINST THE SKY and

then disappears.  Sam and Lucy are on swings surrounded by

MOTHERS and KIDS at the park.

LUCY (V.O.)

Daddy, where does the sky end?

SAM (V.O.)

Let me see, let me see.  I've never been

there but they say it's somewhere near

China.

EXT. PARK - ONE YEAR LATER

Lucy FLIES INTO FRAME, now FOUR, sitting on Sam's lap,

swinging.

LUCY (V.O.)

Are lady bugs only girls or are there

boys, too.  And if there are, what are

they called?

SAM (V.O.)

The Beatles.

EXT. PARK - ONE YEAR LATER

Then Lucy FLIES INTO FRAME, now FIVE, followed by Sam.

LUCY (V.O.)

Do I look more like you or Mommy?

ON SAM'S FACE

He knew this moment would come.

INT. DENNY'S - THURSDAY NIGHT DINNER - EVENING

Lucy and Sam are having a serious talk over breaded Sole.

LUCY

If you and Mommy liked each other enough

to have me, how come you're not together

anymore?

SAM

I think she fell out of love with me.

Not you, never you.  Me, just me.

LUCY

When you fall out of love where do you

land?

SAM

Somewhere in Florida, I think.

LUCY

Do you think she'll ever come back?

SAM

(long pause)

Paul McCartney lost his mother when he

was fourteen.  John lost his mother

twice.  First when Julie gave John to

her sister Mimi to raise.  And then

again when Julia was hit by a car.  They

say God picks certain people, special

people.  That's what they say.

Lucy takes this in.  Sam begins to shift his tomatoes just

so... his potatoes just slightly to the left.  Lucy watches.

LUCY

Daddy, did God mean for you to be like

this or was it an accident?

SAM

Do you mean - what do you mean?

LUCY

I mean you're different.

SAM

What do you mean?  I mean, what do you

mean?

LUCY

You're not like the other daddies.

SAM

I'm not am I.  I'm sorry.

LUCY

Don't be sorry.  I'm lucky.  Nobody

else's daddy ever comes to the park.

ON SAM'S FACE

Filled with relief.  Bursting with love.

SAM

We are very lucky, aren't we?

Grace approaches with two plates of pie, ice cream on the

side.

GRACE

Ice cream on the side.

LUCY

Not on top.  Not on top.

SAM

Good choice.  Very good choice.

INT. SAM'S APARTMENT - THURSDAY NIGHT VIDEO NIGHT

SAM

Brad, I know it was your turn.  I'm sure

of it.

BRAD

I swear to God it was Robert's turn.

ROBERT

Why is it always my fault?

IFTY

I keep track, last time, I say to

myself, I say, write it down... Bank of

America give away beautiful calendar,

every month a picture of wild animal,

look June, an Elk.  Elke Sommer...she

starred in the remake of "Prisoner of

Zenda"... Three stars Leonard Maltin

video movie guide.

As they go on, Lucy matter-of-factly PULLS A VIDEO OUT OF HER

BACKPACK, and puts it in the VCR.  She turns it on.  It's

"Kramer vs. Kramer".  Everyone stops their arguing and stares

at Lucy.

LUCY

Annie let me borrow it.

INT. CHILDREN'S SHOE STORE - DAY

A row of brand new children's shoes on display.  Lucy tries

on dozens of school shoes, surrounded by Sam and her

"Godfathers": Ifty, Brad and Robert.

SAM

You need a good sturdy school shoe.

Arches are very important.

IFTY

Sturdy is boring.  Red shoes bring good

luck.

BRAD

But red doesn't got with green.

IFTY

Except on Christmas.

BRAD

No brown clodhoppers.  Everyone will

make fun of her.

SAM

NO ONE will make fun of Lucy.

ROBERT

She might be stupid.

IFTY

No she's not --

ROBERT

Did they test her?

BRAD

You don't know for sure.

SAM

Yes I do.

BRUCE

But if she is, don't make her go to

school.

ROBERT

Don't let her in the lunch room.  Johnny

Marzettie's there.

BRAD

And gym.  Get her a pass.  The rules for

volleyball are so hard to remember.

"Rotate Rackman Rotate."

IFTY

Throw the ball at his forehead and the

water on his brain will come out his

nose.

Meanwhile, Lucy has been trying on a simple brown shoe.

LUCY

I like these.

SAM

She know what she likes.  She likes

these.  How much are they?

SALESMAN

Forty-nine ninety-nine.

SAM

One penny less than fifty.  These shoes

are one penny less than fifty?

LUCY

It's okay, Dad.  I don't really like

them.

SAM

No, no no no no.

IFTY

We'll all give ten dollars.

BRAD

I've only got three plus five.  But I

need one for stamps.

ROBERT

Don't pull your wad out in front of

people.

They all dig in their pockets and begin counting very slowly.

SAM

Thank you, thank you.  We are rich in

friends.  That's what our fortune cookie

said.  1, 2, 3, 4, quarters that makes

one.

SALESMAN

I'll count it.

SAM

Is it enough?

SALESMAN

(exasperated)

If there's a God.

BRAD

Do we get a balloon with these?

SALESMAN

Yes.

ROBERT

All of us, or just her?

SMASH CUT TO:

EXT. STREET NEAR SHOE STORE - DAY

Those new little brown shoes walking in between four pairs of

man's shoes.  We move up from those shoes to see FIVE PAIR OF

HANDS tightly clasping their balloons as they march

victoriously down the street.  We MOVE IN on Lucy's little

brown shoes skipping with joy and --

DISSOLVE TO:

EXT. SCHOOL FIELD - DAY

Those same little shoes in the midst of a mass of black

soccer cleats.  We move up and see Lucy in the middle of a

fierce kids soccer game.

Score's tied.  The ball comes to Lucy.  She kicks and misses.

From the sidelines we hear:

SAM

Beautiful kick!  Very close!

Lucy looks up at her dad proudly.  The ball comes again.

Nobody could miss this one.  But Lucy does.

SAM (CONT'D)

Thatta girl!  Thatta girl!  They're

getting scared now!

The game continues.  The GOALIE'S FATHER, DUNCAN RHODES,

handsome, commanding and dressed in a suit, calls to his son:

MR. RHODES

C'mon, Conner!  On your toes!  They're

all counting on you!

Conner tenses up, alert under the pressure.  Meanwhile, down

at the other end, the ball heads toward Lucy.  She kicks it!

Hard.  Right into her team's own goal.  The crowd GROANS.

SAM

Hurray, Lucy!  You're getting the hang

of it now!  You've got them scared now!

Lucy's bursting with confidence, plows toward the ball and

NAILS IT!  The ball goes flying.  The parents in the stand

are completely baffled!  Sam is completely ecstatic!

SAM (CONT'D)

L-u-c-y!  That's our battlecry!

The ball heads into the goal, just passing the goalie,

Conner.  Sam runs to embrace Lucy when he hears Duncan

reaming his son --

MR. RHODES

The whole game was right in front of

your nose!  I leave work early to watch

you blow the whole game!?

Conner slouches against the fence as his father walks away.

Seeing this, Sam whispers to Lucy.

INT. SAM'S APARTMENT - AFTERNOON

A child's hand double jumps across a checker board.

CONNER (O.S.)

Ha!

Lucy and Conner are playing checkers while Sam cooks dinner.

Two carrots cut into ten pieces. Bow Tie Pasta - 35 pieces

each.

CONNER (CONT'D)

What's wrong with your father?  Why's he

acting like a retard?

LUCY

He is.

Their hands graze against each other on the check board - he

pulls his hand away.

CONNER

Are you?

LUCY

No.

CONNER

Are you sure?

LUCY

Yeah.

CONNER

How do you know?

LUCY

He told me.

CONNER

But he's a retard.

LUCY

Yeah well it takes one to know one!

He crowns her - her eyes shift to Sam in the kitchen, for the

first time a bit uneasily.

INT. SAM'S APARTMENT - NIGHT

Sam's reading Lucy her homework book.

SAM

"They perched in sisisi..."

LUCY

"Silence."

SAM

"...silence for a long time."  Boy.

Your teacher chose a hard book this

time.  "How can we be so difdifdif..."

LUCY

"Different."

Sam glances up at Lucy self-consciously.  Lucy grabs the book

from Sam, tosses it on the pile and picks up another.

LUCY (CONT'D)

I don't like that book - let's read

"Green Eggs and Ham".

Relieved, Sam plunges into the book, which is more memorized

than read.

SAM

"I am Sam, Sam I am.  Do you like green

eggs and ham?  I do not like them, Sam I

am!"

They both laugh, delighted.  Lucy looks sleepy.

MATCH DISSOLVE:

Lucy is getting drowsy.  Sam is just getting started.

SAM (CONT'D)

"And I will eat them here and there.

Say I will eat them ANYWHERE.  I do so

like green eggs and ham, thank you thank

you, Sam I am!"  One more time!

LUCY

Daddy, I have school tomorrow...I don't

wanna be too sleepy.

SAM

Just the part about the boat and the

goat in the rain in the train?

LUCY

Daddy, Hamburger Hamlet has twelve

different kinds of hamburgers.  Can we

go there Wednesday instead of Denny's?

SAM

But Wednesday night's Denny's,

Thursday's Video Night, Friday Night

Karaoke.

Lucy nods, a little deflated.

SAM (CONT'D)

How about one more time, just the

beginning?  "I am Sam, Sam I am..."

Lucy sighs and closes her eyes against her father's chest.

INT. CLASSROOM - DAY

Lucy draws a picture while everyone reads aloud from

"STELLALUNA".

MISS WRIGHT

Lucy, your turn.  Start where Sara left

off...Lucy?

LUCY

I can't.

MISS WRIGHT

Sure you can.

LUCY

"They perched in sisisisi..."

MISS WRIGHT

Silence.

LUCY

(throws down book)

There.  I told you.  It's too hard.

MISS WRIGHT

Lucy!  I know you can read this!

LUCY

No, I can't!  And you can't make me!

Lucy runs out of the class.

EXT. BUS STOP - DUSK

Sam, in sunglasses, waits for the BUS.  A YOUNG WOMAN, LILY,

sits down next to him.  The WIND CATCHES her floral dress

that's just left of innocent; just right of alluring.  She

reads a TABLOID.

LILY

Look here.  "Premature baby claims he's

cupid - has the arrow to prove it."  Do

you believe that?

SAM

Well, if he has the arrow.

LILY

Yeah.  You got a good point.

She crosses her legs.  A tuft of pink dress falls on Sam's

knee.

SAM

You're a good reader.

LILY

Yeah, I've always been smart.

SAM

You're lucky.  I'm looking for a smart,

good mother.

LILY

I can be a mother.  A real good mother.

SAM

Oh, good.  Good.

LILY

I could even spank you.

SAM

Oh no no no.  I don't believe in that.

LILY

Okay okay.  I can be very gentle.

SAM

Gentle.  Gentle.  Yes.  Do you tell

stories?

LILY

I got stories up the wazoo.  Why don't

you come with me.  I'll tell you a nice

story.

SAM

I have to pick up Lucy at Annie's first.

LILY

A menage a toi?

SAM

French, French the language of France.

You could teach my daughter, Lucy.

LILY

Your daughter?!  Can't you pick her up

after?!

SAM

After?!  No no, Lucy comes too.

LILY

Whatever.

She takes Sam's hand, they move to get on the bus JUST AS

ANOTHER HAND brusquely lands on theirs.

COP

Not so fast.  You're under arrest.

Solicitation.

LILY

He wanted to bring his kid, I said no.

A lightbulb flashes and we --

SMASH CUT TO:

INT. POLICE HEADQUARTERS - THAT NIGHT

Sam blinks as his MUGSHOT is being taken.  Now the profile.

He turns so they can get the back of his head.  Now the

FINGERPRINT.

Now Sam, in the corner of the room, on the phone making

thumbprints on the wall.  While the COP discusses his case

with a social worker, MARGARET BROWN.  Over the years she's

seen it all, and to get through it has had to pretend it's

just a job.

COP

It's the first time in nineteen years I

actually believe the guy when he says he

didn't know she was a hooker --

MARGARET BROWN

You say that like it's a good thing.

SAM

...Your teeth don't sound like they were

brushed.  Do it with me now.

COP

Let him go.  He says he's never spent a

night away from his kid... Come with me -

I got a guy who beat the shit out of his

two year old.  Again.

Her cell phone beeps.

MARGARET BROWN

Yes.  I am seeing you tomorrow, Mr.

Rabins.  She's still screaming?  No,

McDonald's won't help...she's four

months old.

SAM

Thirteen up...not on the gum line not on

the gum line, 1, 2, 3.

Margaret watches Sam as he talks to Lucy on the phone.

INT. PRINCIPALS OFFICE - DAY

The WALLS are lined with CHILDREN'S ART.  Various

interpretations of the family.  We stop at one of a very

small man and a very big little girl with her arm around him.

MISS WRIGHT

It gives us a great deal of insight into

what she must be feeling.  And in the

classroom, it's becoming clear she's

holding herself back.  It's as if she's

literally afraid to learn.

We PULL BACK and see Sam staring at the picture.  Mrs. Wright

and the principal watch him.

MISS WRIGHT (CONT'D)

No one doubts that you love your

daughter, Mr. Dawson.  But the

Department of Social Services contacted

us.  They shared with us that your

records show that your intellectual

capacity is around that of a seven year

old.  Our concern is what happens when

Lucy turns eight?

PRINCIPAL

Mr. Dawson, do you understand what Miss

Wright is trying to tell you about Lucy?

SAM

No one wanted The Beatles to break up.

But you can hear it on the White Album.

They were going in different directions.

INT. LUCY'S BEDROOM - NIGHT

It's bedtime.  Sam and Lucy are reading from "STELLALUNA".

LUCY

How can we be so dif..dif...I don't know

that word.

SAM

Yes you do.  It starts with a "d" --

LUCY

I'm tired.

SAM

I don't believe you.

LUCY

Are you calling me a liar?

SAM

Yes.  Now read the word.

LUCY

(crying)

No...I'm stupid.

SAM

No you're not.

LUCY

I don't want to read it if you can't.

SAM

It makes me happy.  I'm happy hearing

you read it.

He holds the book open for Lucy.  Now Lucy, pushing through a

mountain of resistance, reads.  And reads beautifully.

LUCY

"Why are we different and so much

alike?"

INT. SCHOOL HALLOWEEN PARADE - AUDITORIUM - DAY

Two children, dressed as Batman, march followed by

CINDERELLA.  We see Lucy dressed in NEWSPAPER - an ORIGAMI

BIRD.  And behind her, marching more proudly than any child,

is Sam, dressed as PAUL McCARTNEY, in the black suit era -

with Beatle boots and guitar strapped to his chest.  Sam is

the only adult participating in the parade.

Music BLASTS over the loudspeaker.  Sam begins to dance with

joyous abandon.  Lucy joins him.  They dance together

happily.

Suddenly Lucy becomes aware that her classmates are beginning

to laugh.  She slows and watches through their eyes Sam pony

around the room.  Conner pulls up his pants high on his waist

and begins to imitate Sam.  Another kid joins him.

KID

I'm a Super Freak!

CONNER

And I thought my dad was a dork.

Lucy's face hardens for the first time.  In a corrupt world

the pure can only stay pure for so long.

INT. HAMBURGER HAMLET - EVENING

Sam and Lucy sit in a booth.  Lucy's ecstatic.  Sam's trying.

LUCY

They have eleven different kinds of

hamburgers.  This is so great.

SAM

A new place.  Your choice.  I said we'd

go to a new place.  And here we are.

Sam anxiously rearranges the condiments on the table.  Lucy

tries to fold a napkin into an Origami bird.

LUCY

You know what else I want for my

birthday, Daddy?  I want a hundred

birds.

SAM

The napkins are much stiffer at Denny's.

They make better birds.  There's not so

much stuff on the tables there either.

Why do they have two kinds of mustard on

every table?

WAITRESS

Coffee?

SAM

No, no coffee.  Sam's system can't

handle coffee.

WAITRESS

Okaaay!  What can I get you folks?

LUCY

I'd like the Benito Bandito burger and a

chocolate chip milkshake, please.

SAM

I'll have the fish special, side of

potatoes, salad with Thousand Island

Dressing, cherry pie, and...

WAITRESS

I'm sorry, sir.  We don't have a fish

special.  There's fish and chips.  It

comes with a dinner salad.

SAM

Chips, chips?  You mean potato chips?  I

don't want potato chips.  I want a side

of potatoes.

WAITRESS

You want french fries?

SAM

No, a side of potatoes, like at Denny's.

A side of potatoes.

LUCY

They're little red potatoes.

WAITRESS

We don't have new potatoes...

SAM

Denny's has new potatoes.  Six new

potatoes parsley garnish parsley

garnish...

ON LUCY

Her smile fades.

SMASH CUT TO:

INT. DENNY'S - HALF-HOUR LATER

Sam happily eats his fish special with six new potatoes.

Lucy's untouched dinner sits in the middle of the table.  She

doodles on the placement - drawing a man sitting with a pile

of new potatoes in front of him; larger than he is.

SAM

Fish and chips fish and chips.  I will

not eat fish and chips.

LUCY

(exploding)

I will not eat them here or there!  I

will not eat them anywhere!  I will not

eat green eggs and ham!  I will not eat

them, Sam I am!

INT. SAM'S APARTMENT - DAY

Balloons and a banner reading "Happy Birthday, Lucy!"  For

Lucy's birthday, Sam has rented a moon bounce - which sits in

the center of the apartment and filling the entire place -

leaving no room for the few kids and their parents.  Brad

stands too close to a young attractive mother.  Robert shakes

all the presents suspiciously.

SAM

Now when they come through the door,

everybody yell "Surprise!"  Do you want

to rehearse again?

CONNER

No.  I bet she already knows.

ROBERT

I didn't tell her.  Did Brad say I did?

There's a KNOCK at the door.

SAM

Is that Lucy?  Annie's supposed to call

and warn us.  Shhhh, everyone.

Brad hits the lights.  Sam OPENS THE DOOR and everyone yells

"SURPRISE!"  But instead of Lucy, it's the Social Worker.

MARGARET BROWN

I don't know if you remember me.  I'm

Margaret Brown from Children's Social

Services.  We met at the police station.

SAM

Put your present over there - Hurry up!

Lucy might be on her way.

(the phone rings)

Hello?  Annie says she's coming up the

stairs.  Everyone be quiet.  Assume

surprise positions!

(Conner keeps talking)

Be quiet!  Assume surprise positions!

CONNER

Oh brother!

SAM

Why are you such a party pooper?!

Assume surprise positions!

CONNER

Make me!

Sam puts a hand over Conner's mouth; Conner struggles against

him.

MR. RHODES

Hey!

SAM

He's gonna ruin the surprise!  He's

gonna ruin the surprise!

CONNER

He touched me!  I've got cooties!  I've

got cooties!

MR. RHODES

Get your hands off my boy!

Conner's father hurls Sam across the room - Sam gets tangled

in the MOON BOUNCE!  To get attention, Conner bursts into

tears.  We hear FOOTSTEPS outside the door - Brad hits the

lights.  We hear a CRASH!  And in the light, the DOOR SHEDS

as it opens, Lucy and Ifty see - that MOONBOUNCE, swaying.

Then from within the Moonbounce:

SAM

Surprise!  Happy Birthday!

Lucy stands frozen, holding a red balloon.

LUCY

Daddy?!

CONNER

You don't have to call him "Daddy".

(in Sam's face)

She says you're not her real father,

anyway.  She's adopted!

Humiliated, Lucy RUNS AWAY!  The Social Worker watches,

profoundly concerned, and reaches for her cellular phone.

EXT. WALMART - DAY

A police car pulls into the parking lot.  Sam and Margaret in

the back.  Sam and Margaret see Lucy's little feet dangling

from beneath the curtain of the photo booth.

SAM

I'll go get her.

MARGARET BROWN

It would be better if you stay here.

I'm sorry to say this, Mr. Dawson, it's

clear how much you love your daughter,

but we're going to have to remove Lucy

from your home.

Sam's baffled.  One cop places his hand on Sam's shoulder,

restraining him.  The OTHER heads toward the photo booth.

SAM

No, no no no.  It's her birthday!  It's

her birthday!

MARGARET BROWN

I know how hard this must be...

(cell phone rings)

...Hello, Betsy.  I'm scheduled to come

to your apartment at four.  No, not five

every two hours.  It's two every five

hours.  She only weighs thirty pounds

for chrissakes...

(back to Sam)

The city has given me the difficult task

of deciding when to intervene on behalf

of the child.  Unfortunately, I've

learned the hard way that it's better

too soon than too late.  For now the

court will decide what's in Lucy's best

interest.

Sam watches the cop's legs meet Lucy's under the curtain.

Suddenly, Sam screams from the deepest core of his being.

SAM

Run, Lucy, run!

We see LUCY'S FEET KICK the COP'S LEGS and wrestle out of his

grasp.  She flies out the booth, holding that balloon.  She

runs down the street, the balloon soaring into the sky - a

cop follows.  Sam struggles.

ON SAM

Reeling, devastated, we HEAR A JUDGE speaking:

JUDGE (O.S.)

Given the fact that the father was

arrested for solicitation, did not

cooperate with the police...

INT. COURTROOM - DAY

Sam sits ALONE.  At another table, Margaret Brown and a

lawyer, along with several people from the CPS.

JUDGE

...could not control his emotions,

endangering other children.  Miss Brown

also cites Mr. Dawson's mental

deficiencies which raise serious

questions about his ability to properly

parent.  I agree to grant petition.

The child shall be removed from the home

until a forma jurisdictional hearing.

Mr. Dawson, is there anything you'd like

to add?

SAM

Yes.  I just wanted it to be a nice

surprise party.  I had gotten the plates

at Pic-N-Save.  Pink and yellow, pink

and yellow.  Like a princess.  And the

balloons at --

JUDGE

(gently)

Mr. Dawson, it sounds like a lovely

party, but right now I want to talk to

you about your legal rights.  I would

strongly suggest you get yourself legal

counsel and allow your attorney to

present your case at the jurisdictional

hearing on February 13th.  Counsel, are

you available?

COUNSEL

Ted, I have a trial that day.

JUDGE

February 20th.  8:00 a.m.

SAM

(panicking)

Twenty-two days?  Lucy will come home

and you want me to bring Lucy back in

twenty-two days?

JUDGE

No, Mr. Dawson.  You'll have supervised

visits twice a week for two hours.  Now

I'm sorry, we have thirty more cases to

see today.  Next!  Hopkins vs. Clifford.

INT. SAM'S APARTMENT - DAY

Sam's on the phone, a teddy bear in his hand.  Robert, Ifty,

and Brad all sit with Yellow Pages open in front of them.

SAM

Thursday?  Today is Monday, Mrs.  Brown.

That's three days away.  That's too

long.  She can't sleep without Mr.

Jeeters.  Well if you're not available

until Thursday, maybe I could see her

without you there...

maybe the Judge made a mistake - maybe

he doesn't know that for seven years I

played with her without you there...No

Mrs. Brown, I'm not trying to violate

the court...

(the other line hangs up)

Mrs. Brown?

ROBERT

I bet they were recording the whole

conversation.  Check your phone.  You

can't make a move.  You need a lawyer.

BRAD

Call Jerry Spence.  He has his own show.

He must know what he's doing.

ROBERT

No.  Johnny Cochran.  He has his own

show, too.

BRAD

Yeah!  He can even get a guilty person

off.

SAM

So you think I'm guilty?

IFTY

No.  You didn't kill anybody.

SAM

But she said I'm not her father.

IFTY

She didn't say that.  That runty kid

with the blue shirt and the mean father

whose voice sounds like the man on the

Channel Four News who has a toupee.

Toupees are expensive.

SAM

But Ifty.  She said it.

IFTY

But she didn't mean it.  I said I hated

my mother once.  "Once upon a time..."

is how stories begin.

ROBERT

You should get a personal injury lawyer.

You've been personally injured.

BRAD

Here - look at this - "Sebastion

Gibson."  He can do anything.

Pedestrians.  Back and neck.  Uninsured

Motorist.  Dog attacks.

SAM

The Social Worker said it's a custody

case.

ROBERT

Then get a divorce lawyer.

IFTY

When Dustin Hoffman was trying to keep

Billy from going back to Meryl Streep,

his lawyer said it was going to cost him

fifteen thousand dollars - and that's if

we win!

SAM

Fifteen thousand dollars!

BRAD

Don't worry about money now.  Get the

best.  Century City - Here: "Rubel Bly

Harrison and Williams".

INT. RITA HARRISON'S CENTURY CITY OFFICE - DAY

A Century City lawyer spins in front of our eyes.  It's SAM'S

POV as he sits in a chair that spins - in the center of RITA

HARRISON'S lavish, penthouse office.  Now we see the

panoramic of Los Angeles.  Now the dots in the Lichtenstein

on the wall WHIRL PAST US.  Now the DOOR SWINGS OPEN AND --

RITA HARRISON and her assistant burst in.  Rita moves in

opposite circles around the room.  Looking for something.  In

fact, as we watch Rita, we realize that she never stops

moving.  Period.  Ten steps ahead of anyone, too much energy,

too much caffeine, not enough food.  If she slowed down a

beat she might get vulnerable.  Can't have that.  Can't be

wrong.  Can't really look you in the eye.  Can't help it if

she's smarter than anyone else in the room.  Any room.  Any

time.

RITA

Did Fred Kimble call?  I'm already

twenty minutes late.

PATRICIA

He --

RITA

What'd Michelle Kresge say?

PATRICIA

She --

RITA

She wasn't defensive, was she?

PATRICIA

Well --

RITA

That's ridiculous.  What happened with

my car?

PATRICIA

They --

RITA

Because it wasn't my fault.

PATRICIA

I --

RITA

Thank you, Patricia.

PATRICIA

This is Mr. Dawson.  There was some

confusion with the temp last week and --

RITA

Mr. Dawson, it's a pleasure.  Since

somebody made a mistake, unfortunately

we only have a little time.  Hold all my

calls unless it's my kid - I'll have a

double cap.

SAM

Good choice, very good choice.

RITA

Can we get you anything to drink?

SAM

Is it free?

ON RITA

Hmmmm?

TEN MINUTES LATER --

Sam is in the middle of the beginning of his story.  Rita on

her second cappuccino, eyes her computer screen for calls.

SAM (CONT'D)

...Lucy had an ice-cream cake with pink

flowers - pink, not white not

white...Lucy's favorite is cherry

vanilla which is pink, too.  Cherries

and vanilla.

RITA

Uh huh uh huh -- uh huh uh

(into Amtel)

If that's Jake Hiller, put him through.

(picking up phone)

Jake.  No no no no no no.

PATRICIA

(from speaker)

Your son's on line two.

RITA

Jake, did you get that?!

(to Patricia)

Tell him to hold for just one second.

Jake I have to go...he what?

PATRICIA

(through speaker)

Deborah Chapman on line three --

RITA

Hold on Jake.

(she punches another line)

No no no no no no no.  Have a nice

weekend.

(punches another button)

Jake?!

We HEAR MUSIC coming from the other end of the phone --

SAM

Burt Bacharach shared billing with The

Beatles and Jose Jiminez on the Ed

Sullivan Show June 5th, 1968.

RITA

Really?

(then)

Jake, what'd you say you tell him yes I

am.

(yelling; re: coffee)

This tastes like low, are you sure it's

non?  Okay okay okay.  I think there's

been a little mistake here --

SAM

Yes.  A little one.  Your son's on line

two.

RITA

Oh my God.

(pushes another line)

Danny?

(Danny's hung up)

Patricia?  Get Danny back.  Well keep

trying.

She unconsciously digs through the bowl of jelly beans on her

desk sorting out all the yellow ones.

RITA (CONT'D)

Mr. Dawson, what I'm trying to say is

I'm a divorce lawyer and as much as I'd

like to, I don't handle cases like yours

--

SAM

Since you would like to, why don't you

talk to your boss.  Maybe he would let

you.

She pours the bowl of jelly beans onto her desk, now

frantically sorting through them.

RITA

(into phone)

Then keep dialing --

(to Sam)

What I mean is that at this point in my

career, I can't afford to.

SAM

I earn eight dollars an hour at

Starbucks.  I can pay your hourly rate,

rate by the hour, hourly --

Rita stands up, ushering him to the door.

RITA

Mr. Dawson, I'm sorry, I have to be in

court in eight minutes with the Kresges.

You understand, good luck to you and

don't give up.

She turns, ahhhh!  He's gone!  She begins searching the room.

RITA (CONT'D)

Patricia?!  Where are my keys?  Where

the hell are my keys?!  Alright alright.

(replaying)

I walked into the room - I went over

here - I looked at my desk - I put my

coat down - Patricia?!  Where's my coat?

SAM (O.S.)

Is there a child involved in Mr.

Kresges' case?

Stunned, Rita looks up and sees Sam holding up a strip of

photos taken at the birthday booth.

RITA

No.

SAM

This is Lucy.  One year old.  First

word, "apple".  December third.  3:16

p.m.  December third.

Out of his pocket he pulls another photo strip.

SAM (CONT'D)

Here's Lucy two years old.  First merry

go-round ride.  June 6th.  4:13 p.m.

June 6th.  Here's Lucy.  Seven years

old.  The day the police took her away.

Rita looks at the photo strip of Lucy's birthday.  In the

first three we see Lucy's sad face.  The fourth has a cop's

face smashed into the frame with her.

SAM (CONT'D)

Thank you for telling me not to give up.

I won't give up.

PATRICIA

(through the phone)

Danny on Line 2.

Rita LUNGES FOR THE PHONE.

RITA

Danny?  Hi.  Could we possibly talk

about this when I get home.  Danny?

Danny?  C'mon.  You're not gonna talk to

me?  I bought you a bag of your favorite

lemonade jelly beans.  Danny?

(Rita starts singing)

"One little bird in one little tree,

we're all alone and we don't want to

be... So they flew far away over the

trees..." I said "Over the sea..." I

know the words, I said "Over the sea..."

Since when don't you like that song?

Danny?

She checks her watch, puts him on the SPEAKER PHONE, and

frantically searches the room for her keys.

RITA (CONT'D)

Danny?

Silence.  We hear SIX LOUD THUDS - the sound of a basketball

bouncing against the floor.

RITA (CONT'D)

Danny?

CLICK!  The LINE GOES DEAD.  Rita trips over the coffee

table, completely losing it.

RITA (CONT'D)

I hate this stupid coffee table - how

many times have I asked you to get rid

of this crappy coffee table?

She kicks it, sending the lemonade jelly beans FLYING.  Then,

after a beat.

SAM

(from the doorway)

You did say "over the trees" instead of

"over the sea."  It's hard to remember

all the words to all the songs.  There's

so many.

(Rita almost stops)

you have a child Rita rubel Bly Harrison

Williams.  If they took him away

wouldn't you hire the fastest talking

four-named lawyer you could?

RITA

Yes, I would.  I went to college with a

friend who does these kinds of cases.

Leave your number.  I'll see if she can

help you.

PATRICIA

(through your phone)

Your therapist on Line 1.

RITA

Tell him you can't find me.

INT. STARBUCKS - DAY

Sam is face to face with George.

SAM

I'm ready.

GEORGE

Let's not add more stress to your life.

SAM

I'm ready.  I'm ready to make coffee.

Lo-fat decaf latte.  Coffee up to here.

Add steamed milk up to here.  No foam,

no foam.  Cinnamon or chocolate

sprinkles.

GEORGE

That's pretty good Sam.  I'll think

about it.

SAM

I know what that means.  I stock shelves

at Lucky Supermarkets.  I want to bag

groceries, Miss Losey says "I'll think

about it."  Randy Brenner gets the job.

I was the janitor at the La Reina

Theater, I wanted to take tickets.  Mr.

Jenkins said he'd think about it.  Larry

Peters gets the job.  Lets his friends

in for free...

GEORGE

I promise you, Sam.  I'll honestly think

about it.  You have my word.

SAM

Words, words, words.  I need more than

that.  I need to pay my lawyer.  I need

to make coffee.

INT. RUBEL BLY HARRISON AND WILLIAMS - 8:15 P.M.

A group of Rita's colleagues are celebrating a big win.  Rita

is backing out of the room with her glass of champagne.

RITA

I am celebrating congratulations to us

these are the moments good night.

She stops, stunned, as she sees Sam, sitting in the lobby

holding out a Starbucks Cappuccino.

SAM

Non-fat vente cap.  I'm sorry to bother

you, but did you call your friend?

(Rita's confused)

Your friend from college, your friend

who does this kind of work?

RITA

(there never was a friend)

I don't have her number anymore, Sam.

We lost touch.

SAM

(devastated)

Oh, that happens.  That happens.  People

lose touch.  Will you call me if you

find it?  If you get back in touch?

RITA

Yes, I'm just in the middle..it's a

special..I'll call you.

To avoid any further interaction, she heads back to the

employee party she previously escaped from.  Sam walks down

the hall.

COLLEAGUE

Is that the new janitor?

RITA

No, it's a case.  Sort of a pro-bono

thing.

Her assistant Patricia clears her throat.

RITA (CONT'D)

What's that supposed to mean?

PATRICIA

Nothing.  A cracker went down the wrong

pipe.

Muffled laughter from her colleagues.

RITA

You think I don't pro-bono?..I can do

pro-bono.. I can do Goddamn pro-bono..

where the hell are my keys..hold the

door!

Rita runs to the open elevator and comes face to face with

Sam who's been holding the door open for her.

INT. ELEVATOR - CONTINUOUS

The door closes.  Rita is trapped with Sam.  She stares

forward trying to will him not there.  Rita gulps her

champagne.

SAM

32nd floor.  32 floors more.  31st

floor.  31 floors more...

And on and on and on.  Rita is about to spontaneously

combust.  Finally, "G" - Rita bolts out the elevator doors,

then just as suddenly turns around.

RITA

Alright, alright I'll take you.

Alright, Goddammitt, I'll take you.

SAM

Oh my God oh my God!  Rubel Bly Harrison

and Williams!

Sam, shaking with relief, pulls out his wallet just as the

elevator door starts closing.

RITA

No, no  no.  Pro-bono.  Alright?  Pro

bono.

The doors close.  We hear from within, as Sam goes up again:

SAM (O.S.)

Yes!  Alright!  I liked Sonny Bono too!

INT. BUS - MORNING

Sam stares out the window at an unfamiliar neighborhood.  On

his lap, the pink box, now ripped, allowing us to see Lucy's

birthday cake.  It's lopsided from having been thawed and

refrozen.

EXT. BUS STOP - NOON

Sam waits for his transfer.  He sets the cake down on the

bench and takes out a piece of paper with directions written

on it.  The number 43 bus pull sup and Sam consults his paper

once more before jumping on, forgetting the cake.

The bus goes half a block before it SCREECHES to a halt.  Sam

jumps off and runs back for the cake, but the bus continues

on its way.  Moments later, the NUMBER 34 bus pulls up.

Flustered and worried about being late, Sam jumps on.  He

feels something cold on his hand, looks down, the box is

starting to leak ice cream.

INT. SOCIAL WORKERS OFFICE - DAY

Lucy, Margaret, a therapist and a child psychologist wait for

Sam.

MARGARET BROWN

Lucy, I'm sorry.  But it doesn't look

like he's going to make it.

LUCY

(staring forward)

He'll be here.  You smell like soap.

MARGARET BROWN

Lucy, he's an hour and 45 minutes late.

You'll only have a few minutes left.

Suddenly through the door comes Sam CARRYING THE MELTED,

DRIPPING birthday cake.  Lucy runs to him.

LUCY

Daddy!  I told you I told you!

CUT TO:

INT. THE SOCIAL WORKER'S SMALL GREY OFFICE - MOMENTS LATER

Margaret, the therapist (Ms. Geller), and the Child

Pscyhologist all write voraciously into note pads as they

observe Sam and Lucy who sit in the center of the room,

nervous under their scrutiny.

SAM

...and she's a Century City lawyer - a

very famous lawyer.  Guess what her name

is?  Rita Harrison.

LUCY

(jaw drops)

Lovely Rita Meter Maid.

SAM

Harrison.  Just like George.

They move to hug each other.  EVERYONE REACHES for their

pens.  Sam pulls back self-consciously.  Everyone writes even

harder.

SAM (CONT'D)

You've grown.

LUCY

Have I?

SAM

Your ears are larger.  And your eyes are

older.

He's right.  Her eyes are older.  He hugs her - ALL THE PENS

GO UP.

SAM (CONT'D)

I'm gonna get a phone machine.  Next

paycheck.  If I'm not home, you can

leave a message.  "Hi, This is Lucy."

LUCY

You can't afford a phone machine.

The writing starts again.

SAM

Yes we can.  I'm in line for a

promotion.  Big promotion.  A promotion

that's big.

LUCY

They're gonna let you make coffee?!

SAM

Set your dreams high, Lucy.

Lucy looks at her father lovingly.

LUCY

I'm sorry, Daddy.  It was all my fault.

SAM

No, Lucy.  Don't say that.

LUCY

I wouldn't want any Daddy but you.

She looks around to see if anybody's writing.  NOBODY IS.

She suddenly screams at them:

LUCY (CONT'D)

I said I was sorry!  I said I didn't

want any Daddy but him!  Why don't you

write that down?!

INT. RITA'S OFFICE - DAY

We hear sobbing and see Rita sitting across from a very rich,

very angry COUPLE.  Rita's foot is twitching furiously.

RITA

...are you telling me that neither of

you want custody of your child?

WOMAN

He's created a monster.  He's exactly

like him.  He...he...

The woman is distracted by a loud thumping on Rita's glass

wall - it's SAM.  Holding an envelope.  Very distressed, as

the Secretary attempts to corral him back into the lobby.

RITA

I am right here with you, excuse me.

(she unlocks door)

Sam?  Didn't I tell you that you have to

call?

SAM

I -

RITA

You know how to make an appointment.

SAM

It's -

RITA

That's ridiculous you can always get

Patricia.

SAM

They -

RITA

Good.  I'll see you next week.

SAM

But it's an emergency - lots of three

syllable words urgent open at once.

He hands the letter to Rita.  Rita looks through the glass

wall at her clients who are getting impatient.

RITA

They want to have you and Lucy evaluated

by a shrink.  The appointment is today

at three.  Today.  Now.  Today!

SAM

I know and I want you to object.

RITA

Sam I can't object.  It's court ordered.

Sam notices that the woman in Rita's office is crying.  He

walks in and hands her a handkerchief from his pocket.

SAM

Here.  Don't be sad.

She looks at him as if he's from Mars.  Rita, now outside her

office, watches Sam now inside the office.

RITA

Patricia, I'm in the middle - get him

out of there -

She quickly gets up but Rita's too impatient and pushes past

her into the office.

RITA (CONT'D)

Sam.  Sam come with me.

(to the Couple)

We're gonna get through this excuse

us...

(to Sam)

Sam this is their turn now.  Not yours.

Theirs.  If you leave now you'll never

make it and you have to make it.

SAM

Okay okay I know I take the #34 bus and

transfer to the #13...than the Downtown

Express to Wilshire then -

Rita looks at the Couple leaving her office.

INT. RITA'S PORSCHE - DAY

Redefining road rage, Rita's slamming the horn.  Sam next to

her.

RITA

Go! Go! GO! for chrissakes!  Green means

GO!

SAM

Red means stop yellow in the middle

means no no no...I don't like shrinks.

I've seen too many shrinks.

RITA

Yeah.  You and me both.  Right or left

which will it be you IDIOT!?

SAM

Your mother sent you to shrinks, too?

RITA

No.  Well, sort of.  I talk about her

the whole time I'm there.

SAM

That's nice.  Did you notice that

everyone else is driving slower.  I

noticed that did you?

RITA

(on the horn)

Go for Chrissakes!  How about your

mother?  Maybe she can help you -

SAM

She's gone.  She's at the Park Lane

Mortuary.  Two from the left.  Under the

big tree.

RITA

Oh.  I'm sorry.  The light is green!

WOULD YOU MOVE MOVE MOVE!?

She cuts around the car in front of her; flips him off, and

in a split second that her head is turned, almost SMASHES

into the car in front of her!  She slams on the brakes.

SAM

Too many shrinks...I'm sorry Mrs.

Dawson, if I were you I wouldn't waste

any more time.  I'm sorry Mrs. Dawson it

must be a tremendous disappointment.

I'm sorry Mrs. Dawson I think you'd both

be happier if Sam was in a home.

Rita looks over at Sam, forced to stop.

INT. PSYCHOLOGIST OFFICE - DAY

Sam sits across from a shrink, MS. GELLER, nervously

straightening her desk.

PSYCHOLOGIST

Mr. Dawson, you do understand, that

since I am a court appointed

psychologist, the traditional client

therapist confidentiality will be

waived.

(Sam looks confused)

Mr. Dawson, do you understand that the

confidentiality will be waived?

Sam nods nervously and waves.  With that she begins.

INT. SAM'S APARTMENT - NIGHT

Sam, Ifty, Brad and Robert hover over a used answering

machine.  Ifty pours over the instructions.

IFTY

Before you read your message press the

red button for record, when you finish,

press the yellow button.  If you press

the green button, it will play it back

you.  Let's start with the "ogm".

SAM

Okay, okay.  I'm ready.  Hello, I am

Sam.

IFTY

No, no.  I didn't press the red button.

SAM

Oh, yes.  False start, false start.

IFTY

It's not working.  That's what you get

for buying a used machine.  Used means

broken.  You're asking for other

people's problems, you have enough of

your own, not that everyone doesn't have

problems.

BRAD

It's not used.  It's pre-owned.  Guy

bought it for his auto shop and then he

got a secretary.

IFTY

Testing, one two three.

SAM

That's a good code.  I'll remember that.

One, two, three.

IFTY

(pressing button)

Quick, you're recording.

SAM

I'm hi.  I am Sam.  I'm not home.

ROBERT

No, you don't want to say that.  you

don't want them to know you're not home.

SAM

But then I'm lying.

ROBERT

Everybody's lying.

SAM

I'm not a liar.  It will send a mixed

message to Lucy.

IFTY

(pressing the button)

You're on the air!

SAM

Let me see, let me see, let me see.  Hi,

how are you?

BEEP! the tape runs out.

IFTY

That was pretty good.  That was natural.

SAM

Did I sound like a good father?

IFTY

It's the outgoing message.  You need to

sound more outgoing.  Let's start again.

INT. GROUP HOME - NIGHT

Mrs. Kerry unlocks the phone and dials.  She hands the phone

to Lucy who waits eagerly in her pj's.  Sam's answering

machine clicks on; as if on slow speed.

ANSWERING MACHINE

Hi, it's Len's Auto Body Shop.  We'd

love to show you our body work, but it's

invisible.  Leave it at the beep.

LUCY

Try again.  You must have dialed the

wrong number.

INT. RITA'S OFFICE - DAY

Rita and Sam walk through the lobby at Rita's Olympic pace.

She passes the elevator and heads for the stairs.

RITA

Look, we've got a lot to go over and

I've got five minutes.

SAM

(pointing to elevator)

Rubel Bly Harrison and Williams thirty

second floor, thirty-two floors up.

Rita heads up the stairs.  We hear a BEEP.  Then another.

Rita checks her heart rate watch.  Starts walking up the

stairs.

RITA

One-twenty.  Gotta get to one-twenty

five to make it count.  Okay okay okay.

I'm gonna need that list of people who

can testify that you're a good father

despite your handicap.  I didn't mean

your handicap I meant your disability -

I mean the fact that you're retarded.

That's not the right word.  I mean...

What do I call you?

SAM

Sam.  I am Sam.

Rita looks at Sam as she bounds up the fourth floor.

RITA

Yes you are.

(he hands her a list - her CELL

PHONE RINGS)

Hello Ted how you doing/  Whattaya mean

what's that supposed to mean?

(her heart beep rate goes up)

Put Danny on... You're supposed to be

taking him to karate.  No it is not my

day it's your day.  I took your day last

Wednesday - are you eating no I will not

hold.  Go pick him up!  What?  I can't

hear you I'm in the car - they put you

through to me here...I'm losing you --

(clicks off phone)

I get paid for this memory - I know I

took him last.

A look of horror falls across her face.  She does a 180 and

starts RUNNING down the stairs reading the list.

RITA (CONT'D)

We're making progress.  Three character

witnesses.  That's a good start.  What

does Ifty Bhutto do?

SAM

He works in a bank.

RITA

(tripping down the stairs)

Excellent.

INT. RITA'S OFFICE - THE VERY NEXT DAY

Ifty sits across from Rita who attempts to take notes.

IFTY

Sam is a very concerned father.  He

always saves his money at Bank of

America.  Last year there was a lion on

the calendar.  This year a gazelle.  The

gazelle is national bird of Tunisia.  We

have clients, not customers.  At Bank of

America.  Bank on us.

He looks up at her, lost.  So is she.

IFTY (CONT'D)

What was the question again, please?

CUT TO:

INT. RITA'S OFFICE - DAY

ON BRAD

Who sits across from Rita.  She tape records him.

BRAD

He always made a point of feeding her

breakfast when "Bewitched" was on and

lunch when "Jeopardy" was on so she'd be

smart.  Is that Wonderbra you're

wearing?  Because you look wonderful.

CUT TO:

INT. RITA'S OFFICE - DAY

Robert sits across from Rita, who records him.

RITA

How long have you and Sam -

ROBERT

Why are you recording this?  Who's

listening?

RITA

It's often necessary -

ROBERT

Who are you really?

RITA

I'm -

ROBERT

What's that supposed to mean?

RITA

Let's -

ROBERT

I need to talk to my lawyer.

CUT TO:

INT. RITA'S OFFICE - LATER

Rita maniacally picks the frosting off a donut.

RITA

Patricia, get Mr. Dawson on the line.

Over her INTERCOM, we hear SAM'S ANSWERING MACHINE.

ANSWERING MACHINE (O.S.)

Hi, it's Len's Auto Body Shop -

RITA

I need this like a - call him at

Starbucks - no I don't know which

Starbucks.  There's forty two between

here and the end of the block.

EXT. STREETS - DAY

Rita stands next to her Porsche.  There are Starbucks in

every direction she looks.

INT. STARBUCKS - DAY

Sam is straightening Sweet and Lows.  Rita barrels in.

RITA

Look I don't think you understand what

you're up against we have to be in court

in three days and we don't have a decent

witness.  Now you've gotta know someone

who can testify who's been to college -

or has a degree of some kind - or some

sort of way of expressing themselves

that's gonna make the court believe that

you deserve to get your daughter back I

need a coffee.  Big.  Tall.

SAM

Tall's the smallest.

RITA

Of course.  Of course, whatever.  Okay

okay okay.  Damn!  I forgot to call back

no I did and once you think of this

person and there has to be one person -

I want you to call me at work - because

I'm going back there now to my seven

other cases --

(her cellphone RINGS)

What?  Mrs. Robeck?  I'm on my way, the

traffic's horrible on the 405.  Dorothy,

we put in five months lets not let a

three car pile up..I know it's been

enormously stressful.. Your Esczema?

Oh, honey, nobody notices..AH!  They

opened a lane!

SAM

(too loudly)

Do you want it here or to go?

RITA

(dial tone)

Dorothy?  Dorothy?  No no no I didn't

stare at the eczema for five months for -

She takes out her car beeper, clicks it towards the window

and realizes that they're towing her car!

RITA (CONT'D)

Sonuvabitch!

INT. ANNIE'S APARTMENT - EVENING

Annie is at the piano, lost in a Beethoven concerto.

SAM

Annie, it's one day.  One hour.  Maybe

only 53 minutes.  Lucy needs you.

(Annie keeps playing)

You went to college.  You can give the

right answers.

Annie plays even harder.  Frustrated, he POUNDS the piano.

SAM (CONT'D)

We can't lose her.

ANNIE

I can't.  I'd make it worse for you.  I

can't do it.  Don't you think I would if

I could?

CUT TO:

INT. COURTROOM - DAY

We HEAR A VOICE:

VOICE (O.S.)

All rise for the Honorable Judge Phillip

McNeily.

Sam stands along with others in the courtroom.  The Judge

enters and sits.  Everyone else sits now, too.  Except Sam.

Who continues to stand until Rita pulls him down.  Now we

see:

Ifty, Robert, Brad - and Brad's MOTHER, who sits several

seats behind Brad knitting.  Robert holds up a handmade sign

from the back of the courtroom "Free Lucy Dawson".

INT. COURTROOM - ONE HOUR LATER

Turner, the prosecuting attorney, examines his first witness.

He's disheveled, but don't let the rumpled suit fool you.

This man is razor-sharp.  The THERAPIST who evaluated Sam is

on the stand.  Sam anxiously rearranges all the pens on the

desk he sits at with Rita.  Projected on a SCREEN is a SLIDE

of the drawing Lucy made in school.

THERAPIST

...there is an unhealthy reversal of

roles here.

As you can see from her drawings, she

has an exaggerated sense of

responsibility.  Lucy feels she has to

take care of her father.  Although at

her birthday party her true feelings

about her father were revealed.

RITA

Objection.  "True feelings revealed"?!

TURNER

The state is paying Miss Geller for her

opinions -

RITA

Then every child who rages because they

didn't get to stay up for that extra

hour of TV -

TURNER

Objection your honor -

Sam TUGS at Rita's sleeve.  She ignores it.

RITA

...in fact any child who said they hated

their parents because they didn't want

to take a bath would be a prime

candidate for Foster Care.

TURNER

Objection.

SAM

I think they want you to stop.

RITA

Really?!  Thank you, Sam.

JUDGE MCNEILY

We all appreciate your assistance Mr.

Dawson - continue with your witness, Mr.

Turner.

TURNER

Now Ms. Geller, I assume in your therapy

session, Mr. Dawson extolled his

parenting abilities.

THERAPIST

On the contrary, Mr. Dawson admitted he

felt profoundly inadequate - that he was

terrified he'd made and would continue

to make - and I quote: "Huge mistakes,

huge mistakes, mistakes that are huge."

TURNER

No further questions.

Rita starts to scribble notes furiously.  So does Sam.

Turner smugly sits down.  Rita confidently strides toward the

witness.

RITA

You're a mother, aren't you Ms. Geller?

THERAPIST

Yes.

RITA

Would it be fair to say that as a

parent, you've felt confused from time

to time, possibly overwhelmed on

occasion, even though you're a wonderful

mother?

TURNER

Objection.  It's Mr. Dawson's parenting.

Not Ms. Geller's that's at question

here.

RITA

But if Ms. Geller has never had a moment

where she felt confused as a mother it

would bias her opinion.  And it is her

expert opinion we're all after, isn't

it, Mr. Turner?

JUDGE MCNEILY

Overruled.  I'll allow it.

RITA

Thank you, your Honor.  Ms. Geller, I

know there have been many moments as a

parent where I've felt I've made huge

mistakes - mistakes that are huge.  And

I've had to admit them to myself.  My

husband.  But most importantly, to my

therapist.  Which is the guise Mr.

Dawson thought he was seeing you under,

isn't that right, Ms. Geller?

TURNER

Objection.

JUDGE MCNEILY

Get to the point, Ms. Harrison.

RITA

The point is you've never had those

moments, have you Ms. Geller?  Moments

that every parent I've ever spoken to

has - moments when you've felt the task

is so unbelievably challenging that you

feel retarded, disabled in some way.

Moments when you feel everyone has the

key but you.  But you've never had those

moments, have you Ms. Geller?

THERAPIST

I -

RITA

Yes or no?

THERAPIST

I -

RITA

Let me rephrase the question.  When your

son od'ed -

TURNER

Objection!

RITA

But if Ms. Geller didn't feel she had

made mistakes - mistakes that were huge

it might bias her opinion toward Mr.

Dawson.

JUDGE MCNEILY

I will -

RITA

Thank you.  So Ms. Geller - yes or no -

when your son od'ed, did you feel you

might have made mistakes, mistakes that

were huge?

THERAPIST

(tearfully)

Yes.

INT. COURTROOM CAFETERIA - DAY

Sam and Rita go down the cafeteria line.

SAM

You made her cry.

RITA

You got lucky.

SAM

That's not nice.  Not very nice.

RITA

Only in there.

SAM

Your secretary too.  Yellow and green in

one bowl.

(Sam stares at a bowl of Lima

beans and corn)

You separate the Lima beans from the

corn please?

The CAFETERIA WORKER stares at him.  Yeah.  Sure he will.

RITA

Sam, don't be impossible.

(then to Worker)

Can I have the spinach omelet - only egg

whites no fat no oil no butter and extra

mushrooms.

CAFETERIA WORKER

Absolutely.

Sam is anxiously separating his Lima beans and corn into

separate piles.  They arrive at the cashier.  Rita pulls out

her billfold.  Sam reaches for his wallet.

SAM

My treat.  My treat.

RITA

Don't be ridiculous.  I'll get it.

SAM

I said it's my treat.  That means I'll

get it.

RITA

Sam, do you really want to get it or are

you just trying to --

SAM

Trying to what?

RITA

You know, trying to act like a -

SAM

Like a what?

RITA

Like a...a...

SAM

A real man?

RITA

I didn't say that.

SAM

You're my lawyer and you think what they

think.  I don't have a chance.  No

chance at all.  Even with an expert

witness.

Rita looks at him.  He's right.  She chooses her words

carefully.

RITA

I think...you deserve...a fair trial.

SAM

Answer the question.

RITA

Okay okay okay.  What was the question

again?

SAM

Do you think what they think?  Sam can't

order food.  Sam can't pay a check.  Sam

can't take care of Lucy?

RITA

It doesn't matter what I think - it

matters that we win.

SAM

You're my lawyer it matters what you

think.

RITA

Hey, it doesn't matter to them what I

think.

SAM

Me.  It matters to me.

He reaches for the receipt, and faces the CASHIER defiantly.

SAM (CONT'D)

Fourteen thirty three.  That's 5 ones, 2

quarters and 16 cents less than twenty.

He slowly counts his money, takes his tray and walks away.

Rita watches him, with a trace of remorse and a hint of

admiration.

INT. COURTROOM - DAY

DR. DONOVAN, an attractive soft-spoken woman is on the stand.

Rita is working the room.  Sam, having a hard time

concentrating, is following a crack up the wall and onto the

ceiling.

RITA

Dr. Donovan, the American Medical

Journal named you one of the country's

leading oncologists.  Isn't that

correct?

DR. DONOVAN

Yes.

RITA

What kept you going the twelve years you

were in medical school?

DR. DONOVAN

Caffeine.  Sugar.  And my mother's

confidence in me.

RITA

I wish I had a mother like that.  She

must have been smart.

DR. DONOVAN

She had great instincts.

RITA

Do you have any idea what her IQ was?

DR. DONOVAN

In the lower ranges.  About eighty.

RITA

So your mother, this woman with the IQ

of a nine-year old had the wisdom to

recognize that you would be a great

doctor.  I guess her disability didn't

seem to hold you back in life.

DR. DONOVAN

No.  My mother's condition taught me

what they can't teach you; compassion

and patience.

RITA

Traits most doctors have in spades.

Thank you, no further questions.

Sam runs to hug Dr. Donovan, bumping into Rita who sits him

down.

TURNER

How'd you get through medical school?

Where'd you live?

DR. DONOVAN

We lived with my mother's parents.

TURNER

Oh, Grandma and Grandpa.  Would it be

fair to say your grandparents were of

normal intelligence?

DR. DONOVAN

Yes.

TURNER

And didn't these people - your

grandparents - with normal intelligence -

have the real responsibilities?

RITA

(relishing this)

Objection!  I hear Mr. Turner's mother

in-law lives with him!  She must help

out.  Does that mean he doesn't have the

real -

TURNER

Motion to strike that from the record.

Irrelevant, immaterial and immature -

RITA

Irrelevant?!  Any parent has a right to

a support system.

TURNER

I'm not talking about the rights of the

parent, I'm talking about the rights of

a child.

(the gavel bangs)

I'm talking about entrusting an eight

year old's welfare in the hands of

someone whose records show he was

diagnosed with infantile autism, mental

retardation...

RITA

Objection!  Motion to strike that from

the record.  It's clear that one's

intellectual capacity has no bearing on

their ability to love.  You Honor, would

you please instruct council to proceed

with a modicum of sensitivity?

TURNER

Oh, I'm sensitive.  I'm real sensitive

when I see people like you --

(the gavel BANGS!)

come here and try to give meaning to

your life by screwing up somebody

else's!

JUDGE MCNEILY

That's enough.  Both lawyers approach

the bench!

RITA

(both approach)

And I suppose tearing apart a family is

truly noble work, Mr. Turner.

JUDGE MCNEILY

That's it.  I fine you both for

contempt.  Two-hundred fifty dollars.

TURNER

What's that to her?  She gets that for

picking up the phone.

RITA

Oh, that's what this is about.

TURNER

I'll tell you what this is about.  See

this is an award for you at some

luncheon.  But I'm here everyday.

(gavel POUNDS AGAIN)

You win, you're out the door.

But guess who I see come back?  The kid.

Most of the time, in less than a year.

Only now it's too late.  So you're

right.  I'm real sensitive.  You can't

even touch that area.

ON SAM

Devastated.

CUT TO:

INT. INSTITUTIONAL GRAY SOCIAL WORKERS OFFICE - DAY

Margaret Brown observes Sam and Lucy.

LUCY

But how did he prove it?

SAM

Columbus had to sail around the world to

prove it was round.

LUCY

You're so smart, Daddy.

Sam shoots a look at Margaret.  He hasn't heard anything nice

about himself in so long.  Lucy looks into her father's eyes.

LUCY (CONT'D)

Are we winning, Daddy?

Sam shoots ANOTHER look.  He doesn't want to lie.  Lucy

catches the look between Sam and Margaret.

MARGARET BROWN

Excuse me, time's up.

LUCY

Please.  Just a little more.

MARGARET BROWN

I have another client at two-thirty.

You need to put your shoes on and get

ready to go.

LUCY

Oh no!  There's a knot.  A really big

knot.

Sam attempts to undo it.  Lucy and he work very slowly,

cherishing each moment together.

MARGARET BROWN

I'll help you.

She undoes it quickly.  Hands it back.

LUCY

I need to go to the bathroom.

INT. BATHROOM - MOMENTS LATER

Lucy's feet dangle from under the stall.  Margaret's sturdy

shoes from under another.  Suddenly, Lucy's head pops out and

now she quietly wriggles out from under the stall, tip toes

across the room and out the door.  Locking it with a key.

INT. SOCIAL WORKERS ROOM - CONTINUOUS

Lucy runs up to her father.

LUCY

Daddy, she said we could go to the park.

SAM

What's going on?  What made her change

her mind?

LUCY

I started crying in the bathroom.  She

thought we needed more time.

SAM

That was so nice of her.  Very nice.

INT. BUS - DAY

Sam and Lucy hold hands and look out the window.  Sam sees

Echo Park approaching and gets up.  Lucy pulls him back to

the seat.  She looks Daddy in the eye and in a furtive

whisper:

LUCY

Let's not get off.  Let's keep going.

SAM

No, Lucy.

LUCY

Please.

SAM

That would be wrong.

LUCY

Tamara's Mommy lost her case and Tamara

hasn't seen her in six years.  She's had

five different mommies and one of them

hit her.

SAM

I won't let that happen.

LUCY

That's what her real mommy said.  And

now they won't even let her talk to her.

Sam reels with confusion.  Lucy buries herself in his chest.

LUCY (CONT'D)

Daddy, it's the only way to be together.

We'll start a new life, get new names.

We'll live in a new apartment.  They'll

never find us.

The bus has stopped.  Passengers for the park have exited.

Sam doesn't move.  As the BUSDRIVER closes the door and heads

on, he holds Lucy protectively to his chest.

SAM

I love you Lucy.  I love you.

LUCY

My name isn't Lucy anymore, it's

Michelle.

INT. BUS - NIGHT

Lucy sleeps cuddled close to Sam, who is wide awake, as he

gazes out at the passing highway, far from home.  We hear the

song "Michelle".

EXT. PARK - 4 A.M.

Sam, totally disoriented, walks in circles around the plastic

tunnels and jungle gym.  A flashlight shines in Sam's face.

COP

Hey, buddy.  No loitering.  Move it.

SAM

Not yet not yet not yet.

COP

You want me to get a black and white

down here?

He moves toward Sam.  SUDDENLY THE SPRINKLER SYSTEM goes on.

The cop backs off, but Sam doesn't move, standing in the

middle of the park and getting totally wet.

SAM

Not yet not yet not yet.

He shines the flashlight in Sam's face and we see INSIDE THE

PLASTIC TUNNEL where LUCY SLEEPS PEACEFULLY on a bed of

coats, holding a discarded stuffed animal.

COP

Jesus Christ.

SAM

She hasn't been sleeping well.  She

needs a good night's rest.  Let her

sleep, let her sleep.

(the cop moves toward Sam)

NO!

COP

What are you, crazy?

All the cop sees is a lunatic walking in protective circles

in the downpour of the sprinklers with a kid in a plastic

tunnel.

SMASH CUT TO:

INT. POLICE STATION - DAWN

Police doors swing open as Rita, coat over pj's, a sleepy

DANNY by her side, storm inside.  Lucy lies on a bench with

her head in Sam's lap.

RITA

What were you thinking what were you

possibly thinking?!

SAM

I -

RITA

That's ridiculous!  Danny stay with me -

(he moves away)

What could you possibly gain by

kidnapping your kid in the middle of a

custody hearing?!

SAM

She -

RITA

I don't wanna hear it!  Can you possibly

explain this to me?!

SAM

But Lucy said -

RITA

Who's the parent here?  Who's the

goddamned parent here?  Danny!  Stay in

the hallway -

Danny turns the corner just as Margaret Brown rushes in.

Rita turns to her - her expression changes on a dime.

RITA (CONT'D)

Miss Brown, I can imagine what you're

thinking.

MARGARET BROWN

I'm -

RITA

But I ask you what parent in their right

mind seeing their child in pain --

MARGARET BROWN

I have seen -

RITA

Their yearning for contact - wouldn't

take them in an attempt to comfort them?

Where the hell is Danny?

MARGARET BROWN

You -

RITA

He -

MARGARET BROWN

There's -

RITA

Oh yes there is!  And if I were you I'd

look at my conscience you do have one

don't you long and hard before I tried

to use this in court.

MARGARET BROWN

Is that a threat?

RITA

No.  It's a plea.  Give'm a break.

Give'm one goddman break.

Margaret's cell phone RINGS.

MARGARET BROWN

What?!  No, Mrs. Sloan.  His temperature

couldn't be 117, no not even 107.  Okay,

okay, I'll come...Come on Lucy, I'll

take you back.

RITA

C'mon, Danny.  We're going home.

Danny!?  Danny!?!?

The FIRE ALARM GOES OFF and --

RITA (CONT'D)

Goddamn it, Danny!

Rita avoids Margaret's look.  Margaret's cell phone goes off

again.  She doesn't answer.  Now Rita looks at Margaret, but

this time Margaret avoids looking at her.  Lucy runs to Rita

and throws her arms around her waist.

LUCY

Please don't fire us.  It was all my

idea.  Please don't.  Please.  Please.

Rita is disarmed.  She's moved and not used to being moved.

INT. COURTROOM - DAY

BAILIFF

...the whole truth, and nothing but the

truth, so help you God?

Lucy's in her best dress, being sworn in.  One hand in the

air.

LUCY

So help me God...

And now CAMERA MOVES AROUND HER AND WE SEE THAT SHE'S HIDING

HER OTHER HAND BEHIND HER BACK - FINGERS CROSSED.

INT. COURTROOM - LATER

Lucy is on the stand, Turner is cross-examining her.

TURNER

I heard you turned seven this year.

That's pretty exciting.

LUCY

Everybody gets older.  It's not that big

a deal.

TURNER

What'd you get for your birthday?

LUCY

I haven't opened my presents yet.

TURNER

Really?  That's odd.  Why not?

Lucy looks to her father and Rita.

LUCY

I opened my presents.  I got the HELP

album - limited edition.

ON RITA AND SAM

What is she doing?

TURNER

Oh, I'm sorry.  I was confused.  I

thought you didn't open your birthday

presents because you ran away from your

own party when your best friend told

everyone that you were adopted.

LUCY

I never said that; why would I say that?

TURNER

Why would your friends say it if you

hadn't said it?

LUCY

Kids lie all the time.

Next to her skirt, we see her fingers are crossed so hard

they're practically turning purple.

TURNER

May I remind you Lucy that you're under

oath?

LUCY

You may.

TURNER

And do you know that means if you lie

you could be in serious trouble?

LUCY

I do.

TURNER

So now that you and I have agreed to

tell the truth, where did you sleep last

night?

Rita glares at Margaret.  Thanks a lot.

LUCY

In my bed at the Foster home.

TURNER

All right, Lucy.  If you're not going to

tell the truth, I am.  Your dad

kidnapped you last night and the police

found you sleeping in a seedy park a

hundred miles from here.  You're lying

right now because you're afraid.  Afraid

that everyone will see how scared and

frustrated you really are.  You're

afraid of hurting him, but now we need

to tell the truth.  The truth is deep

inside you know you're not getting what

you need from your father.  Isn't that

right, Lucy?

A LONG SILENCE.  She stares at Turner defiantly.

LUCY

"All you need is love."

INT. COURTROOM CORRIDOR - DAY

WE HEAR THAT SONG as Sam and Rita walk out of the courtroom.

Rita is breaking pieces off a candy bar she has stuffed in

her purse.  They see Lucy running down the corridor toward

Sam, Margaret Brown behind her.

LUCY

Daddy!  I did great, didn't I?

SAM

No, Lucy, you lied.

LUCY

Shhh!  Don't tell anyone.

Rita watches Sam.  Moved by his concern as a parent.

MARGARET BROWN

Lucy, Mrs. Kerry's here to take you

back.

LUCY

I thought you'd be proud of me.  Jo Jo's

mom told him to lie on the stand and say

he never saw a needle in the house; and

he did, and now they're back together.

SAM

Jo Jo isn't us.  The truth, the truth,

when the judge hears the truth, he'll

know, he'll know we should be together.

LUCY

(bursting)

Nobody's interested in the truth, Daddy.

Nobody cares!

They lead her down the hallway toward Mrs. Kerry - Sam's

voice gets louder and louder - determined to make her hear.

SAM

I CARE!  DO YOU HEAR ME?  THE TRUTH.

THE WHOLE TRUTH!  SO HELP ME GOD!!

INT. SAM'S APARTMENT - NIGHT

The darkness of Sam's apartment.  We see him on his knees.

Saying his prayers by his bedside.

SAM

Help me, God.  Help me, God.  Help me,

God...

We see ANNIE'S SILHOUETTE from the window of her apartment as

it moves across the frame.

INT. COURTROOM - DAY

Turner cross examines George, the manager of Starbucks.

GEORGE

Sam's my most reliable employee.  He's

never missed a day of work in eight

years.  Always warm, always friendly.

TURNER

Admirable qualities for a single father.

Mr. Walker, in these eight years, have

Mr. Dawson's responsibilities,

which...let me see...would include

bussing tables, replenishing Sweet 'n

Lows, and sweeping up the place...

increased?

GEORGE

No.  Not really.

TURNER

And isn't that because he's mentally

incapable of learning management skills

or working the cash register or even

making a cup of coffee?

RITA

Objection.  Leading the witness.

JUDGE MCNEILY

You may answer the question.

George searches for a way to tell the truth.

GEORGE

Well as a matter of fact, Sam and I have

been discussing a promotion that I was

planning on putting into effect at the

end of the week.

Sam leaps to his feet.

SAM

Oh boy!  Thank you, George!

Rita pulls him down.  Turner seizes the moment.

TURNER

Yes.  Thank you, George.  Now, after

eight years, Sam can finally measure out

a teaspoon of coffee and cup of water.

Now, he must certainly be able to help

Lucy with her geometry.

RITA

Objection -

TURNER

No further questions.

INT. COURTROOM CORRIDOR - LATER

Rita prepares Ifty.

RITA

...and when I ask another question?

IFTY

I answer in one sentence.

RITA

Yes.  Short and sweet.

IFTY

Yes.  One sentence.  Short and sweet.

My aunt was short and sweet.  But her

cooking was too spicy she...

Rita's twitching foot knocks over her purse.  Out spill

several Snickers Bars with the chocolate picked off them.

Embarrassed, she kneels to pick them up when she and Sam see

something that stops them both, awestruck.  In the corner of

the corridor, huddled on a bench in dark sunglasses, sits

ANNIE IN A PROFESSIONAL BUSINESS SUIT.  Sam runs to her.

SAM

Annie!  I can't believe it!

ANNIE

(visibly trembling)

Tell them to take me quickly.

RITA

Give me one minute with the judge.

INT. COURTROOM - FIFTEEN MINUTES LATER

Annie, wearing her dark glasses, is being questioned by Rita.

RITA

Besides being Lucy's godmother, aren't

you also Lucy's piano teacher?

ANNIE

Yes.

RITA

Lucy's very lucky.  Didn't you graduate

Magna Cum Laud from the Julliard School

of Music?

ANNIE

Summa Cum Laud.

RITA

(delighted)

Excuse me.  Now Ms. Cassell, in all the

time you've known them, have you ever

questioned Sam's ability as a father?

ANNIE

Never.

RITA

Never?

ANNIE

Never.  Look at Lucy.  She's strong,

she's able to display true empathy for

people, all kinds of people.  I know you

all think she's as bright as she is

despite him.  But it's because of him.

DISSOLVE TO:

INT. COURTROOM - LATER

Turner stands where Rita did.

TURNER

Can Sam add?

ANNIE

Yes.

TURNER

How about multiplication?

ANNIE

He's learning.

TURNER

So what you're saying is that Sam can

not even multiply two times two?

ANNIE

I don't know about you, Mr. Turner, but

my fondest memories of my parents have

nothing to do with times tables or state

capitals.

TURNER

I bet he's knocking on your door all the

time with questions.

ANNIE

Yes.  All the time.  The last question

was whether to use Biz or Clorox to get

the grass stains out of Lucy's soccer

uniform.

ON RITA AND SAM

This is too good to be true.

TURNER

So let's see..he doesn't know math...he

can't even wash her clothes.  How about

puberty?  I can only imagine how much

insight he'll bring to approaching the

sensitive issues of a young girl's

development.

ANNIE

Mr. Turner, show me a father, any

father, who knows how to do that and

I'll give them the Parent of the Year

award.

TURNER

And you've had plenty of opportunity to

observe fathers, haven't you?

RITA

Objection!

TURNER

But the fact that Ms. Cassell hasn't

come out of her room in years might have

some effect on her perception.

JUDGE MCNEILY

I'll allow it.

ANNIE

I had twenty eight years in the world to

observe all kinds of fathers.

TURNER

What about your father, Ms. Cassell?

Since you appear to be an expert on

father-daughter relationships.

A long pause.  Sam watches as Annie visibly tightens.

TURNER (CONT'D)

Excuse me, Ms. Cassell, I didn't hear

your response.  What about your father?

Annie reaches for her water glass.  We see her hand SHAKE.

It knocks over the glass, shattering it on the floor.

SAM

Objection!  No further questions!

TURNER

Excuse me, Mr. Dawson?

SAM

I said that's enough!  I will not allow

it!  Overruled!  Overruled!!

Rita doesn't stop him.  The Judge hesitates, incredulous,

then pounds the gavel as the courtroom erupts.

EXT. SAM'S APARTMENT - DUSK

Rita sits in her Porsche with Annie and Sam.  Annie is curled

into a tight ball in the passenger seat.  Sam is tucked into

the shelf in the back.  His legs kick Rita in the face with

every gear shift.

RITA

Thank you again, Annie.  You were truly

extraordinary.

SAM

Extraordinary.  Truly extraordinary.

Annie doesn't move.

RITA

Okay okay okay okay.  Well, Sam has his

big day on the stand tomorrow and we

need to work a little bit so that he's

as effective as you were.

SAM

Effective.  Very effective.

RITA

On a Porsche, the, uh, the door handle

is a little hidden by that thingamajig,

so if you're having a hard time finding

it I'll just --

Rita reaches across to open Annie's door when she SCREAMS!

ANNIE

Noooooooo!

SAM

Annie's not quite ready to go outside

yet.

RITA

Okay, we'll just take our time.

INT. PORSCHE - TWO HOURS LATER

It's dark now.  Annie is still catatonic.  Rita's on the car

phone, the kind that voice activates and she's yelling.

RITA

Home!  Home!  HOME GODDAMNIT!  Juanita,

help Danny with his English assignment.

Ayude Danny un story...story...STORIO!

ANNIE

(rising from the dead)

I'm ready now.

RITA

(gently)

Good, fine, Sam?  Annie's ready.

Sam's fallen asleep.

EXT. RITA'S LAVISH BEL AIR HOME - NIGHT

Rita and Sam enter.

INT. RITA'S BEL AIR HOME - NIGHT

Sam is awestruck at the magnificent home.

RITA

Okay okay okay okay.  We'll work in the

library.  It's down the hall and to the

left.

They pass another room and see Danny zoned out in front of

the wide-screen TV watching MUTANT NINJA TURTLES.

RITA (CONT'D)

Hey, Danny.

(no answer)

Where's your father?

DANNY

(staring at TV)

Guess.

RITA

I don't want to guess.  Where is he?

(Sam watches Rita)

I told you I don't want to guess.

DANNY

Well where was he last night?

RITA

Working late.

DANNY

There you guessed it.

RITA

He said he was working late?

DANNY

That's what he said.

RITA

Well who did he say was taking care of

you?

DANNY

You.  But you said you were working

late.

RITA

I am working late.

DANNY

Then go work.

RITA

How was your day?

DANNY

You have to work.  Go work.

RITA

No.  How was your -

Her CELL PHONE goes off.  Rita moves into the hallway to

answer her phone.  Sam moves into the den, sits on the couch,

the sound of Rita arguing with her husband drifts into the

room.  Sam looks sideways at Danny who remains stonefaced.

SAM

This is my favorite part.  Hey Dommy,

this one looks like he's suffering from

shell shock.

DANNY

Boy I guess we can shell it out... It

was a shell of a good hit.

Rita stands in the doorway watching Sam have a longer

conversation with her son than she's had in months.  She

retreats.

INT. RITA'S DEN - LATER

Danny and Sam eat popcorn watching the movie.

SAM

(bellowing)

"Turtles in the half-shell, turtle

power!"  Rita!  Come this is the best

part.

He heads towards Rita.

INT. PANTRY - CONTINUOUS

In the half-light Sam catches a glimpse of Rita standing in

the pantry unconsciously stuffing marshmallows into her

mouth.  Their eyes lock for a moment.

SAM

You eat too fast.  Come watch the movie.

RITA

It's getting late.  We have to get to

work.

(handing him a suit)

This is my husband's.  He won't notice.

He's got ten more just like it.  Try it

on.

INT. RITA'S LIBRARY - MOMENTS LATER

Sam comes out of the bathroom in the new suit.  Rita stares

at him astonished.  He looks incredibly handsome.  Rita,

attempting to stifle her reaction, turns away from Sam.

SAM

Bad?

RITA

No.  Very, very good.  But your tie's

crooked.

Rita stands behind Sam with her around him showing him how to

do his tie properly.  Their images are reflected in the

mirror.

RITA (CONT'D)

Cross over once.  Loop it around on the

inside of your neck.

(her hand grazes his neck)

Slide the other side through the loop,

then tighten.

Rita comes around to the front and straightens and tightens

the tie.  They are both nervous.  The room is charged.

RITA (CONT'D)

Okay okay okay okay.  Our strategy is

that we're aggressively pursuing a

support system.  I'm going to ask you h

ow are you prepared to help Lucy in

school?

SAM

Let me see let me see let me see.

RITA

Sam!  I told you you have to stop that!

It makes you look stupid!  Okay okay

okay.  Try again.

(endless pause)

You say you will find her a tutor.  Then

I say, "How will you pay for it?"

SAM

Could you slow down?  Why do you eat so

fast?

RITA

(ignoring him)

We've gone over this a million times.

You've found a free tutoring service for

her at the YMCA.

SAM

But I didn't.  You did.

RITA

Can't you grasp the concept of

manipulating the truth?  Not lying.

Just a little tweak here and there.

SAM

No...You're so lucky.  You get to play

with Danny all the time.

RITA

He doesn't want to play with me.

SAM

Yes he does.  He does he does.  He

thinks you don't want to.

RITA

Oh that's ridiculous of course I want

to.

SAM

Tweak, tweak.

RITA

(exploding)

I drove around after work yesterday 'til

9:30 looking for a goddman razor

scooter!

SAM

(in his own world)

Tweak, squeak, peek peek...

Rita shifts uneasily, embarrassed by her overreaction.

INT. RITA'S LIBRARY - LATER

RITA

Okay, why did you harass that young boy

at your home?

SAM

You know I didn't harass him, Rita.  You

know that, you know that!

RITA

Sam, I'm pretending to be Mr. Turner,

remember?  Okay?

SAM

Oh yeah yeah yeah yeah.  I didn't harass

him, Mr. Turner.  Mr. Turner -

(Sam can't keep a straight

face)

You don't look like him.

RITA

That's a blessing.

SAM

You're so much prettier.

RITA

(suddenly shy)

Thank you.  Now.

What makes you think you can take care

of a woman - I mean a young child - when

you have a hard time taking care of

yourself?

INT. RITA'S LIBRARY - TWO HOURS LATER

Rita is relentless.  Sam is exhausted but determined.

RITA

But who are you kidding?  Isn't Lucy

already smarter than you?

SAM

In some ways.  But in other ways, she's

not, I think.

RITA

You think?

SAM

I think.

RITA

Sam.  You've got to be firm on this.

SAM

I think in other ways I'm smarter than

her.  Smarter than you are, Mr. Turner.

In fact, in some ways I'm smarter than

you, Judge McNeilly.

RITA

Whoa!  Bring it down.

SAM

What parent doesn't want more for their

child?  To be more than the sum of the

parts of the whole of them.

RITA

Yeah yeah yeah, but it's one thing for a

little girl to love her daddy when she's

a baby, but once she loses respect for

you, what will you do?

SAM

(fierce)

I won't let that happen.  I won't.

RITA

How can you say that?

SAM

Respect is not just about how smart

someone is.  Smart is not just about how

smart someone is.

RITA

But what about Lucy?  Aren't you being

selfish?  Doesn't she deserve a better

life?  Don't you think she's just

pretending she's happy to not hurt your

feelings?

Sam jumps up from the table, trembling with anger.

SAM

Lucy is happy!  We have fun!  We go to

Denny's, we go to video night.  I know

how to love her.  I know I'm not going

to able to go to law school and learn

how to be a mean person, but I know how

to love.  I know how to be her father,

Mr. Turner!

By this time he is face to face with Rita, breathing hard,

overcome with emotion.  Rita is unexpectedly near tears.

Suddenly before she knows it, she is HOLDING SAM.  The room

charged.  She speaks tenderly, moved by this awkward boy/man.

RITA

I know you do, Sam.  I know you do.

INT. STARBUCKS - MORNING

Sam rushes into the coffee shop in his new suit.

GEORGE

You look great, Sam.  What time do you

have to be in court?

SAM

Half day, half day.  I take the stand at

two.

George leads him behind the counter.  THE STAFF BEAMS.

Euphorically, Sam approaches the huge espresso machines.

GEORGE

Okay, we need two grande cappucinos, non

fat.

SAM

Sprinkles or Cinnamon?

INT. STARBUCKS - 11:00 A.M.

Sam is doing great.  He's humming as he prepares a triple

latte with the precision of a Swiss watchmaker.

INT. STARBUCKS - 12:00 P.M.

The place is packed, including a GROUP OF JAPANESE TOURISTS.

Sam zips around, trying to juggle between the blender, the

espresso machine, steamed milk, icemaker, all the while

glancing up at the clock.  Sam hands three cups to customers,

the foam overflowing, coffee spilling out.

A CUSTOMER takes a sip and SPITS IT OUT.

GUY

What is this?  I ordered an Americano,

not a latte.

SAM

Americano, Americano, not a latte.

Working as fast as he can but still NOT FAST ENOUGH, Sam

unconsciously drinks the latte.

INT. STARBUCKS - 12:45 P.M.

Hyped on coffee, Sam is zooming around and he's a mess.

Shirt hangs out, coffee stains on it, his hair wild.

Frazzled, he forgets to put the lid on the blender and turns

it ON.  A mint mocha frappuccino SPLATTERS HIM in the face.

At that moment, George comes out of his office.

SAM

I'm going to be late!  I'm going to be

late!

GEORGE

I'll call a taxi.

SAM

No, no, I can't wait.  I can't wait.

I've got to go right now.

Sam heads out, the coffee drink still dripping from his face.

EXT. STREET - DAY

Walking a hundred miles an hour, Sam barrels down the street

out of his mind.  Cars are jammed up.  He walks over them, a

man possessed.

INT. COURTROOM - DAY

Everyone is in their places, waiting.

TURNER

Your Honor, if the defendant doesn't

have enough interest in his daughter to

even show up -

RITA

Your Honor, I'm sure he'll be here any

moment.  This is an extremely important

day to Mr. Dawson.

At THAT MOMENT, Sam bursts through the doors.  Suit stained,

hair sticky with frappuccino.  Rita's jaw drops.

RITA (CONT'D)

Your Honor, may I have a moment with my

client?

JUDGE MCNEILY

Make it brief, Ms. Harrison.

Rita heads towards Sam.  Up close, he looks even worse.

RITA

What the hell happened?

(sniffing the air)

What is that smell?  Mint?

Sam, determined, heads for the stand.  Rita grabs Sam's

shoulders and tries to focus him.  Looks deep into his eyes.

RITA (CONT'D)

Sam, look at me.  Look at me!

(he does)

I will guide you like last night.

(Sam hugs her)

Not that part of last night, the other

part.  Now you can do it.  I know you

can.  Lucy needs you.

SAM

(a mile a minute)

Lucy needs me.

RITA

Yes, slow down because Lucy needs you.

SAM

Lucy needs you.

JUDGE MCNEILY

Ms. Harrison.  We need you!

INT. COURTROOM - LATER

Sam, on the stand, talks a mile a minute from the coffee.

RITA

How will you be able to pay for private

tutoring?

SAM

There's a free program at the YMCA.

Lucy can go there.

RITA

But don't you ever think it would be

better for Lucy if she lived with a

permanent foster family and you could

visit whenever you wanted?

SAM

The Fosters don't know her.  Why can't

she live with me and they can come visit

if they want to.  I'm firm on this.  And

I'm getting firmer.  Lucy belongs with

me.

RITA

Why?

Sam puts his finger to his chin and starts his "Let me

see..." Rita gives him a look; he lowers his finger and

starts talking very fast from the coffee.  The STENOGRAPHER

desperately tries to keep pace.

SAM

Paul wrote the first part of the song

"Michelle".  He said to John, "Where do

I go from here?"  John had been

listening to Nina Simone.  There was a

line in it that went something like, "I

love you, I love you, I love you..."

They put that into the song.  It

wouldn't be the same song without that.

It made the song complete.  That's why

the whole world cried when they broke up

on April 10, 1970.

ON RITA

Well, he has some kind of point.

MARY, the Stenographer, is still typing.

JUDGE MCNEILY

Did you get that, Mary?

INT. COURTROOM - LATER

Turner fires questions at Sam - a mile a minute.

TURNER

When you were Lucy's age, were you

living at home?

SAM

No.

TURNER

Were you living with your mother and

father?

SAM

No.

TURNER

Well then where were you living?

SAM

(very quietly)

In an institution.

TURNER

So your parents put you in an

institution?

SAM

Only after my mom got sick.

TURNER

What about your father?  Where was he?

SAM

Gone with the wind when Sam was born.

TURNER

So, you weren't raised by your mother?

SAM

I saw her I saw her.

TURNER

When?

SAM

Christmas, Easter and my birthday.

TURNER

Oh, once a year on your birthday.  So in

a way, the people at the institution

were your parents.  Were they nice to

you?

SAM

Some yes.  Some on.  Some yes.

TURNER

Did they hit you?

SAM

Sometimes.  Sometimes they did

sometimes.

TURNER

Like when you hit Lucy's friend at her

birthday party?

RITA

Objection!  Nobody hit anybody!

TURNER

Let me rephrase that, strong-armed.  So

what role model do you call upon as a

father when you're parenting Lucy?  The

head of the institution?  The Principal

the warden?

SAM

No.  Not Mr. Whitehead.  Not him.

TURNER

Then who?

SAM

Myself.

TURNER

you have the mental capacity of a seven

year old.  So you ask yourself, a seven

year old -

SAM

I am not a seven-year old.

TURNER

How to parent a fellow seven-year old?

SAM

Yes.  No.  What was the question?

TURNER

The question is: what makes you think

you can be a parent?  Your background?

Your IQ?  Your friends who can't even

testify for you?

RITA

Objection -

SAM

My friends -

RITA

Objection -

SAM

My friends love Lucy even if Rita

thought they weren't smart enough to

testify.  Even if she said you'd wipe

the floor with them.

ON RITA

Trying to telepathically reach Sam.

TURNER

Excuse me, Mr. Dawson, your lawyer just

objected; that means you didn't have to

answer the question.  You can't even

follow the simple rules you've watched

here day after day.  You really think

you can raise a seven-year old?  A ten

year old?  A thirteen-year old?

(in his face)

That means she'll be six years more

advanced than you.

Sweat pours down Sam's coffee stained collar.  He searches

for words.  Then from the clearest place inside himself:

SAM

I've had a lot of time to think about

whatever it is that makes somebody a

good parent.  It has to do with

constancy.  It has to do with patience.

It has to do with listening.  To

pretending to listen when you can't even

listen anymore.

The court is riveted by Sam's eloquence.  Rita's amazed.

SAM (CONT'D)

It has to do with love, like she says...

Rita's antenna goes up: who's "she?"

SAM (CONT'D)

And I don't know where it's written that

a woman has a corner on that market,

that a man has any less of those

emotions than a woman.  Billy has a home

with me!  It's not perfect!  I'm not a

perfect parent!  Sometimes I forget he's

just a little kid...

(whispers from the courtroom)

We built a life together and we love

each other and if you destroy that, it

may be irrep, irrep, irrep...

IFTY

Irreparable.

All eyes TURN to the back of the room.  Ifty is there trying

with all his might to help his friend.

IFTY (CONT'D)

Joanne, don't do that, please.  Don't do

it twice, not to him.  Then Meryl Streep

can't even look at Dustin Hoffman after

that.

TURNER

Right, "Kramer vs. Kramer."  Thank you

for the commentary, Mr. Bhutto.  It's

hard to find words isn't it, Mr. Dawson.

It's confusing.  It's confusing to know

what to say to Lucy half the time, isn't

it?

Mortified, so uncomfortable in this strange world, so at a

loss how to swim through it, beginning to believe everything

Turner's saying, Sam looks out at the faces in the courtroom.

Rita, stunned and incredulous; Turner and his associate

smirking at him; Ifty, shaking his head; Robert, his face in

his hands; Miss Wright, Margaret Brown, the State's Expert,

almost willing him to fail.  Are they right?  Are they?

SAM

No, yes, no.

TURNER

No what?

SAM

Let me see let me see let me see.

TURNER

You don't know what?

SAM

Yes.

TURNER

Yes.  You're right, you don't know.  You

don't know enough to really raise your

daughter?

RITA

Objection.  These aren't questions,

these are attacks.

SAM

(frantic)

I am Lucy's father.

TURNER

Are you?  Are you really?  I'm not

talking about the fact that you got some

homeless woman pregnant.

RITA

Objection your Honor.  I motion a

recess.

JUDGE MCNEILY

Denied.  Get to the question, Mr.

Turner.

TURNER

The question is if you love your

daughter as much as they say you do

don't you think she deserves more?!

Don't you?  In your heart of hearts,

secretly question yourself every day?

Don't you?!

SAM

Yes.

TURNER

Was that a "yes?"

RITA

Objection.

SAM

Yes.  She does.  She deserves

everything.  In my heart of hearts.

TURNER

Yes she does.  And you agree with

everyone, you can't give her that?

SAM

(in unbearable pain)

Maybe.  Maybe everybody's right.

ON TURNER

There.  He got it.

ON RITA

Anguished.  Watching Sam unravel as he stands up and starts

walking around in a circle in the witness box.

SAM (CONT'D)

No more no more!  Let it stop!  No more!

No more!  No more!

The Judge watches Sam, sad and stunned.  The verdict is

obvious.  Sam has passed judgement on himself.

EXT. CHILD AND FAMILY PROTECTIVE SERVICES - HALLWAY

Sam, broken, walks down the long hallway with Rita toward

Margaret Brown's office.  Suddenly, Rita stops as she and Sam

both see -

LUCY

Sitting, hopeful on the bench.  She searches Sam's face for

the verdict.  The minute she sees sorrow in his eyes, she

knows.  She runs to him, gluing herself to his chest.

LUCY

No Daddy!  No Daddy!  No Daddy!

In a SERIES OF WORDLESS DISSOLVES, they hold each other in

the hallway through the entire forty five minute visit.  The

only thing moving is the hands of a large wall clock in the

background.  Pained, Margaret reaches for Lucy.

MARGARET BROWN

C'mon, Lucy.  It's time to say goodbye.

LUCY

NOOOO!  Don't let go don't let go don't

let go -

Sam's tears mix with Lucy's as they sob, clinging to each

other.  With such fierce love; a parent and a child.

LUCY (CONT'D)

Don't let them Daddy don't let them!

Don't ever let me go!

He can't let her go.  That he can't do.  Margaret, steel

herself, turns to Rita, no matter how many times she's done

this.

MARGARET BROWN

Please help me.

Rita, aching from a place she thought she buried long ago,

shakes her head, NO.  Now, Margaret literally has to wrench

Lucy away from her father's arms.  Lucy bellowing as she

pulls her down the hallway.  Sam is frozen in incalculable

pain.

EXT. SAM'S APARTMENT HALLWAY - NIGHT

We hear "Fool on the Hill".  We follow a trail of PINK LIQUID

melting down the hall and come to Annie's door where a pile

of grocery bags and newspapers sit in a PUDDLE OF STRAWBERRY

ICE CREAM.  Suddenly, the needle SCRAPES LOUDLY across the

record, followed by a mysterious POUNDING against the wall.

INT. SAM'S APARTMENT - NIGHT

The CAMERA MOVES to the WINDOW.  Inside, the lights are dim.

Lucy's HAMMOCK SWINGS EMPTY, ghostlike.  Sam, curled into a

ball in Lucy's bare corner, bangs his head over and over

again against the wall, overcome with grief.

INT. DANNY'S ROOM - RITA'S HOUSE - NIGHT

The POUNDING CONTINUES as we see Rita standing in the

doorway, watching her sleeping child.  This stranger that

she's raised.  She moves to cover him, this tough little boy,

when she sees POOH BEAR tucked under his arm.  She tucks them

both in, tenderly.

EXT. CARPENTER HOUSE - DAY

Saturday in idyllic suburbia.  Sam, directions and a map in

his hands, tentatively rounds the corner.  A small bouquet of

flowers in his hands when he stops - STARING AHEAD AT --

REVERSE ANGLE

Lucy looking absolutely radiant in a new spring dress.  She

stands on the front porch with RANDY, who wears a red smock

and is setting up TWO EASELS AND PAINTS.  There's a tiny

chair for Lucy and a tiny chair for her.

CLOSE ON LUCY AND RANDY

The tension in Lucy's face, Randy straining to connect with

her.

RANDY

Your teacher told me you were an artist.

LUCY

You wear too much perfume.  You're

trying too hard.

RANDY

I am, aren't I.  Maybe you could teach

me how to paint.

LUCY

My daddy's coming today.  We're going to

open my birthday presents.  Why don't

you just go do something.

BACK TO SAM

From where he stands, all he sees is Lucy getting everything

she deserves.  He looks down at the tiny bouquet in his hand -

feeling profoundly inadequate, he reaches for some flowers

from a garden he's passing.  Puts them in his bouquet.  Then

stops.  Feels guilty.  Tries to put the flowers BACK.  He

stares up at Lucy on the porch a few houses away.

Lucy sits on the steps.  Randy sits right next to her.

BACK ON SAM

Where he WAS standing, but is now GONE.  The flowers lay in

the dirt.  From the porch, Lucy looks out and waits.  And

waits.  And waits.

INT. STARBUCKS - DAY

It's Saturday.  The place is buzzing.  Sam listlessly cleans

the tables, without the usual energy and verve.  A TODDLER

marches around a table, playing under the adoring gaze of his

parents.

MAN

Excuse me, my kid knocked over a coffee,

could you clean this up?

Sam sees a FAMILY at a table covered with spilled coffee.

MAN (CONT'D)

I said I need a refill and a towel over

here.

SAM

(snapping)

You need a towel?  A refill?  A glass of

water?  You need more than you already

have?  You have everything -

(all his fury and frustration)

Everything.  But it's not enough.  Take

my daughter, too!

Sam's out of control, the whole shop stares at him as he

backs into a shelf of MUGS he so carefully arranged.  They

CRASH onto the floor.

SMASH CUT TO:

EXT. CARPENTER PORCH - DAY

Paints and brushes go FLYING across the porch as Lucy KNOCKS

THEM OVER.  Totally out of control.

LUCY

You gave him the wrong address!  You're

hiding me from him!

As Randy reaches for her, Lucy pours black paint on her.

EXT. CARPENTER HOUSE - DUSK

Lucy sits in a ball on the corner of the porch.  Her eyes

swollen from crying.  Finally, she gets up and moves to the

tiny chair that Randy put out for her.  Straightens the easel

and begins to paint.

The front door opens and Randy comes out having washed her

face and hair.  Without speaking, Randy straightens her easel

and sits down next to Lucy and begins to paint.  Randy and

Lucy paint in silence for a long time.  Then -

LUCY

You're going to send me away now, aren't

you?

RANDY

(tenderly)

No.

We hear what sounds like a child's hand playing the song

"Here, There and Everywhere..."

INT. SAM'S APARTMENT - EVENING

We see SAM sitting at Lucy's miniature toy piano as he plays

with one finger.  IN A SERIES OF DISSOLVES, as DAYS and WEEKS

PASS, we see SAM'S HANDS at the PIANO -

INTERCUT:

EXT. CARPENTER HOUSE - DAY

With Lucy and Randy's hands as they PAINT side by side to

Sam's sad melody.  Lucy's pictures start ANGRY, angular with

blacks and blues, then GRADUALLY soften and the dark figures

recede.  By the END, there is a BRUSHSTROKE of the red of

Randy's smock peeking into the corner of Lucy's picture.

INT. SAM'S APARTMENT - DAY

We come back to Sam, having withdrawn completely into himself

serenading no one.

INT. LUCY'S BEDROOM - DAY

We see Lucy and Randy sitting on her bed unwrapping the

birthday presents.  TIME HAS PASSED.  They look close, almost

like a mother and daughter.  Lucy finishes unwrapping Sam's

present and we see a stack of ONE HUNDRED DENNY'S NAPKINS.

RANDY

Oh, he must've forgotten to put the gift

in.

Randy picks up one of Lucy's pictures and moves to the wall.

RANDY (CONT'D)

You know, this wall really needs

something special on it.

Lucy half-smiles and unconsciously begins to fold one of the

Denny's napkins into an origami bird.  Then crushes it.  Then

cautiously:

LUCY

What's the longest any one of those kids

stayed with you?

RANDY

Megan stayed a little over a year.

LUCY

(averting her eyes)

Did you ever want any of them to stay

longer?

ON RANDY

Moved herself.  Understanding how huge a question this is

coming from this bruised little heart.

INT. SAM'S APARTMENT - WEEKS LATER - DAY

Sam sits in a dark corner; maniacally folding newspaper into

an odd origami pattern.  There's a knock at the door - Sam

doesn't move, he just continues folding his paper.

RITA (O.S.)

Sam it's me!  Open up!

He doesn't answer it, just methodically folds.

EXT. SAM'S APARTMENT - CONTINUOUS

Rita stands there impatiently.

RITA

I don't have time for this!  You were

supposed to show up for your first

evaluation.  And I leave work early to

get there and where the hell are you?!

Open the door!  Sam!  Open the goddamn

door!

(nothing)

Alright.  If you don't care enough to

open the goddamn door I'm outta here!

I've ruined my practice, I've alienated

my colleagues - I sent my kid off on a

fishing trip with his father so I could

work with you and you won't open your

goddman door for me?!  Fine!  THAT'S IT!

I've had enough!

She starts down the hall when suddenly she turns and - with

the mastery of a karate black belt - RUNS AND KICKS the door

down.

INT. SAM'S APARTMENT - CONTINUOUS

Rita bursts through the door and then stops.  Sam has created

an origami wall of newspapers, intricately woven together.

A fortress against the world.  He keeps folding - doesn't

even look at Rita.  He's more far gone than she could

imagine, she walks gingerly to the wall and knocks gently on

it.

RITA

Sam, it's Rita.  Can I come in?

SAM

No room.  No room.

RITA

Hey.  I lived in the East Village.  I

don't need a lot of room.

SAM

Sam makes life too hard.  Sam makes life

too hard on everyone.

RITA

Sam, I can go at least nine more rounds.

But you gotta let me in.  Please Sam.

Please.

He pulls out one small brick of origami, opening a window.

RITA (CONT'D)

Thank you.  Now I can see your kind

eyes...George told me you needed a break

from work.

SAM

I don't want to work there anymore.  Too

many people.

RITA

Maybe we could find you a quieter job.

Because remember one of the judges

conditions is you have to earn more

money; you've got to keep earning more

money for when we get you Lucy back.

SAM

Lucy doesn't need me anymore.  She has a

new family.  She doesn't need me

anymore.

RITA

Is that what she said?

SAM

She didn't have to say it.  I may be

stupid, but I know.  I know.

RITA

Well that's the first stupid thing I've

ever heard you say.

Sam looks at her through the window.  A CHINK in the wall.

RITA (CONT'D)

Sam, Sam you can get her back.  The

court favors reunification.  The only

thing that can block you is if the

foster family petitions to adopt.  And

from what I've heard, Lucy's making

their life miserable - that's our girl.

Sam, fight for her.

SAM

I tried.  I tried.

RITA

Try harder.

SAM

You don't know.  You don't know.

RITA

I don't know?

SAM

You don't know what it is to try and try

and never get there.  You were born

perfect, perfect.

RITA

Is that right?  Everyone else is perfect

but only Sam feels loss and pain?

SAM

That's right.  People like you don't

know.

RITA

People like me?

SAM

People like you don't know, don't know

what hurt feels like, people like you

don't feel, don't feel anything.

She slaps him.  STUNNED, he slaps her back.  STUNNED, she

slaps him again.  HE SLAPS HER.  She rips the newspaper wall

down.

RITA

You think you got the market cornered on

human suffering?  Well let me tell you

something about "People like me."

People like me feel little and lost and

ugly and dispensable.  People like me

have perfect husbands screwing someone

far more perfect than me and my son, my

son hates me, I try too hard and I push

and he knows it and I talk in that

voice, that voice I promised I'd never

use, and I've screamed, I've screamed

horrible things to him, a five year-old

because he doesn't want to get in the

car at the end of a day and he stares at

me with such anger and I hate him then.

I know I'm failing you, I know I'm

disappointing you, I know you deserve

better but get in the fucking car!  It's

like every morning I wake up and fail,

and I look around and anybody, anybody

can pull it off, but somehow I can't.

And I know, I know I have everything,

and I'm still miserable and it's

pathetic.  I know it's pathetic.  No

matter how hard I try, something about

me will never be enough.

She's crying too hard to continue.  He pulls her to him.

Before she realizes what's happening, she's holding him

tightly.  He whispers in her ear.

SAM

You're enough.  You're so much more than

enough.

He looks her straight in the eye - she's undone by the

intimacy of the moment, by the strength of his purity.  And

staring into his eyes, she begins to sob, walls crumbling.

He kisses her elbow, her shoulder, her forehead, her eyes,

her tears.  And something ignites between them - something

confused and scary and deep and filled with a passionate

ache.

SAM (CONT'D)

Lovely Rita...

On a bed of newspaper that was once a wall they come

together, whole again.

EXT. RANDY'S NEIGHBORHOOD - DAY

Sam rounds the corner walking - or rather being walked by SIX

DOGS, all shapes, all sizes.  He heads up the walkway to

Randy's house.  She comes out of the house and shuts the door

behind her, stopping him.

RANDY

You're early.

SAM

All the lights were green.

RANDY

There's a reason for the court schedule.

You stopped showing up.  Lucy has had to

rebuild her life.

SAM

I want her back.  I can do it.  I know I

can.

RANDY

That's not up to me, but I'm telling

you, I will do everything in my power to

prevent Lucy from getting hurt again.

Sam hangs his head.  A dog barks at Randy.

RANDY (CONT'D)

Whose dogs are these?

SAM

Supplemental income supplemental income -

bathe, walk and feed.  Sam Dawson meets

your canine needs.

(to dogs)

Sit! Sit! Sit! Sit! Sit! Sit!

All the dogs sit but a BIG BLACK LAB.  Randy heads into the

house.  The front door opens and Lucy comes out.  She runs

down the stares to Sam.  Thrilled, Sam opens his arms to her.

She leaps into them and begins slugging his chest with pent

up fury.

LUCY

You never came!  You never even called!

You forgot about me!  How could you

forget me!

SAM

I never forgot you.  I forgot me.

SAM (CONT'D)

I hate you I hate you I hate you!

Lucy pulls away.  A long charged silence.  Lucy refusing to

even look at her father.

SAM (CONT'D)

Lucy, I tried to write you a letter last

night...

A BASSET HOUND SNEEZES.

SAM (CONT'D)

Gesundheit, Buster.  Buster has a cold.

But the letter had too many big words.

Pokey, sit.

The black lab has begun eating Randy's flowers.  Lucy stares

forward.  Sam speaks tentatively, carefully:

SAM (CONT'D)

Dear Lucy.  Pokey sit.  Dear Lucy, I'm

sorry that I hurt you.  Every moment of

the day I thought about you.  Lucy in

the hammock, Lucy at school.  Lucy in

the sky...XXOO.  Daddy.  P.S. I love

you, recorded September 11th, the day

you took your first step.

Lucy raises her head and looks at Sam for the first time.

INT. DENNY'S - DAY

ON SALAD BAR

Rows of carrots, tomatoes, cucumbers and - uh-oh, a tomato's

in the peas.  A hand comes into frame and carefully places

the tomato just so, in the tomato bin.  Now it moves to the

olives.  Shouldn't all the pimentos be facing up?

PULL BACK

To reveal Sam, in white apron and hat, deftly filling the

containers of the elaborate salad bar as people fill their

plates.

SAM

Napa cabbage, excellent choice.  Purple

and green, purple and green.  Very rich

in Vitamin C.  Good choice. Very good

choice.

INT. COURTHOUSE - HALLWAY - DAY

Sam walks toward the courtroom when we see Rita approaching

from the other end of the hall.  They both slow down when

they see each other.  Rita unconsciously fixes her hair.  Sam

adjusts his tie.

RITA

Hello, Sam.  Mr. Dawson.  Sam.  Dawson.

SAM

Hello, lawyer.

They almost shake hands - realize that means touching each

other and don't.  Rita motions toward the door.

RITA

Shall we?

SAM

No.  We already did.  Don't tell

anybody.

They nervously walk through the door, bumping into each

other.

INT. SMALL COURT ROOM - LATER

She's very aware of Sam.  He looks away, over compensating

obviously.  Throughout the scene, Rita's hair falls in her

eyes.  She attempts to put it in place.

RITA

Furthermore, my client has found a new

job, and is making every effort to find

a bigger apartment so that -

Rita's hair falls in her eyes again.  Sam stands up, pulls

HER BARRETTE from his pocket, the one she left at his house.

SAM

Here.

Rita stares at the barrette as if it were the murder weapon.

RITA

Oh, thank you.  What a...a lovely

barrette, Mr. Dawson.  It will look

great on Lucy.  Who I'm sure you bought

it for.  Furthermore, so that...there

will be more room for Lucy as she grows

up.

MARGARET BROWN

All of that is well and good but the

fact that Mr. Dawson quite his job,

missed his hearing, and did not even

show up for his visits with his

daughter...

RITA

The fact that my client went through

profound depression is the most natural

reaction any parent could have.

MARGARET BROWN

But once again he had no idea how his

behavior during that depression impacted

on his daughter.

RITA

In these next months, Mr. Dawson will be

expanding his support system to include

Social Service programs, tutors --

MARGARET BROWN

It's too late!  The foster family is

petitioning the court for sole custody

of Lucy and I fully support their

request.

Sam turns to Rita.  This can't be happening.

INT. DENNY'S - NIGHT

Sam, Rita, Ifty, Robert and Brad sit in a booth.  With one

extra person, it's a little tight.  Rita picks at her

Salisbury Steak special, trying to deal with the business at

hand.

IFTY

Isn't it illegal?  It's illegal to go

through stop signs.  It's illegal to

cross on the red.

RITA

It's not illegal.  It's very

complicated.  When a strong foster

parent lobbies for a child it changes

the equation.

ROBERT

They're reaching right through Sam as if

he doesn't exist.  As if he's a ghost.

RITA

There's one option we've never talked

about, Sam.

(very carefully)

I know what you went through the last

time you took the stand.  We could

settle out of court, ask for the most

incredible visitation rights - it would

almost seem like joint custody.

SAM

You're saying I don't have a chance.

That's what you're saying.

RITA

I'm not saying you don't have a chance.

ROBERT

That's what you said last time and look

where he is now.

SAM

Stop.  Rita's not saying I don't have a

chance.  Are you?  Tell me I have a

chance.

Too long a pause.  Ifty looks at the clock.

IFTY

Oh my God!  6:35 is Video Night at my

house and I'm not even there!

ROBERT

If we get there before you do we'll wait

for you - check!

BRAD

Sam get your dessert to go.

SAM

This is very hard to say.  I'm having my

dessert here.  With Rita.  I'm not

coming to video night.

Devastated, Ifty, Robert and Brad solemnly gather their

things.

RITA

Sam - if you want to go...

SAM

I said no, Rita.

RITA

I know, but if you -

SAM

What?  Do you want me to go?

RITA

I didn't say that.  But do you want to

go?

SAM

Where?

RITA

Nevermind.

SAM

Fine.

RITA

Fine.

IFTY, ROBERT & BRAD

Fine.

They leave in a huff.  The WAITRESS delivers the check with

dessert and coffee.

RITA

I've got it.

SAM

I've got it.

Long pause.  Rita slowly eats her pie.

SAM (CONT'D)

It's good to chew.  You're eating more

slowly.

Rita laughs and nods.

SAM (CONT'D)

Coconut Rhubarb.  Sidebar, we need to

talk.  Sidebar.

RITA

(carefully)

Yes we do.

SAM

I need to get Lucy back.  We need, we

need - to be professional.

RITA

Do you know what that means?

SAM

When dealing with Starbucks' customers,

be friendly but not familiar.  I can be

your friend.

RITA

(oddly touched)

Thank you, Sam.

SAM

You need to leave your husband.

RITA

(her armor up again)

Oh, my marriage isn't so bad.

SAM

'Life is very short and there's no time

for fussing and fighting, my friend.'

RITA

(undone)

It's just...it's just that...I've never

lost anything.

EXT. SCHOOL - DAY

Randy kisses Lucy goodbye as she heads toward school.  We

follow Lucy - suddenly a BIRD SAILS THROUGH THE SKY and LANDS

IN FRONT OF LUCY.  It's an ORIGAMI BIRD.  She looks around -

but doesn't see Sam anywhere.  But she feels him.  She walks

toward school, clutching the bird, past a tree and we move up

that tree and see Sam nestled in the branches.  There.  They

made contact.

EXT. RANDY'S NEIGHBORHOOD - DAY

It's later that week.  Lucy walks proudly down the street in

a GIRL SCOUT UNIFORM, selling cookies.  Randy is by her side,

beaming.

LUCY

We've made $22.36.  That's seven

dollars, 64 cents less than thirty.

RANDY

Well that's one way of looking at it.

EXT. RANDY'S NEIGHBORHOOD - LATER

DISSOLVE as they move through the neighborhood.  Finally we

see her bound up the steps to an apartment building.  She

knocks on the door.  It opens - and Lucy and Randy's JAW

DROPS.

REVERSE ANGLE

Sam stands there.  Holding three kittens.  WE see various

dogs in arm chairs, the couch...

LUCY

Daddy?!

RANDY

What are you doing here?

SAM

I live here.  This is where I live.

LUCY

This is where you live?  So close to me?

SAM

I wanted to be close to you.  I wanted

to be closer.  Look at my apartment

number.

(it's number 9)

John was born on October 9th.  His son

was born on October 9th.

LUCY

John met Yoko on November 9th.

SAM

His mother lived at 9 Newcastle,

Liverpool.

LUCY

Newcastle.  9 letters.  Liverpool - 9

letters...

RANDY

Lucy, give me one minute with your

father.  Sam, I consider myself an

understanding person but I don't

understand this.  You can't close the

distance between you and Lucy with a new

address.  We go to court in a week -

SAM

I don't want to spend half my visit with

Lucy on the bus getting to Lucy.  I

don't want to waste one more minute.

Buster sneezes.

LUCY

(from the doorway)

Does Buster still have his cold?

SAM

He's better, much better.  Now I'll have

one box of mint chocolate cookies.

LUCY

That'll be three-eighty six.

LUCY & SAM

(in unison)

Let me see let me see let me see...

That's one dollar and 14 cents less than

five.

Randy watches with a mixture of jealousy and fear as Lucy

effortlessly enters her and Sam's universe.

EXT. CARPENTER HOUSE - DAY

From the window, Randy watches as Sam hands Lucy four leashes

and the two of them get pulled down the street by the dogs.

INT. LUCY'S BEDROOM - 2 A.M.

Lucy lies in her hammock, unable to sleep.  Staring at the

little origami bird on her window sill.  She moves it, opens

the window wide, quickly takes Mr. Jeeters - and within a

moment she's out the window and onto the limb of the tree.

EXT. MAIN THOROUGHFARE - NIGHT

"The night grows teeth..." stray dogs fight over garbage - a

wino talks to himself and in the midst of it all walks Lucy

in her pj's.  Mr. Jeeters tucked under her arm.  Lucy crosses

the street.  HONK!  the screeching of tires...

EXT. APARTMENT BUILDING - MOMENTS LATER

We're looking at an old fashioned fire escape when suddenly

we make out a figure climbing higher and higher.  It's Lucy.

We catch glimpses of her and then lose her as the neon sign

across the street blinks on and off.

INT. SAM'S BEDROOM - CONTINUOUS

Sam's asleep.  Suddenly his eyes open wide.  And like an

animal sensing danger, he gets up.  We HEAR THE SOUND of

something THUMPING AGAINST RUNG AFTER RUNG OF THE FIRE

ESCAPE.  He rushes to his window and looks to see --

EXT. SAM'S APARTMENT

Lucy climbing the fire escape!  Sam opens the window and

reaches for her.

SAM

Lucy Lucy.  What are you doing?!  You

could have really hurt yourself.  What

are you doing?

LUCY

I couldn't sleep.  Daddy, did you know

that Warren G. Harding was the twenty

ninth President of the United States?

SAM

No.

LUCY

Remember - the twenty-ninth President.

In case the Judge asks.

EXT. RANDY'S STREET - NIGHT

Sam, in his pajamas, holds a sleeping Lucy in his arms.  He

turns a corner and heads up the walkway to Randy's house.  He

knocks on the door.  Finally the door opens and we see Randy

and Bill in their pajamas SHOCKED at seeing Sam and Lucy.

SAM

She couldn't sleep.

RANDY

Give me my daugh -

(she stops herself)

Give me - I'll take Lucy.

SAM

Maybe if you rub her tummy twenty-three

times, tell her two stories and give her

half a Denny's blueberry muffin and a

third of a glass of milk she'll sleep.

Good night.

Randy and BILL, her husband, watch as Sam turns and walks

purposely down the walkway - his houseslippers scuffling on

the quiet street.

SERIES OF SHOTS AT 3:00 A.M. --

EXT. STREET - NIGHT

Lucy in her pj's walks down the middle of the street.

EXT. SAM'S WINDOW - NIGHT

Lucy knocks on Sam's window.

EXT. STREET - NIGHT

Lucy and Sam walk back down the street to Randy's house.

EXT. SAM'S WINDOW - NIGHT

Lucy lugs encyclopedias to Sam's windowsill.

EXT. STREET - NIGHT

Lucy in a blanket being carried by Sam toward Randy's house.

INT. LUCY'S ROOM - NIGHT

Until FINALLY, we see Lucy in her hammock at Randy's house

looking out the windows, which have now been completely

covered with BARS.  Her room is filled with origami birds

from the 100 Denny's napkins, her birthday gift.  Lucy gets

out of her hammock and tiptoes across her room - quietly

opening the door.

INT. CARPENTER HOUSE - STAIRS TO LIVING ROOM - NIGHT

We follow her through the dark house as she creeps down the

stairs.  She gets to the front door.  It's been DEAD BOLTED

where she cannot reach it.  From the darkness we hear --

RANDY

(tenderly)

Lucy.  Come here.

Randy sits in the darkness, next to a THIRD OF A GLASS OF

MILK and a HALF A DENNY'S BLUEBERRY MUFFIN.

RANDY (CONT'D)

I made us a midnight snack.

Lucy stares at the muffin and milk.  Torn.

RANDY (CONT'D)

I understand that you want to see your

daddy.  And I don't want to keep you

from him.  I honestly don't.  So you

tell me when you want to see him.  You

can see him anytime you want.  But we

have to arrange it first.  Do you

understand?

(Lucy nods)

Now would you like a snack?

Lucy nods.  Elated, Randy makes room for her on the couch.

But Lucy just reaches for the milk and muffin and heads up

the stairs then turns back and speaks gently to Randy.

LUCY

Thank you.  Goodnight.

RANDY

(words caught in her throat)

Goodnight, Lucy.

INT. SAM'S BEDROOM - DAY

We PAN ACROSS THE ROOM and see Sam's shoes, his tie, and a

YELLOW PAD WITH ALL THE PRESIDENTS LISTED IN ORDER.  A KNOCK

at the door - Sam opens it to see Rita standing there,

looking intensely vulnerable, holding her husband's suit.

RITA

My husband left this when he moved out.

SAM

Oh, lovely Rita, meter maid.

RITA

(entering)

Nice place.  I worry.  I worry

sometimes...

SAM

You worry you did the wrong thing?

RITA

I worry that I've gotten more out of

this relationship than you.

SAM

No no no.  I'm the lucky one.  I have

the lawyer that never loses.

RITA

(covering)

That's me...okay, let me see, let me

see, let me see.

(pulls out notes)

They're going to put Bill and Randy on

the stand first and then you.

SAM

Them first, then me.  They're a nice

couple.  They have a nice house.  She's

pretty.  She's smart, too.  I can tell.

The manager of the salad bar is gonna

testify, isn't he?  That will help us.

For a moment, Rita's mask drops and her fear for Sam

overwhelms her.

RITA

Absolutely.

SAM

Nobody believed that George Harrison

could really be a song writer.  But he

wrote "Here Comes the Sun".  John and

Paul said it was one of the best songs

on ABBEY ROAD.

RITA

(tenderly)

George was always my favorite Beatle.

SAM

Lucy's was Paul.

INT. RANDY AND BILL'S BEDROOM - 2 A.M.

Randy and Bill are asleep when Randy senses something.  She

opens her eyes and sees Lucy staring at her.

LUCY

Now.

RANDY

What honey?

LUCY

Now.  I want to see him now.

INT. SAM'S BEDROOM - 3:30 A.M.

We see Sam sleeping in bed.  There's a KNOCK at the door.

Sam wakes with a start, throws down the covers.

We see that he's wearing the Armani suit.  Sam opens the door

to see Randy standing there, holding a sleeping Lucy in her

arms.

RANDY

She fell asleep on the car ride over.  I

was gonna turn back and tuck her in to

her bed...with the pink canopy...and the

quilt I made...But I was afraid she'd

wake up at our house...

(fighting the ache in her soul)

...and want to come home.

Sam looks at Randy with profound compassion.

RANDY (CONT'D)

I was gonna tell the judge that I could

give Lucy the kind of love she never

had.  But I would be lying.

SAM

I hope I hope I hope that you're saying

what I think you're saying even though

you're not saying it.

Randy nods and hands the sleeping Lucy into Sam's strong

arms.  For a moment they BOTH HOLD LUCY between them in the

most unique embrace.  Randy finally lets go and struggles to

say goodbye.

RANDY

Goodnight.  I'll see you in court.  Save

me a seat...on your side.

Randy walks away.  Stunned, Sam watches her, holding Lucy in

his arms.  Then, from a very brave place:

SAM

Randy!  If I tell you I can't do it

alone, will you tell the judge?

RANDY

(turns gently)

No.

SAM

Promise?

RANDY

Promise...

SAM

I've looked and looked for a mother for

Lucy.

Help, I need someone, help, not just

anyone.  You're the red in Lucy's

painting.

ON RANDY

So unexpectedly bonded to them both.

EXT. SOCCER FIELD - DAY

A glorious sunny day.  Lucy and her team are in the middle of

a fierce game.  A foul is called when we hear -

SAM

Penalty!  Rules broken.  Penalty,

please!

Sam, wearing a UNIFORM and whistle around his neck, walking

his inimitable walk, races up the field, COACHING THE TEAM.

Ifty, Robert and Brad sit in the bleachers.  Robert, in

sunglasses, paranoid, looking behind him.  Brad follows

around an attractive YOUNG WOMAN as close as he can get to

her.  Sam runs by the water stand, manned by Randy and Bill.

They share a look - a moment of intense parental pride.  Lucy

and a kid named PHILLIP go after the ball.

OBNOXIOUS MOM

Get her!  Phillip, you get her!

ROBERT

I saw that!  You gave him a secret

signal!  Didn't you?

IFTY

Keep both eyes on the ball, Lucy - balls

are round - on sale at Kmart.  The earth

is a ball, too...

Phillip steps in front of Lucy and shoves her as hard as he

can.  Sam blows his whistle repeatedly and races over.

SAM

Penalty!  Repeat!  Rules broken!

Penalty!

RITA (O.S.)

Penalty?!  Sue him!  Kick his ass outta

the game!

It's RITA!  With Danny - hollering from the stands.

ON LUCY

Looks over at her father.  Sam does every coaching gesture,

and referee hand signal from every sport known to man.  It

looks like a bizarre TWYLA THARP DANCE.

ON LUCY

She does it right back at him.  Their secret code.  The code

that will bind them for the rest of their lives.

ON THE CROWD AND PLAYERS

All watching.  What the hell was that?  Sam blows his

whistle.

SAM

Play ball!  Play ball!

The game heats up.  Lucy's team gets the ball and is headed

toward the goal.  Sam is running right alongside them, so

excited, until he can't hold himself back anymore and

intercepts the ball!  Sam runs valiantly down the field with

it!  We hear "Here Comes the Sun"...

Little darlin', it's been a long, cold lonely winter.  Little

darlin', it feels like years since you've been here.  Here

comes the Sun...Here comes the sun...And I say, "It's

alright..."

And the CREDITS ROLL.

FADE TO BLACK.

From:www.actorpia.com