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SOMEWHERE, ANYWHERE Written by Glenn Davis 731 Bay Tree Lane El Cerrito, CA 94530 510-527-5749

SOMEWHERE, ANYWHERE Written by Glenn Davis Anywhere notes from Steve H.pdfSOMEWHERE, ANYWHERE Written by Glenn Davis 731 Bay Tree Lane El Cerrito, CA 94530 510-527-5749

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Page 1: SOMEWHERE, ANYWHERE Written by Glenn Davis Anywhere notes from Steve H.pdfSOMEWHERE, ANYWHERE Written by Glenn Davis 731 Bay Tree Lane El Cerrito, CA 94530 510-527-5749

SOMEWHERE, ANYWHERE

Written by

Glenn Davis

731 Bay Tree LaneEl Cerrito, CA 94530510-527-5749

Page 2: SOMEWHERE, ANYWHERE Written by Glenn Davis Anywhere notes from Steve H.pdfSOMEWHERE, ANYWHERE Written by Glenn Davis 731 Bay Tree Lane El Cerrito, CA 94530 510-527-5749

SOMEWHERE, ANYWHERE

FADE IN:

EXT. FREEWAY - DAY

A bright sunny morning. An Interstate passenger bus heads down a Northern California freeway, taking the off ramp to San Pablo Ave, in the Black part of Oakland.

EXT. INTERSTATE BUS - TRAVELING - PASSENGER POV

The bus passes a Teenaged Mother walking her baby past a row of Victorian homes.

It turns the corner passing a Young Boy helping an Elderly Gentleman wash an expensive car.

A Mom, a Dad, and Three Small Children well-dressed and headed to church.

INT. INTERSTATE BUS

JUANITA, a brown-skinned woman in her thirties, and her seat mate BRENDA, dressed identically in simple pale blue cotton skirt-suits, look through the large bus window.

JUANITAHere it is.

BRENDA Yeah, you home.

JUANITAI don't remember it being like this. Seems like it was a lot prettier.

Now turning to face Juanita, is BRENDA, thirty-five years old, who looks rather pretty when she smiles.

BRENDALooks pretty enough to me. But I ain't never been here before. Who you got waiting for you?

JUANITAShoot. Ain't nobody waiting on me.

HP_Administrator
Sticky Note
does the bus really do this? she would see this from a city bus taken from the bus station
HP_Administrator
Sticky Note
you could probably get by without staging these shots just using street photography
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BRENDAI thought you had people here.

JUANITAMy mama's here but she ain't waiting on me. I been gone too long, too many times. She probably forgot all about me by now. And I don't blame her.

Brenda lifts her head.

BRENDAYou never know about these mothers. They hold on tight to their little girls.

Jaunita laughs.

JAUNITAYeah. Maybe.

EXT. OAKLAND BUS STATION - DAY

The bus disappears under the canopy of the Oakland Bus Station.

EXT. PLATFORM

They exit the bus each carrying a large paper bag.

BRENDAWell, I guess that's it.

Jaunita reads the doubt on Brenda’s face.

JUANITAHey, Oakland ain’t nothing new to girls like us. It’s just like being inside. Ain’t nobody gonna give you nothing. You want it, you got to fight for it.

BRENDAI'll be alright. You take care of yourself. Watch out you don't get all wrapped up in --

JUANITANaw, naw, naw. You ain't got to tell me nothin'.

2.

(MORE)

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You be back inside before me, and I know you ain't going back.

Juanita, sees an OLDER WOMAN standing alone further down the platform. As if in a daze she walks over, puts down her paper bag, and takes both of the woman's hands.

The woman hugs her tightly, as only a mother would.

INT. FURNISHED STUDIO APARTMENT - DAY

The door opens to a sunny, barely furnished, large studio apartment. Brenda walks in followed by the manager, does a quick walk - through, turns and nods her approval.

EXT. OAKLAND COMMERCIAL DISTRICT STREET - DAY

SARAH, skinny as a pole, dressed in hand-me-downs, wild hair, walks down the street with her arms full of groceries.

BRENDA (O.S.)Girl, what you doing out here this morning?

Sarah turns.

SARAHShopping. Do that every morning.

BRENDALet me ask you - with all that hair, how come you ain't been to see me?

Sarah smiles at her, but keeps walking.

SARAHI see you.

BRENDAYou know what I mean. You walk by my place every day, but you don’t stop by.

She stops.

SARAHYou a hairdresser or something?

BRENDAYeah and I'm a good one too.

3.

JUANITA (CONT'D)

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Sarah spins around again.

BRENDA (CONT’D)I hope you don't mind me asking, but is that supposed to be a style you wearing?

SARAHWhat's wrong with it?.

BRENDAI'm scared of it. Don't you want to look like all the other young girls?

Sarah winces while Brenda pulls her hair.

BRENDA (CONT’D)You're pretty enough. Just need a little fixing up, that's all. Why don't you come on by. I won't even charge you.

SARAHWhy you being so nice to me? I don't know you.

BRENDAI'm new in town. You'd be some good advertising. My name is Brenda. Now you know me.

SARAHI'm Sarah. I work at the diner over on --

BRENDAMartin Luther King.

SARAHI ain't seen you over there.

BRENDAI been there. You just didn't notice me.

SARAHWhere's your shop?

Brenda points behind Sarah to the shop with the painted sign, "Nu-To-You".

BRENDASee. You didn't notice me either.

4.

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SARAHI don't know. I have to ask my daddy. He's the --

BRENDAPastor over at the church.

SARAHYou been there too, huh?

Brenda grabs her hair again and looks at her face.

BRENDAYou go tell your daddy. Then come by and see me, alright?

Sarah turns and walks away.

INT. NU-TO-YOU HAIR SHOP - DAY

Brenda reaches to the comb holder that holds five red hot straightening combs. The grease sizzles as she pulls the last area of hair through.

EDNA, owner of the salon, who dresses far too young for her thirty-eight years, walks in eating snack food.

EDNAHow’s everybody?

BRENDAJust fine. Almost done here.

SARAHYou sure are taking a long time.

BRENDAThat’s cause you’re in such bad shape.

Brenda uses a comb to straighten the last section of her hair then hands her a small mirror.

BRENDA (CONT’D)There you go. Don’t get no better than that.

SARAHYeah. I like it.

EDNALooks good on you too.

5.

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BRENDAThink your daddy will like it?

SARAHI hope so. Cause if he don't, he'll make me take it right out. I think he'll like it. You should come by the church Sunday, meet him.

Sarah tilts the hand mirror to see Brenda standing behind her.

BRENDAThat's not for me, Honey. I ain't been to church since I was a kid.

SARAHThen you better get right with God quick cause you never know.

BRENDAYeah, you're right.

SARAHSo when you comin'?

BRENDASoon.

SARAHHow soon?

BRENDASoon.

Sarah gets up.

SARAHTomorrow then.

BRENDAYou a pushy little thing.

SARAHYou didn’t put up much of a fight.

Brenda stops her.

BRENDAWait a minute.

SARAHYou said you wouldn’t charge me.

6.

HP_Administrator
Sticky Note
how would she know he's the pastor unless she's been there? in the preceeding scenes brenda knows too much, i think
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BRENDAI'm not.

She goes to her drawer and takes out a disposable camera.

BRENDA (CONT’D)Sit down.

SARAHI gotta go.

BRENDAOnly take a minute.

Brenda pushes her back into the chair.

BRENDA (CONT’D)Smile.

She leans in next to her and takes a TWO SHOT SELFIE.

EXT. CALVARY BAPTIST CHURCH - DAY - ESTABLISHING

EARL (V.O.)Yes, times have really changed, haven't they? Time was, when this small church would be filled with families every Sunday.

CONGREGATION (V.O.)Yes Lord.

INT. CHAPEL

Earl is at the pulpit. He is tall, handsome in his black suit, white shirt and kente - cloth scarf.

EARLPraise God. But nowadays most folks are too busy to hear the word of God. Am I right?

CONGREGATIONThat's right Sir/Yeah, you right

EARLAm I telling the truth?

CONGREGATIONUh, huh/Yeah, you right/Yes, Jesus

7.

HP_Administrator
Sticky Note
should probably be a digital camera or they use a phone- maybe the shop owners phone
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EARLBut all of us in here today, we take Jesus with us where ever we go. Sure we all have our problems, our struggles, but when all is said and done, we know that He will guide us through. But we must do more than come here every Sunday to hear the word of God.

CONGREGATIONThat’s right/Alright

Josie, eighteen, well-coiffed, wearing bangles, short skirt, and stratospheric heels, struts down the aisle and exits the rear of the chapel.

EARL (O.S.)Oh no. We must also live his word. Scripture says "Do not merely listen to the word and so deceive yourselves. You must do what it says."

INT. BASEMENT

Josie and Roger hide in the darkness, Josie’s skirt hiked-up to her breasts. ROGER'S hands are everywhere while he moans in her ear.

ROGEROh baby, You know what I'ma do. I'ma make you feel like a woman. I'ma do you --

JOSIEShut up, Roger.

INT. CHAPEL

EARLWe need to stop talking about it and do it. You show me your faith without deeds and I will show you my faith by what I do.

INT. BASEMENT

ROGERDo it baby. Do it.

8.

HP_Administrator
Sticky Note
blouse hiked up, or unbuttoned
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JOSIEDamn Roger, you'd be alright if you just shut the fuck up.

INT. CHAPEL

EARLAnd you can't do whatever your friends tell you to do, just cause you want to get in with the "in crowd."

DEACON ANDERSON, eighty-years old, blind and wearing his trademarked black suit, white shirt and black tie, struggles to his feet.

DEACON ANDERSONAnd you can't do, what the white man say do. Now that's for damn sure.

Pastor saves the day.

EARLLeave it to Deacon Anderson to wrap up the sermon so, “eloquently.” Let the church say "Amen" as we pass the offering and please, please, be generous.

The CHOIR of FIVE ROBED WOMEN SING a spirited gospel tune. Sarah stands and claps awkwardly but in time.

INT. BASEMENT

Roger straightens his clothes.

ROGERYou ain't gonna tell Leticia, are you?

JOSIEOh nigger, please. What would I do that for? I don't want you. Look out.

She pushes him aside and walks away.

9.

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EXT. CALVARY BAPTIST CHURCH - DOORWAY - DAY

The congregation files out past Earl who stands at the door, shaking hands, kissing babies. SISTER CALMES, unusually large in a gossamer dress, is followed by her flock.

SISTER CALMESWonderful sermon this morning, Pastor.

EARLThank you, Sister.

SISTER CALMESWhen you gonna come by for supper - let me talk to you.

EARLSoon, Sister. Very soon.

SISTER CALMESUm hum. How about this afternoon? I got some smothered pork chops, some turnip greens and some yams for you.

EARLSounds awful good.

SISTER CALMESWell, come on by then. About five.

EARLFive is fine.

SISTER CALMESYeeeessss. See you then.

Earl sees Josie among the progeny of Sister Calmes.

EARLGood morning, Josie.

JOSIEUm, hum.

Earl shakes hands with one of the congregation then abruptly stops when he sees Brenda talking to Sarah. They wait their turn.

SARAHDaddy, this is the lady who did my hair. I had to practically make her come to church.

10.

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BRENDAI think it looks nice for a girl her age. I hope you like it.

Earl stares right through her.

BRENDA (CONT’D)You did a good job, raised this little girl up right --

EARLDid the best I could. Kept her away from the wrong crowd. Taught her to stay close to the church where people love and respect her.

BRENDAWell that's --

EARLLook at all these people around here. They're all decent people, her people, her friends, my friends. They're not going to let anything happen to her.

SARAHDaddy, what you talking about?

EARLMiss.

Earl turns to a young mother standing nearby, proudly displaying a baby.

EXT. OAKLAND COMMERCIAL DISTRICT STREET - DAY

Earl walks down the street. He approaches the Nu-To-You Hair Shop.

INT. NU-TO-YOU HAIR SHOP - DAY

Earl opens the door and walks in. Only Brenda is there.

EARLYou got a lot of nerve walking in on my church.

BRENDAWell Earl, if I came at the wrong time I apologize. But we need to talk.

11.

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EARLIn front of the whole congregation?

BRENDAThat's my child.

EARLWhat do you have to give her? You're nothing but a jailbird.

BRENDAI let her down by not being with her but I'm gonna make up for all that now.

EARLYou can't make up for fifteen years of being in jail and you can't take back what you did.

BRENDAYou put me there. You witnessed against me. But that's over now. Now I need you to keep your promise and give me back my baby.

EARLThat's not going to be possible. Sarah's my daughter now and she doesn't need you. I don't want you in her life. I don't want you around her. You never cared about her anyway.

BRENDAI always cared about her. The things I made. What little I could buy. I sent them to her so she wouldn't forget me.

EARLI didn't give her that junk.

BRENDAYou never gave her the things I sent her? You never told her anything about me?

EARLYou didn't really want me to do that, did you? Because then I'd have to tell her that you were in jail - that you're a murderer.

12.

(MORE)

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I got a better idea, why don’t you go on down to the cafe and tell her yourself? She'll never want to see your face again. And I don't blame her.

BRENDAEarl, I didn't come here to fight. I came here to talk to you. I thought you might keep your promise like you said. But I knew in my heart that you wouldn't do it cause you can't do it. You got all these people around here thinking you're a decent man but I know better. There ain't never been a drop of decency in you. You're the same nasty, dirty bastard that you always been.

Earl slaps her, hard. Brenda stumbles to her station and calmly retrieves a large scissor from the drawer.

She steps toward him, but the front door opens and FRANCES, an elderly member of the church, wearing coke-bottle eyeglasses walks in.

FRANCESIs that you Pastor? What are you doing here?

EARLI was just explaining to our new neighbor how things are in our community so hopefully she will make the right decision.

FRANCESWell we certainly hope you will come by and visit us. You're always welcome.

Palming the scissor.

BRENDALike I told the Pastor, everything in due time.

INT. OAKLAND TOWNHOUSE CAFE - DAY

An older building in need of paint. Several small tables, a juke box and a large window facing the street. Outside a parked truck, - "Mel's Flower Mart - Wholesale Only." .

13.

EARL (CONT'D)

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Through swinging double doors a young man walks into the cafe.

EARL (O.S.)Anywhere you like.

JEFF sits at table two, in the rear of the joint. He's thin, tall, confident, twenty-two and white. Sarah approaches with the menu.

JEFFWhat's good here?

SARAHMake good sandwiches.

JEFFI want something hot.

He smiles at her.

JEFF (CONT’D)What you got hot?

SARAHHot soup, gumbo, sausages --

JEFFUh-huh.

He looks at the menu again.

JEFF (CONT’D)Well, I'll have a fresh chicken sandwich.

SARAHI was gonna tell you, the chicken's not fresh today.

JEFFUh-huh. I'll have the fresh fish sandwich then.

He hands the menu back but she doesn't take it. He looks up at her.

JEFF (CONT’D)Damn.

She laughs.

14.

HP_Administrator
Sticky Note
change to active structure- young man walks through double doors
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SARAHYou don't look like a fish man anyway.

JEFFOh yeah? What does a fish man look like?

SARAHLike that old guy on the commercial for those greasy fried fish and chips.

JEFFMight be greasy but it tastes good.

SARAHAin't nothing but some cheap, fried flounder nuggets covered in flour, chemicals and a whole lot of salt. You eat that?

JEFFWell now that you put it that way. Why don't you tell me. What do I look like?

SARAHYou look like a cheeseburger, fries and a orange soda to me.

He hands her the menu.

JEFFWhatever you say, ma'am.

Sarah grins back to the counter watched closely by Jeff. Jeff is watched closely by Earl.

EARLWhat's he want?

SARAHCheeseburger.

Earl slaps it on the grill. Sarah lowers the fries into the boiling oil. Earl tears off the bill and walks to Jeff's table.

EARLJust leave the money on the table.

15.

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INT. BRENDA'S APARTMENT - DAY

Brenda answers a FIRM KNOCK at the door. It's VELMA, her Parole Officer.

BRENDAWhat you doing here?

VELMABe nice. It's my job to be here. You got out two years early didn't you? You on parole ain't you? You don't think I'm just in the neighborhood do you? You gonna invite me in?

She doesn't wait for the invitation, instead just walks in and looks around. Strong black woman, very composed, self assured, and neatly dressed, she moves slowly and quietly, letting her eyes do the work.

VELMA (CONT’D)Nice place.

Brenda sits at a small window table. Velma walks into the kitchen area and searches the drawers.

VELMA (CONT’D)I waited and waited but I didn't get a call. You know we were supposed to have a sit-down in my office over a week ago.

BRENDAI got busy.

VELMAI can understand that.

Brenda looks up at her surprised.

VELMA (CONT’D)I mean, you just getting out, just getting on your feet. You're meeting new people... reconnecting with others. You get busy. You don't have any weapons in here do you?

BRENDANo.

VELMAWould you tell me if you did?

16.

HP_Administrator
Sticky Note
if she missed a meeting would they put out a warrant?
HP_Administrator
Sticky Note
easy to read. natural flow.
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BRENDAYeah.

Velma shakes her head.

She pulls up a chair.

VELMALet's talk. How's it feel to be back outside?

BRENDAIt's good. Prison is a terrible place. You're lucky if it don't destroy your soul. Nobody belongs in prison.

VELMAWell, you're right about the first part but everybody in there belongs in there. Alright now, let's see, we hooked you up with Edna. She done pretty good since she got out. So tell me, who have you seen since you been outside?

BRENDANobody in particular.

VELMANobody in particular. How about Earl. Seen him? And Sarah. Seen her?

BRENDAI came here to do something.

VELMAYeah I know what you came here to do and I'm telling you girl, it's gonna take you down.

BRENDAYou can't make me give up my child.

VELMAYou already did that.

Velma opens her folder, takes out a sheet of paper and lays it on the table.

17.

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VELMA (CONT’D)You remember this? It's a writ from the Child Protective Services signed and dated by you that gives complete authority over that child to Earl Timmons. There's your signature right there.

She points to it.

VELMA (CONT’D)That means that he is the legal guardian of that child. So if you, in any way, for any reason, do any thing that subverts or challenges his authority over that girl, I guarantee that you will go right back to prison and I will be the one to take you there.

BRENDAI did that cause I didn't want to lose her. Earl told me --

VELMAYou believed Earl? I know you ain't gonna do that again, are you?And you didn't lose her, you gave her away. Now don't be no fool and regret what you done after it's too late. You still young enough to have another baby if that's what you want. That one belongs to Earl.

She walks the room.

VELMA (CONT’D)Now, to make things a little easier on you, I can transfer your case to San Diego. They got good weather down there and a lot of jobs for girls like you. I can probably even get the state to pay the bus fare. I think that's a good deal. A smart girl would take it.

She waits for Brenda's response - and waits.

VELMA (CONT’D)Girl you better think hard. You already got one break when they cut you loose early. And here I am giving you another one. You ain't gonna get too many more chances.

18.

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She walks to the door.

VELMA (CONT’D)Be in my office Monday at ten - and every Monday thereafter.

She closes the door behind herself. Brenda walks to the window.

EXT. BRENDA'S STREET - BRENDA'S POV - DAY

Velma walks to the car, unlocks it and opens the door. She looks up to see Brenda watching from the second floor window.

INT. BRENDA'S APARTMENT

Brenda quickly steps behind the curtain and hides.

INT. NU-TO-YOU HAIR SHOP - DAY

EDNA, sits in her chair eating junk food watching Brenda aggressively wiping the mirror at her station.

EDNAWhat's wrong with you?

BRENDANothing.

She wipes harder.

BRENDA (CONT’D)Thinking about going to San Diego.

EDNAWhy you going to San Diego? Ain't nothing there but some palm trees.

Edna watches her scrub.

EDNA (CONT’D)Look, you ain't got no appointments coming in. Why don't you close on up.

BRENDANo. I'll stay around for a little while.

19.

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EDNAI know you ain't waiting on that little girl to come by.

BRENDAWell, she's due.

Edna explodes into laughter

EDNALet me understand this. That little nappy-headed girl comes in here, you do her hair for free, and the next thing you know, you going to church. Now you waiting on her to show up again. You gonna be singing in the choir soon enough.

BRENDAI didn't "go to church." I just "went" to church.

Mocking her.

EDNA"I just went to church" Earl got all the little girls around here hot in the butt, “going to church”. And you ain't had no tender beef in God knows how long? Oh yeah Baby --

She dances and samples New Birth.

EDNA (CONT’D)"I can understand it." Hell, that's the first thing I took care of.

BRENDAI ain't interested in that preacher or nobody else. I went over there cause she wanted me to go.

Edna rotates to look at her.

EDNAThat's even worse. What you care about where she wants you to go? What's that girl to you?

Edna looks at Brenda's face reflected in the mirror.

EDNA (CONT’D)Oh my God. Don't tell me you and Earl --

20.

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Edna’s raisin' her hands.

EDNA (CONT’D)Oh my Lord and savior, wait till this gets out. Not that I'm gonna say anything. You know me. Uh no. Not me.

BRENDADon't matter. It's gonna get out anyway.

EDNAHow he get your baby in the first place? I mean, I know you got into some trouble but how'd he end up with the baby? How come your mama didn't take it?

Brenda turns away from her.

BRENDAMy mama's dead.

Brenda walks to the window and back.

BRENDA (CONT’D)They were trying to put the baby in adoption but Earl said if they did that I'd never see her again. He said if I signed her over to him he would give her back when I got out. But he lied.

EDNAThey all lie, Honey. Now, you know I don't like to stick my nose in other people's business. It's my policy to stay out of things where I don't --

BRENDAJust say what you gonna say.

EDNAThat girl don't know you. She don't even know you her mama. Don’t know what you did or where you been all these years. And when she finds out, she might not want to go to you. And besides, far as everybody 'round here is concerned, that's his child.

21.

(MORE)

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You telling her this she would have to choose between him and you. I wouldn't want to put her in that spot.

Brenda walks to her chair and cries. Edna walks over to her and puts her hand on her shoulder.

EDNA (CONT’D)But on the other hand, that's your child too and you gonna do any thing you can to get her back. You got to.

INT. OAKLAND TOWNHOUSE DINER - DAY

She's behind the counter, and as luck would have it Earl is not there. Jeff walks in and stands behind her while she washes dishes.

JEFFChicken fresh today?

Sarah turns and stares at him.

SARAHI don't think you better come back here any more.

JEFFThen come on out for a while with me.

SARAHI can't. It's lunch time. Nobody's here but me.

JEFFWhen's he coming back?

SARAHSoon.

JEFFI'll wait for you.

SARAHNot in here.

JEFFI'll be outside in my truck. Come on.

22.

EDNA (CONT'D)

(MORE)

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I got some sandwiches from that place down the street. People treat you nice at that place.

Sarah turns and stares.

JEFF (CONT’D)We can talk. I'm parked around the corner.

He waits.

JEFF (CONT’D)You comin'?

Sarah turns away. He walks to the door.

SARAHWhat's your name?

He turns back.

JEFFJeff. What’s the matter?

She turns to face him.

SARAHYou white. I gotta think on this.

After a moment she softens.

He leaves. Deacon Anderson, sitting at his perch, has heard the whole exchange.

EXT. MEL'S FLOWER MART - FLOWER BEDS - DAY

A huge area covered by trellis where hundreds of flats containing flower seedlings are in bloom.

Jeff and Sarah sit at a table eating sandwiches and drinking soda between two long rows of colorful snapdragons.

SARAHI wish I worked here. Get to work around these beautiful flowers all day long - outside in the sun.

JEFFNo it's not like that. I make deliveries.

23.

JEFF (CONT'D)

HP_Administrator
Sticky Note
have we seen the deacon before? may need to have him seen when she goes to church earlier on
HP_Administrator
Sticky Note
trellises
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SARAHYeah, but you keep your own hours too, kind of, right?

JEFFYeah, well, maybe.

SARAHThat's what I want more than anything. Keep my own hours. Come and go as I please

JEFFWhat would you do?

SARAHWork hard. Save up some money. Then I'm leaving here.

JEFFWhere you going?

SARAHChicago.

JEFFThat where you from?

SARAHNo, but I think I might like it there. I been saving all my tips and I get half the jukebox money for my allowance. I save that too.

Jeff laughs at her thriftiness.

JEFFTake a lot of tips to go to Chicago.

SARAHI'ma get there. I got to.

She looks into his eyes.

SARAH (CONT’D)Let me ask you. Where you get a name like "Jeff"?

JEFFI'm from the south, Atlanta. Everybody thinks my name is Jeffrey, but it's Jefferson.

24.

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SARAHThat don't make it any better.What you doing in Oakland?

JEFFI was trying to work my way up to Vancouver; get a job on one of those fishing boats up there. I heard they got boats that haul in five thousand pounds of salmon every day. Then I got this job. Kind'a like it.

Sarah looks down the aisle and sees two co-workers watching.

SARAHYou gonna get in trouble.

JEFFNaw. The boss likes me.

SARAHI will, if I don't get back.

They get up. Jeff turns to Sarah and kisses her.

EXT. OAKLAND COMMERCIAL STREET - DAY

Josie and Sarah walk together.

JOSIEYeah, I heard about you and your boyfriend. Everybody's talking about it. "Sarah got a whitey"

SARAHThat ain't nice.

JOSIEDon't blame me. I'm just telling you what everybody's saying that's all.

SARAHHe's a real nice guy.

JOSIEUm hum. You having sex?

SARAHI ain't telling you my business.

25.

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JOSIEYou ain't got no business worth telling.

SARAHThen don't ask me then.

JOSIEI won't.

They turn the corner.

JOSIE (CONT’D)I know you ain’t going to Darnel’s party Friday?

They stop before they approach the diner.

SARAHDarnel’s having a party?

JOSIEHis grandma died and his mama had to go see about her.

SARAHNobody gonna be there?

JOSIEOh well.

SARAHNaw. My daddy ain't gonna let me go. He don’t let me go nowhere.

JOSIEYou can’t be that dumb?

SARAHWhat?

JOSIEDon't tell him. Tell him you going somewhere else. Don't you know how to lie?

SARAHYeah.

JOSIEThen lie.

(shaking her head)Shit.

26.

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EXT. NU-TO-YOU HAIR SHOP - DAY

They near the salon when Brenda catches them.

BRENDAWho’s these pretty girls walking by my store?

They stop to chat.

SARAHThis is my friend Josie.

(to Josie)This is Brenda. She did my hair.

BRENDAHow you like it?

JOSIEIt’s tight.

(to Sarah)I was gonna say something but I didn't want to get you all upset. You know how sensitive you are.

SARAHI got a lot of compliments.

BRENDAWell come on, let me touch you up.

INT. NU TO YOU HAIR SHOP - DAY

SARAHWhy your mama keep chasing my daddy? Ain’t she tired by now?

JOSIECause she ain't got no damn taste that's why. I don't like that nigger. Never did. No offense.

SARAHYou don't like anybody.

JOSIEI don't like anybody long. I get tired of all these fools running around here.

BRENDAHoney, save your strength. There’s a whole lot of ‘em.

27.

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Sarah sits. Brenda covers her with the smock.

SARAHYou tired of Tyrell yet?

JOSIEHim too. I had to fix his little ass Friday night. He wanted a piece, you know --

BRENDAWhat?

JOSIEBut, as you know, we’re too young for all that. And of course I told him so. But he tried to rough it off anyway.

Josie bends over, laughing.

SARAHWhat?

JOSIESo I kicked him in his balls.

BRENDAWhat!!!

JOSIEYep! DEAD - IN - HIS - BALLS! That'll stop a nigger quick.

They laugh hysterically.

BRENDAWhat he do?

JOSIEHe ran down the street, all bent over, puffing and blowing, crying and shit.

She imitates him by bending over, holding her crotch and skipping around.

JOSIE (CONT’D)(coughing, wheezing)

"Woooo. I'ma git you bitch. Wooooo! I swear to God I'ma git you. Woooo!

They fall over themselves laughing.

28.

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LATER

Brenda reaches for one of several red hot combs in the heater at her work station and straightens Sarah's hair while Josie reads a magazine. Smoke rises as she pulls each handful through.

BRENDAAin't seen you in a while. I figured maybe you were spending time with your boyfriend. You got a boyfriend, don't you?

JOSIEShe got one alright.

SARAHWhy you asking me that?

BRENDACause I want to know, that's why. You old enough. Pretty enough. You got one, don't you?

SARAHYeah, I got one.

BRENDAHe look like Denzel?

JOSIENoooooooo --

SARAHNo. He don't look like Denzel.

BRENDAWell I sure hope he don't look like Spike Lee. Boy look like a water bug.

They all laugh.

BRENDA (CONT’D)How serious you two?

SARAHWell, we're talking about going someplace together.

Josie gets up and walks to the counter to get another magazine.

29.

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JOSIEOh please. Where you going?

SARAHHe wants to go to Vancouver. I want to go to Chicago. I don't care where we go, long as we go somewhere, anywhere. I got to get out of here.

BRENDAVancouver. That’s an awful long way.

JOSIEDon’t even worry about it. She ain’t going to no Vancouver.

BRENDAI got a sister in Chicago. You could stay with her. You're gonna love her.

SARAHI got enough money too.

BRENDAI bet you do.

She pulls her hair through again. Josie picks up the magazine and examines it.

BRENDA (CONT’D)Yeah. We been writing each other for fifteen years. I ain't never seen her.

SARAHHow'd you find her all the way in Chicago?

BRENDAI didn't find her. She found me. Name is Mary Dell. Runs some kind of food program on the south side. Everybody knows her.

She rotates the chair, leans right into Sarah's face and pokes her chest.

BRENDA (CONT’D)If you ever want to find me you look for her. That's where I'll be. Now, what's her name?

30.

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Sarah laughs.

SARAHMary Dell, on the south side.

Brenda laughs.

BRENDAAll right.

EXT. COMMERCIAL STREET - NIGHT - ESTABLISHING

A rainy night in Oakland.

INT. NU-TO-YOU HAIR SHOP - NIGHT

Edna eats chicken wings and chats with Sister Calmes who is being served by Brenda.

SISTER CALMESOh no child. Too much competition from the young girls. I got to get my hair done every week, rain or shine.

EDNANow that's a good woman right there - dedicated to her hair. I wish there was more women like you in this world.

SISTER CALMESAin't that right. Little bit of rain ain't gonna make my hair jump bad. But then again I ain't got your typical Negro hair.

Edna shoots a sneak peek at Brenda.

SISTER CALMES (CONT’D)But I brought my umbrella just in case.

She points to her red umbrella.

Edna throws away the chicken wing, picks up the duster and begins to clean her chair and counter.

With her back to Sister Calmes.

EDNASo Calmes, what's going on down at the church?

31.

HP_Administrator
Sticky Note
could be a long wait. is rain really necessary for this shot? expensive to create.
HP_Administrator
Sticky Note
where are the scenes with the softer emotions?
HP_Administrator
Sticky Note
what is the emotion of conflict? is that the only emotion we have? if a musician comes on stage and plays the same note for 2 hours is that interesting?
HP_Administrator
Sticky Note
somewhere you may want to have a segment of a white guy behaving badly- an "upstanding citizen" who hires hookers and snorts coke- keep the white viewers from getting settled into black stereotypes
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SISTER CALMESSame. Frances no-good boy finally died. Clara still blind as a bat. Pastor still looking good. I swear to God, all that man needs is a good - lovin' country girl.

EDNAYou got any idea who that might be?

SISTER CALMESWell you know I'm dead on it. Slow and steady, that's how I'm working it. Man's nervous, he's twitchy. Don't want to scare him off.

EDNAWhat he got to be scared of? Every woman in town hunting him down.

SISTER CALMESHe's gun shy. Sarah’s mother turned out to be a drug addict and a prostitute. Run off to Chicago. She dead now.

BRENDAHe told you that?

SISTER CALMESHe did. He was over the house the other night you know. I tried to pull up on him but he got away from me.

BRENDAAnd what else he tell you?

SISTER CALMESSaid Sarah was getting older - starting to hang around with the wrong crowd. Said he was getting ready to send her out of town but he didn't want that news out on the street yet so keep it to yourselves.

Edna looks at Brenda.

EDNAThat's all?

SISTER CALMESOh no Honey, he told me a lot.

32.

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EXT. OAKLAND COMMERCIAL STREET - NIGHT

Oblivious to the wind and rain, Brenda bolts down the street with Sister Calmes' red umbrella. She throws it away as she mounts the stairs and enters the church.

INT. CALVARY BAPTIST CHURCH - BASEMENT - NIGHT

The men of the church, including Deacon Anderson, dressed in black suits and ties, sit in the particular order of the Masonic Lodge as they SING a slow gospel standard.

The door flies open. Brenda heads for Earl.

EARLI can see that you’re agitated but we need to calm down now.

BRENDAOh no, I am very calm now. See, I’m through waiting on you. I knew I couldn’t trust you so I’m going to do what I came here to do myself and I’m gonna do it right now. You hear?

She storms out leaving the door open behind her.

WILSONWhat that woman talking about?

He waits for Earl’s response.

WILSON (CONT’D)There ain't nothing you want to tell us, is there Pastor?

Earl thinks about it then heads for the door.

EARLLook, she's obviously upset. Perhaps I can help her.

Earl runs out after her.

EXT. CALVARY BAPTIST CHURCH - NIGHT

He steps into the light rain, sees Brenda in the distance and walks quickly toward her.

He grabs her arm. She jerks it away.

33.

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BRENDAGet off me.

EARLWait. I'm not gonna hurt you.

BRENDA

Don’t touch me.

EARLOkay. Okay.

He steps back.

EARL (CONT’D)See? I just want to talk to you.

BRENDAWhat you got to say to me?

EARLI'll let her go. I'll let her go. I'll tell her that you're her mother and I'll let her go to you if that's what she wants.

BRENDAAfter you told her that I'm a prostitute and a drug addict? After you told her that I’m dead?

EARLI'll tell her that all that stuff wasn't true, that I was just afraid of losing her that's all. I've been her daddy all these years. I don't want anybody else coming in and just taking her. You can understand that. That's hard for anybody to do - to just give up his child.

BRENDAI did it.

EARLI'll tell her. But you got to give me some time.

BRENDAHow long?

EARLA few days.

34.

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BRENDAYou had fifteen years. You should have told her when I was writing all those letters and sending those gifts. Now my own child doesn't even know I’m alive.

EARLI was wrong. I was doing it for her sake.

BRENDAYou was doing it for your own sake. You didn't want nobody to know the truth - that you raped me. That you beat me down and raped me. You didn't tell her that, did ya'.

EARLPlease Brenda. I had to face up to what I've done. I'm a changed man now. I've given myself to Jesus and he's accepted me --

BRENDAYou ain’t never gonna be no good, are you?

She shakes her head waiting for the answer that never comes.

BRENDA (CONT’D)I don't want to hear that old shit cause you don't mean it. You ain’t gonna tell her so I’ll tell her. You got till tomorrow morning. I’ll be there at ten o’clock. You have her ready.

EARLAlright, all I want is for you to leave town tomorrow morning and I'll tell the congregation that she went to stay with her family.

She walks away, but returns.

BRENDAAnd Earl, I can’t hear no more lies.

35.

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INT. NU-TO-YOU HAIR SHOP - NIGHT

Brenda and Edna celebrate. Edna pours a plastic cup of orange soda.

EDNAGirl, you done it. You beat his ass so bad he had to give her up. Wasn't nothing else he could do.

BRENDAI guess so.

EDNAHe don't know what you might do next.

BRENDAYeah, he's scared of me now.

EDNAI heard that. You know, when I said you was gonna win, I didn't believe it for one minute.

BRENDAWhat?

EDNAI'm just kidding you. Anybody get between a mother and her child course she gonna win. A mad-ass mama is a dangerous thing.

BRENDAPreach on it.

EDNAShe'll hurt somebody.

BRENDAYes, Lord.

EDNATear his ass up. Turn him every way but loose.

They laugh together.

EDNA (CONT’D)Yeah you done good - real, real good.

They toast.

36.

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INT. BRENDA'S APARTMENT - DAY

Brenda hurriedly packs her few clothes and other belongings into the small, old-fashioned, cloth suitcase. She takes a final look around the room and closes the door behind her.

INT. OAKLAND TOWNHOUSE DINER - DAY

Earl wipes the tables when Brenda walks in. He talks without looking.

EARLRight on time.

BRENDAShe ready to go?

EARLOh yeah.

BRENDAWhere is she?

He turns to her.

EARLOh she'll be here in a minute. Why don't you sit down and relax yourself.

BRENDAThat's alright.

EARLCan I get you something?

BRENDAI don't want nothing and I don't need to relax myself.

EARLAlright. Just thought I'd try to make things more pleasant.

Earl walks to the stairs at the rear of the diner and calls.

EARL (CONT’D)Sarah. Come on down here honey.

The sound of OFFSCREEN FOOTSTEPS coming down the stairs causes Brenda to straighten up and smile.

37.

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Then, appearing at the bottom of the stairway is Velma. She walks over to Brenda.

BRENDAEarl told me to come here.

VELMAI told you to stay away from here. Where were you going anyway? I guess you weren't gonna tell me, huh?

BRENDAI didn't mean to cause no trouble.

EARLEverywhere you go you cause trouble.

BRENDAThis is the last time you set me up.

EARLIs that a threat? If it is you better think on it cause your situation is getting worse every minute.

(to Velma)She walked in here trying to take my child away from me.

BRENDAYour child?

EARLAnd you lied to your parole officer here when she told you to leave us alone. You're a dangerous woman Brenda.

BRENDAGoing back to prison ain't nothing. I'll get out one day.

VELMA(quietly to Brenda)

You should have listened to me.

Brenda looks at the ground, not at Earl.

BRENDACan I see her?

38.

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EARLDon't be stupid. She's not here.

VELMAThat's not necessary.

Velma cuffs Brenda, picks up her suitcase and heads for the door.

VELMA (CONT’D)Get in the car.

BRENDAI'm comin' back Earl.

EARLOh, I don’t think so, and I won't be telling her you dropped by.

Brenda and the Velma walk out.

INT. VELMA'S CAR - TRAVELING - DAY

Brenda and Velma drive off in Velma’s American-made large blue car.

VELMAYou know, you are either the stupidest woman I ever met or you need to see a damn psychiatrist.

BRENDAI ain't stupid.

VELMAThen you're crazy. And that's what bothers me.

They turn on to a commercial street.

VELMA (CONT’D)Remember I told you that everybody in that prison belongs there. I don't care what they say. They either so stupid the only thing they know is going back to jail all the time cause they do the same stupid shit over and over again. Or they're just plain crazy and they should be locked up somewhere. Either way, they need to be in prison. It's home for them.

39.

(MORE)

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You got into some trouble and you did your time on that. But instead of going on about your business, you just keep shittin' and stepping back in it. So which one does that make you?

BRENDADon't you understand Earl got my child. He won't even tell her I'm here looking for her.

VELMAI know that.

BRENDAHe lied to me. He said he would give her to me and instead he set me up.

VELMAI know that too. You think you're the only one I been talking to? I've been talking to Earl since before you got out and all he's been doing is setting you up.Why do you think he took that child in the first place?

BRENDACause he wants to hurt me.

VELMACause he wants to kill you. He took that girl cause he wanted to make sure that you didn't get away from him. Long as he had her, he didn't have to find you, you would find him. She was the bait to bring you to him, so he could kill you. And Brenda, if you don't get out of here right now, that's exactly what he's gonna do.

Velma pulls over to the curb, unlocks the cuffs and throws them on the dashboard. She takes off again.

INT. VELMA'S CAR - TRAVELING

BRENDAYou know what your problem is? You ain't a mother. If you were a mother, you'd understand.

40.

VELMA (CONT’D)

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VELMAWhen did we become friends? How do you know I'm not a mother? Did I tell you that?

BRENDAYou don't act like no mother. You don't understand nothing.

VELMAI'm supposed to be like you, right; threatening people, going to jail. That's how you want me to act, huh?

Velma looks over at her.

VELMA (CONT’D)I do understand. I'm trying to help you.

BRENDAYou ain't helping me. You helping Earl get rid of me. You helping him take Sarah from me.

VELMABrenda you’re in a bad situation. You stay here and for sure Earl’s gonna kill you. You go down to San Diego they ain’t gonna play with you. You miss one stroke and they gonna throw you right back in prison. You go back to prison with seventeen to life it’s all over for you. You won't get out. Either way Earl wins.

EXT. OAKLAND BUS STATION - DAY

Velma rounds the corner and pulls over to the curb at the bus station.

VELMALook, you don't need to go back to prison. You don't belong there and I don't want to take you there. So you have to promise me that if I put you on this bus you will meet with that parole officer, stay out of trouble and you won't come back.

Velma watches the parade of passengers.

41.

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VELMA (CONT’D)I need to hear you say that.

Brenda looks out of the passenger window, then at Velma.

VELMA (CONT’D)So you’re crazy cause a crook would have lied. Get out of my car.

Brenda and Velma get out. Velma takes her by the arm and walks her inside the station.

INT. OAKLAND BUS STATION - PASSENGER PLATFORM - DAY

Velma and Brenda wait their turn to board.

VELMAHere.

She hands her a large manila envelope and points to information written at the top.

VELMA (CONT’D)That's where you need to be and who you need to see. Now I’m telling you Brenda, he’s not gonna waste any time on you. If you’re not in his office tomorrow morning, waiting for him, he’s gonna put a bench warrant out for you. You know what that means.

Velma hands Brenda her suitcase and her ticket as other passengers board the bus.

She yanks Brenda's arm as she boards the bus.

VELMA (CONT’D)Don't come back.

The bus door closes as the engine cranks up. Velma stands on the platform watching the bus back up and out of the station. She waits until it is well out of sight.

EXT. FREEWAY - DAY

The Interstate bus travels down the freeway at a fast clip.

42.

HP_Administrator
Sticky Note
low point
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INT. INTERSTATE BUS

Brenda sits in an aisle seat near the middle of the bus, her suitcase in the overhead rack. She begins to cry but quickly wipes her tears away.

INT. OAKLAND TOWNHOUSE DINER

Sarah wipes the table and returns to the front of the cafe carrying the handful of dirty dishes. She walks behind the counter and puts the dishes into the sink. Deacon Anderson sits at his perch next to the cash register

Earl takes off his apron.

EARLDeacon, I got to go to the Korean store. Can I get you something before I go?

DEACON ANDERSONWell Earl, you might want to get me one of them delicious sandwiches you got back there.

Earl ducks behind the counter and pours a Dixie cup of bourbon. He taps Deacon’s closed hand with the cup. The Deacon opens his hand and accepts the drink.

DEACON ANDERSON (CONT’D)Thank you sir.

Anderson takes it all in one gulp.

EARL(to Sarah)

Be right back.

Earl leaves as THREE ELDERLY WOMEN have finished their meals at the table.

One of the three customers comes to the counter. She is an OLD WOMAN, slow-moving, dressed from another time.

OLD WOMANHow much do we owe you Darling?

Sarah adds their check.

SARAHSeventeen fifty.

The deal is consummated and change given.

43.

HP_Administrator
Sticky Note
action- old woman gives her some cash and gets her change.
Page 45: SOMEWHERE, ANYWHERE Written by Glenn Davis Anywhere notes from Steve H.pdfSOMEWHERE, ANYWHERE Written by Glenn Davis 731 Bay Tree Lane El Cerrito, CA 94530 510-527-5749

OLD WOMANThis is for you, dear.

The Old Woman leaves a twenty-five cent tip on the counter.

SARAH(smiling)

Thank you, ma'am.

Sarah takes dirty plates off the counter. She picks up the quarter. At the jukebox she drops the money in, hits two keys and waits.

Soon the first notes of a SOULFUL BALLAD are heard through the speakers. Deacon Anderson bursts into an excited grin.

Sarah stares at the rotating 45 rpm record on the old jukebox, then she rotates and walks over to the Deacon. He takes a five dollar bill out of his shirt pocket and puts it on the counter. Sarah looks out the window behind him, raises her blouse and bra, takes his hand and places it on her bare breast. He grins as he fondles her.

She gently takes his hand away and lowers her blouse. She picks up the five spot and walks away leaving Deacon Anderson's face grinning.

INT. EARL'S APARTMENT - HALLWAY

Sarah finds the loose floorboard in the upstairs apartment hallway. She lifts the board and takes out a large brown paper bag. Inside the bag is a large shoe box. She opens the box, revealing hundreds of five dollar bills all neatly arranged. From her bra, she adds the latest one to the box, closes it and returns it to her hiding place.

EXT. INTERSTATE BUS - WIDE SHOT

The bus is driving fast in the center lane of the freeway. The brake lights flash to indicate that the bus is slowing down.

CARS HONK as the bus weaves dangerously between two lanes of traffic, obviously attempting to pull over to the exit ramp only one hundred feet ahead.

MORE IMPATIENT AUTO HORNS blast as the bus manages to exit at the freeway off ramp and pick up speed heading for the frontage road.

44.

HP_Administrator
Sticky Note
probably not realistic and possibly unnecessary
HP_Administrator
Sticky Note
where are we? has brenda come back to oakland? not clear.
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EXT. OAKLAND FRONTAGE ROAD - DAY

The bus slows to a stop just off the freeway. Moments later the door opens and Brenda climbs out with her suitcase. She heads towards the rear of the bus and walks back home.

EXT. COMMERCIAL STREET - NIGHT

Brenda walks down the street stopping in front of the Oakland Townhouse Diner. No lights are on. She continues on.

EXT. CALVARY BAPTIST CHURCH - NIGHT

A bright amber glow pours on to the street beneath the large church windows. Brenda watches as a few members of the congregation arrive and enter.

INT. CALVARY BAPTIST CHURCH - CHAPEL - NIGHT

Brenda walks in. Many church members are in the chapel paying respect to Frances whose grandson Jermaine has passed on.

Brenda walks toward the pulpit examining the seated crowd.

BRENDA’S POV

She scans the pews on both sides. A WOMAN on one side waves to her.

WOMANHow you doing Darling?

RETURN TO SCENE

The ORGANIST PLAYS. SISTER THOMAS wearing a flowery dress and a large hat has taken the floor near the casket. Brenda sits.

INT. RECTORY

EARLWhat’s it look like?

SARAHNot that many.

EARLThat’s good. Need some time to figure out what I'm going to say about that boy.

45.

HP_Administrator
Sticky Note
what's the value of this scene- is she looking for Jeff?
HP_Administrator
Sticky Note
a good empathy scene- brenda is the outsider looking in
HP_Administrator
Sticky Note
is this the dead boy's grandmother?
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SARAHSay what you always say.

Earl takes his garment out of the plastic bag.

EARLCan't do that. Boy wasn't nothin' but a dope addict and a thief and everybody knew it. Poor Frances, had to suffer the humiliation of her low-life grandson.

SARAHYou’ll say something good.

EARLLet me go see what we got out there.

INT. CHAPEL - BALCONY

Earl walks out and looks down at the congregation. He sees Brenda but she doesn't see him.

He hurries back to the rectory.

INT. RECTORY

EARLYou go on home.

SARAHWhy?

EARLJust a handful of people here. I don’t need you. Go on home.

SARAHThat’s alright with me.

EARLGo out the back door.

SARAHWhy I gotta go out the back? They got rats down there.

EARLWhat did I tell you.

46.

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INT. CHAPEL

Sister Thomas warms up the crowd. Everybody claps and hums except Brenda.

SISTER THOMASHallelujah, God is good. Ain't that right y’all? God is good?

CONGREGATIONOh yes Sister./ Amen./Speak to 'em.

SISTER THOMASEven on a day like today whenthere is so much sadness in our hearts, we still know that God is good.

CONGREGATIONOh yeah,/ Sure 'nuff Jesus./ Speak on it.

SISTER THOMASNow, as I travel through this land that we all travel through. You know we ain't gonna be here long, just for a short time.

CONGREGATIONThat's right./ Talk to 'em./ Yes Jesus.

SISTER THOMASAnd then, like young brother Jermaine, we'll all be crossing over.

Sister Thomas BELTS OUT one of a thousand old Baptist “goin’ to heaven” SONGS while the congregation SINGS and CLAPS in time.

INT. RECTORY

Earl adjusts his clothes, turns off the light and walks out.

INT. CHAPEL

Earl arrives at center stage CLAPPING to the beat of the song watched closely by Brenda.

47.

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EARLThank you Sister Thomas. On behalf of Sister Frances and all the members of our church, we welcome you here tonight to join us in prayer for our departed son, Jermaine. Sister Frances, what is your prayer tonight?

Frances stands, with her hand on her heart.

SISTER FRANCESPastor, Jermaine needs to rest now. I pray that God will bring him to his bosom and give him the rest that he needs.

EARLSister, I believe that Jermaine will get that rest now that he is with our God because unlike all of us, young brother Jermaine no longer has anything to fear from this world. He’s in the hands of the Lord. He need not worry about the trouble of this world any more. It is all of us who must worry because as we still look into the eyes of the devil every day. That same devil who would do us harm, exploit our weaknesses, and take our very lives if he so pleases.

Earl looks into Brenda’s eyes.

EARL (CONT’D)But as we look into the devil’s eyes we know that our most effective weapon against him is the word of our Lord and our comfort is in knowing that God’s justice is absolute and certain. And despite what young brother Jermaine has done or not done, God has made a place for him and forgiven his sins. But God will never forgive a murderer, a killer, who takes the life of one of his innocent lambs --

Brenda gets up and turns to leave the church. Earl, seeing this RAISES his VOICE till it ECHOES OFF THE CHAPEL WALLS.

48.

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EARL (CONT’D)One of his blessed children. No, for God has already told us that he will deliver his severest justice to those who attack the weakest among us, his lambs, his children, true believers in him and his word --

She turns to him and SCREAMS.

BRENDAWhat about you Earl? You bastard. What kind of justice is your God gonna give you?

The church is horrified. The DEACONS and SISTERS all rise and SHOUT their outrage at Brenda. JOHNSON, a short, portly man pushes his way from the middle of the pew to the aisle in order to confront her, followed by SISTER GREENE.

JOHNSONI know you. You was at the Masonic Hall the other night. You got a lot of nerve talking to the pastor that way.

SISTER GREENEOught’a be ashamed of yourself. Walkin’ in here spittin’ hatred out yo’ mouth like that.

Earl screams.

EARLAh, don’t you worry Sister Greene. Her day is coming.

(to Brenda)God is waitin’ on you.

Brenda screams back.

BRENDAWell let him wait then. I ain’t waitin’ on Him and I ain’t waitin’ on you. And you gonna get plenty justice when I’m through.

Brenda wheels around and walks down the aisle, past the rows of angry SCREAMING church members, and out of the chapel.

49.

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EXT. OAKLAND TOWNHOUSE CAFE - NIGHT

From across the street, Brenda stands and watches the cafe. The cafe is dark downstairs but the upstairs living quarters is alive with light.

She crosses the street and stands under the open second story window. She half whispers, half calls.

BRENDASarah, Sarah.

Sarah comes to the window and leans out.

SARAHWhat you doing here? My daddy said I can’t see you no more. I gotta go.

BRENDASarah please. I just want to talk to you about something.

SARAHNo, no. You coming ‘round here this time of night, I’m the one who’s gonna get hurt.

BRENDAIt’s kind’a important Sarah. Please.

SARAHThen what is it? Hurry up.

BRENDAUh, that’s alright.

SARAHWhat is it?

BRENDAWell, maybe you better come on down. It’s dangerous up there. You might fall out the window.

Sarah looks down the street both ways.

SARAHAlright, I’m coming down but you better tell me right now cause my daddy’s comings home soon.

50.

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Sarah runs down the stairs. She opens one of the double doors.

INT.EXT. OAKLAND TOWNHOUSE CAFE - NIGHT

SARAHOkay now, tell me, quick.

BRENDAYeah. Well. Like I said, it ain’t nothing important. You can go on back upstairs --

SARAHWhat!!

Sarah tries to close the door but Brenda blocks it.

BRENDAWait.

SARAHI gotta go.

BRENDAI didn’t tell you yet.

SARAHHurry up then.

SIDEWALK

Sarah walks to the sidewalk and looks both ways.

BRENDAI’m gonna tell you now.

SARAHShut up and tell me.

Brenda lowers her head.

BRENDA(sotto voce)

I’m your mother.

SARAHMy mother’s dead.

Looking at her now.

BRENDASarah, I’m your mother.

51.

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They are now both frozen in each other’s eyes.

EXT. OAKLAND TOWNHOUSE CAFE - LATER

Earl quickly approaches the cafe door, unlocks it and walks in.

INT. OAKLAND TOWNHOUSE CAFE - NIGHT

Earl walks into the dark cafe and stops dead in his tracks when he sees Sarah standing in the darkness at the far end of the cafe.

SARAHYou lied to me about my own mother. You told me she was a prostitute and a drug addict. That she was dead.

EARLI lied? I told you the truth. I told you that she was no good. She come around here telling you a whole pack of stories so you’ll feel sorry for her. She’s the one who’s a liar, not me. She’s better off dead to you.

Then an O.S. VOICE in the darkness.

BRENDAYes, you lied. You lied and you know it.

Brenda steps out of the darkness.

SARAYou said she was --

EARLA murderer? Oh, I didn’t tell you that, did I?

BRENDAYou lied about that too. You told the judge that I killed my own mother.

EARLShe wasn't your mother. She was my mother and she hated you.

52.

(MORE)

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Your mother was some whore that ran off with my father. You were just the mess he left behind for me and Ma to clean up. Then you got pregnant and you said I raped you.

BRENDAYou did.

EARLThat was another lie.

BRENDANo.

Earl screams at her.

EARLYou killed my mother.

BRENDANaw.

EARLNo? I saw you. You grabbed her by the throat. You choked her. You beat her down and you pushed her through that window.

BRENDAIt was an accident.

EARLI saw you do it. I was right outside the door.

Brenda breaks down.

BRENDAShe fell. I didn’t mean to hurt her.

EARLYou took away the only person who ever loved me. You stole her from me.

Brenda begins to cry.

BRENDAI’m sorry Earl.

She turns to Sarah.

53.

EARL (CONT'D)

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BRENDA (CONT’D)Sarah, I --

Brenda watches as Sarah runs upstairs. She turns to Earl.

BRENDA (CONT’D)You got what you wanted?

EARLOh no. I ain't done with you yet.

INT. NU-TO-YOU HAIR SHOP - DAY

Edna stands by her chair. Velma is surrounded by two men wearing SUITS.

EDNAI told y'all. I have not seen her. I don't even remember the last time I saw her.

SUIT #1You're telling me that this woman works for you yet you haven't seen her.

EDNAYup. Last time I seen her she was talking about going to San Diego or something. I told her "Don't even waste your time, Honey. Ain't nothing down there but some old palm trees."

The suits aren't buying this story.

SUIT #1Ms. Eggar, this woman is a fugitive. You know that there are severe penalties for harboring a fugitive, especially for a woman on probation, like you.

EDNAI ain't harboring nothing --

Brenda walks in the door and stops dead. Edna and Brenda look at Velma.

EDNA (CONT’D)Looks like my appointment is here, right on time. Come on in Mary. I'm ready for you, um - hm.

54.

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Edna jerks Brenda into her chair. She snatches Brenda's pocketbook and turns her away from the police. They both stare at Velma as if waiting for a snake to strike.

Suit #2 walks close to Brenda's work area, dangerously close to Brenda's State license and the photograph of her with Sarah, all partially obscured by shampoo bottles.

INSERT: Velma’s POV -

Brenda’s license and photograph

RETURN TO SCENE -

Velma walks nonchalantly to the mirror preventing the Suits from seeing Brenda's license and her photograph.

SUIT #2Do you have any idea where we might find her?

EDNAYou been by her house, right? Then, no. Not at this time.

VELMAYou know what a magistrate is Ms. Eggar? Here in California we have so many people like Brenda that we don’t even send them to court anymore. We send ‘em to a magistrate and he just waves his hand over them and it’s good night Irene. Now, I know what Brenda is trying to do.

She walks near Brenda.

VELMA (CONT’D)In her shoes I just might do the same thing. See, I AM a mother too. But she’s running out of time now. So if you see her, you tell her that.

SUIT #2 walks over and hands her his card.

SUIT #2But if you do see her, tell me first.

EDNAOh yeah. You can count on me.

55.

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SUIT #1(to Velma)

Are we done here?

VELMAWe're done.

They head out the door. Velma locks eyes with Brenda, then leaves.

INT. NU-TO-YOU HAIR SHOP - STORAGE ROOM - NIGHT

Brenda sits on an improvised bed among various boxes and cans. Edna organizes the dusty room.

EDNASo you cussed out the preacher, huh? You think that was a smart thing to do?

BRENDAYou were the one who told me to stand up for myself.

EDNAWell you sure-nuff did that.

BRENDAAnd I got a lot more cussin’ to do.

EDNAYou better be careful. Old Calmes said she’s gonna get a posse to run you out of town.

BRENDAWell they gonna have to run awful fast to beat the po-lease.

They laugh.

BRENDA (CONT’D)And Calmes’ fat ass be better off walking anyway.

Edna heads for the storage room door.

EDNAI’ll see you tomorrow.

BRENDANight now.

56.

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Edna leaves. The front door SLAMS OFFSCREEN.

Brenda sits on the edge of the bed then lays down. Her eyes open.

OAKLAND TOWNHOUSE DINER - DAY

Brenda walks in. She sees Deacon Anderson at his perch near the cash register and taps him on the arm.

BRENDA (CONT’D)Hey. Sarah here?

DEACON ANDERSONNaw ma’am. Ain't nobody here but me.

BRENDAYou sure about that old man?

DEACON ANDERSONYes ma’am.

She starts out.

DEACON ANDERSON (CONT’D)Er, you that hair dressing woman, ain't you?

BRENDAHow you know?

DEACON ANDERSONI'm blind. I ain't deaf.

(pause)You say you Sarah’s mother?

BRENDAYes, I am.

DEACON ANDERSONHmmp... You know, Earl don't like nobody taking nothing from him. Be best if you just go on about your business.

BRENDAGoodbye old man.

Brenda starts out.

DEACON ANDERSONWoman, are you stupid?

57.

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Slowly she turns and approaches him.

BRENDANo. Are you?

DEACON ANDERSONThen you can read.

BRENDAYes, sir. I can.

DEACON ANDERSONHmmp...

The Deacon feels his way to the faded newspaper article taped to the cash register. Brenda approaches the register.

CLOSE UP - BRENDA'S POV

Above the picture of Earl, wearing his white collar and holding a nine millimeter handgun is the headline, "Local Cleric stops thief."

RETURN TO SCENE

Brenda scrutinizes the article.

DEACON ANDERSON (O.S.) (CONT’D)He keep that gun close by. Earl’s a dangerous man. He’ll kill you.

The DOOR SLAMS as Brenda walks out.

DEACON ANDERSON (CONT’D)Hmmp...

INT. JEFF'S TRUCK - NIGHT

Jeff SPEED-TALKS as he makes a U-turn and parks down the street from the diner.

JEFFAnd Mel said that he would make me the manager and that I would own a piece of the company. He said he would let me run it any way I want but of course he would watch the books and stuff, you know, till I got on my feet. Then one day if everything worked out, I could take over the company and just pay him some money from the profits every month.

58.

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SARAHWhat happened to leaving here? I thought you wanted to get away from here, with me?

JEFFI do, Sarah, but this is a good chance for me. I mean, we have to think about having a family one day and maybe having a summer home.

SARAHI don't need no summer home.

JEFFJust wait a couple of years till I learn the business, then --

SARAHWhy don"t you come with me?

JEFFWhere?

SARAHChicago. Don't you remember?

JEFFOh come on Sarah. You ain't going to no Chicago. You don't have any money. And what you gonna do without me anyway?

Jeff stops the truck down he street.

SARAHWhat about me, Jeff? I can't stay here.

JEFFWhen I get that summer home, you'll forget all about Chicago. You'll see.

Sarah turns away from Jeff and toward the passenger window.

SARAH(sotto voce)

Aw Jeff.

She jumps out of the truck.

JEFFHey.

59.

HP_Administrator
Sticky Note
this seems like a pretty big leap in their relationship
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EARL’S POV

In the darkened apartment, from the upstairs window, he watches as Sarah quickly trots toward the diner. She inserts her key.

INT. OAKLAND TOWNHOUSE DINER - NIGHT

She squeezes inside, grabs the hanging doorbell so as to muffle the sound. She closes the door and listens. There is no sound. She heads to the stairway leading to the upstairs apartment, stands there for a moment and listens. Again there is no sound. She runs up the stairs.

INT. EARL'S APARTMENT - LIVING ROOM - NIGHT

She walks past some furniture lit only by the blue moonlight pouring through the window.

INT. EARL'S APARTMENT - SARAH'S BEDROOM - NIGHT

She enters the dark bedroom and turns on the small lamp near the head of her bed. She puts down the garment she brought with her and takes off her blouse and skirt. She glances out into the living room and sees, folded across the chair, Earl's garment, the beautiful black and gold one that he wore to the church meeting. She knows he’s there, but it's too late.

Earl explodes out of the darkness and slaps her hard against the floor. She tries hard to lift herself.

SARAHDaddy, please,

He drags her by her ankles, using his belt to punish her repeatedly. He lifts her and pushes her to the bed. He wraps the belt around her neck and strangles her.

EARLYou were with that boy weren't you?

Sarah, unable to pull his arms apart, sputters.

SARAHNo... No...

He pulls the belt tighter.

SARAH (CONT’D)Yes... yes...

60.

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EARLYou whored for him didn't you?

Sarah shakes her head, unable to breathe.

EARL (CONT’D)Didn't you?

SARAHNaw.

He grabs her hair, turns her around facing the pink and white stuffed footboard.

SARAH (CONT’D)No, Daddy. Please.

He stands behind her, rips off her panties. He pushes her toward the footboard and against it.

SARAH (CONT’D)Please Daddy... Daddy...

He takes off his pants and fucks her so hard that the picture she made in crayon of herself at the age of eight slams rhythmically against the wall above her head.

He finishes.

Exhausted, Earl grabs her hair and pulls her stumbling to the upstairs storage closet in the hall.

INT. EARL'S APARTMENT - UPSTAIRS STORAGE CLOSET - NIGHT

He throws her inside. She slams against the wall and falls to the floor crying.

EARLI don't want to hear a peep out of you, you understand. If I have to shut your mouth for you, I will.

Earl slams the door leaving her in darkness.

INT. OAKLAND TOWNHOUSE CAFE - DAY

A Customer walks to the counter and pays his bill.

EARLCome again.

61.

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Earl walks from the cash register to the grill when he hears the sound of BUMPING coming from upstairs. Deacon Anderson hears it too.

DEACON ANDERSONWhat's that?

EARLI'll be back Anderson.

INT. EARL'S APARTMENT - HALLWAY

The BUMPING sound gets louder at the top of the stairs. He opens the door of the upstairs storage closet.

She whispers.

SARAHDaddy, I got to pee.

He closes the door and walks downstairs to the alley.

EXT. OAKLAND TOWNHOUSE RESTAURANT - ALLEY - DAY

Earl grabs a large empty tomato sauce can from the pile outside. He walks back into the restaurant and up the stairs.

INT. EARL'S APARTMENT - HALLWAY

Earl opens the storeroom door, throws the can inside and slams the door.

OAKLAND DINER - DAY

Earl comes downstairs to the diner.

EARLDeacon, I need to run to the Korean market right quick. You watch the store for me?

DEACON ANDERSONI tell you what Earl, I'll listen real good.

EARLThat's good enough. I won’t be long.

Earl heads out the door.

62.

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EXT. OAKLAND TOWNHOUSE DINER - DAY

Brenda watches as Earl crosses the street.

INT. DINER

Deacon Anderson walks to the rear of the counter near the stairs leading to Earl's apartment where he stands, listening.

Brenda walks in startling him.

BRENDAWhat you doing Old Man?

DEACON ANDERSONI, I, ain’t doing nothing.

BRENDANothing huh?

DEACON ANDERSONNaw, and Earl ain’t here. He be back though. I’ll tell him you was --

BRENDASarah here?

DEACON ANDERSONNaw, she ain’t here neither.

BRENDAI don’t believe you. I think she’s here.

Brenda walks past him to the stairway leading to the upstairs apartment.

DEACON ANDERSONHey. Look here --

UPSTAIRS APARTMENT

Brenda investigates the apartment looking into the few rooms upstairs.

HALLWAY

She walks down the hallway and walks toward the upstairs storage closet.

CLOSE

63.

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She stares at the storage closet door knob.

DINER

Earl walks into the diner.

EARLSo it’s till quiet around --

Anderson spins around on his stool.

DEACON ANDERSONThat hairdressing woman gone upstairs.

Earl takes off running up the stairs.

UPSTAIRS HALLWAY

Brenda approaches the door of the upstairs storage closet.

STORAGE CLOSET - CLOSE SHOT

She reaches for the doorknob.

RETURN TO SCENE

Earl runs smack into Brenda who is standing in front of the storage room door. They stare each other down.

EARLI should have you arrested for trespassing.

BRENDAWhy don’t you do it Earl? You done everything else.

EARLGet out.

BRENDAWhere’s Sarah?

EARLShe’s not here.

BRENDAWhere is she?

EARLI told you to get out of my house.

64.

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BRENDANot till I talk to Sarah.

INSIDE STORAGE CLOSET

Sarah sits on the floor inside, listening.

EARL (O.S.)She don’t want to talk to you.

BRENDA (O.S.)She’s going with me Earl, whether you say so or not.

RETURN TO SCENE

EARLIf I had my gun I’d kill you right now.

BRENDAI know it.

EARLI’m gonna tell you one last time. Get out of my house.

The standoff ends when Brenda walks past him and down the stairs.

Earl follows her for a few feet but stops when he hears the sound of a CREAKY FLOORBOARD beneath his foot. He looks down at it, then continues to the top of the stairs and watches Brenda leave.

DINER

She walks into the diner and past Anderson to the front door. He tracks her as she goes by.

Deacon Anderson walks to the jukebox. He reaches in his pocket for a quarter, slides his right hand across the chrome plate to the coin slot. He drops the coin in and listens to the machine talk back.

He slides a finger on his left hand across the yellowed letter keys and presses the letter "L." He slides a finger on his right hand across the numbered keys and presses the number "6." Seconds later the machine plays the first notes of a deeply SOULFUL R @ B TUNE, the song he shares with Sarah.

The sweet soul MUSIC fills the restaurant, floats up the stairs and into Earl's apartment.

65.

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Like smoke it travels under the storeroom door straight to the ears of Sarah laying down inside.

INT. EARL'S APARTMENT - HALLWAY - NIGHT

Earl opens the door of the storage closet, grabs Sarah by the collar, pulls her out and throws her to the floor.

He bends down and whispers to her.

EARLYou will stay away from that boy. I will not have you whorin' like some dog in the street. Now you listen to me carefully. If I ever catch you with him again I’m gonna ruin you. You understand me?

SARAHYes Daddy.

EARLAnd that hairdresser. If you ever see that woman again, you better turn and run the other way or you gonna get a whole lot worse than what you already got.

Earl waits to see if it sunk in, then picks her up and throws her toward the bathroom.

EARL (CONT’D)Now go on and clean yourself up. You stink.

Sarah walks slowly to the bathroom and closes the door.

INT. EARL'S APARTMENT - BATHROOM

She turns on the water, leans on the sink and stares at her reflection in the old mirror. She tries with all her might to hold back her tears but cries silently. She grabs a tube of red lipstick from the shelf and scrapes it back and forth against the mirror, harder and harder, partially covering her reflected image. She drops the gold tube in the sink creating a puddle of "blood" as the water washes over the red lipstick.

66.

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INT. NU TO YOU SALON - DAY

Edna unlocks the door and enters the salon. She walks all the way back to the storage room and KNOCKS.

EDNABrenda, you in there.

After a moment, Brenda opens the door.

BRENDA(sotto voce)

Yeah, I’m here.

Edna walks in to the storage room.

STORAGE ROOM

EDNAWhat’s wrong with you?

BRENDANothing. Nothing’s wrong with me.

Edna studies her as Brenda folds her night clothes.

EDNALet me guess. You told her didn’t you? You told her, but she didn’t want you. She wanted to stay with Earl.

BRENDASeemed like everything happened so fast. Earl came in and turned everything I said against me. He just took her away from me again, just like that.

EDNAHoney, Earl is never gonna give you that child. If you want her, you gonna have to find a way to get her.

BRENDAShe still young. Don’t know nothing about this world out here. She needs me.

67.

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EDNABut does she want you? You got to understand, all she knows is what Earl told her and what she learned on the streets right around here.

BRENDAShe wanted me. I could tell. I know she wanted me.

EDNAI believe that.

BRENDABut Earl poisoned her against me. He keeps saying that I murdered his mother. Now she don’t want nothing to do with me.

EDNAI know you didn’t mean to hurt his mother. You ain’t got that in you.

Brenda sits, crying.

Edna watches Brenda, then turns another chair to directly face her and sits.

Edna looks at her, starts to speak, stops, then places Brenda’s hands into her own.

EDNA (CONT’D)You didn’t mean to kill his mother -- did you?

EXT. COMMERCIAL STREET - NIGHT

Pan of storefronts along street ending on Nu-To-You Hair Shop window. The shop is dark.

INT. NU-TO-YOU HAIR SHOP - NIGHT

In the dark room, Brenda sits in Edna’s chair looking out at the street.

CLOSE ON:

Brenda’s face -- emotionless.

68.

HP_Administrator
Sticky Note
are there other places where you want closeups for emphasis? if you're putting in some shots you may as well put in a bunch.
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EXT. JOHNNY’S - DAY

Another worn but clean diner in the neighborhood.

INT. JOHNNY’S

Just a few tables for the few customers there. Brenda sits at one table sipping coffee. The door opens commanding her attention. It’s Velma.

She slowly walks to the small table and sits with Brenda. The silence is palpable.

BRENDAI’m so glad you came.

Velma stares at her.

BRENDA (CONT’D)I want to tell you how thankful I am that you let me go the other night. I hope you didn’t get yourself in trouble.

Brenda talks haltingly, as if waiting for Velma to pick up the ball.

BRENDA (CONT’D)You know I -- For a while -- I thought that detective --

VELMAI hope you didn’t bring me down here to tell me what a nice person I am, cause if you did, I already know that.

BRENDANo, no --

VELMAI could have you arrested right now on that bench warrant. You know that don’t you?

BRENDAI haven’t forgot it.

VELMAWell you walking around here like you ain’t got a care in the world. Them people looking for you.

69.

(MORE)

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another location, company move etc
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I told you already you running out of time. They gonna find you.

BRENDAS’pose they will.

VELMAThen what you want from me?

BRENDAI need your help.

VELMALet her go Brenda.

BRENDAI can’t leave her now.

VELMAShe’s better off knowing you WERE here than knowing that you ARE here and DEAD.

BRENDAI need you to get her away from Earl and talk to her for me.

Velma stares incredulously.

VELMAYou want me to kidnap that girl from her legal guardian? I should take you to jail right now before you get us both in trouble.

BRENDAYou’re the only one who can do it.You know the whole case. You know everything that happened. I need you to tell Sarah what happened, then if she don’t want to see me, I’ll leave her alone.

VELMAHow am I supposed to get to Sarah?

BRENDAWait for Earl to leave.

VELMAHow do you know he’s leaving?

70.

VELMA (CONT'D)

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BRENDAHe’s leaving. You just got to tell her what Earl and his mother did to me. That’s all.

Velma looks deeply into Brenda’s eyes, slowing down the tempo of their exchange.

VELMAI’ll tell her what Earl did and I’ll tell her what Earl’s mother did. But you got to look her in the eyes and tell her what you did.

INT. OAKLAND TOWNHOUSE CAFE - DAY

Sarah is behind the counter cooking at the grill. Customers sit at tables and Anderson at his perch when Calmes bursts through the door.

SISTER CALMESWhere’s your father?

SARAHWhat’s wrong with you?

SISTER CALMESHe upstairs? Earl you up there?

Earl trots downstairs. Calmes runs over to him.

SISTER CALMES (CONT’D)That hairdresser over at Edna’s standing on the street telling everybody how she’s Sarah’s mother. How you raped her.

EARLShe saying what?

Earl moves toward the door.

SISTER CALMESYou told me Sarah’s mother was dead.

EARLWell she’s, she is.

SISTER CALMESWell she sure don’t look like it.

71.

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Earl runs out of the cafe with Sister Calmes and half of the customers trailing behind.

EARL(to Sarah)

You stay here.

EXT. OAKLAND TOWNHOUSE CAFE

The crowd, following Earl hits the street.

INT. VELMA’S CAR

Velma watches them.

RETURN TO SCENE

Sarah peeks out the door, then goes back inside.

INT. OAKLAND TOWNHOUSE CAFE

Velma walks into the cafe.

SARAH (O.S.)Have a seat anywhere.

Velma walks over to the counter and waits. Sarah turns and finds Velma standing directly behind her.

INT. NU-TO-YOU HAIR SHOP - DAY

Earl bursts through the door.

EARLAre you crazy?

Earl gets closer.

EARL (CONT’D)Now it's gonna be all over the church.

BRENDAI ain't hearing you no more. You done your dirt. Now get out.

EARLWho do you think you are, you ignorant little pickaninny.

72.

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She gets out of the chair.

EARL (CONT’D)I built that church. All those people love me, they respect me. And now look what you done.

BRENDANo Earl, they don’t love you, they love what they think you are. If they knew you, they’d hate you just like I hate you.

Earl prepares to attack.

BRENDA (CONT’D)Now I know what YOU thinkin'. Come on with it. I don't mind.

Sarah bursts through the door.

EARLI told you to stay away from here.

Sarah walks to Brenda's side.

EARL (CONT’D)Get back to the store.

BRENDANaw, she’s with her mother now.

EARLWhat kind of mother would run off and leave her own daughter? You owe me your life.

Brenda puts her arm on Sarah's shoulder.

BRENDANaw baby, you don't owe him nothing.

EARLYou get back to the store right now.

SARAHNo.

EARLYou know what you gonna get don’t you?

73.

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Earl grabs her by the collar. Sarah screams at his touch.

EARL (CONT’D)I told you didn’t I?

BRENDAGet off her.

Brenda recognizes her fear.

BRENDA (CONT’D)Did he do something to you?

(to Earl)What you do to her?

EARLI have a right to make her mind. I'm her father.

BRENDASarah, he ain’t raping you is he?

Sarah's head falls.

BRENDA (CONT’D)I know he's raping you, cause he raped me!

EARLYou deserved it.

BRENDAYou raped me and you got away with it. But you rape my child, well you ain't gonna be raping nobody else.

Earl approaches Sarah.

EARLYou go on home and keep your mouth shut. I’ll take care of this.

She backs off. Brenda walks to Sarah.

BRENDA(sotto voce)

You remember where I told you to go?

Sarah nods affirmatively.

BRENDA (CONT’D)(sotto voce)

You go on.

74.

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She turns to Earl.

BRENDA (CONT’D)It's my turn now.

Sarah runs from the shop. Brenda moves to the mirror and chooses just the right large scissor.

BRENDA (CONT’D)Well Earl, we're back where we started.

EARLI'm gonna take care of you this time.

Brenda caresses her weapon and sets for the attack.

BRENDACome on.

Earl lunges, but Brenda rips his chest with the scissor. He recoils in pain then lunges again. She stabs him with the scissor leaving it in his chest.

Earl SCREAMS, then slowly looks at the scissor sticking out of his chest and pulls it out. He attacks again but Brenda scratches his face bloody. He falls back against Brenda's chair. She slides the drawer out of the cabinet and slams it against his head repeatedly.

Earl dives toward her, throwing Brenda back against the wall mirror. He uses both hands to slam her head repeatedly into the mirror, breaking the glass. Brenda tries to fight back, but Earl blocks her blows with his arms. Earl holds her with one hand and punches her hard in the face with the other. With her head against the broken mirror Brenda fights, but begins to lose consciousness.

He punches her again and again, grabs her blouse and pushes her to her knees.

EARLSo what if I raped you. Didn't matter anyway. You always been a whore.

BRENDANaw...

He slaps her, unzips his pants then reaches inside.

75.

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Nearby is the cooker heating five red-hot combs simultaneously. Unseen by Earl, Brenda reaches for one of the combs roasting in the holder.

She slides the hot comb out of the roaster. Then, like a sword, she slams it against Earl's leg. He SHRIEKS in pain and recoils instantly.

Brenda slams the comb against Earl's thigh and holds it there. The smoke rises from his burning pants leg. Earl SCREAMS in horrific pain, falls to the floor and escapes by sliding backwards toward the door. Brenda comes at him again. Earl tries to kick her but this time Brenda burns his leg, his arms and hands in several places. Earl rises slowly and attempts to hobble out of the salon but slams into Edna's chair and falls to the floor again.

Brenda throws the spent comb away and takes two new hot combs out of the roaster, one in each hand. His arms and legs flailing, Earl, on his side, tries to escape the burning combs. Brenda slams the combs against his hands and face, causing Earl to SCREAM again and again. She sees his legs open, exposing his unzipped pants. She takes both hot combs and digs in, causing smoke to rise from his burning crotch. Earl's REACTION is as expected.

She watches him then walks slowly back to her station.

BRENDA (CONT’D)Well, that's it, Earl. Me and you, we all talked out now. Seems like we ain't got nothing left to say.

She pats the red-hot comb with the palm of her left hand to test the heat.

BRENDA (CONT’D)Ain't gonna worry about you no more. Me and Sarah gonna get on out of here now and leave all this bad memories behind.

She turns toward Earl, but he surprises her, grabs her hand and pushes the hot comb against her eye. She SHRIEKS.

Earl throws the hot comb to the floor. It lands under a thick curtain at the rear of the shop and sets it flame.

Brenda fights back, blindly scratching his face. Earl pushes her back against her large mirror. The thick curtain burns creating a growing wall of flame behind Earl. Earl grabs her hair and slams her head into the mirror several times, shattering the mirror into large shards of glass that fall on the shelf and on the floor.

76.

HP_Administrator
Sticky Note
take out horrific
HP_Administrator
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dangerous for actors to do
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He grabs a shard of glass and positions it above Brenda's heart. He pushes down but Brenda holds his wrist with both hands.

She holds him steady, unable to push the glass into her chest. Earl puts both hands into it, forcing the shard closer and closer. Finally, Brenda looks right into his eyes and spits a truth that he doesn't want to hear.

BRENDA (CONT’D)It's too late now. All you can do is kill me.

Earl looks her in the eyes.

EARLOh, I’ma do you a whole lot worse than that.

Earl throws the shard away. He punches her face repeatedly until she falls to the floor of the smoke-filled room.

Earl stumbles toward the door and out of the burning salon.

EXT. NU-TO-YOU HAIR SHOP - DAY

Earl stumbles through the door and into a small crowd of people attracted by the commotion. Sister Calmes sees him first.

SISTER CALMESPastor.

He pushes through the crowd and hobbles down the street with the crowd following closely behind.

INT. OAKLAND TOWNHOUSE DINER - DAY

Deacon Anderson is at his perch. Sarah runs down the stairs carrying a pillowcase of clothes. She swings it on to the counter.

Earl pushes through the doors and walks slowly toward her. He points to his face.

EARLLook at what you done to me.

He sees the pillowcase on the counter.

77.

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EARL (CONT’D)Where you gonna go? You stupid little girl.

Earl takes off his belt and moves in for the kill.

EARL (CONT’D)You’re not going anywhere. I guarantee it.

He whips Sarah three times with all his might. She falls back onto the service area, grabs a stack of white coffee cups and throws them, one by one, at Earl. They explode against his head and arms.

Brenda stumbles in the back door near her. She grabs the full glass coffee pot on the Bunn warmer. She slams it against his head cutting and scalding him.

Earl SCREAMS and tries to stem the rushing blood and steaming coffee.

He clears his eyes and bolts toward her. Brenda steps back, sets herself firmly, and with all her might, kicks him DEAD-IN-HIS-BALLS.

Earl SCREAMS and collapses against the stools at the counter. Sarah runs up the stairs. Earl reaches over the counter and opens the drawer.

INT. EARL'S APARTMENT - HALLWAY

Sarah rips the floorboard away and removes the large bag containing her shoe-box full of tips. She runs down the stairs.

INT. OAKLAND TOWNHOUSE CAFE

When Sarah returns, Earl has the gun pointed at Brenda.

EARLI knew that one day you were gonna come to me. And on that day I would bear witness while you confessed your sins. Now, you will tell God and the whole world, what kind of woman you are, what you did to my mother and what you cost me that day.

78.

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BRENDAYou ain’t in no position to make me tell God anything. I know what I did and yes, I killed her. I admit it. I killed your mother. Every day that God sent I slaved in that house, while you went to school. She dogged me every minute, pushing me and kickin’ me. And that screaming - I’ll never get it out of my head. Always found a reason to low-rate me and beat on me. I couldn’t take it no more. I killed her. And you see I said it out loud so everybody could hear me. I ain’t hiding it no more - trying to keep it a secret. So now you got to find something new to hang over my head. You gonna have to find something new to use against me with Sarah. Something else to turn people away from me. I played your game for too long but now it’s over.

EARLSee, see what she is? After everything I’ve done for you, you would turn your back on me for her, a murderer? I was the one who led you to a life of devotion to God, and prayer.

Sarah turns crying and embraces Brenda.

SARAHAnd every night when I said my prayers I asked God for you to come and get me Ma, and take me away from him. And you did. YOU DID.

He speaks to Sarah.

EARLWell you got her back now but you ain’t gonna have her long.

(to Brenda)I’m gonna show you what it’s like to lose the only one who ever loved you. You took my mother from me. Now you gonna feel the same pain I feel every day.

Earl pans the gun from Brenda to Sarah.

79.

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shorten
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BRENDAOh, no Earl. She’s just a little girl.

EARLShe made her choice - the devil over God. Evil over righteousness.

(to Sarah)You brought Hell into my home and you are going to pay the price.

Brenda falls to her knees.

BRENDAPlease Earl. Please. You can have her.

EARLEven God doesn’t want her now.

BRENDAOh Lord, help me please.

EARLGo on, call Him. You turned your back on Him more than once. Call Him now. He won’t answer you.

She raises her hands and places her forehead on the floor.

BRENDANo, Earl. No, please. I’ll do anything you want.

EARLIt’s too late now. I have made an accounting of your sins and now you got to pay me.

MED SHOT - Side view of pistol aimed at Sarah.

Earl pulls the trigger. The gun misfires.

WIDE SHOT - Earl fires again - same result.

Earl frantically attempts to fire the gun with no success. Brenda SCREAMS to Sarah.

BRENDARUN.

Sarah grabs her money bag from the table and runs out the back door. Brenda pulls herself up and grabs a pot. She uses it to hit Earl. He falls backwards and to the floor.

80.

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double-action 9. he forgot to check if it had a round chambered.
HP_Administrator
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at this point he may pull the clip to see what's wrong- that's the chance to run
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She turns and runs out the rear door.

EXT. OAKLAND TOWNHOUSE CAFE - REAR ALLEY

Brenda runs down the alley to the street.

EXT. STREET

Brenda turns onto the street and is immediately grabbed and thrown face first against the wall by a plain clothed FEMALE SHERRIF.

FEMALE SHERRIFYou’re under arrest.

Suit #2 walks toward her. Brenda struggles to get away but is quickly handcuffed.

SUIT #2Now let’s just calm down Brenda. We’ll be on our way in a couple of minutes.

Brenda looks over her shoulder as Velma approaches.

BRENDAShe came back to me.

VELMAYes, I know.

INT. OAKLAND TOWNHOUSE CAFE

Earl picks up the gun and walks behind the counter. He pours two Dixie cups of Bourbon.

He taps Anderson’s closed hand with one cup. Anderson opens his hand and six bullets fall to the counter.

EXT. STREET

VELMAI kept my promise. I did everything I could for you.

BRENDAI know and I appreciate it.

81.

HP_Administrator
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do sheriffs or cops do this?
HP_Administrator
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may want to identify the gun earlier as an old police 38- at least indicated what it is to explain this scene
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VELMAI can’t lose my job just to help you. You can understand that, can’t you?

BRENDASure I can.

VELMAI talked to Sarah like I told you. Did you tell her what you said you would?

BRENDAI sure did.

VELMAThen how come she’s not with you now?

BRENDAYou arrested me.

Another unmarked police car pulls up and stops with Edna handcuffed in the back seat.

SUIT #2Okay, let’s do this.

He turns Brenda around facing the car.

VELMAHold up Gerry. Let me talk to you for a minute.

Velma takes Suit #2 to the curb.

VELMA (CONT’D)I been following this girl for a long time. If she’s goes back in she’ll do the rest of her life. She doesn’t deserve that. She didn’t hurt anybody, didn’t break any laws. She just tried to get her daughter back. Let’s cut her loose. I’ll work it out in San Diego. If she’s so bad, we’ll get her down the line. But right now, I want to cut her loose.

SUIT #2Didn’t break any laws? You sure about that?

82.

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Pointing to Edna.

SUIT #2 (CONT’D)What about that one? I could stick six parole violations to her alone.

VELMAYeah, well maybe they’re not so perfect.

Suit #2 laughs.

SUIT #2So you’re telling me that their heart’s in the right place?

VELMASomething like that.

SUIT #2So that’s why you let her go at the hair shop, huh?

Velma looks into Suit #2’s eyes.

SUIT #2 (CONT’D)I saw her picture. You tried too hard to cover it up.

VELMACut ‘em some slack Gerry. Put it on my account.

Suit #2 looks at her and smiles.

SUIT #2Get ‘em out of here.

Velma walks behind Brenda and uncuffs her. Suit #2 opens the car door and releases Edna.

VELMA(to Brenda)

Alright, you can get out of here.

BRENDAYou mean I just get to walk away?

VELMANo. You get to run way. As soon as we turn our backs, you get to run down that street as fast as you can. You go to the bus station and this time you leave town.

83.

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her heart's in the right place
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BRENDAI appreciate that Miss Velma. I do. But can you loan me some money?

VELMAHow much do you need?

BRENDAHow much does it cost to go to Chicago?

VELMAYou’re not supposed to tell me where you’re going.

She takes out some money from the wallet in her jacket.

VELMA (CONT’D)Here. Here’s a hundred dollars. That’s all I got.

Brenda and Edna look at Velma as if wondering what to do next. Velma and the Suits all turn their backs.

ANGLE ON

Brenda and Edna running fast down the street.

ANGLE ON

Detectives and Velma not watching as they run away.

They react to the sound of a GUNSHOT.

WIDE SHOT

The detectives and Velma run down the alley and into the cafe.

INT. OAKLAND TOWNHOUSE CAFE

They spread out in the cafe. Velma quickly finds Earl, having committed suicide, on the floor behind the counter.

ANGLE ON

Deacon Anderson siting paralyzed at the counter with blood spatter all over his clothes and face.

INT. INTERSTATE BUS STATION - DAYSarah is in the ticket line, money in hand. It's her turn. She steps up to the UNIFORMED CLERK at the counter.

84.

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take out quickly
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CLERKWhere you going?

SARAHChicago.

CLERKThat's seventy-five dollars.

Sarah looks at the Clerk. The Clerk looks back at her.

SARAHSeems like a lot.

CLERK(pointing)

That's a long line behind you Child. You going or not.

Sarah puts the money in her hand on the counter, then cautiously removes the additional money from her box inside the shopping bag.

The Clerk counts the money, punches out a ticket from the machine and hands it to her.

CLERK (CONT’D)Gate six. Leaving in twenty minutes. Better get on down there.

Sarah turns and heads through the large double doors separating the waiting room from the passenger platform area.

EXT. OAKLAND BUS STATION - PLATFORM - DAY

Sarah cues up behind others in line to board the bus.

INT. INTERSTATE BUS - DAY

Sarah sits at the window, holding tight to her box full of tips. She closes her eyes and falls asleep.

Brenda walks onto the bus just before it begins to pull away. She sees Sarah asleep against the window and walks to her aisle.

Brenda sits in the aisle seat next to her and makes herself comfortable. Trying not to disturb her, she tenderly takes her hand and closes her eyes.

THE END

85.

HP_Administrator
Sticky Note
actor will supply appropriate emotion