"BLIND TRUST" original screenplay by William C. Martell c 1999 by William C. Martell. "BLIND TRUST" FADE IN: EXT. SUBURBAN HOUSE, 1983 -- EVENING A typical house in a pleasant suburban neighborhood. Spielberg country. INT. BENOIT HOME -- EVENING Whack! A pick axe slams into a sofa, barely missing MELINDA BENOIT. Sixteen, pretty, and athletic, Melinda scrambles over the sofa, escapes the swinging pick axe. She runs to... INT. BEDROOM -- EVENING Slams the door closed, no lock, wedges her body against it. Scared to death. INT. BENOIT HOME -- EVENING The KILLER climbs over the sofa in pursuit. We can't see the Killer's face, only the garden gloved hands holding the pick axe and an occasional flash of long hair. The Killer SLAMS his body against the bedroom door. INT. BEDROOM -- EVENING Melinda scoots as the door is forced a few inches open. She presses back on the door, closing it. WHAM! It's slammed open again. Melinda tries pressing it closed, but the Killer's gloved hand reaches in and grabs her. Yanks on her hair. Melinda screams and slams the door closed on the Killer's hand. INT. BENOIT HOME -- EVENING The Killer withdraws his hand, raises the pick axe. 2. INT. BEDROOM -- EVENING The door SPLINTERS over Melinda. She screams, scrambles away. Spots the telephone on the night stand, crawls to it as the pick axe splinters away at the door. In the bed, her parents MR. & MRS. BENOIT lay dead. Melinda grabs the (rotary) phone, starts dialing 911. The door rips open, the Killer enters, pick axe swinging. Melinda lets go of the phone, hides under the bed. The Killer hits the hang up bar on the phone, returns handset to cradle, reaches under the bed for Melinda. Melinda crawls away from the searching hand. She crawls to the left side of the bed, the gloved hand reaches in from the left. She crawls to the right side of the bed, the hand reaches from the right. In the center of the bed, out of reach of the sides. Safe. Until the gloved hands grab her ankles and YANK her out from under the bed. Melinda screams as the pick axe falls. EXT. SUBURBAN HOUSE, 1983 -- EVENING A siren screams as a Santa Mira sheriff's car pulls up. INT. BENOIT HOME -- EVENING A pair of SHERIFFs cautiously enter the house, guns drawn. Used to breaking up domestic disputes and making sure drunks don't drive home, they aren't prepared for all of the blood. Sitting on the floor, singing a childish lullaby, is YOUNG ROGER Grandfort. Fifteen years old, long hair, baby faced. Clothes blood stained, the pick axe lays on the floor nearby. YOUNG ROGER (sings lullaby) Hush little dreamer, off to sleep. No reason to fear the shadow's creep. Drift little sleeper, off to dreams. Slumber through the midnight screams... (CONTINUED) 3. SHERIFF #1 keeps his gun on Young Roger as SHERIFF #2 looks into the bedroom... almost gets sick. SHERRIFF #2 (O.S.) Roger? Roger? What have you done? Young Roger keeps singing the lullaby as Sheriff #1 and Sheriff #2 cuff him, and lead him away from the carnage. EXT. GRANDFORT HACIENDA -- DAY Elegant, secluded. The Grandfort family built Santa Mira, and lives in the single story palace on the outskirts. INT. LIVING ROOM -- DAY Small town Attorney DON LARRUE paces across from wealthy widow MRS. GRANDFORT, who relaxes on a divan. MRS. GRANDFORT But Roger says he's innocent. Attractive, early forties, she's used to getting her way. Unhappy at this situation. LARRUE Ruth, he was at the house... MRS. GRANDFORT He went to see that daughter of theirs, found them all dead. LARRUE He had the victim's blood on his clothes... A servant, CASSY, enters with a tray of iced tea and glasses. MRS. GRANDFORT Thank you, Cassy. You may leave. She pours a glass from the pitcher. MRS. GRANDFORT Iced tea? LARRUE No. (beat) Roger has been in trouble before. (CONTINUED) 4. MRS. GRANDFORT Drugs, drink, brawling. Youthful indiscretions. Nothing like this. Why would he want to kill that girl? LARRUE She was two months pregnant. His child, he admits it. Maybe she refused to get an abortion. Wanted him to marry her. I don't know, and Roger isn't talking. MRS. GRANDFORT He said he's innocent. LARRUE Melinda put up a hell of a fight. Scratched the killer. Had his blood under her fingernails. Roger's blood. MRS. GRANDFORT How can you know that? LARRUE The Benoit family are Type A, Roger is O negative. Mrs. Grandfort sets her iced tea down. Worried. LARRUE The blood evidence ties him to the crime. So does the murder weapon. It was the pick axe from your shed. (beat) He brought the weapon with him. That's premeditation. MRS. GRANDFORT Do you think he did this? LARRUE (reluctant) Yes. MRS. GRANDFORT My God. (beat) What should I do? LARRUE The DA's going to try him as an adult, maybe even go for the death penalty. (MORE) (CONTINUED) 5. LARRUE (CONT'D) (beat) I'm good for contracts and wills, but Roger's going to need a big gun lawyer for this. Someone like F. Lee Baily. MRS. GRANDFORT I don't know. LARRUE You can afford it. He's your son. MRS. GRANDFORT Is he? How could my son do something like this? My own flesh and blood. Larrue touches her shoulder, then leaves. EXT. COURTHOUSE -- DAY Flashbulbs pop nearby. TIGHT ON: TV news REPORTER in front of the courthouse. Commotion in the back ground. REPORTER After deliberating for less than an hour, the jury has found fifteen year old Roger Grandfort guilty of three counts of first degree murder. Courtroom sketch of Young Roger. REPORTER Even though these were the most brutal killings in the history of Santa Mira, in fact, in the history of Kern County, Judge Hitchcock's sentence of life in prison without the possibility of parole showed great leniency. Courtroom sketch of the judge. REPORTER This young man will... (commotion) They're bringing him out of the courtroom, now. Young Roger in shackles. Microphone thrust in his face. (CONTINUED) 6. REPORTER Roger, do you have any... YOUNG ROGER I didn't kill those people. Tell my mother I'm innocent. Mother? INT. LIVING ROOM -- DAY Mrs. Grandfort turns off the news report. Pain changes to determination. Resolve. MRS. GRANDFORT I don't have a son anymore. She packs the last photos of Young Roger into a box, gestures for Cassy to take the stack of boxes. MRS. GRANDFORT Cassy, put these things in storage. EXT. GRANDFORT HACIENDA -- DAY Cassy carries the boxes out of the house, past the fountain, across the grounds, to the barn. EXT. BARN -- DAY Cassy opens the storm cellar doors, climbs down. INT. STORM CELLAR -- DAY Cassy climbs down the stairs to the dark, spooky, cellar. Places the boxes in a storage area of the cellar. Climbs the stairs back to the surface. Every trace of Mrs. Grandfort's son Roger in storage. Forever. FADE OUT. FADE IN: EXT. SOLEDAD PRISON -- DAY Establishing shot of the prison. Title is supered: SEVENTEEN YEARS LATER 7. INT. JAIL CELL -- DAY "Grandfort" is stenciled on the back of the denim shirt. When a shadow falls over him, he looks up. GUARD (O.S.) Grandfort, Roger. ROGER is no longer a baby faced fifteen year old. His hair is short, face lean, eyes cold. ROGER What do you want? GUARD (O.S.) Warden wants to see you. INT. WARDEN'S OFFICE -- DAY State flag and American flag hang limp behind WARDEN AHERNE. A picture of the President on the wall. Roger sits across the desk from him, in shackles. ROGER This about my DNA test? WARDEN Grandfort, you know what I did before I became a warden? ROGER Runway model? WARDEN I used to own a little motel in Fairvale. On the old highway. Quiet little place. Peaceful. That's the way I like it. ROGER Is there a point? WARDEN I hate to see my guests leave so soon after arriving. You've only been in this facility... ROGER One year, seven months, fifteen days. WARDEN Right. (CONTINUED) 8. ROGER But I had fifteen plus up in Q. That's a lot of time for an innocent man. WARDEN What makes you think you're innocent? ROGER Did the tests come back or not? WARDEN Except for your attitude, Grandfort, you've been a fairly peaceful guest. ROGER Do I have a choice? The Warden flips through Roger's file. WARDEN Your jacket makes you sound like a model prisoner. Never mentions that smart mouth of yours. (beat) How come you were such a saint up at San Quentin and such a hardass here? ROGER My inner child has been acting up. The Warden controls his anger. Barely. Studies Grandfort. WARDEN When they shipped you here, your prison bus had a little mishap. Some of the men tried to escape. But three of you stayed with the bus. ROGER We were hurt. WARDEN A lot of guys were hurt. Drayton ran almost forty miles with a busted leg. ROGER He's a show off. WARDEN Now, I can understand Vilette and Murphy staying with the bus, they're short timers, but you're here for life. Why didn't you run when you had the chance? (CONTINUED) 9. ROGER I'm an innocent man, Warden. WARDEN Didn't you want to escape? Find the real killer? Bring him to justice? ROGER Bullshit. If I'd have run, the minute you guys caught me I'd be back in slam for life, real killer or not. (beat) Only way I can prove I'm innocent is to prove that blood evidence is wrong. (beat) Seventeen years ago the best they could do was match blood types. I was convicted because I had the same type blood as the killer... so did a few hundred other people in town. (beat) Now they can compare the DNA. Narrow down those few hundred people with the killer's blood type to the one guy who did it. Almost a hundred percent accuracy. A God damned miracle of modern science. WARDEN You demanded a DNA test at the State's expense. We gave you one. ROGER So? Did I kill all those people? WARDEN (studies him) (long beat) No match. ROGER (smiles) Said I was innocent. No one believed me. My own mother disowned me. Didn't want the scandal of having a hard timer for a son. Pretty cold hearted. WARDEN She's your mother. The only family you've got. Remember that. ROGER Right. They going to try me again, or let me walk? (CONTINUED) 10. The Warden pulls some forms from the file. WARDEN Your release papers. I wanted to keep you. Drill a little respect into you. Make you lose that attitude. ROGER When can I leave? WARDEN Tomorrow morning. The state's providing you with a suit of clothes and five hundred dollars. But first you have to sign this. Shoves a form across to Roger. ROGER What is it? WARDEN Waver, absolving the State of any civil and criminal false imprisonment charges. ROGER You take seventeen years of my life, treat me like a dog, and you want me to just forgive you? Pretend it didn't happen? WARDEN Your family's rich. You don't need the money. I can't let you leave until you've signed the paper. Roger thinks about it for a moment, then grabs a pen. ROGER Now get me the hell out of here. (soft) I want to go home. See my mom. The signed form goes back in the file. THE FILE Has a label: Roger Grandfort, prisoner ID # 7559292. The label looks fairly new, even though the file has seventeen years of wear and tear on it. 11. INT. JAIL CELL -- NIGHT Roger lays in bed smoking. Smiling. Then he laughs. FADE OUT. FADE IN: EXT. SOLEDAD PRISON -- MORNING Establishing shot of the prison. INT. JAIL CELL -- DAY Roger is dressed in a cheap suit, clunky leather shoes. A small carry bag contains all of his belongings. GUARD (O.S.) You ready to go, Grandfort? ROGER I've been ready for the past 17 years. Roger grabs his bag, the cell door CLANKS open. EXT. GREYHOUND BUS -- DAY The bus doors clank open, and Roger steps off the bus with his carry bag. The bus roars away. EXT. SUBURBAN STREET -- DAY Roger walks along the street. Takes off the prison-bought neck tie, throws the suit jacket over his shoulder. Walks past the Benoit house, gives it a glance. EXT. COUNTRY ROAD -- DAY Takes him home, to the place, he belongs. Roger sticks out his thumb as a car whizzes past. It doesn't stop. Roger sits on a roadside guard rail, takes off his shoes. His feet are blistered. Hears a car, moves to his feet and sticks out his thumb. (CONTINUED) 12. A SHERIFF'S CAR whizzes towards him. Roger lowers his thumb. The Sheriff's car slows as it passes him. INT. SHERIFFS CAR -- DAY WALT KELLER is a small town Sheriff with small town values. Santa Mira is his town. He exudes a paternal protectiveness. KELLER Trouble. Keller frowns at the hitch-hiker, then zooms off. EXT. COUNTRY ROAD -- DAY Roger waits until the Sheriff's car is long gone before putting his shoes on and continuing down the road. EXT. GRANDFORT HACIENDA -- DAY Roger stops walking when he sees the house. Big, beautiful, amazing. Home has never looked so good. ROGER Wow. For a minute, Roger just takes it in. Then grabs his bag and walks up the drive to the front door. EXT. GRANDFORT HACIENDA -- DAY The front door is opened by private care nurse ANNE LOGAN. Quiet, shy, with a girl next door beauty. No nurse uniform, Anne dresses in comfortable clothes. ANNE Yes? ROGER Where's Cassy? ANNE Retired. You must be Roger. He nods. Wonders if he's supposed to know who she is. (CONTINUED) 13. ANNE Come in. Roger enters the Hacienda. INT. ENTRY HALL -- DAY Anne leads Roger through the house. ANNE Must be nice to be home again... Roger stops. ROGER Wait a minute. Who the hell are you? ANNE (moment to recover) I'm sorry. (shakes his hand) Anne Logan, Mrs. Grandfort's nurse. Roger hasn't touched a woman in over seventeen years. Pulls his hand away in fear. Confusion. Lust. Anne continues down the hall. ANNE You do know she's lost her sight. ROGER They told me. Completely blind? Anne nods, keeps moving. Roger tries to keep up, isn't sure where she's leading him. INT. LIVING ROOM -- DAY Mrs. Grandfort sits in a thrown-like chair near the fireplace. Though seventeen years have passed, she's still a stylish, attractive woman. She wears dark glasses, cane at her side. MRS. GRANDFORT Roger? Is that you? ROGER Yes, mother. MRS. GRANDFORT Come here. (CONTINUED) 14. Roger crosses to her side. Looking at her dark glasses. Can she see anything at all? She finds Roger's arm, pulls him down to her. MRS. GRANDFORT Let me touch you. She runs her hands over Roger's face, "seeing" him. Joy turns to confusion. MRS. GRANDFORT You're different. ROGER Prison changes a man. Roger pulls away from her. MRS. GRANDFORT You sound different, too. ROGER I'm not a boy anymore. (emotional) My childhood ended long ago. MRS. GRANDFORT Are you alright? Roger's temper flares. He is as volatile as nitroglycerin, shake him too much and he's liable to explode. ROGER They took seventeen years of my life. Put me in a cage, like some dog. Fed me slop on tin trays. Told me when to talk, where to walk. Took everything away from me. Everything. Anne tries blending into the wall, afraid. Like a whipped puppy. ROGER I said I didn't kill those people. But no one believed me. Not even my own mother. MRS. GRANDFORT I always knew you were innocent. ROGER But you didn't do anything about it. (CONTINUED) 15. MRS. GRANDFORT Roger... Mrs. Grandfort reaches for Roger, but he shrugs her off. Roger pops a cigarette in his mouth, lights it with an engraved lighter: "To Roger. Love, mother." Puffs. MRS. GRANDFORT You know I don't allow smoking in the house. Why don't you take that outside? ROGER Throwing me out already? MRS. GRANDFORT No, Roger... ROGER I've only been home twenty minutes... He snubs out the cigarette on some priceless nick-nack. MRS. GRANDFORT Maybe you should go to your room, freshen up. ROGER I've been in my room for seventeen years. MRS. GRANDFORT You remember where it is? ROGER Of course. MRS. GRANDFORT I can have Anne show you the way... ROGER I'll find it. Roger softens, moves to Mrs. Grandfort, kneeling beside her. ROGER Mother, they took everything. You know I wouldn't be here if I didn't need your help. All I've got is this cheap state suit, and a couple of hundred dollars. They didn't even give me a wallet. I've got no job, no car, no future. You're all I have. (CONTINUED) 16. She strokes his head... like a dog. MRS. GRANDFORT I'm sorry, son. So sorry. A tender moment before Roger pulls away. ROGER I guess I'll get settled, freshen up, before dinner. Roger grabs his bag, starts towards the hall. MRS. GRANDFORT Roger? He stops. MRS. GRANDFORT I... I cleaned out your room. Put all of your things in storage. Anger creeps into Roger's expression. ROGER Like I wasn't coming home? MRS. GRANDFORT You weren't. Anger dissipates. Roger nods, leaves. Anne moves to clean up the cigarette mess on the nick-nack. INT. HALLWAY -- DAY Roger tries a couple of doors before he finds the right one. INT. ROGER'S ROOM -- DAY An impersonal guest room. Looks like Motel 6. Roger drops his bag on the bed, looks around. ROGER Home sweet home. EXT. GRANDFORT HACIENDA -- EVENING Sun sets behind the house. 17. INT. ROGER'S ROOM -- EVENING Roger lays in bed smoking. Smiling. Then he laughs. INT. HALLWAY -- EVENING Anne listens at his door. Why is he laughing? She moves her ear closer to the door. Wham! The door opens and Roger grabs her wrist, yanking her inside. INT. ROGER'S ROOM -- EVENING Roger throws Anne against the wall, slams his door closed. Anne tries to scramble away. Roger grabs her, pins her against the wall. ROGER I don't like people spying on me. She struggles to get away, but Roger overpowers her. Keeps her pinned against the wall. Fear in her eyes. ROGER Privacy is important to me, understand? ANNE Yes. ROGER I don't like maids snooping around. ANNE I'm a nurse. ROGER Really? Where's your uniform. Roger examines her clothes, roughly coping a feel. ANNE Not that kind of nurse. Live in. Residential. Like a paid companion. ROGER I could use a little companionship. Nuzzles her neck, freaking her. (CONTINUED) 18. ROGER Know how long it's been since I've slept with a woman? Since I've touched a woman? (cops a feel) Smelled a woman? (sniffs her) Kissed a woman? Licked a woman? He licks her face. Gross. Anne knees him in the groin, ducks under his arm, escapes. But grabs his arm and twists it behind his back, slamming his face against the wall a couple of times. ANNE Your mother wanted me to tell you dinner was ready. She lets go of Roger, and he starts laughing. ROGER I like a girl with spunk. You and me are gonna get along just fine. ANNE In your dreams. ROGER I'm sure they'll be wet ones. Anne exits as Roger laughs. INT. DINING ROOM -- EVENING Elegantly set table. Fine china. Silver service. A SERVANT hovers close by, to see to their needs. Mrs. Grandfort and Anne eat gracefully. Roger shovels food into his mouth with one hand, the other arm guarding his plate. As if he's in the prison mess. MRS. GRANDFORT Did you have any job training when you were... ROGER Inside? (Mrs. Grandfort nods) I know how to stamp license plates, work an industrial laundry, and I (MORE) (CONTINUED) 19. ROGER (CONT'D) picked up some tips on armed robbery. Guy named Ryan had these ten rules. MRS. GRANDFORT Have you given any thought to your future? Employment? ROGER (mouth full of food) I've been living in a cage, I need some time to stretch my legs. Mrs. Grandfort stops eating, turns to him. MRS. GRANDFORT Have you lost your manners? ROGER Sorry. Not used to civilization. Roger watches the way his mother eats, tries to mimic it. Has trouble holding his fork in the continental position (tines down, not like a shovel). MRS. GRANDFORT Anne tells me... ROGER (glares at Anne) What? MRS. GRANDFORT You already knew about my affliction. ROGER Cassy sent me a Christmas card every year. Kept me up to date. (smiles) Only mail I ever got, from the maid. MRS. GRANDFORT She retired last year. Roger nods, goes back to shoveling his food. Chugs his glass of bordeaux and signals for more. ROGER Fill it. The Servant nods, fills his glass to the brim. Roger chugs it, gestures for more. As the Servant pours, Roger kicks back, smiles. (CONTINUED) 20. ROGER I have any back allowance coming? Could sure use some money for clothes and smokes. MRS. GRANDFORT If you'll write down your measurements I'll see that you get what you need. ROGER I'm not a kid anymore. I want to buy my own things, okay? I need money. Can't you get me a checking account, let me borrow your credit cards? MRS. GRANDFORT (hesitates) I don't know if that's a good idea... ROGER You don't trust me. MRS. GRANDFORT It's not that... (it is) Roger's temper flares. Like a bomb about to explode. ROGER You don't care about me, you don't care about anyone other than yourself! Anne is as shocked as Mrs. Grandfort. MRS. GRANDFORT Roger. ROGER Sorry. MRS. GRANDFORT This isn't easy for me. I can't just instantly start loving you again. Trusting you again. ROGER I'm your SON... Your own flesh and blood. MRS. GRANDFORT We've lived apart for over fifteen years. Both become set in our ways. (beat) We have to learn to compromise. (CONTINUED) 21. ROGER I still need some money. My own money. (back to eating) Most of my life, the state's been buying my clothes, my food, everything. I need to be independent. Start living my own life, making my own decisions. MRS. GRANDFORT I'll call Don Larrue in the morning. Have him open a bank account for you. ROGER Thank you. Truce. Roger and his mother focus on eating. Anne focuses on Roger. Hard to believe he's a Grandfort. INT. MRS. GRANDFORT'S ROOM -- NIGHT Anne is helping Mrs. Grandfort get ready for bed. ANNE Hard to believe he's your son. MRS. GRANDFORT Despite his behavior, he is my son, and you will treat him with respect. ANNE Yes, ma'am. Anne helps her to the bed, even though Mrs. Grandfort knows where it is. Anne is there to serve her. MRS. GRANDFORT (snapping) Watch it! Get me my pills. Anne spends a second too long with Mrs. Grandfort. MRS. GRANDFORT Now, Anne! Slaps Anne's arm. Taking out her anger and frustration. Anne jumps to grab the pills. Scowling at Mrs. Grandfort. Who doesn't see a thing. Mrs. Grandfort takes her pills, adjusts herself in the bed. On the stand near the bed: a buzzer button to signal Anne. (CONTINUED) 22. ANNE Anything else, ma'am? MRS. GRANDFORT What did they do to him in there? ANNE I don't know, ma'am. Goodnight. Anne flips off the lights and leaves. INT. ANNE'S ROOM -- NIGHT Anne's personal touch is evident in the room, from family photos to art lithos (anything with people's reflections). Her medical kit is on top of the dresser. Anne begins undressing for bed. Gets ready to take off her bra when she sees... A face outside her window. Lit from below. Demonic. Anne jumps, frightened. EXT. ANNE'S ROOM -- NIGHT Roger laughs and takes another puff on his cigarette. Waves at her as she closes the curtains. EXT. GRANDFORT HACIENDA -- DAY Establishing. EXT. HACIENDA GROUNDS -- DAY Roger wanders around the grounds, exploring. ANNE (O.S.) Help you find something? Startling Roger. Contains his fear. ROGER Don't like people sneaking behind me. ANNE Sorry. (CONTINUED) 23. ROGER In the yard, only reason someone'd sneak behind you was to stick in a shiv. (explains) A knife. Made 'em out of spoons they's steal from the mainline. (explains) Cafeteria. ANNE Like a whole different language. ROGER Whole different world. Roger looks around, walking as if he's lost. Anne decides to keep an eye on him, follows. ROGER Where's the barn? ANNE You don't remember? ROGER It's been a long time. ANNE Forget? ROGER Look, I spent more time in Q than I did in that house. Everything about this place is kind of hazy. ANNE The barn's through there. They walk to the barn. Anne still suspicious. Keeping her distance. ROGER Look, sorry about last night. (picks up a rock) Wasn't trying to spy on you (throws it) She didn't want me smoking inside. Didn't know it was your window. The rock hits the side of the barn. Anne realizes she's alone with an ex-convict. Hides her fear. (CONTINUED) 24. ANNE I should get back. ROGER Mother keeps you on a pretty short leash, doesn't she? ANNE That's none of your business. ROGER No reason for us to be on opposite sides of this thing, you know? ANNE Keep your hands off me, no more surprises, we'll get along. EXT. GRANDFORT HACIENDA -- DAY They get to the front of the house, where a Santa Mira Sheriff car is parked in the driveway... So is Sheriff Keller. ROGER Shit. Keller blocks Roger from entering the house. Anne enters. KELLER Roger. (shark smile) Thought I'd stop by, see how you're doing. ROGER Do I know you? KELLER Sheriff Keller. Walt. Holds out his hand to shake. Roger looks at the hand, doesn't take it. These two are natural enemies. Circling each other. ROGER Did my mother set this up? KELLER Hard to believe you're the same boy who killed those people. ROGER I'm not. (CONTINUED) 25. KELLER Saw you arrested on TV. Still have the case file down at the station. (beat) A pick axe? Wasn't that messy? ROGER I didn't kill them. DNA evidence. KELLER That's right. I keep forgetting. ROGER Shouldn't you be out looking for the real killer? Leave me alone? KELLER (smiles) I don't play golf. ROGER Is this some sort of shakedown? KELLER Just want to make sure you aren't having any problems re-adjusting. ROGER What kind of problems? KELLER Usual kind. Lot of guys get out of the joint, nothing to do, fall right back into their old nasty habits. ROGER Start finding people with pick axes in them, you know where to find me. Keller gets right in his face. Threatening. KELLER I thought you were an innocent man, wrongly accused? Roger doesn't back down. ROGER Then there's nothing to worry about. Now how about getting out of my face? KELLER See? That's what I'm afraid of. (MORE) (CONTINUED) 26. KELLER (CONT'D) That bad prison attitude. You may have gone in an innocent man, but you came out an ex-con. ROGER Take the boy out of prison but you can't take the prison out of the boy? KELLER Genetics versus environment. You may have been a rich kid for fifteen years, but you were a hard timer for seventeen. ROGER Seventeen and a half. KELLER (nods) Prison can turn a man into an animal. ROGER That'll happen when you put a man in a cage, treat him like a dog. Keller unsnaps the flap over his gun, just in case he has to shoot Roger in his own drive way. A serious threat. ROGER Don't you have something to do? KELLER I don't think so. ROGER If I didn't kill those people, it means someone else did. The killer's still running loose somewhere. KELLER Funny how he went 17 years without striking again, isn't it? ROGER Down-right hysterical. Keller smiles like a shark, gets in Roger's face again. KELLER I don't know who was in charge back when you killed those people, but I'm in charge now. This is MY town. (MORE) (CONTINUED) 27. KELLER (CONT'D) (beat) You get into even a hint of trouble, I'll have you back in slam before you know it. You understand me on this? ROGER I hear you. Keller backs Roger up against the car, hand on his gun. KELLER Do you UNDERSTAND me? ROGER I understand you. Keller takes a step back. KELLER Good. Anna and Mrs. Grandfort step onto the porch. MRS. GRANDFORT Roger? Who are you talking to? ROGER Sheriff Keller. Anne looks from Roger to Keller. Tension between them. MRS. GRANDFORT Walt? Is something wrong? KELLER No... ROGER He just stopped by to see how I was adjusting to my new environment. (beat) Just getting ready to leave, weren't you, Walt. Keller gives him a cold stare. KELLER Yeah. Good day, Mrs. Grandfort. Sheriff Keller gets in his car, leaves. 28. INT. LIVING ROOM -- DAY Roger, Anne, and Mrs. Grandfort enter the house. MRS. GRANDFORT What did he want? ROGER He doesn't believe the DNA evidence. Thinks I killed those people. Mrs. Grandfort nods, but doesn't comment. EXT. SHERIFF STATION -- EVENING Green and white building with a pay phone out front. Sign says: Santa Mira Sheriff Station. Sheriff's car parked out front. INT. SHERIFF STATION -- EVENING Keller drops a box of old case files on his desk and starts sorting through them. Finally finds the one labeled Roger Grandfort Murders. Inside are old newspaper stories, arrest forms, case notes from the previous sheriff. A ton of papers. Keller pours himself a drink and starts reading. It will take him months to get through the whole box. INT. LIVING ROOM -- MORNING Roger enters with the tea service. ROGER I thought you'd like some tea, mother. MRS. GRANDFORT Yes, Roger. Roger fills Mrs. Grandfort's cup, smiles and pours for Anne. ANNE Aren't you having any? ROGER It's a beautiful day. I thought I'd take a walk around the estate. 29. EXT. HACIENDA GROUNDS -- MORNING Roger explores the grounds, wandering over the trails. EXT. ORCHARD -- DAY Walks through the groves. Reaches up and plucks an orange from a tree, peels it and eats it. It's HIS orange, now. EXT. STREAM -- DAY Roger crosses the wooden bridge, still eating the orange, and climbs the stairs to the... EXT. GAZEBO -- DAY Roger pokes around the gazebo. Anne watches him from the trail. Wonders why he seems lost. Roger feels someone watching him. Turns around. The trail... but Anne is gone. Roger backtracks to the trail, turns to the left instead of going down the stairs. EXT. QUARRY -- DAY The trail leads to the edge of a cliff overlooking a quarry. Roger looks down. A fifty foot drop to the rocks. Roger wanders back to the house. EXT. COURTYARD -- DAY Roger enters the courtyard, rubs the head of a statue, passes the fountain, enters the house. INT. LIVING ROOM -- DAY Mrs. Grandfort lifts her head when Roger enters. Anne by her side. MRS. GRANDFORT Roger? (CONTINUED) 30. ROGER Yes, mother. MRS. GRANDFORT I called the bank this morning. Opened a checking account for you. ROGER Thanks. MRS. GRANDFORT You'll have to go down and fill out some paperwork... ROGER This mean I'm back in the family? No longer disowned? Disinherited? MRS. GRANDFORT Let's give it some time, Roger. Time to get to know each other again. Time for old wounds to heal. Roger moves to his mother, embracing her, laying it on. ROGER Thank you, mother. It's good to be back in the family. Good to feel a mother's love again... INT. ROGER'S ROOM -- NIGHT Roger lays in bed, smoking a cigarette, remembering... EXT. SAN QUENTIN -- DAY Establishing. INT. PRISON CHAPEL -- DAY The back of the prisoner's shirt has "Grandfort" stencilled. GRANDFORT sits on a wooden bench, head touching his knees. We can't see his face. Another prisoner, "Vilette" stencilled on his shirt, enters frame and looks down at him. PRISONER Grandfort. Working for Jesus, now? (CONTINUED) 31. GRANDFORT (doesn't raise head) Just here to see the Padre. PRISONER Confession's good for parole, huh? GRANDFORT That's what they say. Grandfort finally raises his head... it isn't Roger! GRANDFORT Hear they're bussing you to Soledad, too, Vilette. PRISONER Yeah. Medium security for my last year. What about you? Figure you're too old to be a threat? GRANDFORT We're about the same age. We see the prisoner's face for the first time when he sits on the wooden bench across from Grandfort. It's "Roger". ROGER More or less. With only a few feet between them, we see their similarities. About the same height, weight, hair and eye colors... But totally different faces. GRANDFORT Got plans when you get out, Vilette? ROGER The usual. Get a straight job, fuck up, knock over some liquor stores and hope I don't get caught this time. GRANDFORT No money outside? ROGER Cops found it. Pricks. GRANDFORT I've got ten million waiting for me. ROGER Catch is: You're not getting out. (CONTINUED) 32. GRANDFORT Right. ROGER But you've got a plan? GRANDFORT You're a smart guy, Vilette. ROGER I'm listening. GRANDFORT You're getting out and you're broke, I'm inside for life, and I'm rich. But what if we switch places? ROGER You get out, and I get rich... but I'm stuck inside for life. (beat) Not much of a plan, Grandfort. GRANDFORT You know what convicted me? ROGER Jury of your peers? GRANDFORT Blood evidence. They found my blood at the crime scene. ROGER So? GRANDFORT They didn't find your blood there. ROGER (smart ass) That's why I'm getting out and you're not. GRANDFORT That's how we're BOTH getting out. (beat) You become me, I become you. You ask for a DNA test. Everyone's doing it. When they compare your blood to the crime scene... no match. You walk. (CONTINUED) 33. ROGER And you just finish out the last nine months of my sentence? GRANDFORT Right. INT. ROGER'S ROOM -- DAY Roger has suits, shirts and ties laid out on his bed. He mixes and matches, trying on one combination after another and admiring himself in the mirror. Settles on a combo. ROGER It's perfect. The new Jud Vilette: Roger Grandfort, wealthy gentleman. INT. DINING ROOM -- EVENING Roger, looking dapper in a new suit and Rolex, dines with Mrs. Grandfort and Anne. As time has passed, he has learned how to fit in. How to hold his fork, sip his wine. All are smiling. A happy family. Laughing together. EXT. GRANDFORT HACIENDA -- NIGHT Establishing. INT. ANNE'S ROOM -- NIGHT Anne is asleep when the buzzer on the wall sounds. She wakes up, rolls out of bed, throws on a robe. ANNE (sotto) I'm coming. I'm coming. INT. MRS. GRANDFORT'S ROOM -- NIGHT Mrs. Grandfort is in bed, still leaning on the buzzer, when Anne enters. ANNE Yes, ma'am? (CONTINUED) 34. MRS. GRANDFORT Get me a glass of water. Now. ANNE Yes, ma'am. Anne goes to fetch the glass of water. INT. KITCHEN -- NIGHT Half asleep, Anne fills a glass from the tap. Mrs. Grandfort's slave. EXT. GRANDFORT HACIENDA -- MORNING A beautiful day. EXT. HACIENDA GROUNDS -- DAY Roger continues exploring the grounds. EXT. STATUES -- DAY Roger examines the statues, running his hands over their faces. Wondering what statues are all about. ROGER How you doing today? Getting any? Roger wanders away from the statues, exploring. EXT. BARN -- DAY Roger stops at the barn, looks inside. Nothing there. Starts poking around the outside of the barn until he finds the cellar door. Tries opening it. Locked. Roger studies the locked door. INT. PRISON CHAPEL -- DAY Roger studies Grandfort's face. (CONTINUED) 35. ROGER You know, that's a great plan, except for one little problem. (beat) You and I don't look a damned bit alike. Every guard and con in the joint will know what we're up to. GRANDFORT Everyone at Q, but what about Soledad? ROGER We switch on the bus? GRANDFORT I got a guy in records who'll swap the names on our files, so the fingerprints match. ROGER What about the screws on the bus? We just swap clothes in front of them? GRANDFORT Drayton's going to take care of that. He and a couple of the other hardcases got a plan to crash the bus and run. We switch places in the confusion. ROGER Let me get this straight: We pull this switch, I walk away with your fortune and you serve my last year. What's the catch? GRANDFORT Two catches. ROGER Okay. GRANDFORT One: We split the money fifty-fifty. Two: In order to inherit the money, my mother's got to die. ROGER That could take a while. GRANDFORT Take as long as you want. Roger finally gets it, and nods. (CONTINUED) 36. GRANDFORT We have a deal, Vilette? Roger reaches across to shake Grandfort's hand. ROGER Call me Jud. GRANDFORT No. I'll call you... INT. LIVING ROOM -- DAY MRS. GRANDFORT Roger? ROGER Yes, mother? Roger, dressed elegantly, looks up from his magazine at the woman who is not his mother. Mrs. Grandfort smiles, touches Roger's face. MRS. GRANDFORT Could you help Anne carry some wine back from the storm cellar? ROGER Of course. Mrs. Grandfort hands him the ring of house keys. Roger looks at the keys, smiles. EXT. HACIENDA GROUNDS -- DAY Roger and Anne cross the hacienda grounds to the barn. ROGER Must be pretty good stuff if they keep it under lock and key. ANNE She has a lot of first growths. Even some Petrus down there. ROGER Petrus? 37. EXT. BARN -- DAY At the barn, Anne unlocks the storm cellar door. ANNE Hard to believe you grew up in this house without knowing wines. ROGER The only wine we had was "prune juice". (translates) Prison squeeze. Home brew. Kind of like Mad Dog 20-20, only not as tasty. INT. STORM CELLAR -- DAY They climb down the spooky stairs. Anne goes right to the wine, Roger pokes around, opens a door: the storage room. ANNE Your things are in there. (tries to enter storage) Be fun to see what you as a kid. ROGER Let's leave the past alone. (blocks her) I've outgrown everything in there. Anne looks at him with suspicion, but nods. ROGER Where's the wine? ANNE Through there. Garden tools against one wall, including a shiny new pick axe. Roger grabs the pick axe, hefts it, swings. Replaces it and opens another door. ROGER What's in here? ANNE Pest control supplies for the grounds. Insecticides, rat poison, ant sprays. Roger nods, looks at the door again. Rat poison. 38. EXT. BARN -- DAY Anne and Roger leave carrying wine crates, half full. EXT. GRANDFORT HACIENDA -- NIGHT Night falls on the hacienda. INT. LIVING ROOM -- DAY After dinner, they sip wine. Roger pours for his mother. MRS. GRANDFORT Have you given any thought to your future, Roger? ROGER I got my GED inside, guess I could go to college. World's oldest student. MRS. GRANDFORT I remember your first day of school. You hung on to my leg and wouldn't let go. (beat) Afraid to leave your mother. Roger gives a neutral expression. He doesn't remember. MRS. GRANDFORT During harvest, you'd run out into the orchard, pretending to help the crews. Picking up the rotted fruit. Remember? Roger nods, smiling. Hasn't a clue what she's talking about. MRS. GRANDFORT Right after your father died, it was just the two of us, we were the family. I gave you whatever you wanted. (beat) When you got into trouble, with cars or girls or drugs, I did whatever was needed to get you out. ROGER I never thanked you for that. MRS. GRANDFORT Do you remember the lullaby I used to sing you to sleep with? (CONTINUED) 39. No. Roger's face is blank. MRS. GRANDFORT Sing it. Sing it like you used to. Roger can't remember, because he's not Roger. Mrs. Grandfort prods him more by humming the tune. MRS. GRANDFORT Come on, Roger. ROGER (snaps) I'm not a child anymore, mother. My childhood ended my first week in slam. MRS. GRANDFORT Did they....? ROGER Was I abused? Is that what you're asking? You send your pretty little 15 year old boy to prison, and you wonder if they took advantage of him? (punchline) I'm amazed I can still sit down. Roger bolts out of the room. Anne watches him go... suspicious. EXT. COURTYARD -- NIGHT Roger escapes the house, pulls out his smokes. Lights the cigarette with his engraved lighter. IN THE WINDOW BEHIND HIM Anne watches. Roger feels her watching him and turns around. She's gone. Just moving curtains. INT. LIVING ROOM -- NIGHT MRS. GRANDFORT Anne! Take me to bed. ANNE Yes, ma'am. Anne helps her out of the chair, guides her to her bedroom. 40. INT. MRS. GRANDFORT'S ROOM -- NIGHT Anne helps Mrs. Grandfort to the bed. Undressing her, grooming her, guiding her. More of a lackey than a nurse. Anne pulls the covers over her, tucks them in. MRS. GRANDFORT (snapping) Get me my pills. Anne spends a second too long with Mrs. Grandfort. MRS. GRANDFORT Now, Anne! Anne jumps to grab the pills. Knocks over one of the vials, spilling pills onto the floor. ANNE (sotto) Shit. MRS. GRANDFORT What's taking you so long? ANNE I dropped them. MRS. GRANDFORT You what? How could you be so clumsy? Anne picks up the pills. Gives pills and water to her. MRS. GRANDFORT I put up with your laziness, but I can't abide by this total disregard for simple... Mrs. Grandfort swallows her pills, hands Anne the empty water glass, continues her complaints. MRS. GRANDFORT ...competency. How you ever became a nurse, I shall never know. ANNE Ma'am, if you need anything else, I'll be in my room. You can buzz me. She gets out of there. 41. EXT. COURTYARD -- NIGHT Anne steps outside, shaking with anger. ANNE Bitch. Puts a cigarette between her lips. WHAM! Light flares as someone from the darkness lights it. She jumps. Calms when she sees it's Roger. ROGER Why do you put up with it? ANNE I need the job. Pops the engraved lighter closed, flips it in his hand. Reads the engraving out loud. ROGER "To Roger. Love mother." (flips lighter) She gave me this lighter when I turned fourteen, but won't let me smoke in the house. ANNE She's your flesh and blood. ROGER She's a cold, manipulating, domineering bitch. Don't know how you stand it. ANNE They're all like that. Because you work in their homes, empty their bed pans, they think you're their servant. (beat) Your mother is better than most. Lets me eat at the same table. She practically treats me like family. ROGER (laughs) That's not saying much. They walk away from the fountain, away from the light. ANNE Can I ask you a personal question? (CONTINUED) 42. ROGER Fire away. ANNE Why do you antagonize her like that? Every time she begins to melt, she says something wrong and you blow up. ROGER Inside, you know, there are rules for everything. Etiquette. ANNE Etiquette? Like Emily Post? ROGER They value your privacy. Won't push you around unless they're trying to fight you. Every action could cause a reaction. (puffs) Out here, people screw around with you, push you against a wall. For no reason. Like there's no consequences. ANNE You're not used to that. ROGER I only been back a couple of months, she's already trying to run my life again. Like I was a little boy. She can't see that I'm all grown up. Roger snubs out his cigarette, realizes he's only a few inches away from Anne. Their faces move together as if magnetized. They kiss. A good kiss. Then Anne pushes him away. ANNE This isn't a good idea. ROGER Why not? ANNE There's enough tension in this house already. Let's not add to it. ROGER Your loss. (CONTINUED) 43. Roger walks away, leaving her alone. Inside the house, the buzzer sounds. Mrs. Grandfort needs her. EXT. GRANDFORT HACIENDA -- DAY The Sheriff's car pulls up and Keller steps out. INT. LIVING ROOM -- DAY Roger opens the door, Keller on the porch. KELLER Roger. You going to invite me in? ROGER What do you want? Keller pushes into the house, Roger tries to block him. Fails. KELLER I'm going to take your advice. Reopen the Benoit murders. Find the killer. ROGER So what are you doing here? Shouldn't you be out golfing with O.J.? KELLER You were the last one to see her. Roger grabs his glass of iced tea, tries to at calm. ROGER I didn't kill them. KELLER Never said you did. But you were in the house, covered with their blood... ROGER The DNA didn't match... KELLER Their blood was on you, but the DNA proved it wasn't your blood on them. (smiles) You were still at the scene. Maybe as a witness, or an accomplice. (CONTINUED) 44. ROGER They were dead when I got there. KELLER That's what you told the officers seventeen years ago. But I noticed a couple of discrepancies I'd like to clear up. This won't take much time. Roger can't remember things somebody else said 17 years ago. ROGER That was a long time ago, Sheriff. I was a kid. My memory isn't so great. KELLER You discovered your pregnant girlfriend and her parents pick axed to death, and it's just kinda slipped your mind? MRS. GRANDFORT (O.S.) Sheriff Keller. Both spin to see Mrs. Grandfort and Anne at the doorway. MRS. GRANDFORT What can we do for you? KELLER Just some questions for Roger, ma'am. Mrs. Grandfort approaches Keller, prodding with her cane. MRS. GRANDFORT I think Roger has answered enough questions, don't you? KELLER Mrs. Grand... MRS. GRANDFORT This man is my son, Sheriff. A member of the Grandfort family. I will not have you bullying him. You will treat him with a measure of respect. KELLER I'm conducting a murder investigation. MRS. GRANDFORT You are harassing my son and I won't have it. Not in my house. Not while I'm alive. He is an innocent man. (MORE) (CONTINUED) 45. MRS. GRANDFORT (CONT'D) Roger may have signed away his right to sue, but I haven't. Keller glares at Roger. MRS. GRANDFORT My family built this town, our businesses employ this town. I find it hard to believe you want to sacrifice us for your own gain. (beat) The evidence has proven that Roger is innocent. He IS innocent. (beat) Don't you think we should consider this case closed, Walt? Leave the tragic memories behind us and move on with our lives? Haven't we all suffered enough? KELLER Yes, ma'am. Roger smiles at him. ROGER Anything else, Sheriff? Keller turns to Mrs. Grandfort, secretly snagging Roger's empty iced tea glass. KELLER Good day, Mrs. Grandfort. Sorry for an inconvenience. Keller leaves with the iced tea glass. Roger's finger prints. EXT. GRANDFORT HACIENDA -- DAY Keller holds the glass up to the sun, sees finger prints. Smiles as he gets into his patrol car and zooms away. INT. LIVING ROOM -- DAY ROGER Thank you. (CONTINUED) 46. MRS. GRANDFORT I'm your mother. I've always protected you. Done what was best for you. Roger nods, goes to grab his iced tea glass. Can't find it. EXT. GRANDFORT HACIENDA -- NIGHT The dead of night. INT. MRS. GRANDFORT'S ROOM -- NIGHT Mrs. Grandfort is awakened by a noise. She lays in bed listening. Maybe it was her imagination? Another noise. She presses the buzzer on her night stand. INT. ANNE'S ROOM -- NIGHT The buzzer wakes Anne up. She rolls out of bed, grabs her robe. The buzzer again and again, insistent. ANNE All right. I'm coming. INT. MRS. GRANDFORT'S ROOM -- NIGHT Anne enters the room, clicks on the light. ANNE Yes, Mrs. Grandfort? Mrs. Grandfort hushes her. Whispers. MRS. GRANDFORT There's someone in the house. Anne starts to say something, when they hear another sound. Anne grabs a fire poker, starts out of the room. MRS. GRANDFORT Don't leave me here alone... ANNE Mrs. Grandfort... (CONTINUED) 47. Mrs. Grandfort takes Anne's arm, cutting off the argument. INT. HALLWAY -- NIGHT They creep down the hall quietly. Looking through doors. INT. KITCHEN -- NIGHT The kitchen is dark, spooky... empty. INT. HALLWAY -- NIGHT Sounds from the living room. Suspense as they get closer. A flashlight stabs past them. They hold still. The light swings away. They creep closer. INT. LIVING ROOM -- NIGHT In the darkness, a man searches the room. Quietly tearing it apart, flashlight stabbing the darkness. A prowler. Anne lets go of Mrs. Grandfort, hefts the fire poker overhead. Hits the light switch. Roger stands in the middle of the room, searching. Caught. MRS. GRANDFORT Who is it? Roger and Anne look at each other. ANNE No one. Window's open. Blew some papers off the table. (beat) I'll clean it up in the morning. Anne lowers the fire poker, turns off the light, guides Mrs. Grandfort back to bed. Leaving Roger alone in the dark. EXT. GRANDFORT HACIENDA -- DAY Morning. 48. INT. KITCHEN -- DAY Roger is sipping coffee, Anne enters to grab the tea service. ANNE What were you doing last night? MRS. GRANDFORT (O.S.) Anne? Roger smiles at her as she hustles to bring mother her tea. When she's gone, Roger takes the bottle of TOXICHLOR INSECTICIDE from behind the coffee pot and reads the warning. Odorless, colorless, a level 6 toxin. Very deadly. Hides the insecticide in a pocket. Roger pulls the house key ring from his pocket, flips it in his hand, then returns it to the hook inside a cupboard. INT. LIVING ROOM -- DAY Anne sets the tea service on the table, pours two cups. Mrs. Grandfort sits across from attorney Don Larrue. Larrue is fifteen years older, grey haired, glasses. His briefcase on the floor near him, and papers in his lap. LARRUE I've drawn up the new will as you asked, Ruth. Anne hands Larrue a cup of tea. LARRUE Thank you, Anne. Anne hands the other cup to Mrs. Grandfort. LARRUE The majority of the assets will remain in the blind trust your husband set up before his death... Mrs. Grandfort sips her tea. Wrinkles her nose. MRS. GRANDFORT Anne, did you remember my sugars? ANNE Three cubes, ma'am. (CONTINUED) 49. Mrs. Grandfort takes another sip of the tea. Tastes funny. MRS. GRANDFORT Go on. LARRUE In the event of your passing, the trust will be liquidated, the ranch and other assets pass to your son. Larrue speaks softly. LARRUE You sure this is what you want, Ruth? MRS. GRANDFORT He's my son. LARRUE The other provisions remain the same. I just need your signature. Anne, if you'll witness? Anne nods. Larrue puts a pen in Mrs. Grandfort's hand, places the hand on the document. She signs. Larrue pulls out another copy. LARRUE Again. Once more. Anne signs the witness area of the three copies. Roger hides at the door, watches himself inherit ten million. LARRUE Good. Now on your passing, your son will inherit the ranch and assets. Mrs. Grandfort smiles and nods. So does Roger. Mrs. Grandfort hears a noise, turns to the doorway. MRS. GRANDFORT Roger? ROGER Good morning, mother. I saw you had a guest, didn't want to disturb you. MRS. GRANDFORT Nonsense. Do you remember Don Larrue? Larrue and Roger face each other to shake hands. Each man studying the other for points of recognition. (CONTINUED) 50. ROGER Yes. Of course. They shake, but Larrue is still staring at him. LARRUE You look completely different. ROGER Lost the baby fat. Larrue continues studying him. Anne notices Larrue's confusion... Suspicion. MRS. GRANDFORT Would you like some tea, Roger. Roger lifts his cup. ROGER I have coffee, mother. Anne crosses to Roger, looks in his cup. ANNE It's empty. I'll get you some tea. She pulls the cup from his hand, moves to the tea service. LARRUE I can't believe how different you look. I'd have never recognized you. Roger watches her pour from the tea pot. ROGER Well, Don, we didn't spend that much time together. (smiles) I'm sure the public defender could pick me out of a line up. Anne hands him the cup of tea. ANNE Sugar? Milk? ROGER It's fine, thanks. Larrue is angry. (CONTINUED) 51. LARRUE Had I defended you, you'd have still gone to prison. ROGER Not that good, eh? LARRUE Too much evidence against you. Larrue wants to verbally fight Roger, but not in front of his wealthy client. He smiles, changes tack. LARRUE We can't change our past mistakes, so let's move on to better times. MRS. GRANDFORT To having my son back. Mrs. Grandfort raises her tea cup in toast. Anne and Larrue do the same. Roger reluctantly raises his cup. LARRUE And better times. All four drain their tea cups. Roger didn't poison the tea. Yet. Anne watches Roger with growing suspicion. INT. ROGER'S ROOM -- NIGHT Roger, smoking in bed, remembers... INT. PRISON BUS -- NIGHT Just like a school bus, except none of the passengers have any class. PRISONERS in name stenciled denim, including "Roger", Grandfort, meek looking MURPHY, and savage DRAYTON. Shackled together. UPFRONT: The DRIVER and GUARD. Both armed. The Guard is a mean looking guy with a shotgun. PRISONER (O.S.) All aboard for the Soledad Express, non-stop bus service to Soledad medium security prison from San Quentin... (CONTINUED) 52. GUARD Shut up, Stevens. Roger and Grandfort are in different rows, opposite sides of the aisle. They glance at each other, nod. Murphy notices. UPFRONT: The Driver and Guard look out the window at... EXT. COUNTRY ROAD -- NIGHT Headlights on the road. INT. PRISON BUS -- NIGHT The Prisoners look like they're sleeping. Drayton opens his eyes, nods to another Prisoner. The Prisoner begins moaning, sweating, looking awful. GRANDFORT Got a sick man back here. GUARD He'll last till Soledad. It's only a couple more hours. PRISONER (O.S.) He looks pretty bad. The sick Prisoner vomits. ROGER Christ, he's puking all over the place! The Guard touches the Driver's shoulder, pulls out his keys. Drayton smiles, nods to the other Prisoners. The Guard puts a hand on the sick Prisoner's shoulder. GUARD You okay, son? The Prisoner looks like he's going to get sick again, then whips his shackles around, snags the Guard's leg, trips him. GUARD Help! The Driver looks back, but has to keep his eyes on the road. (CONTINUED) 53. Drayton attacks the fallen Guard, pounding him. The Guard fights back, reaches for his gun. Holster flap is snapped. Wham! Drayton hits him, whips his chains around the Guard's neck, strangling him. The Guard unsnaps his holster, pulls the gun. Drayton pushes the gun away as it fires. BANG! BANG! Roger ducks as bullets ricochet through the bus. BANG! A bullet hits the Driver, splattering blood on the window. The Driver slumps over the steering wheel. EXT. COUNTRY ROAD -- NIGHT Headlights swerve off the road into the woods. INT. PRISON BUS -- NIGHT As Drayton fights the Guard, we hear the bus SLAMMING into branches and shrubs. Bouncing Prisoners on their seats. THe Guard pushes his gun against Drayton's head... Drayton YANKS the chain around his neck, killing him. EXT. COUNTRY ROAD -- NIGHT The headlights zero in on a tree. INT. PRISON BUS -- NIGHT WHAM! Everyone in the bus gets thrown to the floor. Drayton's leg SNAPS. He screams in pain. When everything settles, Drayton checks his busted leg, grabs the Guard's fallen gun and handcuff keys. After freeing himself, he tosses the keys to the sick Prisoner (well now). PRISONER (O.S.) You okay? I think I busted my arm. (CONTINUED) 54. Roger sits up, looks at Grandfort, as the other Prisoners unshackle themselves and scramble out of the bus. EXT. COUNTRY ROAD -- NIGHT Headlights crazy beams as the prison bus leans against the tree, smoke billowing. Prisoners race out of the bus for the walnut groves a hundred feet away. Drayton limping. Soon, the Prisoners are gone. INT. PRISON BUS -- NIGHT Roger, Grandfort, and Murphy are left in the bus. Roger and Grandfort unshackle themselves, swap stenciled shirts, ID tags, everything else that identifies them. GRANDFORT When I get out, I expect my mother to have had her little accident. ROGER Your tags. Here you go. They swap ID tags... Then Grandfort remembers his engraved cigarette lighter. GRANDFORT Gift from mother. Fourteenth birthday. ROGER Right. Roger looks at the lighter, pockets it. GRANDFORT Remember. It has to be an accident... ROGER Or I can't inherit. GRANDFORT We can't inherit. ROGER Right. (beat) You can kill three people with a pick axe, but you can't kill your mother... (CONTINUED) 55. GRANDFORT Mother & I have a special relationship. ROGER I'll take care of her for you. Roger and Grandfort swap seats, then shackle themselves in place. That's when Roger notices Murphy, still in the bus. ROGER Don't you want to run, with the others? Murphy shakes his head. ROGER Tell anybody and we'll kill you. Understand? Murphy nods. ROGER From now on, I'm Grandfort, and he's Vilette. Understand? Murphy nods again. Roger smiles, sits back in his seat. INT. ROGER'S ROOM -- NIGHT Roger lays back in his bed, smiling. EXT. COURTYARD -- DAY Mrs. Grandfort trims her rose bushes by touch. Wearing thick garden gloves, using a pair of clippers. A hand grabs her shoulder, frightening her. It's Roger. ROGER Thought we could go for a walk, mother. She smiles, clips a flower and makes it into a boutonniere. Feeling her way to Roger's lapel to attach it. Takes off her garden gloves, touches his face and smiles. MRS. GRANDFORT That would be nice. 56. EXT. HACIENDA GROUNDS -- DAY Roger guides Mrs. Grandfort on a walk through the orchard. MRS. GRANDFORT Your father and I used to walk through the orchards at harvest time... before his accident. EXT. ORCHARD -- DAY The walk through the orchard, arms linked. Roger looking for good places for a fatal accident. MRS. GRANDFORT He never understood our special bond, Roger. Thought I was babying you. ROGER This way, mother. Roger guides her around a fallen branch, she might have tripped over... and hurt herself. MRS. GRANDFORT After he was gone, I was so busy trying to hold the business together, running the ranch, that I didn't pay as much attention to you as I should have. EXT. STREAM -- DAY Roger guides her down the narrow path by the stream. Lots of places where she might trip. Lots of big rocks. MRS. GRANDFORT Working with the ranch hands and the roustabouts, I had to be tough as leather, demanding, bossy. (beat) Sometimes I brought the toughness home with me. That was a mistake. ROGER Let's forget about the past. She almost misses the wooden bridge, falls into the water. Roger waits until the last minute to correct her. ROGER Opps! This way, mother. (CONTINUED) 57. She hugs his arm. They climb the steps towards the gazebo. EXT. QUARRY -- DAY Roger guides her away from the gazebo, towards the cliff. MRS. GRANDFORT I always wanted the best for you. I always fought for you. They walk right up to the edge of the cliff. One push and Roger inherits. MRS. GRANDFORT I never liked that Benoit girl. (closer to the edge) Never approved of your relationship with her. (closer) She was trash. (closer) Beneath your. (closer) I'm afraid I let those feelings guide the way I handled that situation. (over) I hope you'll forgive me. Roger grabs her before she falls, pulls her into his arms. ROGER Opps! Too close to the edge, mother. MRS. GRANDFORT (laughs) I'm glad you're here, Roger. ROGER Wouldn't want you to get hurt. They head back to the gazebo. EXT. GAZEBO -- DAY They cross the grass to the gazebo, arms linked. Roger still looking for possible accident opportunities. MRS. GRANDFORT You are my son. My flesh and blood. I lost you once, Roger. I don't want to lose you again. (CONTINUED) 58. They climb the steps to the gazebo. A beautiful day. MRS. GRANDFORT The gazebo. Glenn had this built. As a gift to me. We used to come out here when you were a boy, remember? ROGER Of course I remember. Mrs Grandfort moves into Roger's arms. Mother and son. MRS. GRANDFORT Kiss me the way you used to... Roger has no idea how he used to kiss this woman. MRS. GRANDFORT When you were a boy... On the forehead? On the cheek? MRS. GRANDFORT On the lips. Roger smiles. ROGER Of course, mother. He goes to give her a peck on the lips, but she grabs him and lays a major kiss on him. Roger pulls away, shocked. This isn't even his real mother, but it seems dirty, creepy, and incestuous. ROGER We... um... We should be getting back, now, mother. It's getting close to dinner time. MRS. GRANDFORT Of course, Roger. She links arms with him and he guides her back to the house. Completely creeped out. Anne watches from the other side of the wooden bridge. Suspicious. INT. DINING ROOM -- EVENING A pleasant family dinner. (CONTINUED) 59. Except Roger can't get the taste of that weird kiss out of his mouth. He keeps looking strangely at Mrs. Grandfort. Anne notices. Wonders what is up. EXT. GRANDFORT HACIENDA -- NIGHT Night must fall. INT. HALLWAY -- NIGHT Light from under Roger's door goes out. INT. ANNE'S ROOM -- NIGHT Anne creeps out of bed, throws on a robe, grabs a flashlight. Quietly leaves her room. INT. HALLWAY -- NIGHT Anne sneaks past Roger's door, creeps into the kitchen. INT. KITCHEN -- NIGHT Anne uses the flashlight to find the ring of house keys. EXT. HACIENDA GROUNDS -- NIGHT In her nightgown and robe, Anne creeps across to the barn. Wind whistles through the trees. A noise in the night. Rustling. Footfalls. Something creeping towards her in the darkness. Anne lifts the flashlight like a club. Can't see the assailant. Clicks the light on, shining it at the creeping figure. A kitty cat. EXT. BARN -- NIGHT Anne creeps to the barn, unlocks the storm cellar door. Wind whistles, scattering leaves in the darkness. 60. INT. STORM CELLAR -- NIGHT Anne sneaks down the stairs, flashlight stabbing darkness. The cellar is spooky, creaky. Slips, almost falls on the stairs. At the bottom of the stairs, several doors. Lots of shadows. Anne opens the door to the storage room. Creeps inside. Flashlight searches darkness for the box of Roger's things. Finds the box. BAM! BAM! BAM! The cellar door blowing open and shut? Anne scrambles out of the room, shines light up the stairs. BAM! BAM! BAM! Just the door. A hand grabs her shoulder! Spins her around! ROGER What are you doing down here? ANNE (trembling) I... came down to look at your things. ROGER Nosey little... Anne pours on the sex appeal. ANNE I was curious. Ever since we kissed... I wanted to know more about you. ROGER Why didn't you ask? ANNE Didn't want to pry. I know you value your privacy. Please, don't be angry. She pulls him close, gives him a serious kiss. Second one of the day for Roger... counting his mom. Just out of prison, years since he's had a woman. Roger kisses back, hands all over her. Yanks off her robe. Passion erupts. They strip off each others clothes, kissing newly exposed flesh. (CONTINUED) 61. Roger slams a stored matress to the floor and they make love in the musty storm cellar. AFTERWARDS: Using her robe for warmth, they lay on the single matress. ROGER What did you want to know? ANNE Nothing. ROGER You came all the way out here in your nightgown, had to be a reason why. ANNE Wanted to see you as a kid, before... ROGER They locked me up. ANNE Come on, let's take a look. I want to know more about you... Anne makes a move toward the storage boxes, Roger stops her by talking about his past... his REAL past. ROGER I don't remember my dad, he was already gone when I was a kid. It was just me and mom. She was working, so I was alone most of the time... ANNE What did you do? ROGER Got into trouble, mostly. I was a little hellion. Shop lifting, joy riding, fighting, usual stuff. ANNE What about the good times? Your best memory? ROGER I don't know... Waking up on days when it snowed and going outside to play. Throwing snowballs at other kids. Snow always seemed so clean... (CONTINUED) 62. He snuggles with Anne... who knows that's he's an imposter. It has never snowed here in orange country. Roger looks at the storage boxes... evidence he's an imposter. EXT. GRANDFORT HACIENDA -- NIGHT Roger and Anne walk back to the house together. Not touching. Anne keeping some distance between her and the false son. INT. ROGER'S ROOM -- NIGHT Rogers lays back in his bed and smiles. Flipping over the container of insecticide in his hand. EXT. GRANDFORT HACIENDA -- MORNING The sun also rises. INT. LIVING ROOM -- DAY Mrs. Grandfort and Anne are having their morning tea when Roger enters. Tension between the three. Anne knows Roger is an imposter. Roger doesn't want any more special kisses from mother. Mother is afraid of setting Roger off again. ROGER Morning, mother. ANNE Tea? ROGER (holds up cup) I have coffee, thanks. Roger watches his mother sip her cup of tea. Smiles. She drinks it down, has Anne refill her cup. ROGER I've been thinking about my future. Mrs. Grandfort gives Roger her complete attention, smiles. MRS. GRANDFORT Going away to college? (CONTINUED) 63. ROGER I'm thinking about staying home, running the ranch MRS. GRANDFORT Follow in your father's footsteps? A strange incestuous sexual connotation to that. Roger tries to avoid it. ROGER Settle down, maybe find a nice girl and get married. Roger smiles at Anne. Her turns to freak. MRS. GRANDFORT Not some town slut like the last time. Do you already know this girl? ROGER No. But I'm sure I can find someone we can both agree on, mother. MRS. GRANDFORT A gentleman farmer. ROGER (smiles) Never thought of it like that before. Mrs. Grandfort and Anne sip their tea. MRS. GRANDFORT Managing the ranch is quite a... financial... responsibility. ROGER If you can't trust your family, your own flesh and blood, who can you trust? Mrs. Grandfort takes another sip of tea, nods. MRS. GRANDFORT Alright. ROGER I'll need to learn the nuts and bolts of the operation. Is there a ranch manager or something? MRS. GRANDFORT Mr. Arbogast. (CONTINUED) 64. ROGER Can you have him show me the ropes? Go over the books with me? So Roger will know how much he stands to inherit. MRS. GRANDFORT I'll call him this afternoon. EXT. SHERIFF STATION -- DAY Establishing. INT. SHERIFF STATION -- DAY Keller dusts the glass for finger prints. Removes the prints using clear tape. Places the tape on a fingerprint card (labeled "glass"). Compares the print to an old card (labeled "crime scene") using a comparison microscope. KELLER They don't match. How can that be? They matched seventeen years ago. No way his fingerprints can change. Keller looks back through the old report, finds the arrest record card (mug shot of 15 yr old Roger). Compares the prints with those from the drinking glass. KELLER No match. Keller pulls out the prison file, flips it open. Compares the mug shot of current Roger with Young Roger. KELLER Because it's not Roger. Figures it all out. KELLER That's why the DNA didn't match. He's an imposter. Keller closes the files, pulls out his gun, checks it. Gets ready for action. 65. EXT. SHERIFF STATION -- DAY Keller runs from the station to his car, climbs in. The engine roars, and he speeds away from the station. Going to confront the false Roger. INT. DINING ROOM -- DAY Roger is now the perfect son. Eating like a human, smiling, pleasantly conversing with Mrs. Grandfort and Anne. One big happy family. ROGER How long do you think it'll take Mr. Arbogast to show me the ropes? A month? Two? MRS. GRANDFORT No more than a month. (smiles) I haven't felt this well since... since you were a boy. ROGER A new beginning. MRS. GRANDFORT Sing for me Roger. Sing the lullaby. Roger reaches across the table, takes her hand. ROGER Mother, some... painful things... have happened to me. When I try to remember the good things, I can't help but remember the bad. MRS. GRANDFORT Roger... ROGER Let me finish. To forget the bad memories, I'd wipe out the good ones. (grips her hand) I'm a new man, mother. A changed man. Let's forget the past and move on to better times. We can both be new. MRS. GRANDFORT Yes Roger, yes. (CONTINUED) 66. She squeezes Roger's hand, that special bond between them. Anne doesn't buy a word of it. ANNE Since Roger has decided to stay on and run the family businesses, maybe he'd like to have his things taken out of storage? MRS. GRANDFORT How thoughtless of me. Your pictures. Your trophies. All of your little treasures from when you were a child. I'll have someone bring the boxes up from storage in the morning. ROGER No reason to do that mother. Those things were part of my past. Part of my childhood. I'm a different person, now. I don't want to be reminded of the past... of who I used to be. Roger lets go of her hand, pulls away from the table. ROGER I'm going to take a walk. Anne watches Roger leave, very suspicious. INT. KITCHEN -- DAY Roger opens the cupboard, looking for the keys to the storm cellar under the barn. The hook is empty. Keys are gone. EXT. BARN Roger tries opening the storm cellar door. Locked. Looks at the door and lights a cigarette, smiles. ROGER Hell, might as well get this thing over with. Pockets the engraved lighter. EXT. COUNTRY ROAD -- DAY Roger strolls along the road, past the orange groves. (CONTINUED) 67. ROGER Someday all of this will be mine. Someday SOON. A car on the horizon. Roger puffs on his cigarette, studies the car as it gets closer. The Sheriff's Car. Roger raises his hand, to wave as the car passes him. INT. SHERIFFS CAR -- DAY Keller sees Roger waving, pulls up next to him. EXT. COUNTRY ROAD -- DAY The Sheriff's Car skids to a stop only a few inches away from Roger, forcing him to jump back. Surprised. ROGER Geeze, Keller, you almost hit me. Keller climbs out of the car, unsnaps his holster flap. ROGER What's the problem? KELLER I don't know what you're up to, or why you're here, but I know you aren't Roger Grandfort. ROGER Sure I am... Keller draws his gun, presses it against Roger's face. KELLER Cut the shit. Roger lifts both hands. Doesn't want any accidents. ROGER Look. I haven't broken any laws... KELLER Yet. Who are you? ROGER No reason to get hostile... (CONTINUED) 68. Keller presses the gun into his face so hard he has to back up. A slip and Roger won't have a face anymore. KELLER Who the fuck are you? ROGER Jud Vilette. Was in for armed robbery. Did my time, model prisoner, turned my life around, was up for parole. Keller presses the gun into his face again, losing patience. ROGER Grandfort made me a deal. KELLER What kind of deal? ROGER Look, he's the one you want, not me. I did my time. KELLER Living the straight and narrow? You cons are all alike. Full of shit. Presses the gun harder against Roger's face. ROGER It's not like that... KELLER What kind of scam are you running? ROGER Grandfort's running the scam, not me. Keller doesn't let up on the pressure. ROGER It's true, man, you gotta believe me. (beat) Look, she's a sick old woman, okay? I've got nothing. No home, no family. I can be the son she never had... The GOOD son. Let her last days be happy ones. Keller pulls the gun away from Roger's face. Believing. ROGER That's the only scam I'm running. I get a home, a family, she gets a son. (CONTINUED) 69. Keller doesn't holster the gun or let go of Roger. ROGER Just let me go, okay? KELLER How stupid do you think I am? Keller pulls out his handcuffs, snaps one on Roger's wrist. KELLER You know the position. Roger looks at the cuff on his wrist. Scared. He's not going to get out of this one. ROGER Look, there has to be some way... KELLER Hands against the car NOW! Feet back and spread 'em NOW! Roger starts to turns around, hands against the car... Then swings into action. Whack! Slams the handcuff into Keller's head. Keller takes the hit, aims his gun at Roger. KELLER Son of a bitch. Roger grabs the gun, pushes it away from his face. They wrestle for control of the gun. Keller pressing it into Roger's face. Roger twisting it away, at Keller. BANG! BANG! BANG! Blasting between them. Bullets missing them by inches. Keller gains control of the gun, aims it at Roger. Finger tightening on the trigger. Roger kicks him in the knee. Keller collapses. Roger chops the gun out of his hand. The gun goes skittering in the dirt. Keller slams Roger with a fist, pulls out his club. Roger swings the handcuff like a mace. (CONTINUED) 70. ROGER Couldn't you just let me be? Keller and Roger fight like gladiators. Club against chain. Woosh! Clang! Clang! Woosh! Roger takes a few hits from the club, pushes Keller back by swing the handcuff. Lands a vicious hit to Keller's face. Drawing blood. KELLER You're going back for life, Vilette. Keller counter attacks with his club, swinging it at Roger's arm, legs, face, head. Landing a fair number of hits. Pressing Roger back against the car. Keller gets ready to hit