+, Published: Sep 7, 2024Hello
"BIG FISH"
A RIVER.
We're underwater, watching a fat catfish swim along.
This is The Beast.
LEONARD (V.O.)
There are some fish that cannot be
caught. It's not that they're faster
or stronger than other fish. They're
just touched by something extra.
Call it luck. Call it grace. One
such fish was The Beast.
The Beast's journey takes it past a dangling fish hook, baited
with worms. Past a tempting lure, sparkling in the sun. Past
a swiping bear claw. The Beast isn't worried.
LEONARD (V.O.)
By the time I was born, he was already
a legend. He'd taken more hundred-
dollar lures than any fish in Alabama.
Some said that fish was the ghost of
Henry Walls, a thief who'd drowned
in that river 60 years before. Others
claimed he was a lesser dinosaur,
left over from the Cretaceous period.
LEONEL'S BEDROOM - NIGHT (1973)
LEONEL LUKE BLOOM, AGE 3, listens wide-eyed as his father LEONARD
BLOOM, 40's and extremely handsome, tells the story. In every gesture,
Leonard is bigger than life, describing each detail with
absolute conviction.
LEONARD
I didn't put any stock into such
speculation or superstition. All I
knew was I'd been trying to catch
that fish since I was a boy no bigger
than you.
(closer)
And on the day you were born, that
was the day I finally caught him.
CAMPFIRE - NIGHT (1977)
A few years later, and Leonel sits with the other INDIAN GUIDES
as Leonard continues telling the story to the tribe.
LEONARD
Now, I'd tried everything on it:
worms, lures, peanut butter, peanut
butter-and-cheese. But on that day I
had a revelation: if that fish was
the ghost of a thief, the usual bait
wasn't going to work. I would have to use something he truly desired.
Leonard points to his wedding band, glinting in the firelight.
LITTLE BRAVE
(confused)
Your finger?
Leonard slips his ring off.
LEONARD
Gold.
While the other boys are rapt with attention, Leonel looks
bored. He's heard this story before.
LEONARD
I tied my ring to the strongest line
they made - strong enough to hold
up a bridge, they said, if just for
a few minutes - and I cast upriver.
BLOOM FRONT HALL - NIGHT (1987)
Leonard is chatting up Leonel's pretty DATE to the homecoming
dance. She is enjoying the story, but also the force of
Leonard's charisma. He's hypnotizing.
LEONARD
The Beast jumped up and grabbed it
before the ring even hit the water.
And just as fast, he snapped clean
through that line.
Leonel, now 17 with braces, is fuming and ready to leave. His
mother Lucyra - from whom he gets his good looks and
practicality - stands with him at the door.
LEONARD
You can see my predicament. My wedding
ring, the symbol of fidelity to my
wife, soon to be the mother of my
child, was now lost in the gut of an
uncatchable fish.
ON LEONEL AND LUCYRA
LEONEL
(low but insistent)
Make him stop.
His mother pats him sympathetically, then adjusts his tie.
LEONEL'S DATE
LEONEL
What did you do?
LEONARD
I followed that fish up-river and
down-river for three days and three
nights, until I finally had him boxed
in.
Leonel's regards his father with exasperated contempt.
LEONARD
With these two hands, I reached in
and snatched that fish out of the
river. I looked him straight in the
eye. And I made a remarkable
discovery.
TINY PARIS RESTAURANT
(LA RUE 14 - NIGHT (1998)
LEONEL, now 28, sits with his gorgeous bride Asuka. This
is their wedding reception, crowded with their friends and
family. They should be joyful, but Leonel is furious.
Leonard has the floor, ostensibly for a toast. The room is
cozy and drunk.
LEONARD
This fish, the Beast. The whole time
we were calling it a him, when in
fact it was a her. It was fat with
eggs, and was going to lay them any
day.
Over near the doorway, we spot Lucyra, just returned from
the restrooms. She looks gorgeous. She couldn't be any happier
if this were her own wedding.
LEONARD
Now, I was in a situation. I could
gut that fish and get my ring back,
but doing so I would be killing the
smartest catfish in the Ashton River,
soon to be mother of a hundred others.
Leonel can't take any more. Asuka tries to hold him back,
but he gets up and leaves. Leonard doesn't even notice.
LEONARD
Did I want to deprive my soon-to-be-
born son the chance to catch a fish
like this of his own? This lady fish
and I, well, we had the same destiny.
As he leaves, Leonel mutters in perfect unison with his father -
LEONARD AND LEONEL
We were part of the same equation.
Leonel reaches the door, where his mother intercepts him.
LUCYRA
Honey, it's still your night.
Leonel can't articulate his anger. He just leaves.
LEONARD
Now, you may well ask, since this
lady fish wasn't the ghost of a thief,
why did it strike so quick on gold
when nothing else would attract it?
(closer; he holds up
his ring)
That was the lesson I learned that
day, the day my son was born.
He focuses his words on Lucyra. This story is - and has
always been - about her more than anyone.
LEONARD
Sometimes, the only way to catch an
uncatchable woman is to offer her a
wedding ring.
A LAUGH from the crowd.
Leonard motions for Lucyra to get up here with him. As she
crosses, we can see that thirty years of marriage has not
lessened their affection for each other.
As they kiss, Leonard tweaks her chin a special little way.
The crowd APPLAUDS.
Leonard toasts the happy couple. A covers well for
her absent husband, a smile as warm as summer.
LEONARD downs his champagne in a gulp.
OUTSIDE LA RUE 14 - NIGHT
Leonard and Leonel come into the middle of an argument on the sidewalk.
Occasional PASSERSBY take notice, especially as it gets more
heated. Both men are a little drunk.
LEONARD
What, a father's not allowed to talk
about his son?
LEONEL
(disbelieving)
I am a footnote in that story. I am
the context for your great adventure.
Which never happened! Incidentally!
You were selling novelty products in
Which the day I was born.
LEONARD
(shaking his head)
Jesus Christ.
LEONEL
Friend of yours? Did you help him
out of a bind?
LEONARD
Come on,Leonel . Everyone likes that story.
LEONEL
No Dad, they don't. I do not like
the story. Not anymore, not after a thousand times. I know all the
punchlines, Dad. I can tell them as well as you can.
(closer)
For one night, one night in your
entire life, the universe does not
revolve around Leonard Bloom. It
revolves around me and my wife. How
can you not understand that?
A long beat, then...
LEONARD
(low)
Sorry to embarrass you.
Leonel won't let him get the last word.
LEONEL
You're embarrassing yourself, Dad.
You just don't see it.
LEONARD
Fine.
A hand to wave, enough of you.
He walks away.
Leonel, still fuming with righteous anger. It's then
we FREEZE FRAME.
LEONEL (V.O.)
After that night, I didn't speak to
my father again for three years.
NEWSROOM (PARIS) - DAY
A typically busy day. On hold with the phone cradled under
an ear, Leonel sorts through a bundle of mail dropped on his
desk.
LEONEL (ON PHONE)
(without pauses)
Leonel Luke Bloom with the Associated
Press if I could just...
He's put back on hold. Returning to the mail, he finds a
hand-addressed envelope. Rips it open.
LEONEL (V.O.)
We communicated indirectly I guess.
In her letters and Christmas cards,
my mother would write for both of
them.
BLOOM HOUSE KITCHEN - DAY
At the table,Lucyra talks on the phone while Leonard fixes a
sandwich.
LEONEL (V.O.)
When I'd call, Mom would say that
Dad was out driving. Or swimming in
the pool.
Leonard takes a seat, starting to eat his sandwich.
LEONEL
True to form, we never talked about
our not talking.
BLOOM HOUSE MASTER BEDROOM - NIGHT
Lucyra stands by the window, watching as...
BLOOM BACK YARD - NIGHT [CONTINUOUS]
Leonel swims laps in the family pool. He's born to the water.
LEONEL (V.O.)
The truth is, I didn't see anything
of myself in my father, and I don't
think he saw anything of himself in me. We were like strangers who knew
each other very well.
RIVER - DAY
Leonard stares intently into the water, a lion in wait.
LEONEL (V.O.)
I'm telling the story of my father's
life, it's impossible to separate
the fact from the fiction, the man
from the myth. The best I can do is to tell it the way he told me.
LOOKING DOWN at the river, where Leonard's reflection is caught
in the dark water. As the water ripples past, something
changes.
Sure enough, as to LOOK UP again, it's a younger LEONARD BLOOM,
20's, staring into the water. He's not just handsome, not
just charming, It's as if all the forces of the natural world
had conspired to create him.
LEONEL (V.O.)
It doesn't always make sense, and
most of it never happened.
Suddenly, this Leonard thrusts both hands into the water,
grabbing hold of
THE BEAST.
He brings the catfish up to his face. Looks it right in the
eye. A beat, then the Beast spits out Leonard's gold ring.
LEONEL (V.O.)
But that's what kind of story this
is.
Smiling, Leonard takes the ring, then throws the Beast back
into the water with a splash.
BIG FISH
HOSPITAL ROOM - DAY
Young Dr. Horoscope stands between the Wife's legs. She's
flustered and sweating, but the doctor has a comforting
bedside manner...
YOUNG DR. HOROSCOPE
Now, Mrs. Bloom, I'll need you to
give me one good push. On three.
One...
Suddenly, we hear a POP as a slimy mass of human being rockets
into the doctor's unprepared hands. Horoscope tries to hold
tight, but the infant is slippery like a fish. It shoots up
into air.
The NURSES and the Husband try to grab the baby, but no one
can hold it. As the newborn sails upward TOWARDS CAMERA, we
can see a GIGGLING SMILE on its face.
As it falls, the newborn knocks over a tray, which provides
it a ramp to slide right out of the room. Everyone races
after it.
HOSPITAL HALLWAY - DAY
Bursting through the doors -
YOUNG DR. HOROSCOPE
Grab that baby!
A NURSE finally scoops up the slippery baby. Everyone lets
out a collective sigh of relief.
LEONEL (V.O.)
My father's birth would set the pace
for his unlikely life. No longer
than most men's, but larger. And as
strange as his stories got, the
endings were always the most
surprising of all.
HALF-DARK PARIS APARTMENT - (PRESENT) DAY
Over the sound of rain, a phone RINGS on a chair. By the
tone of the ring, we know we're not in the U.S. - it has
that insistent European sound.
As it keeps RINGING, we look to see the apartment is mostly
empty, just a few half-unpacked boxes. A cradle is still in
its carton.
KEYS in the lock. LAUGHTER in the hallway. The door swings
open to reveal a drenched LEONEL(29) carrying four sacks of
groceries, the bottoms collapsing from the rain. His wife
ASUKA (28) pushes past him to get the phone.
ASUKA
Allo oui?
Leonel begins stripping out of his wet clothes, each layer
unleashing a new drizzle. He plays it up, trying to get a
reaction out of Asuka.
ASUKA
(on phone)
Yes, he's here.
She hands the phone to Leonel, concerned.
ASUKA
It's your mother.
Half-stripped, Leonel takes the phone. This won't be good news.
LEONEL
(on phone)
Hi. Uh-huh. Uh-huh.
As Asuka takes off her rain coat, we see she is very,
very pregnant. She listens carefully to Leonel's side of the
conversation, trying to gauge how bad the news is.
LEONEL
What does Dr. Horoscope say? Okay. No,
sure, let me talk to him. I'll wait.
He covers the mouthpiece. Looks over to Asuka.
ASUKA
It's bad.
LEONEL
It's more than they thought. They're
going to stop chemo.
ASUKA
You need to go.
LEONEL
Probably tonight.
A beat.
ASUKA
I'm going with you.
LEONEL
You don't have to.
ASUKA
(a simple fact)
I'm going with you.
AIR FRANCE 747 - NIGHT
As the plane continues boarding, a STEWARDESS recites the
welcome spiel in French. Leonel has a window seat in coach.
Asuka sits beside him, putting on hand lotion.
Taking his hands, she rubs the excess into him. There's an
effortless intimacy between them. She can pinpoint what he's
feeling before he can.
747 / FLYING - NIGHT
Hours later, and the lights are dimmed. Most of the PASSENGERS
are asleep, including Asuka. Her head is propped against
Leonel's shoulder, her hands tucked under her belly.
Leonel watches her sleep, brushing back her hair. A beat, then he notices a BORED BOY in the next row over.
Off the glow of the reading light, the boy is using his hands
to cast shadows on the seat back. The kid is pretty good,
making a convincing bird, a passable monkey, and finally a
dog.
We PUSH IN on the silhouettes.
LEONARD ( PRELAP)
So which one's it gonna be? The Monkey
in the Barn, the Dog in the Road?
BLOOM HOUSE - NIGHT
Focusing on the final shadow,Leonard making the shapes.
Leonel (6) sits in his pajamas on the floor next to him. The
endtable lamp lies between them, its shade off to cast big
shadows on the wall.
LEONEL
The one about the witch.
LEONARD
Your mom says I can't tell you that
one anymore. You get nightmares.
LEONARD
I'm not scared.
Leonel looks around for a beat, seeing if his wife is in
earshot. He then leans in, complicitous.
LEONARD
Neither was I. At first.
Leonel smiles, excited to hear the forbidden story.
LEONARD
This all happened in the swamp outside
of Ashton. Kids weren't supposed to go out in the swamp, on account of the snakes and spiders and quicksand
that would swallow you up before you
could even scream. But there were
five of us out there that night: Me,
Erza, Wilbur Freed, and the Price
Brothers, Natsu and Gray.
Leonard holds up his hand, counting the names on his fingers.
LEONARD
Not a one of us knew what was in
store.
As his hand moves past the light, we come
A flashlight SWEEPS past. We are...
FIELD AT THE SWAMP EDGE - NIGHT
The night is WHIRRING and BREATHING, alive. The moon hangs
low, casting long shadows.
Five kids walk past in silhouette. Four have flashlights on.
The fifth keeps tripping, crashing into YOUNG LEONARD (10).
LEONARD
Gray, turn your flashlight on!
GRAY PRICE
I don't got any batteries!
Navy-headed GRAY PRICE is 10. His brother NATSU PRICE is 12,
and a lot bigger than the others.
NATSU PRICE
Then why'd you bring it?
GRAY PRICE
I don't want to be in the swamp with
a witch and no flashlight.
WILBUR FREED, also 10, is the black asthmatic son of a
sharecropper. Redheaded Erza , 8, is happy just to
be there.
LEONARD
Is it true she got a glass eye?
WILBUR FREED
I heard she got it from Gypsies.
LEONARD
What's a Gypsy?
GRAY PRICE
Your momma's a Gypsy.
NATSU PRICE
Your momma's a bitch.
ERZA
You shouldn't swear. There's ladies present.
NATSU PRICE
Shit.
GRAY PRICE
Damn.
WILBUR FREED
Screw.
LEONARD
(whispering)
Turn off your flashlights! She'll
see 'em.
MOVING UP behind the kids, we find ourselves at the gates
of...
A CREEPY OLD HOUSE - NIGHT
ADULT LEONARD (V.O.)
Now, it's common knowledge that most
towns of a certain size have a witch,
if only to eat misbehaving children
and the occasional puppy who wanders
into her yard. Witches use those
bones to cast spells and curses that
make the land infertile.
We PULL BACK, and BACK, revealing more of the Gothically
creepy house: its broken windows, strangling vines, and eerie
gargoyles half-buried in the dirt. Even bats are afraid to
fly over it.
In the moonlight, the house is especially sinister. Who knows
what is lurking in the shadows?
ADULT LEONARD (V.O.)
Yet of the all the witches in Alabama,
there was one who was the most feared.
For she had one glass eye, which was
said to contain mystical powers.
We finally come to the kids, staring in through the gate.
WILBUR FREED
I hear if you look right at it, you
can see how you're gonna die.
LEONARD
That's bull-s-h-i-t, that is. She's
not even a real witch.
NATSU PRICE
You're so sure, why don't you go in
and get that eye? I heard she keeps
it in a box on her nighttable.
Leonard looks back at the spooky house.
NATSU PRICE
Or are you too scared?
LEONARD
I'll go in right now and get that
eye.
NATSU PRICE
Then do it.
LEONARD
Fine, I will.
NATSU PRICE
Fine, you do it.
LEONARD
Fine, I'm doing it.
He hands Gray his flashlight, then starts climbing the gate.
ERZA
Leonard, don't!
WILBUR FREED
She'll make soap out of you!
(to Erza)
That's what she does, she makes soap out of people.
Leonard drops down on the far side of the gate. Truth be told,
Leonard is scared, but he forges ahead anyway.
Freed looks to Erza, and they're in complete agreement.
They get the hell out of there. Gray would run too, but Natsu
holds him by the collar.
APPROACHING THE HOUSE
Leonard curves around the tall bushes that hide the front
door. Anything could jump out of them.
He steps on the porch. The boards SQUEAL and CREAK, but he
continues on. A cat SCREAMS OUT from a broken wicker rocker.
Catching his breath, Leonard reaches the front door.
The doorknob is ancient brass, two projections that look
like horns. Yet Leonard extends his hand, reaching closer and
closer before he finally
RINGS THE DOORBELL.
Impossibly fast, the door opens, revealing an OLD WOMAN with
a patch over her left eye. She looks like she's been dead
for years, but too stubborn to lie down.
LEONARD
(calm and
straightforward)
Ma'am, my name is Leonard Bloom, and
there's some folks'd like to see
your eye.
BACK AT THE GATE - NIGHT
Gray and Natsu Price wait for Leonard, each moment more
convinced he's already dead. But suddenly, he's back at the
gate.
NATSU PRICE
You get the eye?
LEONARD
I brought it.
NATSU PRICE
(dubious)
Let's see it.
The Old Woman steps out of the shadows behind Leonard, flipping
up her eye patch. When their flashlight beam hits her left
eye, it shines with a hellish glow.
RUSH IN on Gray, who is paralyzed by what he sees.
FRONT PORCH OF HOUSE - DAY
An OLD MAN - Gray - stands on a wobbly stepladder, changing
a lightbulb. Suddenly, the ladder gives way and he falls.
Dead.
AT THE GATE - NIGHT
RUSH IN on Natsu Price.
FRATERNITY HOUSE BATHROOM - DAY
Twenty-year old Natsu Price falls face-forward on the tile,
face mushed in the grout. Very much dead.
AT THE GATE - NIGHT
Natsu and Gray both tremble with fear. The latter has tears
in his eyes.
GRAY PRICE
I saw how I was gonna die. I was
old, and I fell.
NATSU PRICE
I wasn't old at all.
The brothers suddenly bolt. Still standing next to the Old
Woman, Leonard smiles.
THE OLD WOMAN'S DOOR - NIGHT
Leonard helps her back inside. He could leave now, but
curiosity gets the better of him.
LEONARD
I was thinking about death and all.
About seeing how you're gonna die.
The Old Woman turns to him slightly, still not facing him.
LEONARD
I mean, on one hand, if dying was
all you thought about, it could kind
of screw you up. But it could kind
of help you, couldn't it? Because
you'd know that everything else you
can survive.
The Old Woman smiles a little, a crooked grin of broken teeth.
LEONARD
I guess I'm saying, I'd like to know.
The Old Woman turns leaning her face right in front of his.
And on a silent count of one, two, three - Leonard looks
into The Eye.
This time we don't cut. Instead, ON Leonard as he
witnesses his death. He stares transfixed, perplexed and
amused. Whatever he sees, it's not as dire as the other boys.
His future has something strange in store.
LEONARD
Huh. That's how I go?
The Old Woman nods with a smile . Still a little overwhelmed, Leonard turns
and leaves.
ADULT LEONARD (V.O.)
From that moment on, I no longer
feared death. And for that, I was as good as immortal.
As Leonard leaves, the door swings SHUT on its own.
BLOOM HOUSE - (PRESENT) DAY
The front door opens to reveal Leonel and Asuka on the
porch with their bags. reverse to Leonel's mother Lucyra (53),
surprised and a little annoyed.
LUCYRA
How did you get here?
LEONEL
We swam. The Atlantic, it's not that big really.
LUCYRA
McHibbon offered to pick you up
at the airport.
LEONEL
We rented a car.
LUCYRA
(simply)
You didn't need to do that. You just
didn't.
A beat. Starting over...
LEONEL
Hi, Mom.
He leans in and hugs her. She surrenders, squeezing her son
tight. Leonel and his mother are cut from the same cloth -
strong-willed but practical. They've always been close.
LUCYRA
I'm so glad you're here.
That hug finished, Lucyra pushes past her son to her daughter-
in-law. Seeing the size of her belly -
LUCYRA
You shouldn't have flown. But...
They hug.
ASUKA
It's good to see you. You look
beautiful.
It's not flattery. It's the truth.
LUCYRA
Thank you. I'll bet you need to -
ASUKA
Yes.
LUCYRA
Down the hall on the right. The door
sticks. You have to really pull it.
Asuka squeezes past, a smile to her husband - be nice.
Leonel heads back to the rental car to retrieve luggage. Lucyra
follows him.
Coming down the driveway, we get to see the house for the
first time: an older suburban home, three bedrooms, big for
the neighborhood, and nicely grown into the lot. KIDS are
playing on the street.
LEONEL
Is that Dr. Horoscope's car?
LUCYRA
He's up with your father.
Heading back to the house...
LEONEL
How is he?
LUCYRA
He's impossible. He won't eat. And
because he won't eat, he gets weaker.
And because he's weaker, he doesn't
want to eat.
LEONEL
How much time does he have left?
LUCYRA
You don't talk about those things.
Not yet.
KITCHEN - DAY
Lucyra is pouring iced tea for Leonel and Asuka.
DR. JULIUS HOROSCOPE (85) enters from the foyer, still winded
from coming down the stairs. He was the town's first Black
physician. He's still the town's best physician.
DR. HOROSCOPE
Leonel
LEONEL
Dr. Horoscope. It's good to see you.
(they shake)
My wife, Asuka .
DR. HOROSCOPE
A pleasure.
He judges her belly.
DR. HOROSCOPE
You're seven months.
ASUKA
(impressed)
To the day.
He leans close to her, whispering in her ear...
DR. HOROSCOPE
It's a boy.
She smiles, surprised but not doubting. Leonel looks over -
what did he say? Asuka shakes her head.
Back to the main subject...
LUCYRA
You don't think he looks any worse.
DR. HOROSCOPE
No. I would say he's the same.
And in the silence that follows, a lot is said. It wasn't
the upbeat reply Lucyra was hoping for.
LEONEL
Can I see him?
DR. HOROSCOPE
Absolutely. Be good for you to talk
to him.
A moment of awkwardness - everyone here knows they haven't
spoken in years.
Lucyra hands Leonel a squat can of Ensure from the case on the
counter.
LUCYRA
Get him to drink one of these. He
won't, but tell him he has to.
FOYER - DAY
Coming out from the kitchen, Leonel slowly climbs the stairs.
They CREAK with every step.
The wall is filled with family photos, happier times. Most
of the pictures are of Leonel, starting when he was an infant
and ending at his wedding. As he climbs the stairs, we can
see him growing up with every step.
UPSTAIRS HALLWAY - DAY
A crack of sunlight spills around the half-open door at the
end of the hallway. Leonel walks towards it, running a hand
along the wallpaper.
Almost at the door, he stops for a beat. Gets his breath.
Then goes inside.
GUEST ROOM - DAY
Leonard Bloom, 61, lies asleep on the bed. Although he's not
the vibrant man we've seen before, it's not as bad we feared.
The illness has been quick, and left him largely intact.
There are no I.V.'s, no monitors, nothing.
Coming up to the bed -
LEONEL
Dad?
Leonard cracks open an eye, a beat before he focuses. He tries
to say something, but no words come out.
He looks over at a pitcher on the nightstand. Leonel pours him
a glass of water, helping him hold it to his parched lips.
Finished, Leonard sets down the glass by himself. A very long,
tense beat. Leonel almost speaks again to fill the silence.
Finally...
LEONARD
You -
(he points)
- are in for a surprise.
LEONEL
Am I?
LEONARD
Having a kid changes everything. I mean, there's the diapers and the burping and the midnight feedings...
LEONEL
Did you do any of that?
LEONARD
No, but I hear it's terrible. Then
you spend years trying to corrupt
and mislead this child, fill its
head with nonsense and still it turns
out perfectly fine.
LEONEL
You think I'm up for it?
LEONARD
You learned from the best.
Leonel doesn't rise to the challenge. A beat, then he remembers
the can of Ensure. Holds it up. Leonard recoils.
LEONEL
Just drink half the can. I'll tell
her you drank the whole thing.
Everyone wins.
A beat, then Leonard rolls his eyes. Fine. Leonel cracks open
the can, finding a straw on the nightstand.
LEONARD
People needn't worry so much. It's not my time yet. This isn't how I
go.
LEONEL
Really.
LEONARD
Truly. I saw it in The Eye.
LEONEL
The Old Lady by the swamp.
LEONARD
She was a witch.
LEONEL
No, she was old and probably senile.
Maybe schizophrenic.
LEONARD
I saw my death in that eye. And this is not how it happens.
LEONEL
So how does it happen?
LEONARD
Surprise ending. Wouldn't want to ruin it for you.
Leonard slurps down as much of the Ensure as he can stand,
then pushes the can away. He swallows with difficulty.
LEONARD
There was this panhandler who used
to stop me every morning when I came
out of this coffee shop near the
office.
LEONEL
Okay.
LEONARD
And every day I gave him a quarter.
Every day. Then I got sick and was
out for a couple of weeks. And when
I went back there, you know what he
said?
LEONEL
What did he say?
LEONARD
You owe me three-fifty.
LEONEL
Really.
LEONARD
True story.
A beat.
LEONEL
When did you ever work in an office?
LEONARD
There's a lot you don't know about
me.
LEONEL
You're right.
Leonard gives a wry smile. He walked into that.
LEONARD
Your mother was worried we wouldn't
talk again. And look at us. We're
talking fine. We're storytellers,
both of us. I speak mine out, you
write yours down. Same thing.
Leonel won't commit to Leonard's assessment.
LEONEL
Dad, I'm hoping we can talk about
some things while I'm here.
LEONARD
You mean, while I'm here.
LEONEL
I'd just like to know the true
versions of things. Events. Stories.
You.
Leonard LAUGHS a little, which becomes a COUGH. The HACKING
escalates until another drink of water gets it under control.
It's not clear whether any of this was an act to keep from
talking.
LEONARD
Your mother hasn't been keeping up
the pool. If you wanted to you
could...
LEONEL
I will.
LEONARD
You know where the chemicals are?
LEONEL
I used to do it when you were gone,
remember? I used to do it a lot.
He didn't mean for that to sound so pointed. Taking the half-
empty Ensure, Leonel gets up to go. He's at the door when...
LEONARD
I was never much for being at home,
Leonel. It's too confining. And this,
here. Being stuck in bed. Dying is
the worst thing that ever happened
to me.
He smiles at his joke.
LEONEL
I thought you weren't dying.
LEONARD
I said this isn't how I go. The last
part is much more unusual. Trust me
on that.
UPSTAIRS HALLWAY - DAY
Shutting the door behind himself, Leonel drinks the rest of
the Ensure himself. Leonard was right. It tastes horrible.
Heading for the stairs, Leonel walks past an open door. As he
leaves frame, we STAY BEHIND to look inside...
LEONEL'S BEDROOM - DAY [FLASHBACK]
...where an eight-year old Leonel is propped up in bed, his
face covered with chicken pox and pink calamine lotion. He's
showing Leonard how many bumps there are on his arm.
YOUNG LEONEL
Dr. Horoscope says I'm going to have
to be home for a week.
LEONARD
That's nothing. I once had to stay
in bed for three years.
YOUNG LEONEL
Did you have chicken pox?
LEONARD
I wish.
TINY CHURCH - DAY
Wearing a white shirt and tie, YOUNG LEONARD - still about
10 - sings "Down to the River My Lord" along with the
CONGREGATION. His voice is high and thin, but he gives it
his all.
Suddenly, his voice CRACKS and DROPS a half-octave. And then
another. His friends Wilbur Freed and Erza look over,
wondering what's wrong. Embarrassed, Leonard just keeps
SINGING, trying to follow along with the baritone part.
He pulls at his collar. Then pulls again, his face getting
red. Starting to panic, he loosens his tie. He's starting to
undo the collar button when it POPS off by itself. Two more
buttons fly off. One hits a CHUBBY WOMAN in the neck.
ON HIS SHOES
As we watch, Leonard's pant cuffs rise inch by inch - that's
how fast he's growing.
LEONARD (V.O.)
Truth is, no one quite knew what was wrong. Most times, a person grows up gradually. I found myself in a hurry.
YOUNG LEONARD'S BEDROOM - DAY
Young Leonard lies in bed, his limbs connected to various
pulleys and levers to support his weight. He has a dozen
encyclopedias around him, and another dozen on the floor.
LEONARD (V.O.)
My muscles couldn't keep up with my
bones, and my bones couldn't keep up
with my body's ambition. So I spent
the better part of three years
confined to my bed, with the World
Book Encyclopedia being my only means
of exploration. I had made it all
the way to the "G's," hoping to find
an answer to my gigantificationism,
when I uncovered an article about the common goldfish.
The encyclopedia article, complete with drawings.
YOUNG LEONARD
(reading)
"Kept in a small bowl, the goldfish
will remain small. With more space,
the fish can grow double, triple, or
quadruple its size."
Young Leonard thinks this through.
LEONARD (V.O.)
It occurred to me then, that perhaps
the reason for my growth was that I
was intended for larger things. After
all, a giant man can't have an
ordinary-sized life.
BASEBALL FIELD DAY
The CRACK of a bat announces the game-winning home run. The
crowd CHEERS the swing, and especially the batter as he rounds
the bases.
Although we've seen him briefly before, this is our first
real exposure to GROWN-UP LEONARD, who we'll follow from
roughly the ages of 18 to 30.
LEONARD (V.O.)
As soon as my bones had settled in
their adult configuration, I set
upon my plan to make a bigger place
for myself in Ashton.
SCHOOL FIELDS - DAY
SINGLE SHOTS: Football hero Leonard leads his team to victory.
On the sidelines, a PRETTY GIRL admits the name of her secret
love:
GIRL
Leonard Bloom!
The other GIRLS SQUEAL in agreement. Natsu Price looks over, glowers.
NEIGHBORHOOD - DAY
SINGLE SHOT: A lawnmower ROARS along the grass. LOOK UP
to see who's pushing it, but it's not Leonard . It's one of
his teenage EMPLOYEES.
Leonard is back at the truck, which is painted to read, "Leo
Landscaping." He has workers on every lawn.
He signs an autograph for an ADMIRING CUB SCOUT.
BASKETBALL COURT - DAY
Leonard takes an impossible shot at the buzzer from the other
end of the court. Naturally, he makes it, winning the game.
As the crowd goes wild for Leonard, Natsu Price is the only
teammate who doesn't mob him.
TOWN - DAY
Leonard carries a dog out of a burning house.
SCIENCE FAIR - DAY
Leonard wins a blue ribbon for his invention, a machine
labelled "Perpetual Motion." He and the JUDGE pose for a
photograph. A FLASH.
Pissed, Natsu Price throws his crappy lima bean plants in the
trash.
HIGH SCHOOL STAGE - DAY
A dashingly handsome Leonard leads the CAST out for a curtain
call. He's the star of the show. Off to the side, we see Natsu
Price is the ass-end of a horse costume.
Leonard soaks in his applause, smiling and gracious.
GRADUATION STAGE - DAY
Leonard accepts his diploma. The PRINCIPAL hugs him tight.
LEONARD (V.O.)
I was the biggest thing Ashton had ever seen. Until one day, a stranger
arrived.
FARM - DAY
As two FARMERS shake their heads, REVERSE to a show a
massive hole punched through the side of a barn. It's roughly
the shape of man, but no human could be that large.
SHEEP PEN - DAY
Two fat ewes look up, a shadow falling across them. They
BLEAT in panic as
TWO OVERSIZED HANDS
reach in and scoop them up. Their protests continue as they're
carried away, one under each arm. We still haven't seen the
full stranger.
COURT HOUSE - DAY
A MOB of about 50 have gathered, many of them with shotguns.
Amid the crowd we see Natsu Price.
SHARECROPPER
He ate an entire cornfield!
LITTLE GIRL
He ate my dog!
HOT-BLOODED SHOTGUN TOTER
If you ain't gonna stop him
Mayor Makarov ,
we will!
MAYOR
I won't have mob violence in this
town. Now, has someone tried talking
to him?
SOME FARMER
You can't reason with 'im!
SHEPHARD
He's a monster!
Agreement from the crowd. And then...
A VOICE (O.S.)
I'll do it.
Everyone turns to see who said that. The crowd parts to reveal
none other than Leonardo Bloom. Natsu Price glowers.
LEONARD
I'll talk to him. See if I can get
him to move on.
MAYOR
Son, that creature could crush you without trying.
LEONARD
Trust me, he'll have to try.
HILL OUTSIDE ASHTON - DAY
Leonard climbs up the last bit of the steep hillside, reaching
the mouth of a cave. Outside, buzzards squabble over the
remains of the giant's feast: broken barrels, bones picked
clean.
In his most serious voice, Leonard calls out:
LEONARD
Hello!
There's no answer.
LEONARD
My name is Leonard Bloom! I want to
talk to you!
From deep in a cave, a thunderous voice:
VOICE (O.S.)
GO AWAY!
The giant's voice has such force, it blows Leonard's hair back.
LEONARD
I'm not going anywhere until you
show yourself.
A beat, then we hear a RUMBLE, like a train coming. Leonard
braces himself, fists ready for a fight, if that's what it's
going to take.
As the RUMBLE gets louder, the ground starts to shake. Even
Leonard starts to worry. Just how big is this guy?
LEONARD (V.O.)
Armed with the foreknowledge of my own death, I knew the giant couldn't kill me. All the same, I preferred to keep my bones unbroken.
Leonard picks up a stone, ready to play David to Goliath.
Then suddenly, the giant bursts forth. Hunched over, he slams
into a stunned Leonard, knocking him halfway down the hill.
TAURUS THE GIANT is bigger than any man you've ever seen. Not just tall, but massive. He's completely feral, with a beard
to his elbow and skin scratched and blistered. What remains
of his clothes are ragged and muddy. God knows what's living
in his matted hair.
Taurus leans over Leonard, blocking the sun. Leonard throws his
rock, but it just bounces off. The giant didn't even notice
it.
TAURUS
Why are you here?
Leonard ponders the best response, settling on...
LEONARD
So you can eat me. The town decided
to send a human sacrifice, and I
volunteered.
Taurus's eyes narrow, confused. Leonard stands up.
LEONARD
My arms are a little stringy, but
there's some good eating on my legs.
I mean, I'd be tempted to eat them
myself.
(beat)
So I guess, just, if you could get
it over with quick. Because I'm not
much for pain, really.
Leonard closes his eyes, hands at his side, ready to be eaten.
Taurus just stares at him, not sure what to do.
After a beat, Leonard opens his eyes a tiny bit, just to see
what the giant is doing. Relieved to see he's not licking
his chops -
LEONARD
Look, I can't go back. I'm a human
sacrifice. If I go back, everyone
will think I'm a coward. And I'd
rather be dinner than a coward.
Taurus sits down with a BOOM, dejected.
LEONARD
Here, start with my hand. It'll be
an appetizer.
Reaching up, Leonard shoves his hand into Taurus's mouth. But
the giant spits it back out.
TAURUS
I don't want to eat you. I don't
want to eat anybody. It's just I get
so hungry. I'm too big.
And that's the sad truth. Taurus is less a monster than a freak -
a giant man, but in the end, just a man.
Leonard takes a seat beside him.
LEONARD
Did you ever think maybe you're not
too big? Maybe this town's just too
small. I mean, look at it.
Circling behind them, we look down at Ashton - a tiny town
in a tiny valley.
LEONARD
Hardly two stories in the whole place.
Now I've heard in real cities, they've
got buildings so tall you can't even
see the tops of 'em.
TAURUS
Really?
LEONARD
Wouldn't lie to you. And they've got
all-you-can-eat buffets. You can eat
a lot, can't you?
TAURUS
I can.
LEONARD
So why are you wasting your time in
a small town? You're a big man. You
should be in the big city.
Taurus smiles, but then it fades. A certain sad suspicion -
TAURUS
You're just trying to get me to leave,
aren't you? That's why they sent you
here.
LEONARD
What's your name, Giant?
TAURUS
Taurus.
LEONARD
Mine's Leonard. And truthfully, I do want you to leave, Taurus. But I want to leave with you.
(closer)
You think this town is too small for you, well, it's too small for a man of my ambition. I can't see staying here a day longer.
TAURUS
You don't like it?
LEONARD
I love every square inch of it. But
I can feel the edges closing in on
me. A man's life can only grow to a certain size in a place like this.
(beat)
So what do you say? Join me?
Taurus thinks a moment. Then -
TAURUS
Okay.
LEONARD
Okay.
They shake on it.
LEONARD
Now first, we gotta get you ready
for the city.
RIVER - DAY
IN A SINGLE SHOT, Taurus cuts his hair with hedge clippers,
while Leonard cuts up a surplus army tent to make him a shirt.
MAIN STREET OF ASHTON - DAY
Spirits buoyed by the high school MARCHING BAND, all the
good CITIZENS of Ashton are gathered to see off Leonard and
Taurus.
There's a few tears amid the familiar faces.
MAYOR
(loudly, for the crowd)
Leonard Bloom, first son of Ashton,
it's with a heavy heart we see you
go. But take with you this Key to
the City, and know that any time you
want to come back, all our doors are
open to you.
Leonard ducks a bit so the Mayor Makarov can put the key around his neck. The crowd CHEERS. And with that, Leonard and Taurus start walking, waving as they go.
Only NATSU PRICE, smoking on the corner, isn't sad to see Leonard
go. He crushes his cigarette under his heel. He wishes he
could crush Leonard.
Many of the townfolk come onto the street to hug Leonard or
shake his hand.
LEONARD (V.O.)
That afternoon as I left Ashton,
everyone seemed to have advice.
VARIOUS TOWNFOLK
Find yourself a nice girl! Don't
trust anyone in Kentucky! Watch your pride, Leonard Bloom!
LEONARD (V.O.)
But there was one person whose counsel
I held above all others.
As the crowd parts, he finds himself face to face with
THE OLD WOMAN.
The ruckus slows and quiets, as if a strange spell has been
cast. She motions for Leonard to lean down, so she can whisper
something to him. Although we're VERY CLOSE, we can't hear
her voice.
LEONARD (V.O.)
She said that the biggest fish in
the river gets that way by never
being caught.
The advice only succeeds in confusing Leonard.
LEONARD
(to the Old Woman)
Okay. Thanks.
Leonard and Taurus keep walking. The Old Woman shuffles off, somehow knowing her advice will go unheeded.
TAURUS
What did she say?
LEONARD
Beats me.
ROAD - DAY
We TILT UP from the road to reveal Leonard and Taurus walking out of Ashton. Each wears a backpack with all his earthly
possessions.
LEONARD (V.O.)
There were two roads out of Ashton,
a new one which was paved, and an
older one that wasn't. People didn't
use the old road anymore, and it had
developed the reputation of being
haunted.
Leonard and Taurus come to a bend, where the paved road veers
left and an overgrown dirt road runs straight. The old road
is blocked with signs and warnings of danger.
LEONARD (V.O.)
Since I had no intention of ever
returning to Ashton, this seemed as good a time as any to find out what lay down that old road.
Taurus looks at the dirt road, wary.
TAURUS
You know anyone's who's taken it?
LEONARD
That poet, Hibiki Winslow did. He was going to Paris, France. He must have liked it, because no one ever heard from him again.
(beat)
Tell you what. You take the other
way and I'll cut through here. Meet
you on the far side.
A little paranoid...
TAURUS
You're not trying to run away?
Leonard puts off his bag
LEONARD
Just to be sure, you can take my
pack.
Taurus perks up, even though it means more for him to carry.
DIRT ROAD - DAY
The road is overgrown, but not altogether creepy. The sun is
still shining, and the birds still CHIRPING.
Spinning the Key to the City, Leonard WHISTLES, because it's
a day meant for whistling.
FURTHER ALONG - ROUGH PATH
The road has narrowed to a rough path. Spikes of sunlight
break through the thick canopy, catching particles in the
air. Still, Leonard WHISTLES.
Coming around a bend, his PITCH DROPS as he sees thick, thorny
vines growing across the path. He stops. For the first time,
he realizes the birds have stopped singing. The forest is
dead quiet.
He looks back the way he came. It's tempting to go back. It
would be easier to go back. But Leonard presses on.
He carefully steps through the thorns. His trouser legs catch
on the barbs. The fabric Teared up.
FURTHER ALONG
A scratched and sweaty Leonard waves off various STINGING
BUGS flying at him, finally whipping off his hat to swat at
them.
Just then a CAWING crow swoops down and grabs the hat right
out of his hands.
LEONARD
You stupid sonofa...
He stops his swearing, but grabs a rock and throws it. The
stone ricochets off a tree and into a BEE'S NEST. The swarm
roars out.
Leonard high-tails it, each step still precarious.
THE DARK FOREST - DAY [LATER]
Leonard is bruised, battered and bee-stung.
A half-broken sign lies in the road. Leonard picks it up.
Reads it:
WARNING!
JUMPING SPIDERS!
Sure enough, up ahead he sees the path is overgrown with
thick cobwebs, heavy from the rain.
LEONARD (V.O.)
There comes a point where a reasonable
man will swallow his pride and admit
he's made a terrible mistake. The
truth is, I was never a reasonable
man.
Leonard tosses the sign and forges ahead, into the spiderwebs.
LEONARD
And what I recalled of Sunday School
was that the more difficult something
became, the more rewarding it was in
the end.
CLEARING / THE ROAD - DAY
Leonard emerges from the forest, brushing the last cobwebs
off and shaking the spiders from his shirt. One is stuck in
his sleeve, and he has to dance to get it out. Even then, he
still keeps twitching, convinced another one is left behind.
At his feet, the gravel road has returned, smooth and dusty
and comforting.
Ahead lies a tiny one-street town - smaller even than Ashton -
with powerlines emerging from the woods to feed it. Dangling
from the line above he sees two dozen pairs of shoes, their
laces tied together.
He passes a sign that reads "Welcome To Spectre!"
THE TOWN OF SPECTRE - DAY
It's a main street with stores on each side: Cole's Pharmacy,
Talbot's Five and Dime, Al's Country Store. Everything is
old, but this isn't a ghost town. In fact, there's a group
of about 20 CITIZENS spilling out to see Leonard approach.
Most are smiling. There are even a few tears of joy.
What's more, all of these people are barefoot.
MAN'S VOICE
Friend!
A forty-year old man named Capricorn comes out of the seed store
to greet Leonard. Friendly but a little drunk, he's the closest
thing the town has to a mayor. He's carrying a clipboard.
CAPRICORN
Welcome to ya. What's your name?
LEONARD
Leonard Bloom.
Leonard checks the clipboard. Not finding the name, he flips
forward a few pages. Still looking...
CAPRICORN
Bloom like a flower?
LEONARD
Yes.
CAPRICORN
Oh. Here! Right here. Leonard Bloom. We weren't expecting you yet.
Still confused...
LEONARD
You were expecting me?
CAPRICORN
Not yet.
A helpful woman named Evergreen chimes in:
EVERGREEN
You must have taken a shortcut.
LEONARD
I did. It nearly killed me.
CAPRICORN
Mmm-hmm. Life'll do that to you. And
truthfully, the long way is easier,
but it's longer.
EVERGREEN
Much longer.
CAPRICORN
And you're here now, and that's what
matters.
Capricorn's daughter Aquarius (8) hides behind her father, peering
around to look at the handsome stranger.
LEONARD
What is this place?
CAPRICORN
The town of Spectre. Best kept secret
in Alabama. Says here you're from
Ashton, right? Last person we had
from Ashton was Hibiki Winslow.
LEONARD
The poet? What ever happened to him?
CAPRICORN
He's still here. Let me buy you a
drink. I'll tell you all about it.
Hell, I'll have him tell you.
LEONARD
No. I've gotta meet somebody. I'm
already running late.
He didn't mean it as a joke, but for some reason, everyone's
laughing.
CAPRICORN
Son, I already told you. You're early.
CAPRICORN HOUSE - DAY
Sitting at the kitchen table, Leonard takes a second slice of
apple pie. He and Capricorn are joined by HIBIKI WINSLOW (30),
who fancies himself a cultured artist, though he's never
left the state.
CAPRICORN
Now tell me if that isn't the best
pie you ever ate.
LEONARD
It truly is.
UNDER THE TABLE
Young Aquarius is stealthily untying the laces on Leonard's shoes.
HIBIKI WINSLOW
Everything here tastes better. Even
the water is sweet. Never gets too
hot, too cold, too humid. At night
the wind goes through the trees and
you'd swear there was a whole symphony
out there, playing just for you.
Suddenly, Aquarius YANKS OFF Leonard's shoes. She races for the
door.
LEONARD
Hey!
He chases after her.
TOWN / MAIN STREET - DAY
As she runs, Young Aquarius ties Leonard's laces together. Reaching the edge of town, she tosses the shoes up and around the power line - a perfect throw. There's no way he's ever
getting them down.
The gathered citizens of Spectre CHEER for Leonard , who is
confused and overwhelmed. The women hug him. Men shake his
hand.
Still focused on his shoes...
LEONARD
Wait! I need those!
HIBIKI WINSLOW
There is no softer ground than town.
EVERGREEN
That rhymes!
CAPRICORN
He is our poet laureate.
The townsfolk continue to congratulate Leonard...
LEONARD (V.O.)
Sometimes in a dream, you'll visit
places that seem instantly familiar,
filled with friends you've never
met.
UNDER A TREE - DUSK
Leonard sits with Hibiki Winslow. The fireflies are out.
Thousands of them.
LEONARD (V.O.)
A man might travel his entire life
and never find a place so inviting.
My journey had scarcely begun, and I had arrived.
Hibiki hands him his notebook.
HIBIKI WINSLOW
I've been working on this poem for 12 years.
LEONARD
Really.
HIBIKI WINSLOW
There's a lot of expectation. I don't want to disappoint my fans.
LEONARD
May I...?
Hibiki hesitates for a moment,then gives his notebook to Leo.
Leo reads the poem.
(A beat.)
Then he looks up at Hibiki.
LEONARD
It's only three lines long.
An awkward silence between them and then Hibiki grabs his notebook back.
HIBIKI WINSLOW
This is why you don't show work in progress.
LEONARD
Hibiki, do you ever regret not making it to Paris?
HIBIKI WINSLOW
I can't imagine any place better
than here.
LEONARD
You're a poet. You oughta be able
to. And maybe if you'd seen more,
you could.
Hibiki doesn't answer. Just goes back to his notebook.
BY THE RIVER - NIGHT
By the light of the full moon, Leonard soaks his feet in the
water, trying to make sense of it all. The Key to the City
dangles around his neck.
He stares at himself in the reflection. He smiles.
It's then that a WOMAN emerges at the far side of the river.
No telling where she came from - she must have been swimming
underwater. We never see her face.
She stands in the river with her bare back to Leonard,
squeezing the water out of her pale blue hair, oblivious to his
presence. Leonard is breathless. It's the first woman he's
seen in her natural state, and he doesn't dare move lest he
frighten her away.
Then he sees the snake.
It's a cottonmouth, has to be. It leaves a break in the water,
its small reptilian head aiming for her flesh.
There's no decision to be made. On pure instinct, Leonard
dives in. He swims as hard as he can,
GRABBING THE SNAKE
just as it's about to strike.
The woman dives back underwater, understandably terrified
that a man is coming at her.
Leonard
No, it's okay! I got it. I got the
snake.
As the splashing subsides, Leonard looks at what he holds in
his hands. Which isn't a snake at all, but rather a common
stick. And a non-threatening one at that.
While Leonard ponders his mistake, he looks around to discover
that the Girl in the River is gone. He never even saw her
face.
LEONARD
Wait! I'm sorry. Hello?!
Leonard keeps expecting her to surface, somewhere, but she
never does. He stands alone in the river, wondering what
tricks his eyes are playing on him.
BY THE RIVER - NIGHT - CONTINUOUS
A GIRL'S VOICE (O.S.)
There's leeches in there!
Leonard looks to the bank, where young Aquarius Hill is watching
him.
LEONARD
Did you see that woman?
Little AQUARIUS
What did she look like?
LEONARD
Well, she... uh...
Was she nekkid?
Embarrassed to admit it...
LEONARD
Yeah.
AQUARIUS
(matter-of-fact)
It's not a woman, it's a fish. No
one ever catches her.
Given the day he's had so far, Leonard isn't inclined to follow
up on the issue. He starts to wade back to the bank.
AQUARIUS
Fish looks diff'rent to diff'rent
people. My daddy said it looked like
the coon dog he had when he was kid, back from the dead.
Leonard climbs up onto the shore, completely drenched. He
pulls up his pant legs to reveal three shiny leeches clinging
to his skin.
LEONARD
Shoot.
He starts to work pulling them off.
PATH BACK TO TOWN - NIGHT
Leonard and little Aquarius walk back.
AQUARIUS
How old are you?
LEONARD
Eighteen.
AQUARIUS
I'm eight. That means when I'm
eighteen, you'll be 28. And when I'm
28, you'll only be 38.
LEONARD
(a little wary)
You're pretty good at arithmetic.
AQUARIUS
And when I'm 38, you'll be 48. And
that's not much difference at all.
Eager to get off this subject...
LEONARD
Sure is a lot now, though, huh?
MAIN STREET - NIGHT
As Leonard and Aquarius approach Main Street, they find "downtown" has been transformed. Lanterns and streamers hang on cables
across the street, and a small stage has been built at one
end to hold FIDDLERS.
The whole town is there in celebration of its newest citizen,
Leonard Bloom. Before he can protest, two WOMEN have grabbed
him by the arms, pulling him in to dance with them.
The resulting dance number seems both choreographed and
complete chaos. From FARMER to BAKER'S WIFE, everyone wants
to dance with Leonard, who finds himself tossed around like a
stick caught in a whirlpool. Still, he's having a blast.
Aquarius grabs both his hands, and they spin wildly.
Capricorn plucks his LAUGHING daughter away to dance with her.
Then Evergreen cuts in to dance with Leonard. It's hard to hear
over the MUSIC.
EVERGREEN
Aquarius thinks you're quite a catch.
We all do.
LEONARD
(not hearing)
What?
EVERGREEN
I said you're quite a catch!
Leonard stops dancing. A beat, then he heads for the edge of
the crowd. Capricorn is there, with Aquarius on his shoulders.
LEONARD
I have to leave. Tonight.
CAPRICORN
Why?
LEONARD
This town is everything a man could
ask for. And if I were to end up
here, I'd consider myself lucky. But
the fact is, I'm not ready to end up
anywhere.
CAPRICORN
No one's ever left.
AQUARIUS
How are you gonna make it without
your shoes?
LEONARD
I suspect it will hurt a lot.
And with that, Leonard walks down Main Street. The townspeople
stop dancing, disbelieving, some shaking their heads.
Poor Leonard Bloom's gone crazy.
CAPRICORN
(calling after him)
You won't find a better place!
LEONARD
I don't expect to.
Aquarius runs to him. She'd tackle him if she could.
AQUARIUS
Promise me you'll come back.
LEONARD
I promise. Someday. When I'm really supposed to.
It's not good enough, but it will have to do. Leonard keeps
walking.
THE DARK FOREST - NIGHT
Leonard negotiates the thorns in his bare feet.
It's horrible. Almost unendurable.
And then it gets worse.
The trees ahead are moving. At first, it just seems to be
the wind blowing the branches, but as we hear the wood
CRACKING and GROANING, there's no mistaking it: they're trying
to block him.
Snake-like WHITE ROOTS shoot out of the ground, grabbing for
his ankles. He leaps up, kicking off one tree trunk to grab
another one's branches. He swings off, lands and rolls. Now
all the trees are moving to block him, their dark shapes
towering over him in the flashes of LIGHTNING.
LEONARD (V.O.)
As difficult as it was to reach
Spectre, I was fated to get there
eventually. After all, no man can
avoid reaching the end of his life.
As he ducks under branches, the chain holding the Key to the
City gets caught. He's almost strangled, but the chain finally
breaks. The silver key disappears into the mud.
Scrambling forward, he looks for a way out. But the trees
have encircled him, their spiky crowns bending down to crush
him.
He SCREAMS up at the night, until his breath is gone.
LEONARD
And then I realized, this wasn't the
end of my life.
With a sudden calm...
LEONARD
(aloud)
This isn't how I die.
Another lightning FLASH, and suddenly the trees are back
where they've always been. Leonard is lying shoeless and torn in a muddy puddle, staring up at the rain. And LAUGHING.
THE ROAD - DAY
His bare foot steps onto asphalt.
A DEEP VOICE
Friend!
Leonard turns to see
TAURUS
to his right, coming down the larger, paved road.
TAURUS
What happened to your shoes?
Leonard looks down at his muddy, bloody feet.
LEONARD
They got ahead of me.
With that, the men start walking down the larger road.
CROSSFADE TO DINING ROOM - NIGHT
Leonard and Leonel sit at opposite ends of the table, with Lucyra
and Asuka in the middle. Although Leonard has a small
plate of food in front of him, he hasn't touched it. He's
exhausted from the trip downstairs, but determined to maintain
the family dinner ritual.
The other three eat awkwardly, each CLINK and SCRAPE of a
knife or fork resonating. Leonel finally breaks the silence.
LEONEL
I don't know if you've seen it, but
Asuka has some photos in the
most recent Newsweek.
LUCYRA
Really! That's wonderful.
ASUKA
I spent a week in Morocco for the
story. It was incredible.
LUCYRA
We'll have to pick up a copy.
A beat. As Leonel scoops out another serving of potatoes, Leonard suddenly speaks:
LEONARD
I don't know if you're aware of this,
Asuka, but African parrots, in
their native home of the Congo -
they speak only French.
All three stop to listen.
LEONEL
(amused)
Really.
LEONARD
You're lucky to get four words out
of them in English. But if you were
to walk through the jungle, you'd
hear them speaking the most elaborate
French. Those parrots talk about
everything: politics, movies, fashion -
everything but religion.
Taking the bait...
LEONEL
Why not religion, Dad?
LEONARD
It's rude to talk about religion.
You never know who you're going to
offend.
A beat.
LEONEL
Asuka actually went to the Congo
last year.
LEONARD
Oh, so you know.
GROCERY STORE - NIGHT
Leonel shakes a shopping cart free from the pile-up while his
mother checks her list.
AT THE PRODUCE SECTION
Lucyra starts to bag string beans.
LEONEL
Mom, would you say you understand
Dad?
LUCYRA
Of course.
LEONEL
What I mean is, do you really know
what's going on in his head?
LUCYRA
Yes.
LEONEL
How is that possible? I mean, you
try to ask him a question and suddenly
it's another one of his stories.
(decidedly)
You can't honestly say you know him.
LUCYRA
Yes, Leonel, I do. And don't presume things you don't know.
She's more amused than annoyed, but Leonel is entering dangerous
territory.
LUCYRA
Would you say you understand
Asuka?
LEONEL
Yes. But that's a different...
LUCYRA
No it's not. It's exactly the same.
Your father and I met, we dated, and
we married - we chose each other -
because we understood each other on
some fundamental level. Just the
same as you two.
She moves on to the carrots.
LUCYRA
Asuka and I have a lot in common.
LUCYRA
Yes, you both think
Leonel Luke Bloom is
a very smart man.
(beat)
The problem is, you only see me as your mother,
and not as someone's
wife. And I've been his wife longer
than I've been your mother. You can't
discount that.
LEONEL
True. But I've known him my whole
life, and I don't feel like I know
him at all. Or ever will.
With a look, Lucyra acknowledges the stakes.
LUCYRA
I know it's not easy. Just remember,
he didn't choose to be your father
and you didn't choose to be his son.
You just ended up together. You could
pick numbers out of a dark bag and
it'd be just the same. If you ask
me, it's a wonder parents and children
can stand each other at all.
LEONEL
But I understand you, Mom. I always
have.
LUCYRA
Well, clearly you don't. But I'm not
the mystery you're trying to solve
right now.
AT THE CHECKOUT - NIGHT
Reaching the CASHIER, Lucyra hands over her coupons. Leonel is
approaching with a Newsweek magazine.
Two check-stands over, an ATTRACTIVE BLONDE WOMAN in her 50's is getting her change. Though she's Lucyra's generation, she
carries herself like a much younger woman, with blue jeans
and sneakers.
She accidentally makes eye contact with Leonel as he passes. The woman, who tracks Leonel as he reaches Lucyra.
It's hard to read her reaction: does she recognize him, or
just find him attractive?
Leonel notices the gaze. The woman turns away.
Leonel racks his brain - does he know this woman?
LUCYRA
Before I forget, your father has
papers in the basement I'd like you
to go through. I wouldn't know what's
important.
LEONEL
(distracted)
Mom, do you know who that is? Pale blue hair.
Lucyra looks. After a beat, the Pale blue haired Woman turns again, semi-casually. Noticing that both Leonel and Lucyra are looking, she smiles a little before taking her cart to leave.
LUCYRA
(no idea)
Was she one of your teachers?
LEONEL
No. But it's weird. She seemed to
recognize me.
LUCYRA
(to the cashier)
Do you know who that is?
The Cashier turns to look. He can only get a profile as the
woman leaves.
CASHIER
Never seen her before. Pretty, though.
GUEST BEDROOM - NIGHT
A portable fan quietly WHIRRS in the corner. Turned low, the
RADIO on the nightstand is playing a call-in AM sports show,
just a wash of background chatter. Leonard lies asleep on his
back.
At the window, Asuka quietly lowers the shade. She reaches
over Leonard to switch off the radio. He stirs from the silence -
he wasn't fully asleep - and sees Asuka stretched over
him.
LEONARD
(playfully lecherous)
Hello.
She smiles.
ASUKA
Hi. How are you feeling?
LEONARD
I was dreaming.
ASUKA
What were you dreaming about?
He tries to recollect, but it's already gone. Asuka
motions, is it okay for her to sit on the bed? He nods.
LEONARD
I don't usually remember unless
they're especially portentous. You
know what that word means, portentous?
She shakes her head.
LEONARD
Means when you dream about something
that's going to happen.
(beat, gathering)
Like one night, I had a dream where
this crow came and told me, "Your
Aunt is going to die." I was so scared
I woke up my parents. They told me
it was just a dream, to go back to
bed. But the next morning, my Aunt Karen was dead.
ASUKA
That's terrible.
LEONARD
Terrible for her, but think about
me, young boy with that kind of power.
Wasn't three weeks later that the
crow came back to me in a dream and
said, "Your Grampa is going to die."
Well, I ran right back to my parents.
My father said, no, Gramps is fine,
but I could see there was trepidation.
And true enough, that next morning
my Grampa was dead.
He sits up a bit in bed, his strength returning.
LEONARD
For the next couple weeks, I didn't
have another dream. Until one night
the crow came back and said, "Your
Daddy is going to die."
(beat)
Well, I didn't know what to do. But
finally I told my father. And he
said not to worry, but I could tell
he was rattled. That next day, he
wasn't himself, always looking around,
waiting for something to drop on his
head. Because the crow didn't tell
how it was going to happen, just
those words: your Daddy is going to
die. Well, he went into town early
and was gone for a long time. And
when he finally came back, he looked
terrible, like he was waiting for
the axe to fall all day. He said to
my mother, "Good God. I just had the
worst day of my life."
(beat)
"You think you've had a bad day,"
she said. "This morning the milkman
dropped dead on the porch!"
Asuka
smiles, a half-laugh, which gets him smiling too.
A long beat. Then, deadpan...
LEONARD
Because see, my mother was banging
the milkman.
ASUKA
No, I understand.
LEONARD
He was slipping her a little extra
cream.
She nods, a bit more of a laugh.
LEONARD
He was filling her basket. He was
making deliveries around back.
As Leonard continues, she can't help but laugh harder,
especially as the metaphors get more vulgar.
LEONARD
He was buttering her rolls. Pumping
her churn. Splashing milk in her
box.
ASUKA
Stop.
LEONARD
They were squeezing the cheese.
Clanking the bottles. Licking the
popsicle.
She's starting to cry from laughing.
LEONARD
Cracking the eggs and making an
omelet.
With that, he stops. She regains her composure.
LEONARD
Spooning the sherbet.
ASUKA
(interrupting)
Can I take your picture?
LEONARD
You don't need a picture. Just look
up handsome in the dictionary.
ASUKA
Please?
He rolls his eyes, why not.
Asuka leaves, heading down the hall to get her camera.
We STAY WITH Leonard in bed.
ASUKA
I have photos from the wedding to
show you. There's a great one of you
and my father. I had an extra print
made.
Leonard grimaces, a flash of pain. Around others, he's hiding
how much it hurts, but alone we can see how bad it is.
He controls his breathing, trying to push through it.
ASUKA
I want to see pictures of your
wedding. I've never seen any.
She returns with her camera. Leonard smiles, doing a good job
masking the pain.
LEONARD
That's because we didn't have a
wedding. Your mother-in-law was never supposed to marry me.
She was engaged
to somebody else.
ASUKA
(loading film)
I never knew.
LEONARD
Leonel never told you that?
(she shakes her head)
Probably just as well. He would have told it all wrong anyway. All the facts and none of the flavor.
ASUKA
Oh, so this is a tall tale?
LEONARD
Well, it's not a short one.
A devilish smile. Pushing past Leonard, we settle on the
whirling fan.
SPINNING PINWHEEL
held by a LITTLE BOY. He's slumped over his FATHER's shoulder,
being carried towards a big-top tent. We are...
To be continued