"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....?