End of the Road - Script for Cellphone Videocam

8/14/2019 End of the Road - Script for Cellphone Videocam

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END OF THE ROAD

(A Screenplay for a Cell Phone Videocam)

By

Tom Slattery

History:Present Draft Copyright 2001

1st draft version Copyright 1994

Novel, End of the Road, Copyright 1989Novel published 2001, available on web book sites

Tom SlatteryBay Village, Ohio

[email protected]


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"END OF THE ROAD"

FADE IN:

INT. FUTURISTIC TELECONFERENCE ROOM

On one side of a FUTURISTIC CONFERENCE TABLE sit PROFESSORHOFFMAN, female, 50s, and PROFESSOR SZASZ, male, 50s, bothin futuristic attire, perhaps one head is shaved andpainted (but dignified, professorial).

On the other side are four graduate students: LUCY, ayoung Amerasian woman, mid-20s, futuristic attire and hairstyle (perhaps shaved, head paint), HAROLD, young man,mid-20s, in futuristic U.S. Army Uniform, PAMELA, youngwoman, mid-20s, futuristic attire and hair style, and

ERIC, young man, mid-20s, futuristic attire, hair style.

Image of PROFESSOR THARP, male, 40s, silver-metallic hairand more striking futuristic attire, MATERIALIZES at aconference table chair.

We see faint LASER-BEAMS emitted from conference table tocreate HOLOGRAM images for teleconference.

PROFESSOR HOFFMAN(touch of sarcasm)

Glad you could make it, ProfessorTharp.

PROFESSOR THARPSorry, Professor Hoffman. LatinAmerican situation. Transmission fromAntarctica's been relayed through NewZealand.

(nods Szasz)Mongolia treating you okay ProfessorSzasz?

PROFESSOR SZASZ(noncommittally)

Genghis Khan's tomb's half done.

Professor Hoffman TAPS WRIST GIZMO and "PSEUDO-PAPERS"appear on the conference table in front of everyone.


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END OF THE ROAD

PROFESSOR HOFFMANVery well. We're all here.

(to Harold)Harold, I am amazed at what you'vebeen able to accomplish with a war

going on around you.HAROLD

(self-effacingly)War wasn't as bad as the damnmosquitos.

PROFESSOR HOFFMAN(businesslike)

Well, laser-image teleconferencing'sterribly expensive. University'sthreatening the History Department

over it, so let's get on with this.(to students)

The committee has decided to approveyour joint video thesis, "AmericanHighway Era With Focus On 1995." Nowif you will all eye-scan sign . . .

ERIC(interrupting)

Does this mean I can't back out?

LUCY(hurt)Eric . . .

PROFESSOR SZASZYou can. But it may delay yourMaster's. As much as a semester.

PROFESSOR THARP(to Eric)

The committee has accepted your

written thesis, Eric.

PROFESSOR HOFFMANThis only concerns the video thesis.

ERIC(resigned)

Okay. I'm in.

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PROFESSOR SZASZPamela?

PAMELANo problem.

PROFESSOR HOFFMAN

Seeing everything is in order, we willnow formally sign the joint videothesis commitment.

The students focus eyes on pseudo-papers.

INSERT: LUCY'S EYES AS IF SEEN THROUGH EYE-SCANNER

Eyes make movements as if writing a signature. Digitalbar-code-like pattern accumulates in lower right screen.

RETURN TO SCENE

Professors Hoffman, Szasz, and Tharp look at pseudo paperswith eye movements like making a signature.

Professor Hoffman looks at her pseudo paper, nods, smiles.

She TAPS WRISTBAND and pseudo-papers DISAPPEAR.

PROFESSOR SZASZ(very pleased to Harold)Harold, how did you manage atransmission through the siege ofTrinidad?

HAROLDI'm out. Discharged yesterday.Hopped an empty robot food-flight backto Barbados.

PROFESSOR THARP(admonishing)Took a damn big chance!

HAROLDYeah. But better than staying coopedup there!

PROFESSOR HOFFMANStop by my office when you get back to


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END OF THE ROAD

Ohio, Harold. Well that's it. Hopeto see an excellent video thesis.

Professor Hoffman taps wrist band. All three professorsde-materialize. Pamela and Eric de-materialize.

HAROLDHello, Lucy.

LUCYOh, Harold! You shouldn't have takenthat chance . . .

HAROLDHad to get out of that hell-hole.

LUCYWhere are you now?

HAROLDNot far. Back in the USA!

LUCYHarold, call me at home in tenminutes. We've got to talk. KentState University'll blow a fuse ifthey find out we're chatting on their

laser-teleconference.

HAROLDOkay, Luce.

Lucy stands, raises wrist toward Harold's image, PRESSESWRIST-GIZMO.

Harold's image refuses to de-materialize. She PRESSES ITAGAIN. Nothing happens! She looks at her wrist-band.

LUCYWhat's the matter with this damnthing, Harold?

Harold drums his fingers on the table. Ta-da-da-da-da-Dasound.

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LUCY(realizing, overwhelmed,delighted)

Harold! How?

Harold JUMPS UP, puts arms around Lucy, pulls her to him.

They KISS passionately.

They break and look at each other.

HAROLDLevo-train from Miami.

LUCYGod I'm glad you made it. Alive!

HAROLD

Let's get married, Luce.

Lucy looks Harold in the eyes, studies him. Then she putsher head on his shoulder.

LUCYThere's something I have to tell you,Harold. I have to think.

We see TEARS FLOWING from Lucy's eyes as they hold eachother.

INT. FUTURISTIC STUDENT COMPUTER LAB

There is a "GRID-WORK" associated with a computerizedLASER-HOLOGRAM set-up.

LUCY (v.o.)It's what he wrote his manuscript on.He let us bring it over to scan intothe computer.

HAROLD (v.o.)Heavy old contraption.

On a desk is a 1940s Royal Standard TYPEWRITER. Afuturistic "SCANNING DEVICE" is mounted over it.


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END OF THE ROAD

ERIC (v.o.)They had primitive computers then.

Futuristic "door" zings open. Pamela, Lucy, Eric, andHarold (now in futuristic civilian attire) enter.

PAMELAHe didn't like them.

LUCYSentimental. His ex-wife bought itfor him at a garage sale.

Eric goes to typewriter.

He runs his hand over the keys.

Nothing happens. He looks puzzled at the others.ERIC

How does it work?

LUCYYou push on the keys.

Eric pushes lightly on typewriter keys.

ERIC

Nothing happens. Where's the readout?

LUCY(to computer)

Computer: Drawer!

A drawer opens under the typewriter.

Lucy proudly lifts a piece of PAPER out.

LUCY

Friend copped it from the ArtDepartment. Ten dollars a sheet.

HAROLD(points to ribbon reel)

Homemade ribbon. Cut from presso-fiber. Took me a day to figure outhow it works.

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Lucy turns on the "scanner," which shows a dull bluelight, inserts sheet into the typewriter, rolls it intotyping position.

LUCYYou have to snap the keys down likethis.

She taps randomly at typewriter keys. It clattersxxxxxooooo.

Harold presses shift lock.

HAROLDYou want capitals. Capital lettercrank-or-whatever-you-call-it.

He randomly types capitals. It clatters: XXXXXOOOOOO.

PAMELAHe wrote "End of the Road" that way?

Eric attempts typing random letters. Typewriter clattersXXXXOOOO.

ERICProbably got sore hands and fingers.

LUCY

So you guys want to start theintroduction in his college office?

PAMELAThat's what we decided. Follow hismanuscript.

Lucy holds a yellowed old PHOTOGRAPH in front of thefuturistic scanner.

ERIC

What's that?

HAROLDHim in his office with thiscontraption. Scan it in.

Lucy pulls photo from scanner, hands it to Pamela. Ericlooks on.


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END OF THE ROAD

INSERT: PHOTO

DRIVER, (the Old Man in his younger days), mid-forties,College instructor, worn sportscoat, rumpled trousers,scruffy loafers, sits at his desk typing on typewriter.

PAMELA (v.o.)So we scrap him buying the old car?

LUCY (v.o.)We'll get to it. Computer: Generateoffice scene, dialogue!

INT. COLLEGE INSTRUCTORS' OFFICE.

IDENTICAL TO ABOVE PHOTO, BUT WIDER ANGLE.

The shabby shared office has two desks. There is abookshelf, and over it are a couple framed diplomas.

Driver sits typing. Typewriter clatters. On the otherdesk we see a cheap PC and printer. He stops, looks up aswe hear footsteps outside door, door-opening sound.

Door opens.

Mr. ENGLE, same actor as Professor Tharp but in 1990ssportscoat and tie, long hair, stands holding the doorknob.

PROFESSOR SANDS, same actor as Professor Szasz but in1990s suit and tie, looks with firm apology at Engle.

ENGLE(pleading)

That's it, Professor Sands? Nothing I

can do?

PROFESSOR SANDSI'm sorry, Mr. Engle. It's theboard's decision.

Sands nods acknowledgment to Driver and hurries away.

DRIVERWhat was that about?

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ENGLEBeen canned. College's downsizing.

DRIVERJust like that?

ENGLEBottom line. Caught a glance atSand's list. You're on it.

DRIVERWhen?

ENGLENext year.

DRIVER

Unless the economy changes.

ENGLEDon't bank on it.

DRIVERI was going to shock you withsomething.

ENGLE(throws up hands)

Don't spare me now!

DRIVERYou're a Deadhead . . .

ENGLENot really. I like the Grateful Deadsounds. Been to some concerts.

DRIVER(pauses for effect)

Jerry Garcia called me.

ENGLE(astounded)

Called you?

DRIVERMet him in sixty-four. Just after Igot back from Vietnam.


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ENGLEArmy, you said.

DRIVERYeah. Drafted. Out about a month.

Literally living in a garage on HighStreet in Palo Alto. Working as ahistology tech at Stanford U.Hospital.

ENGLESixty-four. The Warlocks In MenloPark.

DRIVERJust down the street.

ENGLEYou never told me.

DRIVERWasn't anything.

ENGLEMust have been something.

DRIVER

Young stud. I didn't care for hismusic. I went to Menlo Park for thegirls. We were just two same-age guyswho had been in the Army and didn'tlike it. Got to talking.

ENGLEMet your ex-wife there?

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DRIVERNo. Somewhere else. But Garcia hadjust gotten married. Influenced me.All I remember is a bacon and eggsbreakfast at Sanford's after being upall Saturday night. Philosophicaldiscussion standing under a

streetlight at three A.M. Convincedme never to cross picket lines.Turned me against the Vietnam War.

ENGLEThat's all?

DRIVERHe resolved a testy romantic dilemma.I got married a few months later.

ENGLELast saw him then?

DRIVERAbout then. And not since in thirtyyears.

ENGLEHow'd he find you?

DRIVER

Told me, from an article I wrote inthe Bay Guardian a few years ago.

ENGLEWhat did he want?

DRIVERMe to come out and talk. Soundeddown.

ENGLEYou don't even like his music. You're

a classical freak.

DRIVERLife's ironies.

ENGLEYou going?

DRIVERYeah. Remember that book idea?


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END OF THE ROAD

ENGLEAbout the Interstates?

DRIVER

Roads. Highways. Something likethat. Guy across the street put a"for sale" sign on his seventy-ninerust-bucket. Two hundred bucks.

ENGLE(breaking into laughter)

California of bust in a two hundreddollar car!

DRIVER

Very essence of the story.

ENGLEGooood luck! Wish I could go. I'vegot to pound pavement for a job.

(with warning finger)Better hope your book sells.

SPECIAL EFFECTS: SCENE EVAPORATES INTO FUTURISTIC STUDENTCOMPUTER LAB


Lucy, Pamela, Eric, and Harold get up and go totypewriter.

ERICIt's a start.

PAMELALooks okay.

LUCYTomorrow then?

PAMELAYeah.

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Pamela touches wrist band and "door" zings open. She andEric start toward it. Eric looks back from the door.

ERICWhat time?

LUCY

Eleven sharp.

Lucy begins typing with one finger.

INSERT: PAPER BEING TYPED

Typed letters read out: H-A-R-O-L-D. Y-E-S.

ANGLE ON HAROLD, LUCY

Harold shows happy surprise, shakes his head with a bigsmile, but resists overt demonstration. Lucy and he followeach other's dancing eyes, exchange sly knowing smiles.

PAMELASee you there.

Pamela and Eric go out "door."

Lucy rips out the typewriter paper, hands it Harold.

He takes it, smiles. THEY EMBRACE IN A JOYFUL DANCE.

INT. FUTURISTIC SMALL LIVING ROOM - DAY

ELECTRONIC CALENDAR CLOCK blinks: July 17, 2050. 10:56.

On a table near clock are: ancient MODELS of 1980s CARSand TRUCKS, prominently, a gray 1979 DODGE OMNI, and anancient-appearing 1995 OHIO LICENSE PLATE.

LUCY (v.o.)(distant, echoing)

Glad Barb's bunch got stuck withthe Mississippi Steamboat Era.


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END OF THE ROAD

We see memorabilia of The Road, rusted metal trafficsigns, faded PHOTOGRAPHS of an Interstate with traffic, atwo-lane highway, motels, gas stations with gas pumps anddrive-on garage lifts.

HAROLD (v.o.)(distant, echoing)

Yeah. We lucked out. You saidhe seemed a little out of it?

Framed CAPTIONED PHOTOS: Carl Benz - first internalcombustion vehicle: 1885. Henry Ford and horselesscarriage. A Drive-in movie. A 1950s Drive-in restaurant.

PAMELA (v.o.)(distant, louder)

Only when we began. But then hesnapped out of it. I don't think hegets to talk much with anyone.

A loose stack of old yellowed typewritten pages is at acorner. The title page on top reads: END OF THE ROAD.Below the title: COPYRIGHT 1995. Near it, a new BOOK,also titled END OF THE ROAD.

ANOTHER ANGLE

The OLD MAN, 110-years-old, dolled up in old worn 1990'sslacks (due to body-shrinkage ill-fitting) and a yellowed(formerly white) wool cardigan sweater sits waiting in afuturistic easy chair.

LUCY (v.o.)The nurse said he never has anyvisitors. Oh, Pam, did you get thepermit?

(The Old Man will move and speak slowly, carefully,hesitatingly, as old people do, but his eyes are brightand have a sparkle of wit and intelligence.)

PAMELA (v.o.)Got it. We'll have a genuinetwentieth century lightbulb.

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Beside the Old Man's chair is an ancient-looking woodenend table and on it an ancient-looking TABLE LAMP withvisible (turned off) incandescent LIGHT BULB. Indoorlighting comes from a row of light panels on the ceiling.

The Old Man glances at the calendar-clock.

INSERT: CALENDAR CLOCK blinks: July 17, 2050. 10:58.

INT. FUTURISTIC NURSING HOME CORRIDOR - DAY

Around the corner of the empty corridor we hear sounds ofGRADUATE STUDENTS approaching.

ERIC (v.o.)(critically)

Burning up enough power to light awhole block.

Students round corner.

Harold carries the typewriter, Lucy a futuristic VIDEOCAMERA, Pamela a futuristic COMPUTER NOTEBOOK, Eric asmall homemade INTERNAL COMBUSTION ENGINE.

HAROLD(puffing with heavy

typewriter)Adding to greenhouse warming.

PAMELACome on, guys. It's okay for an hour.

LUCYNow remember, he was an Englishinstructor.

ERIC

(critically)His manuscript was in the"unpublished" Copyright files until wefound it?


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END OF THE ROAD

PAMELA(shows computer-notebook)

Yeah. Lucky we accessed their database.

LUCY(correctingly)

KSU Press published it.

HAROLD(critical, ill-intended)

Because it's quaint. Only thing thegeezer ever had published.

ERIC(sarcastic, mocking)

Be nice, Harold. Or Lucy's not goingto put out.

PAMELAEric!

They arrive at a futuristic door.

LUCYWe're here. Be good, guys. Please.He's a hundred ten years old.

She touches pressure-sensitive wall-area.

INT. LIVING ROOM

GENTLE CHIMES SOUNDS.

The Old Man looks up.

FLAT-WALL VIDEO SCREEN by door shows Graduate Students in

corridor outside the door.

OLD MANPlease come in.

Voice-activated door responds. Students file in.

The Old Man struggles up, waves to calendar-clock.

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OLD MANRight on time, Lucy.

INSERT: CALENDAR CLOCK, READING: July 17, 2050. 11:00

LUCY (v.o)

(softly, respectfully)We try to be.

ANGLE ON LUCY, OTHER STUDENTS

Students stand respectfully while Lucy introduces them tothe Old Man.

LUCYThis is Pamela and Eric. You know

Harold.

HAROLDHere's your -- uh -- typing-writerback.

OLD MANPut it on the table there, Harold.

Harold puts typewriter by other things on the table. TheOld Man feebly shakes Eric's, Pamela's hands.

OLD MANPleased to meet you all.

(points to Eric's enginemodel)

What's that?

ERICInternal combustion engine.

PAMELA

Made it for our lab project.

HAROLDIt's composit, not iron. But itworks. You can have it.


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INSERT: HAND HOLDING VIDEOSCREEN, SHOWING VIEW OF THE LAMP

Pamela gingerly turns the light bulb.

The LAMP LIGHTS. The students applaud. Old Man smiles atit.

OLD MAN(admiringly, nostalgically)

Haven't seen one "on" in years.

We see Harold and Eric standing by the table display of"Road" items. Harold points to it.

HAROLDLuce, maybe you want to get someof these?

ERIC(motioning)

I guess that's the originalmanuscript?

OLD MAN(starts to get up)

Yes. That's it.

LUCY(motions Old Man down)

No. Don't get up. Can he hold it upfor the camera?

OLD MAN(sitting back)

Sure. Of course.

Eric holds manuscript to camera.

LUCY(glances at viewer)

Looking good.

The grad students sit on cushions respectfully facing theOld Man, Harold by the table.

Lucy works the videocam from her hand-held viewfinder.


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HAROLDBut no one did much. Population, too.Now there's a big problem.

ERIC(to Harold)

U.N. killed a lot of sheep.

PAMELA(reproaching)

That was in 2028. Let's stick to TheRoad. 1995.

LUCYYes. Anyway, the biggest cause ofGlobal Warming was all thoseautomobile engines.

Harold gets up, reaches to table, picks up 1979 Dodge Omnimodel.

HAROLDWas this the kind of automobile?

ANGLE ON MODEL DODGE

OLD MANYes, that was it. A rusty '79 Omni.

LUCYCan Harold take it back so we can scanit into our computer? We only havetwo-dimensional file photos.

OLD MANBe my guest.


Harold holds the Dodge Omni model in front of the scanner,turns it to different angles.

Pamela, Lucy, and Eric observe.

Harold puts model car down, nods.

LUCYOkay, the part where he buys the car.


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END OF THE ROAD

(queries others with looks)We can always delete it.

(to computer)Computer: Generate scene 2-A!

THE STUDENT COMPUTER LAB ERUPTS INTO A HOLOGRAM OF THESCENE.

EXT. BAY VILLAGE, OHIO, OAK CLIFF DRIVE, 1995 - SUMMERDAY

A BATTERED RUSTY 1979 DODGE OMNI sits on a suburban lawn.Sign in a window reads: FOR SALE - 79 DODGE OMNI - $200.

DRIVER (o.s.)

Two hundred?

CHRIS (o.s.)It goes.

We see Driver walk up to car as CHRIS, suburban male late30s, athletic, and MEGAN, suburban female late 30s, comedown yard to meet him.

DRIVER(studying car)

Goes, huh. How far?

MEGAN(pointing to briefcase)

Teaching this summer?

DRIVER(lifts briefcase)

No. Turned in Spring grades.

CHRIS

So, what are you going to do?

DRIVERResearch a book.

MEGANOn what?

DRIVERAmerican highway era.

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EXT: BUSY TRAFFIC ON INTERSTATE 90, SEEN FROM CLAGUE ROADOVERPASS - HAUNTING SUNSET

DRIVER (v.o.)Up on the Clague Overpass last week I

had the weirdest sensation. Haunting.As if I were looking back from thefuture.

STOCK: MISSISSIPPI STEAMBOAT SCENE

DRIVER (v.o.)Our highway system will soon behistory. Another Mississippisteamboat era.

RETURN TO EXT, CLAGUE AT I-90

DRIVER (v.o.)They're not cost-effective. They'reenvironmental disasters. Andtechnology's passing them by.

RETURN TO SCENE

Megan, Chris, Driver stand by rusty beaten old Dodge.

DRIVER(points to Dodge)

Okay, sold.

MEGANFor your book?

DRIVER

Yeah. Disposable car. If it breaksdown, I'll take a bus back.


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CHRISI put an electric fuel pump on it. Itrattles, but should save gas.

MEGAN

My uncle's a notary. I'll sign thetitle over tomorrow.

SPECIAL EFFECTS: SCENE EVAPORATES.


The four students stand after watching it.

Lucy turns to them.

LUCYKeep it?

ERICWhy not?

HAROLDFollows his introduction.

PAMELA

Maybe we should talk to him more whenwe start the main text.

LUCYI set it up. Anyway, here's where hestarts out.

Lucy taps wrist band.

SPECIAL EFFECTS: STUDENT LAB ERUPTS INTO KALEIDOSCOPICCOLORS

EXT. OAK CLIFF DRIVE, 1995 - HOT SUMMER DAY

Driver, carries hand bag and large suitcase from his houseto Dodge. Passenger door and hatchback are open.

PAMELA (v.o.)Aren't those cute old houses quaint?

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He tosses bag onto passenger seat, slams door, putssuitcase in back, slams hatchback.

LUCY (v.o.)Computer "newed" them up. Thatneighborhood's a slum now.

We see Chris and Megan come out across street.

CHRISYou're off?

DRIVEROn my way. Thanks for putting on newbrakes.

CHRISWorried about you. All that way.

MEGANSorry there's no air conditioning.

Driver gets into Dodge, starts car.

DRIVERAll the better to feel the future.

CHRISYou going to see Jerry Garcia?

DRIVERTold him about my trip. Gave me anumber to call.

MEGANWhen?

DRIVERWhen I get there. If I get there!Around the second week in August.

(sighs, shrugs)Really just to relive my own memories.Well, here goes.

Car begins to move away.

Dodge pulls up to the corner of Oak Cliff and Lake Road.

MEGAN(waving)


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END OF THE ROAD

Take care.

CHRIS(waving)

Have a good trip.

Dodge BEEPS as it pulls out.

We see back of Dodge moving east on Lake Road towardClague, past CLAGUE ROAD 500 FEET sign.

I-90 WEST. TOLEDO Sign.

Dodge drives under sign, turns onto freeway entrance,heads west.

We see Dodge heading for traffic on I-90 (as in earlierview from Clague Road Bridge).

SPECIAL EFFECTS: SCENE EVAPORATES INTO STUDENT COMPUTERLAB


Lucy, Pamela, Eric, and Harold stand thoughtfully.

HAROLDThat's the introduction.

PAMELATomorrow at eleven again?

LUCYSharp. He's punctual.

INT. OLD MAN'S LIVING ROOM

The Old Man is in his chair. The students sit around oncushions.

Lucy looks up from her viewfinder at the Old Man.

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LUCYWhy did you begin and end your storyin Gothenburg, Nebraska?

OLD MANI don't really remember. That wasover half a century ago.

HAROLDWe were charmed by the thoughts.

Eric looks heavenward for "spare me" forgiveness. Pamelataps computer-notepad.

PAMELA(reading from compu-notepad)

Here's how you began: "The universemight have a single solitary

beginning, and it all may come to asingle solitary end, but other thanthat, nothing else does . . ."

OLD MANBest I can recall now is that I hopedto link my adventure to the universe.

LUCY(taps keys on viewfinder)

I'll punch in your voice pattern frommy audio, and you can hear yourself

read.

Pamela HOLDS COMPU-NOTEPAD toward LUCY'S VIEWFINDER. Lucylooks at compu-notebook SCREEN, taps in a code. The OldMan studies the mystifications of the new technology.

LUCY(pointing to her pad screen)

Computer's got a preliminary testscenario. But we'd rather wait andshow you our finished thesis.

EXT. SHAMROCK PLAZA MOTEL, OGALLALA, NEBRASKA - LATEAUGUST MORNING

We see SHAMROCK PLAZA MOTEL sign and this art-deco vintage1950's motel.

CLEANING LADY, older woman, drags a vacuum cleaner alongconcrete sidewalk in front of motel room entrances.


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END OF THE ROAD

Driver emerges from room, looks around as if last check onforgetting anything.

LUCY (v.o.)

On page two the cleaning lady tellsyou about the "Car-henge" monumentnear Alliance.

EXT. PAN OF THE "CAR HENGE" POP-ART MONUMENT IN WESTERNNEBRASKA NEAR ALLIANCE.

LUCY (v.o.)But you say you have to get backbecause classes start the next week.

RETURN TO MOTEL SCENE

LUCY (v.o.)So she tells you to stop in Gothenburgand see the Pony Express Station atleast. You remember that part?

Driver slams hatchback shut, gets in the drivers seat,

straps seatbelt.

The car drives out onto the street. We see: a signidentifying Ogallala, an I-80 EAST sign.

INT. LIVING ROOM

Lucy removes hand-held viewfinder from Pamela's compu-notebook.

OLD MANOnly after I read the proofs a fewmonths ago. Seemed almost as ifsomeone else had written it.

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PAMELAMust have been a strange feeling.

(tapping compu-notepad key)There. Now you can hear yourselfread your book.

ANGLE ON COMPU-NOTEPAD SCREEN

Dodge heads up freeway-entrance ramp.

OLD MAN (v.o.)(tinny artificial, reading)

Beginnings or endings are only byselection or definition.

The Old Man looks at the computer notepad, pleased.Pamela desperately enters more into compu-notepad.

EXT. INTERSTATE 80, NEBRASKA - LATE SUMMER MORNING

Dodge drives out onto I-80, speeds down the Interstate.

OLD MAN (v.o.)(artificial sound becomes real)

This trip did not begin in Gothenburg,Nebraska, and it did not end there.

We see Driver driving the Dodge. Nebraska scenery goes

by. "GOTHENBURG 5 MILES" road sign comes up, goes by.

OLD MAN (v.o.)Nor did it begin as I drove off in BayVillage, Ohio.

STOCK: AUTOMOBILE ASSEMBLY LINE CIRCA 1970s.

OLD MAN (v.o.)The car, you could say, began on a

Dodge assembly line in 1979.

STOCK: SCRAP YARD. CAR (Older than '79!) BEING COMPACTED.

STOCK: WRECKED CAR AFTER ACCIDENT.


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END OF THE ROAD

OLD MAN (v.o.)But the steel might have been recycleda dozen times, starting with a Model-TFord.

INSERT: PHOTO, MODEL-T, HENRY FORD (from table display).

STOCK: MAGNETIC LIFT LOWERING COMPACTED CAR-METAL INTOTRUCK OR TRAIN.

STOCK: Engineering drawing emerging from a computerprinter.

OLD MAN (v.o.)The design may have been done a few

years ago.

INSERT: DISPLAY PHOTO OF CARL BENZ 1885 VEHICLE.

OLD MAN (v.o.)But the design really began with CarlBenz's horseless carriage in Mannheimin 1885.

INSERT: PHOTO OF A HORSE AND BUGGY.

OLD MAN (v.o.)And the carriage had already beendesigned.

MONTAGE: PHOTOS, DRAWINGS: MORE ANCIENT CARRIAGE, AN OX-DRAWN WAGON, ANCIENT EGYPTIAN DRAWING-PAINTING OF APHARAOH'S CHARIOT.

MONTAGE: PHOTOS: A SWORD, A CANNON, A KITCHEN SINK.

OLD MAN (v.o.)Some of the steel came from otherancient swords, old cannons, kitchenutensils.

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STOCK: PHOTOMICROGRAPHS OF ANCIENT PETRIFIED PALEOZOICORGANISM.

OLD MAN (v.o.)You could say that iron had beenmined, but eons before it had beendeposited by microorganisms.

ANGLE ON: ANCIENT PETRIFIED LOGS, GINKGO STATE PARK,WASHINGTON - LATE SUMMER EVENING (same view used later)

OLD MAN (v.o.)And the petroleum from which the tireswere made came from ancient animalsand plants.

RETURN TO I-90 SCENE

Dodge zooms along I-80 near Gothenburg.

AERIAL VIEW: DODGE DRIVES EAST ON I-80 WITH PAN OFNEBRASKA PLAINS - SUMMER DAY

OLD MAN (v.o.)Everything's made of the recycledstuff of stars. You and I are

recycled ancient algae, dinosaurflesh, mastodon breath, trilobitetail, ancient trees.

ANGLE ON: SIGN: "GOTHENBURG" - DAY

ANGLE ON: DODGE PULLING ONTO EXIT RAMP - DAY

OLD MAN (v.o.)

Where we begin depends on how wedefine ourselves.Dodge drives past MOTEL SIGN (any).


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OLD MAN (v.o.)We sleep at night and immerseourselves in our primordial past,awake each day with a newconsciousness.

ANGLE ON: SIGN: "PONY EXPRESS STATION" - DAY

ANGLE ON: DODGE GOING THROUGH GOTHENBURG

Car goes past GEODESIC DOME hamburger restaurant. Carslows. Driver looks admiringly, pulls into parking area.

Driver walks toward geodesic dome.

INT. GEODESIC DOME RESTAURANT

Driver looks around admiringly. He takes a seat, grabs amenu. WAITRESS (could be same actor as ProfessorHoffman), late 40s, waitress uniform, approaches.

WAITRESSWhat'll it be?

DRIVERBurger. Fries. Lemonade.

WAITRESSThat your car from Ohio?

DRIVERYeah. Teacher. Off for the summer.

WAITRESSJust riding around?

DRIVERResearching. Maybe a book.

WAITRESSAbout?

DRIVERThe road. The future.

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WAITRESSYou see the Pony Express Museum yet?

DRIVERNo. How do I get there?

WAITRESS

(pointing)Just follow the signs. All we gothere that's historical.

DRIVER(waves around geodesic dome)

You've got this. I was never inside ageodesic dome before.

WAITRESS(with pride)

We built it. We just had a party hereyesterday to celebrate our thirteenthyear. My husband's a science fictionbuff. Likes things like this.

DRIVER(holds up finger, gets up)

I wrote a science fiction novel.College printed up some for myclasses. I'll give you a copy.

Driver gets up, trots out.

Driver returns carrying a paperback book, hands it toWaitress.

WAITRESSWell, thank you very much.

(looks at it)What's it about.

DRIVER

A Neanderthal. A coming ice age. Anassassination plot. He'll like it;it's a yarn.

WAITRESSWe'll read it.

She carries book to kitchen area.

Driver exits geodesic dome restaurant, goes to Dodge.


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started out?

OLD MANOn the trip?

PAMELAOn the trip. Or the story.

OLD MANI don't really know.

(reflects)It's just something I felt I had todo. If there is some great wisdomrunning the universe, some things maybe beyond our understanding.

LUCY(taps viewfinder off)

On that omo thought we'd better shutdown for the day. We'll see youtomorrow, same time. Okay?

Lucy stands, takes hold of tiny videocam, snaps up thewire-like tripod legs into it, closes her palm around it.

The other students stand with their cushions in hand. TheOld Man struggles to stand up.

OLD MANI'll be right here. I don't getaround much anymore.

PAMELASomeone get the incandescent lamp.

ERIC(restraining snicker)

Harold, you want to screw the bulb?

OLD MANUnscrew.

HAROLDWhatever.

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Harold steps to the lamp, GRABS THE HOT LIGHT BULB,SPRINGS BACK IN GREAT PAIN.

HAROLDYieeeeh! It's hot!

The lamp teeters ready to fall. Eric JUMPS, GRABS THE

STEM, saves it. Looks at others. They share relief.

Harold shakes his hand with mild pain. Othersunsympathetically smirk.

The Old Man holds up his hand over the lamp, demonstrates.

OLD MANLightly, Harold. With yourfingertips. Like this.

The Old Man turns the bulb. It goes out.

LUCYI shouldn't have turned off the cam.

OLD MANMaybe best that you did. We aren'there to embarrass Harold.

LUCYYou're right. Well, we'll see you

tomorrow.

The door opens automatically. The students file out intothe corridor. Lucy glances back, waves goodbye.

INT. CORRIDOR

The door automatically shuts.

Students start down the corridor. Pamela pulls out CARD-

SIZE FLAT TV.

PAMELANoon news in three minutes.

ERICIf the Latin Americans don't nuke usbefore then.

LUCY


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Not funny, Eric.

Eric and Pamela ignore it, walk on ahead. Lucy and Haroldlag behind, walk together.

HAROLDInteresting old duffer.

LUCYYou can see he's trying hard to workwith us.

HAROLDYeah. So serious.

A beat. They walk.

LUCYYou talk to your parents yet, Harold?

HAROLDDidn't have a chance.

LUCYNothing the matter is there?

HAROLD

No. Things just weren't right. Maybenext week.

They round the corridor corner.

SPECIAL EFFECTS: EXT. COLLEGE CAMPUS WITH FUTURISTICVEHICLES PARKED AND MOVING (floating on magnetic fields,or air cushions, a foot above roadways).

Focus on window of campus building.


Lucy sits at desk in futuristic swivel chair studying ayellowed old pamphlet in front of an obvious FUTURISTICEDITING SCREEN.

Futuristic video editing equipment is visible on desk,along with stacks of old books, ancient-looking audio,

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video cartridges.

Pamela walks in.

PAMELAStill editing?

LUCYHello, Pam. You didn't go?

PAMELAI already saw it. The guys just wentto see if we could do anything withit.

LUCYIs it really a piece of Interstate?

PAMELAI'm not sure. It's prettydeteriorated, overgrown.

LUCYBut road.

PAMELAIt was a highway. That's sure.

LUCY

How long is it?

PAMELAKilo. Maybe less. Whata you got?

Lucy hands pamphlet to Pamela.

INSERT: US GOVERNMENT DOCUMENT: NATIONAL DEFENSE HIGHWAYACT PROPOSAL (CIRCA?) 1948.

LUCY (v.o.)Interstate System. They planned itafter World War II.

Pamela leafs through it, hands it back.

PAMELA(guffawing)

National defense!


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at Bay Village (Cleveland), Ohio, MOVES ALONG I-90 westacross northern Ohio.

LUCY (v.o.)What I have in mind is to go out andfollow his route as close as we canafter the weather cools. Take our

cams. Shoot it as it is now. Plug itback into this.

Re-focus shows I-90 in Ohio. Highlighted line moves west.

LUCY (v.o.)Maybe we can find some old motels, gasstations . . .

RETURN TO SCENE.

LUCYPlaces he mentioned.

PAMELAYeah, Luce. If we can't, maybe we canask around, find more old photos,videos. Put them in.

LUCYJuxtapose. Compare and contrast. Add

historical anecdotes.

ANGLE TOWARD EDITING SCREEN

Editing screen shows ONGOING COMPUTER MAP (used throughoutscript). Screen shows highlight edging west along I-90,Ohio.

PAMELAGreat. The guys'll go along withit. We'll have a good time.

(taps wrist band)Okay. Let's punch in his voice.

ANGLE ON EDITING SCREEN ONLY

LUCY (v.o.)I scanned in old photos, postcards,videos to merge the present terrain.It's accurate plus or minus five


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END OF THE ROAD

years.

OLD MAN (v.o.)(natural-sounding voice)

The afternoon sun blazed down on Ohio

farms and fields. I held the Dodge tofifty-five.

ANOTHER ANGLE: Lower right corner Computer Screen reads:55 mph = 88.495 kph. Screen changes to:

EXT. INTERSTATE 90 (OHIO TURNPIKE) WEST OF CLEVELAND -SUMMER AFTERNOON (1988)

Dodge, sunroof, windows open, rolls west along I-90 by

lush summer greenery amid roar of traffic noises.

We hear ZOOMING, ROARING, WHINING, SQUEALING HIGHWAYNOISES.

We see huge 18-WHEELERS pass, engines grinding, wheelswhining, fixtures clattering, spewing exhaust FUMES,mudguards flapping as they go by.

OLD MAN (v.o.). . . the zoom, the roar, the whine,

the squeal, the smell of hot rubber,hot metal, and the stink of exhaustfumes that some day will only beexperienced through recordings.

Two large new (1995) LUXURY CARS, windows rolled up, passthe Dodge.

OLD MAN (v.o.)Smug, aloof drivers and passengerssealed inside artificially cooled

environments, ruining the realenvironment with fumes from theirexhausts.

Old psychedelic-painted VW VAN with PEACE SIGNS,Environmental and Grateful Dead BUMPER STICKERS, chugs by.

OLD MAN (v.o.)From time to time I would see aDeadhead rumbling along. It crossed

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my mind to stop him or her. Tell themabout going to see Garcia. But howdoes one stop a strange car going thespeed limit on an Interstate?

Van disappears into traffic ahead.

OLD MAN (v.o.)Just as well. I loved anonymity andnever understood their esoteric world.

Another new luxury car slips quietly by. We hear theCLATTER OF THE DODGE'S ELECTRIC FUEL PUMP and anotherlouder CLATTER (of the loosely attached wheel).

OLD MAN (v.o.)Occasionally I would become awareof the electric fuel pump rattling,

largely drowned out by road noisesand by the invisible air rushingby the car.

EXT. LUSH GREEN OHIO SCENERY

Summer woods and fields, goes by.

OLD MAN (v.o.)Someone from the Egyptian desert would

have been amazed . . .

STOCK: EGYPTIAN DESERT SCENE

OLD MAN (v.o.). . . by the Great Green, the preciousgreen of life . . .

RETURN TO SCENE


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END OF THE ROAD

OLD MAN (v.o.). . . supported by reliable climatepatterns, abundant rain. But I grewup with it all around, oblivious.

EXT. VIEW THROUGH WINDSHIELD OF I-90, ROAD, ROAD SIGNS,ROAD MARKINGS. "SLOW FOR INDIANA TURNPIKE TOLL BOOTH"SIGN.

OLD MAN (v.o.)I had driven the route a number oftimes in the 80s.

LUCY (v.o.)Nineteen eighties of course.

EXT. ROAD SIGN ANNOUNCES BOOTH TARKINGTON REST AREA.

PAMELA (v.o.)Quaint, isn't it?

OLD MAN (v.o.). . . and in 1970, my wife and I haddriven the other way in a borrowed '58Chevy . . .

LUCY (v.o.)Five years after his honeymoon trip in'65.

DODGE PULLS INTO BOOTH TARKINGTON PLAZA, I-90 (INDIANATURNPIKE), DRIVES TO GAS PUMPS.

Driver gets out, looks at TRAFFIC DRIVING BY ON I-90. WESEE TRAFFIC ZOOMING BY.

Driver puts gas hose back in rack. Goes to PAY WINDOW.

INT. FUTURISTIC STUDENT OFFICE/LAB

Lucy points at EDITING SCREEN showing Driver standing bygas pump gazing at I-90 traffic. Pamela looks on.

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LUCYHe must have been absorbed inmemories. Had locked his keys in thecar.

PAMELAThat wasn't in his book.

LUCYNo.

(to computer)Computer, re-create Dodge Omni.

ANGLE ON: Holographic 1979 Dodge Omni, driver-side dooropen, MATERIALIZES in Student office.

LUCY

Indiana State Police files for thoseyears were given to Purdue's PoliceSciences Department, latercomputerized.

(to computer)Scene!

SPECIAL EFFECTS: STUDENT LAB ERUPTS INTO 1995 SCENE

EXT. BOOTH TARKINGTON PLAZA, GAS STATION, INDIANATURNPIKE IN B.G.

INDIANA STATE POLICEMAN and Driver walk to Dodge.

Policeman uses a "FLAT HOOK" to slip down Dodge DOORWINDOW and RELEASE LOCK. He opens door. Nods, beckons.

LUCY (v.o.)I searched up his license number,found a note.

EXT. FREEWAY ENTRANCE RAMP

Driver drives Dodge onto it . WE HEAR RATTLING SOUND. Itjoins traffic.

PAMELA (v.o.)Luce, you're fantastic!


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END OF THE ROAD

SUPERIMPOSED: ONGOING COMPUTER MAP SHOWS: PROGRESS TOCHICAGO.

DODGE GOES BY CENTRAL CHICAGO ON I-90 WITH RATTLING SOUND.Late day.

EXT. AERIAL VIEW OF I-90,

Dodge goes west, accompanied by RATTLING SOUND.

ANGLE ON: Driver driving, with RATTLING SOUND. DUSK.

OLD MAN (v.o.)I always tried to get past Chicago,

the end of the populous East, thefirst day. After that trafficthins, driving's easier.

ANGLE ON: CAR HEADLIGHTS AND TAIL LIGHTS BECOME MOREPROMINENT - EARLY NIGHT. PRONOUNCED RATTLING -- MORE THANELECTRIC FUEL PUMP -- NOW MENACING.

ANGLE ON: DODGE HEADLIGHTS PICK UP "WELCOME TO WISCONSIN"

SIGN - NIGHT.

ANGLE ON: MORE HEADLIGHTS AND TAIL LIGHTS - NIGHT.CLATTER OF RATTLING SOUND LOUD.

OLD MAN (v.o.)As traffic lessened and the clatteringgrew, it became obvious that it wasnot the electric fuel pump. Somethingwas definitely wrong.

ANGLE ON: HEADLIGHTS PICK UP "JANESVILLE" SIGN - NIGHT.

OLD MAN (v.o.)Every time I got to Janesville,something was going wrong withwhatever car I was driving.

ANGLE ON: DODGE GOES INTO "MOTEL AMERICAN," PARKS - NIGHT.

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OLD MAN (v.o.)Like some mysterious force trying toshow me something. One result,however. . .

INT. DODGE ON LIFT OF GAS STATION - DAY.

Driver and MECHANIC (grease-smeared young man in oily gasstation uniform) stand underneath '74 Vega or other '74vintage car. Both look, point up.

OLD MAN (v.o.). . . I knew of a gas station that didgood work cheap.

RETURN TO "AMERICAN MOTEL" SCENE - NIGHT

Driver carries overnight bag from Dodge toward motel.

EXT. MOTEL PARKING LOT - MORNING

Driver, carrying OVERNIGHT BAG, goes from motel to Dodge,loads bag into car. Dodge drives off. RATTLING IS NOISY.

OLD MAN (v.o.)

In the morning I headed for the oldfamiliar gas station.

EXT. JANESVILLE GAS STATION - DAY

Dodge pulls into "GAS STATION." BUT IT IS NO LONGER AFULL SERVICE GAS STATION. We see a CONVENIENCE STORE,window with a CLERK.

OLD MAN (v.o.)

It was gone. Converted into aconvenience store selling gas.

EXT. OTHER JANESVILLE GAS STATION - DAY

Several cars are up on lifts, MECHANICS working. NOISYcompressed-air driven TOOLS HAMMER AND RATTLE. Workersshout over din.


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We also see a variety of computerized diagnostic andrepair equipment.

Driver and MECHANIC, noticeably sweating, under Dodge,Mechanic fastens last lug with compressed air WRENCH.

OLD MAN (v.o.)I finally got it fixed for a lot moreat a franchise place down the street.

MECHANIC(pulling wrench off wheel)

Should hold. Threads are a littlestripped, so keep an eye on it.

(wipes brow with sleeve)Must be about a hundred out.

ANGLE ON ABOVE SCENE ON COMPUTER SCREEN: LOWER RIGHTREADS: 100o F = 37.7o C.

DRIVERMaybe the greenhouse effect?

MECHANICScience fiction. Ain't no such thing.

DRIVER(shrugs, points at gizmos)Pretty fancy equipment.

MECHANICYeah. Pretty near need a Ph. D. inauto repair these days. Few yearsback they'd hire anyone handy with awrench.

EXT. MISTY SUMMER VIEW OF I-90 WEST FROM CLAGUE ROADBRIDGE

Driver stands alone, looking at freeway traffic.

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END OF THE ROAD

Dodge kicks over, starts. Drives out into I-90traffic.

ANGLE ON: SIGN: "WISCONSIN DELLS NEXT RIGHT" - DAY

SUPERIMPOSED ONGOING COMPUTER MAP: SHOWS PROGRESS OF DODGEON I-90

QUICK MONTAGE: LACROSSE NEXT RIGHT SIGN. MISSISSIPPIRIVER SIGN. DODGE CROSSES MISSISSIPPI. WELCOME TOMINNESOTA SIGN - NOON.

ANGLE ON: DODGE DRIVING I-90 ACROSS MINNESOTA FARM COUNTRY

- AFTERNOON.

SUPERIMPOSED: ONGOING COMPUTER MAP: CONTINUES TO SHOWDODGE GOING ACROSS MINNESOTA

QUICK MONTAGE: WELCOME TO SOUTH DAKOTA SIGN. SIOUX FALLSNEXT TWO EXITS SIGN - LATE EVENING. SIOUX FALLS EXIT SIGNFLIES BY CAR WINDOW - EARLY DUSK.

INT. DODGE - DAY

Driver looks at GAS GAUGE.

INSERT: GAS GAUGE. SHOWS NEAR EMPTY.

ANGLE ON: DRIVER

Driver mops brow, looks flustered, upset.

DRIVERDamn! Now where's the next one?

ANGLE ON: ROAD SIGN: "SALEM NEXT EXIT" - LATE DUSK.

ANGLE ON: I-90 AT SALEM - NEAR DARKNESS

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Dodge goes around cloverleaf, goes down country road.

ANGLES ON: BRIGHT-LIT AREA AHEAD BITES INTO DARKNESS AND"GAS - FIREWORKS" SIGN - NIGHT.

Driver, driving Dodge, pulls off onto gravel apron of

COMBINED OLD-STYLE GAS STATION AND FIREWORKS STORE, pullsup to old rusty gas pump.

Leaning on Dodge, he watches hose while tank fills, hangsup hose, goes into store.

ANGLE ON: SIGN: "NO SMOKING WITHIN FIVE FEET OF BUILDING"- SPOTLIT IN NIGHT.

INT. GAS, CONVENIENCE-STORE, FIREWORKS-STORE

Driver enters. Tough WEATHERED-LOOKING GUY, 60s, roughattire, behind cash register hands Driver change -- pastRACK of small POTATO CHIP bags. PAN of fireworks in store.

DRIVERYou have anything like a sandwich?

WEATHERED GUY(nods toward microwave)

Could heat you up a hot dog.

DRIVER(pulls bag of potato chips)

Nah. I'll take these. Don't know ifanything'll be open in Mitchell.

WEATHERED GUYMost likely something. Don't know,though. Haven't been there for awhile.

DRIVERIs there a pay phone?


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WEATHERED GUYNope.

(nods to old black dial phone)You can use mine if you have a phonecredit card.

DRIVER(shrugs, waves, starts leaving)

Never had one. Well, just have to seewhat's open in Mitchell.

Dodge drives out of gas station and into the darkness.

ANGLE ON: SIGN LIT BY HEADLIGHTS ON I-90: "MITCHELL NEXTRIGHT" - NIGHT.

MONTAGE: STOCK:

1. McGovern giving speech; 2. Vietnam battle scene; 3.Anti-war Protest demonstration.

OLD MAN (v.o.)On our last trip together, summer of'72, we decided to stay on the townwhere George McGovern was born.

ANGLE ON: DODGE TURNING ONTO OFF RAMP - NIGHT

OLD MAN (v.o.)The motel had a giant paintedsculpture of a buffalo in the yard.Our two dogs barked furiously at it.

ANGLE ON: DODGE PULLING INTO DRIVE OF MITCHELL MOTEL WITH

BUFFALO STATUE - NIGHT

We see the giant BUFFALO STATUE. Then we see NO VACANCYsign.

Driver gets out of Dodge, goes to motel office.

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OLD MAN (v.o.)I always tried to stay there when Icame this way. Maybe they had justone single.

INT. MOTEL OFFICE

MOTEL OWNER, 40s, cowboy hat and jeans, comes to desk.

MOTEL OWNERAll filled up. Everything in town'sfull. Rotary convention. Tell youwhat. I'll call down to Parkston.

DRIVERWhere's that?

MOTEL OWNER20 miles south.

DRIVER20 miles!

MOTEL OWNEREither that or 65 to Sioux Falls, or70 to Chamberlain. Want me to call?

DRIVER

Sure. Thanks.

EXT. "BUFFALO" MOTEL, MITCHELL - NIGHT

Driver goes back out, stands looking at giant buffalostatue.

It begins to rain. Motel Owner leans out door.

MOTEL OWNER

Got two at the Rainbow Motel. Betterhurry.

DRIVER(waves, goes to Dodge)

Very obliged.

ANGLE ON: DODGE DRIVING DOWN 2-LANE HIGHWAY - RAINY NIGHT


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ANGLE ON: DODGE PULLING INTO PARKSTON, SOUTH DAKOTA,RAINBOW MOTEL DRIVE - NIGHT, HEAVY RAIN.

Driver hurries into motel office.

INT. RAINBOW MOTEL OFFICE

LARGE MOTHERLY WOMAN, 50s, plain summer dress, steps outto counter.

DRIVER(wiping rain from forehead)

I brought you some rain.

WOMANThanks. We needed it. You the guyHerb called about?

DRIVERI'm sure.

WOMAN(slides registration card)

Last one.

DRIVER(filling out card)He said there were two.

WOMANHalf hour ago.

EXT. RAINBOW MOTEL - NIGHT, RAIN

We see Driver, lit by motel night lights, hurrying in

downpour with bag from Dodge to motel room.

EXT. RAINBOW MOTEL - MORNING (no rain)

Dodge in front of Motel door. Driver opens door, carriespostcard in one hand bag in other. He throws bag in backseat, places card on front. He starts car, drives off.

DODGE DRIVES AROUND CENTRAL PARKSTON - SUMMER SUNDAY

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AERIAL VIEW: I-90 THROUGH PRAIRIE.

SUPERIMPOSE: ONGOING COMPUTER MAP SHOWS: PROGRESS ACROSSSOUTH DAKOTA ON I-90

ANGLE ON: DODGE PASSES MISSOURI RIVER SIGN - MIDDAY.(music: "Shenandoah."

ANGLE ON: DODGE CROSSES MISSOURI - MIDDAY (music phrases:"I hear you calling . . . Across the wide Missouri" fadesto road noises)

QUICK MONTAGE: 1. DODGE DRIVES I-90 PAST SOUTH DAKOTAFARMLAND; 2. GRAZING LAND; 3. VISIT WALL DRUG SIGNS; 4.DODGE DRIVES I-90 AS SCENERY CHANGES TO BADLANDS; 5. WALLDRUG x-MILES SIGN; 6. SIGN ANNOUNCES BADLANDS NATIONALMONUMENT; 7. ANOTHER VIEW OF BADLANDS; 8. SIGN ANNOUNCESWALL DRUG NEXT RIGHT.

ANGLE ON: DODGE PULLS OFF I-90.

Driver stands beside Dodge parked in downtown Wall. We see

tourists.

TOURIST WOMAN carries a large ridiculous PLASTERKNICKKNACK. TOURIST MAN sighs resignation.

TOURIST MANWhat'r ya goin' ta do withit, Martha?

TOURIST WOMANI donno. Put it in the yard orsomethin'.

EXT. (MONOCHROME)

A Model-T Ford drives along a dirt or minimally paved two-lane road, circa South Dakota.

OLD MAN (v.o.)In 1931 during The Depression, a guynamed Ted Husted bought the only

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drugstore in Wall. The only realresource the town could mine was thehighway -- now Interstate 90.

RETURN TO SCENE

OLD MAN (v.o.)The phenomenon grew with the growth ofThe Road.

INT. LIVING ROOM

Lucy, Pamela, Eric, and Harold, noticeably DISTANCED fromLucy, sit on cushions facing the Old Man. Tiny remotevideocam records.

Harold and Lucy exchange glares.

A CLEANING ROBOT, with brushes and vacuum nozzle, opensthe door, enters, closes door. All turn and look.

OLD MANNot now, Nebuchadnezzar.

Robot makes gesture of acknowledgment, exits. Unbotheredas if it were perfectly normal, students return attentionto Old Man.

PAMELAWere there any "Tin Lizzies" aroundwhen you were young?

Focus toward photo of Model T.

INSERT: MODEL-T PHOTO

OLD MAN (v.o)Yes, a few.

MONOCHROME STOCK: LATE 1930s, EARLY 1940s STREET SCENEWITH TRAFFIC.

OLD MAN (v.o.)Until a few years after the war therewere all kinds of old cars. Theydidn't make any during the war.


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RETURN TO LIVING ROOM SCENE

LUCYWe've only seen one horse. In thezoo.

ERIC

(slight awe)You actually saw the last days ofanimal-powered vehicles.

PAMELA(cutting in)

What were the roads like then? Imean when there were still horses onthem.

STOCK: 1930s CAR DRIVES DIRT ROAD.

OLD MAN (v.o.)Two-laners. No freeways. Took acouple hours to get across Cleveland.Lot of dirt roads in the country.

STOCK: HORSE DRAWS PLOW

LUCY (v.o.)

You said in your book you saw thetransition from animal muscle power tomachine power.


OLD MANThe end of it. Hard work done byliving things was giving way to non-living things doing it. And then came

an even more profound change.

PAMELAComputers.

OLD MAN(nods)

Non-living thinking machines.

HAROLD


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You experienced both.

SUPERIMPOSE: ONGOING COMPUTER MAP SHOWS: PROGRESS ALONG I-90, APPROACHING RAPID CITY, SOUTH DAKOTA.

OLD MAN(sighs)

Yes.

EXT. I-90 FROM DODGE APPROACHING RAPID CITY - DAY, STORMAPPROACHING

Dark clouds of threatening thunderstorm cover western skyover Black Hills.

SUPERIMPOSED COMPUTER MAP ENDS

ANGLE ON: SIGN GOING BY: "RAPID CITY NEXT THREE RIGHTS" -DAY, STORM APPROACHING

ANGLE ON: DODGE PULLS ONTO EXIT RAMP - DAY, STORMAPPROACHING

OLD MAN (v.o.)The experience in Wisconsin was stillfresh. Whether it had been theelectric fuel pump or not, I didn'twant to stall out on an Interstateagain.

ANGLE ON: DODGE PULLS UP IN FRONT OF COFFEE SHOP IN RAPIDCITY - DAY, RAIN BEGINNING

In darkened daylight it begins to rain. Driver runs forcoffee shop.

OLD MAN (v.o.)So I decided to wait it out.

Driver emerges from coffee shop in stark bright lateafternoon daylight, sparkling rain wet sidewalks,glistening rivers flowing in gutters. Gets into Dodge.Drives off.

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AERIAL VIEWS: DODGE DRIVES I-90 WEST TOWARD WYOMING - DAY,AFTER RAIN.

SUPERIMPOSE: ONGOING COMPUTER MAP: SHOWS PROGRESS TOMOORCROFT, WYOMING

EXT. SPECTACULAR VIEWS OF SUNLIT LATE DAY CONTRASTING WITHSTORM IN BLACK HILLS, (perhaps) RAINBOWS.

ANGLE ON: SIGN "MOORCROFT" AS DODGE PULLS OFF I-90 ATMOORCROFT, WYOMING - DAY

ANGLE ON: DODGE IS PARKED AT GAS STATION PUMP - EVENING,

THREATENING DARK CLOUDS.

Driver fills tank. Opposite side of pump isle, COWBOY-TYPE, weatherbeaten, 40s, fills NEW VAN.

OLD MAN (v.o.)A guy coming the other way told methere was golf-ball-size hail. Iworried about my glass sunroof,decided stay the night.

ANGLE ON: DODGE PULLS UP TO A MOORCROFT MOTEL - LATEEVENING

EXT. MOORCROFT MOTEL PARKING LOT - BRIGHT MORNING

Driver emerges, dumps bag into Dodge back seat, gets in.

COMPUTER MAP SHOWS: PROGRESS ON I-90 TO LITTLE BIG HORN --SUPERIMPOSED ON: SCENERY, LITTLE BIG HORN, GOING BY - DAY.

ANGLE ON: SIGN: "LITTLE BIG HORN BATTLEFIELD MONUMENT" -DAY.

STOCK: BATTLE OF LITTLE BIG HORN SCENE (OR PAINTING)

Soldiers battle Warriors.

OLD MAN (v.o.)


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Last great battle of the four-hundred-year war between Europeans and NativeAmericans.

AERIAL VIEW: OVER LITTLE BIG HORN BATTLEFIELD, I-90 IN

B.G. - DAY

EXT. DODGE DRIVES I-90 BY PEACEFUL GRASSY HILLS OF LITTLEBIG HORN - DAY.

MONTAGE: SERIES OF FOUR AREA GAS STATIONS - DAY.

OLD MAN (v.o.)Years earlier I had gone by in my

rusty old 74 Vega. It had begun toshudder and stall, and I went from gasstation to gas station. New points,new spark plugs, adding dry gas.

EXT. HILL BEFORE BILLINGS, MONTANA, ALMOST TO TOP.

Dodge drives up.

OLD MAN (v.o.)

It gave up about here. Tried andtried, and got it shaking, stutteringover the top.

ANGLE ON: DODGE GOES OVER PEAK, GOES DOWNHILL. WE SEEBILLINGS - DAY

OLD MAN (v.o.)And coasted down into Billings.

ANGLE ON: DODGE DRIVES INTO CONVENIENCE STORE GAS STATIONAT BOTTOM OF HILL, BILLINGS - DAY

OLD MAN (v.o.)Fortunately there was a gas stationwith a mechanic, and he spent all day-- between running out and fillingtanks -- installing a new timing gear.

Driver stops car at pump, gets out. He walks up to

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convenience store.

OLD MAN (v.o.)But this one, too, like the one inJanesville, was a convenience storealso selling gas.

Driver stands looking at spot on wall where lifts oncewere, goes back to gas pumps, fills tank.

OLD MAN (v.o.)The Road had begun to change. Gasstations with mechanics were slippinginto history.

AERIAL VIEW: MONTANA COUNTRYSIDE AND I-90 - DAY.

SUPERIMPOSE: ONGOING COMPUTER MAP: SHOWS PROGRESS ON I-90WEST FROM BILLINGS TO LIVINGSTON

EXT. MONTANA COUNTRYSIDE FROM I-90 - LATER DAY.

ANGLE ON: EXIT SIGN: "LIVINGSTON" - EVENING.

ANGLE ON: DODGE PULLS INTO (LIVINGSTON) RAINBOW MOTEL -

EARLY EVENING.

OLD MAN (v.o.)After the experiences of the last twonights in Parkston and Moorcroft, Igot a room before it got dark.

Driver gets out of Dodge, carries bags to room.

OLD MAN (v.o.)This second Rainbow Motel in

Livingston looked like a quiet place,but one never knows. Travelers taketheir chances.

ANGLE ON: RAINBOW MOTEL PARKING LOT, WITH DODGE - DARKNIGHT.

Loud diesel locomotive engine NOISES, train TOOTS, traincars BANGING.


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thinking)Oh, a little of both. We are notentirely creatures of the consciousmind.

(pauses remembering)I just had a flash of memory.

EXT. (MONOCHROME) VIEW OF RAILROAD TRACKS UNDER CLAGUEROAD BRIDGE.

OLD MAN (v.o.)I had completely forgotten that theInterstate paralleled railroad tracksgoing under the Clague Road Bridge.


OLD MANIt just came back to me. Funny howthe mind works.

LUCY(holds up a copy of book)

We went to some nearby places in yourbook.

PAMELA

'Course everything's changed.

LUCYI looked up some old maps.

SPECIAL EFFECTS: MAGNETIC LEVO-TRAIN SPEEDING.

LUCYThe old railroad is now the high-speedlevo-line from Cleveland Center to

Chicago Center.


OLD MAN(ponders a moment)

Figures. Tracks went from Clevelandto Chicago.


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STOCK: STEAM LOCOMOTIVE PULLING TRAIN.

OLD MAN (v.o.)When I was young, steam-powered trains

ran on it.


OLD MANHow fast do those levo-trains go thesedays?

ERIC300 - 400 kph.

OLD MANWhat's that in miles per hour. Inever switched.

LUCY(punches computer in remote)

Hundred eighty-six and a half, to twohundred forty-eight and a half.

OLD MAN

Pretty fast. I rode one once. Seemedabout that.

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LUCY(shuts off camcorder withremote)

Well, that's it.(goes to camcorder, zingstripod legs up)

Some of us will be back on Thursday.

OLD MANThe others?

PAMELAPlaying the University of Chicago.Exhibition baseball.

OLD MAN(brightening)

Baseball! I thought that was gone

thirty years ago.

HAROLDWe revived it.

LUCYA few years ago an ash tree on myuncle's farm blew down. We hid someof the wood from governmentinspectors.

ERIC(proudly)We made genuine wood baseball bats.

LUCYWe also made our own baseballs. Well,technically softballs.

HAROLDBlack market inner-city rat-hidecovers.

PAMELALucy is -- uh -- pit-ching.

Eric pulls out a handkerchief. He gingerly unscrews thelight bulb. It goes off as the others start for the door.


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OLD MANPitch a no hitter.

LUCYThat'll be the day. Well, see you

after the game.

INT. CORRIDOR

Lucy goes out door, then Pamela and Eric. Harold comes outlast. Door shuts automatically.

Harold hurries up to Lucy.

HAROLD

Luce, I just . . .

LUCY(stops, glares furious)

You just get out of my life, Harold.

HAROLDBut . . .

LUCYGet away from me!

HAROLD(shrugs, frowns, turns)

Okay.

Harold starts walking ahead of them.

LUCYDamn you.

Lucy THROWS A BOOK AT HAROLD. He hurries around a corner.

Eric goes to console him.

Lucy leans on wall, sinks to carpeted floor.

Pamela goes to the book.

INSERT: BOOK, TOSSED AND OPEN ON FLOOR. AJAR COVER READS:END OF THE ROAD. In corner, price circle reads: $430. OPENCOVER PAGE READS: KENT STATE UNIVERSITY PRESS, 2050 A.D.

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old MECHANICAL CASH REGISTER.

DRIVERNot many gas stations with garagesanymore.

WOMAN CASHIER(handing back change)

Gettin' few and far between all right.

EXT. MONTANA COUNTRYSIDE and I-90 NEAR MISSOULA -AFTERNOON.

Dodge drives west.

SUPERIMPOSE: ONGOING COMPUTER MAP: SHOWS PROGRESS FROMBUTTE TO WALLACE, IDAHO.

ANGLE ON: SIGN: "MISSOULA" - AFTERNOON

ANGLE ON: DODGE DRIVES OVER BITTERROOT MOUNTAINS PASSINGHEAVY TRUCKS - LATER AFTERNOON.

ANGLE ON: WALLACE NEXT EXIT SIGN - EVENING

ANGLE ON: DODGE DRIVES INTO WALLACE - EVENING

We see mining town architecture against evergreenhillsides.

Dodge stops at a traffic light.

OLD MAN (v.o.)Plans were to bulldoze Wallace, likeso many other small towns in the way

of the Interstates. But the peoplehere fought back.

ANGLE ON I-90 CUTTING THROUGH HILLSIDE AT WALLACE - DAY

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OLD MAN (v.o.)Forced the US government to build anexpensive bypass.

ANGLE ON: DODGE GOES OUT ON I-90, THROUGH COEUR D'ALENEVALLEY - DAY

SUPERIMPOSE: ONGOING COMPUTER MAP: SHOWS PROGRESS FROMWALLACE TO GINKGO STATE PARK (COLUMBIA RIVER).

AERIAL VIEW:I-90, EASTERN WASHINGTON DESERT - LATE DAY

EXT. DODGE GOES ACROSS WASHINGTON SEMI-DESERT - EVENING.

ANGLE ON: ROADSIGN: "GINKGO PETRIFIED FOREST STATE PARK" -

EVENING

ANGLE ON: DODGE PULLS INTO GINKGO PETRIFIED FOREST STATEPARK - LATE EVENING.

We see panorama of Columbia Gorge and the artificial lakeof the Columbia River.

We see ancient PETRIFIED GINKGO LOGS AND STUMPS, and SIGNIDENTIFYING THEM, THEIR AGE.

Driver stands looking. We see his LONG SHADOW acrosspetrified logs.

OLD MAN (v.o.)Million years here. Billion yearsthere. Who knows where the time goes?

EXT. GINGKO STATE PARK (MONOCHROME) YOUNGER DRIVER, YOUNGORIENTAL WOMAN.

The two are seen from behind, cast LONG SHADOWS, same timeof day. Two dogs sniff and frolic.

OLD MAN (v.o.)Decades earlier I stood exactly there.With my wife, at that time of day.Our last trip together.

EXT. GINGKO STATE PARK - LATE EVENING


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Driver, very alone by the LONE CAR in the VASTNESS OF THELANDSCAPE, the canyon and artificial lake made by WanapumDam. He pauses, opens Dodge door, climbs in. Dodge drivesoff.

EXT. DODGE GOES ON I-90, HEADLIGHTS ON - VERY LATEEVENING, FADING TWILIGHT

SUPERIMPOSE: ONGOING COMPUTER MAP: SHOWS PROGRESS FROMGINKGO TO ELLENSBURG.

ANGLE ON: SIGN: HEADLIGHTS ON "ELLENSBURG NEXT EXIT" -NIGHT.

OLD MAN (v.o.)Ellensburg's a college town. My oldalma mater. Still had a few friendsaround.

ANGLE ON: DODGE GOING THROUGH DOWNTOWN ELLENSBURG. WE SEEA SIGN: "CENTRAL WASHINGTON UNIVERSITY NEXT RIGHT" - NIGHT

ANGLE ON: DODGE PULLS INTO LIGHTHOUSE MOTEL (1936 motel)WE SEE NEON MOTEL SIGN - NIGHT.

OLD MAN (v.o.)Creature of habit, I always stayed atthe same motel. Built in 1936, earlyin the highway system.

INT. FUTURISTIC LOBBY/NURSE STATION, NURSING HOME

NURSE, 50s, futuristic nurse uniform, looks up from panelof futuristic monitors AS OUTSIDE AUTOMATIC DOOR OPENS.

Lucy, agitated, anxious, walks in.

NURSE(puzzled)

Next week, wasn't it?

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LUCYI've got some things to straightenout.

NURSEHe expecting you?

LUCYNo. Not exactly.

NURSEWell, go on up. I'll tell him you'reon your way.

Nurse punches in VIDEOPHONE. We see the Old Man's face.

INT. LIVING ROOM

Old Man's chair is empty, an ancient wooden ROCKING CHAIRnear it.Automatic door is open. Old Man, in blue jacket, standsbent by it to greet. Lucy, flustered, showing regret, nodsa smile.

OLD MAN(ushering her in)

Hello Lucy. Always good to see you.

LUCY(tersely, going in)

Thanks.

OLD MAN(bent, walking to his chair)

Have a chair.

LUCY(looks reverently at rocker)

Okay?

OLD MANSure.


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LUCY(sitting cautiously)

My great grandma had a real wooden onelike this.

OLD MAN(carefully sitting)

I thought you were pitching inChicago.

LUCYOh, that isn't until Thursday.

OLD MANThesis moviemaking okay yesterday?

LUCYSure. I just . . . I just . . .

The Old Man relaxes, twinkle in his eye.

OLD MAN(interrupting)

Funniest memory just flashed by. Ahamster named Haruchan.

LUCY

(tense, interested)That's a strange name for a hamster.

OLD MANHaru means spring in Japanese. Maybeyou know; my wife was Japanese. Chan. . .

LUCYI know. Grandma was Japanese. Shecalled me Lucy-chan.

OLD MANAh so desuka. So you understand.

(a beat)That was the summer of sixty-six.

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LUCYEighty-four years ago.

(thinks)Grandpa McKnight was born a yearlater. Nineteen sixty-seven. InCalifornia.

OLD MAN(acknowledging)

We lived in California then. Anineteen fifties apartment. Secondfloor.

LUCYFresno?

OLD MANSan Jose.

INT. LIVING ROOM, 1950s CALIFORNIA APARTMENT, GOODWILLFURNITURE.

We see hamster cage, open. Hamster scampers, huggingwalls.

OLD MAN (v.o.)Little female hamster. We gave herthe run of the apartment -- left her

cage door open so she could get foodand water. She built herself a nestin the bedroom closet. One day . . .

RETURN TO SCENE

The Old Man pauses for effect. Lucy sits girlishlyfascinated.

OLD MAN

. . . my wife remarked that we hadn'tseen her for a couple days.

INT. BEDROOM, 1950s CALIFORNIA APARTMENT.

Driver and Young Oriental Woman kneel searching intocloset.

OLD MAN (v.o.)


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We searched her nest. All over thecloset.

Driver and Young Oriental Woman look under bed, behinddresser.

OLD MAN (v.o.)We searched the whole apartment.


OLD MANThere was no Haruchan.

LUCY

Did she get out?

OLD MANAlmost. A few days later we overheardthe people downstairs talking about arat between the walls. Discussingcalling an exterminator.

INT. 1950s CALIFORNIA APARTMENT KITCHEN.

Young Oriental Woman points behind stove. We see a gnawedhole in the linoleum baseboard.

LUCY (v.o.)Haruchan.

OLD MAN (v.o.)Gnawed a hole behind the stove andfell between the walls.


OLD MANWe could hear her trying to climb upand then falling -- scurry, scratch,thump. About nine feet down.

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LUCYThree meters.

OLD MANYes.

LUCY

But you saved her.

OLD MANYup. Ingenious things we do. Ibought some wire mesh, made a hamsterladder.

INT. 1950s KITCHEN

Driver inserts final two feet of wire mesh ladder down

hole. Stands back. Oriental Young Woman and Driver wait.

OLD MAN (v.o.)And then we waited and waited. For awhole 'nother day.

Young woman puts a piece of carrot near hole.

OLD MAN (v.o.)She wasn't able to figure it out. Or,she needed more incentive than food.

Driver sets cage with MALE HAMSTER by hole with end ofwire mesh visible.

OLD MAN (v.o.)So we borrowed a male hamster from afriend. It seemed as if there wassome kind of communication betweenthem. And it didn't take long afterthat.

Haruchan, on end of wire mesh ladder, peers out of hole,heads for cage of male hamster. Driver grabs her.

OLD MAN (v.o.)About midnight she came up.

We see Haruchan's abraded feet, worn away claws.

OLD MAN (v.o.)She had tried for days. Feet were


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raw. Fingernails worn away. With herlast strength she climbed up to themale hamster.


The Old Man shoots Lucy an instructive look.

OLD MANHormones. More powerful than hunger.

LUCY(a beat. looks out window.)

Yeah. My problem. Hormones.

OLD MANThe young man helping you with thevideo?

LUCYThat obvious, huh. Yes. Harold.

OLD MANGood guess. But you two seem to worktogether nicely.

LUCYWe live in the same co-op. We'veknown each other for years.

OLD MANWhat's the problem?

LUCYRemember the AIDS crisis?

OLD MAN

Something like that's going on again?

LUCYNo. Nothing like that. But it stillhas its effects.

OLD MANAIDS?

LUCY

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Yes. People who were given vaccines acouple generations back still carriedit. They could still pass it on -- totheir children. Who would then begiven vaccines themselves. No onedied of it anymore. But the stigma .. .

OLD MANShouldn't it be moot? The new anti-AIDS antibiotic?

LUCY(looking mystified)

Yeah. Kills it. Not just immunizes.

OLD MANBut doesn't kill the stigma.

LUCY(tears begin streaming down)

No. My mother had it. She was bornwith it. My grandmother gave it toher. I took the antibiotic. There'sno virus in me now.

(cries tearfully)But Harold . . . Afraid of whathis parents will say. Breaks up.

OLD MANAnd you asked him to talk to them?

LUCY(angrily, sniffling)

Yes. He won't.

OLD MANHe will. Give him time. He's as muchin love with you as you are with him.

LUCY(brightening, hopeful)You think so?

OLD MANSure of it.

LUCY(relaxing)

In the mean time . . .


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OLD MANWork on your video thesis. Pitch ano-hitter in Chicago.

(pause)

What about the North-South situation?

LUCYLittle scary. Specially if Brazilbacks out of the GreenhouseCommitments. I daydream about livingback in the twentieth century when itall was simpler.

OLD MANWe had the Cold War, recessions,

homelessness, unemployment. When Iwas a boy, World War Two -- Nazis,genocide, all those things. Simplertechnology maybe.

LUCYI guess. I'm a nostalgia freak.That's why I majored in History.

(glances at wall clock)Oh oh. Student cafeteria'll close.

INSERT: CALENDAR CLOCK READS: AUGUST 5, 2050. 11:24.


LUCYI've got to run.

OLD MAN(as Lucy gets up)

Beat Chicago.

LUCYThanks. Thanks for . . .

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OLD MANEnjoyed talking to you. Thanks forreminding me about my hamster.

Lucy leaves. The automatic door closes.

WALL LIGHTS into Nurse (on TWO-WAY VIDEO SCREEN).

NURSELunch in your room?

OLD MANYes.

NURSEThose boys and girls aren't puttingany strain on you?

OLD MANOh no. I wouldn't let them.

NURSEBe sure you don't, now. You are ahundred ten, don't forget.

OLD MANWell, I've done pretty well up to now,wouldn't you say?

NURSEOkay, you tough old varmint. Justkeep in mind they could wear you outwithout realizing it.

OLD MANI'm not going to dance The Riguzziwith any of 'em.

NURSEThe Lezugggi.

OLD MANWhatever. Anyway, don't worry somuch.

NURSEOkay. Suppilliuliumash should bethere to set the table.

Apartment door opens. FOOD-SERVICE ROBOT enters pushing


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END OF THE ROAD

Here. You can have it. I wrote anovel. School printed up some.

SUZANNE(looking at it)

What is it?

DRIVERScience fiction.

SUZANNEI never met a real author before.

Suzanne looks to the side.

JIM, late teens - early 20s, scruffy attire, long hair,

dirty beard, just-got-up look (same actor as Eric,different personality), saunters along walk in front ofmotel rooms.

SUZANNEHi.

JIM(studying Driver)

Hi. Just got up.

SUZANNEThis is Jim. A friend. Lives in room29.

DRIVER(showing disappointment)

Hi, Jim.

SUZANNELet's go in. Sit down. Airconditioning's broke, but it's better

than standing.

DRIVEROkay. But I'm going to turn in soon.Been a long day of driving.

They go in.

INT. LIGHTHOUSE MOTEL ROOM - HOT NIGHT

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It is a housekeeping suite, kitchen area, living room,bedroom. Suzanne sits in easy chair, Jim at one end ofsofa, Driver in a hardback chair.

SUZANNE(to Jim, holding book)

He wrote this.

JIM(to Driver)

Writer, huh. You could write aboutthe drugs in the schools.

DRIVERDrugs?

JIM

You ever do 'em?

DRIVERNo.

SUZANNEHalf the kids in our high school did.High in class every day. Pretty"high" high school.

DRIVER

(looking at both of them)Same high school?

JIMYeah.

DRIVER(to Jim)

You did 'em?

JIM

Yeah. I was one.(a beat)You want to hear a good story?

DRIVERSure.

JIMJust before school let out we weredown at the beach at Vantage.


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DRIVERWhere?

JIMBy Ginkgo State Park. On the

Columbia. Big lake made by WanapumDam.

SUZANNEDown I-90.

DRIVERI know. Just came from there.

JIMDrugs! Man, we had everything. LSD,

cocaine, grass, speed, beer, wine.Everything.

EXT. BEACH AT VANTAGE (COLUMBIA RIVER GORGE) - LATE DUSK.

Jim, Suzanne, FOUR OTHER TEENAGERS, all in bathing suits,barefooted, ALL STAGGERING, STONED, DRUNK. They get abonfire of driftwood going.

CLOTHES SEEN DRIFTING AWAY IN ROWBOAT.

JIM (v.o.)(as rowboat slips offshore)

Someone noticed the boat drifting. Allour clothes were in it, including ourcar keys.

One male teenager, one female teenager (same actors asHarold, Pamela) jump in, start swimming after it.

LATE DUSK BECOMES DARKER. We see TWO OARS on the beach.

JIM (v.o.)Couple kids swam after it in the dark.

Female teenager seen thrashing around.

JIM (v.o.)One of them was shouting that she wasdrowning. We couldn't see. We were

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TOSSES LINE to drifting rowboat with two cold, gratefullooking teenagers in bathing suits.


JIMCops gave us a written warning.Didn't ask about drugs or anything.

INSERT: NEWS PHOTO, ACCIDENT DEMOLISHED CAR.

SUZANNE (v.o.)The girl was a good friend. She died.Crashed her car couple months later.


DRIVERSorry! Stoned?

SUZANNEDrunk.

DRIVERWay it goes.

JIMYou want to hear another?

DRIVEROne's enough for a couple goodnightmares.

(glances at watch)I think I'll turn in. Been a longday.

Driver gets up, goes toward door.

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EXT. CENTRAL WASHINGTON UNIV. CAMPUS, ELLENSBURG - NIGHT

Driver ambles thinking across campus in the darkness.

OLD MAN (v.o.)But I couldn't sleep. I got up andwalked around town, around the campus.

Next day I drove out to see oldfriends.

EXT. FOURTH PARALLEL ROAD, BADGER POCKET, FARMHOUSEOUTSIDE ELLENSBURG - DAY.

Dodge pulls into driveway. MIKE O'BRIEN, 50s, farmattire, exits house, waves a greeting. SHARON O'BRIEN,40s, casual dress, looks out, waves. Their DOG barks agreeting.

Driver gets out of Dodge, walks toward house.

MAUREEN, shy 14-year-old girl, carrying book, joinsparents in waving.

SHARONCome on in.

MIKEHave a beer.

DRIVERHello, Maureen.

MAUREENHi.

SHARON(to Maureen)

Trigonometry. Until supper.

MIKE(to Driver)How was the Lighthouse Motel?

DRIVERGoing down. Half of it's welfare now.One of 'em told me an amazing story.

INT. 1980s FARMHOUSE KITCHEN - DAY


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Sharon, Mike, and Driver sit relaxed around kitchen tablesipping beers.

DRIVER

(relating story). . . so they were ready to go overthe dam. The girl was killed in acar accident a couple months lateranyway.

SHARONWe know the high school's gottenpretty bad. We keep the girls on ashorter leash now.

DRIVERWhere's the other one?

SHARONEileen? College library. Studying.

MIKEYou want to hear another relatedstory?

DRIVER

Sure.

MIKEFriend has an orchard. You probablypassed it. He carries a sidearm now.

EXT. CENTRAL WASHINGTON ORCHARD - DAY

FARMER, 50s, farm attire, gets off tractor, inspectsorchard tree near ROAD.

DRIVER (v.o.)A gun?

Unnoticed by Farmer, two PICKUP TRUCKS pull up. SEVENscruffy "FARM LABORERS" (20s, prefer Hispanic) get out,appear to "deal." Farmer turns, looks at it puzzled.

MIKE (v.o.)A gun.

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(sighs)Seems he nearly inadvertentlyinterrupted the transfer of someeighty pounds of pure cocaine from onegroup of "farm laborers" to another.

Transparent plastic bags of white powder are handed from

one pickup and placed under an orchard tree.

Suddenly, SHOUTING. CONFUSION REIGNS.

A SWAT TEAM of TEN D.E.A.-JACKETED ARMED MEN, AND LOCALUNIFORMED SHERIFF'S DEPUTIES springs into action fromhiding places behind trees, etc.

MIKE (v.o.)A SWAT team erupted out of nowhere!

D.E.A. MAN

(shouting)FREEZE!

DEPUTY

(shouting)HANDS ON THE TRUCK!

"Laborers" are, searched, cuffed, marched away.

MIKE (v.o.)Nabbed 'em. Took 'em away. But thereare lots more.

RETURN TO KITCHEN SCENE

MIKEI-82 and I-90 seem to have becomemajor dope corridors from Mexico sincethe Coast Guard tightened up on WestCoast ports.

SHARONSo some farmers are carrying guns. Ithink they're over-reacting.

DRIVERBut they're out there all alone.The problem is not so much the sellersas the buyers. What spawned this hugeappetite?

MIKEI don't know. Wasn't like this when Itaught high school.

(stands)


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Come on. We'll pick some supper.

EXT. FARMHOUSE YARD.

As Mike and Driver walk we see VIEWS OF THE KITTITASVALLEY, perhaps MT. RAINIER in background, a sense ofspace. Driver motions to HILL in the Yakima Firing Center(US Army).

DRIVERThirty years ago I was a draftedsoldier up there. On war games Iwould look down here wondering whatall the civilians were thinking. Oneday we got our orders for Southeast

Asia.

MIKEAnd you never really got out of Asia.

DRIVERGuess not. Japanese wife. Livingthere as a civilian. I still havenightmares that they won't let me outof the Army.

MIKEHeard lots of guys say that.(waves to garden)

Pick out some vegies.

DRIVER(begins scouting vegetables)

Hunter gathers. How many people inthis country pick their own suppers?

MIKE

They all do. In the supermarket.

They give each other "bad joke" looks.

EXT. FARMHOUSE DRIVEWAY - MORNING

Driver leans out window of Dodge. Sharon and Mike standin driveway.

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Driver buys ticket from TICKETSELLER.

DRIVERNice and cool in here.

TICKETSELLERHundred ten out there.

Bottom right screen reads: 110o F = 43.3o C.

Driver wanders through Japanese woodblock print exhibit(use museum-quality copies; the exhibit-on-tour is gone).

Driver stops in front of print "Cherry Blossom Viewing atAsakusa Temple" by Utagawa Kunisada.

INSERT: CHERRY BLOSSOM VIEWING AT ASAKUSA TEMPLE.Prominent date: 1856.

OLD MAN (v.o.)Peaceful scene. I was there over acentury later.

EXT: (STOCK?)PRESENT VIEW OF ASAKUSA TEMPLE (pulling back

to Tokyo crowds and traffic with traffic noises) - ANYTIME

OLD MAN (v.o.)The world had gone mechanical.

RETURN TO MUSEUM SCENE

Driver walks out museum door into sudden brightness.

OLD MAN (v.o.)

Outdoor heat whacked into me.

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EXT. MARYHILL MUSEUM - HOT AFTERNOON

We see another panorama of vast Columbia Gorge as Driverwalks to Dodge, gets in.

Driver, sweating profusely, drives Dodge through ColumbiaGorge.

OLD MAN (v.o.)I had never experienced such heat.Air coming through the vents was likefrom an oven.

ANGLE ON: DODGE DRIVES INTO BINGEN, WASHINGTON - HOTAFTERNOON

ANGLE ON: BANK CLOCK-THERMOMETER FLASHES: 2:07. (then)122o F. (then) 50o C. (then) 2:08 - HOT DAY

ANGLE ON: DODGE PULLS UP BY PAY PHONE - HOT AFTERNOON.

Driver drops coin, stands sweating at pay phone.

OLD MAN (v.o.)I called Bridget at home, not reallyexpecting to find her in. She had

written that she was teaching summerschool. Not knowing which school, Iexpected to wait a couple hours.

Driver looks pleasantly surprised as he listens on phone.

OLD MAN (v.o.)But the extreme heat had shut down thesummer school. So I drove on up toHusum.

SUPERIMPOSE: ONGOING COMPUTER MAP: SHOWS ROUTE FROM BINGENTO HUSUM, WASHINGTON.

OLD MAN (v.o.)Bridget came from Bay Village, and hermother had given me a package todeliver.

ANGLE ON: DODGE DRIVES ALONG ROAD TO HUSUM - DAY.


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ANGLE ON: DODGE PULLS ONTO DIRT ROAD - DAY

OLD MAN (v.o.)

She had designed and built her house,by herself, with little help fromanyone.

EXT. BRIDGET'S WOODSY RURAL HOUSE - HOT AFTERNOON

Dodge pulls into driveway.

BRIDGET, 30s, teacherish, casual attire, comes down tomeet Driver. He holds forth album-sized package. Helooks, impressed, at house.

DRIVERBuilt this by yourself?

BRIDGET(takes package, proudly)

Yeah. Kind of nice, isn't it?

DRIVERAmazing!

BRIDGET(partially tears open package)Album of childhood photographs. Comeon. I'll show you around.

They head up toward the house.

INT. BRIDGET'S LIVING ROOM - DAY

Bridget and Driver enter living room from kitchen.

BRIDGET(proudly, happily)Have a seat.

DRIVER(both sitting in chairs)

Satiated the nest-building instinct?

BRIDGETCompletely. Last house I ever build.

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98/150

You want to hang around here for awhile? I can sure use some help.

DRIVERA while?

BRIDGET

The summer.

DRIVERNo. Can't. Got to finish this trip.Write the book.

BRIDGET(shakes head, sighs)

Always driven by unseen forces to douncommon things. Stay tonight?

DRIVERI could. But then I'd have to skipthe Oregon Coast. Memories. Iplanned to stay in an old motel inWheeler tonight. Friends in GrassValley August 8. Have to be in SanFrancisco next day.

BRIDGETThe Jerry Garcia thing?

DRIVERYeah.

BRIDGETLike an appointment?

DRIVERWay it seemed. And I don't have thecash to wait around out here until hissecretary can reschedule me orsomething. Even if I did, my job's

hanging by a thread. Got to get backfor orientation week.

BRIDGETBut if he wants to see you, you'dthink . . .

DRIVERTrouble is, I don't know how thosecelebrities operate. And I'm afraid


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END OF THE ROAD

to ask.

BRIDGETOkay. Quick lunch?

DRIVERYeah. That'll be good.

She gets up and goes toward kitchen.

EXT. BRIDGET'S HOUSE DRIVEWAY - MORNING

Bridget stands beside Dodge. Driver leans out window.

DRIVERI'll try to get back here next summer.Fewer complications.

Dodge starts to move.

BRIDGETYou gotta do what you gotta do. Havea good trip. Send me a copy of thebook.

ANGLE ON: DODGE DISAPPEARS AROUND BEND - MORNING

OLD MAN (v.o.)A pang of sadness, loneliness struckme. Like a soul alone for eternity inthe vastness of the universe.

ANGLE ON: DODGE STOPS AT INTERSECTION WITH "HUSUM" ROAD.

OLD MAN (v.o.)

But there was little choice.

Driver hesitates. Looks back. Sits with hand on the gearshift.

ANGLE ON: DODGE PULLS OUT ONTO "HUSUM" ROAD FROM DIRT ROAD- MORNING

OLD MAN (v.o.)

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100/150

I weighed it all. Purposes, costs,memories, my job. I was too old tostart all over again.

ANGLE ON: DODGE PULLS OUT ONTO ROUTE 14, WEST, FROM ROUTE141 - MORNING

Documents

End of the Road - Script for Cellphone Videocam