BADGYDAVID RUTH12/23/2015

1

EXT. CARNIVAL - DAY

Badgy (the scene is from his POV), a new, fluffy stuffedbadger the size of a small watermelon, sees nothing butassorted stuffed animals. He is buried in a box of carnivalprizes. The sound of CHILDREN SCREAMING and CARNIVAL RIDESis heard MOS.

A pair of hands reach into the box, pulling out the toysthat lay on top of Badgy, revealing a blue sky, a nearbycarnival stand, and the face of a young Merida Jordan (26,short, dark hair, mischiveous with a sense of adventure).She disappears out of Badgy's sight with the toys.

She returns to the box of prizes, this time grabbing Badgy.She hoists him into the air, hanging him high on the cornerof a prize rack adjacent to a ring toss game.

We see a long, wooden boardwalk abuzz with activity. Alsoseen is Marty Thomas (28, handsome, introverted but curious)walking in the direction of Badgy, looking about intentlywith thick, dark glasses. His eyes alight on Merida andBadgy. He speaks MOS to Merida.

As Badgy hangs out, time elapses while Marty plays ringtoss. We see animated talking and gesturing from Marty--heclearly wants to spend time with Merida.

As the sun begins to set and reflect dazzling hues on thewater of the pier across from the booth, we see Marty pointto his pile of small toys and then to badgy. He throws aring.

Merida steps around the booth to Badgy, taking him off therack and handing him over to Marty. We see Marty shake hishead. Badgy turns. We see Merida's face light up and gestureto herself before embracing the pair. The embrace obscuresBadgy's field of view.

TIME CUT TO

EXT. CARNIVAL - DAY

Badgy sees the inside of a stroller quickly lifted up. Heobserves Merida (28, longer, slighly wild hair, joyful) beamat something next to Badgy, surrounded by a slightlyovercast sky.

Badgy is picked up and turned around. He is made to dance,and sees a two-year-old Sam Thomas giggling at him.

Marty (32, same glasses, more relaxed) chuckles, pushing thestroller. Sam wants to be held and extends his arms. Meridahands Badgy to Marty, who he holds with one hand.

Badgy sees the familiar sights and SOUNDS of the boardwalksway as the couple strolls along.

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Merida points out the ring toss booth where they met. Martyand Badgy turn to face the booth. Badgy sees the occupant ofthe booth converse with the couple--he looks up as it beginsto rain.

Badgy is idly twisted back and forth. On his left, acolorful poster. On his right, the nearby pier. The nextturn slows down and blurs.

TIME CUT TO

EXT. CARNIVAL - NIGHT

Through heavy rain, Badgy turns to face the poster, whichnow says "MISSING" with a picture of Merida on it.

Badgy twists again to see an empty boardwalk mottled by redand blue lights of a police cruiser and the vigilant snoutof a bloodhound.

Badgy is held out to the canine. The hound takes in thesmell of Badgy before sniffing the air and searching for atrail in the rain.

Badgy is held tightly and turns to face Marty (46,disheveled and heartbroken)and a police officer sharingbrief eye contact before the officer walks away with theleashed hound.

Marty shambles over to the edge of the pier, sitting downand staring vacantly at the water and the ripples caused bythe rain. Sam (16 tomorrow, older than he looks, holdingBadgy) steps over to Marty.

We see the distorted reflection of Sam in the water and theform of Badgy tightly held against his chest.

**Merida has gone missing. Sam turns 16. We see Martystruggle with Sam and also getting his animation worknoticed. We see flashbacks of Merida through Sam and Marty'slenses several times through the movie.**

3

INT. CLASSROOM - DAY

Ms. Mullens (33, motherly, impatient) is seen through the window on the door of a typical high school classroom. She paces about, lecturing a rather unresponsive group of 16-17 year-olds MOS.

Sam Thomas (16, smart, lean with messy brown hair, burntout) doodles in a notebook and glances occasionally at the

BROKEN CLOCK on the wall. Its hands sit motionless, save for the second hand which ticks repeatedly on the same number.

MS. MULLENS And so we see the policies that governed Mesopotamia's judicial system strongly influenced patterns of interaction with its neighbors...

Ms. Mullens walks past Sam's desk. Without stopping her lecture, she wraps on the desk, jolting him out of his daydream. He immediately returns to doodling as she passes by.

THE DOOR near the front of the classroom is flung open as the cry of someone who has lost their balance is heard. As the lecture halts abruptly, all look to see the source of the disturbance.

MARTY THOMAS (37, absentminded, unusually preoccupied) Sam's father, trips through the swinging door. Disheveled, he wears khakis and tweed and clutches what appears to be a ratty plush animal under his arm. He catches his breath.

MARTY Sorry for the dramatic entrance, Margaret. I hope Badgy and I aren't too late for career day.

His eyes alight on his son. He smiles and holds up BADGY, a ratty, stuffed badger the size of a smallwatermelon. Several patches and heavy wear give away itsage. Several of Sam's classmates eye him mockingly. Sam seesbadgy and then gazes intently at his doodle.

STUDENT 1 Aw, is that Sammy's wittle baby toy?

STUDENT 2 (smacks student 1. He reproaches him a bit to loudly.)

Hey, give him a break. His mom went missing last week, remember?

MS. MULLENS (sharp, to students) That's enough! Mr. Thomas, you are

(MORE)

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MS. MULLENS (cont'd)actually too early--career dayisn't until tomorrow.

MARTY(in a daze)

Oh...that's too bad! I guess youkids'll have to wait till later tohear about the wonders of...stopmotion-animation.

Marty holds Badgy up, making his little badger paws dance.

MARTY(CONT'D)See? Look how his little badger paws move. Now imagine this little guy dancing with his little woodland friends.

Some students snicker.

SOME OTHER STUDENTS look sorry for Sam. Marty is oblivious to the embarrassment he is causing his son.

MS. MULLENS That sounds wonderful, but let's wait until next week to imagine it.

MARTY Ah, shucks. I was about to make him do the Badgy dance. You remember the Badgy dance, right, Sammy?

SAM's PENCIL presses harder into the paper as Marty describes the Badgy dance. Ms. Mullens glances at Sam.

MARTY (In a sing song voice. Heis in a bad spot.)

First we twist to the left, then we jump like this. Turn in a circle and blow a biig kiss.

SAM'S PENCIL breaks under the tension with a SNAP.Frustrated, Sam rushes over to his father.

SAM What is wrong with you?!

MS. MULLENS Sam, sit down please. Marty, Ithink it's time--

MARTY (holding Badgy close toSam)

Sammy, you love the Badgy dance,take him, I brought him here foryou.

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SAM I don't want Badgy, I want to seemom--

A beat as the words catch in Sam's throat. Sam hangs his head, tearing up. He grabs badgy from Marty and hurls himinto the floor, sending the toy skidding. Sam pushes pasthis father and hurries out of the room.

BADGY has come to rest by a desk leg. A tear has opened upand stuffing juts out of the body of the old toy. A beat. Marty slinks over to the toy and scoops it up.

MARTY (realizing what he'sdone)

Sorry to disturb your class, Margaret. I thought a surprise visit might cheer him up. I'll be going now.

MS. MULLENS (Her patience is gone. Sharply, to Marty)

Hold on. We need to talk. Now.

She turns to the students.

MS. MULLENS (CONT'D) Re-read chapter 3 until the bell rings. I expect a one-page summary of what you read on my desk tomorrow. (to Marty) come into thehall with me.

The students groan. Ms. Mullens steps out of the room, Martyin tow.

SEVERAL STUDENTS Turn to one another, whispering.

INT. HALLWAY - MOMENTS LATER

The door to the classroom shuts as Ms. Mullens and Martyface each other.

MS. MULLENS (a change of personality)

What the hell was that?

Marty looks at his feet, for all the world looking like astudent being scolded.

MS. MULLENS What makes you think you can justcome into my room like that andruin your kid's day?

MARTY(Mumbling)

I thought it would be fun.

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MS. MULLENS What? What kind of insensitive--

MARTY(surprised)

No no! I meant it would be fun forSam to see Badgy again, but Iwasn't thinking.

MS. MULLENS You're right, you ought to have tolistened to me when I told you tostop. I am not Sam's parent, but Iknow what pushes his buttons.

MARTYFair.

A beat. She steps a bit closer to him as Marty looksdowncast.

MS. MULLENS (CONT'D) I understand it must be hard foryou with Merida missing. I am sorryif I sound terse. But you need tolook out for Sam as well--

Marty nods, but looks like he is about to cry.

MARTYShe isn't missing.

MERIDAWhat?

MARTY(beat. The bell rings.)

Margaret, Merida's dead.

MS. MULLENS (CONT'D) Oh my god. I'm so sorry--

MARTY (as students begin to file out) Please don't tell Sam. Not yet.Please. It would crush his spirit.

Marty walks hurriedly away. Merida looks stunned.

**Sam goes to his hiding place, where he argues with Merida.Merida acts as herself, but this will evolve over the courseof their interactions as Merida's projection is distorted bySam's grief (and eventual acceptance).**

7

INT. THOMAS HOUSEHOLD - NIGHT

Sam Thomas (16, slight figure, messy brown hair) breezesinto his home, backpack in hand. He turns on the lights,illuminating an empty home.

SAMDad, I'm home!

He drops the backpack on the living room floor, ambling overto a bright pink note on the fridge, passing anentertainment center equipped with speakers and a stereo.

THE NOTE reads: "At the studio tonight. Lasagna is in thefridge. XOXO --Dad"

Sam smiles. He turns purposefully towards

THE STEREO

INT. MARTY'S CAR - CONTINUOUS

The sound of Strauss' BLUE DANUBE fills the car.

MARTY'S HAND turns a knob on the car stereo, lowering thevolume. The stereo reads "89.3 FM." He visits with Ms.Mullens on his phone.

MARTYThere. Sorry I couldn't staylonger, I just don't think I'mready to leave Sam alone yet.

INT. MS. MULLENS' APARTMENT - CONTINUOUS

Ms. Mullens cooks spaghetti in a dingy two-room apartmentwith yellowing wallpaper. She is wearing sweats and her hairis in a ponytail--a sight no student of hers would see.

MS. MULLENSDon't worry about it! You two havebeen through a lot this past year.I still see the stress on his facein class.

INTERCUT - MARTY/MS. MULLENS

MARTYI'm sure, I still wish he'd tryharder on his schoolwork.

MS. MULLENSYou shouldn't be too hard on him,he's smarter than you think--youshould see the work he does when hegets interested in something. Andhe's so creative!

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MARTY(He idly flicks abobblehead on the dash.)

Really? You wouldn't know it fromhow he acts at home. I'm convincedall he does is watch TV in thatroom of his.

INT. THOMAS HOUSEHOLD - NIGHT

THE STEREO reads "89.3 FM." Strauss' BLUE DANUBE blares fromthe speakers.

Sam waltzes into the living room in a t-shirt and underwear,arms raised gracefully. He twirls in time to the music.

BADGY sits on the couch, captivated. Sam leaps over to Badgyand gives a dramatic bow. He drops to one knee, eye-levelwith Badgy.

SAMHello Zoey. I, uh, saw you sittinghere. Would you like to dance?

INTERCUT - MARTY/MS. MULLENS/SAM

MS. MULLENS(Laughing. She holds acan of tomato sauce)

You told him you're at the studio?For shame, Marty! So he doesn'tknow?

She twirls lightly over to a can opener on the counter.

MARTYI'm sorry, I'm not sure he's readyto know just yet. I'll talk to youlater, alright?

MS. MULLENS(smiling)

Alright, you two have a good night.

Marty hangs up. He pulls into his driveway.

MARTYI don't know if I'M ready yet.

SAM AND BADGY waltz around the living room couch. The musicreaches a climax.

THE DOORKNOB turns. Sam dips Badgy. He closes his eyes andleans in for the kiss.

MARTYSam?

SAM'S EYES snap open. Sam drops Badgy. He hurries to shutthe stereo off and retreats to his room. The door slams.

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INT. THOMAS KITCHEN COUNTER - LATER

BADGY remains on the floor. Silverware CLINKS againstplates.

Sam and Marty dine on lasagna across from each other at akitchen island. Sam wears the t-shirt and now shorts. Thesilence lingers for a few moments.

SAM (Still embarrassed, butnot mad)

So, uh, you're home early.

MARTY Mhm.

TUPPERWARE stained with tomato sauce sits on the counter.More CLINKING is heard.

MARTY You know, your cousin Steve down inHartford is a dancer.

SAM chokes on his lasagna.

MARTY (CONT'D)If you're interested in that stuff,I'm sure he could give you somepointers. I can take you to hisstudio some weekend..Maybe find youa better partner than Badgy.

SAM (Emarrassed, butrelieved.)

Dad! Wait, really?

MARTYSure. As long you're keeping upwith your schoolwork.

SAM Uh, wow, thanks! That's, great. Uh,dad, actually there's something Ishould tell you. Um, Ms. Mullens isalready helping me.

MARTY(surprised but relieved)

Oh! Well, that's great. So you twoget along alright, then?

Sam gets up from the table. He rinses his dishes in thesink.

SAMYeah, she's actually pretty coolwhen she's not teaching history.

Marty looks down at his plate and smiles.

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MARTYYeah, she is.

SAMHey dad? Did you come home becauseyou forgot your bag?

Sam nods towards

A BAG hanging on the wall, stuffed with papers.

MARTY(does he tell him?)

Um...yeah. Can't finish my projectwithout it.

SAM heads toward Badgy.

SAMAre you goin' back to the studiotonight?

MARTYYou wanna dance in your underwearsome more?

Sam scoops up Badgy and heads towards his room.

SAM Maybe.

MARTY(chuckling)

I'll let you know if I do.

The door SHUTS.

Marty stares at his phone. The

LOCK SCREEN is a selfie with Ms. Mullens. He glances at thebag on the wall and sighs. His eyes flit down to the phoneagain before turning towards the door.

**Marty and Merida decide to live together. Sam is not surehow to feel about this. Sam and Zoe develop arelationship.**

11

INT. SCHOOL AUDITORIUM/THEATER - NIGHT

It is a packed house. The room is filled with the sound ofchatter--the room is abuzz with anticipation.

ZOE turns in her seat to her friends and gestures towardsthe stage; she says something to her friends and they nodhappily in reply, but it is MOS because of the din.

MARTY AND MS. MULLENS sit in anticipation, holding hands.

At once the curtain parts and

SAM THOMAS stands alone center stage. At once the crowd issilent. An announcer blares over the loudspeakers.

ANNOUNCERFor our last act, please welcomeSam Thomas!

Before Sam can react, spotlights shine on him and BLUEDANUBE plays. As the music plays, Sam is paralyzed.

SAM(mumbled)

I can't..move, why can't I move?

As the music continues, the crowd starts booing and jeering.

ZOE looks heartbroken. SAM, at Zoe's crushed glance tries to explain, but cannotspeak. The jeering grows louder.

MARTY looks disappointed, refusing to look at Sam. Ms.Mullens tries to comfort Marty to no avail.

STUDENTS begin to rise and yell at Sam.

STUDENTGet off the stage!

STUDENT 2 Boo!

The jeering now drowns out the music.

SAM is crushed, and can do nothing but look out, defeated.

Merida Thomas stands on the stage, teary-eyed anddisappointed. She stares directly at Sam.

MERIDASam, how could you dothis?

SMASH CUT TO

INT. SAM'S BEDROOM - NIGHT

SAM opens his eyes and gasps quietly. After a few shortbreaths, he closes his eyes and sighs. He rolls out of bed.

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Sam turns on

A DESK LAMP, illuminating a messy desk. Sheets of paper withvarious diagrams and scribbled notes are strewn about.

SAMAlright, we gotta get serious aboutthis.

A CALENDAR near the desk is half-crossed out. The mostrecently crossed-out date sets adjacent to a circled datewith the words "TALENT SHOW" scribbled on. The sound of achair scooting in is heard.

Sam sits at his desk, staring at a paper in hand.

SAM(determined)

Okay. I got this.

A DIGITAL CLOCK on Sam's nightstand reads "2:35."

MONTAGE

Sam sways while reading off of a diagram.

A trash can by the desk contains a single, crumpled piece ofpaper.

The clock reads "3:35"

Sam sits at his desk. He appears to have an idea, but loses it and looks frustrated.

The piece of paper in the trash can is taken out.

Sam tries a dance move with Badgy. We see

BADGY looking quizzicaly in Sam's hands. Sam shakes hishead--it's not going to work.

The clock reads "4:35"

Sam stares at a wall where three diagrams are taped up. Hestrokes his peach-fuzz beard, unimpressed.

Sam attempts a dunk into the trash can with a paper. Hemisses. He picks the paper up and deposits it gingerly intothe can.

Sam sits with his head on his desk.

The clock reads "5:35", then "6:35". The light in the roomchanges to daylight. The clock reads "7:35" then "8:35".

END MONTAGE

Sam sleeps at his desk, drooling on a paper. He takes in adeep breath through his nose. He opens his eyes.

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SAMIs that bacon?

Sam's eyes open wider. He sits bolt upright and turns tolook at his clock.

He closes his eyes and groans.

INT. THOMAS HOUSEHOLD KITCHEN - DAY

BACON sizzles on a skillet. Marty (47, morning person)whistles as he cooks and serves breakfast. Footsteps areheard from the other room. A dejected Sam shuffles into thekitchen.

MARTYGoood morning, sunshine!

SAM(not having a goodmorning)

Morning.

MARTY(seeing Sam's demeanor)

Oh, not so good a morning. Latenight?

SAMYeah. I just can't figure out whatI'm going to do for this show.

MARTYHuh. Didn't you have somethingworked out before? You're running abit short on time.

SAM I did, before Zoe twisted herankle.

MARTYOh, right..so you can't do aroutine you've done with Margaretor Zoe in the past?

SAMNope, it's a solo now. I'm on myown.

Two slices of toast pop up from the toaster. Marty grabs theslices, holding one in each hand.

MARTY(admiring the toast)

Ah, but do we ever really doanything alone?

SAMWhat?

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MARTY(chuckling)

It's something your mom said to meonce.

SAMOf course it is.

MARTYReally. I was working on a projectin the studio, and she asked if shecould help and, stubborn personthat I was,

SAMYou said no.

MARTYYep. And that's when she told me.

Marty acts out the scene with the pieces of toast on thetable as if they were action figures.

MARTY (CONT'D)(imitating Merida)

You know, you never really doanything alone.

(as Marty, dramatic)What do you mean?

Sam smiles.

MARTY (CONT'D)(as Merida)

You take the people you love withyou, right here.

Sam looks at Marty as Marty pokes the center of one of theslices with the other one. Sam's eyes are on Marty.

MARTY (CONT'D)And those things are there nomatter what you're doing--

Marty is interrupted by Sam, who is hugging him tightly.Marty, surprised, reciprocates awkwardly, holding the toast.

SAM(still embracing Marty)

Thanks.

Sam releases the embrace.

SAM (CONT'D)I know what I'm going to do now.

MARTY(offering toast)

Eat your toast? You want me or Mom?

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SAMDad!

MARTY(handing Sam the Martytoast puppet)

Me it is.

SAM(grabbing the slice)

That's not what I--ugh. Yourjokes...

Sam heads to his room.

SAMSee you at the show--love you!

Marty smiles, then looks at the remaining piece of toast.

MARTYHm. I wonder if anyone's donedancing bread..

CUT TO

TIME LAPSE

THE SCHOOL PARKING LOT is empty. The sun goes down as mildactivity flashes by. As dusk arrives, cars fill the parkinglot and people blur into the school. The sun sets.

CUT TO

INT. SCHOOL AUDITORIUM/THEATER - NIGHT

The theater is filled with families. On stage, a

GIRL (18, medium brown hair, nervous) sings a song, shakingslightly. We see Sam's friends and family seated in one ofthe rows. As the girl continues to sing MOS, we see

SAM backstage. He sits on a stool examining a notebookfilled with diagrams. A backpack sets next to him.

ONE PAGE is a column of familiar names: "Badgy, Dad,Margaret, Zoe, Badgy, Zoe, Margaret, Dad, Mom." In the othercolumn are diagrams with arrows and tiny scribbled notes.Sam mouths the names, swaying in time to some song in hishead. The audience begins clapping--the song has ended.

Sam looks up from his notebook.

SAMHere we go.

Sam kneels down off the stool to put the notebook away. Ashe unzips the bag, we see Badgy looking up from theinterior. Sam pauses to look at Badgy. We hear an announcer.

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ANNOUNCER (O.S.)Up next, Samuel Thomas.

SAM (looking at Badgy)

Alright, just like we allpracticed.

Badgy affirms with a glance. Sam puts the notebook down. Hesteps out onto the stage amid clapping from the audience.Marty smiles and whistles. Zoe and Margaret clap fervently.

ZOE(her ankle is bandaged)

Let's go Sam!

As the clapping dies down, Sam stands center stage. The roomgrows silent. Music begins to play - a waltz.

Margaret and Marty exchange glances. What is his plan? Zoerecognizes the son and inches forward in her seat--he'sstill using the same song?

Sam begins dancing. It is a modified version of the Badgydance.

MONTAGE

Sam moves through the steps of the dance. He turns and holdsBadgy in his hands, guiding him through the dance.

Sam moves and is on stage alone again. He is beaming. Hechanges his dance to a classic waltz.

He dances on stage with Ms. Mullens. A turn and the musicpicks up. Sam is alone, dancing on the stage again. In hismind's eye, he executes every move with precision and grace.

MARTY AND MS. MULLENS exchange glances. We see Sam dancefrom their POV. He awkwardly moves about the stage, dancingwith the air sometimes, other times swaying and swingingabout. None of it works very well aesthetically.

We return to Sam's POV. He gives a faux bow, and looks up tosee Zoe on stage. He slow dances with her and dips her.

Sam is alone again. He continues dancing as the music comesto a climax. Sam turns and holds Badgy in an embrace. Hefaces Merida, who stands facing him on stage in a beautifulblue dress. She smiles as he looks first at Badgy, then her.

Badgy disappears as Sam and Merida look at each other. Hethen dances, and she mirrors his movements. He turns toreach for her, and she grabs his hand. We see the movementas the audience does from a student's POV.

STUDENT(bored more thananything)

What are you doing? Get off thestage!

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END MONTAGE

Sam and Merida pause and look out. Sam is shaken. The musiccontinues.

ZOE looks angry as she glares toward the direction the jeercame from. She makes to get up, but Ms. Mullens keeps her inthe seat.

ZOE(indignant)

He can't say that!

MS. MULLENS(frustrated as well)

I know.

SAM'S HAND releases Merida's quickly. Sam stands on thestage alone, frozen--just like his dream. He glancessidelong at the empty stage, defeated.

SAM (under his breath)

Sorry, guys.

Sam bows briefly and walks quickly off-stage. The song ends.

ZOE looks down as the audience claps weakly. Marty and Ms.Mullens join in the clapping. Zoe pounds her fist on thearmrest in frustration.

**Sam discovers Merida killed herself. Marty knew, but notwhy. Marty's relationships with Sam and Margaret becomestrained. Sam struggles with his visions of Merida with thisnew development.**

18

INT. MARTY'S CAR - NIGHT

A silver sedan pulls to a stop at a red light. Sam Thomassits impatiently at the wheel. Slouched adjacent is friendZoe Carter (16, 5'3" and fierce, fly-away cut platinumhair), staring at him with concerned eyes.

SAM(noticing her after amoment)

What's up? Are you doin' okay?

ZOE(smiling wryly)

Mhm. Just wondering what you'rethinking about.

SAMOh, gotcha.

The vehicle speeds forward as the light turns green.

ZOE(mockingly)

Oh, gawwtcha. What kinda answer isthat? I wanna know what you'refeeeling, in here.

She pokes Sam's side. A 35 MPH

SPEED LIMIT SIGN breezes past.

SAMHere? I feel some indigestion fromthose burritos.

ZOEDork. You KNOW what I mean.

Sam smiles a little. Zoe returns the smile. Framing thesmile is the glint of red and blue lights of a policecruiser. Zoe sees the lights in the rearview mirror andswiftly turns in her seat to see.

ZOEWhat! Sam, do you see this?

SAM(groaning)

Yea.

He puts on the brakes. We see the tail lights added to thebackground lighting.

ZOE(jokingly)

Nonono, wait, we can totally outrunthis guy. Just step on it.

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SAM(a snap decision)

Alright.

The brake lights go away as Sam steps on the gas.

ZOEWait, what? Of all the advice Igive you, this is what you're gonnatake?

(a beat)Seriously, what's going on withyou?

SAM(he glances nervously atthe rearview mirror)

I'm just--(a sigh)

Thinking about some stuff.

ZOEUh, alright, well talk to me! Iwanna hear about it, I really do.Is it school, your play, what?

SAMNo, those are good. Bump.

The sedan hits a large pothole. The vehicle bucks a bit inresponse as the occupants are roughed about. The cruiser iscloser now. Sam speeds up again.

ZOEWell then, what? I thought you andyour dad were getting along great--Ohh, it's your mom, isn't it? Wasit her birthday or something today?

(she leans and puts herhand on the console)

Is this about your mom?

The sedan and its pursuer round a rather sharp curve in theroad. The lights of a town loom ahead. Sam corrects to lineup with the road again.

SAM(downcast)

Yeah. You know, after a year theyjust stopped looking?

ZOEWhat? Who, the police?

SAMNo. Well yes, but--everyone. It'slike they all just, forgot, youknow?

ZOESam, watch out!

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Zoe grabs the wheel and jerks as Sam's eyes widen. A deerstares into the light of the sedan. The vehicle barelymisses it. The cruiser is not so lucky. The deer merges withthe front bumper. The cruiser skids to a halt, thrustingboth deer and disconnected bumper into the road ahead.

The sedan finds its way into a shallow ditch and manages tomake it back onto the road. As the cruiser shrinks in therearview, Sam is breathing quickly, eyes still wide. Zoehides being shaken.

ZOEThat was too close. Are you okay?

A tear falls down Sam's face. The vehicle slows as streetlights dapple the interior of the car.

SAMI'm sorry. I should have juststopped.

ZOEBut you didn't. It was at leastexciting, wasn't it?

The car slows to a halt.

SAM(now crying)

I miss her so much. I shouldn't butI do. Even when everything is goodI just sometimes lose my cool and Idon't know why.

Zoe puts an arm around Sam.

ZOEAh. Those, are called grey days.

SAMGrey day?

ZOEYep. It's when no matter what youdo, from the moment you wake uptill you fall asleep, it's likeyou're looking through reallygloomy, sad glasses all day.

SAMThat's awful.

ZOEMhm. Sounds familiar though, right?

SAMYeah, I guess so.

He sniffs, then sighs.

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SAM(CONT'D)Do you ever have grey days?

ZOESure, of course. Today was prettygrey till you spiced it up withburritos and a car chase.

SAM(laughing)

I'm glad.

Colored lights crest a hill in the distance.

SAM (CONT'D) We're screwed now, though, youknow that?

ZOEAre you kidding? Do you rememberwhere we are?

SAM(looking around)

That's right! We're by your place!

Sam releases the brake and gasses it. He makes a turn as Zoelets out a whoop.

ZOEIt's just past this street on theleft. We'll pull in the othergarage before he makes it to town. (a beat) Hey.

SAMYeah?

ZOE(earnest)

It's alright to have grey days.Really.

SAM(he smiles)

Thanks. Really.

**Sam's actions are found out by Marty and Margaret, furtherstraining the triangle of relationships. Sam decides to runaway with Zoe.**

22

EXT. NORWOTTUCK TRAIL BRIDGE

Sheets of rain disperse light from a parker-style bridge andthe occasional headlight. Sam Thomas holds a backpack in onearm. He unzips the pack and procures BADGY, who he embraces.

Still clutching Badgy, he leans against the rail, gazingout.

Both are soaked from the rain. Badgy looks rough sitting onthe rail. He stares at the nightscape and the long drop tothe river below.

SAM(bleary-eyed)

Well, here we are.

The RAIN picks up. A vehicle passes, briefly illuminatingthe duo brightly before passing by, leaving them in the weakflourescence of the bridge's light. Sam released hisembrace, letting Badgy tumble off the bridge. Just beforehitting the water,

SAM

Jolts himself out of the vision. He looks slightly ashamedof this random thought and squeezes Badgy tighter. He looksdown and pokes Badgy's head.

SAM You, mister, are in trouble. Yousaid she'd be here and now look.

WOMAN'S VOICE (OFF SCREEN)Who's supposed to be here?

Sam turns his head. Merida Thomas (38, wild dark hair,carefree yet caring) perches on the railing in a spunkysundress. She seems unaffected by the rain as she looks outover the water.

Sam smiles weakly--here we go again.

SAM Who do you think?

MERIDAAh, is it that Zoe girl you like?

SAM Yes, we've been over this.

(he looks at Badgy)I danced with her last night, youknow.

MERIDAYou did? Was it a waltz like wepracticed?

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SAM (correcting her)

Like Margaret and I practiced. Iremember that day..

MERIDA(teasing)

Right. Margaret. I forget she'syour mom now.

SAM (turning to her again; agitated)Don't say that.

As he turns his body to look at the vision, Merida turns inequal time, swinging herself off the rail facing away fromSam.

SAM (CONT'D) You'll always be my mom. And dadlikes spending time with her whenhe's not in the studio, so that'sgood.

MERIDAThat's great--but what about you?

Sam turns to lean on the bridge again. He lets Badgy hang byhis side. As he does so, Merida slides into a sittingposition, back against the railing, knees to chest.

SAMI'm good, mom. Except when I'mreally tired or having a grey day.Like right now.

MERIDAI'm sure she'll be here, you knowhow late she can--

SAM(frustrated)

It's not her, I know she's coming!It's that I'm standing here talkingto a stuffed badger!

MERIDAWhat's so wrong with that?

SAMYou're not Badgy! You're dead. I'llnever know why, and I just wannaget over it. But everytime thingsare going alright--

Sam envisions Merida's form rushing towards the water,sundress billowing, face obscured by wild dark hair.

SAM'S FACE winces at the thought. He returns to embracingBadgy. Merida walks up and holds Sam.

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MERIDAYou're always so hard on yourself,like your father is.

SAM(hangs his head)

I know.

MERIDAMaybe you should talk to him, so hedoesn't have to talk to stuffedanimals either?

SAMHe doesn't talk to--oh. The studio.(looking up at Merida) Is that whyhe spends so much time there?

MERIDA(reminiscing)

We used to spend hours theremessing with clay and little toys,making them dance and play around.I would help him when deadlines gotclose. Sometimes we brought you inif we couldn't find a sitter.

SAMI remember that, kind of.

The rain lets up. Headlights approach.

MERIDAThere she is. Where are you goingto go?

Sam shakes his head. Merida chuckles. Sam smiles as heremembers her laugh.

SAMWhat are you laughing about?

MERIDA(laughing)

Can you imagine? Me as a badger,dancing this whole time. What wouldyour father say?

Headlights illuminate the trio. As the light passes, we see

SAM smile wanly. The vehicle the headlights belong to pullsto a stop by the lone Sam and Badgy. A window is rolleddown.

ZOEOmigoodness, where's your umbrella?

Sam turns, stuffing Badgy into the pack. He runs to get intothe car.

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**Marty and Margaret bond over Sam's missing state. Aparticularly bad vision leads Sam to return home to theworried couple.

Possible resolutions: Sam goes to Margaret with his troublesand they bond. Marty creates something in the studio,inviting the other two. A proper funeral is held forMerida.**