Pay it forward dialogue [September, 3rd 2001]
[scene 1]
CB:
10-86, Possible 4-17. Baker Henri
3000 block of Bagley, 4-17, 10-30
Kidnapper:
Get back! I’ll shoot her!
Hostage:
Oh my god!
Police man #1:
3l-90, I repeat, 3l-90 Request you notify hostage negotiation team. Have theme respond to my location.
 Do you see anything?
Police man #2:
Get those cars out of here!
Police man #1:
Suspect is a male Caucasian approximately
Chris:
I’m a reporter; I’m with the press. How long have you guys been here?
Police man #1:
Get out of here!
Chris:
Is this for Domestic or drugs? Is that his girl friend or what?
Police man #1:
Get – Out – of – here.
Chris:
Who is this? Come on talk to me…
Police man:
Mason, get him out of here.
Chris:
why, come on, I’ve got my pass Mason…
1
Police man #1:
Shit…
Chris:
Hey, I have the right to be here!
Police man #1:
Where’d he go?
 Suspect has withdrawn into the interior of the room; we no longer have visual contact.
[scene 2]
Chris:
No…
That was my…
OH.
Ooooh…
…car.
…holy…
Oh…
Ooooh…
Mr. Thorsen:
Having a little car trouble?
Chris:
That’s a keen observation…
Mr. Thorsen:
I can help you.
It’s the jag…
Chris:
You want me to drive home with your car?
Mr. Thorsen:
No, I want you to take my car. I had a lot of luck lately; I don’t need it.
Chris:
You give me a brand new Jaguar and you don’t want anything?
Mr. Thorsen:
I like to prove it. Give me your card.
<Dog>
Mr. Thorsen:
I’ll be in touch…
Chris:
Woow, wowooow. What is this, you want me to kill your wife or something?
Mr. Thorsen:
No, tempting, but no.
Call it generosity between two strangers
Chris:
Generosity? Hey fellow, it’s a Jaguar, you expect me to drive home with a brand new jaguar and that’s
it?
Mr. Thorsen:
That’s right…
Chris:
Hey, you’re a freak; you know that. You are a freak. You want me to get in this
car? No way. It’s probably gonna blow up. Yeah, that’s real funny, bits and pieces
of me, raining down in the street! Ha ha. You think I’m going near that thing!
You’re nuts!
Besides, I’ve got a car… Sort of...
[scene 3]
Violent kid#1:
What? You like it? Cool blade, is it? You wanna see it, don’t you?
Adam:
Just keep it in your pans.
Fag!
Trevor:
He’s gonna kill you.
Adam:
I’ve got peperspray.
[scene 4]
Eugene Simonet:
Apparently, none of you haven’t seen a new teacher before.
I’m mister Simonet. Welcome to the seventh grade. Middle school.
That hellish, shaky bridge you all must cross before you become members of the undyingly enviable
high school elite. Now some of might think you can’t get a cross this bridge fast enough. You’d rather
hold you breath, close your eyes and
not think about anything until it’s all over. Well, I’m here to tell you… that that is not an option in this
class.
<Late boy coming in>
Eugene Simonet:
Lateness…
2
Children:
Buste-e-e-d!
Eugene Simonet:
Tardiness. To be late for your first class, on your first day of school.
What does that indicate?
Late boy:
I’m having a bad hair day?
Eugene Simonet:
Perhaps what it indicates is a lack of respect. You see. I’m going to be here every day for you. And so
I expect you to be here for me. On time, no excuses.
…
Put that down!
Other boy:
(whisper) Wait…
Eugene Simonet:
Now, This class is social studies. That is you and the world. Yes, there is a world out there and even if
you decide you don’t want to meet it, its still gonna hit you right in the face. Believe me. So, Best you
start thinking about the world now and what it means to you. What does the world mean to you? Come
on, a little class participation here. Is it just this class you want to get out of? You’re house? You’re
street? Any further any you wane go than that? Yes.
Girl#1:
The mal… That’s only like two miles away from me.
Eugene Simonet:
Well, let me ask you another question. How often do you think about things that happen outside of this
town? You watch the news? Yes? No? Allright, so we’re not global thinkers yet, but why aren’t we?
Trevor:
Because we’re eleven.
Eugene Simonet:
Good point, what’s your name?
Trevor:
Trevor.
Eugene Simonet:
Maybe Trevor is absolutely right, why should we think about the world, I mean after all what is the
world expect of us?
Trevor:
Expect?
Eugene Simonet:
(Hmhm) Of you? What does the world expect of you?
Trevor:
Nothing.
Eugene Simonet:
Nothing? My God, boys and girls He’s absolutely right, nothing. I mean here you are, you can’t drive,
you can’t void, you can’t even go to the bathroom without a pass of me, you’re stack, right here in the
seventh grade. But not forever, because one day, you’ll be free…
<Children background>
Eugene Simonet:
Allright, but what upon that day you’re free, you haven’t prepared, you’re not ready, and then you look
around you and you don’t like what the world is…
What if the world is just a big disappointment?
Boy#1:
We’re screwed!
Eugene Simonet:
Unless…
Unless you take the things that you don’t like about this world and you flip them upside
down, right on their ass, don’t tell your parents I used that word, and you can start that to day…
Note on the blackboard:
THINK OF AN IDEA TO CHANGE OUR WORLD -- AND PUT IT INTO ACTION!
Eugene Simonet:
This is your assignment. Extra credits, it goes on all year long…
Children:
Oh, man…
Eugene Simonet:
Now wait a minute. What…
Yes?
Girl#1:
Eugene Simonet:
It’s like so…
So what…
Girl#2:
Weird…
Eugene Simonet:
Weird…
Girl#3:
Crazy…
Eugene Simonet:
Crazy…
What’s wrong with this? What’s the matter?
There must be a word to finish that sentence. Someone help her?
3
Girl#4:
Hard…
Boy#2:
Bummer…
Eugene Simonet:
Bummer, Hard…
How about possible…
It’s possible. The realm of possibilities exists where? In each of you. –Here.
So, you can do it. You can surprise us. It’s up to you. Or you can just sit back and let it atrophy…
Atrophy…
If there is a word you hear that you don’t understand, there is a dictionary at the front of the room.
Look it up. And there are these dictionaries which you will carry with you at all times, because in this
class we’re going to learn to love words and their meanings. Any questions?
Trevor:
Yeah. So, you like flunk us if we don’t change the world?
Eugene Simonet:
Oh, no I wouldn’t do that. But you might just squeak by with a ‘C’.
Trevor:
What you ever do to change the world?
<Children background>
Eugene Simonet:
Well Trevor, I get a good night sleep, I eat a hearty breakfast, I show up… on time, and than I pass
the buck to you.
…
Now, I want you all to write your names in these books and…
What’s your name?
Molly:
Molly.
Eugene Simonet:
Molly, Allright, I want Molly to look up the word atrophy.
[scene 4 (skip)]
[scene 5 (skip)]
[scene 6]
Sitting man #1:
No, no we’re not in Milwaukee. Straight to hell, straight to hell
Arlene McKinney:
Hey, four Tequilas? Who’s having the fourth one?
Sitting man #1:
You are.
Arlene McKinney:
Ho, no, no, no, don’t give me this, thank you.
Sitting men:
We bought it four you.
Arlene McKinney:
Ho, thank you so much. No, thank you.
Sitting men:
Why not?
Arlene McKinney:
Because I promised my kid.
Sitting men:
Ooooh!
Arlene McKinney:
I know it’s horrible.
Sitting men:
Oh, you got a kid.
Arlene McKinney:
You guys have fun.
Sitting man #1:
Hey, wait, wait, wait, here.
Arlene McKinney:
Thank y…
Sitting men:
Hóo-òoo, what are you doing Jun, what are you doing?
Sitting man #1:
What time do you get off?
Arlene McKinney:
If only I weren’t married
Sitting men:
Ooooh
Sitting man #2:
He’s married, I’m single, I’m single!!
Sitting man #1:
Damn, damn!
4
[scene 7 Trevor at home]
<Phone>
Trevor:
hello.
Arlene McKinney:
Hey.
Trevor:
Hey.
Arlene McKinney:
How’d it go? Are you there?
Trevor:
Yeah.
Arlene McKinney:
How’d it go?
Trevor:
What?
Arlene McKinney:
How’d it go, how was your first day?
Trevor:
Okay.
Arlene McKinney:
Trev, come on, you got to speak up, I can’t hear you, okay?
Trevor:
I said okay.
Arlene McKinney:
sorry I wasn’t home. I had a change to pick up another shift, so why not do it?
Are you mad at me?
So Trev, What are you doing?
Trevor:
Nothing!
Arlene McKinney:
You found the spaghetti?
Trevor:
I’m eating it.
Arlene McKinney:
Good. Come on honey, tell me what happened.
Trevor:
I got to go!
Spoon, spoon. [Against Jerry]
[scene 8: Arlene at home]
[scene 9: Night (skip)]
[scene 10: Morning int bedroom]
Trevor:
Mom? Mom? Mom?
Arlene McKinney:
Hmhmhm.
Trevor:
My friend’s coming in to takes a shower, okay?
Arlene McKinney:
Okay.
[scene 11: int living room]
Arlene McKinney:
That’s not really breakfast.
Trevor:
You don’t eat breakfast.
Arlene McKinney:
Well, lets have some.
Come on, I’ll make some eggs; I’ll have some too.
Trevor:
You sure you want throw up?
Arlene McKinney:
What does that suppose to mean?
Trevor:
What do you think it means?
Arlene McKinney:
Why you don’t tell me what it means?
Trevor:
You’re sneaking it.
5
Arlene McKinney:
I’m not sneaking anything.
Trevor:
Okay. [Walk away]
Arlene McKinney:
Trevor. Trevor, wait a minute, I’m sorry. You’re right. Listen, sit down for one minute, I want to talk too
you.
Trevor:
You want to lie too me
Arlene McKinney:
No, I don’t want to lie to you, I want to talk to you, I want you too sit down for one minute. Hey, I want
us to get along. Aaahr!!!
Jerry:
I’m sorry
Trevor:
It’s okay, mom
Jerry:
I can’t find the toilet paper.
Trevor:
It’s okay. It’s okay.
Arlene McKinney:
Who are you?!
Trevor:
It’s Jerry.
Arlene McKinney:
You get out!
Trevor:
You said he could come in and take a shower.
Jerry:
Okay. [Against Arlene]
Arlene McKinney:
Get out of my house! I said what?
Jerry:
Thanks a lot. [Against Trevor]
Arlene McKinney:
Get out!
Trevor:
Do you need change for the bus? [Against Jerry]
Jerry:
Yes, no. I got it! <Door closed>
Trevor:
You said he could come in and take a shower.
Arlene McKinney:
I never said that.
Trevor:
Yes you did, you said okay!
Arlene McKinney:
I said okay to let a strange man into my bathroom?
Trevor:
He’s my friend!!
Arlene McKinney:
What? You can’t have a friend like that.
Trevor:
For my assignment.
Arlene McKinney:
What assignment?
Trevor:
You won’t get it. Mister Simonet will get it.
Arlene McKinney:
Who’s mister Simonet. Hey, I’m talking too…
Trevor:
He’s my teacher! [Close door and walk away]
[scene 12: Meeting with Eugene Simonet -- int school]
Arlene McKinney:
Mister Simonet?
Eugene Simonet:
Yes, I’m Eugene… …Simonet.
Arlene McKinney:
… Hello.
Eugene Simonet:
Hello.
Arlene McKinney:
What is this assignment?
6
Eugene Simonet:
Excuse me?
Arlene McKinney:
What did you tell my son to make to bring a homeless man into my house?
Eugene Simonet:
Euh… I have two problems. One I have absolutely no idea what you talking about and two, I don’t
know who you are.
Arlene McKinney:
Arlene McKinney, my boy is in your social study class? Trevor?
Eugene Simonet:
Trevor? Yes he’s very attentive he’s very (uh)… … exigent, which I like.
Exigent is challenging testing…
Arlene McKinney:
I know what it means. Would you like to tell me why my kid brought a bum into my house?
Eugene Simonet:
I have no idea.
Arlene McKinney:
Bullshit.
Eugene Simonet:
Misses McKinney, I don’t know how you son interpreted the assignment.
Arlene McKinney:
How do you think he interpreted it?
Eugene Simonet:
Well, I don’t know. My suggestion to you is if you want to know, why you don’t go home and talk to
your son?
Arlene McKinney:
Hey, I talked to him.
Eugene Simonet:
Really? Then why did you come all the way down here to ask me what the assignment is? It’s not a
state-secret. <Text on the blackboard>
Arlene McKinney:
Yeah, and?
Eugene Simonet:
It’s an assignment I give out at the beginning of every year to inspire; I don’t expect them to actually
change the world…
Arlene McKinney:
You don’t expect them to change the w…
Eugene Simonet:
Excuse me, it’s to get them to think, not walk on water, it’s a very good assign…
Arlene McKinney:
You give them an assignment you don’t think they can do, what kind of a teacher are you?
Eugene Simonet:
I didn’t say that, you know. They make attempts; every now and then they clean up a little
graffiti before they rowed enters.
Arlene McKinney:
Hey, this is my kid. You don’t know him. You tell him he can do something he’s
gonna believe you. And when he can’t its gonna… wipe him out. They’re fire your
ass out of here right now!!
Eugene Simonet:
Well, they probably won’t do that. Because I felled have a very excellent quota. I’m just decided
parking in the blue zone.
Arlene McKinney:
So, you think you can do whatever you want just because your face is messed up?
Eugene Simonet:
Miss McKinney, Why don’t you put down and writing your little and loud complains and I’ll make sure
they get put in the suggestion-box.
Arlene McKinney:
Jesus, you’re really something. <Walk away>
Eugene Simonet:
Thanks, I appreciate the euphemism. I’ve always wanted to be something.
[scene 13: Dictionary (skip)]
[scene 14: Mr. Thorsen ]
Chris:
Mr. Thorsen. Hey. Hey, hold up man, come on I’ve been waiting all day for you.
Hey. Hey, hey, why won’t you return my calls?
Mr. Thorsen:
We’re not friends.
Chris:
You know; I got a pink slip for the car, that’s quite a stoking stuffer.
Mr. Thorsen:
Now you gonna tell me you can’t accept it?
7
Chris:
No, no, no that would make me a moron. I just want to know about these… (uh) these instructions
with.
Mr. Thorsen:
Yes, do what they say. Pay it forward.
Chris:
Why?
Mr. Thorsen:
Because. You accepted the car, you obligated.
Chris:
I’m obligated. But, what if I don’t feel obligated? How about… What if I take my new car and take a
couple of hookers and drive down to Mexico?
Mr. Thorsen:
I’ll never know.
Chris:
What you never… What is this? Come on, for real. An attack of total altruism from a… From a
litigator.
Mr. Thorsen:
I’ve got a meeting.
Chris:
What the hell… I’ve got a story, okay? A partner Channing and Moss giving away new cars. You can
tell me a reason or I can make one up, mine will be a lot more interesting, I promise you. You’ve gone
dotty, you ‘re wearing crystals, you keep a few too many cats at home, huh?
Mr. Thorsen:
Hm.
Chris:
uh… look, allright, listen, listen, please… My ex-wife has everything, okay? There. Plus she is in a
lesbian relationship; I think to piss me off. Help me out, please.
Mr. Thorsen:
My daughter has asthma. One night it was very bad. The worst I’d ever seen it. It was in the middle of
the night, emergency room; we were waiting forever couldn’t get anyone to paying attention.
[Fragment hospital]
Mr. Thorsen:
Hum… her inhaler doesn’t seem to work at all.
Nurse:
I’m sorry. uh… mister Parker, What happened? <Ignore Mr. Thorsen>
Sydney:
My sister she stabbed me, I can’t believe my big sis.
Mr. Thorsen:
excuse me, we were here first.
Nurse:
I’m sorry. We need to deal with stab wounds first…
Mr. Thorsen:
She can’t breath.
Nurse:
What, you know…
Mr. Thorsen:
She’s very scared.
Nurse:
Look, I will let you know. Look, I’m sorry…
Mr. Thorsen:
Someone has to see her.
Nurse:
… it’s protocol…
Mr. Thorsen:
It has never been this bad.
Nurse:
…injures first.
Mr. Thorsen:
You have to do something.
Nurse:
Sire, would you just sit down!
Mr. Thorsen:
I’m sorry, we’ve been here 4 hours.
Nurse:
I understand that.
Mr. Thorsen:
You need to get a doctor or some oxygen or something…
Sidney:
No wait…
Nurse:
I need you to understand…
Mr. Thorsen:
No! No!! You Know, I’m going to report this.
8
Sidney:
This is bullshit…
Nurse:
Hey, hey…
Sidney:
You need to help her right now!!
Nurse:
-uh, excuse me.
Sidney:
No, no, why you giving me all this shit? Ain’t you got some oxygen you give her?
Nurse:
Fine, let me get the supervisor…
Sidney:
No, no, no, you don’t need to get some supervisor; you’re the supervisor to day, huh? You are the
supervisor to day!! You feel me on that?! Now, I want you to take your skinny ass down the
hall, put the little girl on the tray and supervise her and I want you to give her some
Goddamn air!!
I’ve got your back, Sis. [Against the little girl]
Oh, bitch you still here? Shit!!! [Against the nurse]
Nurse:
Ooooh, hoo!!
Sydney:
Ho, Shit ain’t funny, now is it?
[Switch police fragment]
Sydney:
OH, come on man. Let go of my arm, man. This ain’t fair man. Come on. Come on man. Damn,
damn…
[End fragment]
Mr. Thorsen:
I thanked him. And there was something specific office in which I was told to shove my thanks. He told
me: “Just pay it forward, three big favor for three other people.” That’s it
Chris:
Sort like a pass-it-on thing? Wait a minute, you and this lowlife start this chain of do-gooders some
kind of Mother Teresa conga line? That’s a little new-Agey for you, is it?
Sort of a Tibetan. What, or you in a cult?
Mr. Thorsen:
If you mention my name, you’ll be selling your kidneys to pay for your lawsuit.
Chris:
Hey, the guy? What was the guy’s name?
Mr. Thorsen:
Sorry, I’m late for my mass wedding!
– Cult.
[scene 14: The “Pay it forward” idea]
Arlene McKinney:
HEY!!!!
Jerry:
Please don’t shoot!
[Scared with a gun in her hands]
I know somebody is in here… [Some noise in the back of the garage]
I know you’re there. I want you to come out or I will find you and shoot you, I swear to god…
Please…
Arlene McKinney:
You stay right there. If I see you… …move once…
Aaahr!!! [Gun is falling down on the ground]
Jerry:
Please don’t pick it up! Please don’t. I’m not moving. Please.
Arlene McKinney:
What are you doing with my truck?
Jerry:
Let my show you… I’m just…
I’m just gonna open the door, okay?
<Truck engine starting>
Jerry:
See.
Lot more easier to sell now, now that it works.
Arlene McKinney:
I didn’t ask for your help.
Jerry:
No
9
Arlene McKinney:
You been living in my garage?
Jerry:
Not after tonight. Can I come around, I just want to…
I got a handyman job at the Royal Motel, they giving me a room…
Arlene McKinney:
You just stay right there!!
Jerry:
Please, I don’t like guns.
Arlene McKinney:
What’s going on between you and my sun?
Jerry:
He wanted to help somebody. He wanted to get somebody back on their feet. So, he gave a little
money.
Arlene McKinney:
He gave you many?
Jerry:
Yes ma’am
Arlene McKinney:
That’s his savings
Jerry:
Heu… for close and shoes and I got the job off it.
Arlene McKinney:
You think you can keep it? It looks to me you’ve got your self a little problem.
Jerry:
I can lick it.
Arlene McKinney:
How is that suppose to happen all of a sudden?
Jerry:
You ever been on the street?
Arlene McKinney:
My mom took us pretty close.
Jerry:
Well, you cant know, not until you’re looking at a dumpster. But when you climb in that thing for the
first time and you pull those newspapers over you. That’s when you know that you’ve messed your life
up. Somebody comes along like your son, gives me a leg up. I’ll take it; even from a kid I’ll take it. I…
I can’t mess up again or I’ll be dead.
Arlene McKinney:
Look, I appreciate what you’re trying to do paying back Trevor…
Jerry:
I’m not allowed to pay back Trevor.
Arlene McKinney:
Then what is it what you’re doing?
Jerry:
I’m paying it forward.
I know you want me to go. I’ll go.
Arlene McKinney:
What’s “Paying it forward”?
[switch school]
<Blackboard image>
Trevor:
That’s me. And that’s three people, and I’m going to help them, but it has to be something really big.
Something they can’t do by themselves. So, I do it for them and they do it for three other people, that’s
nine and I do three more…
[switch home]
Jerry:
… That’s twenty-seven so, I’m not very good in math, but it gets big really fast, you know?
[switch school]
<Children background>
Eugene Simonet:
Allright, allright, allright, allright, a little articulation please?
Yes.
Girl#5:
I think it’s a good idea.
Eugene Simonet:
Sawn?
Shawn:
It’s stupid.
10
Adam:
It’s the honor system.
Girl#1:
People blow up the honor system.
Adam:
So what?
Trevor:
Just because you do.
Eugene Simonet:
Well Trevor, the class seems to think that you’ve come up with an over utopian idea, look that word up
in a minute.
Trevor:
Like a perfect word?
Eugene Simonet:
Hmhm…
Trevor:
So?
Eugene Simonet:
So? What put this idea in your head?
Trevor:
Because…
[switch home]
Jerry:
… everything sucks.
Arlene McKinney:
He talked to you about this?
Jerry:
We’ve had our discussions.
Yeah. But you don’t have to worry, you know? Because I just…
I tell him he can’t talk no more.
Arlene McKinney:
No, (hum) don’t do that. Would you like a cup of coffee?
Jerry:
Yes, ma’am.
Arlene McKinney:
Okay.
[Scene 15: Students]
Boy#3:
I called the president to talk about pollution, but my mom said: “Now they’ll put us on some list.” So,
she hung up.
Girl#5:
For this assignment, I put up recycling fliers at two supermarkets.
Shawn:
I’m gonna put up this Web side in Chinese, it’s gonna tell all the kids in china to jump up and down at
the same time.
<Silence>
Eugene Simonet:
The goal being to knock the Earth of his axis?
Shawn:
Yeah.
Eugene Simonet:
Thank you, sit down Shawn.
Well, your ideas are as surprising as they are variegated. Add that to your list of words to look up. But
I want to focus for a moment on one project we heard to day. Because, I’ve been teaching for many,
years and it really is the first new idea that also requires an extreme act of faith in the goodness of
people. Trevor has made an attempt to interact with the world, and that was the assignment. And if I
were an effusive person given to easy praise, I would call that admirable. Now here are the words
from to day: utopian, enigma, quantum… add variegated. I want you to go home to night…
[Scene 16: Trevor & Simonet]
Children on schoolyard:
Hello, Eugene Simonet!
Eugene Simonet:
Hello.
Trevor:
Were you just being nice?
Eugene Simonet:
about what?
Trevor:
About my idea. You think it’s good, or were you just being teachery?
11
Eugene Simonet:
Teachery?
Trevor:
Bullshitting.
Eugene Simonet:
Do I strike you as someone falsely nice?
Trevor:
No. You’re not even really all that nice.
Eugene Simonet:
Well, it was a slip-up. And it will not happen again.
<Silence>
Eugene Simonet:
What?
Trevor:
What happened to your face?
<Silence>
Eugene Simonet:
<Look around> Did you draw the short straw to day, Trevor?
That’s not a very pertinent subject to social studies, is it?
You can go back and tell them, that’s what I said.
Trevor:
Tell who?
Eugene Simonet:
I’ll see you tomorrow. <Start car>
Trevor:
<Walks away>
[Scene 17: Trevor & Jerry]
Trevor:
Do you know where Jerry is?
Man#1:
Yeah, over there in fifteen.
<Knock on the door>
Man#2:
It’s more product.
Man#3:
Who is it?
Trevor:
It’s Trevor. I’m looking for Jerry.
Man#3:
Jerry is not here.
Trevor:
When will he be back?
Man#3:
He’s not coming back. Now, get out of here.
<Silence>
Trevor:
Jerry?!
Man#3:
-- Get-out-of-here!
Trevor:
Please, come out jerry! <Silence and walk away>
[Scene 18: Trevor at home (skip)]
[scene: Eugene Simonet & Trevor scene]
Trevor:
<Walks into the room>
Man#4:
I’ve got to go.
Eugene Simonet:
Trevor, you ran out of class this morning very fast, I wanted to talk to you.
Trevor:
<Gives Eugene Simonet the note and walks away>
[scene 19: Arlene McKinney & Eugene Simonet]
<Door knock>
<Open door>
12
Eugene Simonet:
Hello.
Arlene McKinney:
Hello.
Come in.
<Close door>
Arlene McKinney:
Trevor is not feeling good; he’s in his room.
Eugene Simonet:
Oh, I’m sorry. What’s the matter?
Arlene McKinney:
Just a tummy ache.
Do you want to come in?
Eugene Simonet:
Sure.
Arlene McKinney:
Heu, sit down.
Eugene Simonet:
Thank you.
That’s a very beautiful home.
Arlene McKinney:
Thank you.
Eugene Simonet:
Have you lived in Vegas your whole life?
Arlene McKinney:
Yeah.
I was surprised you wanted to do this; I told him if you want to talk to me, I would come to the school.
Eugene Simonet:
Mrs. McKinney, I didn’t ask to see you.
Arlene McKinney:
But Trevor said you did.
Eugene Simonet:
Yeah, and he gave me a note from you…
… which you didn’t write.
Arlene McKinney:
He gave you a note from me? Oh God, that’s horrible, he’s been so we…
<Eugene Simonet stands up to leave…> No, I didn’t mean you.
Eugene Simonet:
Oh, no explanation required, I’ll go.
Arlene McKinney:
I didn’t mean you.
Eugene Simonet:
No…
Arlene McKinney:
It’s not personal.
Eugene Simonet:
It’s allright, I’m used to that.
Arlene McKinney:
Would you stop?
Can we just rewind here a little bit?
I obviously didn’t realize how much Trevor likes you.
Eugene Simonet:
Well, that’s nothing that we can’t discuss on parent-teacher night.
Arlene McKinney:
Then why did you come?
Why did you come here? Why didn’t you just tell me to come to the school?
Eugene Simonet:
Because you came to the school, to talk to me about your son, and I behaved like a…
Arlene McKinney:
…an asshole?
Sorry, is that too trailer-trash a word for you?
Eugene Simonet:
How is “rat bastard” sit with you?
Arlene McKinney:
Pretty good.
Eugene Simonet:
Dickhead?
Arlene McKinney:
Oh, I like that.
Eugene Simonet:
<Laugh>
13
Arlene McKinney:
Look I’m… <Food on the table with some candles>
I (hm)… I made all this food.
It’s just sitting here… (hm)
I really don’t know who else to talk to about him.
Eugene Simonet:
Hmm, this is good.
Arlene McKinney:
Thanks.
Eugene Simonet:
I don’t understand. This is summer school?
Arlene McKinney:
(Hmhm)
Eugene Simonet:
Why do you think that Trevor stopped talking?
Arlene McKinney:
I don’t know. He seems mad.
Eugene Simonet:
Well, seventh grade is difficult, but he seems very happy at school.
Arlene McKinney:
Maybe I’m wrong, maybe it’s fine.
Eugene Simonet:
How much do you see him.
Arlene McKinney:
As much as I can.
Eugene Simonet:
How much is that?
Arlene McKinney:
No, I’m not doing a bunch of skanky guys instead of spending time with my son, okay? I got two jobs
Eugene Simonet:
Right, I meant that. It couldn’t have just been a question.
(Hm) Mrs. McKinney do you think there might be something… (hm)
I don’t know… outside of school that might be bothering him?
Arlene McKinney:
I don’t know.
Eugene Simonet:
Okay, you know, I’m gonna have to consult my spirit guides here. Because you tell me that Trevor
withholding from you, but you won’t tell anything specific and you still want me to sit here and divine
why.
Arlene McKinney:
Divine why?
You always talk like that?
Eugene Simonet:
Yes.
Arlene McKinney:
You go to some big fancy school?
Eugene Simonet:
Yes.
Arlene McKinney:
Think you could stop rubbing my nose in it?
Eugene Simonet:
Is there a father?
Arlene McKinney:
He doesn’t live here anymore. I don’t know where he is.
Eugene Simonet:
I know what that’s like.
<Knock on the door>
Bonnie:
Arlene, I called you five times…
Arlene McKinney:
Bonnie, Bonnie…
Bonnie:
No, listen, you don’t call your sponsor once in a while, you don’t have a sponsor.
Arlene McKinney:
Bonnie!
Bonnie:
What?
Arlene McKinney:
This is Eugene Simonet.
Bonnie:
You’re not supposed to date for a year.
Arlene McKinney:
It’s not a date.
Eugene Simonet:
No, I’m… I’m Trevor’s teacher.
14
Arlene McKinney:
It isn’t
Eugene Simonet:
We’re having a conference and we were… through… we’re done.
Arlene McKinney:
We’re done.
[scene 20: Trevor’s fight against his mother]
Arlene McKinney:
How could you do that to me? Write a letter to him, signed my name?
Trevor:
Why’d you have to mess everything up?
Arlene McKinney:
Oh no, I didn’t mess this up. What were you doing? Just standing at the door, listening to everything?
What happened to your stomachache?
Trevor:
Why you care? You always lie.
Arlene McKinney:
Trevor, this wasn’t my fault. This whole thing was embarrassing…
Trevor:
I did something good, and you don’t even know it!
Arlene McKinney:
Honey, listen. You can’t just put two people together and make them like each other; it doesn’t work
that way.
Trevor:
You only like people you can get drunk with.
Arlene McKinney:
<Silence>
Trevor:
You’re just waiting for HIM to come back.
Arlene McKinney:
No, I’m not.
Trevor:
Yes, you are!
Arlene McKinney:
No, I’m not…
Trevor:
Yes, YOU ARE!
Arlene McKinney:
No, I’m – not
Your father is not getting his foot…
Trevor:
That’s what you always say.
Arlene McKinney:
Well, I mean it now.
Trevor:
<with anger> You always mean it.
Arlene McKinney:
What do you want me to say?
I say it: I mean it; I mean it now.
Trevor:
<with anger> Not when he’s around. When he’s around you don’t care what
happens to me. You only…
You don’t even know I’m in the same house.
Arlene McKinney:
That’s not true.
Trevor:
It is true.
Arlene McKinney:
You know, that…
Trevor:
It’s true!
Arlene McKinney:
… is not true.
Listen, I love you…
I love you.
I’m doing the best I can. If that’s not good…
Trevor:
I don’t want you to love me!
I hate the way you look, I…
Arlene McKinney:
Trevor you need to stop.
Trevor:
<ignore> …hate the way you smell, I hate the way you are, I hate that you are my
mother… <Slap in the face by Arlene>
15
<Silence>
[scene 21: Alcohol (skip) ]
[scene 22: Missing Trevor]
Arlene McKinney:
Trev?
<Knock on the door> Trev, I’m gonna come in, okay?
<Phone>
Arlene McKinney:
He said that an hour ago.
…
Yeah…
Do you understand my kid is missing?
…
If I had a car,
…
I’d be out looking
for him!
<Phone by Eugene Simonet his home>
[scene 23: The search for Trevor]
Eugene Simonet:
What time do you think he took off?
Arlene McKinney:
I don’t know.
I’m sorry to do this to you. Bonnie wasn’t home, the cops wouldn’t come,…
Eugene Simonet:
It’s okay.
Arlene McKinney:
I could call one of my friends, but my friends are all drunks.
Eugene Simonet:
It’s okay.
Arlene McKinney:
And so am I.
I’m a drunk too.
Eugene Simonet:
I believe some people refer to that as “in recovering.”
Arlene McKinney:
Where are you going?
[Scene 24: Bus station]
Evil man#1:
Hey, you’ve got enough? <Against Trevor>
You need a ticket somewhere? Come on.
I’ll get you one. (Hm)
Come with me. I’ll get you a ticket.
Eugene Simonet:
I’ll get you a ticket, you son-of-a-bitch!
Arlene McKinney:
Honey, are you allright?
Trevor:
<Step back>
<Background sound>
Arlene McKinney:
Trev, for the rest of my life I could never be as sorry about anything as I am for what I did to you.
I didn’t drink. I wanted to, but I didn’t.
…
You’ve got no reason to trust me, and I know you don’t want to hear any more promises. So, I’m just
gonna tell you the truth.
I have a problem. A really bad problem.
I’ve got to stop. And if you can be with me on this, if you can think it’s possible that I can do it, then I
think maybe I can. If you just try a little bit and help…
<what about the hug? >
[scene 25: Back home]
Arlene McKinney:
You’re still here? <Against Eugene Simonet>
Eugene Simonet:
Oh, yeah, I hope it’s okay. I just wanted to make sure…
16
Arlene McKinney:
He’s asleep.
Eugene Simonet:
Good, okay.
Arlene McKinney:
How did you know where he was?
Eugene Simonet:
Oh well, kids, they either hitchhike or they take a bus.
Arlene McKinney:
Listen, um…
Eugene Simonet:
you’re welcome.
Arlene McKinney:
What? Give me a start.
Eugene Simonet:
No, you don’t have to, I understand…
Arlene McKinney:
Wait, Goddamn, I want to thank you.
Thank you.
Eugene Simonet:
You’re welcome.
It wasn’t quite worth it, was it? <Laugh>
Arlene McKinney:
No. Listen, I was wondering, do you want to come back here sometime. Have diner with me?
Eugene Simonet:
I’m not entirely sure that would be appropriate.
Arlene McKinney:
Okay. I understand.
Eugene Simonet:
Goodnight.
Arlene McKinney:
Goodnight.
[scene 26: Prison]
Chris:
Okay, why’d you do that man a favor, Sidney?
Sidney:
No, it’s like three favor, player. You got to do three. I’ll do the other two here for my folks. There a lot
of brothers need favors in here.
Chris:
Who told you to do it?
Sidney:
It’s like this idea… …I got. Yo, you gonna put this on TV?
Chris:
How did you come up with an idea like that?
Sidney:
Man, it’s like…
It’s like the world is a shit-hole. I excuse my French and shit. And it’s like…
I just thought… …like BOOM! Like the whole shit could be, like…
…better.
Chris:
It didn’t start with anyone else?
Sidney:
No nigger, this shit came from here, <point finger to his head> all right?
This shit came from my head. I can’t lie to you man, I been through some heavy ass shit. But now no
more. I mean, because they changed me. And I’m changing this place, man. I mean, people are
listening to me; people are staying clean. I mean, it’s like some cosmic Aristotle shit, you feel me?
<Laugh>
Chris:
Yeah.
Sidney:
Yeah, no doubt.
Chris:
I feel you.
Sidney:
No doubt, dog. No doubt.
Chris:
The thing is Sidney, (um) …somebody else is saying that “pay it forward” was their idea.
Sidney:
Who?
Chris:
I think you know who.
Sidney:
that bitch? she is a lying-ass bitch, man, I’m telling you, she’s a lying bitch, she’s got your head!
I’m telling you!
Chris:
Okay, hey, she makes a pretty good case, though, Sid.
17
Sidney:
You mean that old-crusty-back-lady? I’m telling you man, this is all from me, all from my heart dog,
allright?
Chris:
Sidney! Listen to my. It doesn’t matter if you got it from the old lady or not. Because you’re the one
paying it forward.
Sidney:
You’re damn right.
Chris:
In prison, no less. The parole-boards will eat that up, Sidney.
Sydney:
Oh, the parole-boards?
Chris:
The parole-boards.
Sydney:
<laugh> Oh, snap yo, you’re good man. It’s like a little carrot for the mouse and shit. <Laugh>
No doubt, no doubt. Too bad, my parole don’t come up for an other year, B.
Chris:
What if I can make it so your parole comes up next month?
[scene 27: Casino]
Arlene McKinney:
Hello.
Eugene Simonet:
Oh, hello.
Arlene McKinney:
did you know I worked here?
Eugene Simonet:
No, I didn’t, really.
Arlene McKinney:
So, you just dropped in for a little game of craps?
Eugene Simonet:
No I… (uh) I like that coffee shop. They… They have good food.
Arlene McKinney:
Yeah, they’ve got good pancakes.
Eugene Simonet:
Yeah, fluffy. You want me to bring you back something?
Arlene McKinney:
Oh, no thanks. I get off in an hour.
Eugene Simonet:
Oh, really.
Arlene McKinney:
Yeah, really.
Well…
Eugene Simonet:
Well… <together with Arlene McKinney>
…
If you were gonna eat any… anyway, then… if you want it… if you were hungry we can… We
can… if you… if you were… if… if you wanna… …eat something… …sometime…
[scene 28: Governor]
Governor:
Give me a seven Iron, please.
Man#5:
Yes, sire.
Jordan:
May I help you?
Chris:
No, I’m not stalking the governor, Jordy.
Jordan:
<laugh> Shit. Chandler?
You scared me. You look like crap. What are you doing around here?
Chris:
I wanna talk to him, Jordan.
Jordan:
Your questions piss him off.
Chris:
Is that why I’ve got the bounce?
Jordan:
He won’t talk to you.
Chris:
Tell him I’m on candy gram.
Jordan:
Stop it.
18
Chris:
I’ve got a better idea. Why you don’t tell him I’ve been sitting on a story for two years about a party he
had.
Jordan:
Yeah.
Chris:
To clean-up crew found syringes, size twelve high heels, animal droppings. That can’t be right, can it?
Jordan:
<laugh> If you really had this, you’d have used it.
Chris:
Bullshit. His friend in high places had me kill it, but ever since I got fired, I’m not feeling that loyal.
Jordan:
What do you want?
Chris:
Four million dollars.
Jordan
<Silence>
Chris:
I’m kidding man, relax. Nothing, man, a phone call. Just need a little phone-call, need a massage for a
friend of mine parole date, that’s it.
[scene 29: Arlene’s date]
Arlene McKinney:
They kept me forty minutes over.
Trevor:
Did you call him?
Arlene McKinney:
I couldn’t remember the name of the stupid restaurant. I remember the hotel…
Trevor:
He hates it if you’re late. If you’re late, he thinks it means you don’t respect him.
Arlene McKinney:
What?
Trevor:
If you’re late, he thinks it means you don’t respect him.
…
No, you don’t, you wearing this.
Arlene McKinney:
No, I wanna wear the green dress.
Trevor:
You look like a vampire in that.
Arlene McKinney:
I got to take a shower.
Trevor:
You what?
Arlene McKinney:
I smell horrible.
Trevor:
No, you don’t. You smell good. You smell like roses or something.
Arlene McKinney:
Let me just wash under my arms, it really…
Are you sure?
Trevor:
Yeah, yeah, I’m sure.
…
Oh, and don’t interrupt him when he’s in a middle of a sentence, he doesn’t like that. Here.
Arlene McKinney:
What do I suppose to do? Raise my hand?
Give me my shoes, okay? Those sandals.
Trevor:
These.
Arlene McKinney:
No, I’m not gonna wear those. They’re way too sexy.
Trevor:
You… You’re too late. You owe him.
Arlene McKinney:
I owe him? Who are you?
Trevor:
Go, go, go.
…
Oh, and none of those stupid jokes. He’s not that kind of person.
Arlene McKinney:
Thank you very much.
Where is the phone? I got to call for a cab. If I take the bus, I’ll be another hour late.
Trevor:
Mom, mom…
19
Arlene McKinney:
I got…
Trevor:
Stop yapping.
Arlene McKinney:
But, I’ve got to call for a cab.
Trevor:
<Open door> Duh.
Arlene McKinney:
Oh, my god. You’re just about…
Trevor:
Okay, okay
Arlene McKinney:
You’re the greatest son in the world.
Trevor:
Okay mom, okay. You have to go. you have to go. Here, here, here…
Go!
Arlene McKinney:
Lock both doors.
Trevor:
I will!
Arlene McKinney:
I love you!
Trevor:
Love you too, mom!
[scene 30: Cinderella]
Arlene McKinney:
I respect you! I respect you! They kept me late at work, and then I got on the bus
to go home and change, which was stupid, that was my fault. I’m sorry, but I was
all the way ho…
Eugene Simonet:
<Time-out> You’re right on time.
<Silence>
[scene 31 : Prison]
Sydney:
So, I was living in Vegas, man, and one night, I was walking down the street. Just minding my own.
Wasn’t doing nothing to nobody. I’m mean, I was just on my way to church
[Fragment (skip)]
[End fragment]
Sydney:
Just out of nowhere, man, these five bloods just peeled out of a truck. And one of them, man, was real
black.
[Fragment]
Man#6:
Hey!
[End fragment]
Sidney:
Man, I start swinging one by one, like: “Nigger, take that. Bam, bam, bam” Like Ali on them
bitches. And I was like wap, wap, wap, “What’s up nigger, what’s up” bam, bam.
Man, all five of them got up and started chasing me, man. They like: We gonna kill you Crip! We
gonna kill you Crip. And I was like: You can’t catch me, blood! You can’t catch me,
blood!
Then man, all of a sudden out of nowhere. That’s when I ran into this old lady. That’s who you want to
know about.
[Fragment]
Grace:
Hey, are you in trouble?
Sidney:
What?
Grace:
Get in.
20
Sidney:
Get in?
Grace:
Come on, get in.
Sidney:
Shit.
…
What are we doing?
Grace:
Whatever we want.
Sidney:
Damn, Do you think I’m going for your dried-up crusted ass… …whatever.
Grace:
Shoot. I smell better that you do.
Sidney:
Yeah, allright. So, what? What you want?
Grace:
Don’t matter. Because you ain’t gonna do it.
Sidney:
You damn right about that. Shit.
Grace:
Hey, not in my car!
Sidney:
Oh hey, hey, hey, shit, not in my care. Oh, my bad, my bad. This is your pad? You don’t want me to
jack up your pretty curtains.
Grace:
Oh, son of a bitch. I’m paid it forward for a hophead son of a bitch.
Sidney:
You paid it what? I didn’t hear that.
Grace:
I ain’t gonna tell you. Because your ass ain’t good enough to touch it.
Sidney:
Oh, my ass ain’t good enough to touch it, huh?
Now, you gonna tell me.
Hey, hey, hey, you – gonna – tell – me.
[End fragment]
Chris:
So, let me get this strait. Some old bat living in her car in Las Vegas, tells you about pay it forward?
Sidney:
Well, she ain’t want to, man, but I wouldn’t stop until she let it out.
Chris:
Look, what I want to know, Sidney, what I really want to know is why? Why did you pay it forward?
Sidney:
Because don’t nobody tell my what I can and can’t touch.
[scene 32]
Bonnie:
How many times did I talk about this? You’re not supposed to date for a year.
Arlene McKinney:
They’re not dates.
Bonnie:
Oh, okay, seven dinners. What are they?
Arlene McKinney:
No, It’s a couple of adults sitting down.
Bonnie:
It’s a date!
Arlene McKinney:
No.
Bonnie:
Does he pay?
Trevor:
He pays for everything.
Arlene McKinney:
Yeah, but did anybody asked you?
He’s new. He doesn’t know that many people.
Trevor:
He likes her.
Arlene McKinney:
So?
Trevor:
He fixed the TV-remote.
Arlene McKinney:
Wow, that’s an engagement ring.
Trevor:
And he doesn’t drink.
21
Arlene McKinney:
Don’t you got to pee?
Look.
Bonnie:
I need a smoke.
Arlene McKinney:
Yeah, over there.
Bonnie:
So, did he kiss you?
Arlene McKinney:
No, no, no, no, no.
Bonnie:
Does he want to?
Arlene McKinney:
Sometimes I think he does.
He can’t really want to or he would’ve
Bonnie:
Do you want him to?
Arlene McKinney:
I don’t know.
<Trevor background sound>
Arlene McKinney:
Shit, Bonnie, it just taking forever.
Bonnie:
Haven’t you ever gotten to know somebody before you went to bed with him?
Arlene McKinney:
Is that bad?
Bonnie:
It’s pathetic.
[Scene 33]
Arlene McKinney:
<Laugh>
Eugene Simonet:
Well, goodnight.
Arlene McKinney:
(Heum)… Do you wanna come in? And… …Stay?
Eugene Simonet:
I…
Arlene McKinney:
Come in.
Eugene Simonet:
Trevor’s inside the house.
Arlene McKinney:
He sleeps like the dead.
Eugene Simonet:
I don’t wanna make it any harder for you. You’re supposed to wait for a year. Isn’t that what Bonnie
said?
Arlene McKinney:
Okay.
Eugene Simonet:
I… I can’t.
Arlene McKinney:
Oh? I’m sorry.
Eugene Simonet:
No, I don’t mean I can’t. It’s just…
Arlene McKinney:
What?
Eugene Simonet:
This is complicated.
Arlene McKinney:
I get it. It’s okay to say you don’t like me that way.
Eugene Simonet:
Is that what you think it is?
Arlene McKinney:
It’s okay.
Eugene Simonet:
No. How could you ever think that?
Arlene McKinney:
What? What is it?
Eugene Simonet:
<Get back to his car and drives away>
22
[Scene 34]
Michelle:
And you’re doing this because…
Chris:
I need more links.
Michelle:
You’re spending three hundred dollars to go to Vegas and find an old lady so you can sell a story for
three hundred dollars.
Chris:
The newsmagazine Feature. It’s not something you wipe your ass with.
Michelle:
You have such a lovely way of expressing your self.
Chris:
Honey, do me a favor. Don’t change the locks on me, okay?
Michelle:
Chris, what you’re hoping this’ll be?
Chris:
Just, you know, something that clears the check, you know?
Michelle:
Are you sure that’s all?
Chris:
Look, okay, I drank the last of the coffee, please put it on the list.
Michelle:
(Hm)…
Chris:
Bye.
[scene 35]
<Door knock>
Eugene Simonet:
Who’s there?!
Arlene McKinney:
<open door> Hey, do you look down on me?
Eugene Simonet:
What?
Arlene McKinney:
Do you look down on me?
Eugene Simonet:
No.
Arlene McKinney:
Because I don’t talk like you, I haven’t read the stuff you read.
Eugene Simonet:
What are you talking about. That’s not pertinent, and you know it.
Arlene McKinney:
Don’t talk to me like that.
Eugene Simonet:
I’m sorry, but that’s the way I talk, you know. Words are all I have.
Arlene McKinney:
Why? Why?
Because you think you look like shit? Is that it?
I don’t care bout your burns, Eugene. If that’s even what they are. Is that what they are?
Eugene Simonet:
Yes.
Arlene McKinney:
Okay, well, whatever happened to you, you look good to me.
Eugene Simonet:
Well, you look good to me to.
Arlene McKinney:
Okay, so?
Eugene Simonet:
So, I… I’ve never been here before.
Arlene McKinney:
Okay, so you’re scared, I’m scared too. Listen bad things has happened to me, okay?
I can’t take my shirt off with a guy without 5 beers in my, but I want that with you. More than I’m
scared, I want that.
Eugene Simonet:
<Shut Radio off> You don’t see me, all right? My life… My life is familiar. It’s manageable. It’s
manageable… …every day… I have a thing I do every day. It’s all I’ve ever known and it’s routine.
And as long as I have that… as long as I have that… …I’m okay. If I don’t have it, I’m lost.
Arlene McKinney:
So, is that all you want? Your goddamn manageable day?
Eugene Simonet:
It’s what I have.
23
Arlene McKinney:
No, it isn’t!
Eugene Simonet:
It’s what I always had.
Arlene McKinney:
It is what you want. <Together with Eugene Simonet>
Eugene Simonet:
Yes, it’s what I want!
Arlene McKinney:
I Don’t believe you.
Eugene Simonet:
<Ignore>
Arlene McKinney:
Okay. That’s the best I got.
Eugene Simonet:
It’s not about you.
Arlene McKinney:
Yes, it is! Something’s been offered to you here. And you don’t want it. Maybe you’re
scared to get rejected, well I can’t reject you. You’re to quick for me. <Walk away>
[Scene 36]
Violent kid#1:
hey, You didn’t call me a fag, did you? <Against Adam>
Adam:
Ah, ah…
Violent kid#2:
Hey, look what I found.
Adam:
No, What do you want? Give me that! That’s my asthma pray!
Violent kids:
Shut up!
Adam:
Stop it!
Violent Kid#3:
Stay still!
Adam:
Stop! Help me!
Violent kids:
Hold still!
Adam:
Get off!
Trevor:
Hey!
Violent kid#1:
Hey, McKinney. Come here.
Violent Kid#0:
Yeah, lets hang out.
Adam:
<Whisper> Help me, please
Violent kid#1:
Screw it, he’s not doing anything, Come on.
Adam:
Let me go!
Let me go!
[Scene 37]
Eugene Simonet:
Trevor, you cut my class.
Trevor:
It’s been four days.
Eugene Simonet:
What’s been four days?
Trevor:
Why haven’t you called my mother? It’s been four days.
Eugene Simonet:
<Silence> I don’t know.
Trevor:
Neither does she.
Eugene Simonet:
Hey, what’s the matter?
24
Trevor:
Pay it forward didn’t work. I couldn’t even do it.
…
I was gonna help Adam.
Eugene Simonet:
Help Adam to do what?
Trevor:
Not to get beat up.
But I crapped out and I let him.
I let him get beat.
Eugene Simonet:
No, you didn’t, you didn’t let him to get beat. It just… It happens, you know?
Trevor, sometimes there’s nothing we can do.
Trevor:
It’s not fair.
Eugene Simonet:
I know…
Trevor:
No, you don’t know!
You should call my mother. You could do something if you wanted.
Why are you so chicken?
Eugene Simonet:
Trevor, I’m not chicken.
Trevor:
Something’s gonna happen, then it’ll be too late.
Eugene Simonet:
What’s gonna happen?
What do you mean?
Trevor:
He’ll come back.
Eugene Simonet:
Who’ll come back?
Hey, who’ll come…
Your dad. Your dad will come back?
And what will happen if he comes back, Trevor?
Will he hurt you?
…
Will he hurt her?
Not if someone’s there… …instead of him.
Trevor:
Eugene Simonet:
Trevor, it’s…
It’s complicated for me now. I…
…
Trevor:
Is the world just shit?
Eugene Simonet:
No, it isn’t.
Hey, you did good work. Look at me. I’m proud on you, Trevor.
I’m proud on you.
And anyway for what it is worth I grading you on the effort, not the result.
Trevor:
I don’t care about the grade.
…
I just wanted to see if the world would really change.
<Walk away>
[Scene 38]
<Door knock>
Eugene Simonet:
Hi.
Arlene McKinney:
Hi.
(um)… Come in.
[Scene 39 (skip)]
[Scene 40]
Eugene Simonet:
(HEK!)… Trevor!
Trevor:
It worked!
25
Eugene Simonet:
Oh God…
<Run away>
Does he always get up this early?
Arlene McKinney:
What?
Eugene Simonet:
Oh my God. This is not good. He just saw me.
Arlene McKinney:
It’s okay.
Eugene Simonet:
No, it’s not. I’m his teacher.
Trevor:
<On the other side of the door> Now, you have to pay it forward too…
Eugene Simonet:
… I think you should still call me: “Mister Simonet.”
…Eugene!
<Open door>
Trevor:
You had a sleep over, didn’t you?
Mr. Simonet:
Why you don’t go back to bed?
Trevor:
Why?
Mr. Simonet:
It’s too early for you to be up. And…
Trevor:
No, it’s not… It’s not early.
Mr. Simonet:
I got to leave to school anyway.
Trevor:
No, it’s a Sunday!
Mr. Simonet:
It’s a… …Sunday?
Trevor:
Yeah.
Mr. Simonet:
It’s a Sunday?
Arlene McKinney:
It’s a Sunday.
Trevor:
So, stay.
Mr. Simonet:
No I can’t.
Trevor:
So, stay. My mom <come in: Mr. Simonet> will make you breakfast; she’ll make three eggs for you.
Mr. Simonet:
Besides I have a whole schedule where you don’t know about it…
Trevor:
All right.
Mr. Simonet:
I do it every Sunday
Trevor:
You’ll bring everything here!
Mr. Simonet:
… Will you please take care of him. I’ll call you later, allright?
Arlene McKinney:
Allright.
Trevor:
Don’t be a stranger!
Arlene McKinney:
My God, Trevor.
Trevor:
You like him?
[Scene 41]
<Background sound: Bridge Girl>
Jerry:
Hey, hey, hey, lady. Come on.
Bridge girl:
Go away.
Jerry:
I… I’m not gonna hurt you lady.
26
Bridge girl:
Oh, here; take it.
Jerry:
That’s a nice thought, but it’s not what I want!
What… What… Hey, what are you doing?
I’m not gonna hurt you!
What are you… Hey…
Oh my God. Listen to me. Nothing is this important, come on! Come… Come… Come down here!
What are you doing?!
Bridge girl:
What do you care anyway?
Jerry:
Because I owe someone a favor.
Bridge girl:
Not me.
Jerry:
Why not you? You know, a minute ago, I was thinking about was getting my next fix. And than I saw
you and I… …I changed my thinking.
Bridge girl:
Oh, please. Go away. Trust me, I’m not worth it.
Jerry:
Why is that?
Bridge girl:
Because, for God’s sake…
Jerry:
Come on, tell me?! Why are you not worth it?!
Bridge girl:
Trust me. You wouldn’t understand.
Jerry:
Are you kidding me?
You think I live with the Ritz?
…
Have a cup of coffee with me.
Bridge girl:
What?
Jerry:
Do my a favor. Save My life.
[Scene 42]
Trevor:
<Background sound FX> Get him! Get him! Off the ropes!
He mist him!
He’s dead! He’s dead!
Trevor:
Oh, …come on, bleed, dude.
Oh, oh, he’s got him. Give him a DDT!
Mr. Simonet:
A what?
Arlene McKinney:
It’s gonna be a DDT.
Trevor:
Drop him on his ass!
He’s dead, he’s dead.
Okay, he’s paralysed, get out of the ring
Mr. Simonet:
What do you mean: get out of the ring, you can’t get out of the ring.
Trevor:
Yes, he can.
Arlene McKinney:
Yes, he can? <Together with Trevor>
Trevor:
He has to get a chair.
Mr. Simonet:
Chair?
Trevor:
(Uh)… He’s dead.
Kick him, kick him, bam!
%%! Slow motion.
Arlene McKinney:
<laugh>
Mr. Simonet:
Trevor, when did you become so violent?
27
Trevor:
Oh, no, no, no, take my to a match. You get splattered in the front row.
Mr. Simonet.
I don’t want to get splattered, thank you very much.
Trevor:
Yes, you do. You’ll be… It’ll be your birthday present to me.
Mr. Simonet:
Oh no, you know what you get for your birthday?
Trevor:
What?
Mr. Simonet:
A brand new encyclopaedia.
Mr. Simonet:
Leather bound.
Arlene McKinney:
Oh, boy.
Mr. Simonet:
Thucydides history of the Peloponnesian war.
…
No, I’m gonna give you 51 crackling volumes. There’ll be pop quizzes everyday on the development of
the cotton farms.
Ricky:
Hi, Arlene.
Trevor:
(uh!)…
<TV background>
[Scene 43]
Mr. Simonet:
<Walk away>
[Scene 44]
Arlene McKinney:
You can’t stay here, Ricky.
Ricky:
I know.
Look, I know what we had was a nightmare, Arlene.
But I did it.
Arlene McKinney:
You did what?
Ricky:
I knew I couldn’t come back to this house unless I was sober.
It’s the truth. Five months, two weeks and four days are the truth.
Arlene McKinney:
Where you been?
Ricky:
What does it matter? I knew I had to change.
Are you sober?
Arlene McKinney:
Yeah, I got sober staying right here.
Ricky:
You’re stronger than me.
Can you just stop for a minute? Please. Can we just sit down and talk?
Arlene McKinney:
Okay.
<Silence>
[Scene 45]
<Car background>
Arlene McKinney:
Hi.
Mr. Simonet:
God…
Arlene McKinney:
Sorry. I’m sorry.
Mr. Simonet:
What are you doing here?
Arlene McKinney:
I want you to understand…
28
Mr. Simonet:
<With anger> Oh, it’s not necessary, really. No explanation required.
Arlene McKinney:
Please don’t talk to me like that. We had thirteen years then, Eugene.
He’s sober now. We’ve never been sober together.
Mr. Simonet:
Well, I wish you luck.
Arlene McKinney:
I feel like I’ve got to give him a chance.
Mr. Simonet:
A chance?
A chance for what?
Arlene McKinney:
To change. To try to make up for lost time.
Mr. Simonet:
Oh, What? To take Trevor to some ball games? Do some really “daddy” things with him?
Arlene McKinney:
Yeah, he promised to try. What do you want me to do?
Mr. Simonet:
Oh, I don’t know. Be smart.
Arlene McKinney:
He’s his father, Eugene.
Mr. Simonet:
He impregnated you, Arlene. In what other way has he been father to Trevor? Unless knocking
somebody around is a new family value.
Arlene McKinney:
What are you talking about? He never touched Trevor.
Mr. Simonet:
Oh, That’s right. Only you. He only took it out on you. That’s so much better.
Arlene McKinney:
What did Trevor tell you?
Mr. Simonet:
Enough. Christ, Arlene. Secrets like that shouldn’t be kept. What good does it do Trevor?
Arlene McKinney:
You weren’t there. Ricky never meant to hit me, we were drunk…
Mr. Simonet:
<rise his voice > Oh, Christ! What is it with women like you?!
Mr. Simonet:
Is that something you really tell your self: “Oh, it’s okay he beat me, Trevor’s
okay!” Trevor locked himself in a bathroom, and he can’t breathe, and he’s… …he’s hoping and
praying that it will stop!
Arlene McKinney:
Trevor never went through that…
Mr. Simonet:
How do you know what Trevor went through?! How do you know. How do you know the
next time after you, he doesn’t come for Trevor? I know what I’m talking about Arlene. My father got
on his knees and begged my mother, and my mother… She always took him back. I never
understood it. She’d cover the bruises and the cuts, and she’d take him back… …Because he
begged and cried. And now you ask me what happened after he came back.
Arlene McKinney:
No.
Mr. Simonet:
No, go on! You said you wanted to know what happened to me, now ask me!
Arlene McKinney:
I don’t like this.
Mr. Simonet:
“Did he hurt you, Eugene?!”, ask me!
Arlene McKinney:
Did he hurt you?
Mr. Simonet:
Not for lang. By thirteen I was gone. I ran away. But I missed her. So I had to go back and see her.
And so one night I did.
Now ask me what happened than. “What happened the night you came back, Eugene?”
Arlene McKinney:
What happened?
29
Mr. Simonet:
He was there, drunk as usual. Only this time I wasn’t the same. I was sixteen years old and I was no
longer afraid of him. And when I looked him in the eye… and told him if he ever touch her again, I
would kill him, he knew… …he knew that he never exist for me again. And I’m standing in front of the
house, I’m telling her, I screaming for her to come out. I’m telling her that she doesn’t has… She
doesn’t has to take it anymore. She really doesn’t. she can come with me now. I even didn’t see it
coming. He hits me on the side of my head with a two-by-four and I’m bleeding from my ear. And then
he’s dragging me… He’s dragging me behind the house and then into the garage and then he’s gone
for a minute, five minutes, I don’t know. And then he’s back and he’s wetting me down. He’s wetting
me down and I don’t understand… I don’t understand why water should smell so bad? I don’t
understand. And then I see it. I see this… …this… …gas can… <sobbing a little> …this red gas
can from his truck.
And he looks at me one last time… and he lights a match. And the last thing I remember… …and I’ll
never forget it… …were his eyes. His eyes, because they’re were filled with this… …immense
satisfaction.
Arlene McKinney:
I’m so sorry.
Mr. Simonet:
Don’t…, don’t…,
don’t tell me how sorry you are for my!
Just tell me how you’ll gonna stop it happening to Trevor?
Arlene McKinney:
Ricky would never do that.
Mr. Simonet:
Oh Jesus, Arlene. He doesn’t have too. All he has to do is not love him.
[Scene 46]
<Background FX, car>
Chris:
Geez!
[Scene 47 : int Home]
<Background Music>
Arlene McKinney:
Hey. <Against Ricky>
What’s going on?
Ricky:
What’s going on? <sentence>
I’ll tell you what’s going on.
Arlene McKinney:
What are you doing?
Ricky:
What’s it look like I’m doing?
Arlene McKinney:
Ricky, you can’t do this. What are you putting in my room? We had an agreement.
Ricky:
My son won’t talk to me. He won’t even look at me!
What did you do to turn him against me, huh?
Arlene McKinney:
I didn’t do anything. I told you I wasn’t gonna make him talk to you.
You could get a job!
Ricky:
What am I supposed to use for a car, huh?
Arlene McKinney:
Take the bus. That’s what I do.
Ricky:
Yeah, that’ll be the day.
Arlene McKinney:
Ricky, you can’t stay in this room.
Ricky:
Look, this is our room, baby. Okay? This is our house, this is our bed…
Arlene McKinney:
You’ve been drinking.
Ricky:
Kiss me.
Arlene McKinney:
Stop it!
Stop it! Stop it!
I want you out of this house.
<Background music louder>
30
Ricky:
What’s your problem?
Arlene McKinney:
I want you out.
<Silence> <Background music>
Ricky:
<On the other side of Trevor’s door> Turn that noise down or I gonna Come in and
pound ass, boy!!
Arlene McKinney:
Don’t talk to him like that!
Ricky:
Don’t tell me how to talk!
<Background music down>
Ricky:
Don’t tell me how to talk to anybody. I’ve had enough!
Arlene McKinney:
Are you getting mad?
Ricky:
Yeah, what are you gonna do about it, huh?!
Arlene:
Get out!
Ricky:
I like you better when you had a few drinks in you!
You want me out of the house?!
I’m out!
Arlene McKinney:
Sorry. <Against Trevor>
I think I made a mistake.
Trevor:
Everybody makes mistakes.
[Scene 47 (skip)]
[Scene 48 int School]
Mr. Simonet:
Allright, bring them up. Thank you. Carefully. Thank you. Thank you. Be careful. Did you get rid of
your hiccups?
Girl#0:
Yes.
Mr. Simonet:
Good. I told you holding your breath would work. Thank you. Careful. Thank you. Very nice. Give me
that one. Thank you. Thank you. Thank you. Thank you.
…
Trevor, what is it?
Trevor:
Are you still gonna pay it forward?
You could say you don’t have to.
Because it didn’t work out.
But I thought you still might.
Mr. Simonet:
Trevor. I would like more than anything to do that for you.
And when I find something worthy…
Trevor:
I know somebody who needs something.
Mr. Simonet:
Trevor, you have to let me find this…
Trevor:
You know who it is.
Mr. Simonet:
Look, you don’t know everything. All right? So you do not know what you’re asking.
Trevor:
Give her another chance.
Mr. Simonet:
I will pay it forward. I promise you that. But I can not do that.
<Silence>
31
Trevor:
<sobbing> But that’s why this is the one. Because it’s supposed to something hard. If you help my
mom, even if your still mad at her. If you help her in a way nobody else could.
Mr. Simonet:
Does she asked you to come and talk to <Trevor> me about this.
Trevor:
No, she think you’ll never forgive her. But I still think you could.
…
You wanted to do something really huge. For someone. For my project.
For me.
Mr. Simonet:
Trevor, she made a choice.
Trevor:
She said she made a mistake.
Mr. Simonet:
Well, that’s the beauty of hindsight.
<Silence>
Trevor:
You don’t care.
Mr. Simonet:
Yes, I do. I will always care. About you, always.
<Silence>
Trevor:
Yeah. You’re my teacher. They pay you to.
[Scene 49]
Grace:
You got it?
Chris:
Yeah. Yeah.
Grace:
I ain’t saying a thing till I get one more.
Chris:
You know, I thought you might feel that way.
…
Ah, ah. No, no. Later.
Grace:
I got my places. Places where nobody cares where you park overnight. Places where I live. Anybody
who knows me, knows where to find me.
[Fragment]
Arlene McKinney:
Hi, mom.
Grace:
What are you doing here?
Arlene McKinney:
I wanted to see you.
Grace:
After three years, <Arlene> why now?
Arlene McKinney:
I couldn’t, I can’t watch you do this.
Grace:
I drive by your house.
Arlene McKinney:
I know.
Grace:
He’s big.
Arlene McKinney:
Yeah.
Grace:
What are you doing here? Are… Are you… Are you gonna try to… <laugh> …put me somewhere?
Arlene McKinney:
No.
Grace:
Then what do you want?
Arlene McKinney:
I wanna try to… …do something.
All the things, when I was a kid, the booze and the men… What happened to me when you weren’t
looking… I know we’re all weak.
Grace:
No, not you.
Arlene McKinney:
No. I’ve been weak. Well, here’s the thing… I forgive you.
32
<Silence>
Grace:
Oh…
<Silence>
I don’t like your hair.
Arlene McKinney:
I know, I’m not putting it back.
…
So, I’d like to see you sometimes. Is that okay?
Grace:
Yes.
Arlene McKinney:
You can’t live with me?
Grace:
No… Who would want to?
Arlene McKinney:
<Laugh>
Grace:
Can I see him?
Arlene McKinney:
Not drunk. You’ve got to be sober, even if it just for two hours.
Grace:
Yeah, I can do that.
Arlene McKinney:
Okay.
…
Then I’ll come and find you. Okay?
Grace:
Yeah.
Arlene McKinney:
Okay.
Grace:
Why did you do this, Arlene?
[End fragment]
Grace:
So, she told me why. She told me I have to do something bid for three other people.
[Scene 50]
…:
Happy birthday dear Trevor. Happy birthday to you. And many more <In Choir>
Adam:
So, what’d you wish for.
Boy#4:
What’d you wish for?
Arlene McKinney:
He can’t tell what he wished for, or it won’t come true.
Can I have the napkins?
Grace:
Here you go
<Door knock>
Trevor:
I’ll get it.
…
Mom?!
Arlene McKinney:
Hello.
Chris:
Hi, Mrs. McKinney. I’m Chris Chandler, I’m a reporter. Could I have a moment of your time?
Arlene McKinney:
Why? I don’t have anything to say about anything.
Chris:
Please, (Hum)… I’ve already spoken to your mother, (hum)… …which naturally led me to you. So…
Arlene McKinney:
My mother?
Chris:
Yeah, she told me about (uh) …the pay it forward idea, how you helped her out. I’m bringing a story
about it.
Arlene McKinney:
You… no, no, no. You can’t, that’s private.
Chris:
But, Mrs. McKinney…
Arlene McKinney:
My son’s upset about it. It was a social studies thing and I didn’t work out the way he wanted to.
33
Chris:
Social studies?
Arlene McKinney:
Yes, please, just… …leave it alone. He just wants to get on with the seventh grade.
Chris:
Seventh grade? How did he…
Arlene McKinney:
It’s his birthday party and it is a bad time. Okay, I’m sorry…
Chris:
No, I’m… I’m sorry, Mrs. McKinney. I’ve been tracking this story from Los Angeles, okay? “Pay it
forward”, the… …the movement, it has reached L.A. Mrs. McKinney.
Arlene McKinney:
Come on. The movement?
Chris:
Yeah, now you… you’re telling me your son had something to do with this?
<Trevor background>
<Adam background>
[Scene 51]
Trevor:
(%%!)
Chris:
I really appreciate this, Mrs. McKinney.
Arlene McKinney:
It’s up to him.
Chris:
Well, okay.
So, you’re re ready, slugger?
Trevor:
I guess.
Chris:
Here you go, Up here please.
Just like your getting a haircut.
You ever been interviewed before?
Trevor:
No.
Mr. Simonet:
Hey, Trevor.
Trevor:
Hi.
Mr. Simonet:
This is for you.
Hi.
Chris:
Hi, how are you?
Mr. Simonet:
What’s your name?
Chris:
Chris Chandler.
Nice to meet you.
It’ll be less painful than the dentist, it’s gonna be great. Just be your self, okay?
Trevor:
Okay.
Chris:
Are you ready to go?
Trevor:
I guess.
Chris:
You guess? <Laugh>
Trevor:
<Laugh> I guess.
Chris:
Come on. You got to have some gusto here.
Trevor:
Okay. Okay.
Chris:
All right, lets go.
All right. Great. Okay. Lets be your self, relax, it’s gonna be a lot of fun. Okay?
Trevor:
Okay.
<Silence>
34
Chris:
Okay, we’re on?
Hi, I’m Chris Chandler and I joined to day by a very unusual seventh grader, Trevor McKinney.
Trevor, you must be pretty proud on your self.
Trevor:
No. <Laugh>
Chris:
So, you’re not proud at all?
Trevor:
I don’t know. I guess.
Chris:
Come on. You start a movement like pay it forward, you’re not proud?
Trevor:
I guess, I mean… I got an “A” in social studies, but (hm)… …that was just for the effort, I mean…
The stuff I did, it didn’t really worked out.
Chris:
You’re here.
Trevor:
Yeah, but… I don’t know. I tried real hard, but… …nothing really happened.
My mom’s stuff worked. She talked to my grandma. Kind of made up with her. It’s really hard for her.
It’s great for me. Because my grandma came to my birthday party and… …I’d really missed her. And
that’s why Pay it forward went to all those places… …because of my mom. because she was so
brave. And my stuff, I… I don’t know. I think some people are too scared or something… …to think
things could be different. And… I mean, the world’s… The world’s not exactly… …shit. But I guess
it’s hard for some people who are so used to things the way they are, even if they’re bad… To
change. And they kind of give up.
And when they do, everybody kind of… …kind of lose.
[Scene 52]
Mr. Simonet:
Hi, Arlene. I don’t wanna be one of those people he’s talking about. And I’ve become one.
I don’t want to spend another second of wasted air. Please don’t let me stay trapped in here forever.
Mrs. McKinney:
I won’t.
Mr. Simonet:
I don’t want to spend another second without you.
[Scene 53]
Girl#6:
<Background> Trevor?
Boy#5:
See you around.
Trevor:
All right. See you later, guy’s
Adam:
<Background> Let me go!
Sop it!
Violent kid#1:
Who’d you tell? Come on.
Adam:
Stop it!
Violent kid#1:
Who’d you tell, tattletale?
Adam:
I didn’t tell anybody. Ah… ah, ah…
I swear. I didn’t say anything.
Help!
Let me go!
Stop it!
Trevor!
Violent kid#2:
Come here! <Against Trevor>
Trevor:
<Grabbed violent kid#2>
Mr. Simonet:
Hey!
Violent kid#2:
Hey, Let me go!
Mrs. McKinney:
Trevor!
35
Mr. Simonet:
Trevor! <Together with Mrs. McKinney>
No!
No don’t!
Hey!
Violent kid#2:
He’s on my face!
Violent kid#1:
Punch him, come on!
Mr. Simonet:
No!
Leave him alone!
Trevor!
Trevor!
Violent kid#2:
<Push Trevor to the other side>
Violent Kid#1:
<Catch Trevor and stab him>
<violent kids run away>
Mr. Simonet:
Trevor!
…
Someone get an ambulance!
Mrs. McKinney:
Trevor.
[Scene 54 (skip)]
[Scene 55]
TV: Trevor:
But I guess it’s hard for some people who are so used to things the way they are, even if they’re bad…
To change. I guess they kind of give up.
And when they do, everybody kind of… …lose.
TV: Male newscaster:
These moments make you sorry to have to report anything at all. This remarkable young man died at
seven – thirty five this evening.
TV: Female newscaster:
There are now confirmed incidents of “Pay it forward” in Los Angeles, San Francisco and in phoenix
we’re checking to see if sixteen foster children, who just received computers, is in anyway connected
to this movement.
TV: Trevor:
It’s hard. You can’t plan it. You have… You have to watch people more. You know. Sort of… Sort
of keep an eye on them… …to protect them, because… They can’t always see what they need.
It’s… It’s like you big chance to fix something that’s not like your bike.
…
You can fix the person.
TV: Chris:
Is that what you want for your birthday? Everybody to pay it forward?
TV: Trevor:
I can’t answer that.
TV: Chris:
Sure you can. Why not?
TV: Trevor:
It wouldn’t work.
TV: Chris:
Why?
TV: Trevor:
<Silence> I already blown out my candles.
[Scene 56: End (skip)]
[Credits cast & crew]
Cast
Eugene Simonet
Arlene McKinney
Trevor McKinney
Chris Chandler
KEVIN SPACEY
HELEN HUNT
HALEY JOEL OSMENT
JAY MOHR
36
Jerry
Ricky
Grace
Sidney
Mr. Thorsen
Woman on the bridge
Adam
Bonnie
Michelle
Nurse
Principal
Mr. Thorsen’s Daughter
Rough kid#1
Rough kid#2
Rough kid#3
Shawn
Alexandra
Jordan
Christi
Philip
Justin
Myeshia
Brenau
Molly
Andy
Tameila
Julian
School Girl
Change girl
Hallway kid#1
Hallway kid#2
Man in window
Woman in window
Cop
Liquid man#1
Liquid man#2
Liquid man#3
Lowlife#1
Lowlife#2
Creepy middle-Aged man
Doctor
Cop who gives directions
Male newscaster
Female newscaster
News stand guy
The Governor
Stunt coordinators
Stunts
JAMES CAVIEZEL
JON BON JOVI
ANGIE DICKINSON
DAVID RAMSEY
GARY WENNTZ
COLLEEN FLYNN
MARC DONATO
KATHLEEN WILHOLTE
LIZA SNYDER
JEANETTA ARNETTE
TINNA LIFFORD
HANAH WERNTZ
LOREN D. BAUM
NICO MATINATA
ZACK DUHAME
SAWN PYFROM
ALEXANDRA KOTCHEF
BRADLEY WHITE
CHRISTI COLOMBO
PHILIP STEWARD
JUSTIN PARSON
MYESHIA DEJORE WALKER
BRENAU SUZANNE DAVEY
MOLLY KATE BERNARD
ANDREW PATRICK FLOOD
TAMEILA N. TURNER
JULIAN CORREA
CARRIE ANN SULLIVAN
PATRICIA DEANDA
RYAN BERTS
GABRIELA RIVAS
CARRICK O’QUINN
STEPHANIE FEURY
BERNARD WHITE
TOM BAILEY
TIM deZAMN
JONATHAN NICHOLS
RON KECK
JOHN POWERS
BOB McCRACKEN
FRANK WHILEMAN
EUGENE OSMENT
KENDALL TENEY
SUE TRIPATHY
RUSTY MEYERS
LESLIE DILLEY
JEFF DASHNAW
BUDY JO HOOKER
JOHNNY MARTINE
WILLIAM H. BURTON
CHAD DASHNOW
BRENNAN DYSON
DEBBIE EVANS
GRERG HARRIS
NORMAN HOWELL
RYAN KEATING
RALPH ODUM
KIM RENEÉ
DEBBY RON RONDELL
37
Pete WEIRETER
DICK ZIKER
Pilot
Unit Production Manager
First Assistant Director
Second Assistant Director
Associate Producer
Production supervisor
Music Supervisor
Art Director
Set Decorator
Set Designers
Storyboard Artist
Camera operator / Steadicam
First Assistant Camera
Second Assistant Camera
B Camera Operator
B Camera First Assistants
B Camera Second Assistant
Script Supervisor
Production Sound Mixer
Boom Operator
Cable Operator
Chief Lighting Technician
Assistant Chief Lighting Technician
Key Rigging Lighting Technician
Key Grip
Second Grip
Polly Grip
Key Rigging Grip
First Assistant Editors
Second Assistant Editor
Post Production Assistant
Music Editor
Assistant Music Editor
Supervising Sound Editors
KEVIN LaROSA
MARY McLAGLEN
STEVE DANTON
DAVID H. VENGAUS, Jr.
PADDY SAM CARSON
SCOTT ELIAS
G. MARQ ROSWELL
LARRY HUBBS
PEG CUMMINGS
MICK CUKURS
GARRY SPECKMAN
MARCOS ALVAREZ
PHILIP KELLER
STEPHEN CAMPANELLI
WILLIAM COE
ROBERT McMAHAN
CRIS LOMBARDI
BARRY IDOINE
SCOTT RESSLER
ISSAC FRIEDMAN
JULLIE PITKANEN
MARK HOPKINS McNABB
RAUL BRUCE
JACK WOLPA
JIM TYNES
JOHN SANDAU
CHARLEY McINTYRE
J. PATRICK DAILEY
TOM WEST
DWIGHT LAVERS
MICHAEL McGUIRE
GREGORY PLOTKIN
RICHMOND RIEDET
SCOBHAN PRIOR
JEREMY BRADLEY
BILL BERNSTEIN
JORDAN CORNGOLD
J. PAUL HUNTSMAN
CHRISTOPHER AUD
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Assistant Sound Editors
Supervising ADR Editors
Dialog Editors
Re-recording Mixers
ADR Mixer
Effects Editors
Foley Artists
Foley Mixer
Music Scoring Mixer
Orchestrator
Production Coordinator
Assistant Production Coordinator
Production Secretary
Production Accountant
Assistant Accountant
Unit Publicist
Second Second Assistant Director
Assistant to Ms. Leder
Assistant to Mr. Reuther
Assistant to Ms. McLaglen
Assistant to Mr. Abrams
Assistant to Mr. Levy
Assistant to Mr. Spacey
Assistant to Ms. Hunt
Assistant Location Manager
Costume Supervisor
Associate Costume Designer
Costumers
Ms. Hunt’s Costumer
Property Master
Assistant Property Masters
Auxiliary Set Decorator
Lead Person
On Set Dresser
Makeup Dept. Head
Key Makeup Artist
Makeup Artist
Assistant Makeup Artist
Ms. Hunt’s Makeup Artist
Makeup Prosthetics
Key Hairstylist
Ms. Hunt’s Hairstylist
Mr. Spacey Hairstylist
Construction Coordinator
Construction General Foreman
Transportation Coordinator
Transportation Captain
JEFF CRANFORD
TERRY GARCIA
MARK MORELL
JAMES SIMCIK
LEE LEMONT
JOHN REYNOLDS
PATRICK J. FOLEY
JOHN RIETZ
DAVID COMPBELL
GREGG RUDLOFF
THOMAS J. O’CONNELL
DAVID WERNTZ
JOHN BONDS
KEVIN BARTNOF
CATHERINE WARPER
ERIC GROTHELF
JOEL IWATAKI
THOMAS PASATIERI
DENISE HEINRICH
CANDICE CAMPOS
CARRY LEVINE
STEVIE LAZO
SHAUN McGOVERN
JEAN MARRIE MURPHY-BURKE
PAUL PRENDERVILLE
MICHAEL GARRITY
BRIGITTE ROUX-LOUGH
DORI KANCHER
MICHELLE PINKNEY
HALLIE SIROTA
DANA BRUNETTI
STACY BERNS
FLAINE PATARINI
LYNDA FOOTE
ELIZABETH SHELTON
NADINE HADERS
DENNIS McCARTHY
TANGI CRAWFORD
KIM FURLONG
DOUG FOX
CHINA IWATA
MICHAEL SWEENEY
MELISSA LEVANDER
LARRY McGUIRE
MICHAEL SHENK
VIVIAN McATEER
TANIA McCOMAS
LOUIS LAZZARA
CHRISTINE STEELE
RONNIE SPECTOR
MATTHEW W. MUNGLE
WALDO SANCHEZ
DARRELL FIELDER
CARROL O’CONNELL
MARVIN SALSBERG
DAVID GARIBALDI
TOMMY TANCHAROEN
LEE GARIBALDI
39
Casting Assistants
Extras Casting
Special Effects Supervisor
Special Effects Foreman
Special Effects
Video Assist
Still Photographer
Art Department Coordinator
Standby Painter
Greens
Studio Teachers
First Aid
Casterer
Craft Service
Display Graphics Supervisor
Staff Assistants
JESSIE DISLA
STACEY BUNCH
CENTRAL CASTING
BURT DALTON
ROD BYRD
ALBERT DELGADO
ROGER JOHNSON
DAVID JAMES
LAURA O’BRIEN
NIC JOHN
CARLO BASAIL
LOIS CARL
ANDRIA LATER
JUDITH BROWN
DAVID LAWSON
Dr. FERGUSON RIED, M.D.
TOM KATS MAVIE CASTERING
RICH CODY
TODD A. MARKS
JENNIFER BONISTEEL
KAYCE BROWN
JEFFREY SCHWARTZ
ANGIE PORKO
MICHELLE FITCH
Las Vegas Crew
Second Second Assistant Director
Production Secretary
Costumer
Location Manager
Assistant Location Manager
Location Assistant
First Aid
Extras Casting
BRIAN RELYEA
AMY CARELLI
CANDICE CANTY
MAGGIE MANCUSO
NANCY HAECKER
NICHOLAS SAVALAS
DONNA ARMSTRONG
HERACH ARZOUNIAN
BRETT DOOGAN
TROY KRAMER
WILD STREAK TALENT
Negative Cutter
Color Timer
Titles & Opticals
Dolby Sound Consultant
MO HENRY
DAVID ORR
PACIFIC TITLES
THOM “COACH” EHLE
Craft Service
Soundtrack on Verèse Sarabande CD’s
“YOU GOTTA MOVE”
“ROCK THE PARTY [OFF THE HOOK]”
“NEW”
“OOH”
“MAR Y CIELO”
“BECAUSE I GOT IT LIKE THAT”
“BEHIND EVERY GOOD WOMAN”
“WIN YOUR LOVE FOR ME”
“LAST RESORT”
“OPEN YOUR WINDOW”
“CALLING ALL ANGELS”
“HAPPY BIRTHDAY TO YOU”
SPECIAL THANKS TO
40
J.P. Guerin
Andrew Panay
Dr. Timothy A. Miller, M.D.
Centennial High School, Las Vegas
Carol Leavitt, Principal
Kristi Kolunda and her students
O’Callaghas Middle School, Las Vegas
Dr. Roberta Holton, Principal
Frank Lucero and his students
American Humane Association monitored
The animal action. No animal was harmed
In the making of this film. (AHA 00014)
Camera Systems by PANAVISION 
Color by DELUXE 
Prints by Technicolor 
FUJIFILM Motion Picture Products
KODAK Motion Picture Products
This Motion Picture  2000
Warner Bros. And Bel Air Pictures LLC
Story and Screenplay  2000
Warner Bros. And Bel Air Pictures LLC
Original Score  2000
All material is protected by the Copyright Laws of the
United States of America and all countries throughout the world
All rights reserved. Country of first publication: United States of
America. Warner Bros. And Bel Air Pictures LLC are the authors
of this motion picture for purpose of copyright and other laws.
Any unauthorized exhibition, distribution or copying of this
film or any part thereof (including soundtrack) is an
infringement of the relevant civil and criminal penalties
The story, all names, all characters and incidents portrayed in this
production are fictitious. No Identification with actual persons,
places, buildings and products is intended or should be inferred.
DISTRIBUTED BY WARNER BROS. PICTURES
A TIME WARNER ENTERTAINMENT COMPANY
www.warnerbros.com
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