A FAMILY MAN By M.C.

M.C.

INT. POLICE STATION - DAY A small waiting room with several rows of plastic chairs. A FEMALE OFFICER (30) acts as a receptionist at the front desk. She speaks in hushed tones with a MALE OFFICER (27), who stands in front of the desk. HENRY BARROW (36) sits in one of the vandalized plastic chairs, a manila envelope resting across his knees. His infant daughter, NELL, is in a carseat on the chair beside him. Henry adjusts her blanket and lets her grasp his finger. The Male Officer sneaks a glance at Henry and leans closer to the Female Officer. They whisper to one another quietly. The Female Officer lets out a little GIGGLE, just loud enough for Henry to hear. His attention shoots up, eyes immediately finding the Female Officer just as she forces her gaze down - shes just barely gotten away with staring. She clears her throat. Henrys stare is unwavering. The Male Officer taps the front desk, shifting his hat and saying goodbye to the Female Officer. He crosses the waiting room. He looks over at Henry, who watches his movements, unflinching. A faint, sad smile crosses the Male Officers face and he shakes his head. Henry stares after him as he exits through the double doors. He shifts his attention back to the front desk again. This time catches the Female Officer staring outright. She quickly looks away, embarrassed. Henry all but grinds his teeth. He takes a deep breath and looks at Nell again. She sucks contentedly on her pacifier and Henry almost smiles. INT. INTERROGATION ROOM - DAY Henry sits across from OFFICER ARNIE AMES (43). Between them is a desk, on which a very small case file lays open in front of Ames. A picture of Henrys wife, GRETCHEN BARROW (34), is paperclipped to no more than two documents inside. The manila envelope, too, is on the desk, unopened beside the case file. Nell rests in her carseat next to Henry, who keeps one hand on the handle. He rocks her gently back and forth. (CONTINUED)

CONTINUED:

2.

HENRY It just seems like maybe the one photograph isnt enough, you know? That ones not the best of her by a long shot - the lights not very good in it, you see? He gestures at the photograph in the case file. Ames looks up when Henrys arm moves before looking back to the pages in front of him. There is the distinct impression that he is only pretending to read. HENRY (CONTD) Its not even a very clear picture of her face. How are people supposed to recognize her if they dont have a real idea what she looks like? So I brought some different photos - better ones, where its just her instead of having me cropped out of it. He pauses, expecting Ames to open the envelope. He doesnt. Henry takes the initiative and reaches forward, opening the envelope and carefully taking out several photographs of Gretchen. He places them in a perfect line in front of Ames, so that Gretchens image faces him. HENRY (CONTD) Shes smiling in some of them, but not others, you see? People look different when they feel different, you know? Maybe if theres different pictures of her out there itll be easier for somebody to recognize her. Ames looks at the photographs absently, glancing over each one. He nods lazily. AMES Alright, Henry. Ill see what I can do about getting these out there. Henry isnt ready to disengage. He takes out the remaining contents of the envelope, pushing them across the desk to Ames.

(CONTINUED)

CONTINUED:

3.

HENRY I got together some of her records, too. This one heres the house phone records, and this ones from her cell phone. Some of the numbers werent ones I recognized, and on her cell phone bill therere a bunch that werent in her contacts. These ones, see? The ones I circled. I thought maybe you could cross-reference them, see if you find anything? Ames sighs, looking up at Henry sadly. AMES Were not gonna find anything, Henry. Come on, you know that. Henrys face falls. He leans back in his chair, but his posture is rigid rather than defeated. HENRY The hells that supposed to mean? Ames shakes his head, pushing the phone records back towards Henry. He picks up the photographs of Gretchen and shuffles them into a pile, sticking them behind the paperclipped photo of her. HENRY (CONTD) Arnie, for Christs sake. AMES You gotta start just calling in when you wanna talk about stuff like this. You cant keep coming in here. I know its hard, and I know youre going through a lot with this. Listen, Ive always liked you - youre a good man, Henry. Anybody whos met you knows that, and I get that youre trying to do the right thing here. But youre just gonna drive yourself crazy. You need to move on, come to terms with the fact that she ran off and she probably aint coming back. Henrys expression grows severe. He stops rocking the carseat abruptly.

(CONTINUED)

CONTINUED:

4.

HENRY I thought you hadnt found anything. Thats what youve been saying to me, all this time. AMES Henry, (you know what I meant) HENRY (interrupting) All this time, Arnie. Every time I call or come in here I get the same bullshit answer outta you. But now youre saying shes run off. How in the hell would you know that if you cant find a single goddamn thing? Or are you even looking? AMES Come on, now. What am I supposed to think? We all know how she is. The room immediately goes stiff and heavy with silence. Nell begins to cry, breaking the quiet. Henry glares furiously at Ames, fists clenched on his knees. He unclenches one and places it back on the carseats handle, beginning to rock Nell again. Though the rocking is gently, his fist is clenched tight around the handle, almost shaking. Ames clears his throat, looking back to the open file on his desk. He smooths out the arrangement of documents and photographs before closing the file. Nells cries begin to quiet as Henry rocks her. AMES (CONTD) Ill see what I can do about the pictures, Henry. You ought to get home. That baby seems like she needs a proper sleep. At the mention of her, Henrys eyes immediately shift to Nell. Her crying continues to quiet, and her eyelids begin to droop. Henry reluctantly takes the manila envelope back.

5.

EXT. DOWNTOWN STREETS - DAY The town is small, all tight corners and narrow streets, with several "Mom n Pop" businesses and no corporate chains in sight. Its sleepy and quiet, with only a few citizens walking around outside. Henry pushes Nell in a stroller down the sidewalk, which shimmers with a light sheen of ice. A bundle of papers tucked underneath his arm. He and Nell are both heavily bundled up to combat the cold, bitter wind. Henry stops at every telephone pole, street sign, and shop window to hang up a flier from the stack under his arm. They feature a large black-and-white photograph of Gretchen and the words "HAVE YOU SEEN ME?" in large bold type. INT. NURSERY - NIGHT The wallpaper is bright yellow with pink accents in the corners. A crib, changing table and rocking chair sit against the walls. On one wall is a framed picture of Gretchen, Nell and Henry, just shortly after Nells birth. In the picture, Henrys smile is huge. Gretchens is subdued and sad. Henry tries to calm Nell as she SCREAMS and CRIES against his chest. He wears pajamas and his feet are bare. He coos softly to his daughter, but to no avail. INT. NURSERY - LATER Henry has fallen asleep in the rocking chair with Nell now quiet and slumbering in his arms. The lamp on the changing table is still on. INT. BARROW HOME - NIGHT Henry sits on the worn-out loveseat, watching television. He keeps the volume low and only seems to be half-watching. A freshly-printed stack of HAVE YOU SEEN ME? fliers sit on the coffee table in front of him. Nell gurgles as she fiddles with various teething toys in a playpen next to the couch, sometimes emitting a pleased squealing sound. Theres a KNOCK at the door.

(CONTINUED)

CONTINUED:

6.

Henry looks in the direction of the front door, concerned. He gets to his feet and looks into Nells pen. She doesnt notice him or the noise at the door and continues to play with her toys. Henry crosses the small space of the living room to the foyer area. He looks through the peephole on the front door, squinting, then sharply jerks back. His breathing seems to have stopped, and for a moment he stands there in front of the door, perfectly still. In one sharp movement he grasps the doorknob, turns it, and pulls the door completely open. The screen door separates Henry from Gretchen, who stands on the front porch. Her hair is damp with snow. He pushes the screen door open, stepping forward to stand in the doorframe. Its snowing outside and his thick wool socks quickly dampen from snowfall. He stares at Gretchen for several beats. Shes crying silently. GRETCHEN I want to come home. Henry swallows a lump in his throat and steps back, leaving the doorway open for her. She gives him a grateful smile and he does his best to return it. CUT TO: EXT. - BARROW HOME - NIGHT (SEVERAL MONTHS LATER) The outside of the house is shabby, sitting in the middle of nowhere. Dense woods stretch across the horizon about fifty feet behind the back door. The wind HOWLS, picking up powdery drifts off the top of deep snow. The porch light bathes an unmoving, indiscernible figure on the top step in harsh shadow. The screen door gets caught in the fierce wind and SCREECHES open, then SLAMS closed when the weather briefly calms.

7.

INT. - BARROW HOME - CONTINUOUS Broken glass covers the linoleum floor, some of it still in larger pieces. In the open kitchen, two dinner plates of untouched food have been abandoned on the table. The windows are shattered. The loveseat is laden with shot and the stuffing has burst onto the cushions and floor. The television set is knocked down and the screen has cracked. Henry sits in the rocking chair from the nursery, now placed in front of the door. His bare feet are bright red, covered in melting snow. Nell rests in the crook of his right arm, wrapped up in blankets. His left hand is securely fixed on the DOUBLE-BARRELED SHOTGUN resting in his lap. The chair rocks slowly, aged wood GROANING in protest. Henrys eyes are fixated on the front door. The screen door SLAMS outside and a bitter wind WHISTLES through the shattered window into the home. Nell stirs slightly, making a low GURGLING sound. Henry doesnt blink. EXT. - BARROW HOME - NIGHT The sky grows lighter as dawn approaches. Snow piles on the shadowy figure sprawled on the porch. Heavy, uneven footprints lead away from the home and into the woods. The wind begins to erode them away. In the growing light, heavy trails of bright red become apparent next to the footprints. The snow covering the porch is almost entirely red, darkest around the unmoving shape on the steps. INT. - BARROW HOME - DAY Nell CRIES from the crook of her fathers arm. Henry jolts awake, gripping the shotgun, eyes back on the door. He goes still. (CONTINUED)

CONTINUED:

8.

A good amount of snow has made its way into the damaged house, building up into a bank at the base of the broken windows. The sun outside is bright, the sky clear and blue. Nell WAILS and SCREAMS, her pudgy fists balled up, arms flailing. Tears stream down her bright red cheeks and her nose has begun to run. Henrys attention snaps down to the infant and he loosens his grip on the shotgun. HENRY Oh, Im sorry, little baby. Youre cold, arent you? Im sorry, Nelly. Nell SCREAMS louder. Henry shushes and coos at her, getting to his feet. His knees CREAK and he rocks Nell up and down in his arm, kissing her forehead and making his way to the kitchen. Hes careful to avoid the debris on the floor, sidestepping splinters of wood and shards of glass. Henry sets the shotgun down flat on the kitchen counter and opens the refrigerator, taking out a bottle of breast milk and setting it down next to the stove. He opens a drawer and pulls out a pot, filling it with water from the sink. Henry sets the pot on one of the burners and turns it to high, patting Nells back. HENRY Youre hungry, huh? I bet youre hungry. Its way past breakfast time for you. The water boils. Henry turns off the burner and places the bottle into the pot, checking the digital clock on the microwave to keep track of time. He times the heating exactly before pulling out the bottle, testing the heat of the liquid on the back of his hand, and guiding the nipple to Nells mouth. She gulps it down and Henry watches her grow peaceful, her eyelids drooping as she drinks.

9. EXT. - BARROW HOME - DAY Henrys feet, still bare, grow a stinging red in the snow. In the broad daylight, we can see that the figure is Gretchen. Drifts of snow have built up on her lifeless body, and the snow surrounding her is dark red. Shes been shot multiple times in the torso, and her skin is a light shade of blue from the cold. Henry bends his knees slowly, crouching down beside her. His hand tentatively reaches out to touch her, but as he stares he loses his nerve and draws back, covering his mouth instead. He looks at her lifeless body, hands shaking. INT. - MAUREENS LIVING ROOM - DAY MAUREEN (32), Henrys sister, holds Nell in her arms, making faces and cooing at her. Henry sits on an upholstered armchair, staring at his hands in his lap. A steaming cup of coffee sits on the side table to his right. MAUREEN Henry? He looks up, eyebrows raised and alert. HENRY What? MAUREEN I asked you how long you need me to watch her. Henry leans back in the chair, shrugging his shoulders and shaking his head. HENRY I dont know. Probably just for the afternoon. Ill try and come get her before it gets late. Is that okay? MAUREEN Sure, thats fine. She rocks Nell gently back and forth, rubbing their noses together and smiling big. She looks over at Henry, her expression soft and concerned. (CONTINUED)

CONTINUED: MAUREEN (CONTD) Im sure you guys could use the break. You look exhausted.

10.

Henry looks at his reflection in the turned-off television screen in front of him. He manages a weak smile and takes a sip of his coffee. HENRY Im alright. MAUREEN You should get some sleep. Both of you. Its already tough enough for Gretchen as it is. Henry goes stiff. His hand trembles around the handle of the coffee cup. HENRY What? Maureens expression becomes nervous, apologetic. MAUREEN I just...Ned mentioned it, I think. Thats one of the symptoms - not being able to sleep. He read it a while back. Henry loosens up, sets down the cup, and smiles a little. HENRY Oh. Yeah. The doctor gave her some medicine for that. Prescriptions for antidepressants, too. MAUREEN How is she? HENRY Fine. Better. MAUREEN Good. Thats good. Im glad. Theres a moment of silence between them, broken by the sound of Nell GURGLING quietly. A smile returns to Maureens face and she looks down at her niece. MAUREEN (CONTD) God, shes perfect. I want one. Henry smiles, gets to his feet, and walks over to her. (CONTINUED)

CONTINUED:

11.

HENRY Thats something you should probably bring up with Ned. MAUREEN Hes such a stick in the mud about it. Its not like were getting any younger. HENRY He just wants to take care of you, Maureen. MAUREEN I know. But I worry that hes going to forget to take care of himself. (beat) I worry about that with you, too. Henry does his best to give her a reassuring smile, but its worn and tired. Maureen reaches out her free hand and pushes some of his hair out of his face. She doesnt smile back. INT. - OLSENS OFFICE - DAY A relatively large room with a picture window. There are bookshelves on each wall. In front of the window is a dark wood desk and a clunky computer monitor. Classical piano music plays softly through two speakers. DR. STANLEY OLSEN (55) sits in one of two large burgundy armchairs in front of the desk, reading his notes - clean, impeccable cursive - on a yellow legal pad. Olsen looks up at the sound of a knock on his door. OLSEN Yes? The door opens halfway to reveal Olsens secretary, MISS COOK (26). MISS COOK Im sorry to bother you, Dr. Olsen...you have a visitor.

(CONTINUED)

CONTINUED:

12.

OLSEN Who is it? MISS COOK Gretchen Barrows husband. He says hed like to speak to you. Olsen frowns a little, puzzled. OLSEN Whens my next appointment? MISS COOK Not until after noon, sir. Olsen glances at the grandfather clock in the corner of his office. Its still not quite eleven o clock. He looks back to Miss Cook and gives her a small nod. OLSEN Go ahead and send him in. Miss Cook smiles and nods back, turning and walking O.S. Olsen flips back to the first page of the legal pad and stands. He straightens out his shirt and moves behind the desk, setting the pad of paper down. MISS COOK (O.S.) You can go right on in, Mr. Barrow. Olsen sits down at his desk, hitting the space bar on the computer. The music stops playing. Henry walks in a moment later. He stands in the middle of the room, looking even more ragged than before. Miss Cook closes the door behind him. Olsen looks at Henry and smiles gently. OLSEN Nice to see you, Mr. Barrow. Please, have a seat. He gestures to the chairs in front of the desk. Henry moves slowly from the middle of the room to the two chairs. He looks from one chair to the other. Theyre identical. Henry sits and pulls his seat forward a bit.

(CONTINUED)

CONTINUED: OLSEN (CONTD) I wasnt expecting to see you today. HENRY Im sorry. I should have called first. OLSEN Its alright. How can I help you? For a moment, Henry says nothing. OLSEN (CONTD) Im assuming you want to talk about Gretchen?

13.

Henry takes a shaking breath and nods. Olsen leans forward. OLSEN (CONTD) Is anything the matter? Henry starts to shakes his head, then stops himself and gives a sad little half-smile. HENRY Yeah. Olsen slowly reaches for a pen on his desk. It CLICKS open and he holds it expectantly over a yellow legal pad. OLSEN Relating to her medication? I should tell you up front, Mr. Barrow, that from where Im standing - from what Gretchens told me and what Ive seen - its working. But if you have any concerns...well, its imperative that you let me know. Henry shakes his head and looks at his hands in his lap. HENRY No, Doctor. Its not the medication. I need...I need you to tell me something. Olsen frowns. OLSEN Mr. Barrow, Im sure you know that I cant reveal anything Gretchen has told me in confidence. (CONTINUED)

CONTINUED:

14.

Henrys gaze moves from him hands in his lap up to Olsens face. His eyes are dark, dangerous. HENRY Tell me about the man Gretchen was with while she was away. Everything she told you, anything you know. Olsens eyebrows shoot up. OLSEN Pardon me? HENRY I never asked about him. I didnt even ask his name. I was just so glad to have her back. I wasnt even angry with her for running off, or for being unfaithful. Not even for leaving me alone with Nell. I was just so grateful that she came back and that she was okay. I never asked, because it didnt matter. (beat) But now I need to know. She didnt tell anyone about him, or about much of anything that happened while she was gone. But I know she told you everything. Olsens expression becomes gravely serious. He leans back in his chair, folding his hands across his lap. His eyes scan Henrys face with incredible attentiveness. OLSEN Mr. Barrow...you know I cant disclose any of that information. Your wifes sessions with me are confidential. Anything she says in here doesnt leave this room. Im sorry, Mr. Barrow, but I just cant give you what you want. Henry looks down at his feet. His boots are covered in muddy snow, and it melts into the brown carpet on the floor. HENRY You have to tell me. OLSEN I cant. Im sorry.

(CONTINUED)

CONTINUED:

15.

HENRY Please. OLSEN Im sorry. Again, Henrys hands ball up into fists. He looks utterly forlorn and he hands his head low. OLSEN (CONTD) I can understand why youd like to know, Mr. Barrow. I really can empathize with you here. But I cannot tell you what you want to know. My sessions with your wife are strictly confidential, and thats all there is to it. Theres no gray area on this one; its black and white, Mr. Barrow. Now, if youd like to talk more openly about whats bothering you, you can make an appointment with Miss Cook and Id be more than happy to create a dialogue. This, however, is highly unorthodox. Im afraid Im going to have to ask you to leave, if thats all that you came for. Olsen observes him carefully. He clicks the pen closed. Upon hearing the noise, Henry opens his eyes. HENRY You know, I think she would have told me if I had just asked. OLSEN So why dont you ask her? Slowly, Henry lifts his head. His eyes are red and tired, but his expression has become hardened and cold. INT. - BARROW HOME - DAY Henry is cleaning up the debris from the night before. Almost everything has been bagged up and the broken windows have been boarded up with plywood planks. The rocking chair is no longer in front of the doorway. A broom and dustpan lean against the wall next to several black garbage bags.

(CONTINUED)

CONTINUED:

16.

Sitting in front of the coffee table with a sponge in his hand, Henry scrubs at the frozen baby food. It wont come completely clean. He scrubs harder, increasingly frenetic. His hand slips and his arm slams against the corner of the coffee table. Henry jerks his arm close to his chest, hissing in pain. The skin almost immediately becomes red and his chest heaves with heavily labored breathing. Henry angrily throws the sponge across the room, knees bending close to his chest, head drooping low. The wind gently blows through the trees outside, juxtaposed to the heavy sound of Henry breathing. Henry hears something else outside and jolts up, almost holding his breath as he strains to hear. Its the sound of a car pulling up to the house, then parking. He hears a car door slam closed. Henry scrambles to his feet, pushing the coffee table across the floor and sprinting for the front door. EXT. - BARROW HOME - CONTINUOUS The door flies open and Henry skids to a halt a few inches in front of Gretchens body. At the bottom of the steps, JILL (34), a petite woman in a large parka, stands motionless. Her eyes are fixed on Gretchens body, her mouth hanging open. Her gaze trails up to Henrys face and she puts a gloved hand over her mouth. HENRY Jill, wait. He cant find any words. Jill shakes her head and steps back. HENRY (CONTD) Jill, dont. Stop. She takes another step back, her feet crunching in the snow. She is crying silently. Henry raises a hand cautiously, as if trying to approach a wild animal.

(CONTINUED)

CONTINUED:

17.

HENRY (CONTD) Jill, please. He takes one small, tentative step forward. Jill bolts. Henry takes off after her, leaping down the steps and into the deep snow. Jills legs are short; her strides in the snow are inefficient, awkward. She stumbles a few feet from the passenger side of her car, and it only takes a moment for Henry to catch her. He grabs her arms and she shrieks in protest, struggling against his grip. JILL You motherfucker! You son of a bitch! Henrys arms loop around her and shes caught off balance. He keeps her arms pinned at her sides. HENRY Stop! Just stop! Jill squirms desperately, trying to snake out of his hold. Her elbow juts out and hits him in the diaphragm. Henry gasps sharply, his hold on her loosening just long enough for her to throw herself away from him. She falls on her back into the snow and he looms over her, holding his stomach. Neither of them speaks. Its just the sound of labored breathing and the gentle wind. JILL Did you kill her? Henry looks at her darkly, straightening up, letting his hand fall back to his side. HENRY I didnt. Jill glares up at him, panting and crying. JILL Dont fuck with me, Henry.

(CONTINUED)

CONTINUED:

18.

HENRY Im not. I didnt do this, Jill. I swear to God I didnt. The sunlight casts a golden rim around his head, silhouetting him against the whiteness of the landscape. INT. - BARROW HOME - DAY Jill has taken off her parka and is wearing a waitresss uniform. She smokes a cigarette and paces without purpose. Her eyes are red and though she is no longer crying she still sniffles and wipes at her nose and mouth with the back of her hand. JILL She didnt show up for work. Shes never just not shown up. I called her cell phone, and then I tried the house. The lines dead, you know. What am I supposed to think? I was worried shed had a...I dont know, a relapse or something. I thought she might have just, bam, taken off. Henry is leaned over on the destroyed loveseat, legs apart, his elbows resting on his knees. He stares at the broken television on the floor. HENRY She was doing better. JILL I know. She seemed okay, like her old self. She was smiling more. Henry nods a little. Jill takes a drag of her cigarette and Henry watches the smoke she exhales drift up. HENRY Do you know who he was? Jill turns her head to look at him, eyebrows knitting together. JILL Who? HENRY The man she was with when she left. When Gretchen came back she told me (MORE) (CONTINUED)

CONTINUED: HENRY (contd) shed been living with somebody. I never asked who he was. JILL How could you not ask something like that? HENRY I dont know. I should have. I should have asked her, the moment she told me where shed been. I just...I let her get away with it. I shouldnt have.

19.

Jill chews her lip and flicks the ash off the end of her cigarette. She walks to the window, peering above the wooden panel through the intact glass. JILL You think that was him? She pushes the thin curtains to the side and looks out at Gretchens body on the front porch. HENRY Yeah. JILL You should go to the police, Henry. Henry pauses. His hands ball up into fists. HENRY Jill, do you know who he is? Jill looks out a moment longer before closing the curtains. JILL No. She didnt tell me. Probably never told me anything more than what she told you. When I asked her about it she told me shed already gotten everything out with her doctor. Said she didnt wanna talk about it again. And, yknow, when she said it, I knew she really meant it. So I let it go. Thought it would be better that way. Im sorry I dont know more. She walks back over to him, standing next to the arm of the loveseat.

(CONTINUED)

CONTINUED: JILL (CONTD) But the cops will. Henry, you cant just...what are you even thinking? HENRY Im not going to the police. JILL Are you fucking kidding? Why not? Henry doesnt look at her or speak. Jill crouches down beside him, trying to find his eyes. JILL (CONTD) Henry, listen to me. You gotta go to the cops. What am I supposed to tell Bill? Hes already called here twice, yknow. HENRY Tell him shes sick. Or that she needed the time off. Youll think of something. JILL Fuck you. I dont want to be involved in this, Henry. There shouldnt even be a this to get involved in. Come on. What are you gonna gain from doing this by yourself? Youre just a guy, youre not a fucking detective. Think of the baby, for Christs sakes. HENRY I am.

20.

The ash from Jills cigarette has grown extremely long. She notices out of the corner of her eye and stubs it out in the makeshift ashtray on the coffee table. She looks back at Henry, mouth open to speak but unsure of what to say. EXT. - BARROW HOME - DAY Jill gets into her car and turns the key in the ignition. The engine sputters to life. Henry stands in front of the vehicle, still barefoot. Jill puts her hand on the door to close it but stops to regard him for a moment. She looks to the lump on the front porch.

(CONTINUED)

CONTINUED:

21.

JILL Dont leave her there like that. Henry follows her gaze to Gretchens body. He hears the car door close but doesnt follow the sound with his eyes; he keeps his stare on the porch even as Jill backs up, turns, and heads down the long, icy driveway. EXT. - WOODS - DAY The sun is setting. Red and gold light sifts through the thick line of trees surrounding a small clearing of the woods behind Henrys house. The wind has picked up, whistling through branches. Trees creak and groan as they sway in the wind. Henry digs a small grave. The task is ardous; each time he slams his shovel into the cold, hard earth he manages to displace a tiny amount of dirt. Several feet away is Gretchens body, wrapped in a bedsheet. In VOICEOVER, the sound of a dial tone. MAUREEN (V.O.) Henry? HENRY (V.O.) Yeah. Hey Maureen. MAUREEN (V.O.) Whats up? Are you on your way? HENRY (V.O.) No. In spite of his minimal gain, Henry continues to dig. HENRY (V.O.)(CONTD) Listen, Maureen; I need a favor. Do you think you can keep Nell for the night? MAUREEN (V.O.) Well...yeah, I suppose so. Shell have to sleep in the bed with me. HENRY (V.O.) I know its a lot to ask, but I have some things I have to do.

(CONTINUED)

CONTINUED:

22.

His boot slams down on the shovels shoulder each time he drives the blade into the earth. MAUREEN (V.O.) Do you not trust Gretchen by herself? The corner of the blanket wrapped around Gretchens body comes untucked. Her foot is slightly exposed. HENRY (V.O.) Its not that. She just...she needs her rest. MAUREEN (V.O.) I understand. But I can only do so much, you know? I mean, youve gotta come get her by seven tomorrow morning. HENRY (V.O.) Yeah, of course. Thatll be great. Thanks, Maureen. Sweat gathers at his brow but he continues, ignoring any fatigue. MAUREEN (V.O.) You okay, Henry? HENRY (V.O.) Yeah. Im fine. Dont worry. Little by little, the hole in the ground begins to deepen. Henry throws his weight atop the shoulder of the shovel, focused and determined, removing dirt bit by bit from the grave for his wife. EXT. - BARROW HOME - NIGHT Henry emerges from the thick line of trees. He is dripping with sweat and covered in dirt. He carries the shovel across the deep snow and leans it against the porch steps. He Henry climbs the stairs, his body sagging and exhausted, his steps heavy. He stomps the dirt and snow off of his boots and trudges inside the house. The screen door squeaks closed after the front door behind him.

23.

INT. - BEDROOM - NIGHT Small, modest, with striped blue wallpaper and a small cherry armoire against the far wall. The overhead light and a small lamp on the armoire are turned on. Henry sits on the queen-sized bed, reading from a black composition notebook. Two nightstands sit on opposite sides of them - the one against the opposite side sits at - has had its drawers opened and books, scraps of paper, and knick-knacks the bed. the bed. One of of the bed Henry emptied. Self-help are spread across

Henry reads Gretchens old notebook carefully, searching its pages for something. He doesnt find it and with a sigh he tosses the notebook next to the other articles littering the bed. He looks at the disarray and picks the notebook up again, closing it properly and setting it next to him on the pillow. He gets to his feet and walks to the INT. - NURSERY - CONTINOUS one door down the hall. A crib against the wall below a homemade mobile, a handmade changing table across from it. In the corner sits the large rocking chair that had previously been in the foyer. Henry crosses the room and sinks down into the rocking chair. It creaks quietly as he rocks back and forth. He looks at the picture hanging on the wall: Gretchen in a hospital gown, discheveled and exhausted, Nell tiny in her arms and Henry leaning beside her. In the picture, Henry is ecstatic. Gretchen looks sad. INT. - HENRYS CAR - DAY Henry sits in his car, parked outside of the police station. In the passengers seat, a ziploc bag with several .38 Super cartridges inside of it. He watches officers walk in and out of the front door, a few with perpetrators but most of them unoccupied. No one gives his car so much as a glance. (CONTINUED)

CONTINUED:

24.

He takes a deep, shaking breath, and leans his head against the steering wheel, whispering to himself. Suddenly, a generic, blaring ringtone as his cellphone rings. Henry starts, but quickly regains his composure and pulls his phone out of his coat pocket. He looks at the screen and accepts the call, his whole body relaxing. HENRY Hey, Maureen. Im sorry, I...No, I didnt forget. Im on my way. Listen, Im already in town, itll just take me a few minutes. Yeah, Ill be there in just a moment, I promise. Thanks, Maureen. He hangs up and puts his phone back into his pocket. He looks at the stations front door again for several beats before turning the key in the ignition and pulling out of the parking lot. INT. - WAITING ROOM - DAY Henry sits in a dark blue upholstered chair, Nell in her carseat on the chair beside him, suckling on a pacifier. Miss Cook sits at the receptionists desk, typing up an email but taking frequent pauses to look at Henry suspiciously. A MAN (30s) sits across the room, flipping idly through a magazine. Olsens office door opens and he gently ushers a WOMAN (30s) through the doorway. The Woman dabs at her wet red eyes with a tissue, but her makeup has still smeared and run down her cheeks. OLSEN (to Woman) Ill see you next week. WOMAN Thank you, Doctor. The Man reluctantly closes his magazine and stands, barely acknowledging the Woman. She walks through the exit and he follows behind her. Olsens eyes find Henry and Nell and he manages a tight-lipped smile, nodding.

(CONTINUED)

CONTINUED:

25.

OLSEN Mr. Barrow, good to see you. Come on inside, please. Henry gets up, his hand gripping the handle of Nells car-seat and taking her with him. He trudges past Olsen and into the office. Miss Cook glances at Olsen, worried. He gives her a reassuring smile and waves his hand as a gesture of dismissal. Miss Cook resumes typing and Olsen closes the door. INT. - OLSENS OFFICE - CONTINUOUS Henry sets Nells carseat down on one of the two chairs in front of Olsens desk as Olsen crosses behind him to his own chair. Henry touches Nells cheek gently with the back of his finger, watching her sleepy face. Olsen sits in his chair and pulls a legal pad out of a drawer. He heads the top of the page with the date and Henrys name before noticing that Henry is still standing. OLSEN Mr. Barrow? If youd take a seat. Henry glances at Olsen and nods, giving a small smile. He sits and pulls the chair holding Nell close to him, looking at her again. He touches her hand and her little fingers wrap around and grip his finger in a fist. Olsen smiles. OLSEN (CONTD) Im sure Miss Cook told you when you made the appointment, but just in case I want to remind you that this isnt a full-length session. HENRY She made that clear. Thank you for making time for me. OLSEN My pleasure. To be honest, Mr. Barrow, your visit yesterday had me a bit worried. Henry looks away from Nell and across the desk, his expression sheepish.

(CONTINUED)

CONTINUED:

26.

HENRY I want to apologize for that, Doctor. I...it wasnt right for me to act the way I did. Im sure I must have sounded crazy. OLSEN Not crazy. Just uneasy. Henry chuckles darkly, shaking his head. HENRY Uneasy. Yeah, you could say that. Olsens pen clicks. OLSEN What was it that made you uneasy? Henry thinks for a moment, looking back at Nell. She still holds his finger in his pudgy fist and her eyes have slid closed completely. HENRY Its been hard. This whole thing. After a while it starts to weigh on you. OLSEN Of course it does. There arent many people who can say they know what youre going through, Mr. Barrow. But from what Gretchens told me, youve handled things more than admirably. HENRY Thats what she said? Olsen nods. He jots down a bulleted note. OLSEN Did something happen that had you so distressed yesterday? Henry goes still. Nells hand unconsciously twitches, her grip tightening and then relaxing again. Henry pulls his finger from her hand and runs his palm gently across her head. CUT TO:

27.

EXT. - WOODS - NIGHT Gretchens body wrapped in the sheet, laid in the shallow grave. Her foot, still bare, a sickening shade of ghostly-pale blue. The sound of a shovel slamming into loose earth and scooping it up. Shovelfulls of dirt fall over the figure and eventually cover the face. CUT TO: INT. - OLSENS OFFICE - CONTINOUS Henry sighs and leans back in his chair, looking through the picture window behind Olsens desk. HENRY No. Nothing happened. Not anything you could put a date or time on, anyway. Things just build up. Olsen gives a nod of understanding. OLSEN Of course. HENRY You start to wonder what you did wrong, what you could have done to make things different- and, Doctor, before you say anything, I know that theres nothing I could have done. I know that. But theres a difference between knowing something and really understanding something, believing in something. Even if you know its a fact, if it doesnt make sense with what you already know its not easy to accept. Olsen makes notes on the legal pad and nods again. Outside, snow falls gently. HENRY (CONTD) It eats away at you. I never asked her because next to her just being there it wasnt important. But you (MORE) (CONTINUED)

CONTINUED:

28.

HENRY (CONTD) (contd) cant not think about it in the back of your head. When youve got nothing to go on your imagination can create the worst sort of hypotheticals for you. OLSEN Hypotheticals regarding the other man you think she was with? Henry looks at Olsen, his expression darkening. HENRY You dont need to patronize me, Doctor. I know she was with somebody else. She told me that much. Olsen immediately becomes uncomfortable. He stops writing and clicks his pen closed, glancing at the clock on the wall. OLSEN Mr. Barrow, I want to be able to help you and put your mind at ease. But, frankly, I cant be the one to do that. I agreed to this appointment because I was worried about Gretchen, that something may have happened that she didnt tell me about. But I cant concede to seeing you as a patient. I have several colleagues I think would be helpful to you in the area whom I can recommend. And there are support groups for families and friends coping with postpartum as well as those intended for the people actually suffering from it. Theyre a little out of the way, but theyre very helpful. HENRY Doctor, youre not understanding me. OLSEN You dont want help? HENRY Thats not what I said. I dont want a shrink. I dont mean to (MORE) (CONTINUED)

CONTINUED:

29.

HENRY (contd) offend. Youve helped my wife in a difficult time, and Im grateful to you for that. I really am. But I dont need help the way youre thinking of. I dont want a doctor for myself, I dont want a supoort group to go to. I need one piece of help, and I need it from you. Olsens lips purse into a thin line. He folds his hands on his desk. OLSEN I thought Id made it clear that I cannot divulge any information given to me by your wife during sessions, Mr. Barrow. Nell whines quietly into her pacifier and both men shift their attention to her. Henry touches a hand to her cheek, smiling at her. Olsen looks back from the baby to Henry and clears his throat. OLSEN (CONTD) Im afraid thats all the time I can spare, Mr. Barrow. If youd like I can have Miss Cook send a list of recommended names to you. Or I can give them to Gretchen next week when she comes in for her appointment. Henry stands suddenly, taking the handle of Nells carseat and shaking his head. HENRY No. Thank you for your time, Doctor. Im sorry. I had to ask. Before Olsen can say anything, Henrys out the door. EXT. - OLSENS OFFICE - NIGHT Miss Cook and Olsen exit the building together and chat M.O.S. Miss Cook laughs at something Olsen says. She locks the front door of the office building and waves goodbye before heading to her car. (CONTINUED)

CONTINUED:

30.

Olsen heads the opposite way. He reaches his car at the opposite end of the parking lot and unlocks it. Behind him, shadowed underneath a tree, is Henrys car. Olsen doesnt notice it and gets inside. The car turns on and the headlights come up. INT. - HENRYS CAR - CONTINUOUS Henry watches Olsens brake lights come on and then sees the car pull out of the parking lot. Henrys breath hangs heavy in the air. Nell is in the passenger seat. Henry feeds her from a bottle and occasionally looks away from Olsens actions to Nell, double and triple-checking that shes alright. HENRY Good girl, Nellie. Dont you worry, well be back home soon. Daddy just has a little more work to do and then well get you in your bed. Olsens car disappears around a corner up ahead. Miss Cook has long since vanished. The lot and all surrounding areas are deserted. Henry looks down at Nell and gives her a little smile, taking the bottle from her mouth and replacing it with a hot pink pacifier. HENRY (CONTD) Okay, Honey. Lets go. Henry opens the car door and gets out, Nell in her carseat in one hand, a crowbar in the other. INT. - OLSENS OFFICE - NIGHT A flashlight in Henrys mouth and the shine of the moon through the big window provide light. Henry rifles through notebooks, pads of paper, opens every drawer. Hes taken Nell out of her carseat and holds her with his free arm, tapping her back gently. He comes across a small black spiral notebook and goes through a pages. At the top of one: GRETCHEN BARROW. (CONTINUED)

CONTINUED: Henry shifts Nell in his arm and she whimpers.

31.

He shushes her soothingly and takes the flashlight out of his mouth. He aims it at the notebook on the desk, reading the notes quickly. He flips through several more pages and then stops. His eyes focus on a name written in bold : DOUG JENNINGS. EXT. - DINER - NIGHT Henry and Jill stand next to two dumpsters behind a classic 24-hour diner. Nell is alseep in Henrys arms, heavily wrapped in layers of blankets. Jill smokes a cigarette and reads the notebook from Olsens office. Both of them speak quietly so as to not disturb the sleeping baby. HENRY The notes arent sequential. She talked about different fragments of things on different days, not like she was telling a story. Just whatever piece of it she was thinking of at that particular moment when she was in his office. I havent gotten through all of it yet, not carefully at any rate. But from what I can gather her car broke down on M33 someplace. I havent been able to find anything that says where she was headed, but hes the guy who came to pick her up and fix her car. And theres a page from the another session that says they stayed in Bear Creek. Thats where she was, all that time. Jill exhales smoke and looks at Henry, closing the notebook. JILL Why are you showing me this? Henry shrugs his shoulders, shakes his head. HENRY I dont know. Theres no one else to tell.

(CONTINUED)

CONTINUED:

32.

JILL Well, too fucking (bad) Henry shoots her a glare and Jill catches herself. JILL (CONTD) Too bad, Henry. You got no one to tell, than dont tell anybody. Certainly dont tell me. HENRY I just want to be able to talk things over with somebody. Make sure Im thinking about everything clearly. Jill gives a derisive snort of laughter. JILL Ill tell you right now youre not thinking clearly. HENRY Why? Because I didnt go to the police? JILL Listen, Henry. I cant imagine what youre going through, and I get you being out of sorts and I get that you wont be one hundred percent logical right now. But youre being so fucking selfish and crazy with this shit. Henry tries to shush her, glaring again for her swearing, but she ignores him and shakes her head. JILL (CONTD) Its not just you deciding to deal with this yourself, Henry - which is also fucking insane, by the way. You break into some guys office, you steal Gretchens memories in this notebook, and now you know who this guy is and youre gonna do what, exactly? Go after him? HENRY I never said that.

(CONTINUED)

CONTINUED:

33.

JILL Bullshit. You dont have to. She tosses her cigarette to the ground and stomps it out, shaking her head furiously. JILL (CONTD) You know what, Henry? I cared about Gretchen, too. The only reason I didnt call the fucking cops over to your place the minute I saw you standing there on the porch is because of how much shes talked you up over the years. When she told me about you for the first time, even before you two ever started dating, she said you were a family man. Youd be the best father, she said. And she was right. You always treated her right, even after she left. She had me convinced that you were the sort of guy who knew just exactly what the fuck he was doing. And now Ive let you keep at this shit and Im figuring out real quick that when it comes to you and a situation like this she was dead fucking wrong. She tosses the notebook at Henrys feet and gestures towards the infant against his chest. JILL (CONTD) You go down this road, you ruin that little girls life, you know. Revenge isnt worth that, is it? Jill shakes her head and walks back towards the rear entrance of the diner. Her small high heels click audibly against the pavement and opens the heavy door. It swings closed slowly behind her. Henry stands for a moment in silence. He shifts Nells weight in his arms and crouches down to pick up the notebook. For a few beats, his fingers hover just above it. He looks at the ink bleeding slightly from the wet snow. He squeezes his daughter slightly and scoops up the notebook, shoving it inside of his jacket and heading towards his car, parked in the darkness.

34.

INT. - BARROW HOME - DAY Eight different phone books from eight different counties lay open on the kitchen table. Several business names and numbers in the AUTO section are circled or crossed off in red. A pad of paper with names and numbers in barely-legible chicken-scratch lays among the phonebooks. Henry sits at the head of the table on the house telephone. He runs his hand through his unkempt hair as he listens to the irate, high-pitched voice of his boss, PAUL, on the other line. Occasionally he begins to speak only to be cut off by a barrage of words from the other end of the call. HENRY Yes, I...I know, Paul. Im sorry. Yes, I know I need to call in. I guess I got overwhelmed...no, I know its not an excuse. Yeah. Listen, Paul, Im real grateful for how patient youve been with this whole situation, but its not gonna just resolve itself overnight. I should have called ahead, but I dont think I made the wrong decision. He listens to Paul on the other end and sighs heavily, rubbing his temples. HENRY (CONTD) I understand. Yeah, no, I know. Dont worry about it, Paul. Youve gotta take care of your own, right? I get that. Several beats, and Henry laughs miserably. HENRY (CONTD) I appreciate that, Paul. Yeah, you, too. Sorry again for all of this. Alright, bye. He hangs up and sets the phone on the table, pressing his hands against his face. HENRY (CONTD) Fuck.

35.

INT. - NURSERY - DAY Henry leans over Nells crib, watching her as she stares in fascination at the mobile rotating above her head. His posture is slumped, defeated, and hes more exhausted than ever. HENRY Daddys having a tough time, Nellie. Nell gurgled in delight and Henry gives a whimsical half-smile, rubbing his eyes with the heel of his hand. HENRY (CONTD) You look like your mommy. Youll probably never know that now. Youll have pictures of her, but its not the same as getting to stand next to her and see for yourself. He reaches down into the crib to rub her stomach. His movements catch her eye and she shifts her attention to him, smiling an all-gums smile. Her arms flail upwards, hands clenching and unclenching, reaching for him. Henry considers her for several moments, returning her smile. Next to the photo on the wall he looks like a ghost of the self captured in the picture. HENRY (CONTD) I couldnt make it okay. Thats a fathers job, to keep everybody safe. I let your mommy down there. I hope you never hate me for that. He allows his hand to fall into the reach of her tiny ones and she latches onto his pointer and pinky finger, gripping one in each hand and gurgling happily. HENRY (CONTD) Youre a good girl, Nellie. You know that? The mobile switches direction, and with its change in movement comes a shift of the infants gaze. Her grip on Henrys fingers goes completely limp and her hand instead moves to put her thumb in her mouth. Henry smiles at her.