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"Home For The Holidays" by captainkid

This is a screenplay. Formatting is wrong, but I can’t fix it here. If you don’t read screenplays, setting is described in the “slug line.” Written in all caps, it indicates the story has changed location or time. Screenplays often indicate the camera shot or angle and also use abbreviations like O.S. (off screen), V.O. (voice over) POV (point of view), etc. Also, I know I'm over the word limit, and won't win the contest, but I wanted a few more reviews on my holiday screen play.

Category: Short Story

Tags: script, screenplay, short film, homeless, christmas, holidays, tragedy

You can do an inline review of this work in the review tab.

EXT. DOWNTOWN LARGE CITY - DAY

ESTABLISHING SHOT: We see the city buildings pass slowly by in the distance.

DISSOLVE TO:

EXT. BUSY CITY SIDEWALK - DAY

A ragged-looking, bundled-up homeless man sits on the cold sidewalk. This is Thomas.

Thomas holds a crude cardboard sign that reads "Hungry and Cold. Please Help!" In front of him is a tattered paper cup with a few coins in it. Several people pass him. As they do, some are singled out by the camera while the rest blur into the background.

CUT TO:

POV THOMAS, FOLLOWING PAN: A BUSINESS WOMAN in high heels and a business suit approaches. She has a Starbuck's coffee in one hand and a cell phone in the other. She spots Thomas from a distance and deliberately crosses to the far side of the side walk as she talks on her phone. As she passes, the camera follows her face. She never so much as glances at Thomas again.

BUSINESS WOMAN

(into phone) What!? No that's unacceptable. (pause) Well tell him to redo it. It can't go out like that. (pause) No I don't have time for that I have the meeting with the MacGregor brothers today. I can't do everything myself. (pause) Well that's his job. If he can't do it, why are we paying him? (pause) That's no excuse! Okay listen, tell him to redo it with the red and send it to me. I'll look at it tonight. (pause) Right...right...

Behind the business woman is a group of trendy looking teens (2 girls, 3 guys). As they enter the frame, the Camera focus shifts to them.

ANGLE ON: GIRL 1 leaves the group to deposit a few coins in Thomas's cup.

CLOSE ON: Thomas

THOMAS

Thank you. God bless.

CLOSE ON: Girl 1 smiles and nods

POV Thomas: Girl 1 rejoins the group as they move past.

BOY 1

(loudly) Why did you do that? You know he's just gonna spend that on drugs.

GIRL 2

Ssshhh! He's right there.

BOY 2

So what. What's he gonna do? (to Thomas) Hey buddy, why don't you get a job? You look like you can work to me.

CLOSE ON: Thomas

BOY 1 (O.S.)

Why would he want to get a job? I heard street bums around here make $20 bucks an hour.

DISSOLVE TO:

INT. A NICE LOOKING OFFICE - DAY

Thomas is sitting at a desk. He is now in a dress shirt and tie. His tie is crooked, hair slightly disheveled, and it looks like he hasn't shaved in a couple days. Dual computer monitors are in front of him and his hands rest on a keyboard, but he is staring off into nothing.

COWORKER (O.S.)

Hey Thomas.

Thomas snaps out of his daze and looks over to the COWORKER who is peering into his office.

ANGLE ON: Coworker

COWORKER (CONT'D)

(entering the office) You finish your Q1 reports yet?

THOMAS

Um... yeah, almost.

TWO SHOT: Thomas and Coworker

COWORKER

Man, you know I love ya so don't take this the wrong way... you gotta snap out of it. I'm doing everything I can to cover for you, but it's been two months and you're still just... disconnected or something. I just don't want to see you lose your job ya know. Ya gotta have something.

THOMAS

(starting to daze again) I know... Thanks.

ANGLE ON: Coworker shaking his head and slipping back out of Thomas's office.

ANGLE ON: Thomas's face in full daze again.

DISSOLVE TO:

EXT. CITY SIDEWALK - DAY

CLOSE ON: Thomas's face is in a similar daze.

LITTLE GIRL (O.S.)

Look at that man daddy!

POV THOMAS: Thomas looks up to see a small family consisting of MOTHER, FATHER, and LITTLE GIRL approaching him on the sidewalk. The little girl is holding her father's hand with one of her hands, but has her other arm outstretched with her finger pointing at Thomas.

The mother quickly pulls the girl's arm down and bends down whispering to the girl.

MOTHER

It's not nice to point dear.

LITTLE GIRL

But mommy, why is he so dirty?

MOTHER

Ssshhh... How would you like to swing?

LITTLE GIRL

(excitedly) Yes, yes!

The little girl grabs her mother's hand with her free hand and begins counting excitedly.

LITTLE GIRL (CONT'D)

One... two... threeeeee!

As she reaches three, the mother and father swing her into the air by her arms.

LITTLE GIRL (CONT'D)

Again, again! One...two...

DISSOLVE TO:

EXT. A GREEN, GRASSY PARK - DAY

Thomas is walking with his wife MELANY, and four-year-old son, DARREN. Thomas is wearing nice clothes and is clean-shaven. Darren is holding hands with both of them getting ready to swing.

DARREN

Threeeee!

Thomas and Melany swing little Darren high into the air as he giggles with joy.

DARREN (CONT'D)

Again! Again!

MELANY

Mommy's tired. Why don't you run over and go down the slide.

DARREN

Okay.

Darren runs toward the playground and Thomas and Melany take each other by the hand.

CLOSE ON: Thomas

THOMAS

(watching Darren) I can't believe how fast he's growing. (Turning to Melany) I'm thinking... maybe it's time to start trying for another one.

MELANY

Really?

THOMAS

Yeah, maybe we'll have a girl this time.

Melany pulls herself close to Thomas.

MELANY

Well in that case, maybe we should start heading home. I think it's time for Darren's nap.

RICK (V.O.)

Excuse me, sir... hello?

DISSOLVE TO:

EXT. CITY SIDEWALK - EVENING

POV THOMAS: A man is standing over Thomas looking at him quizzically. This is RICK.

TWO SHOT: Thomas comes out of his daydream.

THOMAS

What can I do for you?

RICK

Well I noticed your sign says you're hungry. As a matter of personal policy, I never give cash, but I'm on my way to get some dinner. If you'd like to join me, I'll treat you to as much as you can eat.

CUT TO:

EXT. SIDEWALK LEADING TO DINER - EVENING

WIDE ON: Rick and Thomas walk towards a city diner. Thomas has a large backpack on. They reach the door and go in.

INT. DINER - EVENING

Thomas and Rick are seated in a booth. A server comes to take their order. This is NADA.

NADA

Hello gentlemen. My name is Nada and I'll be taking care of you tonight. Are you ready to order?

RICK

Yeah, I think so. I'll have the grilled-chicken sandwich, with no onions please.

NADA

Okay and that comes with a side. Would you like fries, cole slaw, or...

RICK

(cutting in) I'll have the fries please. And a coke.

NADA

Okay. (Turning to Thomas) And for you sir?

THOMAS

Um, I'd like the Turkey, Bacon, Avocado sandwich with the fries and a chocolate milk shake.

WIDE ON: Thomas, Rick, and Nada

NADA

Okay is that everything?

CLOSE ON: Thomas looks tentatively to Rick.

CLOSE ON: Rick

RICK

Get whatever you want. I don't want you leaving here hungry.

TWO SHOT: Thomas looks at Nada

THOMAS

I'll also have one of your sampler platters, the chicken fried steak with mashed potatoes, a side of pancakes, a double bacon cheese burger, the apple pie à la mode, and a rootbeer, please.

NADA

Wow! What do I look like, some sort of djinn? It's like you just got one of your wishes granted.

Thomas stares at her with a blank face.

NADA

Uh... Okay, I'll get that right out to you.

Nada leaves.

RICK

Wow, you weren't kidding with that sign. You are hungry.

THOMAS

There are fewer Good Samaritans in this world than you might think. And besides, this food is way better than what I can get in the shelter.

RICK

(smiling) You don't have to defend yourself to me. It's just been a while since I've seen someone order that much food.

THOMAS

A while huh? When was the last time?

RICK

Okay, I guess you got me there. I should have said I've never seen someone order that much food. I mean that's a Thanksgiving feast for four.

CLOSE ON: Thomas turns his head to watch a customer at a nearby table using fork and knife to cut into their food.

THOMAS

(trailing off) Yeah? Thanksgiving?

CLOSE ON: The hands holding the fork and knife cutting food.

DISSOLVE TO:

INT. THOMAS'S PARENTS HOUSE - THANKSGIVING DAY

ZOOM OUT TO: Melany cuts her thanksgiving turkey and puts a bit into her mouth.

WIDE ON: Thomas's family is gathered around a large table. Everyone is eating, laughing, and talking. Kids run around the table playing some sort of game.

THOMAS

Well mom, you've out done yourself again. Delicious!

MOM

Well thank you, but see you remember your gratitude when it comes time to do the dishes this year. Last year you left poor Melany and your sister to do the dishes all by themselves while all you boys were watching football.

THOMAS

It's okay mom, she loves doing dishes. (Turning to Melany) Isn't that right, Mel?

MELANY

(Poking Thomas in the side) Yeah, about as much as you're gonna like sleeping on the couch tonight.

Everyone laughs and "ooohs".

CUT TO:

INT. DINER - NIGHT

Nada has a large serving tray of food and is placing plates in front of Thomas as he snaps back to reality. She finishes laying the feast in front of him.

THOMAS

(to Nada) Thank you.

NADA

Sure thing. Just let me know if you need anything else.

Nada leaves and Thomas starts eating like he's never seen food before.

RICK

So where were you just now?

THOMAS

(looking up with full mouth) What?

RICK

You completely zoned out on me for like five minutes. In fact I think you might have scared that poor woman over there. You were just staring at her plate almost the whole time.

THOMAS

(Mouth still full) Oh... um... sorry. I didn't realize.

RICK

I don't know how to ask this so I'll just go for it... how did you end up like... uh... like this? I mean, you know, on the street?

Thomas puts down his silverware and looks up from his plate.

RICK (CONT'D)

What I'm saying is you seem like a pretty smart, capable, healthy guy...

Thomas finishes chewing a large mouthful of food and swallows deliberately.

THOMAS

(quietly) I really appreciate the dinner, and I don't want to seem ungrateful, but I'd rather not talk about that.

RICK

Sorry.

They continue to eat in awkward silence for a few moments.

RICK (CONT'D)

So it's sure been cold lately, huh?

THOMAS

You're tellin' me. I know a guy that lost a couple toes it was so cold last week.

RICK

Really? That's horrible.

THOMAS

Yeah, funny thing is he said it was worth it cause he's had his own bed at the shelter ever since. Said they gave him preferential treatment so he could heal right.

RICK

That's crazy.

THOMAS

What's crazy is that you hear stuff like that all the time on the street.

RICK

Yeah, like what else?

As Thomas and Rick talk, their voices become voice overs and the scene dissolves in and out with their food disappearing showing the passage of time.

THOMAS

Well I know this guy Ernie who kept sneaking into empty rooms in hospitals. Then he'd either sleep in a nice warm bed or stay up all night watching TV. When they finally caught him they threw him in jail overnight. He said that was even better cause then he had a bed and they gave him dinner.

RICK

(laughing) I don't believe it.

THOMAS

Well you probably shouldn't. Ernie has a tendency to bend the truth.

Time Fade

THOMAS (CONT'D)

What about you? How come you're eating with a bum on a Friday night? Haven't you got better things to do?

RICK

Well, not tonight. My girlfriend flew back home for the holidays. I couldn't get off work 'till next week and then I'm gonna meet her there... and meet her parents.

THOMAS

Scary.

RICK

Very. Tonight I'm probably just gonna go home and watch TV 'till I fall asleep. That way I won't think about it.

Background music crescendos as Thomas and Rick continue talk and eat.

Music fades again.

CLOSE ON: Thomas pushes back all his plates, most of them empty, and stretches his arm.

THOMAS

Well I'm officially stuffed. Thanks again for the dinner and the company. I'd better let you get on with your night and get home to your TV-induced stupor.

RICK

Where will you go?

THOMAS

(shrugs) I dunno. I'll go try and find somewhere to bundle up and stay warm for the night. (grins) Maybe I'll find me a nice hospital bed.

RICK

Is there anything else I can do for you?

THOMAS

Well... since you're asking... and I am a beggar... I'd be remiss in my job duties if I didn't try...a few extra bucks could go a long way toward helping me stay warm.

RICK

(uncomfortably) Uhhh.... well...

THOMAS

Sorry man. I shouldn't have asked for anything else. You already spent so much on my dinner.

RICK

No, it's not that... I just have this personal policy...

THOMAS

Oh yeah, I remember. Listen, don't worry about it I'll be fine.

Thomas gets up to leave.

RICK

No wait... you know what, I have no idea why you're on the street, but you seem like a really good guy. I hate to think of you being cold for Christmas next week. Here's all I got on me.

Rick takes several bills from his wallet and passes them to Thomas.

THOMAS

Wow. Thanks again. The world would be a better place if there were more people like you. I hope everything goes well for you next week. I'm sure your girlfriend's parents will love you.

RICK

Take care Tom. Stay warm.

CUT TO:

EXT. IN FRONT OF THE DINER - NIGHT

CLOSE ON: Thomas and Rick's hands as they shake.

WIDE: Thomas goes one way and Rick goes the other. The camera follows Rick. He goes a few paces, then stops and looks over his shoulder. Thomas is rounding the corner at the end of the block. Rick turns and walks quietly after him.

CUT TO:

EXT. STREET CORNER - NIGHT

Rick cautiously peers around a corner and sees Thomas walking. He continues to follow at a safe distance.

CUT TO:

EXT. CITY STREET - NIGHT

ANGLE ON: Thomas prepares to cross the street. An SUV passes.

CLOSE ON: Thomas's face seems to enter a daze again as he watches the SUV.

POV Thomas: The passing of the car is shown in slow motion and a small child can be seen sitting in a child seat in the back. We see a reflection off the car/window of Thomas staring at the car.

DISSOLVE TO:

EXT. SPARSELY-TRAFFICKED TWO LANE HIGHWAY - NIGHT

An SUV drives down the highway. Three voices sing "Titanic (Husbands and Wives)"

CUT TO:

INT. SUV - NIGHT

Thomas, Melany, and Darren sing as they drive.

THOMAS, MELANY, DARREN

(singing) ...It was sad, so sad. It was sad when the great ship went down to the bottom of the sea. Husbands and wives, little children lost their lives...

DISSOLVE TO:

EXT. CITY STREET - NIGHT

Thomas shakes out of the daze and crosses the now empty street.

CUT TO:

EXT. LIQUOR STORE - NIGHT

ANGLE OVER RICK'S SHOULDER: Rick hides behind a car (or some object) as he watches Thomas enter the liquor store. Through the windows he sees Thomas approach the counter.

CUT TO:

INT. LIQUOR STORE - NIGHT

THOMAS

Gimmie a fifth of Rebel Yell.

LIQUOR CLERK

(punching register)

That'll be $22.53

Thomas hands over the cash.

CUT TO:

EXT. LIQUOR STORE - NIGHT

Rick watches through the glass windows as the clerk hands the bottle and change to Thomas.

RICK

(to himself) I should have known. They're all the same.

Rick stands up from his hiding place as Thomas exits the liquor store.

RICK (CONT'D)

(yelling to Thomas) Yeah, you stay warm! Have a merry drunken Christmas ya bum!

CLOSE ON: Thomas looks back at Rick with a pained face.

THOMAS

(barely audible)I'm sorry.

Thomas turns and walks in the opposite direction.

RICK

Yeah, you keep on walkin'! Go drink 'till you puke up all that food I bought ya! (muttering to himself) Freakin' bum.

Rick kicks some nearby object and turns back the way he came.

CUT TO:

EXT. ALLEYWAY - NIGHT

Thomas is seated with his back against a wall. His pack is propped up next to him. The bottle of whiskey is gripped tightly in his fist. His eyes stare off into nowhere.

DISSOLVE TO:

I/E. THOMAS'S PARENTS HOUSE

Thomas, Melany, and Darren are saying goodbye to Thomas's parents after the Thanksgiving meal.

THOMAS' DAD

C'mon Darren can I get a hug goodbye?

Darren runs to his Grandpa and is picked up in a big hug. Then he is passed to Grandma for another hug.

The small family heads to their car.

THOMAS'S MOM

Drive safe. We love you.

THOMAS

Love you too Mom. Thanks again for everything.

DISSOLVE TO:

EXT. ALLEYWAY - NIGHT

CLOSE ON: Thomas's hands gripping the bottle of whiskey so tight his knuckles are white.

TILT TO: Thomas's face twitches with an anguished look. His eyes are closed.

DISSOLVE TO:

INT. SUV - NIGHT

CLOSE ON: Thomas is in the driver's seat of the SUV. His eyes are closed but only for a moment. He opens them as his head jerks up.

Thomas looks around the car. Melany and Darren are asleep.

Thomas rubs his eyes and yawns. He grips the wheel and tries to keep his eyes open, but they slowly close and his head nods as the screen fades to black for a few long seconds.

Suddenly a horn blares.

POV Thomas: Thomas's eyes open to see two headlights coming directly at his SUV. Music crescendos as they come ever nearer.

CUT TO:

EXT. ALLEYWAY - NIGHT

Thomas gasps as he opens his eyes in the alleyway. His breathing is ragged and his breath is visible in the cold night air. Despite the cold, his face is covered in sweat.

He sets down the bottle of whiskey and grabs his pack. He pulls out a ragged looking wool army blanket and pulls it over him as he shivers from the sweat chill. Then he reaches inside his coat and pulls out a picture which he stares at. The picture is hidden from the camera. While he does this, his memory replays voices from a few hours earlier.

THOMAS (V.O.)

...a few extra bucks could go a long way toward helping me stay warm.

RICK (V.O.)

I hate to think of you being cold for Christmas next week. Here's all I got... Take care... stay warm.

CLOSE ON: The picture Thomas is holding is of his small family. They are all smiling and happy. The picture is starting to look creased and worn in his gloved hands.

CLOSE ON: Thomas's lips mouth, "I'm sorry"

Thomas drops his head and holds the picture to his temple with one hand. His body shakes with silent sobs. He sits up, looks at the picture once more, then puts it back inside his coat. He picks up the bottle of whiskey again.

RICK (V.O.) (CONT'D)

(sounding distant) Yeah, you stay warm! Have a merry drunken Christmas ya bum!

CLOSE ON: Thomas's fingers pop the cork from the bottle of whiskey.

PULL OUT: He grips it by the neck and tilts it back for a long pull.

DISSOLVE TO:

INT. THOMAS'S HOUSE - NIGHT

CLOSE ON: Thomas is chugging something. The camera zooms out to reveal it's a half gallon of egg nog.

MELANY (O.S.)

Are you drinking from the jug again?

Thomas stops drinking and brings the egg nog jug down to his side just as Melany enters the room.

THOMAS

(guiltily) Um... no.

MELANY

(teasing) Oh, no? I suppose your face just naturally grows egg nog mustaches now? C'mon. Get a glass and come in here. Darren's ready to open presents.

Thomas puts the jug back into the fridge and they enter an adjacent room with a Christmas tree and presents. He sits down as Melany goes to the tree and selects a present for each of them. The image slows and fades as they tear into their presents.

SOUNDTRACK: A slow and sad acoustic guitar version of "I'll be home for Christmas" fades in and dominates throughout the next scene.

DISSOLVE TO:

EXT. ALLEYWAY - NIGHT

Thomas is still propped against a wall in the alleyway, but now the bottle of whiskey in his hand is half empty.

ANGLE ON: Thomas's face now has a contented smile. He is obviously somewhere else completely.

FADE TO BLACK.

THE END.


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Category Name: My Thoughts

I did not enjoy this story. I am not even sure what problem the protagonist faced. This story was okay. The story would have been better if the author had introduced the problem differently and made it feel more pressing. I really enjoyed this story. The author did a good job pulling me into the story by introducing an immediate and important problem for the protagonist.

This section is for overall comments and general ideas. The score should reflect how much you enjoyed the story.

Category Name: Character Development

The characters were not dynamic, credible, interesting, memorable or unique. I don’t care about or understand the characters because they were poorly developed. The characters were somewhat dynamic, credible, interesting, memorable and unique. I partially understood the thoughts, feelings, and actions of the characters. I somewhat connected with and care about the characters. The characters were very dynamic, credible, interesting, memorable and unique. I thoroughly understood their thoughts, feelings and actions. I felt connected with and cared about the characters.

This is act of bringing a character to life on the page. It is a combination of the author’s description of the character and the character’s dialog, action, and thoughts. Though all characters should be believable, the protagonist and antagonist are usually the most developed characters.

Category Name: Plot

I finished reading the story so the plot must have unfolded, but I am not sure what the plot was. The characters did not achieve or grow by solving the problems they faced in this story. There were definite wrinkles in the way the plot unfolded leading to the final conflict. The plot was loosely tied to the achievement and growth of the characters. The way the protagonist overcame some of the problems flowed unnaturally with the story. I could see the plot unfolding through a series of escalating problems that lead to the final conflict. The plot helped me understand the achievements and growth of the characters. The way the protagonist overcame the problems flowed naturally with the st

In fiction a plot is all the events in a story, particularly rendered towards the achievement of some particular artistic or emotional effect. In other words it's what mostly happened in the story. The plot draws the reader into the character's lives and helps the reader understand the choices that the characters make.

Category Name: Dialog

The dialog seemed like cold words on paper. I had a hard time following it. I didn’t learn very much about the characters through the dialog. Through the dialog I could sometimes see the characters learn and grow while occasionally discovering new facets of their personalities. The dialog was generally consistent with the character. Through the dialog I could see the characters learn and grow while simultaneously discovering new facets of their personalities. The dialog was true to the character and it helped me understand the characters emotions.

Category Name: Setting

The setting created a haze in my mind that detracted from the story. I am lost in time and space because I don’t know when or where this story takes place. The setting was described adequately, but not well enough to bring it to life in my mind. The setting did not add to or detract from the story. I am pretty sure I know when and where the story takes place. The author engaged all of my senses while vividly describing the setting. The setting helped me better understand the setting and plot. I know when and where this story takes place.

The setting is where a story takes place. The choice of setting and its description helps the story come alive in the mind of the reader. Appropriate setting contributes to the plot and mood of the story.

Category Name: Mechanics

The story contained so many mechanical errors that it was hard to follow the plot or understand certain sentences or paragraphs. Occasional mechanical errors were distracting, but these errors did not inhibit me from being able to understand the plot or connect with characters in the story. I rarely if ever noticed mechanical errors. As far as I could tell, the writing was clear and correct.

Mechanics includes sentence structure, verb agreement, grammar, spelling, voice, punctuation and aspects of basic style.

Note: The purpose of ReviewFuse reviews is NOT to provide comprehensive copy editing, but rather to "ignite creativity." Reviewers should not feel obliged to point out every grammar or spelling error (though they certainly can if they wish), but should focus on this area only to the degree that errors make a story hard to follow or understand.

Inline comments are the most helpful and important aspects of your review.

Click on a paragraph or highlight text from the paragraph to provide inline comments. While detailed grammar correction is welcome, the purpose of inline commenting is to spark the author's creativity. This is best done by expressing feelings, questions, and concerns you have about the story while you are reading.

1. EXT. DOWNTOWN LARGE CITY - DAY

2. ESTABLISHING SHOT: We see the city buildings pass slowly by in the distance.

3. DISSOLVE TO:

4. EXT. BUSY CITY SIDEWALK - DAY

5. A ragged-looking, bundled-up homeless man sits on the cold sidewalk. This is Thomas.

6. Thomas holds a crude cardboard sign that reads "Hungry and Cold. Please Help!" In front of him is a tattered paper cup with a few coins in it. Several people pass him. As they do, some are singled out by the camera while the rest blur into the background.

7. CUT TO:

8. POV THOMAS, FOLLOWING PAN: A BUSINESS WOMAN in high heels and a business suit approaches. She has a Starbuck's coffee in one hand and a cell phone in the other. She spots Thomas from a distance and deliberately crosses to the far side of the side walk as she talks on her phone. As she passes, the camera follows her face. She never so much as glances at Thomas again.

9. BUSINESS WOMAN

10. (into phone) What!? No that's unacceptable. (pause) Well tell him to redo it. It can't go out like that. (pause) No I don't have time for that I have the meeting with the MacGregor brothers today. I can't do everything myself. (pause) Well that's his job. If he can't do it, why are we paying him? (pause) That's no excuse! Okay listen, tell him to redo it with the red and send it to me. I'll look at it tonight. (pause) Right...right...

11. Behind the business woman is a group of trendy looking teens (2 girls, 3 guys). As they enter the frame, the Camera focus shifts to them.

12. ANGLE ON: GIRL 1 leaves the group to deposit a few coins in Thomas's cup.

13. CLOSE ON: Thomas

14. THOMAS

15. Thank you. God bless.

16. CLOSE ON: Girl 1 smiles and nods

17. POV Thomas: Girl 1 rejoins the group as they move past.

18. BOY 1

19. (loudly) Why did you do that? You know he's just gonna spend that on drugs.

20. GIRL 2

21. Ssshhh! He's right there.

22. BOY 2

23. So what. What's he gonna do? (to Thomas) Hey buddy, why don't you get a job? You look like you can work to me.

24. CLOSE ON: Thomas

25. BOY 1 (O.S.)

26. Why would he want to get a job? I heard street bums around here make $20 bucks an hour.

27. DISSOLVE TO:

28. INT. A NICE LOOKING OFFICE - DAY

29. Thomas is sitting at a desk. He is now in a dress shirt and tie. His tie is crooked, hair slightly disheveled, and it looks like he hasn't shaved in a couple days. Dual computer monitors are in front of him and his hands rest on a keyboard, but he is staring off into nothing.

30. COWORKER (O.S.)

31. Hey Thomas.

32. Thomas snaps out of his daze and looks over to the COWORKER who is peering into his office.

33. ANGLE ON: Coworker

34. COWORKER (CONT'D)

35. (entering the office) You finish your Q1 reports yet?

36. THOMAS

37. Um... yeah, almost.

38. TWO SHOT: Thomas and Coworker

39. COWORKER

40. Man, you know I love ya so don't take this the wrong way... you gotta snap out of it. I'm doing everything I can to cover for you, but it's been two months and you're still just... disconnected or something. I just don't want to see you lose your job ya know. Ya gotta have something.

41. THOMAS

42. (starting to daze again) I know... Thanks.

43. ANGLE ON: Coworker shaking his head and slipping back out of Thomas's office.

44. ANGLE ON: Thomas's face in full daze again.

45. DISSOLVE TO:

46. EXT. CITY SIDEWALK - DAY

47. CLOSE ON: Thomas's face is in a similar daze.

48. LITTLE GIRL (O.S.)

49. Look at that man daddy!

50. POV THOMAS: Thomas looks up to see a small family consisting of MOTHER, FATHER, and LITTLE GIRL approaching him on the sidewalk. The little girl is holding her father's hand with one of her hands, but has her other arm outstretched with her finger pointing at Thomas.

51. The mother quickly pulls the girl's arm down and bends down whispering to the girl.

52. MOTHER

53. It's not nice to point dear.

54. LITTLE GIRL

55. But mommy, why is he so dirty?

56. MOTHER

57. Ssshhh... How would you like to swing?

58. LITTLE GIRL

59. (excitedly) Yes, yes!

60. The little girl grabs her mother's hand with her free hand and begins counting excitedly.

61. LITTLE GIRL (CONT'D)

62. One... two... threeeeee!

63. As she reaches three, the mother and father swing her into the air by her arms.

64. LITTLE GIRL (CONT'D)

65. Again, again! One...two...

66. DISSOLVE TO:

67. EXT. A GREEN, GRASSY PARK - DAY

68. Thomas is walking with his wife MELANY, and four-year-old son, DARREN. Thomas is wearing nice clothes and is clean-shaven. Darren is holding hands with both of them getting ready to swing.

69. DARREN

70. Threeeee!

71. Thomas and Melany swing little Darren high into the air as he giggles with joy.

72. DARREN (CONT'D)

73. Again! Again!

74. MELANY

75. Mommy's tired. Why don't you run over and go down the slide.

76. DARREN

77. Okay.

78. Darren runs toward the playground and Thomas and Melany take each other by the hand.

79. CLOSE ON: Thomas

80. THOMAS

81. (watching Darren) I can't believe how fast he's growing. (Turning to Melany) I'm thinking... maybe it's time to start trying for another one.

82. MELANY

83. Really?

84. THOMAS

85. Yeah, maybe we'll have a girl this time.

86. Melany pulls herself close to Thomas.

87. MELANY

88. Well in that case, maybe we should start heading home. I think it's time for Darren's nap.

89. RICK (V.O.)

90. Excuse me, sir... hello?

91. DISSOLVE TO:

92. EXT. CITY SIDEWALK - EVENING

93. POV THOMAS: A man is standing over Thomas looking at him quizzically. This is RICK.

94. TWO SHOT: Thomas comes out of his daydream.

95. THOMAS

96. What can I do for you?

97. RICK

98. Well I noticed your sign says you're hungry. As a matter of personal policy, I never give cash, but I'm on my way to get some dinner. If you'd like to join me, I'll treat you to as much as you can eat.

99. CUT TO:

100. EXT. SIDEWALK LEADING TO DINER - EVENING

101. WIDE ON: Rick and Thomas walk towards a city diner. Thomas has a large backpack on. They reach the door and go in.

102. INT. DINER - EVENING

103. Thomas and Rick are seated in a booth. A server comes to take their order. This is NADA.

104. NADA

105. Hello gentlemen. My name is Nada and I'll be taking care of you tonight. Are you ready to order?

106. RICK

107. Yeah, I think so. I'll have the grilled-chicken sandwich, with no onions please.

108. NADA

109. Okay and that comes with a side. Would you like fries, cole slaw, or...

110. RICK

111. (cutting in) I'll have the fries please. And a coke.

112. NADA

113. Okay. (Turning to Thomas) And for you sir?

114. THOMAS

115. Um, I'd like the Turkey, Bacon, Avocado sandwich with the fries and a chocolate milk shake.

116. WIDE ON: Thomas, Rick, and Nada

117. NADA

118. Okay is that everything?

119. CLOSE ON: Thomas looks tentatively to Rick.

120. CLOSE ON: Rick

121. RICK

122. Get whatever you want. I don't want you leaving here hungry.

123. TWO SHOT: Thomas looks at Nada

124. THOMAS

125. I'll also have one of your sampler platters, the chicken fried steak with mashed potatoes, a side of pancakes, a double bacon cheese burger, the apple pie à la mode, and a rootbeer, please.

126. NADA

127. Wow! What do I look like, some sort of djinn? It's like you just got one of your wishes granted.

128. Thomas stares at her with a blank face.

129. NADA

130. Uh... Okay, I'll get that right out to you.

131. Nada leaves.

132. RICK

133. Wow, you weren't kidding with that sign. You are hungry.

134. THOMAS

135. There are fewer Good Samaritans in this world than you might think. And besides, this food is way better than what I can get in the shelter.

136. RICK

137. (smiling) You don't have to defend yourself to me. It's just been a while since I've seen someone order that much food.

138. THOMAS

139. A while huh? When was the last time?

140. RICK

141. Okay, I guess you got me there. I should have said I've never seen someone order that much food. I mean that's a Thanksgiving feast for four.

142. CLOSE ON: Thomas turns his head to watch a customer at a nearby table using fork and knife to cut into their food.

143. THOMAS

144. (trailing off) Yeah? Thanksgiving?

145. CLOSE ON: The hands holding the fork and knife cutting food.

146. DISSOLVE TO:

147. INT. THOMAS'S PARENTS HOUSE - THANKSGIVING DAY

148. ZOOM OUT TO: Melany cuts her thanksgiving turkey and puts a bit into her mouth.

149. WIDE ON: Thomas's family is gathered around a large table. Everyone is eating, laughing, and talking. Kids run around the table playing some sort of game.

150. THOMAS

151. Well mom, you've out done yourself again. Delicious!

152. MOM

153. Well thank you, but see you remember your gratitude when it comes time to do the dishes this year. Last year you left poor Melany and your sister to do the dishes all by themselves while all you boys were watching football.

154. THOMAS

155. It's okay mom, she loves doing dishes. (Turning to Melany) Isn't that right, Mel?

156. MELANY

157. (Poking Thomas in the side) Yeah, about as much as you're gonna like sleeping on the couch tonight.

158. Everyone laughs and "ooohs".

159. CUT TO:

160. INT. DINER - NIGHT

161. Nada has a large serving tray of food and is placing plates in front of Thomas as he snaps back to reality. She finishes laying the feast in front of him.

162. THOMAS

163. (to Nada) Thank you.

164. NADA

165. Sure thing. Just let me know if you need anything else.

166. Nada leaves and Thomas starts eating like he's never seen food before.

167. RICK

168. So where were you just now?

169. THOMAS

170. (looking up with full mouth) What?

171. RICK

172. You completely zoned out on me for like five minutes. In fact I think you might have scared that poor woman over there. You were just staring at her plate almost the whole time.

173. THOMAS

174. (Mouth still full) Oh... um... sorry. I didn't realize.

175. RICK

176. I don't know how to ask this so I'll just go for it... how did you end up like... uh... like this? I mean, you know, on the street?

177. Thomas puts down his silverware and looks up from his plate.

178. RICK (CONT'D)

179. What I'm saying is you seem like a pretty smart, capable, healthy guy...

180. Thomas finishes chewing a large mouthful of food and swallows deliberately.

181. THOMAS

182. (quietly) I really appreciate the dinner, and I don't want to seem ungrateful, but I'd rather not talk about that.

183. RICK

184. Sorry.

185. They continue to eat in awkward silence for a few moments.

186. RICK (CONT'D)

187. So it's sure been cold lately, huh?

188. THOMAS

189. You're tellin' me. I know a guy that lost a couple toes it was so cold last week.

190. RICK

191. Really? That's horrible.

192. THOMAS

193. Yeah, funny thing is he said it was worth it cause he's had his own bed at the shelter ever since. Said they gave him preferential treatment so he could heal right.

194. RICK

195. That's crazy.

196. THOMAS

197. What's crazy is that you hear stuff like that all the time on the street.

198. RICK

199. Yeah, like what else?

200. As Thomas and Rick talk, their voices become voice overs and the scene dissolves in and out with their food disappearing showing the passage of time.

201. THOMAS

202. Well I know this guy Ernie who kept sneaking into empty rooms in hospitals. Then he'd either sleep in a nice warm bed or stay up all night watching TV. When they finally caught him they threw him in jail overnight. He said that was even better cause then he had a bed and they gave him dinner.

203. RICK

204. (laughing) I don't believe it.

205. THOMAS

206. Well you probably shouldn't. Ernie has a tendency to bend the truth.

207. Time Fade

208. THOMAS (CONT'D)

209. What about you? How come you're eating with a bum on a Friday night? Haven't you got better things to do?

210. RICK

211. Well, not tonight. My girlfriend flew back home for the holidays. I couldn't get off work 'till next week and then I'm gonna meet her there... and meet her parents.

212. THOMAS

213. Scary.

214. RICK

215. Very. Tonight I'm probably just gonna go home and watch TV 'till I fall asleep. That way I won't think about it.

216. Background music crescendos as Thomas and Rick continue talk and eat.

217. Music fades again.

218. CLOSE ON: Thomas pushes back all his plates, most of them empty, and stretches his arm.

219. THOMAS

220. Well I'm officially stuffed. Thanks again for the dinner and the company. I'd better let you get on with your night and get home to your TV-induced stupor.

221. RICK

222. Where will you go?

223. THOMAS

224. (shrugs) I dunno. I'll go try and find somewhere to bundle up and stay warm for the night. (grins) Maybe I'll find me a nice hospital bed.

225. RICK

226. Is there anything else I can do for you?

227. THOMAS

228. Well... since you're asking... and I am a beggar... I'd be remiss in my job duties if I didn't try...a few extra bucks could go a long way toward helping me stay warm.

229. RICK

230. (uncomfortably) Uhhh.... well...

231. THOMAS

232. Sorry man. I shouldn't have asked for anything else. You already spent so much on my dinner.

233. RICK

234. No, it's not that... I just have this personal policy...

235. THOMAS

236. Oh yeah, I remember. Listen, don't worry about it I'll be fine.

237. Thomas gets up to leave.

238. RICK

239. No wait... you know what, I have no idea why you're on the street, but you seem like a really good guy. I hate to think of you being cold for Christmas next week. Here's all I got on me.

240. Rick takes several bills from his wallet and passes them to Thomas.

241. THOMAS

242. Wow. Thanks again. The world would be a better place if there were more people like you. I hope everything goes well for you next week. I'm sure your girlfriend's parents will love you.

243. RICK

244. Take care Tom. Stay warm.

245. CUT TO:

246. EXT. IN FRONT OF THE DINER - NIGHT

247. CLOSE ON: Thomas and Rick's hands as they shake.

248. WIDE: Thomas goes one way and Rick goes the other. The camera follows Rick. He goes a few paces, then stops and looks over his shoulder. Thomas is rounding the corner at the end of the block. Rick turns and walks quietly after him.

249. CUT TO:

250. EXT. STREET CORNER - NIGHT

251. Rick cautiously peers around a corner and sees Thomas walking. He continues to follow at a safe distance.

252. CUT TO:

253. EXT. CITY STREET - NIGHT

254. ANGLE ON: Thomas prepares to cross the street. An SUV passes.

255. CLOSE ON: Thomas's face seems to enter a daze again as he watches the SUV.

256. POV Thomas: The passing of the car is shown in slow motion and a small child can be seen sitting in a child seat in the back. We see a reflection off the car/window of Thomas staring at the car.

257. DISSOLVE TO:

258. EXT. SPARSELY-TRAFFICKED TWO LANE HIGHWAY - NIGHT

259. An SUV drives down the highway. Three voices sing "Titanic (Husbands and Wives)"

260. CUT TO:

261. INT. SUV - NIGHT

262. Thomas, Melany, and Darren sing as they drive.

263. THOMAS, MELANY, DARREN

264. (singing) ...It was sad, so sad. It was sad when the great ship went down to the bottom of the sea. Husbands and wives, little children lost their lives...

265. DISSOLVE TO:

266. EXT. CITY STREET - NIGHT

267. Thomas shakes out of the daze and crosses the now empty street.

268. CUT TO:

269. EXT. LIQUOR STORE - NIGHT

270. ANGLE OVER RICK'S SHOULDER: Rick hides behind a car (or some object) as he watches Thomas enter the liquor store. Through the windows he sees Thomas approach the counter.

271. CUT TO:

272. INT. LIQUOR STORE - NIGHT

273. THOMAS

274. Gimmie a fifth of Rebel Yell.

275. LIQUOR CLERK

276. (punching register)

277. That'll be $22.53

278. Thomas hands over the cash.

279. CUT TO:

280. EXT. LIQUOR STORE - NIGHT

281. Rick watches through the glass windows as the clerk hands the bottle and change to Thomas.

282. RICK

283. (to himself) I should have known. They're all the same.

284. Rick stands up from his hiding place as Thomas exits the liquor store.

285. RICK (CONT'D)

286. (yelling to Thomas) Yeah, you stay warm! Have a merry drunken Christmas ya bum!

287. CLOSE ON: Thomas looks back at Rick with a pained face.

288. THOMAS

289. (barely audible)I'm sorry.

290. Thomas turns and walks in the opposite direction.

291. RICK

292. Yeah, you keep on walkin'! Go drink 'till you puke up all that food I bought ya! (muttering to himself) Freakin' bum.

293. Rick kicks some nearby object and turns back the way he came.

294. CUT TO:

295. EXT. ALLEYWAY - NIGHT

296. Thomas is seated with his back against a wall. His pack is propped up next to him. The bottle of whiskey is gripped tightly in his fist. His eyes stare off into nowhere.

297. DISSOLVE TO:

298. I/E. THOMAS'S PARENTS HOUSE

299. Thomas, Melany, and Darren are saying goodbye to Thomas's parents after the Thanksgiving meal.

300. THOMAS' DAD

301. C'mon Darren can I get a hug goodbye?

302. Darren runs to his Grandpa and is picked up in a big hug. Then he is passed to Grandma for another hug.

303. The small family heads to their car.

304. THOMAS'S MOM

305. Drive safe. We love you.

306. THOMAS

307. Love you too Mom. Thanks again for everything.

308. DISSOLVE TO:

309. EXT. ALLEYWAY - NIGHT

310. CLOSE ON: Thomas's hands gripping the bottle of whiskey so tight his knuckles are white.

311. TILT TO: Thomas's face twitches with an anguished look. His eyes are closed.

312. DISSOLVE TO:

313. INT. SUV - NIGHT

314. CLOSE ON: Thomas is in the driver's seat of the SUV. His eyes are closed but only for a moment. He opens them as his head jerks up.

315. Thomas looks around the car. Melany and Darren are asleep.

316. Thomas rubs his eyes and yawns. He grips the wheel and tries to keep his eyes open, but they slowly close and his head nods as the screen fades to black for a few long seconds.

317. Suddenly a horn blares.

318. POV Thomas: Thomas's eyes open to see two headlights coming directly at his SUV. Music crescendos as they come ever nearer.

319. CUT TO:

320. EXT. ALLEYWAY - NIGHT

321. Thomas gasps as he opens his eyes in the alleyway. His breathing is ragged and his breath is visible in the cold night air. Despite the cold, his face is covered in sweat.

322. He sets down the bottle of whiskey and grabs his pack. He pulls out a ragged looking wool army blanket and pulls it over him as he shivers from the sweat chill. Then he reaches inside his coat and pulls out a picture which he stares at. The picture is hidden from the camera. While he does this, his memory replays voices from a few hours earlier.

323. THOMAS (V.O.)

324. ...a few extra bucks could go a long way toward helping me stay warm.

325. RICK (V.O.)

326. I hate to think of you being cold for Christmas next week. Here's all I got... Take care... stay warm.

327. CLOSE ON: The picture Thomas is holding is of his small family. They are all smiling and happy. The picture is starting to look creased and worn in his gloved hands.

328. CLOSE ON: Thomas's lips mouth, "I'm sorry"

329. Thomas drops his head and holds the picture to his temple with one hand. His body shakes with silent sobs. He sits up, looks at the picture once more, then puts it back inside his coat. He picks up the bottle of whiskey again.

330. RICK (V.O.) (CONT'D)

331. (sounding distant) Yeah, you stay warm! Have a merry drunken Christmas ya bum!

332. CLOSE ON: Thomas's fingers pop the cork from the bottle of whiskey.

333. PULL OUT: He grips it by the neck and tilts it back for a long pull.

334. DISSOLVE TO:

335. INT. THOMAS'S HOUSE - NIGHT

336. CLOSE ON: Thomas is chugging something. The camera zooms out to reveal it's a half gallon of egg nog.

337. MELANY (O.S.)

338. Are you drinking from the jug again?

339. Thomas stops drinking and brings the egg nog jug down to his side just as Melany enters the room.

340. THOMAS

341. (guiltily) Um... no.

342. MELANY

343. (teasing) Oh, no? I suppose your face just naturally grows egg nog mustaches now? C'mon. Get a glass and come in here. Darren's ready to open presents.

344. Thomas puts the jug back into the fridge and they enter an adjacent room with a Christmas tree and presents. He sits down as Melany goes to the tree and selects a present for each of them. The image slows and fades as they tear into their presents.

345. SOUNDTRACK: A slow and sad acoustic guitar version of "I'll be home for Christmas" fades in and dominates throughout the next scene.

346. DISSOLVE TO:

347. EXT. ALLEYWAY - NIGHT

348. Thomas is still propped against a wall in the alleyway, but now the bottle of whiskey in his hand is half empty.

349. ANGLE ON: Thomas's face now has a contented smile. He is obviously somewhere else completely.

350. FADE TO BLACK.

351. THE END.

352.

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