(Note 1: the opening sets(s) ‘resides’ in the skeleton of what later becomes the TOWN SQUARE – eg: the ROCK CLUB becomes the MEETING HOUSE, the DAY CARE CENTER, the CANDY STORE…etc. The set is a scene-within-a-scene kaleidoscope including, with shifts of lighting and emphasis, all locations.)
(Note 2: the opening scene(s) occur in rapid ‘cuts’: SCENE, BLACKOUT, SCENE, BLACKOUT…etc.)
INT. ROCK CLUB – NIGHT
The place is packed. A band is playing:
MUSIC: INSTRUMENTAL INTRO - “BROKEN HEART”   (song)
BRIAN, a young man in his early 20’s, is standing at the bar, signalling for beers.
He looks back over his shoulder at the crowd. SARAH, a pretty GIRL is looking back at him, smiling.
(Note: SARAH is played by the same actress who subsequently plays REBECCA. Wig, make-up, attitude shift her appearance.)
BRIAN salutes – mouth of beer bottle to forehead. She laughs.
BLACKOUT

LIGHTS UP ON
ROSE, a bizarre woman in her well-preserved late 60’s, with fake-red hair and too much lipstick punches BRIAN on the shoulder. She takes his beer and slugs it down. She peers at him over rhinestone glasses, purses her lips and rolls her eyes.
(Note: dialogue moves quickly, like a 40’s Noir flick.)
ROSE (sarcastically)
New girl?
BRIAN
What are you doing here?
ROSE
Keeping an eye on you.
BRIAN
And what do you see?
ROSE
Moonlight In Vermont…lover…
ROSE yanks up her bra and throws her head back like Mae West.
ROSE
I’m gonna powder my nose.
BRIAN
Missed you.
ROSE two-steps backwards, away from him and bumps an unsuspecting PATRON with a suggestive thrust of her hip, spilling his drink.
ROSE
Carumba!
BRIAN
Some things never change.
BLACKOUT

LIGHTS UP ON
A MARINE in dress uniform picks SARAH up in, spins her around and laughs.
On stage an amplifier blows, showering sparks over the moshpit, whipping them into a frenzy.
BRIAN bulldozes his way through the crowd.
BRIAN
Hey, Mighty Mouse, dude, she’s my girl.
The MARINE lets go of SARAH, grabs BRIAN by the lapel and punches him.
BRIAN takes the kid’s forearms in each hand. The MARINE screams – his flesh burns under BRIAN’S hands.
BLACKOUT
SARAH (in darkness)
You jealous son of a bitch! I was asking the kid about the war!
SPOTLIGHT ON
BRIAN alone, gasping, clutching his heart.
BLACKOUT

SCENE 2

INT. DAY-CARE CENTER – MORNING
(Note: The KIDS in the center are played by the same kids – thinly disguised - we meet later in Vermont.)
SARAH walks around, checking on kids who are finger-painting on big pieces of newsprint.
A BOY (later - ISAAC) is sitting at a piano and staring at the radiator. It hisses. He plays a few notes on the piano (the harmonica theme from “I WANT TO BE LOVED”). It is jarring against the “BROKEN HEART” bolero. He looks out the window.
SARAH takes a little GIRL (later - BETSY) in her arms and admires her artwork.
GIRL
It’s you and Brian when you get married.
BRIAN throws open the day care door, pushing in a bicycle. The BOY stops playing the piano, gets off the piano stool and goes to the radiator.
SARAH will not look at BRIAN.
SARAH
Thanks for knocking.
BRIAN, upset and out of breath, leans the bike against a standing blackboard and begins to write, furiously. His hand is bandaged. Bloodstains ooze through the gauze. He reads out loud as he writes.
BRIAN
“I’m pathetic. I’m sorry. I
(drawing a heart)
…love you.”
He tosses the chalk at the radiator. The BOY picks it up and looks at SARAH. She winks at him. The radiator immediately begins banging and knocking.

BRIAN
I want us back.
SARAH
You always do.

SARAH turns sharply, facing BRIAN head-on but standing away from him.
MUSIC: “BROKEN HEART” (SONG)
BRIAN & SARAH
THE HOUSE WE LIVE IN
THE WAY WE LAUGH
THE SOUND AND FURY
THE PHOTOGRAPH

SARAH
Loss can be liberating.
BRIAN
YOUR LOVE COMES IN
AND TAKES MY BREATH AWAY

BRIAN & SARAH
AND NOTHING’S REALLY CHANGED FOR ME
SINCE THAT FIRST DAY

INSERT: The little GIRL paints big red X’s across BRIAN’S face in her painting of BRIAN and SARAH.
BRIAN
AND ALL THE POETRY
THAT I HAVE READ

SARAH
AND ALL THE TALKING
LATE AT NIGHT IN BED

BRIAN & SARAH
LEADS TO A…
BROKEN HEART
I’M GIVING YOU ALL AWAY
I KNOW THAT SMILE ON YOUR FACE
IS NOT FOR ME
I’LL TAKE A BROKEN HEART
I’LL TAKE IT ANY DAY
I KNOW THAT LOVE IS ALL THERE IS
YOU’RE NEVER THAT FAR AWAY

SARAH
I hope someday you take a good look at yourself, Brian, and see how you affect people.
(baby talk)
…the boy that nobody understands.
BRIAN turns and looks out the window. He sees ROSE pushing a grocery cart. She gives BRIAN a cheery, rippling wave. He waves back, sadly.
BRIAN & REBECCA
YOU READ THE PAPER
I’M ON THE PHONE
WE HOLD HANDS IN THE CAR
YOU SING THE SONG

BRIAN
SOMETIMES I THINK IT’S JUST THE
SIMPLE THINGS

BRIAN & SARAH
THAT HOLD OUR LIVES TOGETHER
SINCE THAT FIRST DAY

BRIAN
AND ALL THE DREAMING
YOU AND I HAVE DONE

BRIAN raises his bandaged hand; palm forward, a ‘benediction’. SARAH moves towards him, like a robot. She is not moving of her own volition.
(Note: SARAH knows what is going on. She is terrified and can’t control herself.)
SARAH (backing away)
AND ALL THE VICTORIES
THAT WE HAVE WON

BRIAN & SARAH
LEAD TO A
BROKEN HEART
I’M GIVING YOU ALL AWAY
I KNOW THAT SMILE ON YOUR FACE
IS NOT FOR ME
I’LL TAKE A BROKEN HEART
I’LL TAKE IT ANY DAY
I KNOW THAT LOVE IS ALL THERE IS
YOU’RE NEVER THAT FAR AWAY

The little GIRL picks up her very wet finger painting and runs between SARAH and BRIAN.
GIRL
Leave her alone!
In rapid succession:
SARAH walks into the painting – the slimy colors smear her clothes. SARAH grabs the GIRL by the arm and shakes her violently.
ROSE’S head pops up over the ledge of the window. No one can see her. She is eating popcorn.
BRIAN’S arm shoots out from his side, rigid, like a piece of machinery. So does SARAH’S. Whatever motion BRIAN makes, so does SARAH. He opens his hand quickly. So does she, letting go of the GIRL, who crashes into a desk.
BRAIN grabs his rigid arm with his normal arm, aiming it away from SARAH. He knocks over the standing blackboard, which crashes, into the window, shattering the glass. ROSE ducks.
The rigid arm, back in control, aims at a ceiling light. The light explodes.
BLACKOUT
SARAH (in darkness, screaming)
What are you? Some kind of alien?!
BRIAN (simultaneously)
Get me outa here.
BRIAN
I’M LETTING GO OF EVERYTHING
I’M LETTING GO OF YOU

SPOTLIGHT ON
BRIAN riding - NIGHT. He wears headphones. We ‘hear’ what he hears.
MUSIC: “BROKEN HEART” (GUITAR SOLO) 
Thunder and lightening. BRIAN is squinting, trying to see the road. Headlights from oncoming cars flash across his face.
BLACKOUT

LIGHTS UP ON
BIKE - MORNING
A HUMMINGBIRD with a bright red topknot hovers overhead, ‘staring’ at BRIAN.
BIRD (ROSE’S voice)
Snap out of it, kiddo! Wake up! The sun is shining!
The BIRD flies off. The first rays of sunlight hit BRIAN’S face.
At the side of the road, like Burma Shave ads, are seven signs. They read:
“THE KINGDOM…OF HEAVEN…IS AT HAND…ENTER THE HOUSE…
OF THE LORD…TURN RIGHT, THIS WAY”
HEADPHONES
(BRIAN & SARAH)
I’LL TAKE A BROKEN HEART
I’M GIVING YOU ALL AWAY
I KNOW THAT SMILE ON YOUR FACE
IS NOT FOR ME
I’LL TAKE A BROKEN HEART
I’LL TAKE IT ANY DAY
I KNOW THAT LOVE IS ALL THERE IS
YOU’RE NEVER THAT FAR AWAY
I’LL TAKE A BROKEN HEART, ETC.

ROSE’S VOICE (over music fade)
Well Toto, there’s no place like home.
She laughs.
BLACKOUT

SCENE 3

TOWN SQUARE – DAY
In the center of the square is a refurbished, two-story Victorian hotel. A covered porch surrounds the first floor. A Widow’s Walk is perched on the roof. Over the front door is a brand new sign, which reads: “KINGDOM HOUSE”.
To the left of the Kingdom House is a low, one-story building. On the roof is a simple steeple and bell. It has double doors in front painted blue, and a hand-painted sign, which reads: “MEETING HOUSE”.
To the right of the Kingdom House is a chicken shack. It has been converted into a store, and has it’s own pink and white sign, which reads: “CANDY STORE”.
In front of the Kingdom House, on sparse grass, is a roughly built pine platform. Rising up out of it is a tall, four-by-four post. Attached to iron rings on either side of the top of the post are long black leather straps.
BRIAN unloads the bike, unzips his fly and urinates in the tall grass next to the Candy Store. He zips up, crawls back to the pine platform and passes out.
ENTER
MR. TUBBS, 55, a 60’s throwback hippie lunatic alcoholic in overalls and a fatigue jacket, peering at BRIAN. He is holding a shovel. He belches and tips back an empty bottle of whiskey.
TUBBS
Rain in Spain!
He heaves the empty bottle across the square, smashing it against the wall of the Kingdom House. BRIAN wakes up.
TUBBS
Welcome t’ Hell’s Little Acre, schport.
TUBBS laughs, raises the shovel with both hands over his head like weapon, sprints across the square, trips on a rock, somersaults and falls into a freshly dug hole in the ground.
ENTER
A DOE, a tuft of bright red fur between her ears, steps unsteadily into the open. She’s drunk. She looks at BRIAN and then at the hole.
TUBB’S filthy arm pops out of the hole with a fresh bottle of Wild Turkey. He pours some into a cupped hand. The DOE staggers over to him and drinks.
TUBBS
Nice dearie. We gonna help the kid?
(singing)
MY FUNNY VALENTINE…
The DOE blinks and burps and hobbles off into the woods at the edge of the square. BRIAN climbs out of the car.
BRIAN
Wait up. I ain’t oriented yet. Hey! Red!
The DOE disappears.
TUBBS lurches out of his pit and scatters debris (sticks, cardboard, dirt, grass, leaves, etc.) over the top of the hole, camouflaging a trap.
TUBBS
Trap me a preacher man, ain’t life sweet.
He jumps gingerly up and down on the trap to test it.
TUBBS
Pooh bah!
BRIAN rubs his eyes, shakes his head at TUBBS in disbelief. TUBBS suddenly looks up.
TUBBS
I know you. Braintree?…Brando?…Beazabubb?
The trap gives way a little.
TUBBS
Little Son O’ Sam come up here summers all self-centered, I remember. She said you was comin’. An’ that I was t’…
TUBBS scratches his head. The trap gives way completely and he falls through.
TUBBS (muffled)
…prepare.
BRIAN
What’s happened to this place?
TUBBS (from the hole)
This ol’ fleabag? Sugar Town? Sold it t’ the cult, dude. Lock stock n’ maple sugar barrel. Might as well cut my balls off good it done me.
BRIAN (yanking tubbs out of the ‘trap’)
Sold who what?
TUBBS
Meantime ol’ Red she poop out on our partnership like a gasbag. N’ we was goin’ strong. Like pigeons in a pie.
BRIAN
Ya never did make much sense old man.
TUBBS
Who you callin’ old?
BRIAN smiles a ‘you got that right’ smile, gives TUBBS a big hug, turns and walks into the woods where the DOE disappeared.
TUBBS
You got hair down there now, I can see that.