Golden

GOLDEN

the movie

INT. BOOKSTORE - DAY

Fading in with the opening of 'This Train' by Bunny Wailer, a man (WOLFF) sits behind the counter of a small old-fashioned bookstore. The time is the mid 1970's. The man is white, thin, middle-aged (40's), clean shaven, hair mostly gray. The store is quiet. There are no customers. He is reading a paperback book ('Ubik', by Philip K Dick) when a LITTLE BELL RINGS and the door opens, and another man enters the store. This man (RONSON) is wearing a Hawaiian shirt and is younger, in his mid-thirties, wearing glasses, and bearded. He comes up to the counter.

RONSON
Good choice.

WOLFF
Not sure I get it, though.

RONSON
No need. I like a story you can just enjoy while it's happening, and think about it later.

WOLFF
Looking for something in particular?

RONSON
Actually, I'm looking for someone. It's very important I find him.

Ronson turns away and pulls something out of his pocket - a small gadget of sorts, like some kind of PDA from the lights and sounds it makes. He begins to touch the screen and a picture emerges of a face - it is the face of a man we will soon come to know as GOLDEN. Ronson turns back and shows it to Wolff.

RONSON
I was wondering if you've seen him.

Wolff takes the device and holds it in his hands - in closeup he turns the device over a couple of times, and as we see the rest of him again, he is somehow younger, wearing glasses and has a beard, while Ronson is now older and clean shaven - it is as if their bodies have partially switched places. They are still recognizably who they were before, but altered. Also the device is no longer present, but there are a few books on the counter, and Wolff proceeds to ring them up. The previous conversation is as if it had never occurred.

WOLFF
That will be eight forty nine.

RONSON
Here's ten.

WOLFF
OK. Fifty one makes nine and one is ten.

Wolff puts the books in a bag along with the receipt and hands it to Ronson, who picks it up.


WOLFF
Thank you.

RONSON
Thanks. Goodbye.

Ronson leaves the store and the little bell rings again. Wolff returns to his reading, but moments later the little bell rings once more and two men rush into the store. JIMMY, a medium-sized wiry Caucasian, is all in camouflage green, and RILEY, a tall, large black man, is dressed in a sort of Union soldier garb, blue with gold.

WOLFF
Good morning, can I help you?

JIMMY
Actually we're looking for someone. Thought he might have come in here.


RILEY
(glancing around)
Doesn't look like you get a lot of business.

WOLFF
It's still early.

JIMMY
He was wearing one of those Hawaiian shirts. Dark hair, glasses, beard.

WOLFF
Don't know about the beard, but the Hawaiian shirt ... Man wearing that was here just a moment ago.

RILEY
Damn.

Riley dashes back into the street. It is a warm, sunny day.


JIMMY
Did you happen to notice which way he went?

WOLFF
Sorry, no.

Jimmy walks out and joins Riley on the sidewalk. No one is there except for a black family - an older father, his teenage son, and a little girl.

JIMMY
Could be anywhere.

RILEY
Anywhere? Hell, he could be anyone! Didn't he tell us to always stick together? Always stay in pairs?

JIMMY
We gotta find him. What are we going to do without the captain?

RILEY
Shit. And we can't split up to look for him.

JIMMY
OK. Which way?

RILEY
Might as well go back to the station.

Jimmy and Riley rush off down the street, as the family reaches the bookstore.


INT. BOOKSTORE - DAY

MYRON enters the bookstore, saying goodbye to his DAD and sister LEDGE

MYRON
Bye Dad. Bye Ledge. See you tonight.

DAD
Work hard, son. Nothing comes from nothing.

MYRON
Don't worry, dad. Be good, Ledge

LEDGE
I'm always good.

Dad and Ledge walk away as Myron enters the store to the tinkle of the little bell. Wolff is still sitting behind the counter.

WOLFF
Good morning, Myron.

MYRON
Hi, Tim. What have we got today?

WOLFF
There's a shipment from Bantam came in this morning. I was saving it for you. Otherwise there isn't much to do.

MYRON
OK. Maybe I'll do some overstock later.

WOLFF
Good idea. I was thinking we'd close up for lunch and stop by Luigi's. What do you say?

MYRON
I say you always want to go to Luigi's when that girl Lacey's gonna be there.

WOLFF
(puzzled)
Lacey?

MYRON
Yeah right, play it cool. I know you. How come you never ask her out?

WOLFF
Ask her out?

MYRON
If that's how you want to play it. I'll go get started on that shipment now.


INT. LUIGI'S RESTAURANT - DAY

Later that day, WOLFF and MYRON are waiting to be seated at Luigi's. LUIGI, an old man, is at the grill as usual, occasionally BELTING OUT a line from some Italian folk song. A middle-aged, heavy woman, THERESA, is at the counter, joking with a group of old men.

THERESA
You giving me special grief today or what?

GEEZER #1
Whatever you're taking.

GEEZER # 2
That's rich. Whatever she's taking. Ha!

LACEY, a dark-haired beauty in her mid-thirties, approaches Wolff and Myron and beckons them to a table in the middle of the restaurant. There are other assorted groups of people throughout the place. Luigi BELTS OUT another line.

WOLFF
That guy's been singing the same songs for more than thirty years.

MYRON
He's probably too busy to learn any new ones.

WOLFF
Some people never get out of their past. Not me. What do I care about yesterday when today's got so much going on?

LACEY
What can I get you gentlemen to drink?

WOLFF
Lemonade, please.


MYRON
The same, thank you.

LACEY
Coming right up.
(departs)

MYRON
What's up with you? How come you're not flirting with her?

WOLFF
Why would I do that?

MYRON
Tim! You're in love with her, remember?

WOLFF
Yeah? You'd think I'd remember something like that. Huh.

MYRON
You're just playing with me.
WOLFF
No. Listen. I was just thinking about something. If you could see me from the outside, if you were standing somewhere outside of time, you would see me in the same place every day, same job, same lunch, same everything, and you would think that maybe I got stuck somehow. Like a bug in amber. Like that waitress there.

MYRON
That waitress? You mean Lacey, the love of your life? "That" waitress? What's got into you, man?

WOLFF
Yeah, got stuck. You just show up somewhere one day, and there you are for the next twenty years. You sure didn't know that was gonna happen when you first walked in that door. It was just that way with me, the day I opened the store.

MYRON
Not me. I'm not getting stuck. I've got other plans.

WOLFF
Gonna get out of this dump?

MYRON
I figure my ticket out is college. If I can pull that off, maybe I can get somewhere.

WOLFF
I know you can.

MYRON
First I'll finish high school, of course. Then I have to get that scholarship money. You sure don't pay me enough to get through college.
(laughing)

WOLFF
I would if I could, you know.

MYRON
I know. Excuse me.
Myron gets up to go to the bathroom. Turning suddenly, he collides with Lacey who is just bringing the two lemonades. Myron and Lacey get drenched as the glasses smash on the floor. At the same time, the two of them look at each other and BURST OUT LAUGHING. Wolff starts laughing too.

Suddenly there is a VERY LOUD CLAP OF THUNDER and a simultaneous FLASH OF LIGHTNING. Pan outside the window to a downpour, getting louder and louder, rain heavier and heavier as the scene fades out


INT. COLLEGE CLASSROOM - DAY

Booms, and then rumbles of thunder continue, but fading. Sound of heavy rain battering against the window. It's thirty years later, and we pull back to see we are inside a college classroom. GOLDEN, a black man in his late 40's, stands in front of a small class. He is dressed formally, in a suit and tie. The classroom is temporary, cheap; it's a city college, not a university. The class contains students of various ages and ethnicities. Golden stands in front of two maps of the world - one showing the nations, the other showing what looks like climate zones.

GOLDEN
There are two basic categories of disaster - man-made and natural. When a war wipes out a people, we call it genocide. When a hurricane or a flood does the same thing, we say it's 'an act of God', but in our time, that line is beginning to blur. Natural disasters are becoming more and more a combination "act-of-god-and-man". Carbon emissions heat up the oceans, making hurricanes more powerful, which leads to floods overwhelming construction defects and entire cities are wiped off the map. What are we supposed to call this new kind of calamity?

A young Chinese-American man speaks up, to laughter

STUDENT # 1
Maybe God is working in less mysterious ways these days.

An older woman in the class raises her hand and speaks when called on

STUDENT #2
I suppose it doesn't make much difference what you call it, not if you're one of the people caught in it.

GOLDEN
I suppose it doesn't. So much of our lives depends upon the accident of when and where we're born, the times we live in, the opportunities we have, or don't.

A middle-aged, middle-management-type Caucasian man interjects.

STUDENT #3
I say we're exactly who we're meant to be.

GOLDEN
See, I don't agree. We are who we become. If you and I were born in a different time and place, we wouldn't be the same as we are now.

STUDENT #2
There's a reason for everything.

GOLDEN
There's an explanation.
(beat)
That's different.

Golden turns his back to the class and resumes his lecture, with a pointer indicating various areas of the posted maps.

GOLDEN
Born here a thousand years ago, chances are you'd never see thirty, but if you're born over here at the same time, you might well see forty-five, and if you're born today in Wetford, you're liable to double that.
(pause)
When you say you're exactly who you're meant to be, I don't know what you mean by that. I'm not the same as I was twenty years ago, are you?

STUDENT #3
Well, no

GOLDEN
So if you never get a chance to grow up, or grow old, or be free, or be healthy ... I don't even like to think about what God has in mind when thousands of children die every day right now from malaria or starvation. If that's what's "meant to be", I don't approve of that intention.
(pause)
But we were talking about the climate change. Let's take a look back at some earlier episodes in history. I think you'll see some interesting consistencies.

(FADE OUT)


EXT. trolley ride home - EVENING

Golden waits at a modern light-rail stop downtown. It is still raining, but lightly, drizzling. Behind him a city block contains office buildings, a government building, and the street is filled with traffic. A light-rail train approaches.

Golden boards the train, makes his way towards the back, where he takes a seat, opens his briefcase, takes out a paperback book ("Ubik" again, in a different edition, trade size instead of mass market, and a different cover) and begins to read.


INT. COFFEE SHOP - EVENING

Golden gets off of the light-rail train at what appears to be an old-fashioned train station that has been remodeled for the light-rail. Across the street and to the left, a city block contains a 3-story department store named Drake's, a restaurant named Luigi's, a small, local, internet-type coffee shop, and a greengrocer's on the near corner. Across the street and on the right, a series of three- and four-story apartment buildings line the block.

Golden dashes across the street holding his satchel over his head for shelter from the rain, and enters the coffee shop. At a window table, joins an old white man of around 75. At first TIM WOLFF is buried in a book - a Raymond Chandler novel - when Golden stops next to him and takes a seat.

GOLDEN
Tim. How's it going?

WOLFF
Ah, Mike. Thought you might come around. Any word on the bees?

GOLDEN
Still vanishing as far as I know.

WOLFF
What was it Einstein said? No bee-kind, no mankind.

GOLDEN
Something like that, but you never know what's coming. You think it's gonna be the big one but the devil's in the details. Only thing that doesn't change is change itself.

WOLFF
How's Ledge?

GOLDEN
You got me there. Make that the only two things in the world that never change. Same as she ever was. Shit. Last night she's bitching about my books, says they're just piling up all over the place and she's got no room to put her own stuff, like she has anything I didn't go and get her! Then she's onto my music again. Can't stand the noise. Gets to be like a mortuary in there if it was up to her.
(sighs)
Anyway, you coming by tomorrow? It's spaghetti night. Ledge will be expecting you.

WOLFF
I'll be there. Why you keep on putting up with her I'll never know.

GOLDEN
She's my sister, man. Somebody's got to look after her. She'd never make it on her own.

WOLFF
Never tried.


GOLDEN
Never will. Can you imagine? Well, I have to go make sure she gets some dinner now. If it wasn't for me, she'd never even eat.

WOLFF
All right. Good night, Mike.

GOLDEN
Night, Tim.

Golden gets up and leaves the cafe. Outside, it is no longer raining. He stops at the greengrocer on the corner to pick up some fruits and veggies, inspecting and selecting them carefully. After purchasing these, he continues on to the next block. It is a middle-income neighborhood, fairly urban, with mixed ethnicity. There are some boutique shops on the ground floors of some of the apartment buildings along the street, and pedestrians on the sidewalk.


INT. GOLDEN'S APARTMENT - NIGHT

Golden enters a three-story apartment building, walks up one flight of stairs and with a key opens the door to apartment # 3. He passes through a bland living room - couch, chair, coffee table, bookshelves, books,TV - to the dining room, where the table is piled high with pieces of fabric and a sewing machine in the middle of all that.

At the table sits Ledge, a woman in her early 30's, similar in appearance to her older brother, Golden. She seems devoid of emotion. She doesn't smile or frown and when she speaks, she speaks slowly, languidly, seemingly at half-speed, as if she's on some slowing medication.

GOLDEN
Evening, Ledge.
(beat)
Not talking tonight?
(beat)
That's OK, little sister.

LEDGE
Not talking tonight.

GOLDEN
That's all right. Don't mind if you do, don't mind if you don't.

Golden makes his way to the kitchen and begins to chop up some of the fresh vegetables he's just brought home. He starts cooking a kind of stir-fry. He heats up some rice, finds some meat in the fridge, etc. He cooks in rapid movements, in contrast to the slow conversation.

GOLDEN
Tim's coming by for dinner tomorrow.

LEDGE
Spaghetti?


GOLDEN
Yes, spaghetti tomorrow.

LEDGE
I like spaghetti.
(long pause)

GOLDEN
Did Miss Heather come around today?

LEDGE
I made the cuts already.

GOLDEN
New dress she's making?

LEDGE
I already made the cuts.

Golden brings two servings into the dining room. He sets Ledge's before her, takes a place himself, and begins to eat

GOLDEN
Nice day outside today. Little windy though.
(pause, but no answer from Ledge)
Maybe we'll go out on Sunday. Take a walk in the park?

LEDGE
Not going outside.

GOLDEN
Been awhile since we've been out for a stroll. What do you say?

LEDGE
I made the cuts already and Miss Heather didn't know. So I told her.

GOLDEN
We can drop them by on the way to the zoo.


LEDGE
Not going outside.

GOLDEN
Guess not. Haven't managed to get you outside in quite awhile now. Not even outside this door. You know what the doctor said.
(beat)
You remember what she told you?

LEDGE
Don't care about no doctor. I know my own mind.

GOLDEN
I suppose you do.
(beat)
Don't suppose you plan on talking about it.

LEDGE
Not talking.

GOLDEN
All right, Ledge. Whatever you say. It's been pretty much the same since Dad passed on.

LEDGE
Not talking, I said.

GOLDEN
It wasn't so bad at first. I took care of you, didn't I? I had my job. You had your school. We got along. I tried to raise you right, the best I knew.
(beat)
And then things took a turn. I never really knew exactly what it was, if it was even anything, or just the way you were.

LEDGE
Everybody gets their own life and that's all I got to say.

GOLDEN
Guess I could have done better. I know I tried. Well, shit happens, huh?
LEDGE
Huh.

GOLDEN
Like talking to a brick.

After dinner, Golden picks up various items scattered around the house. He enters Ledge's room to tidy up. It is a very childlike-looking room. He putters around and does the dishes, HUMMING to himself.

In the meantime, Ledge is working on her sewing machine at the dining room table, very absorbed. Golden comes over to her and drapes a sweater around her shoulders. Ledge glances up at him, then returns her gaze to her work.

LEDGE
You can stop that singing anytime now. Can't get no peace and quiet round here.

Golden continues to hum, ignoring her.

EXT. CITY STREETS - NIGHT

Golden has changed into a running outfit.

GOLDEN
Going out for a jog, Ledge. You won't miss me, will you? Won't even know I'm gone.

Ledge pays no attention as he leaves the apartment. Outside, it is no longer raining, but the streets are slick and wet. He begins to run through the city streets. He enters a park, and encounters a dog, a golden retriever. He stops to pet the dog and inspects the tag.

GOLDEN
Hey, girl, what's your name? Ruby? That's a nice name for a dog.

The dog follows him as he takes up jogging again. Golden and the dog jog together for a time, and then the dog begins to take the lead.

GOLDEN
If you know a good route, Ruby, I'm happy to follow along. I ain't going nowhere. Not now, not ever.

They turn into a variety of streets until the dog takes a turn into the woods. Golden hesitates but follows down a narrow, dark and windy path. He loses sight of the dog and slows to a stop. He walks slowly towards what seems to be a clearing ahead. It seems to be lighter there, like early evening, whereas it is night where he is now.

Exiting the woods he sees Ruby standing on the platform of an abandoned railroad station. Ruby barks a couple of times as Golden approaches. Ruby is wagging her tail. Golden joins her on the platform. There is NO SOUND, and A BLUE FOG is swirling around them. Golden turns around and realizes that he is not where he was before.


GOLDEN
(looking around, taking a few steps in each direction)
What the?


EXT. GHOST TOWN - EVENING

The blue fog gradually lifts and Golden finds himself in a ghost town. The train station is recognizable as the one where he alighted near his home, but in front of it, the commercial block of stores is boarded up and deserted. There are no cars in the street, and no people either. The evening is breezy and darkening with heavy clouds.

GOLDEN
That's Mission Peak. Sure it is. Looks like Danton Station here. Like you see it in the old photographs. Weird.

GOLDEN
Looks like Drake's and everything over there. Right back home, but not back home. Is this where you live, Ruby?

GOLDEN
Fine mess you've got me into. How are we gonna get out of here?
GOLDEN
Damn. It's getting late.
(beat)
Don't see my apartment building anywhere. Wonder what the hell?

Golden walks around through deserted streets for a long time, looking for a way out or some kind of clue, and eventually, as night falls, comes back around to the station.

GOLDEN
Looks like there's nothing here, Ruby girl. Nothing at all. What are we going to do?
(beat)
You're right. Nothing we can do.
(beat)
That's OK. I'll take the bench.
Good night.

Golden curls up on a bench and falls asleep, the dog at his feet.

EXT. DANTON STATION - MORNING

Golden wakes up at the station with the dog waiting patiently beside him.

GOLDEN
Son of a bitch. Still here? What are you up to?

Ruby trots off and Golden rouses himself and follows. Ruby goes up to a small, dirty, seemingly abandoned house. Golden follows her, peeks into the front window, sees no one inside, and decides to open the door.

Inside the front door there is a busy street, horse drawn carriages RATTLING by, people rushing around, SHOUTING. Golden remains at the door, but the dog pushes by him and disappears into the crowd. Golden steps back into the street.


GOLDEN
OK. So much for a man's best friend!

Golden wanders around a bit more, and looks into some other windows.

GOLDEN
What's going on in here? Is every house a different world? What is it?

In one window he sees an ore smelting plant, billowing out grimy smoke.

GOLDEN
That doesn't look familiar.

In another window he sees a bus with its motor idling, full of men in orange jumpsuit, while armed men surround it on the ground.


GOLDEN
There's got to be some kind of explanation.

In another window, he sees a horse-drawn wagon rattling by, with several Mexican boys piled high on bales of hay in the back.

GOLDEN
Sometimes there's cars. Sometimes there's not. Buildings change but it always seems to be around here, like it's different times, not different worlds. But how come sometimes houses are empty and other times they've got things going on? Maybe my own time is in one of these houses somewhere and all I have to do is find it.
(beat, looking around)
There's a lot of houses. This could take awhile.

Golden walks away down the street, stopping at each house. After a few of these, the scene fades out.


EXT. DANTON STATION - NIGHT

Golden returns to the train station, where he sits, confused, tired, hungry, and exhausted. Suddenly, along the tracks he hears A CRACKLING SOUND and then the dog reappears with a juicy bone in her mouth. Ruby pads up, sits herself down on Golden's feet, and begins happily chewing her bone.

GOLDEN
So you came back.
(beat)
I've been looking all over.
(beat)
And you brought something with you! Didn't know you could do that. Interesting. Thought you were just a dog. Now I don't know what the hell you are.


EXT. WILD WILD WEST - AFTERNOON

Golden wanders around with the dog, peeking into several windows which we do not see into this time.

GOLDEN
Pick a door, any door, huh? Do you even know where you're going? Where'd you find that bone, anyway?
(beat)
Guess we might as well go in. Gotta do something. This place is dead, dead, dead.

Golden enters a door, and is once again at the train station, but there are only a few other scattered buildings around, all of which are wooden, with boardwalk-like platforms, like any old wild wild west movie set. HIS CLOTHES HAVE CHANGED, suited to match the time. The sun is bright and it's clearly very dry and very hot.

He walks slowly down the boardwalk sidewalk. People approach and pass him by, but don't acknowledge him. Two men are standing outside of a saloon. They are JIMMY and and RILEY from the earlier scene at the bookstore. They are bickering.

RILEY
No way he's gonna be here. He always hated that cowboy shit.

JIMMY
Just following the clues.

RILEY
What clues? Now we're just making it up as we go along.

JIMMY
He said something about the early trains.

RILEY
Probably meant early morning, not pre-fucking history, man.

Golden walks past them, turning his head to look back at them for a moment at the word 'history'.

JIMMY
Let's just get on with it. Come on.

RILEY
Oh right. Like all of a sudden you know what you're doing. Middle of fucking nowhere. Thanks a lot.

Golden continues on to explore the street undisturbed. He enters a general store. Wandering around inside, there is an older man standing rock still behind the counter, and all sorts of mysterious barrels and sacks lining the walls and piled on the floor.

GOLDEN
(muttering to himself)
What the hell did these people eat? Buckets of grain, buckets of seeds? Damn.

After wandering around the store, he finally does decide on something that looks like it could be dried meat or some kind of bread.

GOLDEN
I'll take this.

GOLDEN
(muttering)
Whatever the hell it is.

COWBOY CASHIER
That'll be two bits.

Golden reaches into his pocket and pulls out a pouch or wallet that contains a few coins of various shapes and sizes.

GOLDEN
Hey, I must be golden today! It's stranger and stranger all the time.

He hands a couple over to the man, who collects them, barely nodding. As Golden leaves the store, another man comes out from behind somewhere, and comments

COWBOY #2
That's two of them coloreds in one day.

COWBOY CASHIER
Must be something going on.

Golden and Ruby return to the train station, but there is nothing there. Golden tries to eat, but whatever it was is too hard for him to even bite off much. He throws the rest on the ground.

GOLDEN
Here, Ruby girl. Maybe you can do something with this.

GOLDEN
Nice vacation spot, wouldn't you say? At least it's a nice hard bench. Might as well wait for a train. Maybe that'll take us outta here. How'd you get back, anyway?

Golden settles onto the bench and begins to wait, but no train comes. Afternoon turns into evening, and after shifting around to try and get comfortable, he eventually falls asleep.


EXT. the desert - DAWN

Golden and the dog awake in the desert. They are clearly in the same physical location, but in a pre- or post-historic time; there is no way to tell. There are no buildings, no tracks, no sign of any population or hint of human existence.

GOLDEN
OK. Just when I thought it couldn't get any worse. Now there's nothing at all.
(looking up)
Still Mission Peak, though.
(beat)
Come on, girl, let's see if we can find some water, at least.

He walks as far as he can, only to find that he is stopped by some sort of invisible BUZZING force field through which he cannot pass.


GOLDEN
What the? This is weird. Don't see anything, but it's definitely something.

They turn and go the other way, to the same effect.

GOLDEN
It's some kind of invisible wall. How could that happen?
(beat)
Well, Ruby. Looks like we're really stuck. Guess we ought to go back where we started. Maybe there's a way out there.

Golden retraces his steps to where the station ought to have been, triangulating with the peak in the distance.

GOLDEN
Ought to be around here somewhere.

As he gets closer to the spot, we hear the same CRACKLING SOUND as when Ruby re-appeared with the bone, and then see the rift opening and closing slowly in the air before them. Ruby starts running towards it.

GOLDEN
I don't know what the hell that is, but if it's good enough for you, it's good enough for me.

Golden follows the dog, to it and through it.


EXT. GHOST TOWN - DAY

Golden is at Danton Station.

GOLDEN
Got to remember that. See one of those weird ripple things, takes you right back here.

He walks across the tracks, across the street, into a neighborhood of small modest and decaying houses.

GOLDEN
Hey! I think I know this place.

He stops in front of one, peeks in the window, sees nothing. He carefully opens the door. It's just an empty house.

GOLDEN
Home sweet home, Ruby. Home sweet home. Did you know I used to live in this house? Long, long time ago.
(looking around)
Still looks the same pretty much. I still remember sitting here on these steps waiting for my dad to come home from work. We used to hear the train before we saw it.

GOLDEN
I wonder what Ledge is doing right now. Probably nothing.
(to Ruby)
I hate to admit it, but it's weird not having her around. You just get used to things.


EXT. GHOST NEIGHBORHOOD - DAY

Golden is looking through every window, opening every door of every house on the street.

GOLDEN
There's got to be a way home. One of these places got to be.

There are a series of street scenes as he opens the doors of various houses, looks in and watches for a few moments, then closes the door and moves on to the next house. The scenes follow:


EXT. 1970's HOUSING PROJECT - EARLY AFTERNOON

A housing project, home of poverty and urban blight. Dirty streets with broken windows, a car on cinder blocks, young black men standing around on the corner, a wreck of a man staggering by.


EXT. 4TH OF JULY PARADE - 1965 - LATE MORNING

Downtown, a 4th of July parade, with soldiers and a marching band and assorted people lined up in voluntary segregation, along the sidewalk.


EXT. 1942 DANTON STATION - EARLY MORNING

People heading off to factory jobs in the morning, coming to the train station with their lunches and their tools.


EXT. 1990's CRIME SCENE - LATE NIGHT

A police car with lights flashing is parked halfway down the street, and the SIREN of an ambulance approaching. No one is around except a dead body in the middle of the street.


INT. GOLDEN's APARTMENT - DAY

In the last door, he sees his original neighborhood, his own apartment building right in front of him.

GOLDEN
Ha! Here we are! Thought so.

Golden rushes through the building's front door, runs up the stairs, pulls a key from his pocket and uses it to open the door. The dining room table is cleared, and the living room is neat. He hears a RUSTLING noise in the bedroom and goes there. His old friend Wolff is lying in his bed, clearly dying. He looks terrible. He is groggy, propped up in bed, coughing periodically and slurring his words.

WOLFF
Mike? is that you?


GOLDEN
It's me, man.

WOLFF
What happened to you, man? Where the hell have you been?

GOLDEN
I don't know.

WOLFF
Don't know? How come you don't know? You've been gone for weeks and all hell broke loose.

GOLDEN
Weeks? I don't know. I'm stuck in some kind of time trap, keep going back and forth. I've been trying to get back home. What are you doing here?

WOLFF
You invited me, remember? Come over for dinner tomorrow. Spaghetti night. Ledge will be expecting you. I come here, and where the hell are you? I was looking after her. Best I could.

GOLDEN
Where is she?

WOLFF
She's gone, man.

GOLDEN
Gone? Where? Outside? She doesn't like to go outside.

WOLFF
I mean gone, like the rest of us. We're all going now. The whole fucking world is falling apart.

GOLDEN
What are you talking about?

WOLFF
They don't even know, man, they don't even fucking know. Some kind of regression. Experts say it could have been any one of a billion things we fucked around with, hard to say. Me, I'm almost done.

GOLDEN
You in pain, man?

WOLFF
Naah, it's not so bad. Others got it worse. I got some good stuff, man. If you gotta go, you might as well go high.

GOLDEN
And Ledge?

WOLFF
She's gone. Went quick. Saw it myself. Poof. Just like that.
(coughing fit)
All sorts of weird shit going on, man. People vanishing, buildings too. One minute there, the next minute, gone. You can even see them fade away sometimes. The whole world imploding, retrograde. Can't explain. What about you? I figured maybe you were just the first to go. Wasn't long after you disappeared all this started going down - a week later, maybe.

GOLDEN
I've been bouncing around. One minute I was right here. I was right here in this apartment, Ledge her usual self, cranky, agoraphobic ... I go out for a run, follow this crazy dog, next thing I know, I'm in some kind of ghost town. Like I'm here but not right now. It's hard to tell. I've been all over but I'm lost. I don't know what to do.

WOLFF
You can't stick around here. The whole place is likely to go away anytime. There's almost no one left already. Weird.

GOLDEN
I could get you out of here. Take you with me.

WOLFF
No, man. I'm not going anywhere. Got no energy. Got to sleep. Maybe I'm just dreaming anyway. Losing it.

GOLDEN
What can I do?

WOLFF
Nada. fuck it.
(beat)
I remember when you were just a skinny little kid out looking for a job. 'Gimme a job mister?', you said. 'I can do anything'! You couldn't even open a fucking box!

GOLDEN
Never knew why you did it.

WOLFF
'Cause I liked you. Fucking weird kid, but I liked you.
(closes his eyes)

GOLDEN
I liked you too, old man.

Wolff falls asleep. Golden sits by his side for awhile, then wanders around the apartment, looking at the signs of Ledge which remain - her room is just as it was before. He sits on her bed for awhile, handling some of her things.
After awhile, he returns to the bedroom to check on Wolff again, who is still asleep, and then finally, back down to the street. Golden stops to look at the scene around him. It is eerily quiet, no sounds except for an occasional POPPING NOISE which doesn't seem to be connected to anything. He sees a bus rumbling towards him down the street, but as it approaches, it starts to fade and disappear. Another popping sound follows. Golden heads across the tracks to the station, where he rejoins the dog on the platform. The SOUND OF HORSE HOOVES coming down the street, getting louder, as Golden and Ruby disappear into the station. We hear a sudden very loud crash of thunder and see a flash of lightning and a heavy downpour ensues as the scene darkens and fades away.

EXT. MODERN CITY STREETS - AFTERNOON

Riley and Jimmy are making their way through the crowded streets of the present-day downtown. Riley walking fast, Jimmy struggling to keep up.

It is crowded and a hot hot day in the middle of the afternoon. Jimmy in his olive greens and MP cap. Riley in black leather, golden earrings, and iron-toed boots.

RILEY
It's got to be here somewhere. You always find the perfect burrito in the last place you would think.

JIMMY
That's what you say but we've been walking around for hours.

RILEY
Got to be here somewhere. Did I ever steer you wrong? Remember the time we found that bowling alley? Who was it said the skankiest dives are always right off the swankiest office sites?

JIMMY
Dude.

RILEY
Over this way, man, I think I see something.

Riley is slicing a path to the left, towering over the crowd and Jimmy in his wake, gliding by. There is nothing in the alleyway they pass. Riley turns the corner, and he's gone by the time Jimmy gets there, not two seconds behind him. Jimmy turns to look around him. No Riley anywhere.

He turns back, getting ready to call out, when a hand takes hold of his arm and tugged him towards a doorway. Thinking it's Riley, he lets himself be moved. It isn't Riley. He's in the door, and out the other side. The first thing he notices is the breeze, and the fact that the sun is setting. Then there is an OLD MAN sitting on the porch across the street, smoking a cigarette and spitting every now and then.

GEEZER #1
Fuckin' A. That's what I told 'em. Zactly what I said.

It's QUIET again and really quiet now. Nobody else is on the street.

JIMMY
Where the hell am I? Am I supposed to be somewhere, doing something?

An OLD LADY yells from somewhere

OLD LADY (O.S)
Where the hell is that boy? Boy? Where the hell are you?

GEEZER # 1
I said ... zactly what I said.

The old lady is suddenly beside Jimmy, grabbing his arm.

OLD LADY
Come on, for Christ's sake. Ain't got all day.

Jimmy follows her up the steps and into the row house behind her. Inside, the walls were peeling stucco - some godforsaken shade of pink - and small ceramic statuettes lined the numerous shelves on the walls in every room. They wander back into the kitchen, and he almost steps on a small yellow dog when it yelps and jumps out of the way.

OLD LADY
Got your dinner.

She leaves him alone in the kitchen. On a small folding card table is a plate of macaroni and something and a chunk of rock-like bread beside it. Jimmy looks for a beer. Doesn't see one. Avoiding the food, he moves to the back door and looks out through the screen. He hears a MAN'S VOICE.

STRANGER (V.O)
Go to the door.

Jimmy turns and goes up a worn out carpeted staircase, glancing at the faded photos on the walls. At the landing he turns right and walks into a room. Inside he sees some baseball pennants and posters but while he stands there the shape of the room changes, and a pool table appears in the middle and then are were bar stools along the wall and then there are overhead hanging lamps, and all of this unfolds in slow motion while Jimmy stands and stares. THE STRANGER is standing next to Jimmy. Jimmy is fading, then re-consolidating.

STRANGER
Look, there's your pal.

Riley enters the room from a door on the far side. He is carrying something and smiling and laughing.


RILEY
Who was it said what he said? I want to know!

Riley tosses the bag on the table. Some burrito-shaped tin foil is showing

RILEY
That's right. When I aim and shoot, I always hit the target! Best damn burritos this side of eternity!

The stranger next to Jimmy holds out a bottle of ice cold beer

STRANGER
Take it, man. You look like you could use it.

Jimmy grabs the beer and the burrito and without another word he starts in on them. The stranger is suddenly gone.

RILEY
What happened to you?

JIMMY
Fuck if I know.

RILEY
I think we almost lost you that time, James.

JIMMY
No way. Really?

RILEY
Yeah, I think it was about to suck you in, fit you into that family there.

JIMMY
Freaky shit, man. Freaky. Bet that's what happened to Ronson. Thought he was special, couldn't happen to him. That's why he was the boss.

RILEY
Shut up and eat, man. Burritos like this need serious attention.

Jimmy and Riley are looking out the door, eating, when they see Golden walking by with the dog

RILEY
Check it out, man.

JIMMY
Who's that?

RILEY
Seen him before. Looks familiar. I think he might be one of us. Might be one of Ronson's guys.

JIMMY
Nice looking dog.

RILEY
Maybe he knows what happened to the captain. Let's go.

Jimmy and Riley walk out the door and start after him as he goes down the street.


RILEY
Hey!

The dog stops and barks at them. Golden stops and turns around. Golden says something to him but we are too far way to hear. Golden and Ruby turn back around and suddenly vanish into thin air.

RILEY
Dammit!

JIMMY
No worries. We've seen him before. We'll see him again.


EXT. CHILDHOOD NEIGHBORHOOD - DAY

Golden is walking around the ghost town, looking into more doors, but listlessly, as if he really doesn't want to go in any. Then he sees a scene that makes him jump through a doorway. Walking along the tracks in front of the train station, it is his DAD and LEDGE as a little girl. She appears to be around five or six years old, light-skinned and freckled like Golden. She is skipping and smiling and singing.

GOLDEN
Dad! Ledge!

He enters the scene, and the older man turns and looks and sees his young son, Myron, age around 16, catching up with Ledge. Golden stops in his tracks, startled and does not approach. He follows the family down the street, past the corner grocer and Drake's Department Store, to The Book House.

When they reach the bookstore, the initial scene is exactly repeated from the time Jimmy and Riley left the store, only we see it from the sidewalk, from Golden's point of view, as the pair rush by.

MYRON
Bye Dad. Bye Ledge. See you tonight.

DAD
Work hard, son. Nothing comes from nothing.

MYRON
Don't worry, dad. Be good, Ledge

LEDGE
I'm always good.

Dad and Ledge walk away as Myron enters the store to the tinkle of the little bell. Wolff is still sitting behind the counter.


WOLFF
Good morning, Myron.

MYRON
Hi, Tim. What have we got today?

The door closes and Golden cannot hear the rest of the conversation. Golden pauses, follows Ledge and Dad with his eyes until they walk around the corner, and then he enters the bookstore. He encounters WOLFF sitting behind the cash register.

GOLDEN
Tim!

WOLFF
Hey, how's it going?

GOLDEN
How's it going? I don't know, man.

WOLFF
Well.
(beat)
Can I help you with something? Help you find something?

GOLDEN
You don't remember me?

WOLFF
Sorry. No, I don't.

GOLDEN
(laughs)
No, I guess not.
(beat)
Call me ... Call me Golden.

WOLFF
OK. Golden. How's it going, Golden? (smiles)


GOLDEN
Actually, I feel like I've seen a ghost. That young man, he works for you?
(gesturing towards Myron)

WOLFF
Myron. Yes. Bit young to be working, I know, but he insisted. And he does work hard, never lets me down.

GOLDEN
And that was his family came by with him?

WOLFF
Yeah, they walk him to work every day. Keeps him young, the old man says. The little girl will keep him running, that's for sure. She's one little bundle of juice.

GOLDEN
So the boy needs the money?


WOLFF
Yeah, it's that, but also he just likes to work, and he likes to read. Spends almost everything he makes on books. Wants to be a teacher someday.

GOLDEN
That sounds pretty serious for a kid.

WOLFF
Yeah, he's not much for hanging out, having fun. Always been something of a loner. He doesn't mix much with the other kids. They call him 'the brain'. You know kids.

GOLDEN
Yeah, I know. I know.
(beat)
Well, it's nice meeting you, again, Tim.

WOLFF
Come again, Golden.

GOLDEN
Oh I will. Believe me.

Golden leaves the store.


EXT. HOME IMPROVEMENT WAREHOUSE - DAY

Golden and Ruby are walking down the street from their house.

GOLDEN
Check it out, Ruby girl, That old ghost house around the corner, remember, with the stupid rock garden for a lawn? Who'd a thought it was magic?

He leads Ruby to the house, and they enter the front door. From the station he goes in the opposite direction, away from the old neighborhood. He finds, enters, and browses a vast, deserted Home Improvement Warehouse.

GOLDEN
Can I get any help here?
(beat)
Figures. Never anyone around when you need 'em.
(beat, then louder)
Can I get a recommendation on a generator for a two bedroom, one bath shack? On the wrong side of the tracks? Home to one man and one dog? If it makes any difference ...

He reaches for a power drill and it pops and vanishes in front of him.

GOLDEN
God dammit. Here too? Guess I'd better get my shit together quick.

He gathers together a generator and a can of gasoline, among other items piled into his cart. He goes through the self-checkout machine and uses a debit card which appears from his pocket.

GOLDEN
Just hope it's still good.

The machine shows a green light, Golden smiles
GOLDEN
Still golden.

He wheels his loaded cart out of the store, through the automatic doors which are still working as well.



INT. PHARMACY - DAY

In a pharmacy, Golden collects some supplies; medicines, canned goods, toothpaste and matches, even some flower seeds. He takes himself behind the cash register and rings it all up, puts cash from his pocket in the drawer He enjoys paying with this magical mystery money.

GOLDEN
What do you know? Exact change. A man could get used to this.

He gathers his bags and takes them through a portal back home, where he methodically puts them all away.


INT. BOOKSTORE - DAY

Golden visits Wolff's bookstore, now deserted like the rest of the stores.

GOLDEN
Land of my dreams.
(beat)
I miss you, old man.

He walks around and collects a whole bunch of books, mostly literature and history, but also some reference books, on gardening and cooking. He goes to check himself out, and fondly fingers the cash register buttons

GOLDEN
Hey, old friends. I used to know you guys like the back of my hand.

He checks himself out, pays again with the credit card, and takes the books home, where he piles them on the floor next to his padded rocking chair. He plops down on the chair and looks around, nodding.

GOLDEN
Not too shabby. A man's gotta live, even in a dump like this. Whole world fucking disappears, but I got mine.



EXT. HOMESTEAD - DAY

Golden is working in his front yard on a sunny day, doing some gardening, WHISTLING to himself, seemingly at peace with his situation. Jimmy and Riley walk up and stand on the sidewalk.

GOLDEN
Gentlemen. Welcome. It's about time we met. Name's Golden.

JIMMY
Jimmy.
(extending his hand)

RILEY
Riley. You've been expecting us?

GOLDEN
Ever since I saw you watching me on the street that day. Remembered you from the wild, wild west. Riley, you're not a man that's easily forgotten. And Jimmy, well, you're with him.

JIMMY
And you're still with the dog, I see. Nice looking dog.

GOLDEN
This is Ruby. I see she likes you too 'cause otherwise she'd be outta here. Dog's got a mind of her own.

(beat)
Can I offer you something? Some refreshment, maybe?

JIMMY
No, I'm fine.

RILEY
I'd love a beer if you have one.

GOLDEN
Sure. Nothing for you, Jim?

JIMMY
Oh I'll have one if you got one.

GOLDEN
Coming right up. Why don't you come inside, make yourselves at home.

Golden gets a few beers and the men take their seats around his dining table.

GOLDEN
I was hoping you could maybe tell me a thing or two about a thing or two.

RILEY
Like what?

GOLDEN
Like what the fuck is going on!


JIMMY
You mean you don't know?

GOLDEN
I have no idea, Jimmy. One night I'm going for a jog. Next thing I know I'm in never-never land. Weird-ass shit going on.

RILEY
We thought you were one of us.

GOLDEN
One of you? One of you what?

RILEY
Time travelers.

JIMMY
Adventurers, really. Me and Riley go way back. We were Navy Seals together.


RILEY
Somewhere, sometime. Hard to know by now.

JIMMY
Yeah, it fucks with you. You never know where you're gonna end up, or how you're gonna get out.

GOLDEN
Seems like everywhere I go is just right here, Wetford every time.

JIMMY
Really? That's weird.

RILEY
Never heard of anything like that. No, we go everywhere, all over the world, all over time. Been pretty much everywhere by now. Let me tell you, though. It gets old. So to speak


GOLDEN
So what the fuck is going on?

JIMMY
Nobody knows.

RILEY
One thing we do know. The time lines never cross, so you never have to worry about changing history or anything like that.

GOLDEN
Who gives a shit about history if it all ends up like this? And if I know one thing, it's that nothing important has ever happened here in good old Wetford, Arizona. Train came through around 1887. That's when this place got started. Before that, there was nothing here. Not a god damn thing.
(beat)
Oh, they had a mayor shot a man one time. Wife had a lover, I think it was. The rest is all Americana. Like they had a lynching back in 1923. That one even made the headlines. If I was going to change something, that'd probably be it.

JIMMY
Can't happen. At least, we don't think so. Wherever you go, it makes you what it needs you to be, fits you in wherever you are. Gives you what you need, like clothing, hairstyles ...

GOLDEN
Money! Every time I need to buy something I've got money in my pocket, the right kind too.

RILEY
A man won't go shopping without money.

JIMMY
It makes you belong. You know it when you feel it. In normal life you go around and never feel that pressure because you're where you're supposed to be. But go against the tide, and then you see.
(beat)
We've seen a lot of people go and seen 'em turn into someone else and bam, they're gone, like they never even had been who they were before, you know what I'm saying?

GOLDEN
Not really. I don't even want to go back, not after seeing what I saw.

JIMMY
I doubt you could anyway, man. Even if you found your own time, it wouldn't let you back, unless it wiped you clean.

GOLDEN
That wouldn't be so bad, I guess.

JIMMY
We were hoping you knew the captain.

GOLDEN
Captain? Don't think so. Don't know any captains. Who is he?


JIMMY
Our boss, sort of. Our leader. Garrett Ronson. He disappeared on a mission. We've been looking for him but we keep on finding you instead. Sure you never heard of him?

GOLDEN
The name is not familiar.

RILEY
Didn't think so. Besides, he might be going by another name by now. Might be having a whole new life entirely. Might be dead and gone. No way to know for sure.
(raising his bottle in toast)
Well, here's hoping you find what you're looking for.

GOLDEN
And you too, man. You too.

JIMMY
We'll be around. Keep your eyes peeled, will you?

GOLDEN
OK, but I don't know what I'm looking for.

RILEY
Anything unusual.
(laughs)
Yeah, I know what you're thinking! Be seeing you, man.

Riley and Jimmy get up and leave as Golden sees them to the door.


EXT. DANTON STATION - EARLY MORNING

Golden wakes up early on a hot sunny day, and ambles out of his house in the ghost town. He walks a couple of blocks with Ruby, then pauses in front of a house he has looked in before, but never entered.

GOLDEN
What do you say, girl? Now that we're here, we might as well go for it.

Golden and Ruby enter the door and find themselves a few blocks away, but many years ago, on the platform of the railroad station. There are not many houses around the station, but it is definitely more recent than the wild wild west scene. Gathering at the station are a collection of tired and poor men, mostly Mexicans and blacks, in separate groups.

Inside the station, a small group of women are passing out mugs of some warm beverages, probably alcohol and boiling water. Behind the women, the segregated restrooms are clearly visible. A stream of men come in to collect the mugs and take them out to the platform to share in groups of three or four, each man getting only a short sip before passing it along.

The morning is cold and the men are shivering in their worn clothes. Far ahead, at the end of the platform, two white men dressed in suits stand apart from the others. Soon the train arrives. Each group boards a separate car. The cars are clearly marked with the race allowed on each one.

As the train pulls away, Golden sees that one old man has not gone aboard the train, but remains seated on a bench near the end of the platform.

GOLDEN
Where are they all going?


PORTER
Some are going to the mines. Some are going to the fields. Picking cotton, digging for ore. Some of them is ranch hands, too.

GOLDEN
And what about you?

PORTER
Oh my days of heavy work are done. I put my time in on the railroad. Nothing left for a tired old man to do. But I still love seeing the train. I was working on them trains a long time back.

GOLDEN
There's something about a train.

PORTER
Oh yeah. Something about a train. Thing is, that train can only take you where it knows to go. Can't take you nowhere else.

Golden nods and starts to follow the train up the track. He walks and walks until he comes to the BUZZING force field, where he can go no further. He pushes his hand into the field, only to watch it disappear and reappear when he pulls it out again.

GOLDEN
I wonder where that train is now.


EXT. CHURCH SERVICE - DAY

Golden is standing on a sidewalk outside a church, sometime in the mid 1950's. The congregation is just leaving, families together, all dressed as best they can, although they are very poor. The church itself is nothing more than a square old storefront with dirty windows, and the surrounding houses - separated by vacant lots - are rickety as well. Suddenly, from behind him, the PASTOR appears at his side.

PASTOR
So, what do you think of my flock?

GOLDEN
Hard working folk, I'd say.

PASTOR
That's the truth of it. Hard working and God fearing. Make it a point to fix themselves up every Sunday for the Lord.

GOLDEN
And for each other, maybe.

PASTOR
And for each other too, that's a fact.

GOLDEN
Most of them won't see a better day.

PASTOR
Not in this life, maybe, but the Lord will provide.

GOLDEN
I certainly hope so.

PASTOR
I sense you're not a believing man.

GOLDEN
Oh, I believe all right. I'm just not sure in what.

PASTOR
(laughs)
In the spirit, perhaps. So long as you believe, I don't see as it matters much if you name it, or what you call it.

GOLDEN
Do you believe in the end of days?

PASTOR
It is written.

GOLDEN
But they didn't write much about the days after that.

PASTOR
No, no they didn't.

GOLDEN
Maybe they just never thought that far ahead. Of course, they didn't bother writing that the earth was round, neither.
(beat)
A good day to you, sir

PASTOR
And to you, my son.

Golden turns and walks away.


EXT. CHILDHOOD HOME - DAY

Golden sees LEDGE as a little girl, around six years old. She is SINGING to herself and skipping around, this time in front of her house, which is the very same house that Golden has been living in, only 30 years earlier. Golden stands on the sidewalk and watches her, talking to the dog beside him.

GOLDEN
My god, Ruby, I'd forgotten about Ledge like this. So happy, so sweet. What the hell happened to her?

Ledge picks up her jump rope and is jumping and SINGING her rhyme. From the house the voice of her father is heard.

DAD
Ledge, you out there? Almost time for the walk.


LEDGE
I know, daddy. Here I am.

DAD
Myron. You ready for work?

MYRON
Not yet.

DAD
Well, come on. It's almost time. Five minutes.

Ruby stands patiently beside Golden and looks up at him, questioningly. She whines softly.

GOLDEN
It's true, Ruby. Seems like one day she was just a happy little girl, and then the next her joy was gone, like somebody stole it all away.
(beat)
You don't know how many times I wish I could have gone and stopped whatever it was from happening, just taken her away.


Golden looks around and notices there is no one else on the street. There is TOTAL QUIET except for Ledge's little JUMP ROPE SONG. Golden crosses the street and talks to her.

GOLDEN
Hey there, Ledge.

LEDGE
You know me?

GOLDEN
Sure I do. I knew your mother.

LEDGE
I never did. She died giving birth to me.


GOLDEN
I know that too. Would you like to see where she lived?

LEDGE
She never lived around here. My daddy said she never did.

GOLDEN
Oh, I know her house. It's not too far from her. Come on. It's real close.

LEDGE
I should tell my daddy.

GOLDEN
We won't be a minute. I'll just show you, OK? It's right over there.

Ledge follows Golden and Ruby down the street to the train station, and across the platform. On the other side, they are right there in the ghost town, exactly on the street where they were before, right in front of the house where they'd just met.

LEDGE
Hey, this is my own house. How'd you do that?

Golden puts her down, and she runs inside the house. He follows her inside. She stops in the middle of the living room and is looking around, puzzled.

LEDGE
This is not my house. It looks like my house. It's where my house is. But it's not my house.

GOLDEN
It was your mother's house, back before you were born.

LEDGE
Who are you? Why'd you bring me here?

GOLDEN
Call me Golden. Like I said, I knew your mom. And this is Ruby.

Ruby pads over to Ledge and licks her hand. Ledge gets down on her knees and pets the dog and talks to her gently for a minute or so.

LEDGE
I'm hungry.

GOLDEN
I've got some crackers and cheese.

LEDGE
Oh yummy, I like those.

GOLDEN
I know. And I've got some milk for you too.

LEDGE
Thank you, Mister.


GOLDEN
Golden.

LEDGE
Thank you, Mister Golden.


INT. GHOST HOME - night

Golden is at home, cooking dinner very much as we saw in the earlier scene with the older Ledge. He is HUMMING the same tune, and when finishes preparing the meal, he carries a serving into the dining room, where he sets it down in front of LEDGE, who has been sitting there, apparently waiting for him with a place setting in front of her - a knife and a fork, a napkin and a glass of milk.

LEDGE
Do you live her all alone?

GOLDEN
Except for you and Ruby, yes.

LEDGE
It's awful quiet around here.


GOLDEN
I know. I'll get some music.

LEDGE
And a TV. Do you have a TV?

GOLDEN
I'll get one. We'll watch some videos. We'll go shopping tomorrow. Would you like that?

LEDGE
I love shopping.


EXT. MODERN ELECTRONICS STORE - DAY

Golden and Ledge are browsing a vast Circuit City-type store. As they pass by various items, Ledge keeps calling out.

LEDGE
I want that. And that. and that.

GOLDEN
Let's just get what we can carry.

LEDGE
I want that big TV.

GOLDEN
The flat screen? Sure.

Golden reaches for the floor model but it disappears with a loud pop. More popping occurs as various other items vanish around them.

GOLDEN
Damn. I thought I went back far enough. I'm sure I did. But maybe this disintegration thing is going back too.

LEDGE
And I want some movies, too.

GOLDEN
Go pick some out. And hurry. I think we're running out of time here.

Golden grabs another large flat screen TV and drags it over to the counter. He collects some music CD's and a boom box while Ledge is finding movies. She brings a big pile over and Golden sorts through them, discarding some, accepting others.


GOLDEN
OK, I think that's enough for now.

He goes behind the counter, rings himself up, and slides a debit card through the slot.

GOLDEN
Think you can carry these?
(hands her a bag with the CD's and DVD's)

LEDGE
Ok.

GOLDEN
That's a good girl. Now, let me see about this stuff.

Golden struggles with the two appliance boxes, and together they carry their items out through the front doors. Outside, storm clouds are gathering and it begins to rain lightly as they head for the station


EXT. GHOST NEIGHBORHOOD - DAY

Ledge is tagging along with Golden, along with Ruby.

GOLDEN
Let's see what we can find today.

LEDGE
OK.

They wander the streets, looking into different windows to see what they can see. At each one, Ledge wants to go in

LEDGE
Let's go in here. Can we?

GOLDEN
Nope, not there, honey. That is not a good time for us.


LEDGE
But I wanna go inside. It looks like fun.

GOLDEN
Believe me, there's a lot of doors we do not want to open. Let's try the zoo, OK?

LEDGE
I'm don't wanna go to the zoo. I wanna go somewhere else.

GOLDEN
How about the park?

LEDGE
I wanna go somewhere new.

GOLDEN
Let's see what we can find. Oh, there might be something over this way.

Suddenly a loud noise – a bang – and a restaurant freezer crashes onto the street right next to them. Ledge runs over to take a look, yanks open the door and finds the freezer still full of ice . She pulls out a fistful and flings it into the air. The ice explodes with crackles and sparks and comes down as multi-colored ribbons. Ledge busily scoops up the ribbons, squealing with delight. She stuffs them into her pockets, then repeats the exercise with another fistful of ice.

Golden cautiously approaches and is just about to peer into the freezer when another loud bang lands a brand new powder blue Mercedes convertible onto the sidewalk, sideways. Golden steps over towards, feels the hood and pulls his hand away, as it's still warm. He climbs into the driver's seat. The engine is running – keys are dangling from the ignition.

GOLDEN
Still warm.

LEDGE
Let's go for a ride!

She runs over and hops in the passenger side seat. Golden guns the motor and peals off. As they speed down the street, various other objects appear out of nowhere – an oven, a stoplight, computers, chairs – all cluttering the road behind them, as they drive off toward the center of town.

INT. LUIGI'S DINER - MORNING

Golden and Ledge are on the main street, around 1960. They are in front of Luigi's Restaurant. It is the same restaurant as the earlier lunch scene with Wolff and Myron, but everyone working there is fifteen years younger than they were in that scene.

GOLDEN
I used to love this place. Spent so much time in here .

They enter and after waiting awhile in the doorway, are directed by ANGIE, a slim youngish blue eyed woman, to a clearly marked 'COLOREDS ONLY' section.

GOLDEN
Don't remember that.

LUIGI, short, round, and hairy, is the proprietor, and is behind the counter with his back to it, at the grill, frying eggs and waffles. THERESA, a large middle-aged woman, is at the cash register. Angie is coming out of the kitchen, her arms already full of dishes headed for the second booth from the door, and LACEY, a fuller-figured, brown eyed, kinky-haired very light skinned woman is waiting on a table. All of them are hectically busy. A group of three old men are gathered around the counter.

LUIGI
Angie, six.

ANGIE
I'm coming already.

LUIGI
Angie!

THERESA
Two birds in a bush.


LUIGI
These plates ain't got no legs.

ANGIE
I'm walking already.

THERESA
Shooters and a float!

LUIGI
Got your shots right here.

THERESA
I'll take 'em.

LUIGI
Dixie and tots.

GEEZER #1
(gawking at Lacey)
Now that's a sweet young thing.

THERESA
Don't you be getting no ideas. Nobody's gonna touch my Lacey.

SOL
What? You own her?

THERESA
Course not. I'm just looking over her, that's all. Innocent little thing like that, doesn't know her way around this world. I brought her in here, give her a place to be, a place to be someone. Before that, you didn't know who she was! Coulda been anyone.

SOL
Now she's a five-dollar-a-day waitress. Call that being someone?

GEEZER #2
Hey, we all do what we can.

SOL
Well, you're right about that, old-timer.

Lacey heads over towards Golden and Ledge with her order pad, but before she can get there, a white family arrives. Lacey hesitates.

THERESA
Lacey!
(gesturing vigorously towards the white family)

Lacey goes over to the newcomers and seats them first. Before she can get back to Golden and Ledge, she is called by another table.

LEDGE
I'm hungry.

GOLDEN
Seems they've got other priorities around here than feeding people.

Sol pushes his coffee cup across the counter in a wordless request for more. Theresa just shakes her head as she poured the dark brown stuff. She pushed it back at Sol so as some of it sloshed out into the saucer. Luigi throws his apron down and sings, at the top of his lungs.

LUIGI
(singing loudly)
Che gelida manina.

THERESA
That's another one.

LUIGI
Sono un poeta.
(beat)
What's a matter? You don't wanna go on break?


ANGIE
I can't wait.

THERESA
You still have to put the kitchen away.

ANGIE
How come you never make Lacey do that?

THERESA
She washes, you dry, you put away.

ANGIE
Yeah, she washes.

THERESA
She does her work.

LUIGI
And a decent job too, and the customers like her alright.

ANGIE
(muttering)
'Cause she practically sits on their faces.

THERESA
What was that?

ANGIE
Nothing.

THERESA
What you got against her? You're always down on her.

THERESA
What you got against me? Never say nothing nice about me, and I been working my ass off here a long time now. Always Lacey this and Lacey that. What about me?

LUIGI
You?

Luigi comes around the counter and put his hand on her shoulder. Angie pretends to shake him off but let it rest.

LUIGI
You're family. That's about you. My own dearly departed brother's only child. Haven't I raised you like my own since your father passed away?

ANGIE
Never say nothing nice.

THERESA
That's 'cause we love you.

ANGIE
That's love? Is that what that is? Then what about her?

THERESA
That's giving a kid a break. That child don't get no other kind of break.

ANGIE
You're so worried about her, she might as well be your own flesh and blood. Well, she ain't no family of mine, so you can give me a break!

With that she flings her dishrag over her arm and marches off back to the kitchen to finish up putting it away.

LUIGI
What's with her?

THERESA
What do you think? What is it always with her?

LUIGI
Oh, You mean Gianni.

Golden and Ledge are still waiting at their table as the waitress, LACEY, finally approaches them. Ledge is fidgety and whiny, but just as LACEY is about to get there with her order pad, another group of white people come in, and she has to seat them first.

LACEY
(whispering)
Oh, I'm so sorry. I'll be right with you, really I will.

GOLDEN
Don't need to bother, miss.

Golden and Ledge get up and leave.

GOLDEN
Guess we picked the wrong time to go there, Literally the wrong time.

LEDGE
I'm still hungry.

GOLDEN
Me too, honey.


EXT. COLORED PARK - DAY

Golden and Ledge, with Ruby, are walking into a little neighborhood park in the 1920's. A sign proclaims it a COLOREDS ONLY park. Jenny, a black woman and her daughter, Clara, around the same age as Ledge, are sitting on a bench. The kids are wearing play clothes. Jenny is over-dressed, as if she's just been to church. Ledge marches right over.

LEDGE
Hi, I'm Ledge. Will you play with me?

CLARA
Clara. What do you want to do?

LEDGE
Want to make a sandcastle?


CLARA
Can I, momma?

JENNY
Of course now, you girls run along and play.

Ledge and Clara rush off to the sandbox, shyly getting to know each other. Jenny offers Golden a seat on the bench next to her, which he shyly takes.

JENNY
You folks new in town?

GOLDEN
You might say that.
(laughs)
What about you?

JENNY
Been here all my life. Seems like yesterday I was just a little girl. Now I got a little one of my own. She needs a lot of looking after, like yours I'm sure. Especially since her daddy never made it back.

GOLDEN
Made it back?

JENNY
(pulls out a crumpled photograph and shows it to Golden)

Sergeant Garrett Ronson. Family man and father.
(beat)
Ma'am we sure are sorry to inform you that your husband done and got his self killed on the battlefields of France. War to end all wars until the next time they need to have a war.
(beat)
Promised he'd come back.
(carefully puts the photo away)

God saw it different, I guess.


GOLDEN
He fought for his country.
(beat)
And if he had made it back it would've gained him nothing, not a job, not a house, not a place in this world.

JENNY
Was you over there too?

GOLDEN
Not exactly.

JENNY
But you're right. Them as made it home, they're right back where they was. You see that station over there? Over here, on this side, that's our side. Over there, you'd best be having some business to attend to.

GOLDEN
It's not easy for a black man anywhere. Seems like they built a special prison system just for us. So many traps, the odds are bad. If you don't wind up in jail or killed. But if you're lucky and things go right for you somehow, you can make your own way, you can have a chance. They like to talk about 'equal opportunity', but it's only equal when they let it be. I was a teacher, you know, a college professor.
(beat)
Here it's like, how can a man even live in a time and a place like this?

JENNY
If he's got his family, he can. If he's got his neighbors and his friends. They can make you do this and make you do that, but you can't stop a man from living, just as long as he's alive.

GOLDEN
I guess everybody has to live the life they have. Can't help it when and where you're born.

JENNY
The children, they don't know. Kids make it simple for you, basics. Food, clothing, shelter ... love and friends. See how sweet they play together?

GOLDEN
Ledge doesn't get to play like this enough. Maybe I did the wrong thing, taking her away from where she was. I just know she had a hard life back there. She always had it hard just trying to be herself.

JENNY
Where did she get that name? Ledge?

GOLDEN
(chuckles)
It was a mix-up. Our mother died giving birth to her. The nurse thought she was trying to give her a name, but she was just mumbling. Nobody knows what she was trying to say. So Dad just took the lady's word for it.
(beat)
Well, we ought to get going soon. Ledge? five more minutes


JENNY
You all living around here?

GOLDEN
Sort of.

JENNY
We should get them kids together again. We're here most every Sunday.

GOLDEN
We'll try and find our way back again sometime. It was a pleasure meeting you.

JENNY
And you.

GOLDEN
Come on, Ledge. Time to go.


LEDGE
Bye, Clara.

CLARA
Bye, Ledge.

Golden, Ledge and Ruby walk away, around the corner.

LEDGE
I wanted to stay.

GOLDEN
We'll come again, I promise.

LEDGE
Can we stay longer next time?

GOLDEN
Maybe. We'll see. I don't know if we can.


EXT. ANCIENT ROME - DAY

Jimmy and Riley are in ancient Rome, with the Coliseum in the background, and they are sitting on a wall.

RILEY
Oh great. Ancient Rome again, man. This is getting so old. Next thing you know, Centurions asking us our business. Sorry, boys, can't tell you. Trade secrets, man. Fucking Etruscans, you know. When are we ever gonna go somewhere they got a nice hot shower? I'm getting stinky, man.

JIMMY
So what? Isn't this cool? You could read about it all in books, but to see it for yourself. It's awesome, man. Come on, admit it.

RILEY
You remember the last time we were here, right? Nothing but hassles. This time I'm thinking it's your turn to be the servant, OK?

JIMMY
Sure, great, I'll be the servant. What am I, some kind of Greek? And you're the mighty Libyan Prince Whatchamacallit?

RILEY
Awesome. I'll be like Hannibal's cousin. That'll make an impression.

JIMMY
Might want to cool it on the Hannibal thing. Got any other names?

RILEY
I'll think of something, so long as I get to be the master. It's a shame the food's so bad around here.

JIMMY
Got to be the gourmet every time, don't you?
RILEY
Why not? One thing they never tell you in the history books. Up to Marco Polo, man, there was zero spices on this whole friggin' continent. Nada. Couldn't make a decent meal to save their ass.

JIMMY
Whatever, man. Does it really matter? Food is food. It's all the same to me.

RILEY
You are such a plebe, dude.

JIMMY
Good one. Latin roots and all.

RILEY
I'm getting tired of this shit. I want to find a place where I can stay, where I feel like I belong. And when I find that place, my friend, it'll be so long to all of this ... so-called adventure, and hellooo, creature comforts. Oh my yes. Good food, a decent brew. Come on, let's get the fuck out of here before the soldiers come.


EXT. 1930's - DAY

Golden and Ledge come into an early 1930's street scene. Golden walks up to the first people he sees, a youngish white couple.

GOLDEN
Excuse me, but didn't there used to be a school around here?

WOMAN #1
(backing away)
Well, I never.

MAN #1
We can't help you. Leave us alone.
(hurrying off)

Another businessman is walking towards Golden.


GOLDEN
Um, hello? Do you know where I can find the school?

MAN #2
Sorry.
(retreating)

GOLDEN
Could've sworn that school was right around here somewhere.
(beat)
Oh, there's a little girl. Maybe her mom will know.

Golden and Ledge start to head towards them when two policeman approach and one calls out to him.

POLICEMAN #1
Hey, you!

The dog starts barking and Golden notices the cops. Looking around, he realizes they are talking to him.

GOLDEN
Yes?

POLICEMAN #1
Can I help you with something?

GOLDEN
Oh, thanks. I was looking for the school. I thought there was one around here somewhere.

POLICEMAN #1
The colored school's back the other way. You ought to know that.

GOLDEN
But the JFK?

POLICEMAN #2
Don't know no JFK. Like we already said, you and your girl ought to be getting back where you belong and stop bothering these good people here.

LEDGE
We're not bothering anybody. I wanna play with that little girl.

GOLDEN
Ledge! We have to go. Now.

POLICEMAN #1
That'd be a good idea.

Golden pulls Ledge along as they return to the train station. He looks around the building and cannot find the way out.

GOLDEN
(muttering)
Dammit. Come on you stupid hole-in-the-sky. How come you don't just stick around?

After more seeking, opening doors and peering behind corners, dragging Ledge along behind him, he finally finds the rift behind the janitor's closet

GOLDEN
Oh there you are. What is it with you, hide and seek?

He pulls Ledge along with him, but just as they emerge in the ghost town, Ledge breaks free and turns and runs away down the street. He flings open the front door of the first house she comes to and runs inside.

GOLDEN
Ledge! Get back here. Ledge!

He runs in after her, only to find her alone in the front room of an empty house.

GOLDEN
It doesn't work that way, Ledge. You might never find the same place twice. You never know if there's going to be something or nothing.


LEDGE
But I wanna play. I wanna play with that girl.

GOLDEN
I promise we'll find you a friend, somewhere. We'll figure it out. I know we will.
(beat)
Maybe.


INT. GHOST STREETS - DAY

Golden and Ledge are at home. Outside it is raining, and Ledge is fidgety.

LEDGE
I want to go out. I'm bored.

GOLDEN
It's pouring out there.

LEDGE
It won't be raining once we get somewhere. It's never raining wherever we go.

GOLDEN
Huh, you're right. I never noticed that. Of course, it's not supposed to rain in Arizona much.


LEDGE
Sure is raining now.

GOLDEN
Rains a lot these days.

LEDGE
Come on, let's go somewhere.

GOLDEN
I don't think so. Remember what happened yesterday?

LEDGE
So we'll go somewhere else. I didn't like those people anyway. Except the one lady was kinda nice I guess.

GOLDEN
I'm worried about what will happen if we go somewhere and get mixed up with the wrong people.


LEDGE
So we'll find the right ones. Come on.

GOLDEN
Not today, OK? Let's just stay home today. Man's got to get a break, sometimes.
(pause)
Kid never stops for a minute. Shit. I don't remember it being like this before.

Golden returns to his book and doesn't notice Ledge tippy-toeing to the door. He only hears THE DOOR BANG SHUT and she is gone. Quickly, he jumps up and follows her out into the rain. Ledge is fast, and running as fast as she can, until she enters into a house a few doors down. Golden gets there as fast as he can and follows her inside.

GOLDEN
God damn it. Not here. Why'd it have to be here .

Ledge is standing in a dirt road in the middle of a group of white 'Ty Cobb' boys between the ages of 10-14 - circa 1910. They have been playing stick-ball. One of the boys is holding the "bat". They have crew cuts and dirty white shirts and are circling around her.

BOY #1
Looky what we got here. Little colored girl.

BOY #2
Where's your mammy, little girl?

BOY #3
Maybe she likes to play with boys.

LEDGE
You get out of my way.

BOY #1
Oh, she's a tough one. Wonder how tough she really is.

Ruby, followed by Golden, pushes her way through the boys, who stand back in surprise. Golden grabs hold of Ledge's hand and starts to walk with her out of the circle. The boys form a line and block their way.

BOY #1
That your little girl, boy?

BOY #2
How much you want for her? We got money.

BOY #3
Yeah, we could use a little girl like that.

GOLDEN
You let us by, now.

BOY #1
And if we don't?

GOLDEN
You will.

Ruby bares her teeth and growls. Golden steps towards them, dragging Ledge behind him. At the last moment, the boys part to let them pass. They walk a few feet when suddenly Golden feels a rock hit him in the back. He turns to see the boys loading up with other rocks that they are picking up off the street.

He picks up Ledge and starts to run for it. Rocks come flying at them, some of them hitting them both. Golden turns into an alley and they get away. The boys do not follow. They walk back towards the station.

GOLDEN
Don't you ever do that again. You don't know what you're getting into.

LEDGE
I don't like it here anymore. I want to go home.


GOLDEN
Like it or not, you are home, and you have to do what I say.

LEDGE
And I don't like you either. You're mean, and I hate you. I want my daddy and my brother.

A crash of thunder brings a hail of small portable electronics – radios, cellphones, walkmans, iPods, calculators, alarm clocks - crashing down around them.

GOLDEN
Come on! Get inside.

LEDGE
I'm coming, I'm coming.

They duck and dash to the house amidst the rain of dropping appliances, Ledge stopping to grab a radio or two on the way.


EXT. GHOST HOME - DAY

Golden and Ledge are eating lunch in silence. Ruby is curled up on the floor between them, beneath the table.

GOLDEN
Like your sandwich?

LEDGE
I'm not talking to you. Remember?

GOLDEN
Wanna go get some new clothes today?

LEDGE
I'll go shopping, but I'm not talking.

Ledge and Golden are in an abandoned Drake's Department Store. She is looking at girl's clothing and shaking her head. They are in the wrong era for her. 1940's.

LEDGE
I ain't wearing nothing like this.

They leave and try again in a different era - 1950's.

LEDGE
Uh-uh.

One more time, entering Drake's, this time in a later time, 1980's.

LEDGE
That's more like it.

Ledge collects a huge pile of shirts, dresses, pants and shoes. Golden buys everything she wants and they go home with a load of boxes.

Back home, Ledge is putting away her clothes in her room. Golden starts to settle into the padded rocking chair in the living room, but stops to inspet the clutter strewn all over the living room.

GOLDEN
What is all this stuff?

He rummages through various piles of transistor radios, buttons and ribbons, bits and pieces of broken plastic, empty toy boxes, a heap of spoons, shaking his head and muttering.

GOLDEN
Ledge!
(pause, then louder)
Ledge!

LEDGE
(from her room)
What do you want?

GOLDEN
What are you going to do with all this stuff?
LEDGE
What stuff?

GOLDEN
All over the place? There's junk all over the place

Ledge peeks out from her bedroom and surveys the living room, where Golden stands holding up a clock and an over-sized action figure.

LEDGE
It's not junk. It's my collection.

GOLDEN
Collection of what?

LEDGE
Mechanical rain. It's all good.

GOLDEN
It's all broken as far as I can tell.
LEDGE
Things happen. You touch 'em and things happen.

GOLDEN
Yeah, I touch 'em and I carry 'em to the garbage. That's what's going to happen. There's no place to sit around here.

LEDGE
Don't you dare throw away my collections.

GOLDEN
Well, you have to clean it up. It can't all stay like this.

LEDGE
Why not? You worrying about what the neighbors will say? Ain't no neighbors, Mister. What's your worry?

GOLDEN
Take care how you talk to me.


LEDGE
Or what? You'll take me home. I'd like that.

GOLDEN
This is your home now.

Golden drops the radio but as it falls it turns into a bright yellow sunflower and remains, floating in the air.

LEDGE
You leave my stuff alone. It's all magic.

She goes back into her room and closes the door behind her.

GOLDEN
Things don't fall apart. They go crazy instead.

He pushes some more stuff off his rocking chair, all of it transforming and fluttering as it almost magnetically falls into new heaps, according to rules no one knows. Golden sighs, picks up a book, and begins to read.

INT. LEDGE'S ROOM - AFTERNOON

LOUD MUSIC is coming from Ledge's bedroom. Golden enters to find Ledge dancing to a contemporary music video, complete with inappropriate lyrics and sexually suggestive outfits and moves. Golden steps over to the TV and looks at the DVD cover, which is clearly marked for parental advisory. He turns off the TV.

LEDGE
Hey, what'd you do that for?

GOLDEN
Where'd you get that crap?

LEDGE
That's my dance video. You bought it for me.

GOLDEN
I most certainly did not.

LEDGE
Yes you did.

GOLDEN
I did not buy this.

LEDGE
How do you know? You bought me all of this stuff.

GOLDEN
Don't I check everything out myself? You think I wouldn't notice something like this?

LEDGE
Well you didn't and I like it.

GOLDEN
It's not appropriate.


LEDGE
It's fun. I was only dancing.

GOLDEN
Well, dance to something else. This is going in the trash.

LEDGE
No, it's mine.

GOLDEN
Tell me where you got it.

LEDGE
I told you.

GOLDEN
I don't believe you. Are you lying to me?

LEDGE
I'm not lying. I told you. Give me back my video.

GOLDEN
No. I can't let you watch this.

LEDGE
What do you care? You're not my daddy.

GOLDEN
I'm looking out for you.

LEDGE
Who asked you too? Not me. Why don't you take me home

GOLDEN
I already told you. I can't.

LEDGE
Now I don't believe you.

GOLDEN
It's the truth.

LEDGE
Give me back my video. It's mine.

GOLDEN
No.

LEDGE
Then get out of my room.
(beat)
Get out! Get out of my room!

GOLDEN
I'd better not find any more like this.

LEDGE
Get out!

Golden leaves the room and Ledge slams the door behind him, then jumps onto her bed, sobbing.


GOLDEN
Dammit! What did I do? What was I thinking? I can't raise this child, not here, not now ... not her and not me! What am I gonna do?


EXT. GHOST HOME - NIGHT

A loud KNOCKING at the front door. Golden approaches and Jimmy is there.

JIMMY
Did I pick a bad time?

GOLDEN
No, no. Come on in.

The two men settle in the kitchen with a couple of beers.

GOLDEN
So you found your way back?

JIMMY
I pretty much know how to get here by now. There's some fairly reliable spots, sometimes.


GOLDEN
Where's Riley?

JIMMY
Off on his own. Just took off on his own one day. No idea where he is now. It's been getting kind of lonesome.

GOLDEN
I could use a little of that right now.

JIMMY
I heard some yelling.

GOLDEN
This is no place for a child. I can't give her much of a life. I'm thinking I should take her back somewhere, just leave her with some good family, let the time thing do its trick, make her someone else.


JIMMY
There's no guarantee she'd have a better one anywhere else. You might not ever even know.

GOLDEN
I don't think I'd want want to know. It'd be too hard.

JIMMY
Anything could happen.

GOLDEN
I already raised her from a child once, but it's different this time, the way things are, the way she is. Hell, the way I am. I'm not the same man anymore. I'm feeling my age. She'd be better off.
(beat)
But damn it! I just can't do it!

JIMMY
Why not? She'll never even know, and she won't remember any of this.

GOLDEN
It's not that, Jimmy. As good as it sounds, there's other things to think about.

JIMMY
Like what?

GOLDEN
Like everything. I can't leave her in her own time because of the, whatever you want to call it, the disintegration. And I can't leave her too far back because of the way things were back then. It wouldn't be right.
(beat)
You can't put someone where you know they're going to be denied their basic human rights; an education, a chance at a decent job, a decent place to live. No one should ever have to face those things, and you know that's how it was for us for generations. I could never do that to her or anybody else.


JIMMY
Damn shame.

GOLDEN
There's just no place for her. Not now. Not then. Nowhere I can take her.

JIMMY
Bad news is, it's no better anywhere, as far as I can see. There ain't much left out there. The retrograde has taken most of everything and sucked it dry. It's going all over now, things from the past going into the future, things from the future going into the past, things just popping in and popping out.

GOLDEN
I've seen it. At first it was only in my own time, but now it's even here. What do you think it is? Do you think it's God? Do you think he's just packing up and going home?


JIMMY
You want to know what I really think?

GOLDEN
Yeah, I do.

JIMMY
I think somebody somewhere fucked up ... real bad.

GOLDEN
(after a pause)
Speaking of fucked up, I think I saw a picture of your captain. Garrett Ronson, you said?

JIMMY
Ronson? You saw him?

GOLDEN
Saw a picture. You didn't tell me he was a black man, and he wasn't a captain, he was a sergeant, and he died. World War Two, man. He died in World War Two.

JIMMY
No fucking way. He wasn't even born then. Must have been a different guy. Unless ... like I said. Somebody fucked up.
(beat)
He was looking for someone, you know. That final mission. Had to find somebody, had to tell him not to do something.
(beat)
Never told us who or what it was, but that was Ronson, always making a mystery out of things.
(beat)
But seriously, you ought to get yourself and that girl out of here right now. It doesn't matter where you go. The whole thing's going to implode or, or whatever the hell it's doing. It's getting worse every day.

GOLDEN
There's nowhere we can go. Nowhere I've found, at least.

JIMMY
Well, I'm going back, as far back as I can get. I figure it'll take awhile to get all the way back there. If it ever does.

GOLDEN
I wish I had that choice. Cowboy days the farthest I can get. Not going there.

JIMMY
I'd do it, if I were you. Can't be sitting around here. It's going to get you, man.

GOLDEN
At least that'll be the end of it, then. I guess I can face it if I have to

JIMMY
You take care. And dump the girl. Anywhere. It'll be for the best.


EXT. PICNIC IN THE PARK 1990's - AFTERNOON

GOLDEN and LEDGE are walking in a grassy park on a warm sunny afternoon, not talking to each other, Ledge with her head down, moping. The come across a large family gathering, mostly African-Americans but some Hispanic and a couple of white people - maybe 30 people in all. It's a birthday party, with picnic tables decorated with balloons and festive paper-ware. On the grill there are pots of beans and burgers and links cooking, smoke billowing into the air.

Several children are playing tag, racing around the table while adults sit and stand around with red plastic cups of beer.

GOLDEN
There's some kids. Why don't you run along and play.

Ledge dashes off to join the children and right away is among them, screaming and playing. A radio is blasting some hip-hop DANCE MUSIC.

Golden stands off to the side, watching Ledge. A middle-aged African-American woman, KARA, approaches him.

KARA
That your little girl?

GOLDEN
(hesitates)
Excuse me? Oh yes. She is.

Ledge is now "it" and quickly tracks down and tags an older boy

KARA
She's got some speed.
(laughs)

GOLDEN
She's always surprising me.

KARA
Children are like that. You think you know what's going on with them, but then you never know. She go to school with Marissa?

GOLDEN
Uh, no.

KARA
Then maybe she knows Ynez?

GOLDEN
Actually, she just ran off. Sorry if we're intruding.

KARA
Intruding? Never in your life. Why don't you come over to the table and I'll introduce you around. What'd you say your name was? I'm Kara, did I say that?


GOLDEN
Golden. Pleased to meet you, Kara, but really, we shouldn't.

KARA
Nonsense. You come right over here. Nobody's gonna bite you.

GOLDEN
No, really. I couldn't. Thanks anyway.

KARA
OK, but if you change your mind, just come on over.

Kara walks back to rejoin her group, while Golden hunches down and watches the children play. He remains in one place for some time, then slowly stands up, turns and begins to walk away. Soon the sounds of the party recede and he comes to the edge of the park. He stands at the curb as traffic flows before him. He is waiting for the light to turn, to cross the street and leave, but hesitates.

GOLDEN
Might as well. Seems as good a place and time as any.

The light turns and permits him to cross, but he doesn't. Twenty seconds pass as he stands there, before the light turns again, and traffic resumes flowing, and Golden turns and returns to the party, slowly at first, then picking up speed. Ledge is still playing tag, not having noticed his disappearance. Golden continues walking towards the party, where KARA gets up to welcome him.

KARA
Hey, Golden. Glad you changed your mind. Let me introduce you around.

Kara begins to introduce him to the various seated people. A sudden wind picks up and starts blowing away the picnic - napkins and cups and plates go flying, hats fly off of people's heads - everyone starts chasing things around and shouting. The trees in the park begin to sway mightily, and the sky rapidly darkens. Golden calls out for Ledge as all the parents begin to gather their children and try to cover up the food and drinks and party decorations.

Ledge is standing in the rain, angry that her play date is interrupted. Golden shouts into the wind for her to come to him but she just shakes her head no.

GOLDEN
We've got to go!

LEDGE
I don't want to go. I want to stay and play.

GOLDEN
Everybody's leaving. We have to go too.

LEDGE
I don't care. I'm not going anywhere.

The sky is now very dark and rain begins to fall – not just raindrops but mechanical rain as well. Golden rushes over and struggles with Ledge as the other people run off carrying their things. Ledge kicks him in the legs and he lets go. Golden looks up and sees that some of the people from the party are literally vanishing into thin air. Beyond, where Golden had ventured earlier, the cars on the street are all stopped and two of them in rapid succession pop and burst and disappear. Some drivers get out and run away. The traffic lights are blinking red. Thunder begins to roll in as Golden and Ledge stand facing each other in the rain, getting drenched, screaming at each other, and neither willing to budge as the scene fades out.


EXT. DANTON STATION - EVENING

Darkness has fallen. Thunder is BOOMING loudly and lightning is FLASHING as well. The RAIN is coming down in heavy shifts. At Danton Station there is hardly any visibility. A river of mud washes down the street. The rain is blasting the mud off their shoes as Myron, Lacey and Wolff run through the streets seeking shelter, Myron leading the way, Wolff and Lacey following closely. Soon it begins to shower small lightweight appliances; juicers, blenders, cellphones, cameras, and laptops. The group dodges these objects and takes shelter under the overhang at the station.
Myron picks up an appliance and it turns to paper. He grabs others, and they variously turn to confetti, ribbons and lace.

MYRON
This is not normal!

The streets are deserted and the stores are all boarded up. The station is closed. While Myron inspects the mechanical rain, Lacey and Wolff have found spots on the first benches they see, and collapse.

WOLFF
God damn. That's some freaky storm

Lacey only nods.

LACEY
Wish I had a cup of coffee and a cigarette. Oh, and by the way, where the fuck are we?

WOLFF
Hell if I know.

LACEY
It ain't Luigi's, that's for sure.

WOLFF
I don't know what the hell. Doesn't look like we're gonna be getting back there anytime soon.

LACEY
Don't want to, but what're we gonna do now? And where are we, anyway?

MYRON
(joining the others)
It all looks pretty familiar.

LACEY
This whole place looks deserted.

MYRON
Maybe there's someone in the station here.

The station room is locked but he can look in through the little window. He can't see much of anything. A schedule on the wall indicates there's just one train at six o'clock, daily, a local to Phoenix. Nothing else.


MYRON
Seems to be about six o'clock now, from the feel of it. Hey, those houses look familiar.

The rain has turned merely wet. With Lacey and Wolff behind him, Myron crosses over and starts looking around.

MYRON
Hey, I used to live over here when I was a little kid.

LACEY
Kind of reminds me of where I come from too.

MYRON
Where was that?

LACEY
Oh just some little town somewhere in West Virginia, a place where people would rather not even recognize my kind.


MYRON
What kind is that?

LACEY
Oh, you know, the mixed kind. My momma was a Negro.

MYRON
A what?
(pause)
I can't believe you said that.
(beat)
And I thought you were white.

LACEY
Easier when they do. And I don't go telling them different.

WOLFF
People are stupid that way.

They don't see a sign of life until they get to the end of the block. There, they come to the front of Golden's house.

LACEY
Think we ought to just go up and knock on the door?

MYRON
I say we wait a bit. Want to see or hear somebody or something at least.

They don't have to wait too long. Golden appears on the front steps, staring at the boy and the woman standing out there, soaking wet and dripping.

GOLDEN
Holy shit!

He waves his hand at the pair Myron and Lacey come a little closer to the front steps.

GOLDEN
Damn.
(beat)
You all look like a flock of scarecrows out there, scaring nothing. There's nothing to scare around here in any case. Come on inside and get yourselves dried off at least. The name is Golden. Nothing else.

Inside the house Ledge and the dog are curled up on the living room couch. Ledge looks up and screams.

LEDGE
Mikey! Mikey!


MYRON
Ledge! What are you doing here?

Ledge rushes over and leaps into his arms. She is overjoyed and hugs and kisses him all over. Golden stands by, next to Lacey and Wolff, all watching in amazement.

LEDGE
Mikey, where you been? I missed you so much!

MYRON
What do you mean? I just saw you this morning. You and dad walked me to work like always.

LEDGE
No. Not today.
(points to Golden)
That man took me. I been here forever.

MYRON
I don't understand, baby.
(to Golden)
What's she talking about?

GOLDEN
It's a long story, young man. Why don't you and your friend get warmed up first. Come on over by the heater.
(to Lacey)
Care for a cup of coffee?

LACEY
Sure, and a smoke if you got one.

GOLDEN
Coming right up.

Myron and Ledge huddle together on the couch with the dog jumping in between them. Lacey takes a seat in a padded rocking chair. Golden goes off to get her a cup of coffee and a cigarette.

WOLFF
I know that man.

MYRON
Really?

WOLFF
Yeah. I recognize him. He was in the store just this morning.

Golden returns carrying coffees and a pack of cigarettes in his teeth.

WOLFF
I recognize you

GOLDEN
You know me. You do.

WOLFF
Yeah, you're the guy who was nosing around my store this morning, asking all sorts of questions about Myron. And now you're here with Ledge? What are you doing with her?

GOLDEN
Believe me, it was a mistake. I really wish I hadn't done that.

WOLFF
What do you mean? Who the hell are you?

GOLDEN
I'm a friend of their mother

WOLFF
No, I'm a friend of their mother. I knew her well. I was there the day she died. I held her hand, and you weren't there. I never saw you before you came into my store this morning. Now you tell me, and you tell me the truth. You tell me who you really are.

GOLDEN
(pausing)
The truth is ... I'm Myron. Thirty years older, but Myron. Mike to you. That's right.
(looking at Myron)
I'm you.

WOLFF
You can't be. Myron's right here. How can you be him? That's crazy.

LEDGE
He's always talking crazy. You're not my brother. How can you be my brother? You're just a mean old man and my brother's the nicest boy you'd ever know.

GOLDEN
You can ask me anything.

WOLFF
You've been snooping around, I know. Asking people about him. Asking me.

GOLDEN
Look around. Where do you think you are? How do you think you got here? Is this all making sense to you? I know it sounds crazy. That's because it IS crazy.

WOLFF
This has been the strangest day.

MYRON
Yeah, Tim, you've been weird all day yourself. One minute you're in love with Lacey like always, and the next thing I know you act like you don't even know who she is

LACEY
In love with me?

MYRON
Hell yeah. Why do you think we're always hanging around there?

LACEY
We get a lot of regulars

MYRON
I'll bet you do

WOLFF
I guess I changed. I really don't know. This morning I was just sitting there, reading a book, and then suddenly I didn't know what it was about, right in the middle of it. I had to go back and start over. It was almost like, I don't know. I turned the page of the book only it was me whose page was turning.

GOLDEN
We're none of us who we used to be. Not you. Not me. Not Ledge.

LEDGE
What do you mean, not me? I'm the same as I ever was.

GOLDEN
You're not the same as you were going to be

LEDGE
There he goes, talking looney again. He's always doing this. Most of the time I got no idea what he's saying

GOLDEN
And Tim, I know you don't believe it, but you and I, we were best friends, man. We were going to be, I mean.

WOLFF
I don't know what to think.

GOLDEN
Well you'd better get used to that.

MYRON
Excuse me, but what are we doing here?

GOLDEN
(laughs)
I don't even know what I'm doing here.

MYRON
And what about Ledge? How did she even get here?

GOLDEN
I don't have all the answers, but I can tell you a little. Things didn't go so well for your little sister back there.

LEDGE
I was happy as a clam. You must be talking about some other Ledge.

GOLDEN
Look. This much I know. Right now, you and me, we're somewhere in the future. Maybe fifty years ahead for you, fewer for me. Everybody who was here, everyone who lived here in this town, they all got wiped out. Nobody seems to know what. It got your sister. Got Wolff. It did.
(looking at Wolff)
I saw your last day too, my friend. And I was there, and I held your hand.
(pause)
Everything turned into this, and now even this is going to hell.
(beat)
I know it because I've seen it. And when I saw her out there playing in the street, still a little girl and all, well, I couldn't help it. I thought I had to save her from all of that. I thought, I thought that mom would've wanted me to do the best I could for her. I always tried to do the best I could.

MYRON
Mom would've done anything for us.

GOLDEN
Now I think I was wrong.

MYRON
But you saved her.

GOLDEN
In a way. I mean, all that stuff still happens anyway. I brought Ledge here about a month ago, maybe, but she was home with you this morning, wasn't she, in your own time, I mean?

MYRON
Yeah.
(beat)
But what do we do now? What do you do?


GOLDEN
Me? I've been a hunter-gatherer, you might say. I go back, get what I need, come home. It's not been so bad. But it's changing, and fast. I don't think it's going to last much longer and I have no idea what to do.

WOLFF
So you just sit here waiting for the end?

GOLDEN
I'm stuck. I can't get out. Maybe you can. If you can get out, go back in time somewhere, the chances are you won't remember anything, if what they tell me is true.

MYRON
Who's they?

GOLDEN
Oh, just some Navy Seals I know. I'll tell you more about it tomorrow. For now, it's getting late.

MYRON
I don't even know what time it is.
(beat)
Or was. Or whatever!

GOLDEN
Sometimes not knowing ain't so bad.
(pause)
I wish I had more blankets and beds for you folks. I really wasn't expecting company. I'll look around and see what I can put together

Golden leaves the room.

LEDGE
Come on, Mikey. You can sleep with me.

Myron follows Ledge into her room. They close the door behind them. Golden returns with a heap of blankets for Wolff and Lacey, who take them and begin to spread them out on the living room floor.

GOLDEN
Good night

LACEY
Thanks. Good night.

Golden departs.

WOLFF
Something's wrong about that guy.

LACEY
Something's wrong about everything.


INT. GHOST HOME - NIGHT

Myron and Ledge are in Ledge's room, surrounded by heaps of dolls and toys and games and her collections of ribbons and lace.

MYRON
Man, you sure got a lot of stuff.

LEDGE
Yeah, Golden bought a lot of it. I don't know why. The rest I got from all the mechanical rain. It's magic, you know.
(whispering)
I don't even like that man. Says he's you! I don't believe a word he tells me.
(louder again)
Mikey, I am just so glad you're here .
(hugging him again)


MYRON
I think he just wanted to help you.

LEDGE
But I just want to go home. Can we go home now, Mikey? Can we?

MYRON
I don't know how, Ledge. I don't even know how. Seems like we're both caught up here now.

LEDGE
I know places we can go. All of these houses, they're other places on the inside. They are! Outside they look like just a house, but you open the door and go in and then you're somewhere else. Well, not all of the houses but a lot of them. And they're never always the same place in a row. I mean one day this one house can be the zoo and the next day there ain't nothing in that same house at all. And some of the houses are like haunted.

MYRON
They've got ghosts?

LEDGE
Scary ghosts. Some of them got very bad things inside and you don't always know. That's why Golden tells me not to go in them, but sometimes I go in them and he doesn't even know.

MYRON
Oh, Ledge, you trying to scare that man to death?

LEDGE
I always go with Ruby. She always gets me home. I just want to play. I want to find my friend Clara. She's real nice. You'd like her, and her momma's real nice too.

MYRON
You ever bring her back with you?

LEDGE
I tried one time to bring somebody back. It was a boy, though, it wasn't Clara. This boy, his name was William I think, he didn't believe me when I told him about the houses, so I said I'd show him, and he followed right behind but when Ruby and me came out the door he wasn't there. I looked back in and there wasn't nothing there anymore.

MYRON
Maybe it only goes one way.

LEDGE
I tried to go home one time. I was sure I saw you, but then when I got there I didn't think it was you at all. It looked like you but you were bigger, and you had glasses and I knew it couldn't be you, so I just came home instead. I only saw you that one time, though. Usually Golden's got his eye on me and never lets me go anywhere without him. One of these days I'm gonna go and not come back, not ever.

MYRON
Don't you like it here at all?

LEDGE
Hardly ever. I can't talk to him. He's always full of big words and says a lot of things that I don't understand, and he doesn't like to play. We go places and he never plays. He's always serious, looking around. Golden's just no fun. He's not like you at all.


INT. GHOST HOME - NIGHT

Lacey and Wolff are in the kitchen sharing a couple of beers over cigarettes.

LACEY
You got a girlfriend?

WOLFF
No. No I don't. Had one once. Long time ago. Never been much of a family man.

LACEY
Family. Family's overrated if you're asking me. All my family every did was kick me out and tell me don't you ever come back now, y'hear?
(beat)
I was going to be a dancer. Everybody said I had the body and the moves. So I figured I'd go out west and try my luck. Turned out that was just another thing I never had.
WOLFF
What about your boyfriend? And don't tell me you don't have one.

LACEY
Oh, now you're trying to be nice. 'Course I had some. I had plenty. Or they had me, I guess. Promises, promises, every one. Fly you to the moon, baby, just don't expect me to come picking you up and taking you back. Yeah, fly you to the moon and leave you stranded. Long as it doesn't cost too much.

WOLFF
So you've never been in love either?

LACEY
Did I say that? Oh I've been in love a lot of times, so many I can't count, not that I'm all that good at counting anyhow. I've been in love since I was just a little girl and I saw my first cowboy in the movies. Oh I'm gonna have a man like that, strong and true. Doesn't talk much but when he does he means it. So anytime I meet some guy who doesn't talk I fall in love. Later it turns out he just didn't have a thing to say.

WOLFF
I always seem to find the ones who won't shut up.

LACEY
Oh like me, you mean? It's true that once I get started I find it hard to stop. But don't you worry. I got over the strong and silent type, so I won't be bothering you none. Now I just like 'em big

WOLFF
That's good to know.

LACEY
Oh I don't mean nothing by it. I just talk and talk and talk. You're like that boy, you know. How'd you get to be so polite?

WOLFF
I think I got it from my Dad. He was a man who didn't have much to say either.

LACEY
Sometimes a man does his best talking without using any words.

WOLFF
He never did much of that, either.
(they both laugh)
Me, I just read a lot of books, mind my store, live a pretty quiet life. One time I wanted to be a teacher.

LACEY
What were you going to teach?

WOLFF
At the time I thought 'history'. Now I know it was just a lot of noise, a bunch of stories about some people who thought that they were so important, who didn't know they'd all end up being wiped out without a trace. Why do we even talk about them, you know?

LACEY
OK, now I have no idea what you're talking about.

WOLFF
And the thing of it is, in the long run, no one's ever going to know what happened. They'll have theories, of course. They'll say it was a meteor came crashing down and turned the sky to dust and that was that for the human race. Or maybe it was microbes flying in from Pluto, when chances are it was some maniac from some laboratory somewhere who created some kind of germ because he could and that was that. And I don't know what you call it, act of god or human error, but in the end, it doesn't matter. It was all just stories, anyway.

LACEY
OK, so I'm just going to get some sleep, okay?
(muttering)
Seems they're all a bit nuts around here.

INT. FRONT YARD - AFTERNOON

Lacey, Myron, Wolff and Ledge are sitting around on the living room floor. Ruby is sleeping by Ledge's feet. Outside the sky is dark and gloomy. Rain is falling but sounds merely wet. Occasionally some very soft thunder is heard, and some dull, lazy lightning flashes, accompanied by some clattering noises from the road.

LEDGE
Want to go somewhere?

MYRON
I don't know.

LACEY
Not me. I don't know what the fuck - excuse my French. This place is weird.


LEDGE
We can go in one of those houses over there. Ruby always know which way to go.

Ruby lifts her head and looks at Ledge for a moment, then goes back to sleep.

LACEY
Looks like Ruby says 'no'.

LEDGE
I'm bored.

MYRON
We could play a game.

LACEY
OK. What kind of game?

LEDGE
I got some cards.

MYRON
All right.

Ledge runs into the house.

LACEY
I got a feeling we're gonna be playing a lot of cards.

WOLFF
Yeah. We could be here awhile.

LACEY
Already been too long for me.

Ledge returns with a deck of cards and a cannister of poker chips and puts them on the table.

LEDGE
Mikey, you pass out the chips.


LEDGE
OK. seven card stud, nothing wild. Ante up!

Lacey, Wolff and Myron ante up as Ledge begins to deal. Golden enters the room.

GOLDEN

Hey. We're running a little low on some things. Who wants to go shopping? I'm gonna need a little help.

LEDGE
Uh-uh. I'm not going anywhere with you.

MYRON
I'll go.

WOLFF
If you're going, I'm going.

Myron and Wolff get up to join Golden, as Ledge, Lacey and the dog remain behind. As they walk along the street, Golden pulls out a list.

GOLDEN

We're going to need some more propane for the stove. Also some of your basic food items. Any special requests?

WOLFF
I'd like to see how you do it.

GOLDEN
Oh, you'll see. It isn't far. Just a little house around the corner.

MYRON
Every one of these houses got their special place?

GOLDEN
Only some, and only sometimes. They change up every now and then too. There's no making sense of anything. And lately, it's all been going nuts.

WOLFF
How do you mean?

GOLDEN
We'll be lucky if there's anything left. Things have been flying off the shelves, you might say. Poof!

Well, here we are.

Golden walks up to a small plain white bungalow and opens the door. They enter and find themselves in a giant parking lot in front of a Home Depot-like store.

GOLDEN
First stop.

The automatic doors are still functioning and open to let them in. There is total silence inside the vast space except an occasional popping sound.

GOLDEN
Sounds like it's still happening.

WOLFF
What is?

GOLDEN
We'd better hurry.

Golden walks more quickly towards the garden center, finds a 25 pound propane tank and hoists it onto his belt. As he turns back, the popping sounds get louder and various plants and mowers and other items start hissing, crackling, and dissolving on the shelves.

GOLDEN
Damn, it's worse than I thought.

WOLFF
Now what? You just walk on out of here with that? And where is everybody? Where the hell are we?

GOLDEN
Good questions, my friend. But check in your pockets. See if you find anything unusual.

Wolff pulls out a roll of twenties and stares at it. Myron bursts out laughing.

MYRON
Where'd you pick up that trick? That kind of thing could really come in handy.

GOLDEN
Now we just have to scan this thing. I love these self-checkout booths they got here.

Golden punches in the various codes necessary and swipes the propane tank. When the total comes up he prods Wolff.

GOLDEN
Go on. Pay the man!

Wolff sticks a couple of twenties into the machine as more and more items pop and burst all around them.

GOLDEN
Hurry up. We got to get out of here.

Wolff is waiting for the receipt as shelves start to collapse and fall around them.

GOLDEN
Come on, Wolff, forget the change. Hurry, man.

Golden runs towards the door with Myron and Wolff behind them. As they get back out into the parking lot, the whole building starts to fade with buzzings and crackling sounds. They back away and stare as it vanishes.

GOLDEN
I'm sorry to see it go. Now I don't know where I'm gonna get my basic supplies.

Still, we've got some more to do. Got some groceries to pick up, if you guys want to eat, that is. We'll have to go back out and down the street.

WOLFF
Go back out? But where? I don't see anywhere in.

GOLDEN
It's not so obvious, but trust me. Right over there with the shopping cart return.

The three head towards the shopping cart corral and as they pass through its bars they find themselves inside the little white bungalow. Golden hurries out the front door with Myron close behind. Wolff has stopped to examine the room, not believing his eyes. The door closes behind Myron, with Wolff still inside.

GOLDEN
Damn it. Where's Wolff?

MYRON
He was right behind me.

They turn back toward the house but suddenly it bursts into flames and they have to jump back.

MYRON
Wolff!!

GOLDEN
Too late!

Quick as a flash, the house is not only burned to the ground, but completely wiped away, as if it were never there. As they watch they see it become an overgrown, weedy lot.

GOLDEN
It's catching up.

MYRON
What is?

GOLDEN
It's like something's eating the past like it's dinner.

MYRON
What about Lacey and Ledge? What if it happened to your house too?

GOLDEN
Shit! We've got to get back.

Golden struggles with the propane as Myron runs ahead, but it's okay, Golden's house is still there, and Lacey and Ledge are still inside, playing cards.

LEDGE
Hey Mikey.

MYRON
Hey, yourself!

LACEY
Get what you needed?

GOLDEN
Not everything, no, but I don't know if we even can anymore. Don't know if there's anything left out there.

MYRON
What if it all goes, like that house? What are we going to do?

GOLDEN
No idea. I don't even have a clue. It's never happened like this before.


INT. GHOST HOME - AFTERNOON

Thunder and lightning begin again and a loud clatter as pieces of buildings and fences start raining down onto the street outside. There is a knock at the front door. Golden answers, and is surprised to find a beaming Riley standing there, alone in the pouring “rain”, as pieces of assorted plastic junk fall down around him.

RILEY
Can a man come inside?

GOLDEN
Of course, come in. We've got a fire going.

RILEY
I saw the smoke from the station.

From the kitchen, Lacey appears, and from the dining room, Myron and Ledge. All gather around Riley.

RILEY
I see you've managed to grow yourself a family. How'd you manage that? You find some people seeds in that warehouse of yours?

LACEY
How'd you get here yourself? Same way we did?

RILEY
How did you get here?

LACEY
God only knows.

RILEY
Oh, I know too.
(whispering)
He told me.

LEDGE
I remember you. Do I?

RILEY
Well, little girl, let me see.
(beat)
No.
(laughs)
But I heard about you from a friend of mine. Name of Ledge if I recall.

LEDGE
I do know you.

MYRON
I know I've never seen you before.

RILEY
Now don't be too sure about that. You never can tell.

MYRON
I'd remember.

RILEY
So you think.

LACEY
Now you just tell us where you're from and what the hell you're doing here in the middle of God Damn Nowhere, Arizona.

RILEY
I came here for a reason.

LACEY
What could that be? There's nothing here that'd interest a fly.

RILEY
I mean your friend, Golden.

GOLDEN
Picked a bad time for a visit, Riley. This place is folding up, falling apart. I don't know what we're going to do.

RILEY
I'm going to get you out of here

At this, everyone starts talking at once.

LEDGE
Woo hoo!

MYRON
How?

LACEY
Get us out of here? Yay!

LEDGE
Can we go right now?

MYRON
Where are we going?

RILEY
Calm yourselves. Calm yourselves. There's plenty of time for all of that. Fact is, the train don't leave the station for a couple more hours.

GOLDEN
Train? What train? I have no idea what you're talking about, and I don't even know if we can make it a couple more hours.

RILEY
We've got no choice. We have to wait. Train keeps on schedule. It don't even care if the world is about to end.

GOLDEN
Well, I think maybe it is about to end.

As if to prove his point, they hear a loud explosion. Rushing to the window, they see a house down the block catch fire and combust just like the Home Depot house did earlier.

RILEY
See what you mean.

GOLDEN
So what'd you come here for, really?

RILEY
I'm telling you, Golden. I found it. The land of milk and honey. I told you I was looking and I told you I was going to find it someday, and I did. It's so far off, there ain't no force fields anymore. The retro-whatever? They don't even remember it. That's how far away it is.

GOLDEN
And it's here? Here in Wetford?

RILEY
No, it's not here, but it's not that far.

GOLDEN
What if it won't let us leave. It's never let me go before.

RILEY
There's a chance it will. Listen, I know the way by heart now. I've been there many times. I can get there anytime I want, and I've taken people with me. I've been forwarding people from the past, people who were born in the wrong place and time, people who were stuck, people who thought they'd never get out. I found the train and I'm taking on passengers, as long as it will let me.

LACEY
Really a train?

RILEY
Sort of a train. I call it that, anyway. Think of it as a time wave, that'll sweep you up and take you out of Sweet Jesus Arizona, all the to the promised land, which, by the way, happens to be in Mexico.

MYRON
Mexico's the promised land?

RILEY
Had to be somewhere, didn't it?

GOLDEN
And Jimmy? Did you take him too?

RILEY
I took him, and I showed him. He wasn't ready to stay, though, and why should he? He likes the gig he's got. I liked it too, for awhile. But I'm on a mission now. Something happened to me. Let me tell you about this place, my friends.
(beat)
There ain't that many people there, but the things they've got, technologies you would not believe. There is no poverty, there is no war, there is no crime. They figured it out. They finally did. Took a hell of a long time and a lot of shit happened along the way, but it's there. It's real. And we're going. I've got as many tickets as I want, because there's plenty of room for you and me.

GOLDEN
I've met some people who could use a place like that.

RILEY
Then bring 'em on. Bring 'em on. 'All aboard' is what I'm saying.

GOLDEN
Oh, but they're not here right now.

LEDGE
I'm here now, and I'm ready to go

LACEY
Me too. I'm ready now.

MYRON
I'm going with my sister.

RILEY
You won't be needing anything where we're going. Then pack your bags. Or don't. Might as well not. In the meantime, we all just need a little patience, and maybe some food. You got anything to eat around here?

GOLDEN
Follow me.

INT. KITCHEN – LATE AFTERNOON

Lacey, Myron and Ledge trundle into the kitchen, where Golden and Riley are already busy chatting and making supper.

GOLDEN
Hope you're all hungry.

RILEY
We're making everything in the house.

LACEY
Everything?

GOLDEN
Everything, but all we have left is breakfast stuff. Look, we've got pancakes, cereal, bacon, eggs.


LEDGE
I'm not hungry. When are we leaving?

RILEY
Not until you eat up, little girl. Now sit yourself down over here by me and grab yourself a fork and a plate.

MYRON
Well, I'm starved.

RILEY
That's my boy. Some of everything for you.

GOLDEN
Lacey? What can I get you?

LACEY
Oh, just a pancake for me.

RILEY
You're gonna need more than that. No slacking today. Everyone's got to have a good meal.

GOLDEN
Besides, we've got to use up all this stuff.

RILEY
Eggs anyone? Say, Golden, how come you never brought home any chickens. They'd do nicely around here and you'd always have fresh eggs.

GOLDEN
Guess I'm too much of a city guy. Never even thought about having chickens.

RILEY
Well, next time you find yourself stuck in a time warp, get yourself some chickens, OK?

GOLDEN
(laughs)
You got it.

LEDGE
When are we going?

RILEY
Not until you eat your supper, Ledge. Come on now, eat up.

Ledge reluctantly digs into her pancake and eggs, and everyone else either starts to eat or pulls up a chair at the table. Outside the thunder is low and rumbling and there isn't much clatter in the street. Golden periodically gets up and stares out the window, expecting to see everything vanish at any moment. Riley joins him and they talk in low voices.

RILEY
It's gonna be okay.

GOLDEN
Just because you say so? I don't know.

RILEY
Look, there's nothing more we can do.

GOLDEN
We can get out of here. I've got a bad feeling. We can get to the station.

RILEY
Train won't come any earlier if we do.

GOLDEN
I tell you, I can feel it all going away.

RILEY
It's just us going away. Forget about all this. It wasn't mean to be forever.

GOLDEN
Been stuck so long, I thought maybe it was. But you're right. Nothing is forever.

Riley rejoins the group at the table and urges them to finish up.

RILEY
Okay, people, this is it. Time to go. Everybody ready?

LEDGE
Ready!

MYRON
Ready!

LACEY
Me, too!

RILEY
Then let's head out.
The group charge out through the door and head towards the station. As they leave the house the thunder picks up and bolts of lighting seem to be striking houses in the background, systematically, with each house it hits going up in smoke instantaneously.

GOLDEN
It's coming!

RILEY
Don't look back.

Riley breaks into a run, with Lacey, Ledge and Myron after him. Golden stops to look back. We hear the muffled sound of a dog, barking.

GOLDEN
Ruby! She must've got left in the house!

RILEY
Forget him!

GOLDEN
You go on ahead. I'll be right there.

Golden runs back across the street to the house. The barking gets louder, and scratching as the dog is clawing at the front door. Golden reaches the door and grabs the knob. His whole outline turns blue and electric. The whole house outline follows suit. He opens the door and the dog jumps up at him and the two of them, along with the entire house, hiss and crackle and fade from the scene.

Myron had paused to look back and cries out, but Riley grabs him by the arm and pulls him along after him.

RILEY
Come on. There's nothing you can do. At least one of you can still make it out of here.



EXT. DANTON STATION - EVENING

Riley, surrounded by Lacey, Wolff, Myron and Ledge, is standing on the platform of the station. All around them the entire town seems to be on fire, with random explosions lighting up the evening sky.

RILEY
Well, here we are. Keep your eyes peeled, children. You're not going to want to miss this.

LEDGE
What's it gonna look like?

RILEY
Oh, maybe like a sideways tidal wave. Think of that. It's like the sky is going to split right down the middle, right where we are standing now, and it's going to take us far away from here forever.


LACEY
It better hurry.

Lacey grabs hold of Riley's arm and hangs on. He merely looks down, trying to smile. Myron and Ledge are huddling together

LEDGE
Is it coming soon?

RILEY
Any time now. You ready?

MYRON
Ready

RILEY
Ah, here it comes. Look alive, children, Do you see it? Do you see?

An astonishing deep blue vertical wave comes rippling down the tracks just like like a train, and sucks them in as it passes by with a huge roaring sound, also like a train. All is engulfed in purple and blue, and steam fills the air and as the steam flies off the scene expands to show the surrounding area completely wiped clean of streets, houses, all sign of life. It is the desert Golden had visited earlier, in the beginning.


THE END


and credits roll, to the tune of "Dreamland", by Bunny Wailer