Screenplay: Grace

Grace
A Screenplay
By Nina Tryggvason
Logline: A young runaway tries to find her place in the twilight gay world
and the burgeoning hippie culture in Vancouver, 1964.
INT. CAROLYN, GRACE & VANESSA’S BEDROOM. EVENING
The bedroom is crammed with three single beds, a large
dresser and a writing desk with chair. Pencil and charcoal
drawings of actors and musicians from 1964 and earlier
decorate the walls. A Beatles poster dominates the room.
GRACE (16, teased dark hair, simple make up, blouse and pedal
pushers) and Carolyn (17, no make up, skirt and blouse) sit
on the bed playing with a Ouija board.
GRACE
Mighty Ouija, Knower of all, tell
me the name of my future husband so
that I can find him and get out of
this place.
CAROLYN
That’s not how you ask the
question.
The pointer moves and spells out “farmer”.
The two girls are startled by the initial movement, but do
not take their fingers off the pointer.
GRACE
Farmer?
CAROLYN
Must be that Mike Messerchuck, he’s
got eyes for you.
Grace pushes the board off the bed in disgust.
GRACE
I don’t care if his Dad does own
the biggest U-Pick berry farm in
the whole Fraser Valley, I’m not
marrying some local yokel farmer.
CAROLYN
Right, you’re going to New York to
be a famous painter. Grow up,
Grace, it’s not going to happen.
Carolyn picks the board and pointer up, and puts them in the
box.
GRACE
It will, you just watch, I’m not
staying in this little hick town.
Grace reaches for something hidden under the mattress.
CAROLYN
It’s not my fault if you don’t like
what it tells you. It was your idea
to play this, I don’t even like
having it in our room.
GRACE
Don’t be such a baby, it doesn’t
mean anything, it’s just a game.
CAROLYN
I heard about this girl who’s
mother set hers on fire, and it
screamed.
GRACE
There’s one way to find out if it’s
true.
CAROLYN
No, you’re right it’s stupid.
FATHER (O.S.)
No wife of mine will work!
Carolyn looks sick. Rage flashes across Grace’s face.
Grace starts to exit the room, Carolyn grabs her arm.
CAROLYN
Where’s Vanessa?
FATHER (O.S.)
No! I said no!
GRACE
She’s downstairs, washing dishes.
DISHES CRASH.
VANESSA WAILS (O.S.)
FATHER (O.S.)
Clean up that mess!
CAROLYN
I’ll get her, you stay here.
2.
CONTINUED:
GRACE
If I go, she’ll be safer.
CAROLYN
But then you’ll…
Grace exits.
Carolyn is paralyzed with fear and indecision.
FAMILY KITCHEN
The kitchen is cheerily decorated.
A door leads to the outside and the dining room/living room
is visible through the archway.
Empty beer bottles and a half empty whiskey bottle are on the
dinning room table.
By the back door is a few light jackets and a heavy leather
belt with a large buckle hanging on hooks.
Some pans and cutlery are on the floor.
FATHER (late 40’s, Ukrainian accent, blue collar mill worker,
gruff looking) and MUM (mid 40’s, dyed black hair, matronly,
Ukrainian accent) are arguing.
VANESSA (14) is CRYING and cleaning up the kitchen.
FATHER
I make enough to keep this family.
MUM
I just said for some extras.
FATHER
Teddy’s a baby, you stay home.
(to Vanessa)
Stop crying, or I’ll give you
something to cry about.
Vanessa swallows her tears.
Mum moves in between Father and Vanessa.
MUM
Carolyn and Grace are old enough to
help with Teddy.
3.
CONTINUED:
Grace enters. She quickly sizes the situation up.
Vanessa looks at Grace with fear and relief.
GRACE
I got detention in school today.
Father spins around like an enraged bull with too many
targets.
FATHER
What did you do now?
Grace steps backwards.
GRACE
I wore pants to school.
Father advances on her.
FATHER
You know you’re supposed to wear
dress!
GRACE
It was raining, I was going to
change, the teacher saw me before I
could, it wasn’t my fault.
FATHER
It’s never your fault. You need to
learn responsibility. Hand me my
belt.
Grace swallows and looks hard at Vanessa, as she reaches for
the belt.
Vanessa cries harder, but silently, as she slips out of the
room.
CAROLYN, GRACE & VANESSA’S BEDROOM
Grace lies face down on her bed, CRYING bitterly.
Carolyn and Vanessa watch her helplessly from Carolyn’s bed.
Grace looks up.
GRACE
I can’t do this anymore. It’s me or
him.
4.
CONTINUED:
CAROLYN
Grace, where would you go?
GRACE
I could find our Dad.
CAROLYN
I thought you wanted something
different.
Grace sits up, SNIFFLES, but with a determined look. She
looks at her artwork on the walls.
GRACE
There’s got to be something better
than this.
EXT. RICHMOND – NEIGBOURHOOD STREET. EARLY EVENING.
Rancher style working class homes, sitting on small to mid
sized farming properties, are far apart. Most driveways have
late model 1950’s cars or pick up trucks, few have early 60’s
model cars or pick up trucks.
Interspersed with the homesteads are lots overgrown with
berry bushes and brambles.
Grace crawls out of an empty lot.
She stands and brushes some twigs out of her hair. She exits
the lot and walks down to the stret to her family home.
FAMILY HOME – YARD
A mid 50’s car is parked in the driveway.
Grace (covered in dirt and twigs) climbs up a tree to a
second story window.
She reaches the window and crawls inside. She turns and looks
back across the road.
EMPTY LOT
Wild blackberries, raspberries and other bushes mostly hide a
WWII army duffel bag.
5.
CONTINUED:
INT. CAROLYN, GRACE & VANESSA’S BEDROOM. EARLY EVENING
Grace smiles. She closes the window and turns into the room.
She brushes her hair back into shape with her hand.
From under her mattress, she pulls out a dog-eared envelope
from the Vancouver Hairdressing School.
Grace clutches the envelope and slips it into her shirt
pocket.
MUM (OS)
Grace! Dinner!
GRACE
Be right down!
Grace starts to head downstairs, but stops suddenly. She
grabs the skirt from her bed and quickly changes into it. Her
hip and outside upper right thigh are bruised.
She pauses at the door at the poster of the Beatles. There is
a pink lipstick smudge on Paul’s cheek. Grace kisses John,
full on the mouth, leaving a faint red smudge.
GRACE (CONT’D)
Carolyn’s right that you’re cuter,
Paul, but John just looks like he’d
offer a girl more than a cup of tea
and a nice chat.
Grace exits.
UPSTAIRS BATHROOM
Grace quickly washes the smudged make-up from her face.
MUM (OS)
Grace! Dinner!
GRACE
I’m just washing up!
FAMILY DINNING ROOM
The dining and living rooms are the same long room, just
furnished differently at each end. The front door opens into
the living room portion of the room.
6.
The room is working class decorated, with a Formica blue
table matching chairs with tears in the vinyl, and mismatched
furnishing in the living room end.
The kitchen can be seen through an archway from the dinning
area. Empty cat food bowls sit on the floor near the archway
on the kitchen side.
The table is heavily laden with mashed potatoes, buttered
bread, meatloaf, perogies covered in diced bacon and onion,
fried mushrooms, carrots and gravy.
GREGOR (18, Elvis wannabe), Carolyn, Vanessa, MARGARIT(4) and
BABY TEDDY (9 months) all have milk, Mum has a cup of tea,
Father has a bottle of beer and side of rye.
The TV is tuned to a CBC COUNTRY MUSIC PROGRAM. The
atmosphere is tense.
Grace’s chair is pushed slightly back from the table. Mum’s
chair is pushed fully into the table.
Grace enters.
Grace looks at Carolyn, who looks like she’s been crying, and
then at the empty cat food bowls just inside the kitchen
archway.
Grace looks at Carolyn, harder. Carolyn avoids Grace’s eyes.
Reluctantly, Grace takes her seat. She reaches for a slice of
buttered bread.
GRACE
(rapidly)
Thank you Father, for the food we
are about to receive. Amen.
Father scowls, eats in silence.
Carolyn passes Grace the mashed potatoes as Mum piles slices
of meatloaf on Grace’s plate.
Gregor plays with his food and practices his Elvis sneer.
GREGOR
After dinner, I’m meeting some
friends. We’re going to that new
Elvis movie.
Vanessa perks up hopefully.
7.
CONTINUED:
VANESSA
I saw a picture in a movie magazine
- he plays an army guy and a blond
hillbilly. You get to see what
Elvis would look like if he didn’t
colour his hair. Will you take me?
Gregor sneers at Vanessa.
GREGOR
Elvis doesn’t do girlie stuff like
that.
VANESSA
Ya-ha! It said so in the magazine!
Grace looks fearfully at Father.
MUM
Is your homework done? No going out
until homework is done.
FATHER
Forget homework, you got job lined
up? Almost 18, and the only job you
had was a paper boy, four years
ago. How you support family with no
job?
GREGOR
Maybe I want to go to college.
Don’t need a family right away,
anyway.
Father slams the paper down.
FATHER
Won’t be able to afford college
with no job, I won’t pay. You don’t
get good grades now. I talked to my
foreman at the mill, there’s a job,
you come tomorrow.
(a beat)
Carolyn’ll go to college, meet a
husband.
Grace swallows hard and pushes her plate away. She pulls the
letter from her pocket and holds it towards her father.
8.
CONTINUED:
GRACE
I got into hairdressing school.
They help you get a job, as part of
your training. Will you sign the
form?
Grace holds her breath.
FATHER
You’re in what, 10th grade?
Grace nods. He gives her a hard look. Grace looks sick.
FATHER (CONT’D)
Mum, give me a pen. 10th grade, two
years longer than you needed.
(meanly to Gregor)
Gregor, your little sister will
have a good paying job before you.
GREGOR
(Under his breath)
Good paying for a girl
Mum scurries away from Baby Teddy and hands Father a pen.
Father squints at the permission letter and then scrawls his
name along the bottom. He unceremoniously hands the paper
back to Grace and continues reading his newspaper.
A silent shockwave goes around the older teens at the table.
Grace smiles as she wolfs down her dinner.
FAMILY KITCHEN
Grace opens the back door and shakes the box of cat food.
GRACE
Snowball! Pussycat! Here kitty,
kitty, kitty!
She waits a moment and then steps back inside. Grace closes
the door. She exits to the living room.
LIVING ROOM
Mum is watching another CBC country music comedy show.
Gregor, Carolyn and Vanessa are sitting on the couch, bored.
Father enters from upstairs.
9.
CONTINUED:
FATHER
Margarit needed two stories.
Grace moves from Father’s chair to sit near the front window.
Father sits in his chair.
Grace looks out the window for the missing cats. The window
reflects the black and white TV.
GRACE
(under her breath)
Kitty, kitty, kitty.
MUM
Grace, come and sit with the
family.
Grace turns to face the room, but does not get up.
GRACE
I need to move to Vancouver, to be
close to hairdressing school. It’s
too long to travel from here on the
bus.
MUM
Carolyn goes to work on the buses
to Vancouver, it’s only ninety
minutes.
GRACE
But that’s too much, with homework,
and working, the buses don’t run
very late. I don’t want to waste
time on the bus!
MUM
But you’re too young to leave home!
Father lunges out of his chair, and moves towards Grace,
towering over her.
Mum starts crying.
FATHER
You’re never happy with anything I
give you! You don’t care about
anyone else! Look what you’ve done
to your Mother!
Grace stands up defiantly.
10.
CONTINUED:
Carolyn and Gregor jump to their feet, unsure.
Grace steps forward, making Father step back awkwardly.
GRACE
You make her cry more than I do!
You’re not my father, I never asked
for anything from you!
Father hits her.
Grace staggers backwards from the blow, barely able to keep
her feet.
MUM
NO! Stop!
Carolyn drags Vanessa upstairs.
Gregor launches at Father as the older man removes his belt.
GREGOR
Run, Grace, run!
Gregor hits Father full force, knocking the older man to the
ground.
Transfixed by the sight of the older man momentarily helpless
on the floor, Grace can’t move for several beats.
Father gets up, a murderous rage contorting his face.
Grace runs upstairs.
From the stairs, Grace sees Father’s fury turn full force at
Gregor. Gregor tries to defend against the blows.
Mum tries to separate them, some of the blows hitting her.
MUM / GREGOR / GRACE
STOP IT STOP IT STOP IT STOP IT
TOP OF THE STAIRS
Grace is torn between the horrid scene she’s caused
downstairs and the sight of Margarit CRYING in the door of
her bedroom, awakened and frightened by all the CONTINUAL
SCREAMING and BEATING SOUNDS.
FATHER (OS)
My house, not in my house!
11.
CONTINUED:
GRACE
Margarit, get under your bed,
quickly.
Grace starts down the hall towards her shared bedroom.
FATHER (OS)
My house!
Grace looks over her shoulder, and sees Margarit standing in
the hall. She runs back to her and drags her down the hall.
MUM (OS)
Stop, stop, you’re killing him!!
CAROLYN, GRACE AND VANESSA’S BEDROOM
Carolyn and Vanessa are each under a bed, huddled in fear.
Margarit and Vanessa are CRYING IN TERROR. Carolyn WHIMPERS.
GRACE
Margarit, get under there with
Vanessa.
Vanessa holds her hand out, and Margarit clings to Vanessa.
FATHER (OS)
My house, not in my house!
MUM (OS)
Stop, please, stop!
GREGOR (OS)
Keep your fucking hands off her!
Grace shuts the door. She braces the door with the desk
chair.
GRACE / CAROLYN
Stop it stop it stop it stop it
stop it
MUM (OS)
PLEAAAASSEEEE!
FATHER (OS)
My house!
Grace moves around the room, checking the door, opening the
window and checking on her sisters under the beds.
12.
CONTINUED:
GRACE
Stay there Margarit, Vanessa, hang
on to her, I’m leaving, Carolyn,
come with me.
FATHER (OS)
I gave you home, I took your Mum
and you kids into my home!
MUM (OS) / GRACE
STOP IT STOP IT
LOUD CRASH of glass/ceramic breaking.
GRACE
Nothing will ever stop it, Carolyn,
please!
MUM (OS)
PLEAAAASSEEEE
VANESSA
(crying, hiccupping)
I want to come, too!
GRACE
I’m sorry, Vanessa, you’re too
young. I can’t take you with me.
VANESSA
(crying)
Please.
GRACE
Carolyn, please, it’s us he has the
problem with, us and Gregor.
CAROLYN
Grace, no, it’ll be better now.
GRACE
He wants us gone, we’re not his
kids. He wants me dead. I’ll die if
I stay here.
CAROLYN
I can’t, Mum needs us, don’t go.
Please.
The WORDLESS SCREAMING from downstairs worsens. Grace moves
quickly to the windowsill and starts climbing out.
13.
CONTINUED:
GRACE
I can’t stay. It’s me or him.
GREGOR (OS)
Getcher gawdam hands offa her!
GRACE
One of us is gonna die if I stay,
Carolyn, you didn’t see the look in
his eyes.
(a beat)
What did he do to the cats?
Grace holds her hand out to Carolyn.
Carolyn starts to reach for Grace’s hand, but BURSTS INTO
TEARS. She clenches her hands against her ears, trying to
shut out the SCREAMING.
Margarit CRIES HARDER, and Vanessa holds her closer, trying
to quiet her down.
MUM (OS)
STOP IT STOP IT BOTH OF YOU STOP IT
PLEASE stop PLEEEEEEASE
CAROLYN
I can’t, I can’t leave Mum. Let me
know where you go.
Grace and Carolyn exchange a tear-filled last look.
Grace crawls out the window and climbs down the tree.
EXT. SIDE YARD/STREET/BUSH LOT – NIGHT
Grace runs across the street and crawls into the bushes to
get her duffel bag.
The front door SLAMS open. Gregor runs/is thrown from the
house, landing on the grass. He is bleeding and beaten, and
so is Father.
Mum, also hurt, hovers in the doorway.
FATHER
Get out! Get out! I took you in
when your father wouldn’t! Go be
man under your own damn roof!
14.
CONTINUED:
MUM
No! Gregor, please! Don’t go!
FATHER
Get back in the house, woman!
Father pushes Mum back into the house and SLAMS the door
before Gregor can get up.
Gregor stands in the yard, bleeding and in complete
disbelief.
Grace watches in frozen horror as Gregor moves back to the
door, and tries to open it. It’s locked. He BANGS on the
door.
GREGOR
It’s not over, I’ll be back for
them!
Mum appears in the window. Father pulls her away and closes
the drapes.
Holding his ribs, Gregor limps across the grass to the
driveway, and gets on his motorcycle. He pulls the key from
his jeans pocket and guns the engine.
As he ROARS out of the driveway, Grace stands up in the
bushes and waves to him.
Gregor rides away.
Grace watches his taillights disappear into the night.
Grace picks up the duffle bag and walks the opposite way down
the street from Gregor.
Carolyn waves goodbye at her from the upper story window.
Grace waves at her to come with her.
Grace stands in the pool of light from the street lamp.
Carolyn turns, and disappears from the window. The bedroom
light goes out.
Grace waits a beat to see if Carolyn would re-appear, but the
window stays dark.
Grace walks down the street, passed the neighbouring houses
that are also dark, and too silent.
15.
CONTINUED:
EXT. BUS LOOP – LATE NIGHT
Grace runs towards the bus pulling out of the loop. She BANGS
frantically on the side of the bus.
The BUS DRIVER stops and opens the door. Grace runs with the
duffle bag to the open door.
BUS DRIVER
Calm down, Miss, there’s nobody
chasing you.
She glances over her shoulder, a mix of disappointment and
relief on her face.
GRACE
I was just nervous in the dark,
that’s all. Can I get to Vancouver
on this bus?
BUS DRIVER
You’ve got to transfer to a
Vancouver bus. Where in Vancouver
are you going?
GRACE
Right downtown, Jervis Street, near
Robson.
BUS DRIVER
I’ll let you know when you need to
transfer; it’s two more buses to
downtown.
Grace drops her dime into the fair box and takes the transfer
slip.
The bus is empty, so she sits at the front. MUSIC, FREE AND
EXCITING, BUILDS.
Grace watches out the window as the dark houses slip by. She
pulls out some makeup and fixes her face.
INT. FIRST VANACOUVER BUS – LATER NIGHT
MUSIC CONTINUES.
Grace watches out the window as industrial parks give way to
residential areas and small commercial areas.
16.
INT. SECOND VANCOUVER BUS – LATER NIGHT
Grace sits near the front of the bus, looking at the tall
downtown buildings. There are VERY FEW PASSENGERS. The bus
pulls into a stop.
MUSIC FINISHES
THIRD BUS DRIVER
Miss? This is as close as I get to
Robson and Jervis. You can walk
down Robson, it’s only a few
blocks, or you can transfer to the
Robson Street bus if your bag is
too heavy. It should be here in
fifteen minutes.
Grace gets up and carries her bag to the front door.
GRACE
I think I’ll walk. Thank you!
THIRD BUS DRIVER
Sure thing, Miss.
Grace steps off the bus.
EXT. ROBSON AND GRANVILLE, VANCOUVER – LATE NIGHT
Grace strides fearlessly down Robson Street. The street is
FULL OF PEOPLE – (hippies, soldiers, young couples out for a
late stroll).
EXT. RESIDENTIAL STREET, VANCOUVER – LATE NIGHT
Grace turns onto a residential tree lined street. The houses
are large and mostly dark.
There is a POLICE CAR parked across from the only house with
lights still on.
Grace looks at a piece of paper, then walks up the stairs of
the lighted house.
EXT. BOARDING HOUSE FRONT DOOR – LATE NIGHT
Grace walks up the front steps.
17.
The curtains in the windows seem cheery, and she can see
figures in the main floor living room silhouetted.
Grace KNOCKS with the heavy brass knocker.
Waiting a moment, Grace hears the MURMUR OF VOICES quiet down
and an echo of footfalls.
The door opens slowly.
DOLORES (indeterminate age, Stone Butch, man’s suit, hair
slicked down flat) opens the door. Dolores looks Grace up and
down, slowly, and appreciatively.
Dolores sees the police car over Grace’s shoulder, and a
flash of worry clouds her face.
Grace follows Dolores’ gaze, and looks back at Dolores
confused.
Dolores recovers and looks again at Grace, flirting.
DOLORES
You lost, Honey?
GRACE
Um, I called a couple of days ago,
to book a room. My name is Grace—
DOLORES
Danny! Customer! And company!
Dolores disappears into the hallway. Grace waits
uncomfortably on the porch.
DANNY (early 40’s, wearing a red silk smoking jacket, and
deep blue pants) appears. He smiles at Grace.
DANNY
Sorry, kitten, Dolores shouldn’t
have left you standing outside like
that, do come in.
He looks furtively past her shoulder, to the police car.
Danny steps back to let Grace in.
She enters the house.
18.
CONTINUED:
INT. BOARDINGHOUSE FRONT ROOM – LATE NIGHT
This small entrance room is tastefully decorated: an
armchair, wardrobe, and a small table with mail and a plant
on it.
Danny directs Grace to sit in the chair.
Grace puts the duffle bag down, near the table and sits in
the chair.
Danny opens the wardrobe and takes out some purple slippers.
He hands them to Grace.
Danny locks all five deadbolts and the chain on the front
door.
GRACE
Is this a bad time?
DANNY
No, Darling, this is usual for a
Sunday night. You must be Grace…
GRACE
Yes, Grace.
Danny looks her over once up and down.
DANNY
You’re much younger than I thought
on the phone. You pass for older,
but you’re…
GRACE
Um, eighteen.
Danny gives her an amused look.
GRACE (cont’d)
I mean, I’ll be eighteen in a
couple of weeks, so who keeps
track, right?
Danny sizes Grace up again.
DANNY
Honey, I’ve seen a lot of kids come
through that door, and if you’re a
day older than sixteen and a half,
I’ll eat those slippers.
19.
GRACE
Sixteen, and a couple of months.
(a beat)
Please, I don’t have anywhere else
to go. My father, he…
DANNY
Say no more! Honey, everyone in
here’s been there. Why don’t you
put that awful bag down there at
the end of the hall? Kenny can take
it upstairs for you later.
He rummages in the wardrobe again and pulls out a purple silk
robe.
DANNY (cont’d)
Here, these will really set off
those Liz Taylor eyes of yours.
When you’ve got these on, go in and
meet the Sunday night gang.
Grace is relieved and gratefully accepts the robe. Danny
gives her a warm, fatherly look.
GRACE
Thank you, I’ve never seen anything
so pretty.
DANNY
I think we have some soda or hot
chocolate. Soda’s better I think,
it’s not really hot chocolate
season.
Danny exits to the kitchen.
Grace pulls on the robe and removes her shoes. Her sock has a
hole. Ashamed, she quickly puts the slippers on.
Danny re-enters, with a glass of soda on a silver serving
tray.
DANNY (cont’d)
Well, follow me, my dear. I’ll
introduce you around. This is a
smaller crowd than usual.
Grace takes the soda, and Danny leaves the tray on the chair.
He holds open a heavy velvet curtain, revealing the archway
to the living room. Nervously, Grace steps through the
curtained archway.
20.
CONTINUED:
BOARDINGHOUSE LIVING ROOM
Grace steps into the room. She stares, open mouthed at the
opulence of the décor.
Heavy dark bookcases line the walls, each case overflowing
with hard covers and other serious looking books. The fabrics
in the furniture are rich deep colours and velvety. The
furniture is all very fancy, with finely carved legs and
armrests.
Grace recovers her wits and looks at the party guests, who
are looking at her with curiosity.
MARCUS (Danny’s lover, early 40’s), TWO MEN (elegantly
dressed, mid 30’s), Dolores, and THREE WOMEN (one butch, two
femmes) are mingling over drinks and smoking. KENNY (early
20’s, James Deanish, also a boarder) sits in the corner,
staring silently into his drink.
There are framed photos of Danny and Marcus throughout their
relationship, including individual army portraits.
DANNY
Everyone, this is Alice, our new
boarder.
Grace looks at Danny, confused.
DANNY (cont’d)
Alice, this is Marcus, and Dolores
you’ve already met, and, well, just
mingle, names aren’t really
important here. Ladies, you behave,
Alice is a guest and a visitor.
Grace smiles nervously. The guests return to their
conversations as Grace moves among them.
Danny moves back to the two men. Grace stays close, not
really able to follow the conversation.
PARTY MALE GUEST ONE
…Butterfield 8, that Cleopatra was
just too much, even for me!
PARTY MALE GUEST TWO
I’ll always have a special fondness
for National Velvet. She was such a
button! But wasn’t she just so
sultry in Cat on a Hot Tin Roof?
21.
(MORE)
I almost wanted to be married to
her myself!
FEMALE FEMME PARTY GUEST ONE
Janice never showed up at the bar
again, I think that her husband’s
done something, but what can we do?
DOLORES
Why don’t you go to her house, and
pretend to be a neighbour needing
to borrow some sugar? You pass.
FEMALE FEMME PARTY GUEST TWO
That seems so dangerous, I’d be
scared.
DOLORES
It’s not like they can tell by
looking… at you anyway. We need to
start watching out for each other.
Damn sure the police won’t.
Marcus is showing the framed army portraits to FEMALE BUTCH
GUEST TWO. There is a small snapshot of Marcus and Danny
together in combat gear.
MARCUS
Funny thing about the army, they
were certainly happy to have us
during the war, but after, they
couldn’t court martial us fast
enough. Conduct unbecoming.
FEMALE BUTCH PARTY GUEST
I went over as a nurse to France.
Did you ever see Romaine Brookes’
La France Croisée? That’s why I
signed up to go, that image still
has such a pull on me. Despite how
it ended for me, I never regretted
going, helping to save lives.
Grace makes her way to the edge of the room.
KENNY
It’s a bit overwhelming your first
time.
Grace looks around and is relived to be spoken to.
GRACE
Hi, my name’s Grace, not Alice.
22.
CONTINUED:
PARTY MALE GUEST TWO (cont’d)
Kenny smiles at her. Grace smiles back, shyly, unable to look
directly at him for several beats.
KENNY
I know, Danny introduces all the
new people as Alice. Until you’re a
fixture, you’re Alice, like through
the looking glass.
GRACE
Looking glass? Oh, Alice in
Wonderland! Have you lived here
long?
KENNY
A couple of months, I’m still
Alice. Have a seat, there’s lots of
room. I’m really Kenny. Guests
don’t use real names here, but
Marcus and Danny do.
Grace, overwhelmed and exhausted, sits near Kenny.
GRACE
Is it like this every Sunday?
KENNY
Sometimes more people attend. I
work every other Sunday, and I
usually go out with friends on my
Sundays off. When I’m here, I tend
to do the head count, make sure
that there’s an even number of men
and women.
GRACE
I’m usually doing homework on
Sundays. Why does it matter if
there’s even numbers of men and
women?
KENNY
So the police stay outside. The
Vice Law makes it illegal to have
mostly male or female parties.
What’s your major?
GRACE
Cutting classes, mostly. I don’t
really like school much. I want to
just be out in the world, doing
something.
23.
CONTINUED:
Grace barely manages to stifle a yawn.
KENNY
If you don’t mind me saying, you
look pretty tired.
GRACE
I didn’t come for the party, I’m a
boarder. Why don’t people use their
real names?
KENNY
Where’s your bag? I can take it
upstairs for you and show you your
room. We’re both on the third
floor.
GRACE
I’d like that, I am really tired.
It’s just that, I’ve come all the
way on three buses, and it’s been a
long day.
KENNY
I’ll take you upstairs.
Danny watches as Grace follows Kenny out of the room.
GRACE’S ROOM
The room is an attic bedroom with one sloped angle to the
ceiling. There is a single bed, a dresser, end table with a
lamp and a writing desk with a chair.
Kenny puts Grace’s duffel bag on top of the dresser.
KENNY
Well, Grace, I should let you
unpack and get some sleep.
GRACE
Gee, I’m not sure what I’m going to
do with all this space to myself.
KENNY
People are like goldfish, they grow
to fit their surroundings. There’s
a bathroom down the hall, we share
it. I’ll clear some counter space
for your…um… toiletries.
24.
CONTINUED:
Grace smiles at Kenny, the beginnings of a serious crush in
her eyes.
GRACE
Thanks, Kenny. Goodnight.
KENNY
Goodnight, Grace.
Kenny exits.
Grace opens the duffel bag and takes out her Beatles 45
record. She pulls the record out of the sleeve, looks at the
edge, then slips it back into the cover. She lays the record
flat in a drawer.
She unpacks her clothes into the dresser, in the left half of
each drawer. When she finishes, she steps back and LAUGHS at
herself. She spreads her few clothes out to completely fill
the drawers.
She opens the small window and looks out over the sleeping
city.
Leaving the window open, Grace lays down on the bed. She
quickly falls asleep.
BOARDINGHOUSE KITCHEN – MORNING
Danny finishes serving a hearty breakfast to Kenny, Grace and
Marcus. He takes his seat at the table.
In the light of day, Grace’s bruises are much more apparent,
despite her attempt to hide them with make up.
Marcus reads the paper, which is folded neatly to the story
and laying down on the table. He smiles warmly at Grace.
DANNY
Well, Grace, we need to discuss a
few house rules, if you’re going to
stay with us.
GRACE
(desperate)
Did I do something wrong? Should I
have stayed for the party?
Danny pats her hand.
25.
CONTINUED:
DANNY
No, dear, you did nothing wrong.
Danny and Marcus exchange a concerned look.
MARCUS
We’re just concerned that you’re
very young, and that your parents,
may not approve of you staying in
this particular boarding house.
GRACE
(panicking)
We don’t have to tell them
anything, my father doesn’t want me
back in the house. There’s five
other kids at home, and I’m, I
mean, that’s too many under one
roof for them.
KENNY
Grace, relax, Danny and Marcus
aren’t going to put you on the
street.
Grace smiles at Kenny.
DANNY
Of course we’re not, we’re just …
Grace, are you the oldest?
GRACE
No, Gregor and Carolyn are older.
Gregor, he, well, he left last
night, too.
Marcus and Danny exchange concerned looks. Kenny gives Grace
an understanding and knowing look.
GRACE (cont’d)
Vanessa’s after me, and then we
have two half siblings, Margarit
and Baby Teddy.
MARCUS
That certainly is a full house,
even with two of you leaving last
night, but still, I’m sure that
your parents will be worrying and
want to know that you’re safe.
26.
CONTINUED:
DANNY
They don’t need to know where you
are, just that you’re safe.
GRACE
They know I’m going to go to
hairdressing school. Father signed
the consent form, so it’s okay.
Danny and Marcus are not convinced.
KENNY
What if she just telephoned? She
doesn’t have to go in person to say
she’s safe.
Grace gives Kenny a grateful look.
GRACE
I’ll find a job to pay for room and
board; my parent’s can’t…won’t…help
me. I have some money from babysitting,
enough to find a part-time
job I can do and go to school.
Danny studies her determined and swollen face. He shakes his
head, sadly.
DANNY
Perhaps, you could just call them,
to let them know that you’re okay?
GRACE
(relieved)
I’ll call them, I promise.
DANNY
All right, rent is $20 a month due
on the 1st of each month, and for
that you have the room and
breakfast and dinner.
Danny looks nervously at Marcus. Marcus smiles warmly at
Danny and touches his hand.
DANNY (cont’d)
But there’s some things that you
need to understand. The first
thing, is that Marcus and I, we run
this place together. Do you
understand?
27.
CONTINUED:
Grace looks at them, not quite sure what they are explaining.
GRACE
You’re partners in the
boardinghouse?
MARCUS
Danny and I are partners in more
than the boarding house, Grace,
we’re homosexuals, queers. We live
with each other like a husband and
wife do, and usually, our guests
are like us.
Grace considers this new-to-her information.
GRACE
But it’s okay that I like boys?
Danny and Marcus LAUGH.
DANNY
Most of our guests do.
Kenny LAUGHS.
Grace is relieved.
Marcus smiles approvingly at Danny and pets his hand. Danny
places his free hand over Marcus’.
EXT. ROBSON STREET. DAY
Grace walks by the Robson Diner.
PEOPLE of various ages and walks of life for 1964 pass her.
Grace looks at a piece of paper.
Grace enters the Vancouver Hairdressing School.
INT. HAIRDRESSING CLASSROOM. DAY.
Grace is in a classroom with RITA (19), BETTY (20) and SEVEN
OTHER GIRLS (17-19).
Grace is paying very close attention to the TEACHER.
28.
CONTINUED:
INT. BOARDINGHOUSE DINNING ROOM. NIGHT
Marcus, Danny and Grace are sitting down to dinner.
Marcus winks at Grace as he slides a very small glass of
white wine towards her. Danny frowns, mildly disapproving,
but doesn’t say anything.
MARCUS
It’ll go better than the milk that
Danny wanted to give you.
GRACE
Shouldn’t we wait for Kenny?
DANNY
Kenny works nights. He’s mostly
around in the daytime.
Marcus gives Danny an excited look.
MARCUS
I have news about the salon job,
Grace, they’ve agreed to take you
on a trial basis, you’ll do cashier
work, book appointments, sweep
between clients, all sorts.
GRACE
What? What salon job?
DANNY
Some friends of ours have a salon,
and, well, Marcus thought it would
be hard for you to find a job,
without the school part, so…
MARCUS
So, it’s not glamorous, but if you
want to get into the business, it’s
a good way to learn it from the
ground up.
GRACE
Thank you, both of you, I can’t
tell you how much this means to me.
DANNY
At least tell us what they’ll be
paying our girl.
29.
MARCUS
Perhaps she’d like to have some
privacy, money is a sensitive
issue.
GRACE
No, it’s okay, I don’t like
secrets.
MARCUS
The semi-handsome sum of $35 a week
for the first six weeks, and if you
work out, $40 a week, plus when
you’re shampoo girl, you’ll get 10%
of the tips.
Grace is surprised. Danny just grins.
DANNY
Wow, I don’t think that we’re
charging enough rent.
The table atmosphere is happy and light, as they eat.
A SERIES OF MOS SHOTS – WITH MUSIC:
INT. HAIRDRESSING CLASSROOM. DAY.
Grace is in class paying very close attention to the TEACHER.
Rita and Betty are passing notes.
INT. HAIRDRESSERS. DAY.
Grace sweeps the floor.
INT. BOARDINGHOUSE LIVING ROOM. NIGHT.
Grace sits in the corner beside a FEMME LESBIAN flirting with
Dolores on the other side of the room.
INT. CLASSROOM. DAY.
Grace shampoos a classmate’s hair.
30.
CONTINUED:
EXT. HAIRDRESSERS. EARLY EVENING.
Grace leaves the shop.
There are THREE HIPPIES (one female, two male) loitering
outside the shop.
Grace, a little intimidated, hurries away from them to the
café.
INT. CAFÉ. NIGHT
Grace is seated at a table, doing homework.
Carolyn brings over a soda and a plate of fries.
Carolyn sits down with Grace.
Grace shows Carolyn a series of drawing of hairstyles that
she’s done for her school notes. They LAUGH, but Carolyn is
impressed with Grace.
INT. BOARDINGHOUSE FRONT ROOM. NIGHT
Grace looks out the front window at the police car across the
street.
She picks up the hall phone and looks in a small phone book
for a number. The phone book lists only first names.
She dials the phone.
BOARDINGHOUSE FRONT ROOM. LATER NIGHT – CONTINUOUS
Grace lets TWO GAY MEN (well dressed) into the house.
Across the road, the police officer gets back in the car.
Grace smiles mischievously at them.
INT. CLASSROOM. DAY.
Rita dyes Grace’s hair platinum blonde.
31.
RITA
You’re going to give Jayne
Mansfield a run for her money when
I’m done.
INT. CAFÉ. DAY.
Grace sits at the counter, her head covered in a babushka
(Ukrainian head scarf).
Carolyn gives her an inquiring look.
Grace looks around, and then reluctantly raises the front of
the kerchief to show her light purple hair.
Carolyn LAUGHS but then sees how unhappy Grace is. Carolyn
touches Grace comfortingly.
INT. BOARDINGHOUSE UPSTAIRS BATHROOM – NIGHT.
Grace dyes her hair jet black.
BOARDINGHOUSE LIVING ROOM – NIGHT – CONTINUOUS
Grace, in a smart new outfit and a longish “That Girl”
hairstyle, enters the Sunday Night Party, in full swing with
Danny, Marcus, Kenny, A DRAG QUEEN, Dolores and TWO FEMMES.
Kenny stands, amazed by Grace’s transformation.
Grace does a twirl and curtsy for Kenny.
KENNY
Grace, you look… amazing.
Dolores checks her out from across the room.
DRAG QUEEN
(to Marcus)
Dar-ling, the only Pillow Talk that
went on between Rock Hudson and
Doris Day was make up tips. He’s
not fooling anyone. There’s just so
much more sexual tension between
Rock and Tony than Rock and Doris!
GRACE
Rock Hudson’s not gay! He and Doris
Day made such a cute couple!
32.
CONTINUED:
GUESTS LAUGH AT GRACE.
DRAG QUEEN
Dar-ling, Alice, a little life
lesson, only gays can play straight
soooo convincingly. Don’t believe
everything you see, life is an
illusion, reality even more so.
Grace looks pointedly at the Drag Queen’s dress and bosoms.
GRACE
I can see that.
EVERYONE LAUGHS. KENNY GUFFAWS. He grabs Grace’s hand and
takes her outside.
EXT. BOARDINGHOUSE BACK YARD PORCH. NIGHT – CONTINUOUS
The small back yard has a flower border and a small vegetable
garden. A swinging loveseat dominates the porch.
KENNY
If you’re going to challenge a drag
queen, it’s best to beat a hasty
retreat before they retaliate. They
tend to be really vicious when
they’re cornered.
GRACE
Kenny, is Rock Hudson really gay?
KENNY
Grace, we’re all better off looking
out for ourselves and not worrying
about other people.
GRACE
I just didn’t want to look stupid.
Who else is gay in movies?
KENNY
You came off looking pretty smart.
Besides, that’s the whole point, no
one is supposed to know about Rock.
Word gets around, because men have
a habit of bragging about their
conquests.
Grace sits on the swing.
33.
GRACE
Why should anyone care if he’s gay?
KENNY
Well, if everyone knew he really
liked kissing men, do you think
they’d believe he really wanted to
kiss Doris Day?
GRACE
Isn’t acting convincing people that
what you’re doing is real? You
really thought that Vivian Leigh
loved Clark Gable in Gone With the
Wind.
Kenny looks at Grace with renewed appreciation. He joins her
on the swing.
KENNY
I told you that you’re smart.
GRACE
I feel so dumb sometimes,
especially at these parties, I
don’t know enough.
KENNY
Most people wouldn’t take on a full
grown drag queen.
Grace smiles dewy eyed at Kenny.
GRACE
So, do you like brave girls?
KENNY
Grace, you know that I’m gay?
GRACE
I guess I didn’t think about it,
because I like you. It doesn’t make
a difference, does it?
KENNY
I like you too, Grace, as a friend.
You’re like the little sister that
I never had.
34.
CONTINUED:
GRACE
Okay, you can be my big brother. I
wonder what Gregor would think of
you.
KENNY
Gregor’s your older brother?
GRACE
Yeah, he was thrown out the same
night I was. He tried to stop my
Father, step father really, my
parents divorced when I was pretty
little.
KENNY
Your mom’s pretty brave, getting
divorced in the 50’s. Not a lot of
women did that then, or now.
GRACE
Yeah? I never really thought about
that. I guess she’s stronger, in
some ways, than I thought.
Kenny puts his arm around her shoulder and she melts against
him while they watch the starry night sky with shooting stars
for a few moments.
GRACE (O.S.) (cont’d)
So, what do you call a man who
likes women?
KENNY (O.S.)
A straight man.
GRACE (O.S.)
I thought a straight man was the
guy in the comedy routine who
doesn’t have the funny lines.
Kenny LAUGHS.
INT. CAFÉ. NIGHT.
The Café is busy; most of the PATRONS are late teens/early
teens.
Grace and Carolyn are sitting in a booth, sharing a plate of
fries.
35.
CONTINUED:
THREE HIPPIES (2 men, 1 pregnant woman) are in the next
booth, sharing burgers and fries.
CAROLYN
Gregor phoned. He wanted to know if
you came back home. I told him that
you were living in Vancouver, and
going to school.
GRACE
Where’s Gregor?
CAROLYN
He’s in Vancouver too, he got a job
as a longshoreman, working on the
docks. He’s living on the eastside.
GRACE
Is he mad at me?
CAROLYN
No, he was glad to know you got out
safe. You should call him.
Carolyn slips Grace a piece of paper with Gregor’s name and
phone number.
GRACE
Carolyn, you could leave too.
CAROLYN
It’s okay at home, Father’s been
very nice to everyone. He bought
Vanessa and Margarit new bikes.
GRACE
This won’t last, Carolyn. You know
it will start all over again.
CAROLYN
No, it’ll be okay, he feels guilty.
It’s different this time. He’s so
sorry that he’s even letting Mum
work here so she can see you
regularly.
Grace eats some fries while she considers this news.
GRACE
Maybe he’s letting Mum come here so
she doesn’t make me move back in
there.
36.
CONTINUED:
CAROLYN
I’ve moved into Gregor’s room. It’s
nice, that space, maybe with it not
so crowded…
GRACE
Yeah, it was strange, at first,
having my own room. I’m really
liking it.
They eat some more fries.
INT. BOARDING HOUSE LIVING ROOM. NIGHT
Grace is sitting on the couch, peeking out the front window
at the police car. A sketch book with drawings of the party
guests is abandoned on the couch beside her.
Grace looks at the small group of people.
Marcus and Danny are reminiscing at the mantelpiece over
their old photos.
Dolores is flirting with a FEMME.
Another BUTCH and TWO GAY MEN are looking at Danny’s beat
poetry books.
GRACE
What if we just invited those two
cops to the party?
Danny does a spit take with his brandy and Dolores looks at
Grace in horror. Other people LAUGH NERVOUSLY.
DOLORES
Look Alice, this isn’t Wonderland
where the Queen says cut off their
head and forgets ten minutes later.
Dolores pauses to ensure she’s commanding the room’s
attention.
DOLORES (cont’d)
Those cops are out there, waiting
to get in here to arrest us,
humiliate us by publishing our real
names in the newspaper, or beat us
up and leave us for dead.
Grace looks at her unbelievingly.
37.
CONTINUED:
Dolores leans in close to Grace.
DOLORES (cont’d)
(stage whisper)
It’s happened to women I’ve known
and loved.
Grace backs Dolores up a step.
Danny steps forward, but Marcus stops him.
GRACE
If they came inside, they’d see
there’s nothing to worry about. We
just drink and talk, and you lot
are a damned sight better behaved
than my father’s work buddies.
DOLORES
They aren’t there to stop us from
making noise, they are there to
stop us from existing. Alice,
you’re just a stranger in an even
stranger land.
Grace does a courtsey in the middle of the room.
GRACE
My name is Grace, like Grace Kelly.
And I think I would like it if you
all called me that, please and
thank you.
AMUSED LAUGHTER.
GRACE (cont’d)
I know that the police aren’t here
for noise, I’m not stupid. I just
thought that they’d see you’re just
people and that there’s no need for
them to be watching the house.
Danny leans against Marcus.
DANNY
I think our little girl has grown
up, last week, she stops a drag
queen in her tracks, and now she’s
taking on bull daggers!
Dolores smiles wickedly at Grace, reassessing her.
38.
CONTINUED:
DOLORES
Okay, Grace, you be the only real
one in this pretend world.
The party quickly gets back to full swing.
Grace looks back out the window. One of the book reading gay
men joins Grace.
GAY MAN
You better be careful around
Dolores, it’s every butch’s fantasy
to be topped by a femme bottom.
Grace smiles and nods as if she knows what he means.
GRACE
Right, I’m sure that Dolores can be
a perfect gentleman.
GRACE’S BEDROOM. LATER NIGHT.
KNOCK on the door. Grace opens the door and is surprised to
see Kenny. She swallows hard.
GRACE
Um, hi.
Kenny is drunk, his shirt is damp.
KENNY
Can I come in?
Momentary fear crosses Grace’s face, and then she steps back.
Kenny enters. Kenny flops down on Grace’s bed. Grace leaves
the door open a tiny bit.
KENNY (cont’d)
Sorry, I smell so bad, work was
really rough tonight, some guy
spilled his drink all over me.
GRACE
Maybe you should find a day job.
KENNY
You should come one night; the drag
shows are really fun.
39.
CONTINUED:
GRACE
Sure, I’d love to.
Grace pulls out the chair and sits at her desk.
Kenny sits up.
KENNY
Do you mind if I take my shirt off?
It’s getting sticky.
GRACE
No, be comfortable.
KENNY
So, how do you like living in the
zoo so far?
GRACE
I love it here, Danny and Marcus
are so great, I like the Sunday
parties, but Dolores gives me the
creeps.
KENNY
Yeah, well, she’s not used to
people standing up to her. I hear
that you’re great at that.
GRACE
Kenny, can I ask you something?
KENNY
Sure.
GRACE
Have you ever dated a girl?
KENNY
No, why?
GRACE
Did you ever want to?
KENNY
No, I like you, though, you’re
different than the other girls I’ve
known. You’re smart and funny, and
not afraid to show it.
40.
CONTINUED:
GRACE
Like me, like a girlfriend, like
me?
KENNY
I wish I did, it would make life a
lot easier. I’ve been gay and
running my whole life, Grace.
GRACE
Running?
KENNY
Away from home, from school, it’s a
sad, sad tale that I don’t want to
bore you with. I wanted to invite
you to a show, something fun and
different.
Kenny gets off her bed and moves close to Grace. He kisses
the top of her head.
GRACE
Sure, I’d love to come to the bar
Saturday night. What should I wear?
KENNY
Whatever you have that’s glamorous.
Good night, Grace. Don’t worry
about an ID, I’ve got an in with
the bouncer.
Kenny exits. Grace watches his lean body move out of the
room.
SERIES OF SHOTS WITH BOUNCY ROCKING MUSIC:
INT. CLASSROOM. DAY.
Grace is talking to Rita and Betty.
RITA
We have got to go to San Francisco.
That’s where everything is
happening.
GRACE
We’ve got months to go before we
finish school, and we need to be
able to work when we get there.
41.
CONTINUED:
RITA
Details, details.
EXT. STREET. DAY. CONTINUOUS
Grace and Rita are looking at windows.
INT. SHOP. DAY. CONTINUOUS.
Grace in a series of dresses.
INT. BATHROOM. DAY CONTINUOUS.
Grace and Rita are crammed into the boardinghouse bathroom,
doing Grace’s makeup.
INT. DUFFERIN BAR. NIGHT
The smoky bar is packed with A RANGE OF GAY MEN, LESBIANS,
AND DRAG QUEENS.
Grace, in a new and only slightly dressy dress, perches on a
barstool watching Kenny make and serve drinks.
Kenny brings her a soda and winks at her.
Grace watches the glamorous PERFORMING DRAG QUEEN SINGING on
stage. Kenny is at the other end of the bar.
Grace hops off her stool and heads for the bathroom.
DUFFERIN BATHROOM. NIGHT CONTINUOUS
Grace comes out of the stall. THREE BAR DRAG QUEENS adjusting
their make up are hogging the mirror.
GRACE
Excuse me; I need to wash my hands.
BAR DRAG QUEEN ONE
Hold on honey, I just need to fix
this mascara.
The Drag Queens finish the make up and then move.
Grace washes her hands quickly and backs away from the sink
to dry her hands.
42.
CONTINUED:
BAR DRAG QUEEN TWO
Darling, you’re not going out there
looking like that are you?
BAR DRAG QUEEN THREE
You’ll never get yourself that
dream bull dagger dressed like a
farm girl fresh to the city.
GRACE
But I’m not…
The Bar Drag Queens pulls Grace towards the mirror and start
applying more make up and putting her hair up.
BAR DRAG QUEEN TWO
Not much we can do for the dress.
Honey, you sit still and let us
work some magic.
The Three Drag Queens swarm around Grace, re-doing her hair
and make up.
DUFFERIN BAR. NIGHT AS BEFORE
Kenny notices Grace’s empty stool and half finished drink.
He serves more drinks while glancing at the bathroom.
He waves at the OTHER BARTENDER and heads for the women’s
bathroom.
He KNOCKS on the door.
KENNY
Grace?
When there is no answer, he enters.
DUFFERIN BATHROOM. NIGHT AS BEFORE
Grace is admiring her new beehive and heavily made up look in
the mirror. Her new dress is at complete odds with her more
sophisticated face and hair look.
BAR DRAG QUEEN ONE
Don’t worry, Kenny, the chicken is
safe with us.
Grace smiles at Kenny.
43.
CONTINUED:
GRACE
Cluck, cluck, cluck.
GIGGLES.
KENNY
Grace, you look, really pretty. I’m
almost done my shift, so we can go
home soon.
BAR DRAG QUEEN THREE
This is the lady’s loo, so, out you
go, we’ll take care of Grace.
The Drag Queens shoo Kenny out.
Grace takes a deep swig from the hidden beer bottles.
INT. CLASSROOM. DAY.
Grace (heavier make up and beehive) is the centre of
attention in class, showing the other girls the make up tips
she learned from the Drag Queens.
EXT. STREET. DAY.
Grace walks to the café. HIPPIE GUY whistles at her. Grace
smiles and does a sexy strut and then fearlessly walks on.
INT. CAFÉ. LUNCHTIME. CONTINUOUS
Carolyn brings Grace a burger and fries.
CAROLYN
Are they teaching you that kind of
make up at school?
GRACE
Nope, I learned it from… some
friends that I met. Isn’t it the
most?
CAROLYN
The most you can wear?
Grace pouts.
CAROLYN (cont’d)
Mum’s starting here next week.
44.
CONTINUED:
GRACE
Carolyn, I am going into the beauty
industry, you have to be glamorous.
I’m going out tonight with some
friends to this really great bar,
do you want to come too?
CAROLYN
On a school night? To a bar? You’re
not old enough.
Grace flashes a fake ID at Carolyn.
GRACE
Besides, the bars that I’m going
to, they don’t usually ask for ID.
CAROLYN
I still can’t, it’s a school night.
GRACE
Maybe on the weekend?
CAROLYN
Sure, when are you going to visit
at home? Vanessa and Margarit
really miss you.
GRACE
Soon, I’ll try to soon. Maybe you
could bring them downtown, and we
could go see the monkeys at the
Stanley Park zoo.
CAROLYN
We have some new cats, thought
you’d like to meet them.
GRACE
Better to come downtown, make it
more of an occasion.
MUSIC PLAYS OVER:
INT. DUFFERIN BAR. NIGHT.
Grace, Rita and Betty watch the drag show.
45.
CONTINUED:
INT. HAIRDRESSING CLASS. DAY.
The girls are working on hair teasing. Grace’s wig is piled
the highest.
EXT. BOARDINGHOUSE BACK YARD PORCH. NIGHT
Grace and Kenny watch the sky from the porch swing.
INT. CAFÉ. DAY.
Mum serves Grace lunch – a burger platter with an open faced
burger with pickle eyes and a ketchup smile.
Grace LAUGHS. Mum gives her a loving look.
INT. HAIRDRESSERS. DAY.
Grace shampoos a customer.
INT. GRACE’S ROOM – LATE NIGHT
Grace works on one of several pencil sketches of Kenny.
INT. NIGHTCLUB. NIGHT.
Grace, Rita and Betty drink and watch a band play.
THREE AMERICAN SOLDIERS flirt with the girls from another
table.
The girls dance with the soldiers.
INT. DUFFERIN. NIGHT.
Grace is sitting with DRAG QUEENS at the bar, drinking when
Kenny isn’t watching.
INT. CAFÉ. DAY.
Grace’s heavy makeup doesn’t cover her lack of sleep.
Mum puts a plate of food in front of her.
46.
GRACE
Where’s Carolyn? I haven’t seen her
for a few days.
MUM
Carolyn moved out.
GRACE
Where?
MUM
Not far, a friend of hers from
school, she moved into their family
home. I haven’t seen you here for a
few days either.
GRACE
School, work. I’ve been busy.
Mum looks at Grace’s tired face.
MUM
More like staying out late. You
have a good thing at the boarding
house, don’t cause problems there
too.
GRACE
Danny and Marcus don’t think that I
am a problem.
Mum CLUCKS her tongue at Grace, but doesn’t say anything.
Kenny enters, looks around the cafe and makes a beeline for
Grace.
KENNY
Grace, you won’t believe this, but
they just brought a real live
Killer Whale into the Burrard
Drydocks!
GRACE
How could they catch something that
big and ferocious?
The café patrons excitedly gather around in disbelief and
some fear.
47.
CONTINUED:
KENNY
I heard it on the radio! They
harpooned it, and they towed it
into the harbor, we gotta go see
it!
Kenny grabs Grace’s hand and pulls her out of the café.
Several patrons follow.
EXT. DOCKS. DAY
A part of the water in the dry dock area of the harbor has
been sectioned off with submerged fencing. The fenced off
area is adjacent and accessible by a pier. Inside the
enclosure is a mid-sized Killer Whale.
There is a SMALL CROWD (20-30 people) gathered. Kenny and
Grace are at the front of the crowd.
WHALE CROWD WOMAN ONE
It looks so ferocious!
WHALE CROWD LITTLE BOY
They harpooned it first, and shot
it three times.
WHALE CROWD MAN
Look at that size, those teeth!
They don’t call it Killer Whale for
nothing.
WHALE CROWD MAN TWO
I heard that two other whales
attacked the rowboat. Those men
were lucky to escape with their
lives.
Kenny is wholly absorbed by the whale. Grace looks sadly at
the whale’s injuries.
WHALE CROWD WOMAN TWO
It’s a man eater, they should kill
it.
WHALE CROWD YOUNG MAN
It took them almost a day to tow it
into the harbor, they should study
it first.
48.
CONTINUED:
The VOICE BLUR into a cacophony of fearful and excited
sounds. The WHALE CRIES as it swims glistening in the sun.
Grace cries silently.
INT. BOARDINGHOUSE LIVING ROOM. NIGHT.
Grace works on a drawing of Moby Doll.
Danny brings in a tea service and pours tea for both of them.
GRACE
Thank you, Danny.
Danny looks at Grace for several moments, unsure of himself.
He takes a deep breath.
DANNY
You know, Grace, I’ve been wanting
to talk to you.
Grace stops drawing and looks up like a rabbit in headlights.
DANNY (cont’d)
Oh, nothing that grim, it’s just,
just that every generation seems to
think they’re the first to discover
sex, drugs and music. And, well…
GRACE
Did I do something wrong? Are you
going to make me leave?
Danny sits with Grace.
DANNY
No, dear, I just want you to make
the best choices for yourself. I’m
not really one to lecture, given my
own youthful exuberances.
Danny looks at Grace, who is much more sophisticated looking
than her age or when she arrived.
DANNY (cont’d)
I lived in San Francisco in ‘58. I
read a book called On the Road, by
Jack Kerouac, I think you might
like it. You seem to be…in that
mindset.
49.
CONTINUED:
Danny moves to the bookcase and picks out the Kerouac book.
He makes a big show of taking it from the shelf with the
other dangerous books, with names like Henry Miller, Diane di
Prima, Allen Ginsberg, Gary Snyder, Radclyffe Hall, William
S. Burroughs, Anais Nin, Joanne Kyger, Gertrude Stein and DH
Lawrence on the spines.
Grace takes careful note of the book’s placement on the
bookcase.
Danny hands Grace the book.
Danny starts to pour more tea, but then moves to the wine
rack and brings back a bottle of wine and two glasses. He
pours for both of them.
Danny settles back down on the couch. He raises his glass for
a toast.
DANNY (cont’d)
To unsettled times.
Danny CLINKS his glass to Grace’s and then sips. Grace
hesitates a beat and then sips her wine.
GRACE
I thought you’re supposed to toast
to health, wealth and happiness.
DANNY
No, those things are for
contentment, it’s much more
interesting when the world is in
flux.
GRACE
Flux?
DANNY
Changes, like now. There’s a new
war brewing, in Vietnam. Not that
any war is good, but this one is
different than with the world wars,
when we were fighting for a clear
and morally defensible reason.
GRACE
I didn’t know you lived in San
Francisco.
50.
CONTINUED:
DANNY
I know, you think that I’ve always
been this fuddy-duddy you see in
the smoking jacket and pipe. No, I
was young and wild, and now, I’m
just wild. In my mind, with these
dangerous books.
GRACE
How can books be dangerous?
DANNY
It’s the ideas that are in them.
These are not simple little and
then Lassie got home okay stories
to amuse children. These are about
new ways to perceive the world, new
ways to be in the world.
GRACE
That’s what I want, a new world.
DANNY
You can borrow them any time. I’d
love to discuss them with you.
Grace takes the book from Danny.
DANNY (cont’d)
I could tell you my travel tales
when I was just back from the war.
I rode the rails around the country
as a hobo. Lived in San Francisco
and joined the Mattachine Society.
It’s where I learned to fear the
police.
(a beat)
Ah, the flop houses, the poetry
readings, the orgies. But mostly,
the poetry. I even wrote some, I’ll
have to show you sometime.
GRACE
You want me to read your books and
talk about them?
Grace gets teary eyed.
DANNY
Whatever’s the matter, my dear?
51.
CONTINUED:
GRACE
That you think I’m smart enough to
do that. I wasn’t doing so good in
school, it’s why I wanted to go the
hairdressing school, so I could
learn a trade.
DANNY
Grace, you’re selling yourself
short, with a little encouragement,
who knows what you could
accomplish.
Danny picks up Grace’s drawing.
GRACE
I really want to be an artist, and
live in New York. Hairdressing was
something I thought could help pay
the rent, get me out of the house.
DANNY
I’d love to see more.
GRACE
Really? I have lots in my room.
Grace stands and hugs Danny impulsively. Danny hugs her back,
hard.
Grace quickly exits.
INT. KENNY’S BEDROOM. NIGHT
Kenny’s room is the reverse of Grace’s, with the ceiling
slope going the other way. His room has a bed and dresser,
and has a living room type area created with armchairs and an
area rug and a small table with a portable 45 rpm record
player.
Grace enters, clutching her Beatles “Twist and Shout” record.
GRACE
Can we play this? It’s been so long
since I heard it!
Kenny takes the record and looks at the cover.
KENNY
A Beatles fan? I bet Paul’s your
favorite.
52.
CONTINUED:
GRACE
No way, John is the best one, he’s
dangerous!
KENNY
I thought that all the nice girls
liked Paul best.
Kenny puts the 45 on the record player and gently places the
needle arm on the record. It HISSES, and then the needle
catches in the groove with a CRACKLE. “TWIST AND SHOUT”
blares out of the tiny speakers.
Kenny turns the volume down a little bit.
GRACE
Kenny, all my life, no one has ever
thought I was a nice girl. Not even
me. I got something inside of me,
something I can’t explain, but it’s
bad.
KENNY
You’re not bad, Grace, you just
haven’t found where you belong yet.
GRACE
(tearfully)
My father was awful to us, my stepfather’s
worse. If you can’t fit
into your family, where do you
belong?
Kenny moves across the room and kneels beside her chair. He
holds her hand in his.
KENNY
Sometimes, it helps to tell someone
else. And, some of it I already
know.
Grace looks at him, fearfully.
GRACE
How can you?
KENNY
Because I know you, Grace, I know
why young people leave home early.
I left home at 14, and never looked
back.
53.
CONTINUED:
GRACE
Why did you leave home so young?
KENNY
Same reason you did, my father used
to hit me, there was just him and
me at home. My mother died when I
was born, and he always blamed me.
For a long time, I thought that I
deserved it.
GRACE
But, you were just a baby!
KENNY
And, one day, I realized that I was
bigger than him, and I didn’t have
to take it anymore. I hit him back
and I left.
GRACE
You hit your father?
KENNY
Knocked him out cold! It helped
that he was really drunk. I don’t
know which of us was more
surprised, and I wasn’t going to
hang around to find out.
GRACE
Gregor hit our Father, I mean, Step-
Father that night and knocked him
down. Not out cold though.
Grace looks sadly out the window.
GRACE (cont’d)
Gregor and Mum got the beating that
I provoked. Kenny, I just ran away
and left them.
KENNY
Grace, you don’t need to provoke
that kind of man. My dad beat me
for breathing. If he’d known for
sure that I was gay on top of the
rest…
GRACE
You knew you were gay when you were
that young?
54.
CONTINUED:
Kenny moves to the bed and stretches out.
KENNY
Yeah, you pretty much know from the
start. I just felt different. I
didn’t like to play rough like boys
did.
GRACE
I was a tomboy and I liked to play
rough, I like boys, not girls, so
there’s got to be more to it than
that.
Kenny pats the bed beside him. Grace gets up and lies down on
the bed with Kenny.
KENNY
I don’t know why, all I do know, is
that sex upsets people. A lot.
GRACE
I’ve never really understood what
the big deal was. I didn’t really
like any of the boys at school;
they are all so immature and
slobbering.
Grace looks sideways and wishfully at Kenny.
They are both suddenly aware of being alone in the bedroom
and on the bed. Kenny looks at Grace oddly, his eyes half
closed. He leans forward a little.
KENNY
(husky voice)
Grace?
GRACE
Yes.
KENNY
I, um, I’ve never, I was wondering…
Grace closes her eyes, anticipating Kenny kissing her. He
leans forward and then sits upright.
KENNY (cont’d)
I think that’s it’s really late and
I need to get some sleep, do you
mind?
55.
CONTINUED:
Grace recoils from the sudden turn the conversation has
taken. She stands up and moves to the door.
GRACE
No, I have, um, school, early
class, I should have been gone
before. Thanks for taking me to see
the whale. Maybe, we could go again
sometime.
KENNY
The whale, Thursday, sure, good
night, Grace.
Grace steps out into the hallway. Kenny moves to the door.
KENNY (cont’d)
Grace? Thanks for listening and…
understanding.
Grace looks at Kenny. He is confused and conflicted. She
squeezes his hand.
GRACE
Anytime, that’s what friends are
for, helping each other out. Good
night, Kenny.
Grace opens her bedroom door and exits.
INT. NIGHT CLUB. NIGHT
Grace and Rita are drunk and perched on bar stools in a NOISY
CROWDED bar.
DARYL (mid 20′s, looks similar to Kenny, American draft
dodger) approaches them.
GRACE
Well, hello there! What are you
doing here?
DARYL
Well, hello back. Friendly country
you got here.
GRACE
Oh, sorry, I thought you were
someone else.
56.
CONTINUED:
DARYL
Oh, does that mean that I don’t get
to buy you a drink?
GRACE
It’s a free country, drinks should
be free too!
Grace and Rita both LAUGH. Daryl waves for a drink order at
the BARTENDER. Rita peers closer at Daryl.
RITA
You’re new. Where’re you from?
Daryl looks around then leans closer to the two girls.
DARYL
Down south.
Rita puts her finger on his lips.
RITA
Enough said, I have a few friends
like you. Can’t say I blame you,
olive drab isn’t a color any man
should have to wear.
Rita moves over so Daryl is sitting between them. The
bartender delivers the round of drinks. Grace downs her
quickly and signals for another. She smiles at Daryl.
EXT. DOCKS. DAY
Grace, Rita and two classmates are in a SMALL CROWD watching
the captured killer whale, Moby Doll, swim in the enclosure.
A sign has been put up: “See Moby Doll – Killer of the Sea –
visiting hours 10 am to 4:30 pm”
A SECURITY GUARD lingers nearby. A FEEDER dumps some live
fish into the enclosure.
RITA
It looks hungry. Don’t get too
close.
GRACE
Is that a dare?
57.
CONTINUED:
RITA
Ohmigawd, Grace, don’t be crazy!
That’s a huge animal that can eat
you in one bite.
Moby Doll swims close to the pier edge.
Grace screws up her courage and walks to the edge. The
security guard moves closer.
Moby Doll is attracted by Grace’s motion and comes back
around, nosing up in the water. Grace leans over the water
and touches the whale’s nose.
The whale WHISTLES and disappears under the water, surfacing
on the other side of the enclosure.
The crowd presses excitedly around Grace, all ASKING
QUESTIONS AT ONCE.
Grace stands up and moves back in the crowd, overwhelmed by
her experience. Her friends cluster around her.
The security guard comes over.
SECURITY GUARD
That’s enough, everyone back, get
back.
The crowd steps back, but turns again to watch the whale.
Grace pulls out a note pad and pencil from her book bag. She
gets close to the water again, and sits on the pier. She
draws a good first attempt of a picture of the whale.
A US SAILOR smiles at Rita. Rita flirts back.
Grace starts a second and better drawing.
A SECOND US SAILOR sits down beside Grace.
SECOND US SAILOR
You’re pretty brave, letting that
whale get so close. Weren’t you
afraid?
GRACE
No, I just knew it wouldn’t hurt
me. I think it’s lonely for its
family.
58.
CONTINUED:
SECOND US SAILOR
It’s hard to be so far away from
loved ones, but I don’t know if
animals feel like people do.
GRACE
Oh, but they must. I read in the
paper that when they shot Moby Doll
and she couldn’t swim, the other
whales swam underneath her and
helped her stay above water so she
could breathe. If they were just
dumb animals, they would have swam
away so that the people couldn’t
have hurt them, too.
SECOND US SAILOR
Moby Doll?
GRACE
That’s what her name is. Says so on
the sign.
SECOND US SAILOR
What’s your name?
GRACE
Grace.
Rita leans down to Grace’s level. MUSIC STARTS.
RITA
Frank here and his friends are
gonna take us out for drinks!
Grace puts her sketch away, and stands up with the help of
the Second US Sailor.
INT. BAR. NIGHT.
Grace, Rita and the Two Classmates are at the bar with the
FOUR US SAILORS.
They are drinking heavily.
EXT. WOODED PARK. NIGHT. CONTINUOUS
The girls and the sailors are drinking from a brown paper
bottle and smoking pot.
59.
CONTINUED:
The Third US Sailor pulls a piece of paper from his wallet
and tears off tiny pieces of it. Each of them take a square
and swallow it.
MUSIC CONTINUED OVER SERIES OF MOS SHOTS:
Second Sailor’s face.
The pattern on a leaf.
Starry night sky, blurring into colours.
Rita and the First Sailor making out against a tree, it’s
roots seeming to be twisting and holding them in an embrace.
A set of colourful medals on a white uniform jacket, the
colours blending and blurring.
The Second Sailor’s Face, looming close and blocking the
whole world from view.
INT. GRACE’S BEDROOM. LATE MORNING.
Grace wakes up, her clothes, hair and face in disarray.
Her book bag’s contents are mingled on the floor with most of
her clothes.
She leans down and picks up the note pad, which is filled
with drawings.
There are the two sketches of the whale, then some partial
drawings of Rita, the Sailor and the Tree making out, a leaf,
some abstract sketches, and the last one is a series of dots
with some connecting lines and with the word “God” spelled
out in dots in the centre.
Grace pulls the pages out of her note book and stuffs them
under the mattress.
Grace crawls into some clothes and exits the room.
INT. BOARDINGHOUSE SUNDAY SOCIAL. NIGHT.
The guests are spread out around the room. Dolores is
flirting with a FEMME LESBIAN.
Grace, Marcus and Danny are drinking. Grace is holding On The
Road.
60.
CONTINUED:
GRACE
I didn’t understand this. It’s not
like the other stories I’ve read.
It’s not like anything that I’ve
ever read.
DANNY
It’s not a story, it’s a journey.
The whole Beat movement is about
trying to understand the world.
GRACE
Beat? Like a music beat?
DANNY
Partly, but Beat is about trying to
experience the whole world at once,
and to understand it through
writing, painting, music, any art
form, travel, maybe even especially
traveling around, just to see how
different people live and work, and
how they love.
MARCUS
I think that’s a big part of what
attracts me to Beat. There’s no
judgment, just being and trying.
Many of the Beat artists love
everyone, regardless of gender,
age, race, it’s about experiencing
life, and all it has to offer.
GRACE
Okay, a journey, but to what?
MARCUS
More journeys. It’s about the
search for meaning, to actually
discover the meaning isn’t
important, it’s almost beside the
point.
DANNY
It is beside the point, besides,
the meaning is different for each
of us, anyway.
GRACE
A never ending search for meaning
of what? Life?
61.
CONTINUED:
MARCUS
The meaning of your life.
GRACE
Haven’t people been trying to do
that since the first people?
Marcus laughs.
DANNY
Yes, it’s the age-old search, we
just keep reinventing with each
generation how to do it, it’s why
we’ll never find it.
GRACE
Those who ignore history are doomed
to repeat it. A teacher said that
to me, I always thought he meant
the class.
MARCUS
Oooo, I like that motto, let’s just
have fun!
GRACE
Well, I’m not sure that I want to
find the truth, but I do want to
find beauty. My journey is to find
the perfect hair for me! And I have
to go study, because I have a test
tomorrow.
Grace exits.
Danny and Marcus watch her leave.
INT. CAFÉ. DAY.
Mum brings Grace a burger with a heaping side of fries.
GRACE
Mum, can you sit with me a minute?
Mum looks at the clock and then sits down, pleased that Grace
has asked her.
MUM
You look a little thin, and tired.
62.
CONTINUED:
GRACE
I’ve been out a bit late, nothing
to worry about. Can I come for
Sunday dinner? I miss your roast
beef.
MUM
You can come home for dinner any
time you want, just let me know and
I’ll set a place at the table.
GRACE
Sunday, I’ll come Sunday for
dinner. Thanks, Mum.
Mum gets up and goes back to work.
Grace wolfs down the burger.
Grace counts out some money from her wallet and leaves it
just under the edge of the plate. She exits.
MUSIC PLAYS:
INT. HAIRDRESSER SALON. DAY.
Grace is shampooing a FEMALE CLIENT.
INT. CLASSROOM. DAY.
Grace is sketching pictures in her notebook of Moby Doll
swimming with her whale pod in the ocean.
Rita is also looking the worse for wear, but is managing to
pay attention.
The other students listen attentively to the teacher.
INT. BAR. NIGHT.
Grace is looking into her change purse. She puts just enough
coins on the bar to pay for the round of drinks for Rita, TWO
MALE DRAFT DODGERS and herself.
INT. FAMILY DINNING ROOM. NIGHT.
Father, Mum, Carolyn, Vanessa, Margarit and Baby Teddy are
eating dinner with Grace’s empty chair.
63.
CONTINUED:
INT. BOARDING HOUSE PARTY. NIGHT.
Grace sits on the front window couch, sketching the people at
the party and occasionally glancing at the police car
outside.
Dolores comes and sits with her, posing for a portrait.
A few of Grace’s drawings of Moby Doll, a portrait of Danny
and Marcus are framed on the walls.
EXT. PIER – DRY DOCKS. LATE AFTERNOON.
Grace is sitting and sketching Moby Doll.
Kenny steps out of the SMALL CROWD watching the Feeder
dumping salmon into the enclosure. He sits beside Grace.
KENNY
Hi.
GRACE
Hi.
MUSIC FADES OUT.
KENNY
Haven’t seen you around at home,
lately.
GRACE
You’ve been at work, and I’ve been
out with friends.
KENNY
That’s a really good drawing.
GRACE
Thanks. Since I came to Vancouver,
I haven’t been drawing so much.
It’s what I really want to do.
KENNY
Not hairdressing?
GRACE
No, that’s just to pay my way
until… Maybe it is silly to think
that I can be rich and famous for
drawing.
64.
KENNY
You didn’t tell me you were an
artist. You’re full of surprises.
Hungry?
GRACE
Yeah, I should head back home, I
don’t have any money on me.
KENNY
It’s okay, I’ve got money. Did you
forget your purse?
GRACE
No, I’m the only one of my friends
who’s working, so I somehow end up
paying. Beer’s not cheap, either,
twenty cents a glass!
KENNY
Come to my bar, I’ll only charge
you half price, but you’re friends
should be paying for themselves.
GRACE
Most of them don’t got jobs,
they’re Americans.
Kenny stands up, and holds his hand out for Grace. She pulls
herself up.
KENNY
Yeah, we’re seeing more of them up
here all the time. It’s hard times,
tough choices. Can’t say that I’d
look all that good in green.
GRACE
Kenny, you’d make any colour look
good.
Grace blushes.
KENNY
Well, don’t let Marcus and Danny
know that you’re friends with draft
dodgers, don’t forget, they’re
still proud to have served in WWII.
They walk down the pier.
Moby Doll surfaces and splashes in the water.
65.
CONTINUED:
EXT. STANLEY PARK SEAWALL. EARLY NIGHT.
Kenny and Grace are walking on the seawall, eating ice cream.
KENNY
But don’t you see how exciting it
all is? President Johnson getting
the Civil Rights Act through
Congress — it means that
restaurants, schools and other
public places can’t discriminate
against black people. It’s a huge
step forward; gays and lesbians
can’t be that far behind. The world
is finally seeing that a person is
a person, they can’t control what
colour they are or who they love.
GRACE
It’s stupid not liking someone
because of colour. If a person’s
nice and doesn’t hurt other people,
you should live and let live.
Kenny squeezes her hand. She squeezes back and they continue
walking, holding hands.
KENNY
That’s what I like so much about
you, Grace. You don’t judge people,
you accept everyone as they are,
you don’t know how rare and fine a
quality that is in a person.
GRACE
I thought maybe you didn’t like me
anymore.
Grace stops walking and looks deep into Kenny’s eyes.
KENNY
I care about you, and you don’t
know how much I wish I could feel
for you, romantically, like you
deserve. I don’t want you to be
hurt. You deserve better.
GRACE
Kenny, you have flings with men at
the bar all the time.
66.
(MORE)
I’ve seen you slip into the back
room; I know what goes on in those
rooms.
Kenny blushes slightly.
KENNY
You’re not supposed to know about
that.
GRACE
Women aren’t that different than
men, we all have needs, and we’re
just sharing some time and
tenderness with each other. It’s
not a big deal.
KENNY
But it should be a big deal for
you. Your life should not be a
series of hollow encounters.
GRACE
It’s not hollow, it’s the nicest
thing you can do for a person. Like
the sailors, they’re on this coast
right now, but they could get
shipped to Vietnam any time.
Kenny looks surprised by Grace’s passionate rationale.
GRACE (cont’d)
We only ever have this moment, even
if they don’t go off to danger, you
may not see that person again, so
why not share yourself?
KENNY
When did you get to be so much
older?
GRACE
I’m not saying with just any guy, I
mean, I have to like them, they
have to be nice, maybe after a
drink together—
Grace looks down at her feet, suddenly embarrassed.
KENNY
At least you get their names first,
that’s more than I usually do.
67.
CONTINUED:
GRACE (cont’d)
Grace starts walking again, without taking Kenny’s hand.
GRACE
I just don’t like President
Johnson, he just took credit for
Kennedy’s work. You know, the only
time I ever saw Mum cry was last
year, when Kennedy was killed. We
got sent home early from school.
(a beat)
We got sent home, and were so happy
to be out early. I got home and I
couldn’t find Mum. We looked all
over, and Vanessa found her first,
Mum was on her bed, crying. The
newspaper was on the bed. I never
knew she was so attached, I didn’t
really understand why she cried
then, but I think you just helped
me to. Kennedy was going to help so
many people.
KENNY
What he was doing really was for
the people who needed it, not for
businesses or the military, but for
people. Civil Rights is a good
thing, and rights for gays can’t be
that far behind.
GRACE
Maybe even women can get treated
better too.
KENNY
Women? Women don’t have it bad.
GRACE
Maybe not bad, but we’re treated
different than men, not every woman
wants to be a wife and mother.
Women worked in all kinds of jobs
in WWII. Funny how when the war was
over, it was like, hey little girl,
give that big tool to me, the man.
Never mind she’d been using it for
so many years already.
KENNY
I thought you said you didn’t pay
attention in school
68.
CONTINUED:
GRACE
I just don’t want to be told I
can’t be something because I’m a
woman before I decide for myself
whether or not I want to.
KENNY
Women can work, drive cars, and
vote.
GRACE
Do you know what it’s like to have
to wear a skirt to school in
winter? People telling you that you
can’t be what you want to be when
you grow up?
KENNY
I never really thought about it,
but when you put it that way, it
does sound…
GRACE
Animals should have rights, too.
It’s wrong that they tried to kill
that poor whale, just to make a
statue of one, and it’s awful to
keep it in such a small tank,
whales need the whole ocean to swim
in.
Grace hops up onto a bench and strikes a queenly pose.
GRACE (cont’d)
If I were queen of the world, no
one would be allowed to hurt
animals. Farming’s okay, but you
have to treat the animal good and
kill it cleanly, no suffering.
Kenny clamps his hand over her mouth.
KENNY
You’re giving me too many ideas all
at once, when’d you get so
political?
69.
CONTINUED:
GRACE
I’m not political, I just like to
have a good time, and I want
everyone and everything to have a
good time, do what feels good. Is
that political?
KENNY
Yes, yes, I think it’s very
political.
TWO POLICEMEN walk towards them.
Grace sees them first. She jumps down and sits on the bench,
pulling Kenny beside her. Grace kisses him.
The police walk by them.
Kenny pulls away.
KENNY (cont’d)
What was that about? They weren’t
going to hassle us.
GRACE
I have some LSD in my purse, and I
didn’t want to get searched.
KENNY
Where did you get it? When did, I
mean, I didn’t know you were into
that.
GRACE
I’m into everything that helps you
to feel the love of the universe.
Have you tried it?
KENNY
No.
Kenny looks at Grace with new eyes.
KENNY (cont’d)
Maybe we can go home and we’ll try
some together. I hear it makes you
see God.
Grace looks up at the night sky, suddenly that sketch of dots
makes sense, and she raises her hand and points near the
North Star.
70.
CONTINUED:
GRACE
He’s there.
Laughing together, Grace slips her arm through Kenny’s and
they head for home.
INT. KENNY’S BEDROOM. LATER NIGHT – CONTINUOUS
Grace and Kenny are stretched out on his bed. Grace tries to
undo her dress zipper and Kenny tries to help her. Her bra
gets undone as well.
Kenny kisses Grace tenderly. Surprised at first, Grace gladly
returns the kiss. They kiss for a long time, and laying
beside each other, not moving, just breathing each other’s
air.
Kenny leans back, then leans in and kisses Grace on the
forehead, gently, brotherly.
KENNY
I’m sorry Grace, I wish I could,
but, I’m just not, I mean, you’re a
girl, and I can’t, I’m so sorry.
Grace holds him close, she runs her fingers through his hair.
GRACE
It’s okay, you tried, now you know,
you just don’t like girls, it
doesn’t mean that we can’t be
friends.
She kisses the top of his head.
Kenny curls into her and falls asleep quickly.
Grace holds him, tears slipping down her face. She swallows
hard and clamps her eyes shut against the tears. Within
moments, Grace is sleeping just as soundly.
INT. CAFÉ . DAY
Grace is eating lunch at the café.
Carolyn enters. She sees Grace and sits at the booth with
her.
GRACE
Carolyn!
71.
CONTINUED:
Carolyn smiles; the worry disappearing from her face.
CAROLYN
We were so worried when you didn’t
show up for dinner Sunday. Mum was
heartbroken.
GRACE
Oh no! I forgot, I meant to go, I,
I had a date, with a boy I really
like, I just forgot.
CAROLYN
I just wanted to make sure you’re
okay. Vanessa keeps asking for you…
Carolyn is suddenly at a loss for words.
GRACE
Mum said you’d moved out too…
The sisters exchange a look that conveys the problems at home
didn’t stop.
CAROLYN
Yes, I have a boyfriend now, too.
GRACE
I’ve been busy, with school and
friends.
CAROLYN
Sure, so, how are classes? Who’s
this boy you’re seeing?
GRACE
Oh, classes are fine, work’s really
good. Kenny… That’s a bit more
complicated. Carolyn, life is just
so much more than I ever thought
there was. I wish…
CAROLYN
These people, they’re not the ones
who are your real friends, they
aren’t family. They won’t look out
for you.
GRACE
Carolyn, our family didn’t really
look out for me or you either.
72.
CONTINUED:
(MORE)
Our real father, he drank and hit
us and Mum. Our step-father’s even
worse. Family’s not supposed to be
like that. That’s what I’ve
learned living with Danny and
Marcus.
CAROLYN
Every time I call the boarding
house, you’re out. These people
you’re spending all your time with
aren’t your friends, and I miss
you. Vanessa misses you, and so
does Mum. Did you ever even call
Gregor?
GRACE
I’m just having fun, no one’s
getting hurt. Besides, if I’m so
selfish and terrible, then why are
you here?
CAROLYN
I didn’t say you were those things.
I think you’re just not used to not
having anyone looking out for you.
It’s like you’re going crazy.
GRACE
I’ve always been crazy Carolyn,
I’ve just never been able to really
express myself.
Carolyn stands up.
CAROLYN
I just don’t want you to get hurt,
or forget that you do have family
that love you. You’ve got a good
thing with the hairdressing school,
I know that’s making you happy,
being on your own, but don’t blow
it, Grace.
GRACE
So, what’s it to you? You wouldn’t
even leave with me that night. You
let me go!
CAROLYN
I couldn’t just leave then.
73.
CONTINUED:
GRACE (cont’d)
GRACE
But you did leave.
CAROLYN
I don’t want to talk about it, and
I don’t have to take this from you.
Carolyn exits.
Grace follows her.
EXT. STREET. CONTINOUS.
Grace grabs Carolyn’s arm.
GRACE
You’re just mad that you don’t have
the courage to leave on your own.
You moved in with a friend’s safe
family. Life isn’t about being
safe, Carolyn, life is taking
chances. Because until you take
chances, and risk everything,
you’re not really living. And I
want to live.
Carolyn pulls her arm away and steps back.
CAROLYN
Drinking in bars, and doing who
knows what with whoever else is
there drinking, that’s not living.
That’s the path to being our
father. It’s just running away from
life, say hi to dad when you see
him.
Carolyn walks away.
Grace is furious, with no way to vent.
EXT. STANLY PARK – NEAR WOODED AREA. LATE NIGHT.
Grace, Rita, a classmate and TWO HIPPIE DRAFT DODGERS are
sitting in the park, smoking pot and dropping acid.
GRACE
This is as good as life gets.
74.
CONTINUED:
RITA
But this can’t be all that there
is, you live you die and then
nothing, there must be more.
PARK HIPPIE ONE
Haven’t you heard about
reincarnation?
GRACE
Instant reincarnation milk.
PARK HIPPIE TWO
No, it’ s like when anything dies,
a person, a tree, a cat or dog…
GRACE
A whale?
PARK HIPPIE ONE
Yeah, when anything dies, whatever
it is, is comes back as something
else, the energy that makes you
alive is never lost, just the body.
GIRL
What about ghosts?
PARK HIPPIE ONE
Ghosts are spirits who didn’t
reincarnate, like they don’t know
they’re dead.
PARK HIPPIE TWO
Or they have unfinished business.
GRACE
Cows, pigs, zebras and kangaroos.
RITA
I thought ghosts were angry
spirits, who won’t accept that
they’re dead.
PARK HIPPIE TWO
Maybe that’s what vampires are,
really angry ghosts that can suck
the life out of you.
75.
CONTINUED:
GRACE
No, there’s just God. You live, die
and if you’re good, you go to
heaven.
GIRL
Look, the trees are moving.
PARK HIPPIE ONE
God set the system up so He could
do other things, it’s a feedback
loop, you’re supposed to keep
coming back as different things
until you learn everything, and
then you go to Nirvana, you know,
Heaven.
GRACE
Learn everything? I’m gonna be here
a long time.
Grace LAUGHES.
PARK HIPPIE TWO
No, you die and your body is buried
and the energy that made you alive
it transforms to heat energy, that
lets your body decompose. And then
worms eat you, and birds eat worms,
and people eat…worms…no birds, it’s
a cycle…the food chain.
RITA
We’re chained to our food.
PARK HIPPIE ONE
No, I think there is no god, at the
end, god is all of us, we’re god.
Once we learn everything.
GRACE
No, God is in everything, look at
the blade of grass.
RITA
Can anyone else see the air? It’s
beautiful. So swirly.
GIRL
It’s too bright out here.
76.
CONTINUED:
They all lay down on their stomachs, staring at the grass,
transfixed by the nuances of green and the simple structure
of each blade, and the pattern the set of grass blade made,
moving in the slight breeze.
EXT. PARK NEAR WATER. EARLY AM
Grace is woken by a POLICEMAN.
Her bag is open and her sketchbooks are strewn around her.
POLICEMAN
Miss, are you okay?
Grace blinks several times at the officer, not understanding.
She wakes up suddenly, she looks around for her absent
friends.
GRACE
Yes, I was, going home, and I was
tired and sat down, I guess I fell
asleep, sorry officer.
Grace quickly gathers her possessions and struggles to her
feet. The officer helps her up.
POLICEMAN
It’s dangerous to be in the park
after dark, Miss, especially
asleep. Where do you live?
GRACE
Over on Jervis, near Robson Street.
His eyes narrow as he suddenly recognizes her. He looks at
her meanly.
Grace steps away from the officer, afraid.
POLICEMAN
(low and threatening)
How much money do you have on you?
GRACE
Why?
POLICEMAN
Because I just might run you in for
vagrancy.
77.
CONTINUED:
GRACE
Oh, please, Sir, no, I really do
have a place to live, I work at the
Beauty Salon on Robson Street.
(a beat to calm down)
My Mum works at the Robson Street
Café, she lives on Number One Road
in Richmond, I was waiting for her
in the park, to ride home with her
on the bus. I guess I got lost, and
fell asleep. She’ll be looking for
me. I stay in town during the week,
for school, I live in Richmond.
The officer eyes her suspiciously.
POLICEMAN
I’d like to make sure you’re not a
vagrant, show me how much money you
have. I just need to make sure
you’ve got enough for a hotel and a
meal.
Grace frantically looks through her purse. She produces just
over two dollars in coins from the bottom of her purse.
POLICEMAN (cont’d)
You just get home then, it’s
dangerous after dark by yourself.
Grace runs out of the park.
EXT. BOARDINGHOUSE. EARLY AM – CONTINUOUS.
Grace runs up the stairs in a panic and crashes into the
door, dropping her bag. She is fumbling for her keys when
Danny (pj’s under his smoking jacket) opens the door.
Grace enters.
Danny picks up her bag, looks up and down the street, and
goes inside.
INT. BOARDINGHOUSE FRONT ROOM. EARLY AM – CONTINUOUS.
Grace is crying, her hair disheveled, and her clothes grass
stained and in disarray.
78.
CONTINUED:
DANNY
Ohmigawd, Grace, were you attacked?
Are you all right?
GRACE
(sobbing)
No, I’m fine. Fell asleep in the
park, friends gone, cop woke me up,
threatened to arrest me. He knew
who I was, that’s why, he knew I
lived here.
Danny hugs Grace, and makes all the right soothing noises and
strokes her hair.
DANNY
You go and sit in the living room,
I’ll make some tea.
Grace nods and takes her bag from Danny. Grace exits behind
the draped archway to the living room.
INT. BOARDINGHOUSE LIVING ROOM. EARLY AM – CONTINUOUS.
New drawings by Grace are framed on the wall.
Grace is wearing the purple robe and slippers from her first
night.
Danny and Grace are on the sofa, sipping tea. Grace is much
calmer and controlled.
GRACE
I don’t know what happened, I was
in the park with Rita and some
other girls from school, and some
boys that they knew. We, we did
some acid and fell asleep. Well, I
fell asleep, they were gone when I
woke up, when the cop woke me up.
DANNY
What did the cop do?
GRACE
He threatened to arrest me for
vagrancy, but I still had some
money, just enough to not be a
vagrant.
79.
CONTINUED:
(MORE)
I told him that I lived near Robson
and Jervis, and he just changed, he
got really mean. I didn’t give him
this address.
DANNY
Probably just as well.
GRACE
I just wanted to have some fun with
my friends, I don’t know why they
left me there. I guess I might have
wandered off and fell asleep
somewhere else, I guess. I can’t
remember. They might still be in
the park.
DANNY
I suppose you should count yourself
lucky.
GRACE
I just kept thinking about what
Dolores said, about the cops
beating up her friends and leaving
them for dead, Danny, I was so
frightened.
DANNY
In future, you may wish to conduct
certain gatherings indoors, other
kinds of people, like police
officers, aren’t necessarily so
understanding of youthful
exuberances.
GRACE
None of us have our own place, I
mean we’re not doing anything bad,
just talking…
DANNY
Well, it sounds like what me and my
friends do on Sundays, why not
invite your friends over for
Saturday evenings?
80.
CONTINUED:
GRACE (cont’d)
GRACE
And some drinking, and sometimes
there’s pot and… sometimes we drop
acid, but it’s just to make us
think more, to see that there’s
more to the world than you can see
normally. When I take it, I feel
like I can fly, I feel so connected
to everything and everyone in the
world, it really makes you think
about things in new ways.
DANNY
Sound like you’re really becoming a
beatnik. How’s your drawing coming
along?
Grace rifles the bag and pulls out some sketch books. She
hands them to Danny.
Danny ooo’s and ahh’s over the drawings of Moby Doll,
landscapes, women’s hairstyles and various city inspired
scenes that contrast the rich and the poor. There are a
number of abstract, drug inspired drawings.
DANNY (cont’d)
These abstract ones are very
interesting.
GRACE
I don’t remember doing them. I
mean, I did draw them, I was just
stoned when I did them.
DANNY
Well, lots of artists drank or used
drugs to help them get at their
creativity. You just need to be
careful to make sure you control
your usage and not the other way
around. Perhaps you should enroll
in some art classes, it will teach
you more techniques, and some art
movement history.
GRACE
I want to go to art school, but
it’ll have to wait until after
hairdressing school and I can
afford it.
81.
CONTINUED:
DANNY
You’re very good, maybe there’s
something I can do to help. I never
tried to do anything with my
writing, it seemed too
establishment to get published…
Grace closes the sketchbooks and puts them in a stack.
GRACE
Yeah, I see a lot of people trying
to sell their pictures in the park,
I think that hairdressing is what’s
going to pay my rent, and let me do
what I want to do.
DANNY
But if what you want to do is draw,
perhaps paint, then you should be
studying that.
GRACE
Rita, my friend at school, keeps
talking about San Francisco. I told
her a bit of the stories you told
me. She thinks we should go.
DANNY
Perhaps you should, it’s an
artistic breeding ground, many of
my favorite writers spend their
time there. I’d miss you.
GRACE
Thanks, Danny, I’m not sure I’m
ready to make a move like that yet.
But, I am going back to Richmond,
and visit my family today. It’s
Saturday, right?
DANNY
Yes, it is. Let me know if you want
a ride partway. I have to go
shopping, and I may be able to cut
out one of the busses for you. Will
you be back for dinner?
GRACE
I might stay there for dinner, if
it’s okay, I might stay over night
and come back tomorrow.
82.
CONTINUED:
DANNY
Sure thing, kitten.
Grace hugs Danny.
INT. GRACE’S BEDROOM. MORNING.
Grace dumps the books on her small desk. Kenny’s record
player and two new Beatles records – “A Hard Day’s Night b/w
I Should Have Known Better” and “Love Me Do b/w PS I love
you” are on the desk. There is a handwritten note:
“They are playing Vancouver at the end of August, do you want
to go? Kenny”
Grace SQUEALS EXCITEMENT.
She finds a pencil and writes YES on the note.
She opens her door and leaves the note resting against
Kenny’s door.
She comes back into her room and puts one of the records on.
Grace dances joyfully as the record plays.
INT. CAFÉ. DAY
Grace (heavy make up, beehive do with a blue stripe) gives
her Mum a big hig.
MUM
Uncle Roger and Aunt Vereen are
going to Saskatchewan to see
Grandma and Grandpa the first week
of September, do you want to write
a letter and they can take it? You
should tell Grandma about
hairdressing school, she likes
getting letters and she might send
you some money.
GRACE
I’ll write Grandma a letter, but
I’m making okay money, I even have
a little bit saved.
Mum studies Grace’s face. Grace braces for a fight and selfconsciously
runs her hand over the blue stripe in her hair.
83.
CONTINUED:
GRACE (cont’d)
I got sort of silly in dye class, I
was thinking of doing highlights,
and I didn’t want to put all the
peroxide all over my hair, so I
just did a stripe. Some girls bet
me to do one stripe on each side,
but I didn’t want to look like the
Bride of Frankenstein. I tried to
make the strip blue-black, but I
just got the blue.
Mum LAUGHS and Grace LAUGHS with her.
MUM
It’s hair, it will grow out. It’s
nothing to get excited about.
GRACE
Did you hear that President Johnson
passed the Civil Rights Act that
President Kennedy had been working
on?
Mum’s eyes glisten a little, and she nods yes.
GRACE (cont’d)
Some friends of mine were really
happy about it; I just wanted to
know if you knew.
MUM
Carolyn’s taking Vanessa to that
Beatles concert. Do you want to go
with them? Carolyn can get you a
ticket.
GRACE
No, I’m going with my friend,
Kenny. Maybe we can meet up with
them for a burger before the show.
MUM
I’ll tell Carolyn to get a hold of
you.
GRACE
I’d like that.
MUM’S BOSS COUGHS.
84.
CONTINUED:
Mum glances over her shoulder and then smiles weakly at
Grace.
Mum goes to take a PATRON’S order.
Grace watches her Mum pour coffee.
GRACE (cont’d)
There has to be something better
than this.
Grace leaves $0.75 under her own plate and a $10 bill under
the plate next to hers at the counter and then exits.
EXT. DRY DOCKS. DAY.
Grace, armed with her sketchbook, walks down the pier to Moby
Doll. There is no crowd gathered. The enclosure is gone.
Grace looks around to make sure she’s in the right place.
She walks back down the pier to land.
INT. BOARDING HOUSE LIVING ROOM. EARLY EVENING
Grace is flopped on the couch. Kenny is sitting on the arm,
trying to comfort her.
Marcus is sitting in chair, looking at Grace’s sketches of
Moby Doll.
Danny brings in a tea set up and a plate of cookies, placing
them on the coffee table.
GRACE
That just proves it; animals need
to be protected, too. Maybe even
more than people. People can stand
up for themselves and say no more!
DANNY
You may very well have something
there, my dear.
Danny sits on the arm of Marcus’ chair, glancing at the
sketches.
85.
CONTINUED:
MARCUS
I think that everything happens for
a reason, you’ve really improved
your drawing skills with all these
pictures.
GRACE
That whale didn’t have to die so I
could draw better.
MARCUS
No, I didn’t mean it quite that
way, the whale died because we
don’t know enough about whales to
keep them, the very idea is
ridiculous. Just imagine the food
bill.
DANNY
Yes, salmon is far better smoked
and eaten by me, than those whales.
MARCUS
They’re quite scary, but seeing
these drawings, makes me wish that
I’d gone down there to see it.
GRACE
It wasn’t scary at all, Moby Doll
was very playful. I even touched
her once.
The men are shocked.
DANNY
How did you manage that?
GRACE
I just leaned over the water, and
she came right up to my hand. It
was sort of like, soft, like, kind
of like a wet rubber eraser, but a
really big one.
DANNY
Well, maybe Moby Doll wasn’t here
for you, but the other way around,
so that you had the time to create
these images of her before she
died, something that will last.
86.
CONTINUED:
GRACE
You’re right, it is silly to think
that this could happen again. I’ll
send one of these pictures to
Grandma, you don’t get to see a lot
of whales in Saskatchewan.
MUSIC STARTS.
INT. CLASSROOM. DAY.
Grace is paying attention in class. Her hair is no longer
teased, and her make up is simple.
Rita (teased and heavy make up) passes her a note asking
about going to the bars on Saturday night.
Grace reads it and shakes her head no.
INT. HAIRDRESSERS. DAY.
Grace is cutting a CUSTOMER’S hair.
INT. GRACE’S BEDROOM. NIGHT.
Grace is studying.
INT. RESTAURANT. NIGHT.
Grace is sitting with Caroyln in a window booth.
Rita, Betty and TWO HIPPIE GUYS walk past the window.
Grace waves, Rita sees her but doesn’t wave back.
INT. BOARDING HOUSE – SUNDAY PARTY. NIGHT.
Grace is talking with a DRAG QUEEN on the couch. She is
holding a copy of Kerouac’s On the Road.
INT. FAMILY DINNING ROOM. NIGHT.
Grace is having dinner with Mum, Father, Vanessa, and
Margarit.
87.
CONTINUED:
One of Grace’s drawings of Moby Doll is framed and hanging on
the wall.
Father, Mum, Grace, Vanessa, Margarit are eating dinner. The
TV is off.
FATHER
So, how’s that school going?
GRACE
Good, I did really well on my
midterms, and I got a promotion at
the salon. I get to do the
shampooing, and I handle a lot of
the booking.
FATHER
That promotion come with raise?
GRACE
Yeah, I got another $5.00 a week,
plus I get a full share of the
tips.
Father grunts and nods his approval. He digs into his plate,
uncomfortable with making conversation.
Vanessa looks at Grace with awe.
VANESSA
Carolyn’s taking me to see the
Beatles!
GRACE
Mum said, it’s going to be really
exciting.
VANESSA
Are you coming with us?
GRACE
No, I’m going with a friend.
Vanessa is a little disappointed, but she still beams at
Grace.
FATHER
How’s that boarding house, you’re
staying at? What they charge a
month? You making enough?
88.
CONTINUED:
GRACE
Yeah, I’m doing okay.
FATHER
Gregor’s doing good at the docks.
Not so good hanging onto his
paycheck. I gave him some money.
Carolyn too, she’s not working at
the café, and that family she’s
staying with shouldn’t pay for her
upkeep. I should help you too.
Grace looks at him in surprise. She looks at Mum. Mum smiles
and nods.
GRACE
That’s okay, I could use some help,
too. Thank you.
Father pulls an envelope from his shirt pocket. He slips it
to Grace. He goes back to reading his newspaper.
Grace pockets the envelope without opening it.
EXT. STREET. NIGHT.
MUSIC. Grace, Rita and THREE OTHER GIRLS drunkenly walk down
a seedy street. They go into a bar.
INT. BAR. NIGHT.
Grace, Rita and the three other girls are sitting at the
table.
The WAITRESS brings a pitcher of beer and glasses for them.
Grace pays with a five dollar bill.
RITA
So, when’d you get to be
Rockefeller?
GRACE
I’m not, but my Father gave me a
hundred dollars. I put most of it
in the bank, but I thought we could
have a lot of fun with this twenty!
89.
CONTINUED:
RITA
Shit! Grace, we could go to San
Francisco right now. I mean, wow!
GRACE
I’m not decided about it yet, so I
wanted to have a bit of fun, and
hang on to a little bit, for
savings.
They make a toast with their beers to Grace.
Grace drinks deeply and looks around the SPARSE CROWD.
Her BIRTH FATHER (late 40′s looks like 60′s, shabby suit,
fedora) is drinking beer and rye at the bar.
She puts her glass down abruptly. Rita looks around and sees
nothing alarming.
RITA
Grace, what’s the matter?
GRACE
Rita, that’s my dad at the bar, in
the fedora.
Rita peers at the man.
RITA
We should get out of here before he
rats us out. Will he be mad you’re
spending the money in here?
GRACE
No, he’s my real dad, my stepfather
gave me the money.
(a beat)
He probably won’t recognize me, the
last time I saw him, I was eight
years old.
Grace drinks her beer again. She tries to recapture a part
mood, but can’t stop looking at Birth Father.
RITA
Maybe it’s not him.
Birth Father is oblivious to her. He flirts with the BAR
WAITRESS. She is friendly enough to keep selling him drinks.
90.
CONTINUED:
GRACE
It’s him. Bastard.
Grace stands up. Rita grabs her arm.
RITA
Where are you going?
GRACE
I have to talk to him.
Rita lets her go, and the table of girls watch Grace.
Grace walks up to her Birth Father and taps him on the
shoulder. He turns to look at her.
BIRTH FATHER
Who’re you?
GRACE
Your daughter.
BIRTH FATHER
Carolyn?
GRACE
Younger daughter.
He thinks hard for a moment.
BIRTH FATHER
You’re too old to be Vanessa.
GRACE
You have three daughters, Carolyn,
Grace and Vanessa.
He looks hard at her. He is having a hard time staying
vertical. His eyes are bloodshot.
BIRTH FATHER
Grace, right. You look like your
mother.
GRACE
You look the same as I remember.
Drunk.
BIRTH FATHER
Don’t talk to your old man like
that, I’ll knock your teeth out.
91.
CONTINUED:
GRACE
That’s why you’re not my old man
anymore, Mum was right to leave
you.
BIRTH FATHER
I kicked her out, she cheated on
me, and I kicked her out, she
didn’t leave, I sent her, sent her
away.
GRACE
Mum was too afraid of your fists to
cheat on you. But I’m not afraid of
you anymore.
BIRTH FATHER
I din’t hit her, she lied to you
kids. Turn you aginst me, so she’d
win. She’s conniving, you’ll see.
Fury passes over Grace’s face. Grace draws back her fist and
hits him hard.
His knees buckle and he goes straight down, too drunk to stop
the fall.
GRACE
Don’t you ever talk about Mum that
way, you drunk piece of filth! Do
us all a favour and go drink
yourself to death, it’s all you
ever cared about!
Grace stomps out of the bar. Rita and the other girls scurry
after her.
INT. NIGHTCLUB. NIGHT CONTINUOUS
The nightclub is dark and CROWDED. A BRITISH BAND PLAYS
MUSIC.
Grace downs several doubles of hard alcohol.
Rita gives her a concerned look but doesn’t say anything.
Rita opens her purse and pulls out some pills and some tiny
bits of paper. She holds them out to Grace.
RITA
This will help.
92.
CONTINUED:
Grace looks at the drugs. She pauses a moment to consider
them, and then takes a bit of paper and a pill. She swallows
them both with alcohol.
GRACE
Well, let’s party. Sorry, about
earlier, it’s complicated.
They listen to the music. From the next table, SEVERAL MEN
flirt with the girls.
The girls partner off and dance with the men.
Grace is wholly absorbed by the music and the flashing colour
lights. She is moving to completely different music than the
music being played.
The band finishes playing. The CROWD CHEERS.
SINGER
Thank you, you’ve been a great
audience. It’s been a good week
playing here in Vancouver!
CROWD
More! More! More!
SINGER
We’d love to play more for you, but
we’re catching a flight in a few
hours, and we’ve got to pack our
gear.
CROWD CHEERS. The band exits the stage.
Grace leaves her dance partner on the floor and starts to
follow the band out.
RITA
Grace! Where are you going?
GRACE
I wanna find out if he knows John!
Rita shrugs and turns her attention back to her own dance
partner.
INT. BACKSTAGE/LOADING AREA. NIGHT CONTINUOUS.
Grace watches the band load their equipment into a car.
93.
CONTINUED:
The singer notices her and smiles at her.
GRACE
Do you know John Lennon?
SINGER
Not personally, luv, but I did meet
him a few times before the Beatles
were famous. We were playing the
same clubs.
Grace smiles and sways slightly on her feet. The singer looks
at the band members.
SINGER (cont’d)
We’ve got a few hours before we
have to leave, want to come back to
ours? ‘Ave a party? ‘Ave you got
any girlfriends who might want to
come?
Grace nods her head “yes”.
MUSIC PLAYS over a series of shots:
INT. CAR. NIGHT CONTINUOUS
Grace watches the blur of lights.
EXT. HOTEL. NIGHT CONTINUOUS
Concrete gargoyles in partial darkness watch over Grace as
she and a few GROUPIE GIRLS enter the hotel with the Band.
INT. HOTEL ROOM. NIGHT CONTINUOUS
Grace continues to drink. Everyone is making out.
The singer’s face in extreme close up.
Colours coming off of a lamp.
The buttons on a door man’s uniform. TRAFFIC SOUNDS.
The pattern of a leaf. An ALLEYCAT HISSES.
A ROUGH MAN’S FACE. BEATING SOUNDS, STRANGLING SOUNDS.
EARLY MORNING STREET SOUNDS.
94.
CONTINUED:
EXT. ALLEY. EARLY MORNING CONTINUOUS
A lampost. A garbage can.
Grace lies in alley filth. Her clothes are torn and dirty.
Her hair is in disarray. There is a length of rope around her
bruised neck.
Grace wakes up. Her movements convey pain. She staggers to
her feet and limps to the alley entrance.
She stops to VOMIT.
She leans her forehead against the coolness of the concrete.
She runs her hand through her hair, and down her body. Her
hand stops at her waist and travels back up, encountering the
rope.
She panics. She pulls the rope off her neck, throws it away
from her and runs into the street, SCREAMING.
EXT. STREET. DAY CONTINUOUS
Faces loom large. Grace is dizzy and falls, still SCREAMING,
to the ground.
MANY VOICES
Are you okay?
What happened?
Give her air!
Someone call a doctor!
Call the police.
AMBULANCE SIREN.
FADE TO WHITE
INT. HOSPITAL WARD. DAY.
Grace lies in a hospital bed, sectioned off by curtains. She
is cleaned up, but bruised. She touches her throat. She moves
her legs and smiles with relief.
She swings her feet over the edge of the bed. She winces as
she stands. Everything hurts.
She pulls the curtain aside and sees that she’s in a hospital
ward.
95.
The bed across from her is empty and the other two beds have
SLEEPING FEMALE PATIENTS.
Grace slowly walks to the bathroom. She closes the door.
INT. BATHROOM. DAY CONTINUOUS.
Grace sits on the toilet and winces, with a SHARP INTAKE OF
BREATH, as she PEES.
She examines the bruises on her arm. She wipes carefully and
flushes. She stands to examine herself in the mirror.
She starts to cry. She leans against the wall and slides to
the floor, rolling into a fetal position, CRYING AND
SCREAMING.
A YOUNG NURSE runs in, she kneels down and holds Grace
soothingly.
INT. HOSPITAL ROOM. DAY.
Grace wakes in a hospital room. The sides are up on the bed
and Grace is restrained.
GRACE
Hello? Can anyone hear me?
Grace starts to panic. A NURSE (40′s) enters.
NURSE
It’s okay, dear, you’re safe here,
we just had to strap you to the bed
so you didn’t wander off again.
Grace calms down.
GRACE
Where am I?
NURSE
Saint Paul’s Hospital, in
Vancouver. What’s your name, dear,
is there someone I should call?
GRACE
Can I have some water? I won’t
wander away, I’m okay now.
The Nurse undoes Grace’s restraints.
96.
CONTINUED:
NURSE
Sure you can, I’ll get you some
water. Now, dear, what’s your name?
GRACE
Grace –
(A beat)
I’m not sure who I want you to
call. I’m not sure what happened to
me.
NURSE
Where do you live? The people you
live with will need to know where
you are, that you’re safe and okay.
Can I call your mom?
GRACE
I live in Vancouver, at a boarding
house, for school. My Mom lives in
Richmond. Can I have that water
now, please?
NURSE
Yes, I’ll get some water, and we’ll
need your last name, for the file.
And the police will want to speak
with you.
Grace stares up at the ceiling.
Faces appear faintly on the plaster – Mom, Carolyn, Danny and
Marcus, Kenny.
Grace reaches to the bedside and writes down her Mom’s name
and phone number and Danny’s name and phone number. The
effort tires her, and she leaves the paper in her lap, and
closes her eyes.
Grace is asleep when the Nurse comes back with the water. The
Nurse takes the piece of paper and leaves the water on the
bedside table.
INT. HOSPITAL ROOM. EVENING.
Grace wakes up to see her Mum (red eyed) sitting anxiously by
her beside. Grace smiles weakly.
MUM
Grace, my poor baby…
97.
CONTINUED:
Mum touches Graces arm to reassure herself.
GRACE
I’m okay, Mum. I just hurt
everywhere, nothing’s broken. Just
all banged up. I don’t remember
anything of what happened.
MUM
They said you were hurt, and that
some people found you on the
street. What were you doing out by
yourself?
GRACE
I remember going out with some
girls from school, I’m not sure
what happened. I guess I got
separated from them.
MUM
Are you going to come home now?
GRACE
(to herself)
I don’t know where home is.
MUM
(hurt)
That Danny and Kenny are outside,
waiting to see you. They wouldn’t
let them in because they’re not
family.
GRACE
Can you get them?
Mum, hurt, exits. Danny and Kenny enter with a big bouquet of
flowers.
DANNY
Hey, Princess.
KENNY
Grace…
GRACE
Danny, I’m sorry that…
DANNY
Shhhh, don’t worry about us. Focus
on you, getting better.
98.
CONTINUED:
KENNY
Grace, who…
GRACE
I don’t remember anything. I don’t
think that I want to.
Grace CRIES.
INT. BOARDING HOUSE LIVING ROOM. DAY.
SAD MUSIC PLAYS.
Grace is sitting still on the couch with a cup of tea and a
lap blanket.
While Grace is frozen on screen, everyone around her is sped
up: Kenny, Danny, Marcus and Mum are alternately fussing over
Grace, fluffing pillows, pouring more tea.
INT. GRACE’S BEDROOM. NIGHT.
Grace lays on her bed, staring out the window. A tray of food
on her desk sits untouched.
Her sketchbooks are scattered on the floor showing drawings
of Moby Doll, San Francisco skyline, hippies, various city
scenes of people walking, and a lot of drug trip inspired
abstract drawings.
INT. CLASS. DAY.
Grace sits listlessly at her workstation, while the other
students move in slightly speed up motion.
INT. GRACE’S BEDROOM. NIGHT.
Grace lays on her bed, staring at her sketch books scattered
on the floor showing drawings of Moby Doll, San Francisco
skyline, hippies, various city scenes of people walking, and
a lot of drug trip inspired abstract drawings.
INT. BOARDING HOUSE STAIRS. NIGHT
Grace sits on the inside stairs listening to the sounds of
the Sunday Night Social.
99.
CONTINUED:
She stands and move towards the party. Hesitates, and then
runs upstairs.
Danny appears in the doorway and looks up the stairs.
INT. CAFÉ. DAY.
Grace and Rita sit at a booth. Mum brings them burgers, fries
and soda.
Grace moves only slightly slower than everyone else.
RITA
So, I was thinking, when we
graduate in October, that we should
definitely go down to San
Francisco. If we are gonna make it
big, that’s where we need to be.
Grace bites her burger.
GRACE
Yeah, San Francisco. Danny lived
there in the fifties. He seemed to
have a good time there.
RITA
So, you wanna come down to the
airport tomorrow?
GRACE
Why?
RITA
The Beatles are landing. Isn’t
George a dream? Ya gotta watch out
for the quiet ones. I wanna be in
line to see them, so I’m going to
sneak out tonight and sleep at the
airport. Wanna come?
GRACE
No, it would make Danny worry too
much.
RITA
C’mon, it’ll be fun.
GRACE
No, Rita, I’m not feeling well. I’m
going home.
100.
CONTINUED:
Grace gets out of the booth and heads for the door. Mum
follows her.
MUM
Grace, is everything okay?
GRACE
Yeah, Mum, I just, I don’t feel
well, I’m going to go home and lie
down.
MUM
Did you write that letter for
Grandma?
GRACE
Letter? Oh, right, Grandma’s
letter, Saskatchewan. Yes, I wanted
to give her a drawing, too. Did you
know that Moby Doll turned out to
be a boy whale? All that time, they
thought he was a girl.
MUM
She’d like that. I like the one you
gave me.
GRACE
I’ll bring it tomorrow, the letter,
is that enough time?
MUM
Yes, they’ll be there for dinner.
And they’re staying over and
leaving early Sunday.
Mum searches Grace’s face for any hint of her former
liveliness.
MUM (cont’d)
Carolyn got an extra Beatles ticket
in case you wanted. I paid her the
$5.25, so you don’t have to worry
about the money. I used from that
ten you left here.
GRACE
(flatly)
Thanks. Mum… I’ll bring the
letter around, tell Carolyn that
I’m not going to the show.
101.
CONTINUED:
Grace exits.
EXT. BOARDINGHOUSE BACK PORCH. EARLY EVENING CONTINUOUS
Marcus, and Kenny are watching the sun set, drinking tea and
eating cookies.
Danny and a reluctant Grace and join them.
Kenny pours Grace some tea, and carefully continues his
conversation with Marcus.
KENNY
Well, if I was queen of the world,
there’d be no more wars, and all
the countries would have to settle
their disputes with a game of
chess.
MARCUS
I’d want everyone to have enough
food, and good shelter, free
education, and one really fabulous
outfit to wear whenever they felt
blue. What about you, Grace?
GRACE
I don’t know.
MARCUS
C’mon, Grace, what do you want your
world to be like?
GRACE
If I was queen of the world, I’d
make it a law that there had to be
respect for all living things,
people, animals, everything would
just be equal.
Marcus smiles sweetly at her.
GRACE (cont’d)
And the Beatles would have to play
a concert just for me and my
friends on my birthday every year.
Or maybe just John and me.
102.
CONTINUED:
DANNY
If I the Queen instead of just a
queen, I would just want to have a
castle on a remote island, with a
well stocked wine cellar and
pantry, and a yacht to bring my
friends for parties. I’d have the
best painters , writers and artists
lining up at my door. And to forget
the rest of the world. The world
will as it will, and no one person
can fix it or change it.
GRACE
That’s so bleak coming from you,
Danny.
DANNY
Well, I’ve seen enough of the worst
of people to know that the world
isn’t worth saving, so I might as
well have as good a time as I can,
before it’s my turn to go.
KENNY
Who knows what the future holds in
store.
MARCUS
We can!
Marcus jumps up and enters the house.
Everyone looks puzzled and continues sipping and snacking.
DANNY
He’s quite mad sometimes.
GRACE
But that’s why you love him.
Danny smiles at Grace. She smiles back, warmly and with
feeling.
Kenny looks at Grace tenderly.
Marcus re-enters with an Ouija board and a shot glass with a
small amount of brandy.
MARCUS
Everyone take a sip of the brandy,
while I set up the board.
103.
CONTINUED:
Marcus hands Grace the shot glass and takes a salt shaker out
of his pocket. He sprinkles salt in a circle around them as
the other three drink the brandy.
Grace passes the glass to Kenny. Kenny sips and passes the
glass to Danny. Danny drinks and passes the glass to Marcus.
Marcus drinks the last of the brandy, and then completes the
circle of salt.
Marcus takes the empty shot glass and uses it as the pointing
device.
GRACE
I’ve played Oujia before, and never
done all this stuff.
MARCUS
The salt is for our protection; do
not leave the circle until we have
stopped communicating with the
spirits.
KENNY
And the shot glass thing?
MARCUS
Oh, that, well, it just gives a
better sense of occasion, don’t you
think? Now, everyone put a finger
on the shot glass, gently, you need
to keep constant contact, but not
push the glass.
Spirits, are you willing to speak
to us?
The glass moves slightly towards the “NO” and then moves
determinedly to the “YES”.
MARCUS (CONT’D)
Spirits, is there anyone present
that you have a message for?
The glass does a circle of the board and stops on “yes”.
MARCUS (CONT’D)
Who is the message for?
The glass spells “Grace”.
MARCUS (CONT’D)
Spirits, what is the message?
104.
CONTINUED:
The glass spells out “marry a farmer.”
Grace is shocked by the message, and LAUGHS BITTERLY.
KENNY
Marry a farmer?
MARCUS
Spirits, do you have any other
messages?
The glass moves to yes.
MARCUS (CONT’D)
Who is the message for?
The glass spells “Ken”.
MARCUS (CONT’D)
What is the message?
The glass spells “Be heart true”.
KENNY
‘Be heart true’? That doesn’t mean
anything.
DANNY
Sometimes Ouija speaks in riddles.
Grace, are you harboring any secret
crushes on a boy from school? There
must be some farmers in your class
there.
GRACE
No, I think it’s silly. Let’s ask
it what horse will win the Kentucky
Derby, that would help us a lot to
getting your island.
MARCUS
The spirits don’t usually help that
way, they just like to give us
signs.
The glass starts to move rapidly around the board, and
Grace’s finger comes off of it.
MARCUS (CONT’D)
Spirits, is there something more?
The glass moves to “No”.
105.
CONTINUED:
MARCUS (CONT’D)
Goodbye spirits, and thank you.
The glass moves to “goodbye”.
INT. GRACE’S BEDROOM. NIGHT.
Grace sits and looks at the abstract drawings and at her
bruises. She focuses on bruise shapes in the drawings.
RITA
(in her head)
San Francisco is where we gotta be
to make it.
MUM
(in her head)
Saskatchewan.
ANGLE ON QUIJA BOARD FLASHBACK spelling out “farmer”.
GRACE
(sotto voce)
Farmer.
DANNY
(in her head)
San Francisco, the city of love and
adventure.
ANGLE ON QUIJA BOARD FLASHBACK signaling “good bye”
KENNY
(in her head)
Marry a Farmer?
GRACE
(sotto voce)
Saskatchewan.
MUM
(In her head)
Uncle Roger and Aunt Vereen are
going to Saskatchewan.
GRACE
(sotto voce)
Saskatchewan has my farmer
LONE FEMALE VOICE SCREAMING WORDLESSLY.
106.
CONTINUED:
INT. BOARDING HOUSE KITCHEN. DAY.
SEVERAL FEMALE VOICES SCREAMING, CRYING AND CHANTING for the
Beatles on the radio.
Grace, dressed in a simple blouse and skirt, with her hair
and make up done modestly, enters.
Marcus, Kenny and Danny are surprised to see her.
DANNY
I was going to bring a plate up.
Danny jumps up and starts to pull together a plate for Grace.
KENNY
Are we still going to the Beatles
concert tonight? They’ll be landing
at the airport soon. The radio says
there’s quite the crowd there
already.
GRACE
I’d like to have breakfast
downstairs. With all of you.
Marcus and Danny exchange worried looks. Danny touches his
throat.
Kenny smiles, taking Grace’s appearance as a good sign. Kenny
gets up and pulls out Grace’s chair.
Grace sits and looks lovingly at them all.
GRACE (cont’d)
You’ve all been so wonderful to me,
you really are the family that I
dreamed of having. You’ve been real
parents to me.
Danny fights back tears.
DANNY
Grace, princess…
GRACE
(trying not to cry)
My family taught me to run, and
you’ve taught me to fly, and it’s
time to do that.
107.
Danny touches his throat.
GRACE (cont’d)
I’d like to phone my mum.
DANNY
(heartbroken)
Okay, whatever you want, dear.
GRACE
I’ve decided that I’m going to
marry that farmer.
Danny and Marcus look at each other, confused.
DANNY
What farmer is that, dear?
GRACE
The farmer that the Ouija board
told me about, I’m going to
Saskatchewan, and stay with Gramma
and Grandpa. I’m going to find that
farmer and just marry him.
MARCUS
It’s not easy, you know, to make an
old queen like me cry.
Marcus steps forward and hugs Grace very tightly, then he
exits.
Danny steps forward and kisses her on the cheek.
DANNY
You’re always welcome back here,
this is your home, too. It’s
stupid, but you didn’t finish your
course, you’re so close to
finishing. You should wait a few
more months.
GRACE
I won’t need a hairdressing
certificate where I’m going, Danny.
KENNY
But, what about San Francisco? Your
art, how can you give up on all
that?
108.
CONTINUED:
Grace looks longingly at Kenny, he looks away, unable to keep
her gaze.
GRACE
(many emotions well up)
It’s what I’m meant to do, where
the next part of my journey begins.
I feel that this is right, more
than anything I’ve thought I
wanted. Thank you, for everything
you given me.
Danny and Grace hug each other hard.
DANNY
I’ve got to find the car keys.
Danny hurriedly exits.
Kenny sits sullenly at the table. Grace looks at him, gently
and tearfully.
INT. CAR/EXT. STREET OUTSIDE OF FAMILY HOME. DAY.
Kenny and Grace pull up in Danny’s car outside of Grace’s
family home. They park behind a new 1964 car that has
suitcases piled in a tied partially shut trunk, and a steamer
trunk tied to the roof.
Grace and Kenny make no move to exit their car.
GRACE
Maybe in our next life, Kenny. But
in this life, I’m going to be a
farmer’s wife, that’s what I’m
supposed to do. I almost died, and
if I stay in Vancouver or go to San
Francisco, I know that I will. I
don’t belong here in this time.
Grace leans over and kisses Kenny, gently at first, and then
with passion. Kenny kisses Grace back tenderly, unable to
find the passion.
Kenny breaks the kiss and cries.
KENNY
I wish I could feel that way for
you, because then you wouldn’t
leave me. And I can’t ask you to
stay here for me, when…
109.
CONTINUED:
Grace embraces Kenny and he melts against her. She strokes
his head soothingly as he cries.
GRACE
I know, I know. Maybe in our next
life, we’ll get it right.
Kenny laughs, bittersweet. He sits up.
KENNY
Until our next life.
Grace smiles at him, her eyes are damp. She gets out of the
car.
She walks down the sidewalk to the house. Mum and Father are
waiting at the door.
EXT. FARMHOUSE SASKATCHEWAN. DAY
Grace (dressed uptown) walks up the path to the farm house.
Her GRANDPARENTS welcome her from the porch.
INT. FARM BAR. NIGHT
Grace (dressed uptown and made up) sits alone at the bar.
OTHER PATRONS (dressed down Farmers, farm hands, a few Farm
Wives) eye her suspiciously.
GEORGE (mid 20′s, young farmer) watches her with some
admiration from across the bar.
INT. GRANDPARENT’S LIVING ROOM. EVENING
Grandparents and GEORGE’S PARENTS (mid 50′s) are having tea.
A two farm scene drawings by Grace are framed on the wall.
Through the window, Grace and George are on the porch swing.
EXT. FIELD. DAY
George and Grace picnic. Grace feeds George some food. George
feeds Grace some and gets the food on her cheek. They LAUGH
and she kisses him.
110.
CONTINUED:
INT. FARM BAR. NIGHT
George and Grace (dressed uptown) dance in the middle of a
few other YOUNGER COUPLES.
INT. CHURCH. DAY
Grace (dressed farmerly) sits with her Grandparents. George
sits with his family.
Grace makes covert faces at him, while he tries not to LAUGH.
EXT. LAKE. NIGHT
Grace and George are making out in his pick up, parked by a
lake.
The night is clear and the sky is full of stars and shooting
stars.
INT. ANTEROOM IN A COUNTRY CHURCH. DAY.
Grace (wedding dress) has one foot on the windowsill and is
about to climb out the window.
MUM (OS)
Grace, are you ready? They’re ready
to start!
Grace steps back down into the room.
GRACE
Be right out!
INT. HALLWAY LOOKING INTO CHURCH ROOM. DAY.
Mum (Mother of the Bride peach suit) waits with Carolyn, who
is holding her own DAUGHTER (1 year old).
Grace enters.
Mum smiles, teary eyed.
GRACE
Mum, don’t cry. I don’t like making
you cry.
111.
MUM
I don’t mind crying for happy
reasons, and you do make me happy,
you always knew how to make me
laugh.
Grace hugs Mum.
CAROLYN
You look wonderful, that dress is
just perfect for you.
GRACE
Stop, you’re going to make me cry
now, it took me an hour to do this
make up. I’m so out of practice.
CAROLYN
I just wish you weren’t going to be
living so far away, it would be
nice for our kids to grow up close.
GRACE
George’s family has given us a big
section of his family’s farm as a
wedding present. You can visit
every year, it’s only a couple days
drive, stay for the summer.
Carolyn nods and exits with her daughter to the church.
WEDDING MUSIC STARTS.
(step) Father steps out of the shadows, he smiles at Grace,
and offers her his arm.
She hesitates, and casts a glance at Mum. Mum gives her a
reassuring look. Grace slips her arm into Father’s.
FATHER
(choked with emotion)
You’re a beautiful bride.
Mum slipp passed them and exits to the church.
Father’s eyes are damp, his face warm and loving.
FATHER (cont’d)
Grace, I… I’m happy for you.
GRACE
Thank you.
112.
CONTINUED:
They step towards the archway entrance into the church
proper.
FATHER
George is a good man, and a lucky
one.
Grace LAUGHS, her hand touches her stomach protectively.
INT. CHURCH. DAY
A small country church is crammed with WEDDING GUESTS
(including all of Grace’s siblings and Danny and Marcus).
The MINISTER waits at the front with George and his BEST MAN.
An OLD WOMAN plays the WEDDING MARCH.
Grace and Father enter through the archway. Grace is smiling
radiantly.
The guests all stand and watch the bride.
GRACE’S POV to her right side:
In amongst OTHER RELATIVES and GUESTS:
Grace’s Grandparents.
Gregor’s smiling face.
Caroyln, CAROLYN’S HUSBAND, daughter.
Vanessa, Margarit and Teddy.
Danny and Marcus.
Mum.
GRACE’S POV to her left side:
GEORGE’S FAMILY (20 stern and sturdy looking people).
George fidgets, uncomfortable in the wedding suit. George is
mesmerized by Grace and stands stock still as she approaches.
Grace and her Father stop in the aisle.
113.
CONTINUED:
MINISTER
Dearly beloved, we are here today
to witness the joining of this man
and this woman in marriage.
Who gives this woman?
Grace’s eyes glisten. She kisses Father on the cheek. His
eyes are moist. He squeezes her hand.
A look of mutual forgiveness and almost understanding passes
between them.
Grace steps forward to George.
GRACE / FATHER
I do.
END CREDITS
Run with farm and family future scenes drawn by Grace.

see also:

the Three Day novel the screenplay is based on:

dykewriter.wordpress.com/2013/07/03/3-day-novel-contest-2001-grace/