573cdbc4363b1dfe9e2ad983d062dc036b20544f
movie
http://www.imsdb.com/scripts/Gran-Torino.html
GRAN TORINO Written
. THE END
 Walt Kowalski (Clint Eastwood) is a cantankerous, retired Polish American assembly line worker and Korean War veteran, who has recently been widowed after 50 years of marriage, causing him to be a lapsed Catholic. His Highland Park, Michigan neighborhood in the Detroit area, formerly populated by working class white families, is now dominated by poor Asian immigrants, and gang violence is commonplace. Adding to his isolation and detachment are his feelings towards his married sons and their families.
He rejects a suggestion from one of his sons to move to a retirement community (sensing that they want his home and possessions), and lives alone with his elderly dog. A longtime cigarette smoker, Walt suffers from coughing fits, occasionally coughing up blood, but conceals this from his family. Roman Catholic priest Father Janovich (Christopher Carley) tries to comfort him, but Walt disdains the young, inexperienced man. Eventually, Walt opens up to the priest, revealing that he is still haunted by memories of the war.
The Hmong Vang Lor family reside next door to Walt. Initially, he wants nothing to do with his new neighbors, particularly after he catches Thao (Bee Vang) attempting to steal his 1972 Ford Gran Torino as a coerced initiation into a Hmong gang run by Thao's cousin, Fong, whose nickname is "Spider". The gang is infuriated by Thao's failure and they attack him, but Walt confronts them with an M1 Garand rifle and chases them off, earning the respect of the Hmong community.
As penance, Thao's mother makes him work for Walt, who has him do odd jobs around the neighborhood, and the two form a grudging mutual respect. Thao's sister Sue (Ahney Her) introduces Walt to Hmong culture and helps him bond with the Hmong community, who soon become more like family to Walt than his actual family and he, in turn, becomes a better man to them than their own father was. Walt helps Thao get a job and gives him dating advice. Walt eventually visits a doctor regarding his coughing fits, where it is implied that he doesn't have very long to live.
Spider's gang continues to pressure Thao, assaulting him on his way home from work. After he sees Thao's injuries, Walt visits the gang's house, where he attacks a gang member as a warning. In retaliation, the gang performs a drive-by shooting on the Vang Lor home, injuring Thao. They also kidnap and rape Thao's sister Sue. There are no other witnesses, while the community members, including the victims, refuse to assist the police to incriminate the assaulters.
The next day, Thao seeks Walt's help to exact revenge, whereas Walt tells him to return later in the afternoon. In the meantime, Walt makes personal preparations: he buys a suit, gets a haircut, and makes a confession to Father Janovich, who had pressured him to make it at the behest of his late wife. When Thao returns, Walt takes him to the basement, gives him his Silver Star medal, and tells him of his haunting memory of having killed a surrendering enemy soldier. He then locks Thao in his basement, until the revenge is over, to make sure the boy will never be haunted by killing someone, with his life ahead of him.
That night Walt goes to the gang members' house, where they draw their weapons on him. He loudly berates them and enumerates their crimes, drawing the attention of the neighbors. Putting a cigarette in his mouth, he asks for a light, then puts his hand in his jacket and provocatively pulls it out as if he were holding a gun, causing the gang members to shoot and kill him. As he falls to the ground, his hand opens to reveal the Zippo cigarette lighter with the 1st Cavalry insignia that he had used throughout the film, revealing that he was unarmed. Sue, following Walt's directions earlier, frees Thao, and they drive to the scene in Walt's Gran Torino. One of the police officers tells them that all gang members have been placed under arrest for the murder, a crime which the family and the entire community come forward to witness this time.
Walt's funeral Mass is celebrated by Father Janovich and attended by his family and many of the Hmong community, many of whom are wearing traditional attire; their presence visibly puzzles Walt's family. Later, his last will and testament is read. To the surprise of his family, Walt leaves them nothing: his house goes to the church and his cherished Gran Torino goes to Thao, with the condition that he won't modify the vehicle. As the film ends, Thao is seen driving the car along Jefferson Avenue with Walt's dog.
Walt Kowalski ( Clint Eastwood ) is a cantankerous , retired Polish American assembly line worker and Korean War veteran , who has recently been widowed after 50 years of marriage , causing him to be a lapsed Catholic . His Highland Park , Michigan neighborhood in the Detroit area , formerly populated by working class white families , is now dominated by poor Asian immigrants , and gang violence is commonplace . Adding to his isolation and detachment are his feelings towards his married sons and their families . He rejects a suggestion from one of his sons to move to a retirement community ( sensing that they want his home and possessions ) , and lives alone with his elderly dog . A longtime cigarette smoker , Walt suffers from coughing fits , occasionally coughing up blood , but conceals this from his family . Roman Catholic priest Father Janovich ( Christopher Carley ) tries to comfort him , but Walt disdains the young , inexperienced man . Eventually , Walt opens up to the priest , revealing that he is still haunted by memories of the war . The Hmong Vang Lor family reside next door to Walt . Initially , he wants nothing to do with his new neighbors , particularly after he catches Thao ( Bee Vang ) attempting to steal his 1972 Ford Gran Torino as a coerced initiation into a Hmong gang run by Thao s cousin , Fong , whose nickname is Spider . The gang is infuriated by Thao s failure and they attack him , but Walt confronts them with an M1 Garand rifle and chases them off , earning the respect of the Hmong community . As penance , Thao s mother makes him work for Walt , who has him do odd jobs around the neighborhood , and the two form a grudging mutual respect . Thao s sister Sue ( Ahney Her ) introduces Walt to Hmong culture and helps him bond with the Hmong community , who soon become more like family to Walt than his actual family and he , in turn , becomes a better man to them than their own father was . Walt helps Thao get a job and gives him dating advice . Walt eventually visits a doctor regarding his coughing fits , where it is implied that he does n't have very long to live . Spider s gang continues to pressure Thao , assaulting him on his way home from work . After he sees Thao s injuries , Walt visits the gang s house , where he attacks a gang member as a warning . In retaliation , the gang performs a drive-by shooting on the Vang Lor home , injuring Thao . They also kidnap and rape Thao s sister Sue . There are no other witnesses , while the community members , including the victims , refuse to assist the police to incriminate the assaulters . The next day , Thao seeks Walt s help to exact revenge , whereas Walt tells him to return later in the afternoon . In the meantime , Walt makes personal preparations : he buys a suit , gets a haircut , and makes a confession to Father Janovich , who had pressured him to make it at the behest of his late wife . When Thao returns , Walt takes him to the basement , gives him his Silver Star medal , and tells him of his haunting memory of having killed a surrendering enemy soldier . He then locks Thao in his basement , until the revenge is over , to make sure the boy will never be haunted by killing someone , with his life ahead of him . That night Walt goes to the gang members ' house , where they draw their weapons on him . He loudly berates them and enumerates their crimes , drawing the attention of the neighbors . Putting a cigarette in his mouth , he asks for a light , then puts his hand in his jacket and provocatively pulls it out as if he were holding a gun , causing the gang members to shoot and kill him . As he falls to the ground , his hand opens to reveal the Zippo cigarette lighter with the 1st Cavalry insignia that he had used throughout the film , revealing that he was unarmed . Sue , following Walt s directions earlier , frees Thao , and they drive to the scene in Walt s Gran Torino . One of the police officers tells them that all gang members have been placed under arrest for the murder , a crime which the family and the entire community come forward to witness this time . Walt s funeral Mass is celebrated by Father Janovich and attended by his family and many of the Hmong community , many of whom are wearing traditional attire ; their presence visibly puzzles Walt s family . Later , his last will and testament is read . To the surprise of his family , Walt leaves them nothing : his house goes to the church and his cherished Gran Torino goes to Thao , with the condition that he wo n't modify the vehicle . As the film ends , Thao is seen driving the car along Jefferson Avenue with Walt s dog .
http://en.wikipedia.org/wiki/Gran_Torino
Gran Torino
<html>
<head><title>Gran Torino Script at IMSDb.</title>
<meta name="description" content="Gran Torino script at the Internet Movie Script Database.">
<meta name="keywords" content="Gran Torino script, Gran Torino movie script, Gran Torino film script">
<meta name="viewport" content="width=device-width, initial-scale=1" />
<meta name="HandheldFriendly" content="true">
<meta http-equiv="content-type" content="text/html; charset=iso-8859-1">
<meta http-equiv="Content-Language" content="EN">

<meta name=objecttype CONTENT=Document>
<meta name=ROBOTS CONTENT="INDEX, FOLLOW">
<meta name=Subject CONTENT="Movie scripts, Film scripts">
<meta name=rating CONTENT=General>
<meta name=distribution content=Global>
<meta name=revisit-after CONTENT="2 days">

<link href="/style.css" rel="stylesheet" type="text/css">

<script type="text/javascript">
  var _gaq = _gaq || [];
  _gaq.push(['_setAccount', 'UA-3785444-3']);
  _gaq.push(['_trackPageview']);

  (function() {
    var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true;
    ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js';
    var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s);
  })();
</script>

</head>

<body topmargin="0" bottommargin="0" id="mainbody">

<table width="99%" border="0" cellspacing="0" cellpadding="0" class="body">
  <tr> 
    <td valign="bottom" bgcolor="#FF0000"><a href="https://www.imsdb.com" title="The Internet Movie Script Database"><img src="/images/logo_top.gif" border="0"></a></td>
    <td bgcolor="#FF0000">
	<center>
	    <font color="#FFFFFF"><h1>The Internet Movie Script Database (IMSDb)</h1></font>
</center>
  <tr> 
    <td background="/images/reel.gif" height="13" colspan="2"><a href="https://www.imsdb.com" title="The Internet Movie Script Database"><img src="/images/logo_middle.gif" border="0"></a></td>
  <tr> 
    <td width="170" valign="top" class="smalltxt"> <a href="https://www.imsdb.com" title="The Internet Movie Script Database"><img src="/images/logo_bottom.gif" width="170" border="0"></a> 
      <br>
	<center><span class="smalltxt">The web's largest <br>movie script resource!</span></center>
	</td>
    <td>	
    <script type="text/javascript"><!--
	 e9 = new Object();
     e9.size = "728x90";
     //--></script>
    <script type="text/javascript" src="//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js"></script>
   </td>
  </tr>
</table>


<br>
<table width="99%" border="0" cellspacing="0" cellpadding="0" class="body">
  <tr> 
   
    <td width="180" valign="top">

<table class=body border=0 cellspacing=0 cellpadding=2 width="100%">
<tr> 
          <td colspan="2" class=heading>Search IMSDb<tr>
<form method="post" action="/search.php">
            <td width="180"> <div align="center">
                <input type="text" name="search_query" maxlength="255" size="15">
                <input type="submit" value="Go!" name="submit">
              </div></td>
</form>
</table>

<br>
<table width="100%" border=0 cellpadding=2 cellspacing=0 class=body>
<tr>
<td colspan=9 class=heading>Alphabetical
<tr align="center">
        <td><a href="/alphabetical/0">#</a> 
        <td><a href="/alphabetical/A">A</a>
        <td><a href="/alphabetical/B">B</a>
        <td><a href="/alphabetical/C">C</a>
        <td><a href="/alphabetical/D">D</a>
        <td><a href="/alphabetical/E">E</a>
        <td><a href="/alphabetical/F">F</a>
        <td><a href="/alphabetical/G">G</a>
        <td><a href="/alphabetical/H">H</a><tr align="center"> 
        <td><a href="/alphabetical/I">I</a>
        <td><a href="/alphabetical/J">J</a>
        <td><a href="/alphabetical/K">K</a>
        <td><a href="/alphabetical/L">L</a>
        <td><a href="/alphabetical/M">M</a>
        <td><a href="/alphabetical/N">N</a>
        <td><a href="/alphabetical/O">O</a>
        <td><a href="/alphabetical/P">P</a>
        <td><a href="/alphabetical/Q">Q</a><tr align="center"> 
        <td><a href="/alphabetical/R">R</a>
        <td><a href="/alphabetical/S">S</a>
        <td><a href="/alphabetical/T">T</a>
        <td><a href="/alphabetical/U">U</a>
        <td><a href="/alphabetical/V">V</a>
        <td><a href="/alphabetical/W">W</a>
        <td><a href="/alphabetical/X">X</a>
        <td><a href="/alphabetical/Y">Y</a>
        <td><a href="/alphabetical/Z">Z</a>
</table>
<br>
<table width="100%" border=0 cellpadding=2 cellspacing=0 class=body>
<tr>
<td colspan=3 class=heading>Genre
<tr> 
	<td><a href="/genre/Action">Action</a>
	<td><a href="/genre/Adventure">Adventure</a>
	<td><a href="/genre/Animation">Animation</a><tr>
	<td><a href="/genre/Comedy">Comedy</a>
	<td><a href="/genre/Crime">Crime</a>
	<td><a href="/genre/Drama">Drama</a><tr>
	<td><a href="/genre/Family">Family</a>
	<td><a href="/genre/Fantasy">Fantasy</a>
	<td><a href="/genre/Film-Noir">Film-Noir</a><tr>
	<td><a href="/genre/Horror">Horror</a>
	<td><a href="/genre/Musical">Musical</a>
	<td><a href="/genre/Mystery">Mystery</a><tr>
	<td><a href="/genre/Romance">Romance</a>
	<td><a href="/genre/Sci-Fi">Sci-Fi</a>
	<td><a href="/genre/Short">Short</a><tr>
	<td><a href="/genre/Thriller">Thriller</a>
	<td><a href="/genre/War">War</a>
	<td><a href="/genre/Western">Western</a>
</table>

<br>
<table class=body border=0 cellspacing=0 cellpadding=2 width="100%">
<tr> 
 <td colspan="2" class=heading>Sponsor<tr>
 <td width="300" bgcolor="#FFFFFF">
 <script type="text/javascript"><!--
	e9 = new Object();
    e9.size = "300x250";
 //--></script>
 <script type="text/javascript" src="//tags.expo9.exponential.com/tags/IMSDb/ROS/tags.js"></script>
 </td>
</table>


<br>
<table width="100%" border=0 cellpadding=2 cellspacing=0 class=body>
<tr>
<td class=heading>TV Transcripts
<tr> 
	<td><a href="/TV/Futurama.html">Futurama</a><tr>
	<td><a href="/TV/Seinfeld.html">Seinfeld</a><tr>
	<td><a href="/TV/South Park.html">South Park</a><tr>
	<td><a href="/TV/Stargate SG1.html">Stargate SG-1</a><tr>
	<td><a href="/TV/Lost.html">Lost</a><tr>
	<td><a href="/TV/The 4400.html">The 4400</a>
</table>

<br>
<table width="100%" class="body">
<tr>
<td colspan=3 class=heading>International
<tr> 
	<td><a href="/language/French">French scripts</a>
</table>

<br>
<table width="100%" border=0 cellpadding=2 cellspacing=0 class=body>
<tr>
<td class=heading>Movie Software
<tr>
    <td><a href="/out/dvd-ripper"><img src="/images/a/dvd-ripper.jpg" alt="DVD ripper software offer"></a>
<tr>
	<td><a href="/software/rip-from-dvd">Rip from DVD</a>
<tr>
	<td><a href="/software/rip-blu-ray">Rip Blu-Ray</a>
</table>

<br>
<table width="100%" border=0 cellpadding=2 cellspacing=0 class=body>
<tr>
<td colspan=3 class=heading>Latest Comments
<tr>
<td><a href="/Movie Scripts/Star Wars: Revenge of the Sith Script.html">Star Wars: Revenge of the Sith<td>10/10<tr>
<td><a href="/Movie Scripts/Star Wars: The Force Awakens Script.html">Star Wars: The Force Awakens<td>10/10<tr>
<td><a href="/Movie Scripts/Batman Begins Script.html">Batman Begins<td>9/10<tr>
<td><a href="/Movie Scripts/Collateral Script.html">Collateral<td>10/10<tr>
<td><a href="/Movie Scripts/Jackie Brown Script.html">Jackie Brown<td>8/10<tr>
</table>
<br>

<table width="100%" border=0 cellpadding=2 cellspacing=0 class=body>
<tr>
<td class=heading>Movie Chat
<tr> 
<td align="center">
<SCRIPT LANGUAGE="Javascript" TYPE="text/javascript" SRC="https://www.yellbox.com/ybscript_enhanced.js"></SCRIPT>
<iframe class="yellbox" frameborder=0 name="ybframe" height=170 marginwidth=0 marginheight=0 src="https://www.yellbox.com/yellbox.php?name=imsdb">
</iframe>
<form class="yellbox" action="https://www.yellbox.com/addmessage.php" method="post" target="ybframe" name="yellform"> 
 <input type="hidden" name="sub_username" value="imsdb">
 <input class="yellbox" name="sub_name" value="Name" size=21 maxlength=10 onFocus="if(this.value == 'Name')this.value = ''; return;"><br>
 <textarea class="yellbox" cols=15 rows=4 name="sub_message" wrap onFocus="if(this.value == 'Message')this.value = ''; return;">Message</textarea>
 <table><tr><td>
 <button onClick="javascript:makeNewWindow(); return false;"><img src="https://www.yellbox.com/images/smiley.gif" width=16 height=16></button>
 <td><button type="submit" value="Post" onClick="return clearMessageBox();">Yell !</button></table>
</form> 
</table>


<div align="center"><br><br>
      <a href="https://www.imsdb.com/all%20scripts">ALL SCRIPTS</a><br><br>
</div>

<td width="10"></td>
<td valign="top">
<br> <table width="100%"><tr><td class="scrtext">

<pre> 



<b>                                 GRAN TORINO
</b>

                                  Written by

                                  Nick Schenk





<b>          FADE IN:
</b>
<b>          INT. CHURCH
</b>
          We're at the funeral of Dorothy Kowalski. In attendance
          are mostly old folks, their offspring and several bored
          teenagers.
          WALT KOWALSKI stands towards the front of the church. He
          speaks to an older MAN in a bulky, out-of-date suit.

<b>          OLDER MAN
</b>          I'm real sorry about Dorothy,
          Walt. She was a real peach.

<b>          WALT
</b>          Thanks for coming, Al.
          Walt Kowalski looks young for his age. He has slate blue
          eyes, physically fit and has had the same buzz cut
          hairstyle since getting out of the military in 1953.
          Walt is also a perfectionist. Nothing escapes his
          hawklike eyes, eyes that pierce and judge.
          Walt looks around at how the young people have dressed at
          his wife's funeral. His eyes narrow at his
          GRANDDAUGHTER's belly button ring.

<b>          WALT
</b>          Jesus Christ.
          Walt's two sons, MITCH and STEVE, watch their father from
          across the pews.

<b>          MITCH
</b>          Look at the Old Man glaring at
          Ashley. He can't even tone it
          down at Mom's funeral?

<b>          STEVE
</b>          What do you expect? Dad's still
          living in the 50s. He expects
          his granddaughter to dress a
          little more modestly.

<b>          MITCH
</b>          Yeah, well your kid's wearing a
          Timberwolves jersey. I'm sure Dad
          appreciates that.

<b>          STEVE
</b>          My point is that there's nothing
          anyone can do that won't
          disappoint the Old Man.

<b>          (MORE)
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 3
</b>          It's inevitable. That's why we
          stopped doing Thanksgivings; the
          deal with the boat motor, the
          broken bird bath, it's always
          something.

<b>          MITCH
</b>          What are we going to do with him?
          Don't you think he'll get in
          trouble by himself over in the old
          neighborhood?

<b>          STEVE
</b>          Why don't you have him move in
          with you?

<b>          MITCH
</b>          Ha ha.

<b>          INT. CHURCH - LATER
</b>

          The choir sings the Beatitudes.
          Walt looks around disgustedly at the people gathered as
          one woman looks through her day planner, an old guy dozes
          and his Granddaughter Ashley applies nail polish.
          FATHER JANOVICH, the very young parish priest, steps up
          to the altar and delivers the eulogy for Walt's wife.
          Walt sits ramrod straight and listens to the thin, weak,
          unconvincing words of Father Janovich.

<b>          FATHER JANOVICH
</b>          Death... is often a bittersweet
          occasion to us Catholics. Bitter
          in the pain it causes the deceased
          ... and their families. Sweet to
          those who know the salvation that
          awaits them. And some may ask,
          what is death. Is it the end? Or
          is it the beginning? And what is
          life? What is this thing we call
          life?

<b>          WALT
</b>          Jesus.
          Walt coughs. He takes a handkerchief and wipes his lips.
          He looks down and notices a speck of BLOOD on the white
          cloth.

<b>          CONTINUED:
</b>

<b>          INT. WALT'S HOUSE - SAME TIME
</b>
          The house is crammed with people following the service.
          Walt doesn't know what to do with himself. He has to
          keep busy. Steve steps over to his father.

<b>          STEVE
</b>          A lot of people showed up after
          the service.

<b>          WALT
</b>          Yeah, well, I s'pose they knew
          there'd be plenty of ham. I think
          I'll go downstairs and get some
          more chairs.

<b>          STEVE
</b>          I'll do it, Dad.

<b>          WALT
</b>          Naw, we need them now, not next
          week.

<b>          INT. CELLAR - SAME TIME
</b>
          Grandsons JOSH, DANIEL and DAVID look through boxes in
          the cellar. A box of old Korea War photos are pawed
          through.

          Josh holds up a black-and-white PHOTO -- a young WALT
          looks utterly exhausted, behind him six bodies are
          sprawled dead on the ground.

<b>          DAVID
</b>          Is that Dad?

<b>          DANIEL
</b>          No, it's Grandpa Walt.
          Josh turns the photo over and reads it...

<b>          JOSH
</b>          Third Platoon, E company, March
          second, 1952, Korea.'

<b>          DANIEL
</b>          Where's Korea?

<b>          JOSH
</b>          Hell if I know?
          David holds up a MEDAL.

<b>          3.
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 5
</b>
<b>          DAVID
</b>          Cool, I found a medal.
          They hear someone coming downstairs. By the time Walt
          descends the staircase, the boys sit on the couch,
          pretending to be doing nothing.
          Walt gives them a hard look as he grabs some chairs.

<b>          UPSTAIRS
</b>
<b>          5
</b>
<b>          5
</b>          People eat and chat. Ashley marches over to her parents,
          KAREN and Mitch.

<b>          ASHLEY (GRANDDAUGHTER)
</b>          How long do we have to stay, this
          ghetto is a dead zone for my cell
          and I'm bored.
          Walt stands behind them with an armful of folding chairs,
          he overheard his Granddaughter. Mitch and Karen are
          embarrassed.

<b>          MITCH
</b>          Ashley, honey. Why don't you help
          Grandpa Walt with the chairs?

<b>          ASHLEY
</b>          Me?

<b>          KAREN
</b>          Yes you.

<b>          ASHLEY
</b>          Grandpa Walt, can I help you with
          the chairs.

<b>          WALT
</b>          I'll take care of it, you just
          painted your nails.
          Walt opens the folding chairs and looks out the window.
          It's snowing. Walt puts on his coat, he almost looks
          relieved to get out of the house.

<b>          WALT
</b>          I'd better salt the sidewalk
          before someone falls and breaks a
          hip.
          Walt taps the floor with his boot and DAISY, his very,
          very, very old DOG follows him outside.

<b>          4.
</b>
<b>          CONTINUED:
</b>
<b>          4
</b>
<b>          4
</b>
<b>          PAGE 6
</b>
<b>          EXT. WALT'S HOUSE - EVENING
</b>

<b>          6
</b>
<b>          6
</b>          Walt carefully shovels his sidewalk. He deliberately
          stops at the boundary of his property.
          The reason for this is that Walt's neighbors are now
          mostly Asians who moved into the house that once belonged
          to Polish families.
          Next door to Walt's house some sort of party is going on.
          Walt can see through the window that the living room is
          jammed with at least forty people, all Asians, all Hmong.
          And this is a problem for Walt, because Walt is a full-
          blown, unrepentant racist.
          Walt lights a cigarette and speaks to his dog, Daisy.

<b>          WALT
</b>          Jesus Christ, how many swamp rats
          can they cram into a living room?
          Walt spits in the snow and walks back to the garage.

<b>          INT. GARAGE - SAME TIME
</b>

<b>          7
</b>
<b>          7
</b>          Walt steps inside and catches Ashley sneaking a
          cigarette. She has pulled back the canvas tarp that
          covers his pride and joy, his beloved 1972 GRAN TORINO.
          The Gran Torino is in mint condition. It has been babied
          since the day it rolled off the line.
          Ashley tosses her cigarette when she sees Grandpa Walt.

<b>          ASHLEY
</b>          Wow, Grandpa, when'd you get the
          vintage car?
          Walt looks at her for a second, then steps on her still
          burning cigarette before answering.

<b>          WALT
</b>
<b>          1972.
</b>
<b>          ASHLEY
</b>          I never knew you had a cool old
          car.

<b>          WALT
</b>          It's only been in here since
          before you were born.

<b>          5.
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 7
</b>
<b>          ASHLEY
</b>          So, what are you like going to do
          with it like, when... you die?
          Walt lights up a smoke --

<b>          WALT
</b>          Jesus, Joseph and Mary.
          Walt pulls the cover back over the Gran Torino.

<b>          ASHLEY
</b>          Then what about that super cool
          retro couch in the den, I'm going
          to State next year and I don't
          have, like, any furniture?
          Walt walks out without commenting.

<b>          BACK IN WALT'S HOUSE
</b>
<b>          8
</b>
<b>          8
</b>          The doorbell rings and Walt opens the door. Standing
          there is TAO, a sixteen-year-old HMONG boy. Walt scowls.
          TAO is slight, he has long hair, long lashes, but is very
          good-looking -- like an Asian Johnny Depp.

<b>          WALT
</b>          Who the hell are you?

<b>          TAO
</b>          (very quietly)
          I'm Tao, I live next door.

<b>          WALT
</b>          What?! Speak up, boy, get the
          shit out of your mouth. What do
          you want?

<b>          TAO
</b>          Do you have jumper cables? My
          uncle's car is old and...

<b>          WALT
</b>          No. And have some goddamned
          respect, zipper head, we're
          mourning over here.
          Walt slams the door in Tao's face.
          Walt turns and is suddenly cornered by Father Janovich.
          Walt hates situations like this.

<b>          6.
</b>
<b>          CONTINUED:
</b>
<b>          7
</b>
<b>          7
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 8
</b>
<b>          FATHER JANOVICH
</b>          How you holding up, Walt?

<b>          WALT
</b>          Mr. Kowalski.

<b>          FATHER JANOVICH
</b>          Huh?

<b>          WALT
</b>          It's Mr. Kowalski, not Walt.

<b>          FATHER JANOVICH
</b>          Right, Mr. Kowalski. Your wife
          and I became quite close these
          last few months. She asked that I
          watch over you when she passed on.
          I told her I watch out for my
          entire flock, but she made me
          promise I'd keep an extra sharp
          eye on you.

<b>          WALT
</b>          I appreciate your kindness to my
          wife and now that you've spoken
          your piece, why don't you move on
          to the next sheep?
          Walt starts to step away, but Father Janovich blocks him.

<b>          FATHER JANOVICH
</b>          Dorothy mentioned specifically
          that it was her wish for you to go
          to confession. She said she
          couldn't remember the last time
          you went.

<b>          WALT
</b>          Is that so?

<b>          FATHER JANOVICH
</b>          It is.
          Walt drains his lowball glass.

<b>          WALT
</b>          Well, I confess I never much liked
          church and only went because of
          the wife. And I confess I have no
          desire to confess to a boy who is
          fresh out of the seminary.

<b>          7.
</b>
<b>          CONTINUED:
</b>
<b>          8
</b>
<b>          8
</b>
<b>          PAGE 9
</b>
<b>          EXT. WALT'S HOUSE - LATER
</b>

<b>          9
</b>
<b>          9
</b>          People are leaving Walt's house. A mass of shuffling,
          stiff-jointed old Pollacks.
          Right next door -- walking the opposite direction are
          more Hmong going up the sidewalk. They laugh and chatter
          and carry big dishes of food and fruit. They are a happy
          bunch compared to the dour crowd exiting Walt's home.
          The Hmong are going to a birth ceremony. A three-day-old
          baby is named and three souls are located for the
          newborn.

<b>          CUT TO:
</b>
<b>          ANOTHER ANGLE
</b>          Walt leans over a car that contains two shivering old
          ladies from the funeral. He hooks up the jumper cables
          to their dead battery.
          Mitch, Karen, Ashley and Josh pull up next to Walt in a
          brand new Toyota Land Cruiser. Mitch opens the window.

<b>          MITCH
</b>          I'd really like to help, Dad, but
          we have to get the kids home,
          they're getting restless.
          Walt just looks at the TOYOTA EMBLEM on the Land Cruiser
          and then gives Mitch a disgusted glance.

<b>          WALT
</b>          Fine. Go.

<b>          MITCH
</b>          I'll call in a few, see how you're
          doing.
          Walt nods and lights a cigarette as they drive off.

<b>          WALT
</b>          Kill you to buy American.

<b>          INT. LAND CRUISER - SAME TIME
</b>

<b>          10
</b>
<b>          10
</b>
<b>          MITCH
</b>          Did you see him look at the truck?
          It's always Rice-Burner this or
          Jap-Buggy that. Even at Mom's
          funeral, he can't let it go.

<b>          8.
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 10
</b>
<b>          KAREN
</b>          At least he didn't say anything
          this time.

<b>          MITCH
</b>          He didn't have to.

<b>          KAREN
</b>          Well, what do you expect? The man
          worked at a Ford plant for twenty-
          eight years.

<b>          MITCH
</b>          And I suppose that's my goddamned
          fault?

<b>          BACK ON WALT
</b>
<b>          11
</b>
<b>          11
</b>          Walt gets his guests' engine running.
          As they drive off, Walt hears faint SINGING. Walt looks
          into his neighbor's backyard and can't believe his eyes.
          The Hmong all sing and chant as three CHICKENS have their
          heads sliced off, right there in the yard.
          The chickens are held up and everyone chants louder.
          It's a sacrifice. Walt spits in the snow and says to
          Daisy.

<b>          WALT
</b>          Barbarians. Goddamned barbarians.

<b>          INT. HMONG HOUSE NEXT DOOR - SAME TIME
</b>

<b>          12
</b>
<b>          12
</b>          The house is a buzz of activity. The older Hmong speak
          their native language, the younger generation speaks both
          English and Hmong.
          (NOTE: Hmong is subtitled when necessary.)
          Tao's Grandmother (PHONG) complains to a MAN.

<b>          PHONG
</b>
<b>          (SUBTITLED)
</b>          There's no man in this house,
          that's why my daughter should
          remarry. Being a second wife is
          better than having a woman be the
          head of the household. It's not
          our way.

<b>          9.
</b>
<b>          CONTINUED:
</b>
<b>          10
</b>
<b>          10
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 11
</b>
<b>          MAN
</b>
<b>          (SUBTITLED)
</b>          What about Tao?

<b>          PHONG
</b>
<b>          (SUBTITLED)
</b>          What about him?

<b>          MAN
</b>
<b>          (SUBTITLED)
</b>          He's the man in the house.

<b>          PHONG
</b>
<b>          (SUBTITLED)
</b>          Tao's not a man.

<b>          (GESTURES)
</b>          Look at him in the kitchen,
          washing dishes like a woman. Even
          his sister gives him orders and he
          obeys.
          The CAMERA PANS TO the kitchen where TAO washes a pile of
          dishes. An older relative drops dishes in the sink,
          without acknowledging Tao's presence. It's clearly an
          insult.
          In the LIVING ROOM the Hmong Soul Calling ceremony
          starts its next phase. An elder, the family SHAMAN, is
          present and begins the ritual.
          As the entire Hmong family gathers to watch. Tao slips
          on his coat and goes out the back door.

<b>          EXT. TAO'S HOUSE - SAME TIME
</b>

<b>          13
</b>
<b>          13
</b>          Tao wobbles as he pedals his bike through the snow.
          Tao passes Walt's garage and is startled as Walt appears
          from a shadow, JUMPER CABLES in his hands. They make eye
          contact as Tao passes.
          Walt spits in the snow and looks down at Daisy.

<b>          WALT
</b>          I thought these zips were supposed
          to be such hard workers. Christ,
          I had my own car when I was his
          age.

<b>          EXT. CONVENIENCE STORE - NIGHT
</b>

<b>          14
</b>
<b>          14
</b>          Tao exits the store, gets on his bike and rides off.

<b>          10.
</b>
<b>          CONTINUED:
</b>
<b>          12
</b>
<b>          12
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 12
</b>          A few blocks away, Tao rides past a snowbank when --
          WHAM! A HOCKEY STICK is thrown through the spokes of his
          front wheel. Tao flies over the handlebars into the
          snow.
          A chorus of laughter is heard. Three LATINOS stand
          around the stunned, prone Tao.

<b>          HEAD LATINO
</b>          Whatta you gonna do, gook? You
          gonna Kung Fu' us?
          Tao just lies there as Latino #2 picks up his bike.

<b>          LATINO #2
</b>          Surprised it ain't a girl's bike.
          The Latinos laugh. Tao remains on the ground.

<b>          HEAD LATINO
</b>          You gonna get up or what?
          Tao doesn't move.

<b>          HEAD LATINO
</b>          Tell you what, I'll let you take
          the first swing. You drop me and
          you can have your bike back.
          Tao smiles, he can't help it.

<b>          HEAD LATINO
</b>          What the fuck you smiling at,
          gook? Something funny?
          He grabs Tao by the jacket and pulls him to his feet.

<b>          HEAD LATINO
</b>          You better get the fuck outta
          here, bitch.
          He pushes Tao backwards. Tao falls back into the snow.
          This time Tao crab-walks back away from the Latinos.
          The Latinos stroll away with Tao's bike.

<b>          EXT. WALT'S HOUSE - SUNNY SPRING MORNING
</b>

<b>          15
</b>
<b>          15
</b>
<b>          SUPERIMPOSE: THREE MONTHS LATER
</b>          Walt is going about the chores of spring cleaning.

<b>          11.
</b>
<b>          CONTINUED:
</b>
<b>          14
</b>
<b>          14
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 13
</b>          Walt looks around with disdain at his neighbors' houses.
          Walt's property is perfectly kept, whereas his neighbors'
          houses are rundown.
          Walt's eyes linger on every defect, gutter hangs, ripped
          screen doors, peeling paint. One neighbor has installed
          a chicken coop.
          Walt looks down at Daisy --

<b>          WALT
</b>          Damn chinks let their yards go to
          hell. Polarski would turn over in
          his grave if he could see what
          they did to his lawn.
          Tao walks past. Walt watches him pass.

<b>          WALT
</b>          I don't know why these goddamned
          slopes had to move to my block.
          This used to be a nice
          neighborhood.

<b>          EXT. TAO'S HOUSE - SAME TIME
</b>

<b>          16
</b>
<b>          16
</b>          Tao nods to an older woman rocking in a broken rocking
          chair. PHONG nods back to Tao, then turns her evil eye
          back on Walt, whom she's been seething at all morning.

<b>          PHONG
</b>
<b>          (SUBTITLED)
</b>          Why doesn't that stupid, hairy
          white man move? He must be too
          dumb to realize he's not welcome
          here. All the Mee-Khah left in
          the neighborhood should just move
          away. Look at him strut like a
          rooster.
          She sees Walt glance at her and spit. Phong glares back
          and spits beetle juice, which has turned her teeth black.

<b>          INT. WALT'S HOUSE - DAY
</b>

<b>          17
</b>
<b>          17
</b>          Daisy snoozes next to the front door. The doorbell
          rings; Daisy doesn't even move. Walt walks to the front
          door holding a roll of duct tape. The doorbell rings
          again.
          Walt looks down at Daisy --

<b>          12.
</b>
<b>          CONTINUED:
</b>
<b>          15
</b>
<b>          15
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 14
</b>
<b>          WALT
</b>          Jesus Christ, dog, have you gone
          totally deaf?
          Walt opens the door. Standing on his front step is
          Father Janovich.

<b>          FATHER JANOVICH
</b>          Hi there, Walt.

<b>          WALT
</b>          Listen, son, you're not my barber,
          you're not a friend, so why in the
          hell do you think you can call me
          Walt?

<b>          FATHER JANOVICH
</b>          Sorry... Mr. Kowalski.

<b>          WALT
</b>          So, what are you peddling now?

<b>          FATHER JANOVICH
</b>          Oh, nothing. Thought I'd drop by
          and see how you were doing.
          Haven't seen you in church in
          awhile.

<b>          WALT
</b>          Okay. You've done your good deed,
          now why don't you run along.

<b>          FATHER JANOVICH
</b>          I'd really like to talk, Mr.
          Kowalski.

<b>          WALT
</b>          I don't think so, kid. Sorry.

<b>          FATHER JANOVICH
</b>          Why? Do you have a problem with
          me, Mr. Kowalski?

<b>          WALT
</b>          You don't want to know.

<b>          FATHER JANOVICH
</b>          No, I do.

<b>          WALT
</b>          The problem is I think you're an
          overeducated, 27-year-old virgin
          who holds the hands of
          superstitious old women and
          promises them eternity.

<b>          13.
</b>
<b>          CONTINUED:
</b>
<b>          17
</b>
<b>          17
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 15
</b>          Walt shuts the front door in Father Janovich's face.

<b>          EXT. STREET - DAY
</b>

<b>          18
</b>
<b>          18
</b>          Tao walks down the street, his head in a book. He
          finally realizes there's a blue Chevy following slowly
          behind him.
          The blue Chevy is now parallel with Tao and keeps pace
          with his step. Tao looks over to the occupants of the
          Chevy.
          It's two LATINOS. Tao quickens his pace, but the Chevy
          easily keeps up with Tao.

<b>          LATINO DRIVER
</b>          Is you a boy or a girl, I can't
          tell?

<b>          LATINO #2
</b>          What you reading, gook, Jackass
          And The Rice Stalk?
          Tao laughs, but keeps walking.

<b>          LATINO DRIVER
</b>          That's right, you keep walking.
          Fucking slopes everywhere you
          look, man. Why gooks come up in
          here and fuck up our neighborhood?
          Down the street -- is a suped-up HONDA CIVIC with a big
          SPOILER on the back. Inside are five Hmong gangbangers.
          The Hmong gangbangers notice Tao being followed by the
          Latinos. SPIDER, the driver, squints and then points at
          Tao.

<b>          SPIDER
</b>          Dude, that's my little cousin,
          Tao.

<b>          SMOKIE
</b>          You sure about that, Spider?

<b>          SPIDER
</b>          I'm sure. Do we do something...
          or what?
          Smokie is the gang leader. He looks at Tao for a second.

<b>          SMOKIE
</b>          Your cousin tight with anyone?

<b>          14.
</b>
<b>          CONTINUED: (2)
</b>
<b>          17
</b>
<b>          17
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 16
</b>
<b>          SPIDER
</b>          No, he flies solo, Smokie.

<b>          SMOKIE
</b>          Okay. Let's go help out our
          little cousin.
          Smokie nods to Spider, they roar up and stop right across
          from Tao and the Latinos' car.

<b>          SMOKIE
</b>          You better not be giving my bro
          here a hard time or you're gonna
          wish you never been born.

<b>          LATINO DRIVER
</b>          Oh goody, more Rice Niggers.
          The Latino Driver smiles and flashes a PISTOL.
          A Hmong kid in the back seat opens the door and displays
          a sub-machine gun. The Latinos are way out-gunned.

<b>          LATINO #2
</b>          Fucking Viet Cong swamp rats. Go
          back to your fucking rice paddy.
          The Latinos screech their tires and are gone. The Hmongs
          in the car smile and congratulate themselves.
          Tao simply keeps walking down the street!

<b>          SMOKIE
</b>          Where the fuck does he think he's
          going? Turn us around and go
          after that cousin of yours.
          They swing a U-turn and pull up to Tao, keeping pace with
          him as he walks.

<b>          SPIDER
</b>          Hey, cuz, slow down, where you
          going? You should really think
          about hanging with us, man. If we
          all stick together, shit like that
          won't happen, with those Spicks.
          Tao nods as he walks, but doesn't answer.

<b>          SPIDER
</b>          You can't be such a little girl.
          You join up with us, we'll keep
          you out of trouble, cuz.

<b>          15.
</b>
<b>          CONTINUED:
</b>
<b>          18
</b>
<b>          18
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 17
</b>          Tao looks at the sub-machine gun cradled by the Hmong
          gangbanger in the back seat.
          Smokie takes this all in. He looks down the street and
          sees that in a half block, Tao will have to pass a group
          of Latino gangbanger types.

<b>          SMOKIE
</b>          You think about it and we'll see
          you tomorrow.

<b>          EXT. TAO'S HOUSE - DAY
</b>

<b>          19
</b>
<b>          19
</b>          Tao digs in the garden. Tao's younger sister SUE sits
          and reads JANE magazine on the porch.
          The tricked-out Honda with Blue Neon lights pulls up.
          Spider, Smokie and two other Hmong gangbangers get out.

<b>          SPIDER
</b>          Hey, cuz. Hey, Sue.

<b>          SUE
</b>          What do you want?

<b>          SPIDER
</b>          Came to talk to my cousin Tao.
          Smokie looks over to Sue.

<b>          SMOKIE
</b>          Spider, who's the other cousin?
          SUE laughs at the name Spider. Sue is seventeen, has
          long straight hair with red highlights.

<b>          SUE
</b>          Spider'? Is that what he just
          called you, Fong?

<b>          SPIDER
</b>          This is my little cousin, Sue.
          Smokie takes off his sunglasses and smiles at Sue.

<b>          SMOKIE
</b>          Hey, Sue... how old are you, girl?

<b>          SUE
</b>          Mentally, I'm way too old for you.
          I'm going inside.

<b>          16.
</b>
<b>          CONTINUED: (2)
</b>
<b>          18
</b>
<b>          18
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 18
</b>
<b>          SPIDER
</b>          That's right, go inside while the
          men talk.

<b>          SUE
</b>          Yeah, that's exactly what I'm
          doing, Fong.
          Sue rolls her eyes and goes inside. Smokie stares at
          Tao.

<b>          SPIDER
</b>          You think about what we talked
          about?
          A PAUSE. Smokie watches Tao carefully, offers him a
          cigarette. Tao shakes his head no and looks at the
          ground.

<b>          SMOKIE
</b>          That's exactly the point, Tao.
          Spider told me how everyone thinks
          you're a pushover, how everybody
          walks all over you and shit. I
          mean, look at you, out here
          working in the garden like a
          woman.
          Tao nods silently, but still looks at the ground.

<b>          SMOKIE
</b>          It ain't no big thing. You just
          need a little guidance.
          Tao looks up at Smokie. Tao looks a little skeptical.

<b>          SMOKIE
</b>          It's true, man. Shit, I used to
          be kind of a quiet little punk
          like you, everybody fucking with
          me. But finally I said no more.'
          You, you're lucky, Tao, we got
          your back. Me? I didn't have
          nobody. Had to mold my own tribe.

<b>          SPIDER
</b>          Smokie's right. We're family,
          right? You with us or what?

<b>          SMOKIE
</b>          I swear, brother, we're the best
          friends you'll ever have. And
          anyone fucks with you, they're
          fucked.

<b>          17.
</b>
<b>          CONTINUED:
</b>
<b>          19
</b>
<b>          19
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 19
</b>
<b>          SPIDER
</b>          Come on, man.
          Tao clears his throat and speaks for the first time.

<b>          TAO
</b>          What do I have to do?
          Smokie points to Walt's open garage.

<b>          SMOKIE
</b>          Spider mentioned that neighbor of
          yours.

<b>          CUT TO:
</b>
<b>          INT. GARAGE
</b>
          ZOOM IN -- There it sits with the tarp rolled back,
          Walt's gorgeous, shining GRAN TORINO.

<b>          SMOKIE (O.S.)
</b>          Now that's a car.

<b>          SPIDER (O.S.)
</b>          Shit ya. 1972 Gran Torino
          fastback. Cobra jet engine.
          Mint.
          Next to the garage, Walt is bent over planting tomatoes.
          Walt notices the Hmong punks looking at him.

<b>          INT. VFW
</b>

<b>          20
</b>
<b>          20
</b>          Walt sits at the bar in the VFW (Veterans of Foreign
          Wars) drinking with the old buddies and cracking off-
          color jokes.

<b>          WALT
</b>          I got one. A Mexican, a Jew and a
          colored guy walk into a bar, the
          bartender looks up at them and
          says -- get the fuck out.'
          The gang laughs, until they see Father Janovich step up
          to the bar. He smiles as he recognizes several faces.

<b>          FATHER JANOVICH
</b>          So, here's where my flock
          congregates when they're not in
          church.

<b>          18.
</b>
<b>          CONTINUED: (2)
</b>
<b>          19
</b>
<b>          19
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 20
</b>
<b>          MEL
</b>          Hiya, Father J.

<b>          FATHER JANOVICH
</b>          Hi, Mel. Hey there, Darrel.

<b>          DARREL
</b>          Hello, Father.

<b>          FATHER JANOVICH
</b>          Hi, Walt.
          Walt says nothing. He just sips his beer.

<b>          DARREL
</b>          What brings you in here, Father?
          The meat raffle?

<b>          FATHER JANOVICH
</b>          No. I came down to talk to Walt,
          if that's okay.
          Mel and Darrel look at Walt. It puts him on the spot.

<b>          WALT
</b>          I have to hand it to you, Padre.
          You are persistent.

<b>          FATHER JANOVICH
</b>          I promised your wife.
          Walt looks over at Mel and Darrel and then back at Father
          Janovich.

<b>          WALT
</b>          Oh Jesus Christ, let's grab a
          booth.

<b>          INT. VFW BOOTH - SAME TIME
</b>

<b>          21
</b>
<b>          21
</b>          The waitress comes over.

<b>          WALT
</b>          I'll have a Pabst and a shot.
          What are you having, Father?

<b>          FATHER JANOVICH
</b>          I'll have a Diet Coke.

<b>          WALT
</b>          Bullshit, this is a bar, what do
          you want to drink?

<b>          19.
</b>
<b>          CONTINUED:
</b>
<b>          20
</b>
<b>          20
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 21
</b>
<b>          FATHER JANOVICH
</b>          Ummmm... I'll have a gin and
          tonic.

<b>          WALT
</b>          Attaboy.
          The waitress leaves.

<b>          WALT
</b>          So, what do you want?

<b>          FATHER JANOVICH
</b>          I promised your wife I'd get you
          to go to confession.

<b>          WALT
</b>          Jesus Christ, why'd you do that?

<b>          FATHER JANOVICH
</b>          She was very insistent. She made
          me.

<b>          WALT
</b>          You sure are fond of promising
          people stuff you can't deliver on.

<b>          FATHER JANOVICH
</b>          Let's talk about something else.

<b>          WALT
</b>          Like what?

<b>          FATHER JANOVICH
</b>          Life and death.

<b>          WALT
</b>          What would you know about it?

<b>          FATHER JANOVICH
</b>          I'd like to think I know a lot.
          I'm a priest.

<b>          WALT
</b>          You stand at the altar and preach
          on and on about life and death
          without knowing anything other
          than what you learned in priest
          school. Everything you say sounds
          like it's out of the Rookie
          Preachers Handbook.

<b>          FATHER JANOVICH
</b>          I don't know about that...

<b>          20.
</b>
<b>          CONTINUED:
</b>
<b>          21
</b>
<b>          21
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 22
</b>          Walt waves his hand and cuts him off.

<b>          WALT
</b>          Death is bittersweet? Bitter in
          the pain, sweet in the salvation.'
          That's what you know of life and
          death? Good God, it's pathetic.

<b>          FATHER JANOVICH
</b>          What do you know, Mr. Kowalski?

<b>          WALT
</b>          Plenty. I lived with death for
          three years in Korea. We shot
          people, we stabbed them with
          bayonets, we hacked seventeen-year-
          old kids to death with shovels,
          for Christ's sake. I did things
          that won't leave me till the day I
          die, horrible things, things I
          have to live with.

<b>          FATHER JANOVICH
</b>          And what about life?
          Walt has to think for a second. He struggles with his
          answer.

<b>          WALT
</b>          Well... I survived the war... got
          married... and raised a family.

<b>          FATHER JANOVICH
</b>          Sounds like you know more about
          death than you do living.
          Walt downs a shot.

<b>          WALT
</b>          Maybe so.

<b>          INT. WALT'S BEDROOM - THAT SAME NIGHT
</b>

<b>          22
</b>
<b>          22
</b>          Walt hears a sound and wakes up. He's very groggy, he
          had plenty to drink at the VFW.

<b>          WALT
</b>          Daisy?
          The dog sleeps in her bed in the corner. Walt looks at
          the clock; it's 3:48 am.
          Walt looks out his bedroom window. He sees the faint
          beam of a flashlight in his garage.

<b>          21.
</b>
<b>          CONTINUED: (2)
</b>
<b>          21
</b>
<b>          21
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 23
</b>
<b>          WALT
</b>          Son of a bitch.
          Walt pulls on his robe, opens the closet and pulls out
          the big, 30-06 M1 Garand Rifle he took home from Korea.
          Walt slides a magazine into the top of the M1 and
          chambers a round with a loud SNAP.

<b>          INT. GARAGE - SECONDS LATER
</b>

<b>          23
</b>
<b>          23
</b>          The light flips on and before he can blink, Tao is face
          to face with the barrel of Walt's M1 RIFLE.
          Walt is silent, he has one eye closed so he can better
          aim at Tao's forehead -- which is nine inches away. Tao
          drops the tool he was holding, it bounces with a loud
          metallic clang.
          Tao backs away, his eyes wide with terror. As Tao backs
          up, Walt advances, step for step.
          Tao trips over a garden hose, which causes Walt to trip.
          They both start to fall. The lightbulb is bumped with
          the rifle barrel and swings back and forth.
          As Walt hits the garage floor, he accidentally FIRES THE
          RIFLE. The bullet goes through a big, metal Hamm's Beer
          sign on the wall.
          Tao scrambles to his feet and jumps like a deer over
          Walt. Tao runs out of the garage and into the night.
          Walt lies on the floor for a second, stunned. Sweat runs
          down his forehead. He coughs up blood. The lightbulb
          still swings, casting odd shadows in the garage.

<b>          WALT
</b>          Shit.

<b>          EXT. ALLEY - SAME TIME
</b>

<b>          24
</b>
<b>          24
</b>          Tao scrambles down the alley. Parked off to the side is
          Spider's Honda. Spider opens the door.

<b>          SPIDER
</b>          Get in, get in!
          Tao runs right past him. Spider guns the motor and pulls
          in front of Tao. Smokie, Spider and another gangbanger
          get out.

<b>          22.
</b>
<b>          CONTINUED:
</b>
<b>          22
</b>
<b>          22
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 24
</b>
<b>          SMOKIE
</b>          Get in, Tao.

<b>          TAO
</b>          No way. No fucking way. Leave me
          alone!
          Smokie, Spider and the other gangbanger grab Tao.

<b>          SPIDER
</b>          I vouched for you, Tao, because
          you're family and you're with us
          now.
          Tao struggles.

<b>          TAO
</b>          He shot at me! I'm out! I'm
          out!!!
          Tao squirms out of Smokie's grasp. Smokie yells at Tao
          as he runs away...

<b>          SMOKIE
</b>          Don't fool yourself, Tao. You
          don't join us and bail. Dumb
          motherfucker.

<b>          SPIDER
</b>          Should we go after him?

<b>          SMOKIE
</b>          Naw, he's got nowhere to go.
          Let's get out of here.

<b>          INT. GARAGE - AFTERNOON
</b>

<b>          25
</b>
<b>          25
</b>          Walt drills heavy-gauge screen mesh over the windows on
          the garage. The phone rings and Walt answers.

<b>          WALT
</b>          Hello?

<b>          MITCH (V.O.)
</b>          Morning, Dad, it's your number one
          son, Mitch.

<b>          WALT
</b>          It's one in the afternoon.
          The CAMERA now INTERCUTS BETWEEN Walt and Mitch in the
          kitchen of his huge, modern suburban house.

<b>          23.
</b>
<b>          CONTINUED:
</b>
<b>          24
</b>
<b>          24
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 25
</b>
<b>          MITCH
</b>          Right, good afternoon, then.

<b>          WALT
</b>          So, what do you want?

<b>          MITCH
</b>          Me? Nothing. What would I want?

<b>          WALT
</b>          I don't know. Your wife already
          went through all of your mother's
          jewelry.

<b>          MITCH
</b>          No. I was just wondering how you
          are, what's going on, anything new
          in the old neighborhood?
          Walt looks at the bullet hole in his Hamm's Beer sign.

<b>          WALT
</b>          Nope.

<b>          MITCH
</b>          Great. Smooth sailing then?

<b>          WALT
</b>          Yup.
          There's a very painful pause in the conversation.

<b>          MITCH
</b>          Well good... Say, Dad?

<b>          WALT
</b>          Uh-huh.

<b>          MITCH
</b>          Do you still know that guy from
          the plant who has Viking season
          tickets?

<b>          EXT. WALT'S DRIVEWAY - DAY
</b>

<b>          26
</b>
<b>          26
</b>          Walt has parked the Gran Torino at an angle across his
          driveway. Walt mutters as he rubs Turtle Wax on his car.

<b>          EXT. DRIVEWAY - THAT AFTERNOON
</b>

<b>          27
</b>
<b>          27
</b>          Walt fishes out a soft pack of cigarettes and lights one.
          He exhales as he looks at his car.

<b>          24.
</b>
<b>          CONTINUED:
</b>
<b>          25
</b>
<b>          25
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 26
</b>          It's stunning. It absolutely sparkles. The chrome
          shines, the tires look new and the paint is waxed and
          polished.
          Walt looks up again and his eyes sweep the neighborhood
          in defiance. A couple of Hmong teenagers look at the
          car.

<b>          WALT
</b>
<b>          (MUTTERS)
</b>          That's right, ain't she pretty.
          Walt drops down heavily into an old lawn chair and pops
          open a can of Pabst.

<b>          DISSOLVE TO:
</b>
<b>          EXT. WALT'S DRIVEWAY - EVENING
</b>

<b>          28
</b>
<b>          28
</b>          Dusk is falling. Walt finally gets up, folds up his lawn
          chair and walks stiffly back into the garage.
          Walt flips on the outdoor light, highlighting the Gran
          Torino still sitting at an angle in the driveway. The
          whole scene looks like a mid-sixties car ad in Popular
          Mechanics.
          Walt goes in the back door and a moment later the kitchen
          light comes on. The Gran Torino remains in the driveway.
          It's a challenge, an invitation. Walt is daring the
          thief to come back. And Walt's ready this time.

<b>          EXT. WALT'S STREET - LATER THAT NIGHT
</b>

<b>          29
</b>
<b>          29
</b>          The tricked-out Honda drives up, but doesn't stop at
          Walt's. It pulls up in front of Tao's house. Tao and
          Sue exchange looks out on the front step.
          Smokie, Spider and two others get out, walking
          confidently up the sidewalk towards them. They grin,
          they're cocky.

<b>          SPIDER
</b>          Hey, cuz. What's up?

<b>          TAO
</b>          What are you doing here?

<b>          SPIDER
</b>          Be happy. We've got good news.

<b>          25.
</b>
<b>          CONTINUED:
</b>
<b>          27
</b>
<b>          27
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 27
</b>
<b>          SUE
</b>          Oh really? What's that?

<b>          SMOKIE
</b>          We're giving you another shot.

<b>          TAO
</b>          I don't think so.

<b>          SMOKIE
</b>          You blew it the first time. We've
          got another little inauguration
          planned for you. This time
          there'll be no mistakes.

<b>          SUE
</b>          Another big, tough gangbanger with
          little-man' complex.
          Smokie leers at Sue. It makes her uncomfortable.

<b>          SMOKIE
</b>          I got my eye on you too, little
          girl.

<b>          SUE
</b>          Whatever.

<b>          SMOKIE
</b>          Come on, Tao. Let's go.
          Tao says nothing. He looks at the ground.

<b>          SPIDER
</b>          He said, let's go.

<b>          SMOKIE
</b>          Come on, man. Nobody's gonna get
          hurt. We'll take care of you.

<b>          SUE
</b>          Don't go, Tao.

<b>          SMOKIE
</b>          You mind your own business, girl.
          Two Hmong gangbangers grab Tao by the arms.
          The front door swings open and there stands a glaring
          Phong.

<b>          PHONG
</b>
<b>          (SUBTITLED)
</b>          Leave my grandson alone!

<b>          26.
</b>
<b>          CONTINUED:
</b>
<b>          29
</b>
<b>          29
</b>
<b>          (MORE)
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 28
</b>          I know what you are. Go away and
          don't come back.

<b>          SMOKIE
</b>          That old woman's got bigger balls
          than you. You always let little
          girls and old ladies fight for
          you?
          Tao tries to squirm away. Smokie grabs him by the hair
          and opens his coat to reveal the PISTOL in his belt.

<b>          SMOKIE
</b>          I'm not gonna say it again. Let's
          go. Now.
          Tao is shoved towards the car.
          Suddenly -- Sue jumps on the back of one of the
          gangbangers and knocks him to the ground. Tao breaks
          free.

<b>          SUE
</b>          Run, Tao, run!
          Sue is slapped to the ground.

<b>          SUE
</b>
<b>          RUN!!
</b>          Tao is tackled by Smokie and punched in the face. Tao's
          mother comes out the front door.
          Smokie and Spider pull Tao towards the car as the other
          gangbangers keep Mom, Grandma and Sue at bay.
          A middle-aged Hmong Man from across the street comes into
          the yard. All the gangbangers overreact and pull their
          pistols. The middle-aged Hmong Man gets in Spider's face
          and is cracked across the jaw with a pistol barrel.
          Tao back-pedals away from Spider and Smokie. It becomes
          a pushing, rolling, surging melee.
          This mess boils over and spills into Walt's front yard.

<b>          EXT. WALT'S YARD - SAME TIME
</b>

<b>          30
</b>
<b>          30
</b>          The gangbangers, Tao, his mother, grandmother and Sue all
          struggle on Walt's painstakingly maintained lawn.
          A ceramic Lawn Gnome is knocked over and breaks.

<b>          27.
</b>
<b>          CONTINUED: (2)
</b>
<b>          29
</b>
<b>          29
</b>
<b>          PHONG (CONT'D)
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 29
</b>          And before anyone can blink, WALT has the muzzle of his
          big 30-06 M1 Garand Rifle pointing at Smokie's face.

<b>          WALT
</b>          Get off my lawn.

<b>          SMOKIE
</b>          Listen, old man, you don't want...

<b>          WALT
</b>          I said get off my lawn. Now.
          Walt's calm demeanor is unnerving to the gangbangers.
          The guns in their hands seem tiny compared to the big
          military rifle Walt holds.

<b>          SMOKIE
</b>          Are you fucking crazy? Go back in
          your house, old man.

<b>          WALT
</b>          Get off my lawn.

<b>          SMOKIE
</b>          I'm not fucking around, Gramps.
          Walt spits out the side of his mouth. He grins.

<b>          WALT
</b>          Don't think for a second I won't
          blow a big hole in your face and
          it won't bother me a bit, not any
          more than if I shot a deer. Now
          get off my goddamned lawn.
          Two of the Hmong gangbangers take a step back. Walt
          senses their fear. Only Smokie holds his ground.

<b>          WALT
</b>          Believe me, kid, I'll blow your
          damn head off, go back to bed and
          sleep like a baby. I couldn't
          care less.

<b>          SMOKIE
</b>          I'm not gonna warn you again!
          Walt laughs...

<b>          WALT
</b>          You're nothing to me. In Korea,
          we stacked fucks like you five
          feet high and used you as
          sandbags.

<b>          28.
</b>
<b>          CONTINUED:
</b>
<b>          30
</b>
<b>          30
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 30
</b>          Complete silence, there's no sound anywhere in the
          neighborhood. All eyes are on Walt.
          Walt CLICKS OFF the safety on the M1 Garand Rifle.
          Smokie and the gangbangers give Walt fierce looks, but
          melt back towards their car.
          As they get into the car -- Smokie has to say something.

<b>          SMOKIE
</b>          You better watch yourself, old
          man.
          The Honda screeches its tires and goes off down the
          street.
          Walt looks at Tao, Sue, Mom and Grandma who stand in
          stunned silence in his front yard.
          A PAUSE. Finally, Sue speaks up...

<b>          SUE
</b>          Thank you.
          Walt lowers his rifle and spits on the ground.

<b>          WALT
</b>          I said get off my lawn.

<b>          INT. WALT'S HOUSE - NEXT MORNING
</b>

<b>          31
</b>
<b>          31
</b>          We hear a sound outside. Walt grabs his rifle, swings
          open the front door and leads with the barrel.

<b>          CUT TO:
</b>
<b>          EXT. WALT'S FRONT PORCH - SAME TIME
</b>

<b>          32
</b>
<b>          32
</b>          Walt looks around and slowly lowers his rifle.
          His front porch is covered with FLOWERS and FRUIT and
          GIFTS of food. There must be a dozen different gifts
          piled there.
          Daisy comes out and stretches on the porch, before
          putting her nose in a food basket.

<b>          WALT
</b>          Bad dog. Bad deaf, dumb, blind
          dog.

<b>          29.
</b>
<b>          CONTINUED: (2)
</b>
<b>          30
</b>
<b>          30
</b>
<b>          PAGE 31
</b>
<b>          EXT. WALT'S HOUSE - DAY
</b>

<b>          33
</b>
<b>          33
</b>          Walt carries three big bouquets of flowers to the trash.
          He dumps them on top of other gifts he received from the
          Hmongs. His garbage is overflowing.
          Coming down the alley is another Hmong couple, they smile
          carrying a basket filled with Asian vegetables.
          Walt holds up his hand like a traffic cop.

<b>          WALT
</b>          No. No more.
          The Hmong couple nod, say something with a smile and turn
          around.

<b>          NEXT DOOR
</b>          Tao, his mother and Sue argue in the yard. They gesture
          towards Walt's house. The women buzz around Tao, all
          speaking in his ear at the same time.
          Phong yells at them from the porch, but they ignore her.
          Walt watches as the mother and Sue march Tao towards his
          house. Tao looks like a whipped dog.

<b>          WALT
</b>          Why won't these people leave me
          alone?
          Walt walks out to meet them at his property line and puts
          up his hands, indicating they've come far enough.
          Sue holds up a plant.

<b>          SUE
</b>          We brought you some shallots to
          plant in your garden.

<b>          WALT
</b>          I don't want them.

<b>          SUE
</b>          They're perennials, they come back
          every year.

<b>          WALT
</b>          No. You keep them. Why do you
          people keep giving me all this
          garbage?
          Sue is a little taken aback.

<b>          30.
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 32
</b>
<b>          SUE
</b>          Because... because you saved Tao.

<b>          WALT
</b>          No, I didn't. All I did was get a
          bunch of jabbering gooks off my
          lawn.

<b>          SUE
</b>          Well, you're a hero to the
          neighborhood.

<b>          WALT
</b>          No, I'm not.

<b>          SUE
</b>          Too bad, they think you are and
          that's why they're bringing you
          the gifts.

<b>          WALT
</b>          Just take your plant and leave me
          alone.
          Walt turns and starts to walk away.
          Tao's mother speaks rapidly in Hmong to Sue. They look
          at Tao and then to Walt.

<b>          SUE
</b>          There's another thing.

<b>          WALT
</b>          What?

<b>          SUE
</b>          This is my mother, Vu, I'm Sue and
          this is my brother, Tao. We live
          next door.

<b>          WALT
</b>          So?

<b>          SUE
</b>          Tao is here to apologize.
          Sue shoots a hard look at Tao, who shifts uncomfortably.

<b>          TAO
</b>          I'm sorry.

<b>          WALT
</b>          For what?

<b>          31.
</b>
<b>          CONTINUED:
</b>
<b>          33
</b>
<b>          33
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 33
</b>
<b>          TAO
</b>          For trying to steal your car.
          Walt's eyes go wide in recognition. He turns white with
          rage.

<b>          WALT
</b>          Get this straight, I see you on my
          property again, you're done.
          Walt turns on his heels and storms into his house.

<b>          INT. WALT'S ENTRYWAY
</b>

<b>          34
</b>
<b>          34
</b>          The doorbell rings. Walt opens it to find Father
          Janovich standing on his front step.

<b>          FATHER JANOVICH
</b>          Good afternoon, Walt.
          Walt's eyes narrow.

<b>          FATHER JANOVICH
</b>          I mean, Mr. Kowalski.

<b>          WALT
</b>          I already told you I'm not going
          to confession.

<b>          FATHER JANOVICH
</b>          Why didn't you just call the
          police?

<b>          WALT
</b>          Pardon?

<b>          FATHER JANOVICH
</b>          I do work with some of the Hmong
          gangs and I heard there was some
          trouble in the neighborhood. Why
          didn't you call the police?

<b>          WALT
</b>          Oh, I prayed for them to show up,
          but guess what? No answer.

<b>          FATHER JANOVICH
</b>          What were you thinking? Someone
          could have been killed. We're
          talking life and death here.

<b>          32.
</b>
<b>          CONTINUED: (2)
</b>
<b>          33
</b>
<b>          33
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 34
</b>
<b>          WALT
</b>          Not that it's any of your
          goddamned business, but when
          things happen quickly like that,
          you have to react. In Korea, we
          never called the police' when a
          swarm of screaming gooks came
          pouring into our lines. We
          reacted.

<b>          FATHER JANOVICH
</b>          We're not in Korea, Mr. Kowalski.
          Walt says nothing.

<b>          FATHER JANOVICH
</b>          I've been thinking about our
          discussion on life and death.
          About what you said. About how
          you carry around the horrible
          things you were forced to do.
          Horrible things that won't leave
          you. It seems that it would do
          you good to unload some of that
          burden. Things done during war
          are terrible, being ordered to
          kill, killing to save others,
          killing to save yourself. You're
          right, those are things I don't
          know anything about. But I do
          know about forgiveness. And I've
          seen a lot of men who have
          confessed their sins, admitted
          their guilt and left their burdens
          behind them. Stronger men than
          you. Men at war who were ordered
          to do appalling things and are now
          at peace.
          Walt nods. Father Janovich threw a bull's-eye. Almost.

<b>          WALT
</b>          I'm impressed. You came with your
          guns loaded, for once.

<b>          FATHER JANOVICH
</b>          Thank you.

<b>          WALT
</b>          You have balls, Father. And what
          you said, you're right. I'm sure
          stronger men than me have found
          their salvation. Hallelujah. But
          there's one thing you're way wrong
          about.

<b>          33.
</b>
<b>          CONTINUED:
</b>
<b>          34
</b>
<b>          34
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 35
</b>
<b>          FATHER JANOVICH
</b>          What's that, Mr. Kowalski?

<b>          WALT
</b>          The thing that haunts a guy is the
          stuff he wasn't ordered to do.

<b>          INT. OLD SCHOOL BARBERSHOP
</b>

<b>          35
</b>
<b>          35
</b>          The old, balding BARBER finishes cutting Walt's hair.

<b>          BARBER
</b>          There, you look like a human being
          again. You shouldn't wait so long
          between haircuts, you cheap
          bastard.

<b>          WALT
</b>          I'm just amazed that you're still
          alive. I keep hoping you'll die
          and they'll get someone good in
          here, but you just hang in there,
          you dumb, Italian-Wop-Dago, you.

<b>          BARBER
</b>          That'll be ten dollars, Walt.

<b>          WALT
</b>          Ten dollars? Jesus Christ,
          Martin, you keep raising the
          price. You sure you're not part
          Jew?
          Martin the Barber laughs at Walt.

<b>          BARBER
</b>          It's been ten bucks for the last
          five years and you know it, you
          thick-skulled, old Pollack son of
          a bitch.

<b>          WALT
</b>          Here's ten, keep the change.

<b>          BARBER
</b>          See you in three weeks, you prick.

<b>          WALT
</b>          If you live that long, dipshit.
          Walt and Martin shake hands and Walt walks out.

<b>          34.
</b>
<b>          CONTINUED: (2)
</b>
<b>          34
</b>
<b>          34
</b>
<b>          PAGE 36
</b>
<b>          EXT. BARBERSHOP - SAME TIME
</b>

<b>          36
</b>
<b>          36
</b>          Walt gets in his old Ford pickup and drives off. This is
          a very bad, rundown neighborhood.

<b>          EXT. SIDEWALK - SAME TIME
</b>

<b>          37
</b>
<b>          37
</b>          Sue walks with her ridiculous Wigger (urban white kid)
          boyfriend, TREY. Trey wears big baggy pants, a sports
          jersey and an Oakland Raiders visor upside-down and
          backwards.
          They walk past three BLACK GUYS leaning against a
          building. The TALL BLACK GUY spots Sue and smiles.

<b>          TALL BLACK GUY
</b>          Hey, girl, you come over here and
          talk to me. Come on, baby, don't
          be shy.
          Trey and Sue move as far over on the sidewalk as they can
          to avoid the black guys. They try to ignore them.

<b>          TALL BLACK GUY
</b>          Come on, sweetie, don't be like
          that. You talk to me, don't be
          all stuck up and shit.

<b>          ACROSS THE STREET
</b>          Walt waits at a stoplight. He watches Sue and Trey and
          the three black guys who block their path.
          One black guy flips Trey's VISOR onto the ground. The
          Tall Guy makes kissy faces at Sue as he touches his
          crotch.
          Walt sits there for a second; he shouldn't help, but Walt
          solves every situation by being aggressive.
          Walt drives off, then makes a U-turn.
          The Tall Black Guy now focuses on Trey.

<b>          TALL BLACK GUY
</b>          What are you sposed to be?
          Trey puts up his hand to hi-five. The Tall Black Guy
          just looks at him.

<b>          TREY
</b>          Yo, it's cool, dog.

<b>          35.
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 37
</b>
<b>          TALL BLACK GUY
</b>          What the fuck are you doing in my
          neighborhood, boy?

<b>          TREY
</b>          Nothing. We're going to Red Roost
          to get some CDs. That place is
          trippin', bro.

<b>          TALL BLACK GUY
</b>          What you call me, you fucking with
          me, bitch? You think you're
          funny?

<b>          TREY
</b>          Nothing. No.

<b>          TALL BLACK GUY
</b>          I'm warning you, boy. What you
          all come up in here for? You here
          to bring me this present?

<b>          TREY
</b>          Huh?

<b>          TALL BLACK GUY
</b>          This Oriental yummy for me? Don't
          worry, I'll take good care of her.

<b>          SUE
</b>          Great, another asshole with a
          fetish for Asian girls. God, it
          gets so old.

<b>          TALL BLACK GUY
</b>          What's your name, girl?

<b>          SUE
</b>          My name? It's take your crude,
          overly obvious come-on to every
          woman who walks past and cram it.'
          That's my name.

<b>          TALL BLACK GUY
</b>          You should keep your bitch on a
          leash, put a choke chain on this
          whore and yank.

<b>          SUE
</b>          Oh, of course, right to the
          stereotype thesaurus. Call me
          whore' and bitch' in the same
          sentence.

<b>          36.
</b>
<b>          CONTINUED:
</b>
<b>          37
</b>
<b>          37
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 38
</b>          The Tall Black Guy grabs Sue by the arm. Trey moves
          slightly towards Sue and is pushed down into a pile of
          garbage.

<b>          TALL BLACK GUY
</b>          You think you're pretty funny,
          don't you?

<b>          SUE
</b>          What, are you gonna hit me now?
          That'd pretty much complete the
          picture.
          The Tall Black Guy pushes Sue hard against the wall.

<b>          TALL BLACK GUY
</b>          You don't know when to quit.
          The old, black pickup pulls up and stops next to them.
          Sue, Trey and the black guys look over.
          Walt sits behind the wheel, he looks right through the
          Tall Black Guy.

<b>          TALL BLACK GUY
</b>          What the fuck you looking at, old
          man?

<b>          WALT
</b>          You... and your buddies. What's
          the matter with you? Don't any of
          you work? I see you lazy show-
          offs in the middle of the day,
          slowly walking across the street
          or harassing women. Nobody owes
          you bastards anything so go out
          and get a job instead of pushing
          little girls around, for Christ's
          sake.

<b>          TALL BLACK GUY
</b>          Why don't you get the fuck out of
          here, while I'll still let you.

<b>          BLACK GUY #2
</b>          That's right, bitch.

<b>          WALT
</b>          What makes you spooks think you
          can bully a couple kids with
          impunity?

<b>          TALL BLACK GUY
</b>          What?! Are you fucking crazy?

<b>          37.
</b>
<b>          CONTINUED: (2)
</b>
<b>          37
</b>
<b>          37
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 39
</b>
<b>          WALT
</b>          Look at me, Slick. You're crazy
          if you thinking I'm fooling
          around.

<b>          TALL BLACK GUY
</b>          You are fucking crazy.

<b>          WALT
</b>          You have to be pretty goddamned
          dumb to think you can push people
          around without running into
          someone who will push back.
          The black guys are a bit dumbfounded. Walt stares them
          down.

<b>          WALT
</b>          But you might just be dumb enough
          not to recognize that your luck
          just ran out.
          All bravado drains away from the black guys. Walt is a
          rock.
          Walt grins slightly and spits on the ground.

<b>          TALL BLACK GUY
</b>          Fuck this guy. He ain't worth it.
          The trio walks slowly across the street, forcing a car to
          miss a green light.
          Trey puts his hand out to shake Walt's...

<b>          TREY
</b>          Man, thanks a lot, mister.
          Walt doesn't extend a hand, he lets Trey stand there like
          an idiot. Trey slowly lowers his arm.
          Walt looks at Trey's outfit.

<b>          WALT
</b>          Go home, clown... and pull up your
          goddamned pants.
          Walt turns to Sue.

<b>          WALT
</b>          Come on, I'll give you a ride.

<b>          38.
</b>
<b>          CONTINUED: (3)
</b>
<b>          37
</b>
<b>          37
</b>
<b>          PAGE 40
</b>
<b>          INT. WALT'S TRUCK - DRIVING
</b>

<b>          38
</b>
<b>          38
</b>          Walt and Sue drive in silence. Finally Sue speaks up.

<b>          SUE
</b>          So, what's with you, you have some
          sort of savior complex or
          something?

<b>          WALT
</b>          What in the hell's the matter with
          you? I thought all you Asian
          girls were supposed to be so
          smart. What are you doing walking
          around in that neighborhood?
          That's how you end up in the
          obituaries, that is, if they can
          identify your body once they pull
          it out of the goddamned river.

<b>          SUE
</b>          I know, I know. Take it easy.
          Walt looks at her for a second. She's not ruffled at
          all.
          They drive.

<b>          WALT
</b>          So, that goofball back there.
          He's your boyfriend?

<b>          SUE
</b>          Yeah, kind of, his name is Trey.

<b>          WALT
</b>          Why in the hell would you go out
          with a clown like that. Why don't
          you date one of your... own...one
          of those other... Hu-mungs.

<b>          SUE
</b>          You mean, Hmong? We're Hmong, not
          Hu-mung.

<b>          WALT
</b>          Right. Hmong. What is a... where
          is Hmong or whatever?
          Sue laughs.

<b>          SUE
</b>          Wow! You're so enlightened.
          Hmong isn't a place, it's a
          people.

<b>          39.
</b>
<b>          (MORE)
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 41
</b>          Hmong people come from different
          parts of Laos and Thailand and
          China.

<b>          WALT
</b>          Then why are you in my
          neighborhood, instead of back
          there?

<b>          SUE
</b>          It's a Vietnam thing. We fought
          on your side and when America
          quit, the Communists starting
          killing the Hmong, so we came over
          here.
          Walt is quiet for few seconds.

<b>          WALT
</b>          Why'd you pick the Midwest, for
          Christ's sake? There's snow on
          the ground near half the year.
          Jungle people on the frozen
          tundra?

<b>          SUE
</b>          Hill people. We were hill people,
          not jungle people. Boo-ga, boo-
          ga, boo-ga.

<b>          WALT
</b>          Whatever.

<b>          SUE
</b>          Blame the Lutherans. They brought
          us here.

<b>          WALT
</b>          Still, you'd think the cold would
          keep all the assholes away.
          Sue laughs again at Walt's conscienceless racism.

<b>          SUE
</b>          Thanks for the ride.

<b>          WALT
</b>          Sure... You know, you seem okay.
          What the hell's the matter with
          your half-wit brother? He a
          little slow or something?

<b>          40.
</b>
<b>          CONTINUED:
</b>
<b>          38
</b>
<b>          38
</b>
<b>          SUE (CONT'D)
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 42
</b>
<b>          SUE
</b>          Tao is actually really bright, he
          just doesn't know which direction
          to go in.

<b>          WALT
</b>          Oh, poor Toad.

<b>          SUE
</b>          It's really common. Hmong girls
          over here fit in better, we
          adjust. The girls go to college,
          the boys go to jail.

<b>          EXT. WALT'S FRONT PORCH - EARLY MORNING
</b>

<b>          39
</b>
<b>          39
</b>          Walt drinks coffee and reads the newspaper. He flips
          from section to section. Daisy's at his feet.
          Next door, Phong sits watching Walt. He can see her
          mumbling under her breath.

<b>          WALT
</b>          Old hag, giving me the evil eye?
          Walt opens the paper to the TV guide section and lingers
          at the HOROSCOPES for a second.

<b>          WALT
</b>          Aw, what the hell...
          Walt reads aloud to himself.

<b>          WALT
</b>          Your birthday today; This year you
          have to make a choice between two
          life paths. Second chances come
          your way. Extraordinary events
          culminate in what might seem to be
          an anti-climax. Your lucky
          numbers are: 84, 23, 11, 78 and

<b>          99.
</b>          Walt drains his coffee and tosses the paper onto the
          porch.

<b>          WALT
</b>          What a load of crap.
          Walt lights up a cigarette and exhales.
          Walt watches as the only white woman on the block
          struggles to unload her groceries from her car. One of
          her bags rips.

<b>          41.
</b>
<b>          CONTINUED: (2)
</b>
<b>          38
</b>
<b>          38
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 43
</b>          Three teenagers walk past and laugh at her spilled
          groceries. One of them makes a crude gesture behind her
          back.

<b>          WALT
</b>          Christ all Friday. What's wrong
          with kids today?
          Walt gets up to go help, but before he can get to the
          sidewalk, another neighbor has gone over to help...
          It's TAO. Tao bends down and carries her bags up to her
          door.

<b>          WALT
</b>          Well, I'll be damned.

<b>          INT. WALT'S KITCHEN
</b>

<b>          40
</b>
<b>          40
</b>          Mitch and Karen sit across from Walt. A small store-
          bought birthday cake sits in front of Walt.
          Walt reads his birthday card. It's signed; Love Mitch,
          Karen, Ashley and Josh. ALL the signatures have been
          written in a woman's cursive style and with the same pen.
          Mitch slides a wrapped gift across the table to Walt.

<b>          MITCH
</b>          Go ahead, Dad. Open it.

<b>          WALT
</b>          What is it?

<b>          MITCH
</b>          Just open it.
          Walt opens the package, it's a Gopher Reaching Tool --
          the kind that has an alligator clamp so you can pick up
          objects that have fallen behind the stove, etc.
          Walt looks at his son and daughter-in-law.

<b>          MITCH
</b>          It's a Gopher. It's so you can
          reach stuff. You know, it makes
          things easier.

<b>          KAREN
</b>          Here's one from me.
          KAREN slides over a another wrapped gift. Walt opens it.
          It's a PHONE with really big numbers for old people.

<b>          42.
</b>
<b>          CONTINUED:
</b>
<b>          39
</b>
<b>          39
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 44
</b>
<b>          KAREN
</b>          It's a phone.

<b>          WALT
</b>
<b>          (EMOTIONLESSLY)
</b>          Thank you, Karen.

<b>          KAREN
</b>          I just thought... we thought that
          it would... make things easier.

<b>          WALT
</b>          Yeah, I see that.

<b>          KAREN
</b>          There's nothing wrong with making
          things less hard on yourself.

<b>          MITCH
</b>          Karen's right, Dad. You've worked
          hard your whole life. Maybe you
          should think about taking it a
          little easier?
          Walt lights up a cigarette.

<b>          MITCH
</b>          And that's another thing, Dad.
          You should get rid of the coffin
          nails.
          Walt says nothing.

<b>          MITCH
</b>          And the house, now that Mom's
          gone, it's got to be a lot to
          maintain, let alone clean... and
          you're all alone in here.
          It's worse than Walt thought. He puffs smoke.

<b>          KAREN
</b>          There's these great places now,
          these communities where you don't
          have to worry about mowing the
          lawn or shoveling snow. People
          who are like you, alert, active,
          but are alone and would benefit by
          being with other folks their own
          age.

<b>          43.
</b>
<b>          CONTINUED:
</b>
<b>          40
</b>
<b>          40
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 45
</b>
<b>          MITCH
</b>          Dad, take a look. We brought some
          pamphlets.

<b>          CUT TO:
</b>
<b>          EXT. WALT'S HOUSE - SECONDS LATER
</b>

<b>          41
</b>
<b>          41
</b>          Mitch and Karen storm out to their Land Cruiser. Mitch
          carries the Gopher Grabber Tool and Karen has the big
          numbered phone in her hand.

<b>          MITCH
</b>          I told you, I told you this was a
          bad idea.

<b>          KAREN
</b>          I know, you were right.

<b>          MITCH
</b>          Son of a bitch! He just won't let
          anyone help him.

<b>          KAREN
</b>          Well, we tried. Now we can just
          drop it. No one can say we didn't
          try.

<b>          MITCH
</b>          To hell with him, kicking us out
          on his birthday?! We should've
          stayed home with Ashley and Josh.
          They knew better, they wouldn't
          even come. The goddamned kids are
          smarter than we are!
          Mitch screeches the tires as they take off. Walt waits
          for them to clear out, before coming out on the porch
          with a can of Pabst.
          Daisy comes out and lies at his feet.
          Walt covers his mouth as he coughs. A dime-sized circle
          of dark, red blood is left in the palm of his hand.
          Walt looks at the blood as he takes another sip of beer.

<b>          EXT. WALT'S PORCH - EVENING
</b>

<b>          42
</b>
<b>          42
</b>          Walt continues to sit on his porch, a long row of empty
          Pabst beer cans are lined up on the railing.

<b>          44.
</b>
<b>          CONTINUED: (2)
</b>
<b>          40
</b>
<b>          40
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 46
</b>          Walt looks at a photo in his wallet, his and Dorothy's
          wedding photo. Walt looks down at Daisy --

<b>          WALT
</b>          We miss Momma, don't we, Daisy.
          A vehicle pulls up to Tao's house. A party is in full
          swing.
          Sue comes out and helps the Hmong women unload big
          platters of food and carry them to the house.
          Sue catches Walt's gaze and steps over to his porch.

<b>          SUE
</b>          Hey, Walt, what are you up to?
          Walt points his index finger at the can of Pabst in his
          hand.

<b>          SUE
</b>          We're having a barbecue. You want
          to come over?

<b>          WALT
</b>          What do you think?

<b>          SUE
</b>          There's tons of food.

<b>          WALT
</b>          I'll bet. Just keep your paws off
          my dog.

<b>          SUE
</b>          No worries, we only eat cats.

<b>          WALT
</b>          Really?

<b>          SUE
</b>          No, I'm kidding, you moron. Come
          on, come on over. You can be my
          special guest.

<b>          WALT
</b>          I'm fine right here.
          Walt reaches into the cooler for another beer. It's
          empty, just water and ice.

<b>          WALT
</b>          Son of a bitch.

<b>          45.
</b>
<b>          CONTINUED:
</b>
<b>          42
</b>
<b>          42
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 47
</b>
<b>          SUE
</b>          What have you had to eat today,
          Walt?

<b>          WALT
</b>          A piece of cake and some beef
          jerky.

<b>          SUE
</b>          Come on over and get something to
          eat. We've got beer, too.
          Walt exhales loudly --

<b>          WALT
</b>          Oh, what the hell. It's my
          birthday, I may as well drink with
          strangers instead of myself.
          Walt gets up and walks with Sue towards her house.

<b>          SUE
</b>          Happy Birthday, Wally.

<b>          WALT
</b>          Don't call me Wally.

<b>          INT. TAO'S HOUSE - KITCHEN
</b>

<b>          43
</b>
<b>          43
</b>          Inside are thirty Hmong and Walt, who sticks out like a
          sore thumb. Total fish out of water.
          Walt looks in the refrigerator, Sue looks over his
          shoulder.

<b>          WALT
</b>          You do have a lot of beer, but no
          Pabst.

<b>          SUE
</b>          As they say, When in Hmong.

<b>          WALT
</b>          Ha ha. Are you sure it's okay I'm
          here? Everyone keeps looking at
          me and when I look back, they look
          at the ground.

<b>          SUE
</b>          It's fine.
          Phong appears from the crowd and points at Walt.

<b>          46.
</b>
<b>          CONTINUED: (2)
</b>
<b>          42
</b>
<b>          42
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 48
</b>
<b>          PHONG
</b>
<b>          (SUBTITLED)
</b>          You, get out. Out of our house!
          (to Sue)
          What is he doing here?
          Walt cringes at her presence.

<b>          WALT
</b>          What'd she say?

<b>          SUE
</b>          She said welcome to our home.

<b>          WALT
</b>          No she didn't.

<b>          SUE
</b>          No, she didn't.

<b>          PHONG
</b>
<b>          (SUBTITLED)
</b>          Why is this white man in our home?
          A man like him brings nothing,
          nothing but sorrow and death.
          Several relatives usher Phong away from Walt. The
          relatives are embarrassed at the outburst.

<b>          WALT
</b>          She hates me.

<b>          SUE
</b>          Yes, she hates you.

<b>          WALT
</b>          What did I do?
          A little Hmong girl walks past and Walt pats her on the
          head. Everyone in the room looks in horror at Walt.

<b>          WALT
</b>          What?! What the hell are all you
          fish heads looking at?!
          Sue looks around and then pulls Walt out of the room.

<b>          SUE
</b>          Maybe we should go in the other
          room.

<b>          INT. DINING ROOM - SECONDS LATER
</b>

<b>          44
</b>
<b>          44
</b>          Sue explains a few facts to Walt.

<b>          47.
</b>
<b>          CONTINUED:
</b>
<b>          43
</b>
<b>          43
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 49
</b>
<b>          SUE
</b>          A lot of the people in this house
          are very traditional. Number one,
          never touch a Hmong person on the
          head, not even a child. Hmong
          people believe that the soul
          resides in the head, so don't do
          that.

<b>          WALT
</b>          That's dumb, but fine.

<b>          SUE
</b>          Hmong people also consider looking
          someone in the eye to be rude.
          That's why everyone looks away
          when you look at them.

<b>          WALT
</b>          Swell. Anything else?

<b>          SUE
</b>          Yeah, some Hmong smile or grin
          when they're yelled at or get into
          a confrontation. It's a cultural
          thing. It expresses embarrassment
          or insecurity, not that they're
          laughing at you.

<b>          WALT
</b>          Good God, you people are all nuts.

<b>          INT. LIVING ROOM
</b>

<b>          45
</b>
<b>          45
</b>          Walt opens another beer, as Sue speaks Hmong to a
          relative. Walt notices an Old Hmong Man staring at him.
          Walt interrupts Sue.

<b>          WALT
</b>          Hey, Sue.

<b>          SUE
</b>          What?

<b>          WALT
</b>          You said you guys don't look you
          in the eye, but that guy keeps
          staring at me.
          Sue laughs and gestures to the Old Hmong Man. The Old
          Hmong Man steps over and nods to Walt.

<b>          48.
</b>
<b>          CONTINUED:
</b>
<b>          44
</b>
<b>          44
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 50
</b>
<b>          SUE
</b>          This is Kor Khue. He's the Lor
          family shaman.

<b>          WALT
</b>          Witch doctor?
          Sue smiles and nods.

<b>          SUE
</b>          Something like that. The Hmong
          hold their clan Shaman in very
          high regards.

<b>          WALT
</b>          Boo-ga, boo-ga.
          Kor Khue says something to Sue in Hmong. She turns and
          translates to Walt.

<b>          SUE
</b>          Kor Khue is interested in you, he
          heard what you did. He says he
          would like to read you.

<b>          WALT
</b>          Huh?

<b>          SUE
</b>          He wants to read you. Tell you
          your soul. It'd be rude not to
          allow him this, it's a great
          honor.

<b>          WALT
</b>          Tell Kor to be my guest, fire
          away.
          Sue speaks Hmong to the Shaman. The Shaman responds and
          sits down across from Walt. He looks at Walt for a long
          time.
          Walt stares straight back at him. The Shaman mumbles to
          himself.
          Finally the Shaman turns to Sue and speaks very rapidly.
          As Sue translates, the Shaman watches Walt's reaction.

<b>          SUE
</b>          Kor Khue says that you think
          you've been disrespected. You do
          not live your life. Your food has
          no flavor. You are scared of your
          past.

<b>          49.
</b>
<b>          CONTINUED:
</b>
<b>          45
</b>
<b>          45
</b>
<b>          (MORE)
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 51
</b>          You stopped living years and years
          ago. Kor Khue says you're not at
          peace.
          Walt looks like he's been hit by a truck. The Shaman
          watches Walt closely, he knows he hit the nail on the
          head.
          Walt looks pale. He's been spooked good. He wipes sweat
          from his forehead.

<b>          WALT
</b>          Excuse me.
          Walt gets up and steps into the kitchen. He takes
          several deep breaths. He's pretty shook up.

<b>          WALT
</b>          Je -- zuz -- Christ.
          Walt looks around at all the Hmongs eating and carrying
          on.
          Walt sees a young man give up his seat to an Elder.
          Walt sees a young woman go to each of the older folks and
          offer tea and cookies from a tray.
          Walt sees a child help an old man out of the bathroom.
          Walt coughs hard. He wipes blood from his lips. Sue
          comes in and looks at Walt.

<b>          SUE
</b>          Are you okay?
          Walt brushes past her and goes into the bathroom.

<b>          INT. BATHROOM - SAME TIME
</b>

<b>          46
</b>
<b>          46
</b>
<b>          EPIPHANY.
</b>          Walt washes his face in the sink and dries his hands.
          He's still pale. He looks long and hard in the mirror.
          Walt is stunned, it all adds up. Walt hasn't really
          lived in 50 years, he hasn't relaxed or exhaled or let
          his guard down since he got back from Korea in 1953.

<b>          WALT
</b>          (to himself)
          Son of a bitch. I've got more in
          common with these goddamned gooks
          than my own spoiled-rotten family.

<b>          50.
</b>
<b>          CONTINUED: (2)
</b>
<b>          45
</b>
<b>          45
</b>
<b>          SUE (CONT'D)
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 52
</b>          Walt looks at himself.

<b>          WALT
</b>          Happy birthday.
          Walt opens the bathroom door. Sue stands there with a
          concerned look on her face.

<b>          SUE
</b>          Are you okay?

<b>          WALT
</b>          Me? I'm fine.

<b>          SUE
</b>          You were bleeding?
          Walt smiles disarmingly.

<b>          WALT
</b>          I just bit my tongue. I'm fine.
          I'm great. Let's get some of that
          gook food, I'm starving.

<b>          INT. KITCHEN
</b>

<b>          47
</b>
<b>          47
</b>          Walt sits amongst several old Hmong Women, who take great
          delight in feeding him different Hmong dishes which he's
          obviously never tasted before.
          Walt reacts with great enthusiasm to the food,
          occasionally making jokes like he's choking, etc. This
          corny stuff goes over like gangbusters with the Hmong
          ladies.
          Sue comes in and rolls her eyes at Walt.

<b>          SUE
</b>          Come on, you glutton, let's go
          downstairs.

<b>          WALT
</b>          Why?

<b>          SUE
</b>          To mingle.

<b>          WALT
</b>          I'm fine right here. I'm
          mingling.

<b>          SUE
</b>          Come on, you said not to leave
          you alone.'

<b>          51.
</b>
<b>          CONTINUED:
</b>
<b>          46
</b>
<b>          46
</b>
<b>          PAGE 53
</b>
<b>          INT. BASEMENT - SAME TIME
</b>

<b>          48
</b>
<b>          48
</b>          Walt and Sue descend the stairway. Walt is really out of
          his element down with all the Hmong teenagers.
          And the first person he sees across the room is Tao.

<b>          WALT
</b>          Oh great.

<b>          SUE
</b>          Well, look who's over there.

<b>          WALT
</b>          What's-his-name who tried to steal
          my Gran Torino.

<b>          SUE
</b>          My brother Tao.

<b>          WALT
</b>          Yeah, Toad.
          Tao is in the corner, he avoids Walt's gaze. Sue walks
          over to a group of boys, leaving Walt alone.
          Walt doesn't know what to do with himself. He leans
          against the DRYER. The DRYER wobbles.
          Walt gets on his hands and knees. He looks under the
          dryer. He adjusts the short leg to balance out the
          machine.
          He just can't help it.
          All the Hmong kids watch Walt, trying not to laugh at
          this strange white man on his hands and knees fixing a
          dryer during a party. Walt looks up -- deer in the
          headlights.

<b>          WALT
</b>          It was wobbly, but I fixed it.
          It's fine now, shouldn't wobble
          anymore.
          The Hmong kids look away, covering their mouths with
          their hands.
          Walt glares at Tao, who immediately wipes the smile from
          his face. Sue walks over and hands Walt a drink.

<b>          WALT
</b>          What's this?

<b>          52.
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 54
</b>
<b>          SUE
</b>          Rice liquor. Try it.

<b>          WALT
</b>          Alright.
          Sue walks off. Walt sips his rice liquor and watches the
          interaction between the boys and girls.
          One particularly gorgeous young willow-wisp of a GIRL
          stares across the room at Tao. Tao looks back at her,
          but then looks away.
          The Girl keeps looking at Tao, smiling and twisting her
          hair.
          Tao doesn't approach her, but three other young men do.
          They do their best to charm her. She's polite, but not
          interested, she keeps looking at Tao.
          Walt laughs at Tao's ineptitude, shakes his head at this
          wasted opportunity. Suddenly the Girl steps over to
          Walt.
          She smiles --

<b>          WA XAM (GIRL)
</b>          My friends and I were just
          wondering what you're doing here?

<b>          WALT
</b>          Good question. What am I doing
          here? Anyways, I'm Walt.

<b>          WA XAM
</b>          Hi, Walt. I'm Wa Xam.

<b>          WALT
</b>          Wa Yum?

<b>          WA XAM
</b>          No, Wa Xam. So... what do you do?

<b>          WALT
</b>          Me? Not too much... I fix stuff I
          guess.

<b>          WA XAM
</b>          Like what?

<b>          WALT
</b>          Well, I fixed my wife's friend's
          sink yesterday.

<b>          53.
</b>
<b>          CONTINUED:
</b>
<b>          48
</b>
<b>          48
</b>
<b>          (MORE)
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 55
</b>          I drove my aunt to the doctor to
          straighten out her prescription.
          Even fixed my screen door before
          it was broke.

<b>          WA XAM
</b>          You're funny.

<b>          WALT
</b>          That's one thing I've never been
          accused of. A bastard, yes.
          Funny, no.
          Wa Xam laughs.

<b>          WA XAM
</b>          Well, have fun. I'm going to take
          off.

<b>          WALT
</b>          A pleasure to meet you, Yum Yum.
          She laughs at Walt butchering her name and goes upstairs.
          The three young suitors follow her up. Tao watches her.
          Walt comes over to Tao, who is startled. Walt laughs.

<b>          WALT
</b>          Relax, zipper head, whatta you
          think I'm gonna do, shoot you?
          Tao looks like he wants to run away.

<b>          WALT
</b>          I wouldn't say anything either, if
          I was you.
          Walt sips his rice liquor. Walt can't help but rib Tao.

<b>          WALT
</b>          You know, I knew you were a
          dipshit even before the whole
          garage deal, but I have to say
          you're even worse with women than
          you are stealing cars, Toad.

<b>          TAO
</b>          It's Tao.

<b>          WALT
</b>          What's that?

<b>          TAO
</b>          It's Tao, not Toad. My name is
          Tao.

<b>          54.
</b>
<b>          CONTINUED: (2)
</b>
<b>          48
</b>
<b>          48
</b>
<b>          WALT (CONT'D)
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 56
</b>
<b>          WALT
</b>          Good for you. Anyways, you're
          blowing it with that girl. Not
          that I give two shits about a Toad
          like you.

<b>          TAO
</b>          You don't know what you're talking
          about.

<b>          WALT
</b>          Wrong, egg roll. I completely
          know what I'm talking about. I
          know I'm not always the most
          pleasant person to be around, but
          I got the greatest woman who ever
          lived to marry me. I had to work
          at it, but I got her and it was
          the best thing that ever happened
          to me. Hands down.
          Walt points across the room. He sways slightly.

<b>          WALT
</b>          But you? You just sit there and
          watch as Ding Dong and Click Clack
          and Charlie Chan walk away with
          what's-her-face. She likes you,
          you know.

<b>          TAO
</b>          Who?

<b>          WALT
</b>          She was standing over there,
          orange dress, twisting her hair
          and smiling at you.

<b>          TAO
</b>          You mean Wa Xam?
          Walt takes a long swig off his drink and nods.

<b>          WALT
</b>          Yeah, yeah. Anyways, she likes
          you, I know, I talked to her.
          Great girl, charming girl. Love
          her. I love Yum Yum. But you?
          You just watch her walk out the
          door with the Three Stooges. Why?
          Because you're a big fat pussy!
          Walt drains his drink.

<b>          55.
</b>
<b>          CONTINUED: (3)
</b>
<b>          48
</b>
<b>          48
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 57
</b>
<b>          WALT
</b>          I gotta go home. Good luck, puss-
          cake. You need it.

<b>          EXT. WALT'S YARD - DAY
</b>

<b>          49
</b>
<b>          49
</b>          Walt empties the lawnmower bag as two elderly Hmong Women
          come over, each carrying a FLOWER BOUQUET.

<b>          WALT
</b>          No. No thanks. No more flowers.
          The elderly Hmong Women nod and speak rapid sentences in
          Hmong to Walt. He has no idea what they are saying.

<b>          WALT
</b>          No more. Please, keep your
          flowers.
          The Hmong women nod, smile and chatter away, ignoring
          Walt. They walk past him and set the BOUQUETS on his
          porch.

<b>          WALT
</b>
<b>          (DEFEATED)
</b>          Okay, just put them on the porch.
          But that's it. No more.

<b>          INT. WALT'S ENTRYWAY - MORNING
</b>

<b>          50
</b>
<b>          50
</b>          The doorbell rings. Walt answers, a Skillsaw in one
          hand.
          Standing on his doorstep are three Hmong women.

<b>          WALT
</b>          What now, Gee?
          Gee holds up a plate covered with tinfoil.

<b>          WALT
</b>          No. Forget it. Stop bringing me
          stuff.
          Gee scolds Walt in Hmong.

<b>          WALT
</b>          No. I've had it.
          Gee opens the corner of the tinfoil. Walt looks at the
          food.

<b>          56.
</b>
<b>          CONTINUED: (4)
</b>
<b>          48
</b>
<b>          48
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 58
</b>
<b>          WALT
</b>          I can't. You have to stop.
          Gee pulls the tinfoil off. Walt gazes at the food.

<b>          WALT
</b>          Is that the chicken dumpling thing
          you brought the other day?

<b>          EXT. WALT'S HOUSE - EVENING
</b>

<b>          51
</b>
<b>          51
</b>          Walt pulls up in his pickup truck. Sue and Vu wait on
          Walt's porch. Tao stands out on the sidewalk.
          Walt gets out of his pickup.

<b>          WALT
</b>          What now? What?
          Vu rambles on in Hmong. Walt looks at his watch. He
          looks at Sue for the translation.

<b>          SUE
</b>          Tao is here to make amends, he's
          here to work for you.

<b>          WALT
</b>          No he's not.

<b>          SUE
</b>          Mother says that Tao dishonored
          the family and now he has to work
          off his debt. He'll start
          tomorrow morning.

<b>          WALT
</b>          No. The kid is useless, I don't
          even want him on my property. I
          thought we already went over that.

<b>          SUE
</b>          It's very important to my mother
          that you accept. It'd be an
          insult to refuse.

<b>          WALT
</b>          How is this all of a sudden turned
          around on me? The goddamned kid
          tries to steal my car and somehow
          I'm the bad guy if I don't accept?

<b>          57.
</b>
<b>          CONTINUED:
</b>
<b>          50
</b>
<b>          50
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 59
</b>
<b>          SUE
</b>          My family is very traditional and
          it will very much upset them if
          you don't let Tao repay...
          Tao interrupts from the sidewalk...

<b>          TAO
</b>          Come on, Sue. If he doesn't want
          to, let's just go.
          Sue and Vu yell at Tao to shut up at the same time; Sue
          in English, Vu in Hmong.

<b>          SUE/VU
</b>          Shut up. Shut up! Shut up!!
          Tao looks at the ground.
          A PAUSE. Walt sees the earnest looks on the Hmong
          women's faces. Their expression begs Walt.
          Walt gazes back at Tao. Walt looks disgusted, he exhales
          loudly...

<b>          WALT
</b>          Fine. Great. Tomorrow.
          Walt walks past them and into his house.

<b>          WALT
</b>          Jesus, Joseph and Mary. These
          Hmong broads are like badgers.

<b>          EXT. WALT'S PORCH - NEXT MORNING
</b>

<b>          52
</b>
<b>          52
</b>          Walt sits drinking coffee and reading the newspaper. Tao
          walks sheepishly over to the property line.

<b>          WALT
</b>          Son of a bitch, I didn't think
          he'd show.
          Walt waves Tao over. Tao barely looks at Walt.

<b>          WALT
</b>          Okay. What are you good at?

<b>          TAO
</b>          Like what?

<b>          WALT
</b>          That's what I'm asking. What are
          you good at?

<b>          58.
</b>
<b>          CONTINUED:
</b>
<b>          51
</b>
<b>          51
</b>
<b>          (MORE)
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 60
</b>          If you're gonna work for me, I
          have to know what you can do.

<b>          TAO
</b>          I don't know.

<b>          WALT
</b>          That's about what I expected.
          Okay, why don't you go over by the
          spruce tree and count how many
          birds feed at the bird feeder.

<b>          TAO
</b>          Count the birds?

<b>          WALT
</b>          Yeah, you can count? You slopes
          are supposed to be good at math,
          right?

<b>          TAO
</b>          Yes, I can count.

<b>          EXT. WALT'S GARDEN - MORNING
</b>

<b>          53
</b>
<b>          53
</b>          Tao stands in Walt's garden with his arms folded. Walt
          walks over to trim weeds around the garden fence.
          Walt doesn't even look at Tao. Finally...

<b>          TAO
</b>          You want me to do that?

<b>          WALT
</b>          No.

<b>          TAO
</b>          Why not?

<b>          WALT
</b>          I want it done right, that's why.

<b>          TAO
</b>          But you've got me just standing
          here. What am I supposed to be
          doing, anyway?

<b>          WALT
</b>          Scaring away crows.
          Tao shoots Walt a dirty look.

<b>          59.
</b>
<b>          CONTINUED:
</b>
<b>          52
</b>
<b>          52
</b>
<b>          WALT (CONT'D)
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 61
</b>
<b>          WALT
</b>          It's a perfect job for you, plus
          you people don't seem to mind
          squinting in the sun all day.

<b>          EXT. WALT'S HOUSE - MORNING
</b>

<b>          54
</b>
<b>          54
</b>          Walt waters a flower bed. Tao comes over and stands
          there. Walt finishes watering before even looking at
          Tao.

<b>          TAO
</b>          What do you have for me today?
          You want me to watch paint dry or
          maybe count the clouds that pass
          by?

<b>          WALT
</b>          Don't get flip with me, zipper
          head. I ain't the one who tried
          to steal and don't forget it.

<b>          TAO
</b>          Go ahead. I don't care if you
          insult me and say racist things.
          I'll take it.

<b>          WALT
</b>          That I know. You have no teeth,
          kid. That's your problem. You
          have no balls.

<b>          TAO
</b>          Look, I'm stuck here. Why don't
          you give me something useful to
          do.

<b>          WALT
</b>          Because unlike you I'm not
          useless. I maintain my property,
          whereas you swamp rats let your
          houses go to hell.
          Walt looks across the street at one very dilapidated
          house.

<b>          WALT
</b>          Wait a minute... How long do I
          have you for?
          Tao pauses... he doesn't want to answer.

<b>          WALT
</b>          How long, Toad?

<b>          60.
</b>
<b>          CONTINUED:
</b>
<b>          53
</b>
<b>          53
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 62
</b>
<b>          TAO
</b>
<b>          (QUIETLY)
</b>          Till next Friday.
          Walt laughs out loud. It makes Tao cringe.

<b>          WALT
</b>          Go get my ladder out of the
          garage.

<b>          CUT TO:
</b>
<b>          EXT. NEIGHBOR'S HOUSE - SAME DAY
</b>

<b>          55
</b>
<b>          55
</b>          Tao is at the top of the LADDER. Walt and the Hmong
          neighbor grin at him from the bottom.

<b>          WALT
</b>          When you're done caulking the
          siding, nail that gutter back up,
          I can see it right out my kitchen
          window, it's been bugging me for
          three years.
          The neighbor says something in Hmong to Walt.

<b>          WALT
</b>          You said it, brother.

<b>          EXT. HOUSE ACROSS THE STREET - RAINY MORNING
</b>

<b>          56
</b>
<b>          56
</b>          Tao digs up a big TREE STUMP out in the rain. It's hard,
          draining labor and Tao is covered with mud.
          Tao's shovel hits rocks and roots and clay. Misery.

<b>          EXT. NEIGHBORING HOUSES - DAY
</b>

<b>          57
</b>
<b>          57
</b>          We see Tao do various chores; scrape paint, hang screen
          doors, reattach house numbers, trim bushes, etc.
          Walt scrutinizes his every move. Tao is a virtual slave.

<b>          EXT. WALT'S PORCH - MORNING
</b>

<b>          58
</b>
<b>          58
</b>          Walt watches with great satisfaction as Tao paints one of
          the neighboring houses. The neighborhood is really
          shaping up.
          Walt sips his coffee with a slight grin. He is really,
          really, really enjoying this.

<b>          61.
</b>
<b>          CONTINUED:
</b>
<b>          54
</b>
<b>          54
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 63
</b>          A very old Hmong man and his very young GRANDSON walk up
          Walt's driveway. The Grandson translates for grandpa.

<b>          GRANDSON
</b>          Grandpa says he want to know if
          you can have Tao clear out the big
          wasp nest under our porch?
          Walt reaches in his pocket and studies a small note pad.

<b>          WALT
</b>          I don't see why not.

<b>          (GRINS )
</b>          Tell him sometime after lunch.

<b>          EXT. WALT'S HOUSE - MORNING
</b>

<b>          59
</b>
<b>          59
</b>          Tao walks up the sidewalk. Before ringing the doorbell,
          Tao looks down at his hands which have several CALLOUSES
          on them.
          Tao rubs his hands with a smile. This has been the first
          time Tao has really risen to a task presented to him.
          Tao reaches for the doorbell...

<b>          INT. WALT'S BATHROOM - SAME TIME
</b>

<b>          60
</b>
<b>          60
</b>          Walt stands over the sink, coughing. In the b.g. the
          doorbell rings.
          Walt coughs up a big spot of blood, it's thick with
          fibers. The doorbell rings again.
          Walt wipes his mouth and runs the water in the sink.

<b>          INT. WALT'S ENTRYWAY - SECONDS LATER
</b>

<b>          61
</b>
<b>          61
</b>          Walt answers the door, just as Tao rings the doorbell a
          third time. Walt looks angry.

<b>          WALT
</b>          Jesus Lord almighty, knock it off.

<b>          TAO
</b>          It's my last day, whatta you want
          me to do?

<b>          WALT
</b>          Take the day off, you've done
          enough.

<b>          62.
</b>
<b>          CONTINUED:
</b>
<b>          58
</b>
<b>          58
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 64
</b>          Tao looks disappointed, but says nothing. He nods and
          starts to walk away. Walt calls after him...

<b>          WALT
</b>          Toad.
          Tao turns around. Walt wants to say something, but
          stops.

<b>          WALT
</b>          Nothing, never mind.
          Walt shuts the door.

<b>          INT. DOCTOR'S WAITING ROOM
</b>

<b>          62
</b>
<b>          62
</b>          Walt sits in the crowded waiting room. He looks around.
          He's the only WHITE PERSON in the room. Even most of the
          STAFF is African or from India.
          As Walt waits, names are called out such as Alvarez,
          Ngaima, Yang and Abdalla.
          Finally when the name Kowalski is called, the Muslim
          woman can't pronounce it correctly. Walt winces.

<b>          INT. DOCTOR'S OFFICE
</b>

<b>          63
</b>
<b>          63
</b>          Walt sits in a chair, his hands folded in his lap.
          A short Asian man in a doctor's smock comes in with a
          chart.

<b>          ASIAN DOCTOR
</b>          Mr. Kowalski?

<b>          WALT
</b>          That's right.

<b>          ASIAN DOCTOR
</b>          Good afternoon. I looked over
          your paperwork and I think we
          should immediately start on a full
          battery of tests. I feel that
          this...

<b>          WALT
</b>          Wait a minute. Where's my regular
          doctor, where's Dr. Fellman?

<b>          63.
</b>
<b>          CONTINUED:
</b>
<b>          61
</b>
<b>          61
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 65
</b>
<b>          ASIAN DOCTOR
</b>          Dr. Fellman retired three years
          ago. I'm his replacement, Dr.
          Chang.

<b>          WALT
</b>          Jesus Christ.

<b>          INT. MITCH'S KITCHEN
</b>

<b>          64
</b>
<b>          64
</b>          Mitch, Karen and Ashley are in the kitchen. The phone
          rings and Ashley looks at the caller ID.

<b>          ASHLEY
</b>          It's Grandpa Walt.

<b>          KAREN
</b>          Well, pick it up.

<b>          ASHLEY
</b>          You talk to him.

<b>          KAREN
</b>          Mitch?

<b>          MITCH
</b>          I'm doing bills here.

<b>          KAREN
</b>          He's your father.
          Ashley hands him the phone and he pushes the TALK button.

<b>          MITCH
</b>          Hello, Dad.

<b>          WALT (V.O.)
</b>          Hello? It's me... Dad.

<b>          MITCH
</b>          I know. What's up?
          The CAMERA INTERCUTS BETWEEN Mitch in his huge kitchen
          and Walt sitting on the edge of his bed.

<b>          WALT
</b>          Um... not much, how about you?

<b>          MITCH
</b>          I'm fine, fine.

<b>          WALT
</b>          Fine. That's fine... How about
          the kids and Karen?

<b>          64.
</b>
<b>          CONTINUED:
</b>
<b>          63
</b>
<b>          63
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 66
</b>
<b>          MITCH
</b>          Everyone is fine.

<b>          WALT
</b>          Good.
          There is a long, uncomfortable pause. Walt looks at some
          Xeroxed medical pamphlets scattered on his bed.

<b>          MITCH
</b>          Good.

<b>          WALT
</b>          Well, that's good... How's...
          work?

<b>          MITCH
</b>          Busy.

<b>          WALT
</b>          Right. I s'pose.

<b>          MITCH
</b>          Speaking of busy, I have a lot on
          my plate right now, unless there's
          something pressing.
          Walt looks at a pale, blue pamphlet. Mitch looks at his
          housekeeping bill.

<b>          WALT
</b>          No. Nope.
          Another pause.

<b>          WALT
</b>          Okay then.

<b>          MITCH
</b>          Okay. Yeah, so it's not a good
          time right now. Why don't you
          call me over the weekend.

<b>          WALT
</b>          Sure.

<b>          MITCH
</b>          Okay, it was nice talking to you,
          bye, Dad.
          Walt hangs up. He lies down on his bed.

<b>          65.
</b>
<b>          CONTINUED:
</b>
<b>          64
</b>
<b>          64
</b>
<b>          PAGE 67
</b>
<b>          EXT. WALT'S FRONT YARD - DAY
</b>

<b>          65
</b>
<b>          65
</b>          While Walt fills a bird feeder, he notices Tao next door.
          Tao stands, tiptoed on the top of a six-foot ladder,
          trying to cut a high branch with a pole saw.
          Walt shakes his head and walks over to Tao.

<b>          WALT
</b>          Hey, moron.
          Tao is startled and almost falls off the ladder.

<b>          TAO
</b>          What?

<b>          WALT
</b>          I appreciate you're doing
          something on your own, but you're
          the only person I know dumb enough
          to get himself killed trimming
          tree branches.

<b>          TAO
</b>          What now?

<b>          WALT
</b>          You don't stand on the top step of
          a ladder and if you cut through
          that branch you're hacking away
          at, you'll end up kaput.
          Tao looks and sure enough -- a thick, black POWER LINE is
          five feet below the branch he's almost severed.

<b>          WALT
</b>          Go grab the extension ladder from
          my garage and I'll show you how to
          do it right, zipper head.

<b>          CUT TO:
</b>
<b>          EXT. TAO'S YARD - LATER
</b>

<b>          66
</b>
<b>          66
</b>          Tao ties up bundles of branches and twigs. Walt lights a
          cigarette, looks up in the tree and nods.

<b>          WALT
</b>          Looks good. Good job.
          Tao nods.

<b>          66.
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 68
</b>
<b>          WALT
</b>          Make sure you put the ladder back
          when you're done raking up the
          leaves.

<b>          TAO
</b>          I know. I will.
          Walt walks back over to his porch, grabs a Pabst from the
          cooler and watches Tao rake.
          A white Honda turns the corner and drives slowly past
          Tao.
          Smokie and Spider smile menacingly at Tao as they pass.

<b>          WALT
</b>          This kid doesn't have a chance.
          The Honda now slowly passes Walt's house. Walt just
          stands there, sipping his beer.
          The Honda slows to a stop and the gangbangers glare at
          Walt.
          The REAR WINDOW of the Honda opens.
          Walt holds out his RIGHT HAND like a GUN. He closes one
          eye to better aim his imaginary gun and moves his thumb
          several times as if firing. Bang -- bang -- bang.
          The Honda takes off. Walt watches it drive off and
          lights another cigarette.
          Walt doesn't notice, but Tao witnessed this whole
          interaction from his yard.

<b>          INT. WALT'S ENTRYWAY - MORNING
</b>

<b>          67
</b>
<b>          67
</b>          The doorbell rings.
          Walt opens his door. Tao stands there with his hands in
          his pockets. He's a bit apprehensive.

<b>          TAO
</b>          What do you know about faucets?
          Walt stares at him for a second and then laughs.

<b>          CUT TO:
</b>
<b>          67.
</b>
<b>          CONTINUED:
</b>
<b>          66
</b>
<b>          66
</b>
<b>          PAGE 69
</b>
<b>          INT. TAO'S KITCHEN - A MINUTE LATER
</b>

<b>          68
</b>
<b>          68
</b>          Tao looks on as Walt turns the faucet on and off, it
          drips water at its base. Walt looks under the sink.

<b>          WALT
</b>          For the love of Pete.

<b>          TAO
</b>          What?

<b>          WALT
</b>          It must be a hundred degrees in
          here, turn on the fan.
          Tao flips the switch on the CEILING FAN, the fan wobbles
          and shakes, it looks like it's about to fly off.
          Walt stares up at the fan and shakes his head.

<b>          INT. WALT'S GARAGE
</b>

<b>          69
</b>
<b>          69
</b>          The CEILING FAN and FAUCET are taken apart on the
          workbench. Walt reinstalls the diverter valve. Tao
          looks at all of Walt's tools.

<b>          TAO
</b>          Man, where did you get all this
          stuff?

<b>          WALT
</b>          What are you talking about?

<b>          TAO
</b>          All the tools and stuff.

<b>          WALT
</b>          Where the hell do you think I got
          them, Toad? This may come as a
          shock to a thief, but I actually
          bought the things I have with
          money I earned.

<b>          TAO
</b>          Yeah, yeah, yeah, that's not what
          I meant. There's just so much
          shit packed in here.

<b>          WALT
</b>          You need the right tool for the
          right job. Every single thing
          here has a purpose.

<b>          68.
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 70
</b>
<b>          TAO
</b>          Okay, what's this?
          Tao points to a tool.

<b>          WALT
</b>          Post hole digger.
          Tao starts pointing at things on the workbench in quick
          succession, questioning Walt with his expression.

<b>          WALT
</b>          Hand spade. Tin snips. Nail
          punch. Tack hammer. Putty knife.
          Wire stripper. Drywall saw. Tile
          spacers.
          Silence. Walt can see something is bothering Tao, but
          he's too uncomfortable to speak up --

<b>          WALT
</b>          What?

<b>          TAO
</b>          I can't afford to buy all this
          stuff.

<b>          WALT
</b>          I didn't buy all this stuff at
          once, blockhead. I've lived here
          for fifty years. A man stays in
          one place long enough he tends to
          attract a decent set of tools.

<b>          TAO
</b>          Yeah, but...

<b>          WALT
</b>          Look, kid, I think I know where
          you're going with this. You don't
          need everything to maintain a
          house. I'm going to let you in on
          a little secret.
          Walt rattles around his tool bench and slaps down THREE
          items in quick succession.

<b>          WALT
</b>          This is for you. Roll of duct
          tape, can of WD-40 and a pair of
          vise-grips. Any man who's worth a
          shit can do half his household
          jobs with these three things. In
          the odd chance that doesn't work
          out, you can borrow something.

<b>          69.
</b>
<b>          CONTINUED:
</b>
<b>          69
</b>
<b>          69
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 71
</b>
<b>          TAO
</b>          Okay. Cool.
          Walt coughs and covers his mouth. Both Tao and Walt see
          the spot of BLOOD in his hand.

<b>          TAO
</b>          What's with that?

<b>          WALT
</b>          What's with what?

<b>          TAO
</b>          The blood you just coughed up.
          That's not good, you should see a
          doctor.
          Walt quickly changes the subject -- while tightening the
          screws that hold the fan blade to the motor hub.

<b>          WALT
</b>          So... what exactly was the deal
          with those guys out on my lawn
          that night? Who are they?

<b>          TAO
</b>          A gang. Hmong gangbangers.

<b>          WALT
</b>          I gathered that. What did they
          want with you?

<b>          TAO
</b>          They wanted to take me away
          because I blew my first
          initiation.

<b>          WALT
</b>          You joined up with those pukes?
          Damn, you are a pussy. Why in the
          hell did you do that?

<b>          TAO
</b>          I don't know. They were
          persuasive. My cousin's in the
          gang. They just talked me into it
          I guess.

<b>          WALT
</b>          Well, at least you're honest about
          it.
          A LONG SILENCE. Walt finishes fixing the ceiling fan.

<b>          70.
</b>
<b>          CONTINUED: (2)
</b>
<b>          69
</b>
<b>          69
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 72
</b>
<b>          WALT
</b>          So how'd you blow your first
          initiation?
          Tao nods towards the GRAN TORINO.

<b>          WALT
</b>          The Gran Torino?
          Tao nods. Walt laughs.

<b>          WALT
</b>          Christ all Friday.

<b>          INT. WALT'S BASEMENT
</b>

<b>          70
</b>
<b>          70
</b>          Walt straps an old WESTINGHOUSE FREEZER onto a two-
          wheeled DOLLY. Walt attempts to pull the freezer
          upstairs.
          Walt strains with the heavy appliance. It's too much
          weight for Walt, but this doesn't stop him from heaving
          and pulling.
          Walt could have done this by himself when he was younger.
          Walt sits down on the step and breathes hard.

<b>          INT. MITCH'S MASSIVE DEN
</b>

<b>          71
</b>
<b>          71
</b>          Mitch watches afternoon baseball, drinking an imported,
          bottled beer. KAREN pokes her head into the room.

<b>          KAREN
</b>          See you later, I'm taking the kids
          to the mall.
          Mitch never looks up from the TV.

<b>          MITCH
</b>          Yeah, fine. Just don't spend too
          much goddamned money.

<b>          KAREN
</b>          I will.
          We hear Karen and the kids exit.

<b>          MITCH
</b>          Thank God. Finally get the house
          to myself for once.
          The PHONE RINGS. Mitch looks at the Caller ID. It says;
          Dad. Mitch almost doesn't pick it up...

<b>          71.
</b>
<b>          CONTINUED: (3)
</b>
<b>          69
</b>
<b>          69
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 73
</b>
<b>          MITCH
</b>          Hello.

<b>          WALT (V.O.)
</b>          Hello? It's me, Dad... Walt.

<b>          MITCH
</b>          Hey, Dad. What's up?
          The CAMERA INTERCUTS BETWEEN Walt in his small kitchen
          and Mitch in his huge den.

<b>          WALT
</b>          Well... I... um... I'm getting the
          old Westinghouse up out of the
          basement.
          Mitch mouths the word Shit.

<b>          MITCH
</b>          Uh-huh.

<b>          WALT
</b>          So... I got it on the dolly.

<b>          MITCH
</b>          Yeah, that'll help.

<b>          WALT
</b>          Yeah... And it's a bit heavy...
          for one guy.

<b>          MITCH
</b>          Uh-huh.

<b>          WALT
</b>          Yeah... I need a hand.

<b>          MITCH
</b>          Oh.

<b>          WALT
</b>          So are you busy?

<b>          MITCH
</b>          Does it have to be done right this
          second? It's been down there for
          years.

<b>          WALT
</b>          Well... Yeah, I'd like to get on
          it.

<b>          72.
</b>
<b>          CONTINUED:
</b>
<b>          71
</b>
<b>          71
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 74
</b>
<b>          MITCH
</b>          Does it work? We were thinking
          about getting a freezer. What are
          you going to do with it?

<b>          WALT
</b>          Giving it to Aunt Mary.

<b>          MITCH
</b>          Oh... Can't she give you a hand?

<b>          WALT
</b>          She's eighty-one.

<b>          MITCH
</b>          I know, I was joking... What does
          she need it for?

<b>          WALT
</b>          To freeze food.
          Mitch opens another beer.

<b>          MITCH
</b>          Yeah, well, I'd love to help you
          out, Dad, but I'm just walking out
          the door. I have to bring the
          kids to the mall. Sorry.

<b>          WALT
</b>          Uh-huh.

<b>          MITCH
</b>          Why don't you call Stevie?

<b>          WALT
</b>          Your brother lives out of state.

<b>          MITCH
</b>          Well, I don't know what to tell
          you, I'm on my way out. Keys in
          my hand.

<b>          WALT
</b>          Okay then.

<b>          MITCH
</b>          If you can't find anyone by next
          week, give me a call.
          Walt nods and hangs up.
          Mitch hangs up and takes a sip of beer.

<b>          73.
</b>
<b>          CONTINUED: (2)
</b>
<b>          71
</b>
<b>          71
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 75
</b>
<b>          MITCH
</b>          Aunt Mary. Like she needs a
          freezer.

<b>          INT. TAO'S HOUSE
</b>

<b>          72
</b>
<b>          72
</b>          The doorbell rings and Tao opens the door. There stands
          Walt. Tao is a little shocked.

<b>          WALT
</b>          You got a minute, Toad?

<b>          CUT TO:
</b>
<b>          INT. WALT'S BASEMENT - A MINUTE LATER
</b>

<b>          73
</b>
<b>          73
</b>          Walt and Tao look at the freezer strapped to the dolly.

<b>          WALT
</b>          I just need a little push. All
          the weight is up top, so you stay
          down and give me a little shove at
          each step.

<b>          TAO
</b>          Let me take the top.

<b>          WALT
</b>          Naw, I got it.

<b>          TAO
</b>          No really, I'll take the top. It
          looks pretty heavy.

<b>          WALT
</b>          I'm not crippled. I got it.

<b>          TAO
</b>          If you don't let me take the top,
          I ain't helping. I'll go home.

<b>          WALT
</b>          Listen, zipper head, now's not the
          time to go and...

<b>          TAO
</b>          You listen, old man. You came and
          got me because you needed help, so
          let me help you. Either it's top
          or I'm out of here.
          Walt studies Tao for a second. Tao doesn't blink, he
          holds his ground. Walt nods, trying not to grin.

<b>          74.
</b>
<b>          CONTINUED: (3)
</b>
<b>          71
</b>
<b>          71
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 76
</b>
<b>          WALT
</b>          Okay then, be my guest. Just
          don't let it slip out of your
          little girl hands and crush me.
          Tao laughs.

<b>          TAO
</b>          Don't give me any ideas.

<b>          EXT. WALT'S BACKYARD - MINUTES LATER
</b>

<b>          74
</b>
<b>          74
</b>          Tao and Walt ease the freezer down the back steps and
          pause to take a break. They both breathe hard.

<b>          TAO
</b>          That thing weighs a ton.

<b>          WALT
</b>          Yeah, but it runs like new. They
          don't make them like that anymore.

<b>          TAO
</b>          What are you going to do with it?

<b>          WALT
</b>          Sell it. I haven't used it in
          years and it was always in the way
          down there.

<b>          TAO
</b>          How much?

<b>          WALT
</b>          Oh, I don't know. Sixty bucks,
          maybe. Why, you need a freezer?

<b>          TAO
</b>
<b>          (NODS)
</b>          Our downstairs one died.
          Walt thinks for a second.

<b>          WALT
</b>          Twenty-five and it's yours.

<b>          TAO
</b>          Twenty-five? You just said sixty?

<b>          WALT
</b>          Save me from wasting money on
          putting an ad in the paper.

<b>          75.
</b>
<b>          CONTINUED:
</b>
<b>          73
</b>
<b>          73
</b>
<b>          PAGE 77
</b>
<b>          EXT. WALT'S PORCH - DAY
</b>

<b>          75
</b>
<b>          75
</b>          Walt and Sue sit eating Laab as they watch Tao, who
          washes and waxes the Gran Torino in Walt's driveway.
          Sue laughs and shakes her head.

<b>          SUE
</b>          Kind of ironic, huh?

<b>          WALT
</b>          What?

<b>          SUE
</b>          What the hell do you think I'm
          referring to? Toad washing the
          car he tried to steal from you.

<b>          WALT
</b>          It seems like justice to me. And
          if he misses a spot, he's doing it
          all over.

<b>          SUE
</b>          It's nice of you to kind of look
          after him like this. He doesn't
          have any real role models in his
          life.

<b>          WALT
</b>          I ain't a role model.

<b>          SUE
</b>          You're a good man, Wally. I wish
          our dad would have been more like
          you.

<b>          WALT
</b>          Don't call me Wally.

<b>          SUE
</b>          No, I'm serious. He was hard on
          us, really traditional, really old
          school.

<b>          WALT
</b>          I'm old school.

<b>          SUE
</b>          Yeah, but you're American.

<b>          WALT
</b>          What's that supposed to mean?
          Sue shrugs him off. They look at Tao for awhile.

<b>          76.
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 78
</b>
<b>          SUE
</b>          You like him, don't you?

<b>          WALT
</b>          Him? Don't be crazy. He tried to
          steal my car.

<b>          SUE
</b>          And you spend time with him and
          you teach him how to fix things
          and you saved him from that fuck
          cousin of ours and...

<b>          WALT
</b>          Hey. Watch the language.

<b>          SUE
</b>          And you're a good man.

<b>          WALT
</b>          Hand me a beer, Dragon Lady.
          Sue hands him a beer and Walt pops the top.

<b>          WALT
</b>          So tell me the problem with Hmong
          boys again. I'm not completely
          clear.

<b>          SUE
</b>          Hmong girls slip in and out of the
          culture more easily. Date who we
          want, stay close to our mothers,
          but are able to keep a foot on
          each side of the fence. The boys
          fall through the cracks.

<b>          WALT
</b>          Why?

<b>          SUE
</b>          It's tough. The boys float
          around. The fathers belong in a
          totally different world and the
          boys have no one to turn to. Does
          that make sense?

<b>          WALT
</b>          Not sure. No.

<b>          SUE
</b>          The boys don't ask their fathers
          for advice, because over here,
          their fathers no longer have the
          answers.

<b>          77.
</b>
<b>          CONTINUED:
</b>
<b>          75
</b>
<b>          75
</b>
<b>          (MORE)
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 79
</b>          Hmong boys become almost
          invisible, they end up banding
          together and it all goes to hell
          from there.

<b>          WALT
</b>          The girls go to college and the
          boys go to jail.

<b>          SUE
</b>          It's more common than not.
          Walt reflects on this for awhile, then changes the
          subject.

<b>          WALT
</b>          You still going out with that
          clown?

<b>          SUE
</b>          No. I dumped him. He was a dim-
          wit.
          Walt nods.

<b>          WALT
</b>          Good girl.

<b>          EXT. WALT'S GARDEN - DAY
</b>

<b>          76
</b>
<b>          76
</b>          Walt and Tao spread mulch around Walt's vegetable plants.

<b>          TAO
</b>          You know, the Hmong consider
          gardening to be women's work.

<b>          WALT
</b>          Is that why I see you out in your
          garden all the time? Besides,
          zipper head, we ain't in Hu-Mong.

<b>          TAO
</b>          Funny.
          Walt lights a cigarette.

<b>          TAO
</b>          You should quit those. It's bad
          for you.

<b>          WALT
</b>          So is joining a gang, you dipshit.

<b>          78.
</b>
<b>          CONTINUED: (2)
</b>
<b>          75
</b>
<b>          75
</b>
<b>          SUE (CONT'D)
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 80
</b>
<b>          TAO
</b>          Seriously, you should quit, I saw
          you cough up blood.

<b>          WALT
</b>          So, you ever think about what you
          want to do with your life?

<b>          TAO
</b>          I don't know.

<b>          WALT
</b>          You've never thought about it?

<b>          TAO
</b>          Of course I have.

<b>          WALT
</b>          Well, while you're thinking about
          it, try not to stomp all over my
          chives, you dipshit.
          Tao looks down; sure enough, he's standing on Walt's
          chives.

<b>          TAO
</b>          Sorry.

<b>          WALT
</b>          Put some mulch around the
          cucumbers.
          Tao spreads more mulch.

<b>          TAO
</b>          I was thinking about sales, maybe.

<b>          WALT
</b>          My oldest son's a salesman. He
          sells cars.

<b>          TAO
</b>          Does he do well?

<b>          WALT
</b>          License to steal. I worked in a
          Ford plant for thirty years and my
          son sells goddamned Japanese cars.

<b>          TAO
</b>          You made cars?

<b>          79.
</b>
<b>          CONTINUED:
</b>
<b>          76
</b>
<b>          76
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 81
</b>
<b>          WALT
</b>          That's right. And I put the
          steering column in the Gran Torino
          when it rolled down the line in

<b>          1972.
</b>
<b>          TAO
</b>          Wow, that's cool.

<b>          WALT
</b>          It is, isn't it?

<b>          TAO
</b>          Does your son come over much?

<b>          WALT
</b>          How are you going about getting
          into sales? You thinking about
          school?

<b>          TAO
</b>          Kinda.

<b>          WALT
</b>          Well, you should.

<b>          TAO
</b>          School costs money.

<b>          WALT
</b>          Maybe you should get a job and
          save instead of spreading mulch in
          my garden.

<b>          TAO
</b>          Maybe you could just pay me.

<b>          WALT
</b>          That's funny.

<b>          TAO
</b>          What kind of job could I get?

<b>          WALT
</b>          Good question. Who the hell would
          hire you?

<b>          TAO
</b>
<b>          (DEFLATED)
</b>          Yeah, I know.

<b>          WALT
</b>          Aw, go on. I'm kidding. You
          could get a job, easy.

<b>          80.
</b>
<b>          CONTINUED: (2)
</b>
<b>          76
</b>
<b>          76
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 82
</b>
<b>          TAO
</b>          Like what?

<b>          WALT
</b>          I'd think about construction.

<b>          TAO
</b>          Me? Construction? What, do you
          have Alzheimer's or something?

<b>          WALT
</b>          Naw, you could hack it. You just
          need a little adjustment.

<b>          TAO
</b>          You said yourself I'm worthless
          and I have soft little girl hands.

<b>          WALT
</b>          That's exactly the point. I know
          some guys in the trades, but you
          have to get your shit together.
          We have to man you up a bit.

<b>          TAO
</b>          Man me up?

<b>          WALT
</b>          Yes. And you should ask out Yum
          Yum too.

<b>          EXT./INT. BARBERSHOP - DAY
</b>

<b>          77
</b>
<b>          77
</b>          Walt and Tao walk up to the barbershop.

<b>          WALT
</b>          You have to learn how guys talk.
          Now watch how me and Martin
          communicate. We just throw it
          back and forth. You ready?

<b>          TAO
</b>          Sure.

<b>          WALT
</b>          Okay, let's go in.
          Walt holds the door for Tao and they enter. The Barber
          has his feet up reading a Playboy.

<b>          BARBER
</b>          Oh great, a Pollack and a chink.

<b>          81.
</b>
<b>          CONTINUED: (3)
</b>
<b>          76
</b>
<b>          76
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 83
</b>
<b>          WALT
</b>          Afternoon, Martin, you dumb
          Italian prick.

<b>          BARBER
</b>          Walt, you cheap asshole, I should
          have known you'd come in, I was
          having such a pleasant day.

<b>          WALT
</b>          Why, did you jew some blind man
          out of a few bucks, give him the
          wrong change?
          Walt and the Barber shake hands warmly. Tao is wide-
          eyed.

<b>          BARBER
</b>          Who's the Nip?

<b>          WALT
</b>          This is Tao. He's a pussy kid who
          lives next door and I'm trying to
          man him up a little.
          Walt points at Tao.

<b>          WALT
</b>          Did you see? That's how men talk
          to each other.

<b>          TAO
</b>          They do?

<b>          BARBER
</b>          What, do you have shit in your
          ears?

<b>          WALT
</b>          Okay. You go out, come back in
          and give it a try.

<b>          TAO
</b>          Come on, Walt.

<b>          WALT
</b>          I said go out there, come back in
          and talk to the barber like a man.
          Do it.
          Tao shrugs, goes outside, lets the door shut then comes
          back in. The Barber stands there with a sneer on his
          face.

<b>          82.
</b>
<b>          CONTINUED:
</b>
<b>          77
</b>
<b>          77
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 84
</b>
<b>          TAO
</b>          Wus up, you old Italian prick?
          The Barber levels a sawed-off SHOTGUN at Tao.

<b>          BARBER
</b>          Get outta my shop before I blow
          your head off, you long-haired
          faggy little gook!
          Tao is terrified, frozen stiff.
          Walt and the Barber throw their heads back and laugh.
          The Barber lowers the shotgun.

<b>          WALT
</b>          Jesus Christ, Toad, you don't walk
          in and insult a guy. What are
          you, an idiot?

<b>          TAO
</b>          But... but that's what you said.
          That's what you said men say.

<b>          WALT
</b>          Not if you never met the guy. If
          you say that shit to the wrong
          stranger, they'll blow your
          goddamned gook head off!
          Walt and the Barber laugh again.

<b>          TAO
</b>          What should I have said?

<b>          WALT
</b>          Anything but that.

<b>          BARBER
</b>          Kid, you shoulda just started with
          Hi' or Hello.'

<b>          WALT
</b>          Right. You should have said,
          Excuse me, I'm looking for a
          haircut if you have time.'

<b>          BARBER
</b>          Yeah. Be polite, but don't kiss
          ass.

<b>          WALT
</b>          Or, even better is act like you
          just got off a construction job.

<b>          83.
</b>
<b>          CONTINUED: (2)
</b>
<b>          77
</b>
<b>          77
</b>
<b>          (MORE)
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 85
</b>          Or bitch about your girlfriend or
          getting your car fixed.

<b>          BARBER
</b>          Right. Son of a bitch, I just got
          my brakes fixed and those sons a
          bitches really nailed me. Screwed
          me right in the ass.

<b>          WALT
</b>          Exactly. Don't swear at the guy
          you're talking to, swear about
          another guy who ain't there. My
          son of a bitch prick fucking boss
          made me work overtime and he knew
          I had bowling tonight.

<b>          BARBER
</b>          Or, my old lady bitches to me for
          two fucking hours about how they
          don't take expired coupons at the
          grocery store and the minute I
          turn on the goddamned game, she
          starts crying how we never talk.

<b>          WALT
</b>          See? You come back in, Toad. Be
          polite and then you bring up
          something you can both talk about.
          It ain't rocket science.

<b>          TAO
</b>          Yeah, but I don't have a job or a
          car or a girlfriend.
          Walt and the Barber laugh.

<b>          BARBER
</b>          Sweet Jesus, I shoulda blown his
          head off when I had the chance.

<b>          WALT
</b>          Just go back outside and try it
          again. And don't mention you're a
          pussy with no car, girl, job,
          future or whatever. Come in and
          act like a man, Toad.
          Tao goes out, turns around and comes back in.

<b>          TAO
</b>          Excuse me, sir, I need a haircut,
          if you ain't too busy... you
          Italian son-of-a-bitch prick
          barber.

<b>          84.
</b>
<b>          CONTINUED: (3)
</b>
<b>          77
</b>
<b>          77
</b>
<b>          WALT (CONT'D)
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 86
</b>          Walt and the Barber laugh...

<b>          TAO
</b>          Boy does my ass hurt from all the
          guys at my construction job.
          Walt and the Barber laugh harder.

<b>          INT. WALT'S OLD PICKUP TRUCK - MORNING
</b>

<b>          78
</b>
<b>          78
</b>
<b>          WALT
</b>          If you do this, you're going to
          follow through, right?

<b>          TAO
</b>          Yeah, yeah.

<b>          WALT
</b>          No, not yeah, yeah. Yes, as in
          yes, sir, I'll do my best.

<b>          TAO
</b>          Yes, I'll do my best.

<b>          WALT
</b>          You better, because when I vouch
          for someone, it's my word and I
          don't want anyone making me look
          bad.

<b>          TAO
</b>          No, I'm good. I'm totally into
          this.

<b>          WALT
</b>          And don't lay down to people all
          the time. Always look a person in
          the eye. When you shake a man's
          hand, you can usually tell where
          you stand with him.
          Walt hands a pair of beat-up WORK GLOVES to Tao.

<b>          WALT
</b>          Here, stuff these in your back
          pocket.

<b>          TAO
</b>          Cool.

<b>          WALT
</b>          Just don't blow this.

<b>          85.
</b>
<b>          CONTINUED: (4)
</b>
<b>          77
</b>
<b>          77
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 87
</b>          Walt and Tao walk up to the Superintendent's Office
          Trailer on a construction job site.

<b>          INT. JOB TRAILER - SAME TIME
</b>

<b>          79
</b>
<b>          79
</b>          Walt and Tao come in. Walt shakes hands with TIM
          KENNEDY, the job super.

<b>          WALT
</b>          Kennedy, you drunken Irish goon,
          how the hell are ya?

<b>          KENNEDY
</b>          Shitty, but who's gonna listen?

<b>          WALT
</b>          Not me.
          Walt pours himself a cup of the bad job-site coffee.

<b>          KENNEDY
</b>          Help yourself, Walt, you dumb
          Pollack.

<b>          WALT
</b>          I already did. This is the kid I
          told you about. Tao, this is Tim
          Kennedy, he's the super on the
          job.
          Kennedy looks Tao up and down. Tao looks him in the eye.

<b>          KENNEDY
</b>          What do we got, Walt?

<b>          WALT
</b>          He's done construction here and
          there. Whatever you need, he'll
          pick it up quick.

<b>          KENNEDY
</b>          You sure?

<b>          WALT
</b>          Sure.

<b>          KENNEDY
</b>          You speak English?

<b>          TAO
</b>          Yes, sir.

<b>          KENNEDY
</b>          You born here?

<b>          86.
</b>
<b>          CONTINUED:
</b>
<b>          78
</b>
<b>          78
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 88
</b>
<b>          TAO
</b>          You bet.

<b>          KENNEDY
</b>          You got a vehicle? I see Walt
          drove you here.

<b>          TAO
</b>          Not at the moment. I'm taking the
          bus for now.

<b>          KENNEDY
</b>          The bus? Jesus Christ, you don't
          have a car?

<b>          TAO
</b>          My headgasket cracked and the
          goddamned prick at the shop wants
          to bend me over for $2100.

<b>          KENNEDY
</b>          I just replaced the tranny in my
          Tahoe and the sons a bitches
          fucked me hard, just under $3200.

<b>          TAO
</b>          Goddamned thieves. It ain't
          right.

<b>          KENNEDY
</b>          You got that right. Come on in on
          Monday and we'll find something
          for you to do.
          Tao puts out his hand to shake.

<b>          TAO
</b>          Thanks, Mr. Kennedy.
          Tim Kennedy shakes Tao's hand.

<b>          KENNEDY
</b>          It's Tim. What's your name again?

<b>          TAO
</b>          Tao.

<b>          KENNEDY
</b>          Okay. You owe me one, Walt.

<b>          WALT
</b>          I'll send you a fucking fruitcake
          at Christmas.

<b>          87.
</b>
<b>          CONTINUED:
</b>
<b>          79
</b>
<b>          79
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 89
</b>
<b>          KENNEDY
</b>          Fuck the fruitcake, why don't you
          hand over the keys to that Gran
          Torino.

<b>          WALT
</b>          Yeah, everybody seems to want that
          car.

<b>          KENNEDY
</b>          I bet.

<b>          WALT
</b>          You don't know the half of it.
          Come on, zipper head, let's let
          this big Mick get back to screwing
          off.
          Walt and Tao exit and walk back to the truck.

<b>          INT. TRUCK - DRIVING - SAME MORNING
</b>

<b>          80
</b>
<b>          80
</b>          Walt pulls into a Home Depot parking lot.

<b>          TAO
</b>          What are we doing?

<b>          WALT
</b>          What are you gonna put all your
          tools in, an empty rice bag?

<b>          INT. HOME DEPOT
</b>

<b>          81
</b>
<b>          81
</b>          Walt and Tao walk the aisles. Walt grabs a tool belt and
          tosses it to Tao.

<b>          WALT
</b>          You'll need this.
          Walt then tosses Tao a utility knife holder.

<b>          WALT
</b>          And you'll need that. Now where
          the hell do they hide the hardware
          holders?

<b>          TAO
</b>          I can't afford any of this.

<b>          WALT
</b>          I'll get it, but you're paying me
          back with your first check.

<b>          88.
</b>
<b>          CONTINUED: (2)
</b>
<b>          79
</b>
<b>          79
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 90
</b>
<b>          TAO
</b>          Cool.
          Walt pitches a hardware pouch at Tao.

<b>          WALT
</b>          And you need this too. That
          should about do it.

<b>          TAO
</b>          Not to bitch, but won't I be
          needing some tools?

<b>          WALT
</b>          Tools I got, but I ain't loaning
          you my tool belt. You can buy
          tools as you go.

<b>          TAO
</b>          I appreciate all this.

<b>          WALT
</b>          Aw, forget it.

<b>          TAO
</b>          No, I really do. Thank you.
          Walt sticks out his jaw and looks Tao straight in the
          eye. Tao doesn't know what to expect.
          A PAUSE. Walt puts out his HAND to Tao. Tao extends his
          and they SHAKE HANDS.
          It's really quite a moment for both of them.

<b>          EXT. BUS STOP - AFTERNOON
</b>

<b>          82
</b>
<b>          82
</b>          Tao gets off the bus, his tool belt over his shoulder.
          Tao looks tired after working, but content. He walks
          past an abandoned lot.
          The tricked-out Honda pulls up and stops. Smokie, Spider
          and company get out. Tao looks nervous, but remains
          calm.

<b>          TAO
</b>          What now?

<b>          SPIDER
</b>          Just seeing what you're up to,
          cuz.

<b>          89.
</b>
<b>          CONTINUED:
</b>
<b>          81
</b>
<b>          81
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 91
</b>
<b>          TAO
</b>          I'm getting home from work, not
          that you guys would know much
          about that.

<b>          SPIDER
</b>          So it's true? You got a job.

<b>          TAO
</b>          Come on, what do you guys want
          with me?

<b>          SMOKIE
</b>          Jesus Christ, Tao. What do you
          think? I've been sooooo easy on
          you, but I can't just go on like
          nothing happened.

<b>          TAO
</b>          You can't just leave me alone?

<b>          SMOKIE
</b>          Afraid not.
          The gangbangers grab Tao. Tao kicks and struggles as
          they yank away his tool belt.

<b>          TAO
</b>          Keep your hands off my stuff.

<b>          SMOKIE
</b>          Your stuff? You and everything
          you have is mine. I own you.
          Smokie pulls the tape measure off the belt and smashes it
          against the pavement. Whatever tools Smokie can't
          destroy, he tosses onto the roof of the closest building.

<b>          SMOKIE
</b>          You can't just walk away from us,
          Tao. It looks bad. It makes me
          look bad.
          Smokie lights a CIGARETTE and exhales...

<b>          SMOKIE
</b>          What's the phrase I'm looking for?
          Oh yeah, I need to save face.'
          Smokie grabs Tao by the neck and presses the lit
          CIGARETTE into Tao's cheek.
          Tao screams as his flesh burns.

<b>          90.
</b>
<b>          CONTINUED:
</b>
<b>          82
</b>
<b>          82
</b>
<b>          PAGE 92
</b>
<b>          EXT. WALT'S ALLEY - MORNING
</b>

<b>          83
</b>
<b>          83
</b>          Walt spots Tao as he takes out the trash.

<b>          WALT
</b>          Hey there.
          Tao looks to the ground and heads in the other direction.

<b>          TAO
</b>          Hey, I gotta run.

<b>          WALT
</b>          Wait a minute. Where have you
          been, I haven't seen you in days?

<b>          TAO
</b>          Busy.
          Walt squints at Tao. He steps closer. Tao looks away.
          Walt tilts Tao's head up, he sees the burn.

<b>          WALT
</b>          What in the hell happened to you?

<b>          TAO
</b>          Don't worry about it.

<b>          WALT
</b>          Don't worry about it? Look at
          your goddamned face!

<b>          TAO
</b>          I said don't worry about it. It's
          not your problem.
          Walt looks at the ground and spits.

<b>          WALT
</b>          When?

<b>          TAO
</b>          Couple days ago. Grabbed me after
          I got off the bus coming home from
          work.

<b>          WALT
</b>          Cowards.

<b>          TAO
</b>          I did everything I could possibly
          do. They broke some of your
          tools. I'll replace them.

<b>          91.
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 93
</b>
<b>          WALT
</b>          Forget the tools. Where does your
          cousin live?

<b>          TAO
</b>          No, Walt, I can manage. I don't
          want you doing anything.
          Walt is angry, but eventually nods at Tao.

<b>          WALT
</b>          Alright. You need any other tools
          for work?

<b>          TAO
</b>          I could use a roofing hammer.

<b>          WALT
</b>          Go in the garage and get whatever
          you need.

<b>          INT. TAO'S BEDROOM - NIGHT
</b>

<b>          84
</b>
<b>          84
</b>          Tao leans over his desk with a black Sharpie marker. He
          carefully writes Tao Vang Lor in black ink on the face
          of his smashed-up tape measure. He puts it back into the
          tool belt and grabs another tool to label.

<b>          INT./EXT. WALT'S TRUCK - NIGHT
</b>

<b>          85
</b>
<b>          85
</b>          Walt sits in the dark, the only light is from the radio
          tuned to baseball. Daisy lies in the front seat. Next
          to Daisy is the M1 RIFLE.
          Walt watches as Spider and another Hmong gangbanger step
          out of the rundown duplex, get in their Honda and drive
          off.

<b>          WALT
</b>          That's the last of them.
          Walt pulls out his Colt .45 automatic and chambers a
          round.

<b>          EXT. DUPLEX - SAME TIME
</b>

<b>          86
</b>
<b>          86
</b>          Walt pounds loudly on the door. A moment later the door
          starts to swing open and a voice is heard...

<b>          SMOKIE (O.S.)
</b>          What the hell did...

<b>          92.
</b>
<b>          CONTINUED:
</b>
<b>          83
</b>
<b>          83
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 94
</b>          Walt kicks open the door and grabs Smokie by the collar.
          Walt drags the 105 pound Smokie out of his house and
          tosses him off the front porch onto the front sidewalk.
          Smokie is stunned. Walt kicks him hard in the ribs.

<b>          SMOKIE
</b>          How the fuck did you get here?!

<b>          WALT
</b>          You aren't that hard to track
          down.
          Walt boots him again. Smokie curls up in the fetal
          position.

<b>          SMOKIE
</b>          What do you want?
          Walt kicks him a second time.

<b>          WALT
</b>          I came to give you a chance.
          SOMETHING comes out of the shadows under the porch.
          Walt swings the barrel of the big Colt .45 at the
          movement.
          It's a cat. Walt puts his pistol away. Smokie exhales.

<b>          WALT
</b>          It's just you and me. Nobody
          knows or has to know I was here.
          You lay off Tao. Tell your guys
          he ain't worth it or whatever the
          hell you want. You don't talk to
          him, you don't go near him. This
          is your one chance. You lay off
          and no one will ever be the wiser.
          Smokie says nothing.

<b>          WALT
</b>          I'll take that as a yes. I don't
          want to come back here. But if I
          do, believe me, it'll be goddamned
          ugly.
          Walt kicks Smokie again and stalks off into the dark.

<b>          93.
</b>
<b>          CONTINUED:
</b>
<b>          86
</b>
<b>          86
</b>
<b>          PAGE 95
</b>
<b>          EXT. WALT'S HOUSE - SAME EVENING
</b>

<b>          87
</b>
<b>          87
</b>          Walt pulls up his driveway and parks. Daisy jumps out
          and Walt carries his rifle into the house. Walt walks
          stiffly.
          Walt gets to the door and drops his keys. When he bends
          down to pick them up, you can really tell he's sore and
          hurting.
          Walt groans as he goes inside. He's feeling his age.

<b>          EXT. WALT'S BACKYARD - DAY
</b>

<b>          88
</b>
<b>          88
</b>          Vu, Sue, Tao and Wa Xam all sit in lawn chairs, talking
          and laughing. Walt flips the inch-thick STEAKS on his
          Weber.

<b>          WALT
</b>          How do you want your dog... I mean
          steaks cooked? Medium, medium
          well?

<b>          TAO
</b>          Funny.
          Walt pops open a beer and grabs an appetizer that Vu
          made.

<b>          WALT
</b>          Is this Hmoog or Laab?

<b>          SUE
</b>          Laab.

<b>          WALT
</b>          Isn't it usually a little spicier?
          Tao, Wa Xam and Sue laugh.

<b>          SUE
</b>          Oh whatever, Wally.

<b>          WALT
</b>          It does. Usually it's got more
          zing.

<b>          SUE
</b>          Jesus Christ, look at you. I've
          never seen you like this.

<b>          WALT
</b>          What?

<b>          94.
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 96
</b>
<b>          SUE
</b>          Look at you smile, old man.
          Kicking back, having a good old
          time. You're sure pleased with
          yourself today.

<b>          TAO
</b>          And it's a little unnerving if you
          ask me.

<b>          WALT
</b>          Aw, go on.

<b>          SUE
</b>          No, admit it. You are. You're
          feeling pretty good, aren't you?

<b>          WALT
</b>          Well, who wouldn't? I'm
          surrounded by beautiful women,
          it's a beautiful day. Great food,
          good friends. Hell, even Toad
          isn't driving me nuts for once.

<b>          TAO
</b>          It never ends.

<b>          WALT
</b>          I'm just kidding. Let me tell you
          something, Yum-Yum. If Tao
          doesn't ask you out soon, I will.

<b>          SUE
</b>          Don't listen to him, Wa Xam. He's
          a white devil.

<b>          WA XAM
</b>
<b>          (LAUGHS)
</b>          I'd love to, Walt, but he beat you
          to it.

<b>          WALT
</b>          I'll be damned. Movie? Dinner?
          Wa Xam and Tao nod. They're a bit embarrassed.

<b>          SUE
</b>          Yeah, they're taking the bus.

<b>          WALT
</b>          The bus?! That's no good. A
          charming young lady like this
          deserves to go in style.

<b>          95.
</b>
<b>          CONTINUED:
</b>
<b>          88
</b>
<b>          88
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 97
</b>
<b>          TAO
</b>          Like what? Take a limo?
          Walt nods towards the GRAN TORINO.

<b>          TAO
</b>          The Gran Torino? You'd let me
          drive it?

<b>          WALT
</b>          Sure. Why not.

<b>          TAO
</b>          Really?
          Walt smiles.

<b>          WALT
</b>          Really.
          They shake hands.

<b>          INT. WALT'S LIVING ROOM - EVENING
</b>

<b>          89
</b>
<b>          89
</b>          Walt watches baseball. He hears a car outside. Shouts
          are heard and glass breaks.
          Walt gets up and looks out the shades...
          TAO'S HOUSE is raked with GUNFIRE coming from a VAN!
          Windows shatter and the siding splinters.
          FIFTY BULLETS shake the house before the VAN peels off.

<b>          EXT. TAO'S HOUSE - SAME TIME
</b>

<b>          90
</b>
<b>          90
</b>          Walt is up their front steps and in the house in seconds.
          Walt goes from room to room, from Vu to Phong finally to
          Tao -- making sure no one's been hit.

<b>          WALT
</b>          Is everyone okay? Is anyone hit?
          Sue? Vu? Tao, where's Tao?
          Tao sits up from behind the couch. Blood pours down his
          neck. He's stunned.

<b>          WALT
</b>          Oh no.
          Walt lays Tao down and rips open the collar of his shirt.
          Walt probes around Tao's neck.

<b>          96.
</b>
<b>          CONTINUED: (2)
</b>
<b>          88
</b>
<b>          88
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 98
</b>
<b>          TAO
</b>          What... what is it?

<b>          WALT
</b>          Hang on... you're just cut, is
          all.

<b>          TAO
</b>          Is everybody else okay?

<b>          WALT
</b>          Yeah.
          Walt looks around at the BULLET HOLES in the walls. Tao
          follows his gaze.

<b>          TAO
</b>          It's a miracle no one was killed.

<b>          WALT
</b>          They aimed high.
          Sure enough -- most of the bullet holes are above head
          level on the walls.

<b>          WALT
</b>          Where's Sue?

<b>          TAO
</b>          She went to our aunt's.

<b>          WALT
</b>          Call her.

<b>          TAO
</b>          What?

<b>          WALT
</b>          I said call her. Get the
          goddamned phone and call and see
          if she's there.
          Tao scrambles for the phone and dials.
          Tao speaks Hmong to whomever answered. Tao starts to
          speak faster. He looks at Walt and shakes his head no.
          For once -- Vu and Phong understand what Walt was talking
          about. There is anguish on every face in the room.

<b>          CUT TO:
</b>
<b>          97.
</b>
<b>          CONTINUED:
</b>
<b>          90
</b>
<b>          90
</b>
<b>          PAGE 99
</b>
<b>          INT. TAO'S HOUSE - LATER
</b>

<b>          91
</b>
<b>          91
</b>          Walt sits across from Tao, drinking rice liquor. Walt
          speaks loudly, without any consideration for Phong who
          shoots him dirty looks.

<b>          WALT
</b>          This is exactly what I didn't
          want. Damn gooks. Why the hell
          am I even here?

<b>          TAO
</b>          Maybe one of her friends called
          and she just changed plans.
          Walt sips the rice liquor. Walt now speaks quietly to
          Tao.

<b>          WALT
</b>          In Korea I learned not to care.
          The best friends of my life are
          still missing somewhere in Korea.
          You harden yourself. Don't let
          anything get to you.
          Phong looks out the window and screams. She runs over
          and swings open the door.
          Everyone expects the worst...
          And it comes like a cold wind -- SUE WALKS IN LIKE A
          ZOMBIE. She has been brutally beaten. Her clothes are
          dirty and torn.
          BLOOD runs down SUE'S legs from under her shirt.
          Walt looks at her and the glass falls from his hand.
          Sue staggers into Vu's arms. Vu weeps. Sue hugs her
          mother and sobs.
          Tao reaches to hug his sister, but Phong screeches at
          him, pointing at Walt and back to Tao.
          Walt is destroyed. He steps outside into the dark.

<b>          EXT./INT. WALT'S HOUSE - SAME TIME
</b>

<b>          92
</b>
<b>          92
</b>          Walt staggers across the yard to his house.

<b>          WALT
</b>          No, no, no, no, no.

<b>          98.
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 100
</b>          Walt bursts in the door, throws himself in an easy chair
          and CRIES. He tries to stop and cries harder.
          It's the first time Walt has cried in fifty years. He
          wails, crying for Tao, Sue, his wife, kids and himself.
          He lets it all out. Daisy jumps in his lap and he hugs
          his old dog as he bawls.

<b>          CUT TO:
</b>
<b>          INT. WALT'S LIVING ROOM - LATER
</b>

<b>          93
</b>
<b>          93
</b>          Walt sits, red-eyed. He's done crying. Family photo
          albums are scattered around.
          Father Janovich knocks and eases open the front door.

<b>          FATHER JANOVICH
</b>          Mr. Kowalski, are you in here?

<b>          WALT
</b>          Come on in.
          Father Janovich comes in and sits down across from Walt.

<b>          FATHER JANOVICH
</b>          Are you okay?
          Walt nods.

<b>          FATHER JANOVICH
</b>          The police finally left. No one
          is talking. One thing about the
          Hmong, they keep their mouths
          shut.

<b>          WALT
</b>          I've noticed that.
          Father Janovich picks up a photo album and flips through
          it. Pictures of Mitch and Steve as babies.

<b>          WALT
</b>          You know, there's no way that Tao
          or Sue are gonna have any peace if
          these gang guys don't go away. Go
          away forever. You know it as well
          as I do.

<b>          FATHER JANOVICH
</b>          What are you saying?

<b>          99.
</b>
<b>          CONTINUED:
</b>
<b>          92
</b>
<b>          92
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 101
</b>
<b>          WALT
</b>          You heard what I said.

<b>          FATHER JANOVICH
</b>          They took Sue to the hospital.
          She's scared. They're all scared.

<b>          WALT
</b>          I'm not.

<b>          FATHER JANOVICH
</b>          I know that. Believe me, they all
          know that. Tao especially. He's
          sitting out there staring at your
          front door. You know what he
          expects, Mr. Kowalski.

<b>          WALT
</b>          Yeah, well what would you do if
          you were me? If you were Tao?
          What would you do?
          Father Janovich shakes his head.

<b>          FATHER JANOVICH
</b>          I know what I'd do if I was you,
          or at least what you think you
          should do. If I was Tao I guess
          I'd want vengeance. I'd want to
          stand shoulder to shoulder with
          you and kill those guys.

<b>          WALT
</b>          And you?

<b>          FATHER JANOVICH
</b>          What would I do? I'd come over
          here and talk to you I guess. I
          know you're close with these
          people, but this pisses me off
          too, Mr. Kowalski.
          Walt nods.

<b>          WALT
</b>          Wanna beer?

<b>          FATHER JANOVICH
</b>          I'd love one.

<b>          WALT
</b>          They're in the cooler, grab me one
          too.

<b>          100.
</b>
<b>          CONTINUED:
</b>
<b>          93
</b>
<b>          93
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 102
</b>          Father Janovich grabs four beers, two for each of them.
          He opens a Pabst and takes a big swig.

<b>          FATHER JANOVICH
</b>          Damn all this. It just isn't
          fair.

<b>          WALT
</b>          Nothing's fair, Father.
          Father Janovich and Walt sit for awhile.

<b>          FATHER JANOVICH
</b>          So, what are you going to do, Mr.
          Kowalski?

<b>          WALT
</b>          Call me Walt.
          Father Janovich nods.

<b>          FATHER JANOVICH
</b>          Alright, what are you going to do,
          Walt?

<b>          WALT
</b>          Not sure yet. All I do know is
          they don't have a goddamned
          chance.

<b>          INT. WALT'S KITCHEN - MORNING
</b>

<b>          94
</b>
<b>          94
</b>          Walt sits at the kitchen table in his robe, drinking
          coffee. Tao comes in without even knocking on the door.

<b>          TAO
</b>          What are you doing?

<b>          WALT
</b>          I'm thinking.

<b>          TAO
</b>          Thinking time is over. Now it's
          time to knock the ass out of those
          pricks.

<b>          WALT
</b>          I know you don't want to hear
          this, but you have to calm down.

<b>          TAO
</b>          What?!

<b>          101.
</b>
<b>          CONTINUED: (2)
</b>
<b>          93
</b>
<b>          93
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 103
</b>
<b>          WALT
</b>          You have to have a clear head,
          otherwise mistakes get made. Back
          away from what's happened, Tao.

<b>          TAO
</b>          No. Don't let me down, Walt. Not
          you. This is going to end, today.
          Walt stands up and pulls out a chair for Tao to sit in.

<b>          WALT
</b>          Sit down.

<b>          TAO
</b>          I don't want to sit.

<b>          WALT
</b>          I SAID SIT DOWN! Just listen up
          for a second and don't say
          anything.
          Tao sits down. Walt rubs his hands together.

<b>          WALT
</b>          I know what needs to be done. I
          need to prepare, this needs to be
          carefully planned. You know I'm
          the right man for this. So cool
          down for a little while and meet
          me back here at 4 P.M. I promise
          you, what needs to be done, will
          be done.

<b>          TAO
</b>          I say we go now. Right now.

<b>          WALT
</b>          And do what? You want to go kill
          your cousin and those other Zips.
          Mr. Tough-Guy-All-Of-A-Sudden is
          out for blood. What do you even
          know about it?
          Tao is furious, but says nothing.

<b>          WALT
</b>          Trust me, Tao. Cool down and
          we'll meet back here at four.
          Okay?
          Tao doesn't answer.

<b>          102.
</b>
<b>          CONTINUED:
</b>
<b>          94
</b>
<b>          94
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 104
</b>
<b>          WALT
</b>          I said okay?' You won't do
          anything without me. You meet me
          back here at four? Say okay.'

<b>          TAO
</b>          Okay.
          Tao storms out the back door. Walt pours more coffee.

<b>          INT. BATHROOM
</b>

<b>          95
</b>
<b>          95
</b>          Walt soaks in the tub. It's filled with bubbles. Walt
          looks over at Daisy who rests on a towel in the corner.
          Walt lights a CIGARETTE and exhales. Daisy curls up her
          lips at the smoke.

<b>          WALT
</b>          I know, I know. Give me a break,
          it's the first time I've ever
          smoked in the house.

<b>          EXT. WALT'S YARD - DAY
</b>

<b>          96
</b>
<b>          96
</b>          Walt meticulously mows his lawn. He carefully trims
          around the fence and birdbath.

<b>          INT. OLD SCHOOL BARBERSHOP
</b>

<b>          97
</b>
<b>          97
</b>          Martin finishes cutting Walt's hair.

<b>          BARBER
</b>          There, all done. Ten bucks
          American.

<b>          WALT
</b>          I don't suppose you still have
          steady enough hands to give a guy
          a straight shave, you withered,
          old Italian mummy?

<b>          BARBER
</b>          You? A straight shave? You've
          never ordered a straight shave,
          ever.

<b>          WALT
</b>          That's right. I always wondered
          what they were like. Unless
          you're too goddamned busy?

<b>          103.
</b>
<b>          CONTINUED: (2)
</b>
<b>          94
</b>
<b>          94
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 105
</b>
<b>          BARBER
</b>          No, no. That's fine. Let me heat
          up a towel.
          Walt hands Martin the Barber a twenty.

<b>          WALT
</b>          Here's a twenty. Keep the change
          in case you slip and hit my
          jugular.

<b>          INT. OLD SCHOOL MEN'S CLOTHING STORE
</b>

<b>          98
</b>
<b>          98
</b>          Walt gets fitted for a new suit. The OLD TAILOR
          carefully measures Walt's shoulders.

<b>          WALT
</b>          So you can take it in right here?

<b>          TAILOR
</b>          Yes, sir. Take about an hour.

<b>          WALT
</b>          That's great. Thank you.

<b>          TAILOR
</b>          Yes, sir.

<b>          WALT
</b>          Never had a fitted suit.

<b>          INT. CATHOLIC CHURCH OFFICE
</b>

<b>          99
</b>
<b>          99
</b>          Walt comes in and Father Janovich looks up.

<b>          FATHER JANOVICH
</b>          Mr. Kowalski, what can I do for
          you?

<b>          WALT
</b>          I've come for confession.

<b>          FATHER JANOVICH
</b>          Oh Lord Jesus, what have you done?

<b>          WALT
</b>          Nothing. Take it easy.

<b>          FATHER JANOVICH
</b>          What are you up to?

<b>          104.
</b>
<b>          CONTINUED:
</b>
<b>          97
</b>
<b>          97
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 106
</b>
<b>          WALT
</b>          Are you going to let me confess or
          not?

<b>          CUT TO:
</b>
<b>          INT. CONFESSIONAL BOOTH
</b>

<b>          100
</b>
<b>          100
</b>          Walt calmly sits on one side and a very nervous, sweating
          Father Janovich sits on the other.

<b>          FATHER JANOVICH
</b>          How long has it been since your
          last confession?

<b>          WALT
</b>          Forever. Bless me, Father, for I
          have sinned.

<b>          FATHER JANOVICH
</b>          What are your sins, my son.

<b>          WALT
</b>          In 1968, I kissed Betty Jablonski
          at the work Christmas party.
          Dorothy was talking with the other
          wives and it just happened.

<b>          FATHER JANOVICH
</b>          Yes. Go on.

<b>          WALT
</b>          I made nine hundred dollars profit
          selling a boat and motor and never
          reported the taxes which is the
          same as stealing.

<b>          FATHER JANOVICH
</b>          Yes. Fine.

<b>          WALT
</b>          And lastly, I was never close to
          my two sons. I don't know them.
          I didn't know how.

<b>          FATHER JANOVICH
</b>          That's it?

<b>          WALT
</b>          Whatta you mean, That's it?'
          It's bothered me for years.

<b>          105.
</b>
<b>          CONTINUED:
</b>
<b>          99
</b>
<b>          99
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 107
</b>
<b>          FATHER JANOVICH
</b>          God loves and forgives you. Say
          ten Hail Marys' and five Our
          Fathers.' Are you going to
          retaliate for what happened to
          Sue?
          Walt says nothing. Father Janovich looks hard at Walt.

<b>          FATHER JANOVICH
</b>          I'm going over to that house
          today, Mr. Kowalski.

<b>          WALT
</b>          Is that so?

<b>          FATHER JANOVICH
</b>          It is. And every other day until
          you see the folly in what you are
          planning.

<b>          WALT
</b>          I gotta go, Padre. Busy day
          ahead.

<b>          FATHER JANOVICH
</b>          Go in peace.

<b>          WALT
</b>          I am at peace.
          Walt and Father Janovich shake hands. Walt exits.
          Father Janovich exhales loudly and drops into his chair.

<b>          FATHER JANOVICH
</b>          Je -- zuz -- Christ.

<b>          INT. WALT'S KITCHEN - 3:51 P.M.
</b>

<b>          101
</b>
<b>          101
</b>          Walt carefully reassembles the two weapons he just
          cleaned and oiled. Tao comes in and looks down at the
          two weapons --
          The 30-06 M1 GARAND RIFLE and the COLT .45 PISTOL.
          Tao picks up the heavy RIFLE.

<b>          TAO
</b>          Which one do I get?

<b>          WALT
</b>          You ever fire a weapon?

<b>          106.
</b>
<b>          CONTINUED:
</b>
<b>          100
</b>
<b>          100
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 108
</b>
<b>          TAO
</b>          No.
          Tao aims the rifle at an imaginary target.

<b>          WALT
</b>          Put that down. I got something
          for you.

<b>          TAO
</b>          What?

<b>          WALT
</b>          In Korea, October, 1952. We were
          sent up to sweep a Chink machine
          gun nest that had carved us up
          pretty bad. I was the only one
          who came back... I received the
          Silver Star. I want you to have
          it.

<b>          TAO
</b>          Why?

<b>          WALT
</b>          When we went up that hill, we knew
          it was ten to one against us, but
          we went anyway. This trouble now,
          it's similar. We're walking right
          into it. We might not be coming
          home tonight.

<b>          TAO
</b>          The hell we won't. We're going to
          roll in there and tear ass.

<b>          WALT
</b>          Don't be a fool, these guys are
          waiting for that exact reaction.
          Tao is quiet for a minute.

<b>          TAO
</b>          How many?

<b>          WALT
</b>          How many what?

<b>          TAO
</b>          How many men did you kill in
          Korea?

<b>          WALT
</b>          Thirteen for sure. Probably more.

<b>          107.
</b>
<b>          CONTINUED:
</b>
<b>          101
</b>
<b>          101
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 109
</b>
<b>          TAO
</b>          What was it like to kill a man?

<b>          WALT
</b>          You don't want to know.

<b>          TAO
</b>          Why not?

<b>          WALT
</b>          Go get the Silver Star. It's in a
          blue wooden box in the cellar.
          Tao goes downstairs. He turns on the light and goes into
          the cellar. Tao locates a BLUE WOODEN BOX and opens it.
          Tao holds up the MEDAL. He looks at it closely.
          AND WHAM -- Walt slams the heavy cellar DOOR shut behind
          him. Walt slides the BOLT LOCK into place with a loud

<b>          CLICK.
</b>          Tao couldn't kick his way out of there in ten years. Of
          course he tries anyway. Tao is furious. He throws
          things.

<b>          TAO
</b>          What the hell are you doing?! Let
          me out of here, you goddamned son-
          of-a-bitch!!

<b>          WALT
</b>          Quit smashing everything. You'll
          never get out of there, so just
          relax.

<b>          TAO
</b>          You let me out, you crazy old
          fuck, or I will kill you when I
          get out of here.
          Tao pounds on the door. Walt pounds back with a strength
          and authority which startles Tao.

<b>          WALT
</b>          You want to know how it feels to
          kill a man? It feels goddamned
          lousy. And it feels even worse
          when you get a medal for bravery
          right after you mowed down some
          scared kid when he tries to give
          up. A dumb, scared, little gook,
          just about your age. I shot him
          with the same rifle you just held
          upstairs.

<b>          108.
</b>
<b>          CONTINUED: (2)
</b>
<b>          101
</b>
<b>          101
</b>
<b>          (MORE)
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 110
</b>          I've thought about that kid for
          fifty years. And I promise you,
          boy, you want no part of it. Me,
          I've got blood on my hands. I'm
          soiled. Forgive me for tricking
          you like a dope. I'll call
          someone and have them let you out
          later.

<b>          TAO
</b>          No! Let me out!!
          Tao pounds on the door.

<b>          WALT
</b>          You've come a long way. I'm proud
          to call you a friend. You have
          your whole life ahead of you,
          whereas this is what I do. I
          finish things. You'd just get in
          the way. Sorry.
          Walt goes back upstairs, leaving Tao locked up in his
          cellar.
          Tao howls to be let out.

<b>          EXT. WALT'S HOUSE
</b>

<b>          102
</b>
<b>          102
</b>          Walt walks out his front door with Daisy on her leash.
          He walks over to Tao's house.
          Phong sits in a lawnchair and glares at Walt. She yells
          in Hmong as Walt walks straight up to her.

<b>          WALT
</b>          Aw, pipe down, you hag.

<b>          PHONG
</b>
<b>          (SUBTITLED)
</b>          You're an evil man. I've seen
          your kind before. Back home,
          white soldiers came to our
          villages and filled our young
          men's minds with ideas of glory.
          Then you'd lead them away to their
          deaths.
          Walt, of course, has no idea what she said.

<b>          WALT
</b>          Fine, I hate you too.

<b>          109.
</b>
<b>          CONTINUED: (3)
</b>
<b>          101
</b>
<b>          101
</b>
<b>          WALT (CONT'D)
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 111
</b>          Walt holds out the DOG LEASH to Phong. She looks down at
          Daisy and back at Walt. She lashes out again in Hmong.

<b>          WALT
</b>          I need you to watch my dog.
          Walt holds the leash closer. Phong folds her arms in
          defiance. Walt exhales loudly.
          Walt lifts up one of the LEGS OF HER LAWNCHAIR and slips
          the loop of the leash underneath it so Daisy can't follow
          him.

<b>          WALT
</b>          Her name is Daisy.
          Walt bends down on one knee and lovingly pets Daisy. He
          scratches her belly.

<b>          WALT
</b>          You take it easy, old gal. You
          good old girl.
          Walt gets up and walks away without looking back.
          Phong is stunned; she is silent for once.

<b>          INT. VFW
</b>

<b>          103
</b>
<b>          103
</b>          Walt walks in and sits down. He nods to the regulars.

<b>          WALT
</b>          Good afternoon, gentlemen.

<b>          DARREL
</b>          Walter, how are you doing?

<b>          WALTER
</b>          Never been better.

<b>          BARTENDER
</b>          Beer and a shot, Walt?

<b>          WALT
</b>          I think I'll have something
          different.
          Walt looks at the liquor display. At the pinnacle of
          bottles sits a bottle of Johnnie Walker Blue.

<b>          WALT
</b>          Think I'll try that Johnnie Walker
          Blue Label.

<b>          110.
</b>
<b>          CONTINUED:
</b>
<b>          102
</b>
<b>          102
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 112
</b>          The regulars all Oooooo and Ahhhhhhh at Walt's order.

<b>          MEL
</b>          Whatta ya win the lottery, Wally?

<b>          WALT
</b>          Naw, just having something
          special.
          Walt sips his Scotch and nods. It's good.

<b>          WALT
</b>          Why don't you get all the guys the
          same.

<b>          BARTENDER
</b>          You sure?

<b>          WALT
</b>          I'm sure. This is too good not to
          be shared.
          Walt finishes his Scotch and points for one more.
          Several regulars hold up their drinks towards Walt.

<b>          INT. VFW PHONE BOOTH
</b>

<b>          104
</b>
<b>          104
</b>          Walt slips into the phone booth. He puts in change and
          dials.

<b>          CUT TO:
</b>
<b>          INT. TAO'S HOUSE - SAME TIME
</b>

<b>          105
</b>
<b>          105
</b>          Sue weakly answers the phone next to her bed.

<b>          SUE
</b>          Hello?

<b>          WALT (V.O.)
</b>          It's Walt. The key to my front
          door is under the ceramic turtle.
          Open the door and go let your
          brother out of the cellar. I have
          to go.
          The line goes dead as Walt hangs up. Sue jumps up out of
          bed, pulls on some clothes and runs downstairs.
          Phong blocks her path. Phong grabs Sue by the arms.

<b>          111.
</b>
<b>          CONTINUED:
</b>
<b>          103
</b>
<b>          103
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 113
</b>
<b>          PHONG
</b>
<b>          (SUBTITLED)
</b>          Who was that? Where are you
          going? You tell me what's going
          on?!
          Sue squirms away from Phong and runs outside. On her way
          over to Walt's house, she sees Daisy leashed to Phong's
          chair. It scares Sue even more.

<b>          EXT. SMOKIE'S DUPLEX - AFTERNOON
</b>

<b>          106
</b>
<b>          106
</b>          Father Janovich paces back and forth. The SQUAD CAR
          pulls up to him, which is exactly what he's been afraid
          of all day.

<b>          OFFICER
</b>          Sorry, Father, we have to go.

<b>          FATHER JANOVICH
</b>          I'm telling you. If we're not
          here, there will be bloodshed.

<b>          OFFICER
</b>          We've been here for hours. We
          can't afford to anchor a unit to
          one location.

<b>          FATHER JANOVICH
</b>          I'm begging you to stay.

<b>          OFFICER
</b>          I just got word from my Sergeant,
          we're pulling the plug.

<b>          FATHER JANOVICH
</b>          I'm staying.

<b>          OFFICER
</b>          No you aren't. My orders are
          specific. You came with us,
          you're leaving with us.
          Father Janovich looks hard at the duplex before getting
          into the SQUAD CAR. The SQUAD CAR drives off.
          Walt pulls up in front, gets out of his pickup and slams
          the door. He looks at the duplex. It's a total eyesore.

<b>          WALT
</b>
<b>          (MUTTERS)
</b>          What a goddamned mess. You slopes
          should be ashamed of yourselves.

<b>          112.
</b>
<b>          CONTINUED:
</b>
<b>          105
</b>
<b>          105
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 114
</b>          Walt walks up the sidewalk and stops twenty feet from the
          duplex.
          Six very scared, very jittery Hmong gangbangers look out
          at Walt from various doorways and windows.

<b>          WALT
</b>          Is that all you swamp rats or is
          there more vermin scurrying in the
          shadows?
          Smokie and Spider step out and stand on the porch.
          Smokie smiles at Walt. Walt spits on the ground.

<b>          SMOKIE
</b>          I wasn't sure that you'd...

<b>          WALT
</b>          Shut up, gook. I'm not here to
          listen to one goddamned syllable
          of what a shrimp-dicked little
          baby midget like you has to say.
          Spider pulls his PISTOL.

<b>          WALT
</b>          That's right, boy. Defend your
          boyfriend after he or you or
          whoever rapes a member of your
          family. Your own blood, for
          Christ's sake. Go ahead, pull
          your pistols, just like a bunch of
          ridiculous miniature toy cowboys.
          Smokie and several other Hmong gangbangers pull their
          guns.

<b>          WALT
</b>          You have no honor. You're the
          scum of the earth and when you're
          gone, do you think anyone will
          care? No one will mourn. You
          won't be missed.
          All the Hmong are spooked at Walt's absolute lack of
          fear.

<b>          SMOKIE
</b>          Where's Tao, old man? He too
          scared to come and stick up for
          himself?

<b>          113.
</b>
<b>          CONTINUED:
</b>
<b>          106
</b>
<b>          106
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 115
</b>
<b>          WALT
</b>          No. Tao is too good for this.
          You pukes aren't worth one second
          of his time.
          Walt slowly puts a CIGARETTE in his mouth. Even this
          slight movement has the gangbangers waving their PISTOLS
          around.
          Walt laughs.

<b>          WALT
</b>          You boys are a little bit jumpy.

<b>          SPIDER
</b>          You watch it, old man.

<b>          WALT
</b>          No, I think you'd better watch it.
          Walt looks around. Other than the gangbangers, a small
          group of people have gathered to watch this showdown.

<b>          CUT TO:
</b>
<b>          INT. WALT'S HOUSE
</b>

<b>          107
</b>
<b>          107
</b>          Sue opens the front door, runs to the stairwell and
          pounds down the stairs.

<b>          SUE
</b>          Tao? Tao, are you alright?

<b>          TAO (O.S.)
</b>
<b>          I'M DOWN HERE! LET ME OUT!!
</b>          She unlocks the CELLAR DOOR. Tao comes out in a rage.

<b>          TAO
</b>          Goddamn it!

<b>          SUE
</b>          What's going on?

<b>          TAO
</b>          He left without me!

<b>          SUE
</b>          Where? Where'd he go?!

<b>          TAO
</b>          He went to Smokie's without me.
          Tao takes the stairs two steps at a time.

<b>          114.
</b>
<b>          CONTINUED: (2)
</b>
<b>          106
</b>
<b>          106
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 116
</b>
<b>          SUE
</b>          No! No, Tao!
          Sue grabs Tao's legs and hangs on.

<b>          SUE
</b>          No! Don't you dare! Stay away
          from them, Tao! I don't want
          anyone else getting hurt.

<b>          TAO
</b>          Leave me alone.

<b>          SUE
</b>
<b>          NO, TAO. NO!
</b>          They struggle at the top of the stairs and spill into the
          kitchen floor. Tao runs for the door when something
          catches his eye...
          The kitchen table.
          The RIFLE and PISTOL are still there.
          Walt purposely left the guns at home.

<b>          TAO
</b>          Oh God! NO!!

<b>          QUICK CUT BACK TO:
</b>
<b>          EXT. SMOKIE'S DUPLEX - SAME TIME
</b>

<b>          108
</b>
<b>          108
</b>
<b>          WALT AND COMPANY...
</b>
<b>          WALT
</b>          Anybody got a light? No? I got
          one.
          Walt's slight grin fades. He mutters to himself...

<b>          WALT
</b>          Hail Mary, full of grace.
          Walt reaches into his coat pocket. Six Hmong gangbangers
          simultaneously level their PISTOLS and FIRE.
          BULLETS FLY. Walt is struck down. People scream.
          Walt falls dead. A ZIPPO lighter clutched in his hand.
          Walt never intended to kill anyone. Self-sacrifice.

<b>          115.
</b>
<b>          CONTINUED:
</b>
<b>          107
</b>
<b>          107
</b>
<b>          PAGE 117
</b>
<b>          EXT. SMOKIE'S DUPLEX - LATER
</b>

<b>          109
</b>
<b>          109
</b>          Tao and Sue arrive just as Smokie, Spider and company are
          being driven away in Police cars.
          Tao looks at Smokie in the squad car. Smokie no longer
          looks tough or hard, he just looks scared.
          On the street, Walt is being bagged by the ambulance
          crew. Father Janovich prays over him.
          Tao steps up to a POLICE OFFICER.

<b>          TAO
</b>          What happened?

<b>          POLICE OFFICER
</b>          You have to step back.

<b>          TAO
</b>          He was a friend of mine.

<b>          POLICE OFFICER
</b>          I said step back.
          Tao turns to the HMONG POLICE OFFICER.

<b>          TAO
</b>          What happened, man?
          The Hmong Police Officer looks at the WHITE POLICE
          OFFICER and then to Tao.

<b>          HMONG POLICE OFFICER
</b>          You heard him, step back.
          Tao speaks to the HMONG OFFICER in their native language.

<b>          TAO
</b>
<b>          (SUBTITLED)
</b>          Please, man, it's important. He's
          my friend. Tell me what happened?

<b>          HMONG POLICE OFFICER
</b>
<b>          (SUBTITLED)
</b>          The old guy reaches for a lighter
          and they gunned him down. The
          gang said the old guy was here to
          kill them, but he didn't have a
          weapon.

<b>          TAO
</b>
<b>          (SUBTITLED)
</b>          What's going to happen?

<b>          116.
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 118
</b>
<b>          HMONG POLICE OFFICER
</b>
<b>          (SUBTITLED)
</b>          We actually have witnesses for
          once. These guys are going away
          big time.
          The WHITE OFFICER yells at the HMONG OFFICER.

<b>          POLICE OFFICER
</b>          Officer Chang, get those people
          back.

<b>          HMONG POLICE OFFICER
</b>          Yes, sir. You have to step back
          now.
          Tao hugs his sister. Sue openly weeps. Tao holds it in.
          He looks at his friend Walt as the bag is zipped over
          him.

<b>          EXT. TAO'S HOUSE - DAY
</b>

<b>          110
</b>
<b>          110
</b>          Tao and Sue wait in front. Tao wears a suit, Sue is in a
          traditional Hmong dress. A TAXI pulls up and they get
          in.
          Sitting on the porch is Phong who rocks back and forth in
          her rocking chair. Phong holds Daisy in her arms, gently
          petting the old dog.

<b>          INT. CATHOLIC CHURCH
</b>

<b>          111
</b>
<b>          111
</b>          We're at the funeral of Walter Kowalski. Walt is dressed
          in his new suit.
          Along with the crowd you'd expect, Tao and Sue are seated
          near the front.
          Walt's sons and family are there. Mitch gives Tao a
          dirty look. Tao looks back at him, his gaze bores right
          through Mitch. Mitch looks away.
          Father Janovich steps up to the pulpit and speaks.

<b>          117.
</b>
<b>          CONTINUED:
</b>
<b>          109
</b>
<b>          109
</b>
<b>          (CONTINUED)
</b>
<b>          PAGE 119
</b>
<b>          FATHER JANOVICH
</b>          Walt Kowalski once said to me I
          didn't know anything about life or
          death because I was an
          overeducated, 27-year-old virgin
          who held the hands of
          superstitious old women and
          promised them eternity.' Walt
          definitely had no problem calling
          it like he saw it.' But Walt was
          right. I knew really nothing
          about life or death until I got to
          know Walt. And boy, did I learn.

<b>          INT. LAW OFFICE
</b>

<b>          112
</b>
<b>          112
</b>          All of Walt's family are seated in an office as a LAWYER
          reads Walt Kowalski's will.
          Tao is present along with Walt's family.

<b>          LAWYER
</b>          Which brings us to our last item.
          And again, please forgive the
          language used in Mr. Kowalski's
          will. I'm simply reading it as it
          was written.
          The LAWYER takes a sip of water before reading...

<b>          LAWYER
</b>          And to my friend, Tao Vang Lor, I
          leave my 1972 Gran Torino on the
          condition that you don't choptop
          the roof like a damned spick,
          don't paint any idiotic flames on
          it like some white-trash hillbilly
          and don't put a big gay spoiler on
          the rear-end like you see on all
          the other zipper heads' cars. It
          just looks like hell. If you can
          refrain from doing any of that,
          it's yours.

<b>          FADE OUT.
</b>


<b>          THE END
</b>

</pre><br>
<table width="85%" border="0" align="center" cellpadding="5" cellspacing="0" class="body" style="BORDER-TOP: #000000 1px solid; BORDER-RIGHT: #000000 1px solid; BORDER-LEFT: #000000 1px solid; BORDER-BOTTOM: #000000 1px solid;">
  <tr> 
	<td align=center><img src="/posters/Gran-Torino.jpg" border=0>
	<td><h1>Gran Torino</h1><br><br>
	    <b>Writers</b> : &nbsp;&nbsp;<a href="/writer.php?w=Nick Schenk" title="Scripts by Nick Schenk">Nick Schenk</a><br>
    	<b>Genres</b> : &nbsp;&nbsp;<a href="/genre/Crime" title="Crime Scripts">Crime</a>&nbsp;&nbsp;<a href="/genre/Drama" title="Drama Scripts">Drama</a><br><br><br>
		
		<a href="/Movie Scripts/Gran Torino Script.html#comments" title="Gran Torino comments">User Comments</a>
	</td>
</table>
<br><br>
<div align="center">
<a href="https://www.imsdb.com" title="Internet Movie Script Database"><img src="/images/lilbutton.gif" style="border: 1px solid black;"  alt="Internet Movie Script Database" border=1><br>
Back to IMSDb</a>
</div><br>
<br><br>
  </tr>
</table>
<br><br>
</table>

<table width="99%" border="0" cellspacing="0" cellpadding="0" class="body">
  <tr> 
  <td background="/images/reel.gif" height="13" colspan="2">
</table>

<div align="center">
 <a href="https://www.imsdb.com" title="Internet Movie Script Database (IMSDb)">Index</a> 
 &nbsp;&nbsp;&nbsp;|&nbsp;&nbsp;&nbsp; 
 <a href="/submit" title="Submit scripts">Submit</a> 
 &nbsp;&nbsp;&nbsp;|&nbsp;&nbsp;&nbsp; 
 <a href="/links" title="Other sites">Links</a> 
 &nbsp;&nbsp;&nbsp;|&nbsp;&nbsp;&nbsp; 
 <a href="/link to us" title="Link to IMSDb">Link to us</a> 
 &nbsp;&nbsp;&nbsp;|&nbsp;&nbsp;&nbsp; 
 <a href="/feeds" title="IMSDb RSS Feeds">RSS Feeds</a> 
 &nbsp;&nbsp;&nbsp;|&nbsp;&nbsp;&nbsp; 
 <a href="/disclaimer">Disclaimer</a> 
 &nbsp;&nbsp;&nbsp;|&nbsp;&nbsp;&nbsp; 
 <a href="/privacy">Privacy policy</a> 
</div>

<br />

</body>
</html>
Which race is Detroit now dominated primarily by?
Which race is Detroit now dominated primarily by ?
Asians
Asians
Asians
Asians