ec25b1507cdc7d59d8b9341d93ff59b649c5752f
movie
http://www.imsdb.com/scripts/Frozen-River.html
FROZEN RIVER Written
. FADE OUT
 The film is set shortly before Christmas in the North Country of Upstate New York, near the Akwesasne ('Where the Partridge Drums') St. Regis Mohawk Reservation and the border crossing to Cornwall, Ontario. Ray Eddy (Melissa Leo) is a discount store clerk struggling to raise two sons with her husband, a compulsive gambler who has disappeared with the funds she had earmarked to finance the purchase of a double-wide mobile home. While searching for him, she encounters Lila Littlewolf (Misty Upham), a Mohawk bingo-parlor employee who is driving his car, which she claims she found abandoned with the keys in the ignition at the local bus station. The two women, who have both fallen on hard economic times, form a desperate and uneasy alliance and begin trafficking illegal immigrants from Canada into the United States across the frozen St. Lawrence River for $1,200 each.
Ray's older son T.J. wants to find a job and help support the family so they can afford to eat something more substantial than popcorn and Tang. He and his mother clash over whether he should remain in high-school and look after his little brother Ricky or drop out to work. To make matters worse, T.J. sets an outside corner of the trailer afire with a torch in an attempt to unfreeze the water pipe. Lila longs for the day she will be able to reclaim and live with her young son, who was taken from her by her mother-in-law immediately after his birth.
Because the women's route takes them from an Indian reservation in the US to an Indian reserve in Canada, they hope to avoid detection by local law-enforcement. However, their problems escalate when they are asked to smuggle a Pakistani couple and Ray, fearful their duffel bag might contain explosives, leaves it behind in sub-freezing temperatures, only to discover it contained their infant baby when they arrive at their destination. She and Lila retrace their route and find the bag and the baby, which Lila insists is dead, but which she revives moments before being reunited with the baby's parents. The experience leaves her shaken, and she announces she no longer wants to participate in the smuggling operation. But Ray, needing just one more crossing to finance the down payment on her mobile home, coerces her into joining her for one last journey.
They pick up two Asian women from a strip club for crossing. When the club owner tries to shoot them, Ray successfully threatens him with a gun. When she is re-entering her car, the irate club owner retaliates by shooting Ray in the ear. Shaken, her fast and erratic driving catches the attention of the provincial police. Ray tries to elude capture by crossing the frozen river where one of the wheels of the car breaks through the ice. The four women abandon the vehicle and take refuge at the Indian reservation.
Because the police are demanding a scapegoat, the tribal head decides to excommunicate Lila for five years due to her smuggling history which involved the death of her Mohawk husband. Surprised then saddened by the news, Lila gives in to Ray's pleas to go free for the sake of her children. However, running through the woods, Ray has a fit of conscience and returns. She gives her share of money to Lila with instructions for taking care of her sons and seeing through purchase plans for a trailer home. She and the illegal immigrants are surrendered to the police and a trooper speculates she will have to serve four months in jail. She calls her son T.J. to explain what has happened.
Lila pushes her way into her mother-in-law's home and reclaims her infant son. She and the baby show up at the Eddy trailer while T.J. is still on the phone with his jailed mother. In a day scene, T.J. completes the welding of a bicycle-propelled carousel bearing his younger brother and Lila's strapped in baby. He pedals the carousel while Lila smiles on. A truck nears carrying the new trailer home.
The film is set shortly before Christmas in the North Country of Upstate New York , near the Akwesasne ( Where the Partridge Drums ' ) St. Regis Mohawk Reservation and the border crossing to Cornwall , Ontario . Ray Eddy ( Melissa Leo ) is a discount store clerk struggling to raise two sons with her husband , a compulsive gambler who has disappeared with the funds she had earmarked to finance the purchase of a double-wide mobile home . While searching for him , she encounters Lila Littlewolf ( Misty Upham ) , a Mohawk bingo-parlor employee who is driving his car , which she claims she found abandoned with the keys in the ignition at the local bus station . The two women , who have both fallen on hard economic times , form a desperate and uneasy alliance and begin trafficking illegal immigrants from Canada into the United States across the frozen St. Lawrence River for $ 1,200 each . Ray s older son T.J. wants to find a job and help support the family so they can afford to eat something more substantial than popcorn and Tang . He and his mother clash over whether he should remain in high-school and look after his little brother Ricky or drop out to work . To make matters worse , T.J. sets an outside corner of the trailer afire with a torch in an attempt to unfreeze the water pipe . Lila longs for the day she will be able to reclaim and live with her young son , who was taken from her by her mother-in-law immediately after his birth . Because the women s route takes them from an Indian reservation in the US to an Indian reserve in Canada , they hope to avoid detection by local law-enforcement . However , their problems escalate when they are asked to smuggle a Pakistani couple and Ray , fearful their duffel bag might contain explosives , leaves it behind in sub-freezing temperatures , only to discover it contained their infant baby when they arrive at their destination . She and Lila retrace their route and find the bag and the baby , which Lila insists is dead , but which she revives moments before being reunited with the baby s parents . The experience leaves her shaken , and she announces she no longer wants to participate in the smuggling operation . But Ray , needing just one more crossing to finance the down payment on her mobile home , coerces her into joining her for one last journey . They pick up two Asian women from a strip club for crossing . When the club owner tries to shoot them , Ray successfully threatens him with a gun . When she is re-entering her car , the irate club owner retaliates by shooting Ray in the ear . Shaken , her fast and erratic driving catches the attention of the provincial police . Ray tries to elude capture by crossing the frozen river where one of the wheels of the car breaks through the ice . The four women abandon the vehicle and take refuge at the Indian reservation . Because the police are demanding a scapegoat , the tribal head decides to excommunicate Lila for five years due to her smuggling history which involved the death of her Mohawk husband . Surprised then saddened by the news , Lila gives in to Ray s pleas to go free for the sake of her children . However , running through the woods , Ray has a fit of conscience and returns . She gives her share of money to Lila with instructions for taking care of her sons and seeing through purchase plans for a trailer home . She and the illegal immigrants are surrendered to the police and a trooper speculates she will have to serve four months in jail . She calls her son T.J. to explain what has happened . Lila pushes her way into her mother-in-law s home and reclaims her infant son . She and the baby show up at the Eddy trailer while T.J. is still on the phone with his jailed mother . In a day scene , T.J. completes the welding of a bicycle-propelled carousel bearing his younger brother and Lila s strapped in baby . He pedals the carousel while Lila smiles on . A truck nears carrying the new trailer home .
http://en.wikipedia.org/wiki/Frozen_River
Frozen River
<html>
<head><title>Frozen River Script at IMSDb.</title>
<meta name="description" content="Frozen River script at the Internet Movie Script Database.">
<meta name="keywords" content="Frozen River script, Frozen River movie script, Frozen River 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>                             FROZEN RIVER
</b>


                              Written by

                             Courtney Hunt




<b>    FADE IN:
</b>

<b>1   EXT. INTERNATIONAL SEAWAY BRIDGE - DAY                      1
</b>
    A sign reads "Bridge to Canada."

    A steep 1940's era customs bridge arches over the St.
    Lawrence River.

    Cars and trucks line up in different lanes. Customs
    officials inspect and question impatient drivers.

    Beyond them a smaller sign: "THANK YOU FOR VISITING
    MASSENA NEW YORK, IT WORKS, for business, for family, for
    you".


<b>2   EXT. BELOW THE BRIDGE - DAY                                 2
</b>
    The river stretches for miles in either direction,
    frozen, and still with trees on either side.


<b>3   EXT. RAY'S TRAILER YARD, MASSENA NEW YORK - DAY             3
</b>
    RAY EDDY, 38, a bit worn for her years, with a long red
    ponytail, wearing an old bathrobe, sits in the passenger
    seat of her RED PLYMOUTH HORIZON with the door open,
    smoking a cigarette, thinking. Her breath is visible in
    the cold morning air.

    Her bare feet rest on the cold ground.

    Her 1970's rusted out TRAILER HOME SITS in front of her
    on CINDER BLOCKS AT A SLIGHT TILT. Beside it, a small
    SHED and behind it the CONCRETE FOUNDATION FOR A HOUSE.

    Around her, the yard is littered with junk: a rusted ski
    lift chair, the front end of a Plymouth Duster and a
    SMILING DUCK Kiddie Ride.

    Beyond the yard, flat, winterbare land.

    After a moment, a lanky boy of 15, her son, TROY, JR.,
    leans out the trailer door.

<b>                            T.J.
</b>               We're out of Capt'n Crunch.

    His breath is visible in the cold.

<b>                             RAY
</b>               Just give him toast.
<b>
</b><b>                                                         2.
</b>

<b>                       T.J.
</b>          We got no butter, we got no jelly.

Ray is out of ideas. He expects her to move, but she
stays still. He looks around the yard.

<b>                       T.J. (CONT'D)
</b>          What are you doing?

<b>                       RAY
</b>          Listening for the trucks.

<b>                       T.J.
</b>          Are they really coming?

<b>                         RAY
</b>          Yeah.

<b>                         T.J.
</b>          Where's dad?

She is silent.

<b>                       T.J. (CONT'D)
</b>                 (says it slow)
          Where's dad?

She looks at him.

<b>                       RAY
</b>          I don't know how he found it, T.J.

<b>                         T.J.
</b>          Found what?

Ray takes a drag off her cigarette. T.J. walks over to
the car.

<b>                         T.J. (CONT'D)
</b>          The money?

<b>                       RAY
</b>          I locked it in my glove compartment.

T.J. looks in at the OPEN AND EMPTY GLOVE COMPARTMENT.

<b>                       T.J.
</b>          That was stupid.

<b>                       RAY
</b>          Yeah, I see that now, but the trucks were
          coming before the bank opened.
<b>
</b><b>                                                      3.
</b>

<b>                       T.J.
</b>          Did you tell him you had it?

<b>                       RAY
</b>          Duh? No, I guess he just sniffed it out.

<b>                       T.J.
</b>          Jesus Christ! The glove compartment!?
          That's the stupidest place you could have
          put it.

<b>                       RAY
</b>          He hasn't bought a scratch card in almost
          thirty two months. I thought it would be
          okay!

<b>                       T.J.
</b>          Did he leave anything?

She shakes her head.

<b>                       T.J. (CONT'D)
</b>          What are you gonna do?

<b>                       RAY
</b>          Nothing.

<b>                       T.J.
</b>          You could look for him?

<b>                       RAY
</b>          He could be anywhere.

<b>                       T.J.
</b>          We should look for him.

<b>                       RAY
</b>          Where?

<b>                       T.J.
</b>          The Rez,

<b>                       RAY
</b>          With more than four thousand dollars,
          he's probably in Atlantic City by now.

<b>                       T.J.
</b>          So let's go, let's find him before he
          blows it all.



<b>                       (CONT'D)
</b><b>
</b><b>                                                             4.
</b>

<b>                           RAY
</b>              I can't.

<b>                           T.J.
</b>              What do you mean?

<b>                           RAY
</b>              I just can't do it anymore.

<b>                           T.J.
</b>              But he'll lose it all.

<b>                           RAY
</b>              T.J., we can't make him stop.

<b>                           T.J.
</b>              He stole our money. Call the Troopers.

<b>                           RAY
</b>              It's not stealing if you take it from
              your family. Anyway, he made some of it,
              too.

<b>                           T.J.
</b>              So you're just gonna sit there?

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

    In the distance the RUMBLE OF TRUCKS. Ray hears it. It
    gets louder.

<b>                           T.J.
</b>              Another Christmas in the tin crapper.

    T.J. goes into the shed and slams the door.

    Ray throws down her cigarette and goes into the trailer.



<b>4   INT. RAY'S TRAILER - DAY                                      4
</b>
    She looks around the cramped trailer at the oversized
    RENTAWORLD furniture including a big screen TV.

    An enlarged wall photograph of the family catches her
    eye. In it, her husband, TROY, SR., 40, wearing a forced
    smile, his long, shaggy hair combed flat for the picture.

    Ray hurries down the hall to her bedroom and takes off
    her bathrobe -- she has several tatoos -- and slides into
    a pair or jeans and a t-shirt.
<b>
</b><b>                                                              5.
</b>

    A sleepy-eyed, toe-headed boy, RICKY, 5, walks in,
    shirtless in pajama bottoms, eyes shining.

<b>                            RICKY
</b>              Is it here?

    Ray stops what she's doing when she sees him and kneels
    down.

<b>                           RAY
</b>              Hey, little sleepy head.

<b>                           RICKY
</b>              Is it here yet? `Cause I'm ready.

    He drags a suitcase full of plastic dinosaurs around the
    corner.

    The RUMBLE OUTSIDE GROWS LOUDER. Ricky BOLTS out of the
    bedroom and down the hall to the trailer door.

<b>                            RAY
</b>              Wait a sec-

    He bursts into the yard where:


<b>5   EXT. RAY'S TRAILER - DAY                                       5
</b>
    A PICK-UP TRUCK DRAPED WITH A "WIDE LOAD" banner leads
    TWO SEMIS hauling halves of a DOUBLE WIDE MOBILE HOME
    wrapped in plastic, rippling in the wind.

    Ricky stops at the massive sight, twisting at his fly,
    trying not to pee himself.

    T.J. comes out of the shed.

    The Doubles come to a stop and idle in the yard.

    GUY VERSAILLES, pot-bellied, in a green velour running
    suit, squeezes out of his truck. On the door: "MASSENA
<b>    MODULAR AND MOBILE HOMES, NEW AND RECONDITIONED."
</b>
    Ricky grabs a rope hanging off one of the doubles and
    tries to climb the side of it. The TRUCK DRIVER looks
    down from his cab.

<b>                           T.J.
</b>                     (to Ricky)
              Get down.

    Ray peeks out the kitchen curtain.
<b>
</b><b>                                                       6.
</b>

After a moment she comes out of the trailer, with a
pasted-on smile.

<b>                       RAY
</b>          We're all ready for ya'.

She points to the new concrete foundation. He consults a
clipboard.

<b>                       VERSAILLES
</b>          We'll need the balloon payment to unload.

T.J. looks at Ray.

<b>                       RAY
</b>          We have it, it's just that they called
          Troy from Titus last night. That's where
          Troy works. The ski place? And anyway-

<b>                       VERSAILLES
</b>          Have you got the $4,372 dollars or not?

<b>                       RAY
</b>          It was some emergency with the lifts. So
          he took off without thinking with the
          money. Completely forgot you were coming.
          So as soon as he gets back-

<b>                       VERSAILLES
</b>          When's he gonna be back?

<b>                       RAY
</b>          As soon as he can get here, I'll just run
          it down to you.

T.J. could crawl out of his skin.

<b>                       VERSAILLES
</b>                 (ironic smile)
          This is the second time you've dragged me
          out here. If you don't come up with it by
          Christmas, you've lost your fifteen
          hundred dollar deposit.

He walks toward his car. She follows him.


<b>                       RAY
</b>          Look, Mr. Versales, I have a good job at
          ALL FOR A DOLLAR. They're probably gonna
          make me a manager after Christmas so I
          can handle the payments if you just leave
          the house-
<b>
</b><b>                                                         7.
</b>

He gets in the car.

<b>                       VERSAILLES
</b>          Call me when you have the balloon
          payment.

He makes a circle in the air with his hand and the semi's
rev their engines and grind into reverse.

<b>                       RAY
</b>          I'll call you...

Her voice is DROWNED OUT by REVVING engines.

Ricky rushes to her.

<b>                       RICKY
</b>          Wait, where are they going?

She takes his face in her hands.

<b>                       RAY
</b>          Listen to me. We'll get them back.

<b>                       RICKY
</b>          But why are they leaving?

<b>                       RAY
</b>          Ricky, I'll get them back. I promise,
          honey.

<b>                       RICKY
</b>          That's our house!

He BREAKS AWAY from her and RUNS down the road chasing
after the semis. Ray chases after Ricky until he runs out
of steam and stops, panting.

She catches up to him and tries to hug him. He pushes her
away. She gets down on her knees and takes his face in
her hands.

<b>                       RAY
</b>          We're gonna get it back.

She picks him up and walks back to the trailer. Ricky
looks out mournfully at the trailers disappearing down
the road.

<b>                       RAY (CONT'D)
</b>                 (to T.J.)
          You better hurry or you're going to miss
          the bus. Let's get your clothes on,
          Ricky.
<b>
</b><b>                                                           8.
</b>

    T.J. just stares at her.

<b>                           T.J.
</b>              I can get a job you know.

<b>                           RAY
</b>              You're 15, T.J.

<b>                           T.J.
</b>              They won't ask any questions.

<b>                           RAY
</b>              You're finishing school.

<b>                           T.J.
</b>              Come on, you don't think we can live on
              what you make at All for a Dollar do you?

<b>                           RAY
</b>              You're going to school.

    She goes inside.   T.J. follows.

<b>                           T.J.
</b>              I bet I could make more than you do.

    She ignores him.


<b>6   INT. RAY'S TRAILER - DAY                                    6
</b>
    Ray helps Ricky into his clothes and puts his backpack on
    his back.

<b>                           RICKY
</b>              Where's daddy?

    Ray and T.J. look at each other.

<b>                           RAY
</b>              He'll be back.

<b>                           T.J.
</b>              Aren't we even gonna look for him?

<b>                           RAY
</b>              No! I'm going to work and you're going to
              school.

<b>                            T.J.
</b>              That's it?
<b>
</b><b>                                                       9.
</b>

<b>                       RAY
</b>          The only thing that changed is that your
          dad started gambling again. Everything
          else is the same.

<b>                       RICKY
</b>          Where did he go?

<b>                       RAY
</b>          He had to take a business trip.

T.J. rolls his eyes.

<b>                       T.J.
</b>          Aren't you even gonna look for him?

<b>                       RAY
</b>          And miss a day of work? No. Not again.
          We just have to live our lives. Now go
          get your backpack.

T.J. stares, sullen.

<b>                       RAY (CONT'D)
</b>          Go on!

<b>                       RICKY
</b>          When is daddy coming home?

<b>                       RAY
</b>          I don't know, Ricky.

<b>                       T.J.
</b>          I can't believe you're not even gonna
          look for him.

<b>                       RAY
</b>          Where? Where do I look? (He can't answer)

<b>                       T.J.
</b>          The reservation.

<b>                       RAY
</b>          I told you, he could be in Atlantic City
          by now.

She helps Ricky get his backpack on and gives him a kiss.

<b>                       T.J.
</b>                 (shakes his head)
          The glove compartment. That's so stupid.

<b>                       RAY
</b>          You're going to school.
<b>
</b><b>                                                             10.
</b>

    He follows Ricky out the door to catch the school bus
    rolling up out front.

    Suddenly, Ray remembers:

<b>                            RAY (CONT'D)
</b>              Wait, wait.

    They turn around. She digs in her pockets.

<b>                           RAY (CONT'D)
</b>              Here. Lunch money.

    They take it and keep running for the bus.

    Ray looks after them and reaches for her cigarettes. She
    takes out her second to last one. She lights it and takes
    out her mascara.

    She tries to put it on the bathroom mirror, but her tears
    keep getting in the way.

<b>                                                      CUT TO:
</b>

<b>7   INT. ALL FOR A DOLLAR STORE - DAY                              7
</b>
    RAY stacks shelves with a knock-off version of plastic
    "My Little Pony" in a messy aisle of boxes.

    MATT, 22, her boss, bone thin with bad skin walks by.

<b>                            RAY
</b>                     (soft)
              Matt. Could I talk to you?

    He looks at her.

<b>                           RAY (CONT'D)
</b>              I need to come on full-time.

    Matt blinks with a blank expression then:

<b>                           MATT
</b>              I see you as a short timer.

<b>                           RAY
</b>              What is that?

<b>                           MATT
</b>              A short timer. Not here for long, not
              really committed.

    Ray follows him to the stock room.
<b>
</b><b>                                                             11.
</b>

<b>                           RAY
</b>              When I started you said it would be six
              months before I could come on full-time.
              And that was two years ago.

    He opens a can of RED BULL and takes a sip.

<b>                           MATT
</b>              It's my opinion.

<b>                           RAY
</b>              Well, I mean, you know, I do show up.
              Pat's late everyday. She's late now.
              She's always late.


    He stares blankly at her. She can think of nothing else
    to say. He walks out.

    Ray resumes unpacking ponies.

    A moment later PAT, 22, rushes in, looking sorry. As Pat
    hangs up her coat, Ray glimpses a tatoo just above her
    low riding pants with the words "How You Doin'?".

    Ray takes the last of her cigarettes out of the pack and
    heads out the back door.

<b>                           RAY (CONT'D)
</b>              See ya' tomorrow.


<b>8   INT./EXT HORIZON,   ROUTE 37 - DAY                             8
</b>
    Ray drives down a two-lane highway. It is empty flat land
    but for a few trailer homes and barns.

    She passes a lonely sign: "BRIDGE TO CANADA."

    Up ahead another sign: "AKWESASNE LAND OF THE MOHAWK."

    From the car, the Reservation consists of shabby houses
    with no siding, tax-free gas stations and dive bars with
    homemade signs. Ray slows a little to check out the
    parking lots scanning for her husband's car.

    Up ahead she sees a sign: "WOLF MART TAX FREE GAS AND
<b>    CIGARETTES.
</b>
<b>9   EXT. WOLF MART GAS STATION - DAY                               9
</b>
    Ray pulls in to the combo gas station, restaurant and
    mini mart.
<b>
</b><b>                                                      12.
</b>

A MOHAWK TEENAGER wearing a bandana RUNS out to the CAR
without a coat, rubbing his hands together to ward off
the cold.

<b>                        MOHAWK TEENAGER
</b>          Fill it up?

She rolls down the window, digging for change under the
seat of her car. She counts it out.

<b>                       RAY
</b>          Just three...uh, no...two seventy one,
          two, three, four.

<b>                       MOHAWK TEENAGER
</b>          Two seventy four.

He nods and goes to the pump. She finds a wadded up five
dollar bill.

<b>                       RAY
</b>                 (yells out window)
          Make that seven seventy four.

She spots a sign for "TRAILWAYS" bus in the window.

<b>                       RAY (CONT'D)
</b>          Did you see a Blue Acclaim come in here
          last night?

<b>                       MOHAWK TEENAGER
</b>          Blue Acclaim...no, but I only worked
          until 9 PM. You can ask inside.

Ray glances inside at the mostly empty restaurant but for
a few older Mohawk women.

<b>                       RAY
</b>          No, that's okay.

<b>                       MOHAWK TEENAGER
</b>          Did you want to support our Mosquito
          Lacrosse League. It teaches basic
          Lacrosse skills to the kids three to
          five.

Ray shakes her head.

<b>                       MOHAWK TEENAGER (CONT'D)
</b>          Thanks, anyway. Have a good day.
<b>
</b><b>                                                              13.
</b>

<b>10   INT./EXT. ROUTE 37 INDIAN RESERVATION - DAY                 10
</b>
     Ray continues down the highway through the reservation.

     She comes to a huge warehouse, the "MOHAWK BINGO PALACE."

     She glances over at the sea of cars surrounding it. At
     the end of a row she spots it: a BLUE ACCLAIM.

     Ray abruptly turns in.


<b>11   EXT. MOHAWK BINGO PALACE PARKING LOT - DAY                  11
</b>
     Ray pulls up alongside the Acclaim and recognizes it by
     the "EASY DOES IT" bumper sticker.

     She gets out and looks inside. There is a small plastic T-
     Rex on the floor of the backseat.

     She leans against the car for a moment.

<b>                            RAY
</b>               Thank you. Oh God, thank you, thank you
               thank you...

     After a moment Ray looks up at the Bingo Palace and heads
     for the entrance.

<b>                            RAY (CONT'D)
</b>               You son of a bitch!


<b>12   INT. BINGO PALACE ENTRANCE -   DAY                          12
</b>
     A SHORT, CHUBBY MOHAWK TICKET TAKER in her 60s, with
     piercing blue eyes and missing teeth sits perched on a
     metal chair beside a velvet rope.

<b>                            TICKET TAKER
</b>               Sunrise session is almost over. Next
               session starts at 10:30.

<b>                            RAY
</b>               I just need to look inside.

     Ray starts to walks toward the door and the ticket taker
     sticks out her foot.

<b>                            TICKER TAKER
</b>               It's $5 dollars for admission.
<b>
</b><b>                                                              14.
</b>

<b>                            RAY
</b>               I don't want to play, I just need to look
               around for a second.

<b>                            TICKET TAKER
</b>               I'm gonna need the five.

<b>                            RAY
</b>               I'll stand right here at the door. I
               won't even go inside. I just need to see
               if my husband's in there.

<b>                            TICKET TAKER
</b>               You still gotta pay admission.

<b>                            RAY
</b>               He's gambling away the money for our
               house.

<b>                            TICKET TAKER
</b>               What does he look like?

<b>                            RAY
</b>               Long brown hair. Tall. Skinny. Ponytail.

<b>                            TICKET TAKER
</b>               He's not in there.

<b>                            RAY
</b>               Can I just look?

<b>                            TICKET TAKER
</b>               I told you, lady, he's not in there.

     Ray walks away. The ticket taker watches her.


<b>13   EXT. MOHAWK BINGO PALACE, PARKING LOT - DAY                13
</b>
     Ray walks out of the front entrance back across the
     parking lot toward the Horizon through rows of cars...

     Across the parking lot, LILA LITTLEWOLF, 20, a Mohawk
     girl with long black hair bursts out of the "Employees
     Entrance" and hurries across the parking lot pulling off
     her scratch card apron as she walks.

     Ray catches sight of her, but before Ray reaches the
     Horizon, Lila reaches the ACCLAIM, GETS IN IT AND BACKS
<b>     OUT.
</b>
<b>                            RAY
</b>               Hey!
<b>
</b><b>                                                              15.
</b>

     But Lila drives off.

     Ray JUMPS back in the Horizon and TAKES OFF AFTER HER.


<b>14   EXT. RESERVATION ROADS - DAY                                14
</b>
     Ray follows the Acclaim down Route 37 and catches sight
     of it turning off on a dirt road.

     Ray makes the corner just in time to catch sight of the
     Acclaim bouncing off on a path through the woods.

     Ray follows it through the woods to a clearing: the
     Acclaim stops in front of a rusted out BUBBLE CAMPER.

     Lila gets out. Ray pulls up behind her and rolls down her
     window.

<b>                            RAY
</b>               That's my car.

     Lila SPINS around.

<b>                            LILA
</b>               Huh?

<b>                            RAY
</b>                      (points to the Acclaim)
               What are you doing with my car?

     Lila fingers the keys in her hand.

<b>                            LILA
</b>               That? I found it.

<b>                            RAY
</b>               You stole it.

<b>                             LILA
</b>               The keys were in it.

<b>                            RAY
</b>               So you just took it...?

     Lila goes in the bubble camper and shuts the door behind
     her.

     Ray gets out of the Horizon and walks up to the camper
     door and takes out her cell phone.

<b>                            RAY (CONT'D)
</b>               We'll just see what the troopers say
               about that.
<b>
</b><b>                                                             16.
</b>

<b>                            LILA (O.S.)
</b>                      (From inside camper)
               Go ahead, they got no jurisdiction here.
               This is Mohawk territory.

     Ray stops dialing closes up her phone, then goes to her
     car and takes the gun and goes back to the camper.

<b>                            RAY
</b>                      (knocks with the gun)
               You can cut the bullshit and give me my
               keys now.

     There is no reponse. Ray waits for a moment and then:

<b>                            RAY (CONT'D)
</b>                      (low voice)
               Troy, are you in there?

     There is no response.

<b>                            RAY (CONT'D)
</b>               If you're in there you better come out.


<b>15   INT. LILA'S CAMPER - DAY                                    15
</b>
     Lila sits on an army cot in the dingy camper next to a
     lamp on the floor. Her clothes are scattered among empty
     Pringles cans.

<b>                            RAY (O.S.)
</b>                      (tentative, controlled)
               Troy? Versales says as long as we get the
               money in by Christmas we won't lose the
               deposit. (pause) I think we need to talk
               about this, so come on out.(Pause) Troy?
               Troy?


<b>16   EXT. LILA'S CAMPER - DAY                                    16
</b>
     Ray aims the gun and FIRES into the camper door.


<b>17   INT. LILA'S CAMPER - DAY                                    17
</b>
     The shock of the blast throws Lila off the cot. She looks
     at the SMOKING HOLE.

<b>                            RAY (O.S.)
</b>               I'm not kidding, honey, come on out.
<b>
</b><b>                                                              17.
</b>

<b>18   EXT. LILA'S CAMPER - DAY                                   18
</b>
     Keeping behind the door for cover, Lila opens it. Ray
     looks inside: there is no sign of Troy.

<b>                               LILA
</b>                         (from behind the door)
                  The Tribal police don't like people
                  shooting holes in other people's houses.

     Ray looks at her.

<b>                               RAY
</b>                  This is New York State so quit the
                  bullshit and give me my damn keys!

     Lila throws the keys out the door. Ray picks them up off
     the ground. Lila shuts the door with her foot.


<b>19   EXT. LILA'S CAMPER - DAY                                   19
</b>
     Ray gets in the Horizon and pulls it in behind the
     Acclaim then digs in the trunk, pulling out a rope.

     She ties one end to the Acclaim's back fender and the
     other to the Horizon's front fender.

     Lila watches out the camper window.

     Ray gets in the Acclaim and starts it up slowly TOWING
     the Horizon a few feet before the rope SNAPS.

     Ray gets out and looks at the broken rope. She begins
     digging in the trunk for more rope.

     Lila opens the camper door and looks at the bullet hole.

<b>                               LILA
</b>                  This camper belongs to my brother in law.
                  He won't like this.

<b>                               RAY
</b>                         (over her shoulder)
                  Then you should quit stealing cars.

<b>                               LILA
</b>                  I thought it was abandoned, the guy
                  driving it got on a bus.

     Ray stops.

<b>                               RAY
</b>                  Did you see where the bus was headed?
<b>
</b><b>                                                         18.
</b>

<b>                       LILA
</b>          New York or Buffalo, I'm not sure.

Ray RE-TIES the tow line with the remaining rope.

This time the Horizon goes an inch or two before the rope
SNAPS. Ray gets out.

<b>                         RAY
</b>                   (under her breath)
          Shit!

Ray RIFLES through the trunk for more rope.

"Home on the Range" plays on the cell phone in Ray's back
pocket.


Lila touches the bullet hole in the camper and listens to
Ray's conversation from the doorway.

Ray puts the phone back in her pocket and takes an old
belt of her husbands and tries to attach the fenders of
the cars.

Ray gets back in the Acclaim and tries TOWING the Horizon
once again.

This time the right side of the front fender SNAPS OFF
and droops to one side.

Ray gets out and looks at Lila.

<b>                       RAY (CONT'D)
</b>          I'm not leaving this here.

<b>                       LILA
</b>                 (points at the Acclaim)
          I got a friend who might buy that.

<b>                       RAY
</b>          It's not for sale.

<b>                       LILA
</b>          He'll pay more than it's worth.

Ray ignores her.

<b>                       LILA (CONT'D)
</b>          Maybe two thousand.

<b>                         RAY
</b>          Why's that?
<b>
</b><b>                                                           19.
</b>

<b>                            LILA
</b>               He's always looking for cars with button-
               release trunks.

     Ray thinks about it.

<b>                            LILA (CONT'D)
</b>               He don't need papers or anything.

<b>                            RAY
</b>               Does he use them to rob banks or
               something?

     Lila shrugs.

<b>                            LILA
</b>               All I know is he pays good for a car like
               this.

<b>                            RAY
</b>               Where does he live?

<b>                            LILA
</b>               Through the woods. Not far.

<b>                            RAY
</b>               What's in it for you?

<b>                            LILA
</b>               He'll give me something for finding it.

<b>                             RAY
</b>               If you try anything, I'm not afraid to
               use this.

<b>                            LILA
</b>               Yeah.


<b>20   INT. ACCLAIM IN RESERVATION WOODS - DAY                 20
</b>
     Ray drives with one hand and holds the gun with the
     other. It is pointed at Lila in the passenger seat.

<b>                            LILA
</b>               Turn up there.

<b>                            RAY
</b>               Where?

<b>                            LILA
</b>               Where that stump is.
<b>
</b><b>                                                           20.
</b>

     Ray makes the turn with one hand and the car bounces
     through an overgrown path in the woods. Ray reaches the
     stump.

<b>                             RAY
</b>                      (nervous)
               There's no road.

<b>                            LILA
</b>               There's a path.

     Ray hesitates.

<b>                            LILA (CONT'D)
</b>               It's not far.

     Ray turns and drives into deeper woods. The gun jiggles
     around in Ray's hand as they bounce along between the
     trees.

     Lila tries to ignore it.


<b>21   EXT. ACCLAIM AT BOAT RAMP - DAY                            21
</b>
     The car emerges from the woods at a BOAT RAMP leading to
     a mile-wide section of the FROZEN ST. LAWRENCE RIVER.


<b>22   INT. ACCLAIM AT BOAT RAMP - DAY                            22
</b>
     Ray looks out at the ice. Tire tracks make a path across
     the snow-covered surface between carefully set out CUT
<b>     EVERGREEN TREES.
</b>
<b>                            LILA
</b>               Not too fast. There's ruts.

<b>                            RAY
</b>               I'm not crossing that!

<b>                            LILA
</b>               Don't worry they already put out the
               Christmas trees. There's no black ice.

<b>                            RAY
</b>               That's Canada.

<b>                            LILA
</b>               No, it's Mohawk land. The Rez is on both
               sides of the river.

<b>                            RAY
</b>               What about the border patrol?
<b>
</b><b>                                                              21.
</b>

<b>                            LILA
</b>               There's no border.

<b>                            RAY
</b>               I'm still not crossing that.

<b>                            LILA
</b>               Don't worry, it'll hold a Plymouth. I've
               seen semis cross it.

     Ray looks at Lila suspiciously.

<b>                            LILA (CONT'D)
</b>               The only other way is the Cornwall bridge
               and they won't let you take that. (points
               at the gun).

     Suddenly, A TRUCK driven by a MOHAWK TEENAGER ROARS out
     of the woods and SWERVES around the Acclaim FISHTAILING
     then SPEEDING out across the ice.

<b>                            LILA (CONT'D)
</b>               They plow it and everything.

     Cautiously, Ray lets off the brake and rolls down the
     boat ramp towards the smooth surface of the river.

<b>                            RAY
</b>                      (under her breath)
               This is so fuckin' stupid.

<b>                            LILA
</b>               Not too fast, there are ruts.



<b>23   EXT. ACCLAIM ON FROZEN RIVER - DAY                          23
</b>
     The Acclaim moves across the smooth surface of the river.


<b>24   INT. ACCLAIM ON FROZEN RIVER - DAY                          24
</b>
     Ray stares straight ahead clutching the wheel, barely
     breathing. Lila glances at the gun in Ray's hand, then
     out at the river, unfazed.

     They reach the midpoint of the river and pass it
     silently.

<b>                            LILA
</b>               You gotta pick up some speed to get up
               the bank.
<b>
</b><b>                                                              22.
</b>

     Ray speeds up. The Acclaim bounces up the steep bank.

<b>                               LILA (CONT'D)
</b>                  It's just on the other side of those
                  trees.


<b>25   EXT./INT. ACCLAIM AT JIMMY'S GARAGE LOT- DAY               25
</b>
     Ray and Lila pull into a used-car lot surrounded by a
     chain link fence. There is no sign of life. Ray stops.

<b>                                LILA
</b>                  Honk the horn.

     Ray honks.

     Suddenly, from under a gutted truck, A HUGE BLACK DOG,
     part wolf, SPRINGS onto the hood of the Acclaim.

     Ray is pinned against her seat at the sight of the dog.
     Lila GRABS the gun out of her hand and points it at Ray.

<b>                               LILA (CONT'D)
</b>                  Just keep your mouth shut.

     Ray stares at the snarling dog.

<b>                               LILA (CONT'D)
</b>                  Just keep it shut. Okay?

     Ray nods never taking her eyes off the dog.

     Lila honks the horn again and keeps the gun low and out
     of sight.

     Out of the garage comes JIMMY, 33, a stocky Mohawk,
     eating a sandwich.

     Jimmy looks suspiciously at Ray before he sees Lila.

     Thunder growls.

<b>                               JIMMY
</b>                  Thunder! SHUT UP!.

     The dog GROWLS ferociously at Ray.

<b>                               JIMMY (CONT'D)
</b>                  Get back under there!

     Thunder jumps off the hood and disappears back under the
     trunk.
<b>
</b><b>                                                             23.
</b>

     Jimmy walks around to the passenger side of the car. Lila
     rolls down her window.

<b>                             LILA
</b>               Hi, Jimmy.

     Jimmy glances at Ray.

<b>                            JIMMY
</b>               He don't like whites, Lila.


<b>                             LILA
</b>               Sorry.

<b>                            JIMMY
</b>               And your late.

<b>                             LILA
</b>               Sorry.

<b>                            JIMMY
</b>               I shouldn't even be dealing with you.

<b>                            LILA
</b>               I know. Sorry.

     He hands her a paper bag.

     Jimmy goes back to the garage and opens the door. TWO
     YOUNG CHINESE MEN in cheap jogging suits follow him out,
     looking around.


<b>26   INT. ACCLAIM JIMMY'S GARAGE LOT - DAY                       26
</b>
     Lila hands the paper bag to Ray and points the gun at
     her, keeping it low and out of sight.

<b>                             LILA
</b>               Count it.

<b>                            RAY
</b>               What's going on here?

<b>                            LILA
</b>               Just count it.

     Ray opens the bag. It's full of cash. All fifties and
     hundreds. Ray counts it.

<b>                            LILA (CONT'D)
</b>               How much is there?
<b>
</b><b>                                                         24.
</b>

<b>                       RAY
</b>          Twelve hundred.

Lila opens the glove compartment and presses the trunk
release.

Jimmy motions to the Chinese men to get in the trunk.
Jimmy shuts it.

He taps twice on the hood of the car and walks back to
the garage.

<b>                       LILA
</b>                 (to Ray)
          Let's go.

<b>                       RAY
</b>          Wait, who the fuck are they?

<b>                       LILA
</b>          Just back up.

<b>                       RAY
</b>          I'm not moving until those people get out
          of my trunk.

<b>                       LILA
</b>          I'll give you half. Now let's go.

Jimmy turns around, sees the two women arguing and gets
suspicious.

<b>                       LILA (CONT'D)
</b>          Let's go!

<b>                       RAY
</b>          I'm not taking them over the border.
          That's a crime.

<b>                       LILA
</b>          There's no border here. This is free
          trade between nations.

<b>                       RAY
</b>          This isn't a nation.

Lila jams the gun into Ray's side.

<b>                       LILA
</b>                 (under her breath)
          Let's go.

Jimmy starts back toward the car. Ray puts the car in
REVERSE and backs up.
<b>
</b><b>                                                              25.
</b>

<b>27   EXT. ACCLAIM ON FROZEN RIVER - DAY                         27
</b>
     The Acclaim drives down the bank onto the frozen river
     and starts across.


<b>28   INT. ACCLAIM ON FROZEN RIVER - DAY                         28
</b>
     Ray drives. Lila sits angled toward Ray with the gun
     trained on her.

<b>                            LILA
</b>               Why'd your husband leave you?

<b>                            RAY
</b>               Fuck you.

<b>                            LILA
</b>               Maybe he wanted a younger women.

     Ray stares out at the ice.

<b>                            LILA (CONT'D)
</b>               That's what usually happens.

     Ray says nothing.

<b>                            LILA (CONT'D)
</b>               I never have to worry about that. My
               husband is dead. Went down in the river
               on a run. They never found him. Probably
               tangled in river weeds.

     She gives Ray a spooky look.

<b>                            LILA (CONT'D)
</b>               You better slow down there are ruts out
               here. You could get stuck in one.

     Ray speeds up and roars up the boat ramp off the ice
     skidding a little.


<b>29   EXT. ACCLAIM IN RESERVATION WOODS - DAY                    29
</b>
     Ray and Lila bounce through the woods with Lila holding
     the gun, this time.

     They come to a dirt road then to an intersection with
     State Route 37.

<b>     A SIGN READS: "YOU ARE LEAVING AKWESASNE, LAND OF THE
</b><b>     MOHAWK".
</b><b>
</b><b>                                                             26.
</b>

<b>30   INT. ACCLAIM ON ROUTE 37 - DAY                             30
</b>
     Ray slows down at the sign.

<b>                               LILA
</b>               Keep going.

<b>                            RAY
</b>               What if the troopers stop us.

<b>                            LILA
</b>               They won't stop you. You're white.

     Ray keeps going.


<b>31   EXT. ROUTE 37, THE RESERVATION LINE - DAY                  31
</b>
     Just beyond the Reservation line, partly hidden behind a
     barn, a NEW YORK STATE TROOPER VEHICLE sits parked.


<b>32   EXT. BOB'S MOTEL, MASSENA, NEW YORK - DAY                  32
</b>
     Ray pulls into a 1950s strip motel. A Pakistani man, the
     DEALER, looks out from the motel office.


<b>33   INT. ACCLAIM AT BOB'S MOTEL - DAY                          33
</b>
     Ray sees the Dealer hurrying towards them.

<b>                            LILA
</b>               Pull around back then wait for him to
               come to the window.

     Lila keeps the gun low.

     The Dealer approaches cautiously.

<b>                            LILA (CONT'D)
</b>               Roll down your window.

     He walks up slowly and hands her a brown paper bag.

<b>                               LILA (CONT'D)
</b>               Count it.

     Ray opens the bag and counts out the cash, as before.

<b>                            RAY
</b>               Twelve hundred.
<b>
</b><b>                                                             27.
</b>

     Lila takes the cash from Ray and pops the trunk release.
     The two Chinese men hurry out. The Dealer ushers them
     into a Garage.

<b>                                 LILA
</b>                  Let's go.


<b>34   INT. ACCLAIM ON ROUTE 37 - DAY                             34
</b>
     Ray and Lila return down Route 37 past the sign
<b>     "AKWESASNE, LAND OF THE MOHAWK"
</b>
     Lila keeps the gun on Ray.

<b>                               LILA
</b>                  Turn down there.

     Ray looks at the dirt road leading into the woods.

<b>                                 LILA (CONT'D)
</b>                  Stop here.

     Ray stops.

<b>                               LILA (CONT'D)
</b>                  Now open the door.

     Ray hesitates. Lila jams the gun in her side.

<b>                               LILA (CONT'D)
</b>                  Open the door.

     Ray opens the door.

<b>                                 LILA (CONT'D)
</b>                  Now get out.

     Ray doesn't move.

<b>                               RAY
</b>                  You can't have my car.

<b>                                 LILA
</b>                  Get out.

<b>                               RAY
</b>                  You can't have my car.

     Lila tries to push Ray out the driver's door with her
     feet.

     Ray clings to the steering wheel.
<b>
</b><b>                                                              28.
</b>

<b>                            RAY (CONT'D)
</b>               No!

     Suddenly, Ray grabs Lila by the hair and pulls her head
     down to the car seat. Lila hits Ray in the head with the
     gun.

<b>                            RAY (CONT'D)
</b>                      (gasps)
               Fuckin' bitch!

     Bleeding and holding Lila's hair, Ray pries the gun out
     of Lila's hand. Lila grabs the sack of money, jumps out
     of the passenger side of the car and takes off into the
     woods.

     Ray chases her, but Lila is faster and gets ahead, then
     disappears into the woods. Ray stops, panting, and wipes
     the blood from her forehead.

<b>                            RAY (CONT'D)
</b>                      (calls after her)
               Little bitch!

     Ray stares after her for a long moment then gets back in
     the Acclaim.


<b>35   EXT. RAY'S TRAILER YARD - DAY                              35
</b>
     Ray drives up in the Acclaim.

     T.J., wearing PROTECTIVE GOGGLES, works on the broken
     Duck Kiddie ride with a BLOW TORCH. He doesn't notice
     Ray.

     Ray covers over the cut with her hair and gets out and
     walks up behind him and taps him on the shoulder. He
     jumps and cuts the flame.

<b>                            RAY
</b>               I told you not to use that thing when I'm
               not here.

<b>                            T.J.
</b>               If I get it working I can sell it.

     She looks at the rusted pieces of it.

<b>                            RAY
</b>               I don't care. Don't use that thing when
               I'm not here!
<b>
</b><b>                                                      29.
</b>

<b>                       T.J.
</b>          Rentaworld called. They're coming to get
          the TV if you don't pay by four tomorrow.

He notices the car.

<b>                        T.J. (CONT'D)
</b>          Did you find him?

<b>                      RAY
</b>          No.

<b>                       T.J.
</b>          Where was the car?

<b>                       RAY
</b>          At the bus stop on the Rez.

<b>                       T.J.
</b>          I bet he went to Atlantic City.

<b>                       RAY
</b>          You don't know that.

<b>                       T.J.
</b>          Yeah, but you could figure it out. Just
          find out what buses came through last-

<b>                       RAY
</b>          And then what? Chase him across the
          country. Miss work. No.

<b>                       T.J.
</b>          What happened to your face?

<b>                      RAY
</b>          Nothin'.

<b>                       T.J.
</b>          What, did you get in a fight with
          somebody?

<b>                       RAY
</b>          It was no big deal.

<b>                       T.J.
</b>          You got in a fight, for real?

<b>                       RAY
</b>          Some Indian chick tried to steal your
          Dad's car.
<b>
</b><b>                                                            30.
</b>

<b>                            T.J.
</b>               No way. I say we go back there and kick
               some Mohawk ass.

<b>                            RAY
</b>               It doesn't matter.

<b>                            T.J.
</b>               Where's your car?

<b>                             RAY
</b>               I'll get it tomorrow.

<b>                            T.J.
</b>               You left it on the rez? That's so stupid.

<b>                            RAY
</b>               I didn't have a tow rope.

<b>                            T.J.
</b>               I still say we go back there and kick
               some Mohawk ass.

<b>                            RAY
</b>               Forget it T.J. Did you and Ricky eat?

<b>                            T.J.
</b>               That would be kinda miraculous since
               there's no food in the house.

<b>                            RAY
</b>               There's food.

<b>                            T.J.
</b>               Popcorn and Tang.

     Ray goes towards the trailer.



<b>36   EXT. MOHAWK USED CAR LOT - NIGHT                         36
</b>
     Lila walks in off the road. MIKE, the owner, plays a
     handheld video game.

     She looks around the lot.

<b>                            MIKE
</b>                      (In Mohawk)
               Hi, Lila

<b>                             LILA
</b>                       (In Mohawk)
               Mike.
<b>
</b><b>                                                         31.
</b>

She glances at a row of beat used cars.

<b>                       MIKE
</b>          How's life at the Bingo Palace.

<b>                       LILA
</b>          Good. How's business?

<b>                       MIKE
</b>          Oh, you know, okay.

She eyes a Malibu.

<b>                       LILA
</b>          How much for that one?

<b>                       MIKE
</b>          Come on, Lila.

<b>                       LILA
</b>          What?! I've been saving up.

<b>                       MIKE
</b>          You know what.

<b>                       LILA
</b>          Does Bernie Littlewolf run your whole
          life?

<b>                       MIKE
</b>          No, but he said not to sell you a car.

<b>                       LILA
</b>          I gotta walk down 37 with the semis
          kickin' up snow and mud in my hair just
          to get to the work.

<b>                       MIKE
</b>          For you, all I got are two Chevettes,a
          Horizon and a Civic.

<b>                       LILA
</b>          I don't like Chevettes.

<b>                       MIKE
</b>          I figured.

She holds out a wad of cash.

<b>                       LILA
</b>          I'll give you a thousand for the Malibu.

On the windshield of the Malibu in huge white letters:
<b>$750.
</b><b>
</b><b>                                                           32.
</b>

<b>                            MIKE
</b>               Nothing with a trunk.

<b>                            LILA
</b>               That thing has been sittin' here for six
               months.

<b>                            MIKE
</b>               I don't want Bernie in my face. Okay?

<b>                            LILA
</b>               He doesn't have to know.

     Mike rolls his eyes.


<b>37   INT. RAY'S TRAILER - DAY                                37
</b>
     Ray wakes up with Ricky staring at her.


<b>                            RICKY
</b>               Mommy, I was thinking. What's gonna
               happen to the tin crapper when we get our
               new house?

<b>                            RAY
</b>                      (half asleep)
               They're gonna flatten it out and send it
               to China.

<b>                            RICKY
</b>               Then what?

<b>                            RAY
</b>               They're gonna melt it down and make
               little toys out if it.

<b>                            RICKY
</b>               Then what?

<b>                            RAY
</b>               They'll send them back here so I can sell
               them at All for a Dollar.

<b>                            RICKY
</b>               And you can buy me some?

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

<b>                            RICKY
</b>               Yes!
<b>
</b><b>                                                           33.
</b>

<b>38   INT. RAY'S TRAILER, KITCHEN - DAY                          38
</b>
     Ray puts out a breakfast spread of Microwave popcorn and
     tang.

<b>                            T.J.
</b>               I'm not eatin' that again for dinner.

<b>                            RAY
</b>               We just have to make it to my paycheck on
               Friday.

<b>                            T.J.
</b>               What about Rentacenter?

     She searches through the couch cushions.

<b>                            RAY
</b>               What about them?

<b>                            T.J.
</b>               They said they're coming to get the
               furniture if they don't get a payment by
               4 o'clock.

<b>                            RAY
</b>               You told me that already.

     She finds change and hands it to him.

<b>                            RAY (CONT'D)
</b>               Here, lunch money.

     She gives the rest to Ricky.

<b>                            T.J.
</b>               Look I don't see why you won't just let
               me get a job with Mitch.

<b>                            RAY
</b>                      (to T.J.)
               Who's Mitch.

<b>                            T.J.
</b>               He's got like this whole business he
               runs.

<b>                            RAY
</b>               He sells pot to kids?

<b>                            T.J.
</b>               No, it's computers. He works on
               computers.
<b>
</b><b>                                                              34.
</b>

<b>                            RAY
</b>               You're fifteen, it's not gonna happen so
               forget it.

<b>                            T.J.
</b>               That's so stupid. We're gonna lose the TV
               while I'm sitting in some Christmas
               assembly when I could be-

<b>                            RAY
</b>               Your job is looking after your brother.
               Who's gonna take care of him?

<b>                            T.J.
</b>                      (going out the door)
               I still say we should go back to the rez,
               get the Horizon and kick some serious
               butt.

     T.J. goes out the door behind Ricky and slams it in Ray's
     face.

     Ray slips into her jeans and goes to the bathroom mirror
     to put on her mascara. She cakes it on trying to ignore
     the cut over her eye but keeps looking at it. Finally she
     stops and stares at herself.

<b>                                                          CUT TO:
</b>


<b>39   EXT. LILA'S CAMPER - DAY                                    39
</b>
     Ray pulls up in front of the camper and stops.

     The Horizon is still there and all is quiet.

     Ray gets out holding the gun and a long rope goes to the
     bumper and begins to tie it to the other bumper, looking
     over her shoulder every once in while at the camper.

     Once she has tied the cars together she gets back into
     the Acclaim, but instead of driving off, she just sits
     there.

     After a moment, she gets out with the gun and walks up to
     the camper.

     The bullet hole in the door has a sock stuffed in it.

<b>                            RAY
</b>                      (low tone)
               I want my part.
<b>
</b><b>                                                             35.
</b>

<b>40   INT. LILA'S CAMPER - DAY                                    40
</b>
     Lila is asleep next to a rattling propane heater.

<b>                            RAY (O.S.)
</b>                      (knocks with the gun)
               You hear me!

     Lila's eyes pop open but she stays perfectly still. Ray
     shakes the door handle.

<b>                            RAY (CONT'D)
</b>               I want my part.

     Lila sits up on her cot and puts on her jacket.


<b>                            RAY (CONT'D)
</b>               I want my part.

<b>                            LILA
</b>               I'll give you the money if you give me
               the car.

<b>                            RAY
</b>               No way.

<b>                            LILA
</b>               The money's gone.

<b>                            RAY
</b>               Then I wanna get some more of those
               Chinese.

     The door opens. Ray steps back holding the gun. They look
     at each other.

<b>                            LILA
</b>               It's gonna cost me to get that hole
               fixed. I froze last night.

     Ray holds up her hair revealing the cut over her eye.

<b>                            RAY
</b>               I just need enough for the balloon
               payment on my doublewide then I'm out of
               this. I'm no criminal.

<b>                            LILA
</b>               It's not a crime.

<b>                            RAY
</b>               You people can call it what you want to.
               I just want my double.
<b>
</b><b>                                                              36.
</b>

     They stand staring at each other for a long moment, then
     Ray walks over and unties the rope around the bumpers of
     the Acclaim and the Horizon.

<b>                             LILA
</b>               I don't usually work with whites.

<b>                            RAY
</b>               Suit yourself.

     Ray gets in the driver's side of the Acclaim and starts
     it. After a moment, Lila gets in the passenger side.


<b>41   EXT. ACCLAIM ON FROZEN RIVER - DAY                         41
</b>
     Ray and Lila drive across the smooth surface of the
     river. Ray smokes with one hand and holds the gun with
     the other.


<b>                             LILA
</b>               How many bedrooms?

<b>                            RAY
</b>               Three. I got kids.

<b>                            LILA
</b>               How old?

<b>                            RAY
</b>               Five and Fifteen.

<b>                            LILA
</b>               I got a boy. Almost one.

     Ray looks at her.

<b>                            LILA (CONT'D)
</b>               He lives with my mother-in-law. (after a
               moment) She stole him from me.

<b>                            RAY
</b>               Stole him?

<b>                            LILA
</b>               Yeah. Right out of the hospital.

<b>                             RAY
</b>               Stole him?
<b>
</b><b>                                                           37.
</b>

<b>                            LILA
</b>               Tribal police don't get involved in stuff
               like that.


     Lila looks out across the river at dusk with no
     expression. The ice looks clean and still.

     Ray picks up speed to climb the river bank.


<b>42   EXT. JIMMY'S GARAGE - DAY                                   42
</b>
     Ray and Lila drive up in the Acclaim. Thunder SPRINGS out
     again, caught by his CHAIN just short of the car. Ray
     flinches but keeps hold of the gun.

     Jimmy walks out to meet them. Lila rolls down her window.

<b>                             JIMMY
</b>               Bernie was askin' if I'd seen you. I told
               him no.

<b>                             LILA
</b>               Thanks.

<b>                            JIMMY
</b>               I don't want any trouble with him, Lila.

<b>                            LILA
</b>               Don't worry about it.

     Jimmy's cell phone rings.

<b>                            JIMMY
</b>               This guy's been calling all morning. He's
               got two up at the Old Casino.

<b>                             LILA
</b>               Okay.

     Jimmy takes the call.


<b>43   INT. ACCLAIM AT JIMMY'S GARAGE - DAY                        43
</b>
     Lila rolls up the window.

<b>                            RAY
</b>               What's going on?

<b>                            LILA
</b>               We gotta pick them up.
<b>
</b><b>                                                             38.
</b>

<b>                              RAY
</b>                        (hesitates)
               Where?

<b>                              LILA
</b>               Not far.

<b>                            RAY
</b>               Where's that?

<b>                            LILA
</b>               An old casino through the woods. They
               used to have gambling there in the
               bootlegger days.




<b>44   EXT. CORNWALL ISLAND WOODS, OLD CASINO -    NIGHT           44
</b>
     Ray and Lila bounce through the woods to a collapsed
     building. An old BLACK SUV pulls up from the opposite
     direction, FACING THEM.

     Two MIDDLE-AGED CHINESE MEN, get out of the back. One
     carries an envelope. At the sight of Ray and Lila, he
     stops and says something to the other one.

     Both turn around and head back to the SUV.

     The DRIVER JACQUES BRUNO, a large Quebecois man, wearing
     a full-length fur coat gets out. They argue. He pulls out
     a LONG PISTOL and motions the men to the Acclaim.

<b>                            RAY
</b>               What the hell is he doing?

     Ray reaches for her gun.

<b>                            LILA
</b>               Keep that thing down.

     Bruno walks towards the Acclaim.

<b>                            LILA (CONT'D)
</b>               Roll down the window and see what he
               wants.

<b>                            RAY
</b>               What the hell is going on here?

<b>                            LILA
</b>               Just roll it down.
<b>
</b><b>                                                            39.
</b>

     Bruno stands at Ray's window.

     Ray slides the gun under her leg and rolls down the
     window. Bruno hands her a Tim Horton's bag. She takes it.

<b>                            BRUNO
</b>                      (Quebec-French accent)
               D'ey don't like de women driver.

     He hands Ray the envelope of cash.

<b>                            LILA
</b>               Count it.

     Ray nervously COUNTS the money as the Chinese men shiver
     outside.

<b>                            RAY
</b>               Twelve hundred.

     Lila pops the trunk. Bruno and the Chinese men disappear
     around the back of the Acclaim. They hear the trunk
<b>     SHUT.
</b>
     Bruno comes back to Ray's window and taps on it.

     Ray looks at Lila.

<b>                            LILA
</b>               Open it.

     Ray rolls down the window again.

<b>                            BRUNO
</b>               D'is will keep d'em from running.

     He hands her men's shoes and dirty socks.

     Ray takes the belongings and ROLLS up the window and
     drives away.


<b>45   INT. ACCLAIM ON FROZEN RIVER -   DAY                        45
</b>
     Ray drives across the river. The socks and shoes are
     between them.

<b>                            RAY
</b>               Why would they want to run?

<b>                            LILA
</b>               To get away from the snakeheads.
<b>
</b><b>                                                           40.
</b>

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

<b>                            LILA
</b>               The snakeheads pay to get them here and
               then they gotta work off what they owe .

<b>                            RAY
</b>               How much does it cost?

<b>                            LILA
</b>               Forty, fifty thousand. Depends where
               they're coming from.

<b>                              RAY
</b>               To get here?

<b>                            LILA
</b>               Sometimes they gotta work for years to
               pay it off.

<b>                            RAY
</b>                      (disbelief)
               To get here? No fuckin' way.

     She gets a whiff of the socks.

<b>                            RAY (CONT'D)
</b>               God those are ripe.

     She throws them into the backseat.

<b>                            LILA
</b>               They always stink.


     Two more cars are seen coming toward them on the river.
     They swerve wide to avoid the Acclaim.

     She speeds up to make it up the boat launch.


<b>46   INT. RAY'S TRAILER, KITCHEN - DAY                           46
</b>
     Ricky watches cartoons on the big screen TV. T.J. flips
     through the telephone book to the back section: AKWESASNE
     and scans columns of names mostly either "BONAPARTE"
     "LITTLEWOLF" or "THREERIVERS". He chooses a name and
     dials the number.

<b>                            T.J.
</b>               -Hello (in a grown-up voice) Is this Mrs.
               Irene ThreeRivers?
               -Mrs. Bonaparte, I have good news.
<b>                            (MORE)
</b><b>
</b><b>                                                              41.
</b>
<b>                             T.J. (CONT'D)
</b>                -I'm the business manager of Mr. E.F.
                ThreeRivers and I have been authorized to
                inform you that you have inherited money.
                -Are you still there?
                -Wait, I don't WANT any money, I want to
                GIVE you money.
                -That's right. You have inherited money
                from his computer fortune.
                -He was the second richest man next to
                Bill Gates.
                -He left you Twenty-six thousand seven
                hundred and fifty dollars.(pause)
<b>                -TWENTY-SIX THOUSAND SEVEN HUNDRED AND
</b><b>                FIFTY DOLLARS!
</b>                -Oh no, you have no obligation
                whatsoever, Mrs. ThreeRivers, just a
                small processing fee of 29.00 dollars
                will authorize me to send out your first
                payment of thirteen-thousand three
                hundred and seventy five dollars.
                -You can put it on any major credit card.
                (pause) Of course, you can always refuse
                the money.
                -Sure, I can hold.

     T.J. holds his pen poised to write and looks at Ricky
     watching TV, then at the clock. It reads 3:40 PM.


<b>47   EXT.   ACCLAIM ON ROUTE 37 - DAY                            47
</b>
     The Acclaim emerges from a dirt road onto State Route 37.

     Up ahead a sign reads: "YOU ARE NOW LEAVING AKWESASNE,
     LAND OF THE MOHAWK". The Acclaim drives past.


<b>48   EXT. ROUTE 37, THE RESERVATION LINE - DAY                   48
</b>
     Sitting in his New York State Trooper Vehicle, partly
     hidden behind a billboard, TROOPER MIKE NAPOLI, mid 40s,
     olive-skinned, watches the Acclaim drive by without
     expression.


<b>49   INT. ACCLAIM ON ROUTE 37 - DAY                              49
</b>
     Ray notices the vehicle.

<b>                             RAY
</b>                Are they always there?
<b>
</b><b>                                                            42.
</b>

<b>                            LILA
</b>               Yeah, but they can't stop you unless you
               give them a reason.

<b>                            RAY
</b>               Have you ever gotten caught?

<b>                            LILA
</b>               Once.

<b>                            RAY
</b>               What happened?

<b>                            LILA
</b>               They gave me the choice of paying a fine
               or spending three months in jail.

<b>                            RAY
</b>               What did you do?

<b>                            LILA
</b>               I paid the fine. I made the money back in
               two nights of smuggling. But back then it
               was cigarettes and everybody did it. Some
               of the troopers were into it, too.

<b>                            RAY
</b>               Smuggling?

<b>                            LILA
</b>               Yeah. But when they lowered the tax on
               cigarettes in Canada most people got out
               of it and the rest switched over to
               Chinese.


<b>50   EXT. BOB'S MOTEL - NIGHT                                 50
</b>
     The Acclaim pulls around back. The Pakistani Dealer
     approaches the car and hands Ray a paper bag full of
     cash.


<b>51   INT. ACCLAIM AT BOB'S MOTEL - NIGHT                      51
</b>
     Ray takes the money.

<b>                            LILA
</b>               Count it.

<b>                            RAY
</b>               Right, I know.
<b>
</b><b>                                                              43.
</b>

<b>                            LILA
</b>               Well, be sure it's right. I don't wanna
               get stiffed.

<b>                            RAY
</b>               Then why don't you count it?

<b>                            LILA
</b>               I got bad eyes.


     She counts it and nods at Lila. Lila POPS the trunk and
     the barefoot Chinese men get out. Ray and Lila look at
     them, they look back, blank and ungrateful.

     Ray rolls down the window and tosses out their shoes and
     socks.

<b>                            RAY
</b>               You're welcome.

     Ray swerves back out onto Route 37.


<b>52   EXT. ROUTE 37 INDIAN RESERVATION - SAME                    52
</b>
     They continue down the road to the reservation line.
     After they pass the sign: YOU ARE ENTERING THE LAND OF
     THE MOHAWK, Ray pulls over and stops.

     Ray takes the money and consolidates it into one paper
     bag.

<b>                            LILA
</b>               What about mine?

<b>                            RAY
</b>               We're even now.


     They stare at each other for a second or two, but Ray
     does not take out the gun. Lila reaches for the door
     handle

     Lila gets out. Ray drives away.



<b>53   EXT. RAY'S TRAILER YARD - DAY                              53
</b>
     The kitchen clock reads 3:55.
<b>
</b><b>                                                              44.
</b>

     A RENTAWORLD truck is parked outside. Two large
     RENTAWORLD MEN sit in it. T.J. sees them from inside the
     trailer. He comes outside.

     He walks up to the trunk. One of the men rolls down the
     window.

<b>                            T.J.
</b>               My mom told me to give you her credit
               card number.

<b>                            RENTACENTER MAN
</b>                      (weary)
               We only take cash or money orders.

<b>                            T.J.
</b>               Well, my Mom might be late.

<b>                            RENTACENTER MAN
</b>               She's got three minutes.

     T.J. goes back inside.


<b>54   INT. RAY'S TRAILER - DAY                                   54
</b>
     Ricky is glued to a cartoon. T.J. watches him, checking
     out the window every few seconds for Ray.

     A long moment passes with only the sounds from the
     cartoon.


<b>55   EXT. RAY'S TRAILER YARD - DAY                              55
</b>
     The RENTAWORLD men get out of the car and start toward
     the trailer.

     From down the road the Acclaim comes roaring along,
     kicking up dust.

     Ray swerves in and jumps out and runs up to the men.

<b>                            RAY
</b>               It's okay. I got it right here. (she
               waves a wad of fifties and twenties). Two
               fifty five, right?

     The men nod, relieved. Ray counts out the money.

     Ricky bursts out the door and runs towards Ray.

<b>                              RICKY
</b>               Mommy!
<b>
</b><b>                                                           45.
</b>

     She catches him in her arms and hugs him. T.J. stands at
     the trailer door, watching as the men drive away.

<b>                            RAY
</b>                      (to Ricky)
               Who wants to go the Price Chopper and get
               some Cap'n Crunch?

<b>                             RICKY
</b><b>               I DO!
</b>
<b>                            RAY
</b>               Wanna to go to the Price Chopper?

     T.J. walks out, looking at the money suspiciously.

<b>                            T.J.
</b>               Where'd you get that?

<b>                            RAY
</b>                      (a beat)
               Matt made me an assistant manager.

<b>                             T.J.
</b>               No way.

<b>                            RAY
</b>               Is that so hard to believe?

<b>                            T.J.
</b>               It's been like two years.

<b>                            RAY
</b>               Exactly, and that's why he gave me a
               bonus.

     He isn't convinced.

<b>                            RAY (CONT'D)
</b>               Do you wanna go to the Price Chopper or
               not?

     T.J. gets in the car.


<b>56   EXT. HOUSE ON POINT - NIGHT                                 56
</b>
     Near the river, smoke curls from the chimney of a modest
     house.

     Lila perches in a tree nearby with a can of Pringles
     potato chips dropping every other one on the ground below
     where a huge WHITE DOG, part wolf, takes his share.
<b>
</b><b>                                                              46.
</b>

     From the tree Lila looks inside the window of the house
     where:

     A baby boy, "LITTLE JAKE," about a year old, bangs his
     spoon on his high chair tray then throws it down.

     EVELYN LITTLEWOLF, 48, a tall thin Mohawk woman with long
     hair pulled back, picks it up and gives it back to him.

     He throws it again. She knows the game. She gives it
     back, but the third time she holds it just out of his
     reach and laughs at him. He bangs his fists on the tray.

     Lila drinks in the sight.

     Abruptly, the DOOR OPENS and EVELYN leans out.

<b>                            EVELYN
</b>               Chance! Chance, get in here before you
               freeze your ass off.

     The White Dog looks up at Lila who shakes the Pringles
     can upside down to show it's empty.

     Chance goes inside. The door SHUTS behind him.

     Lila stuffs a wad of cash in the can and jumps down from
     the tree. She leaves it near the front door and hurries
     into the woods.

<b>                                                        CUT TO:
</b>

<b>57   INT. T.J. AND RICKY'S BEDROOM -   NIGHT                     57
</b>
     Ray tucks Ricky into the bottom bunk. The wind whines in
     the loose siding. Ray stuffs a blanket around the window
     to block the draft.


<b>58   INT. RAY'S TRAILER, LIVING ROOM - NIGHT                     58
</b>
     Ray walks through the kitchen now full of groceries and
     opens a can of Adirondack Cola. The remains of two
     Hungry Man dinners sit on the table.

     She sits down in the living room. T.J. watches the local
     weather.
<b>
</b><b>                                                      47.
</b>

<b>                       WEATHER MAN (O.S.)
</b>          Temps will dip tonight and tomorrow.
          Expect a Clipper from Northern Ontario to
          bring 8 to 12 inches of snow and winds
          gusting 25-45 miles an hour making it
          feel like minus 30. Area farmers are
          advised to bring in livestock. More on
          this after a message.

A blaring TV commercial for the "HOT WHEELS TECH TRAX AIR
STUNT CHALLENGE SET" comes on.

<b>                       T.J.
</b>          That's what he wants.

<b>                       RAY
</b>          What?

He points at the TV.

<b>                       T.J.
</b>          For Christmas.

<b>                       RAY
</b>          What is it, again?

<b>                       T.J.
</b>                 (recites it quick)
          Hot Wheels Tech Trax Air Stunt Challenge
          Set.

<b>                       RAY
</b>          -Hot Wheels Tech Trax, what?

<b>                       T.J.
</b>          Air-Stunt-Challenge-Set.

<b>                       RAY
</b>          I got something even better than that.

<b>                       T.J.
</b>          What?

<b>                       RAY
</b>          The double wide. But don't mention it to
          Ricky, just in case.

<b>                       T.J.
</b>          Yeah, "just in case."

<b>                       RAY
</b>          This time is for real.
<b>
</b><b>                                            48.
</b>

<b>             T.J.
</b>Is that why you bought Calgon Bath Stuff?

<b>             RAY
</b>Yes it is. We're getting a tub, T.J. It's
gonna happen.

<b>               T.J.
</b>Yeah, right.

<b>             RAY
</b>If you keep that attitude I'll never let
you use it.

<b>             T.J.
</b>Be afraid. Be very afraid. (a moment)
What about Dad?

<b>             RAY
</b>What about him?

<b>             T.J.
</b>What are you gonna do?

<b>             RAY
</b>Why, did he call broke yet?

<b>             T.J.
</b>No, but maybe he would call if you
weren't so bitter.

<b>             RAY
</b>Oh, here we go again with Saint Dad.

<b>             T.J.
</b>That's what I mean. You're always on him.
"Where's your paycheck, do you need a
meeting, give me your receipts."

<b>             RAY
</b>He's an addict, T.J.

<b>              T.J.
</b>You're still bitter.

<b>             RAY
</b>You gotta help Ricky get the tree up
tomorrow after school okay?

<b>             T.J.
</b>Where are you going?

<b>             RAY
</b>Christmas shopping.
<b>
</b><b>                                                           49.
</b>

<b>59   INT. RAY'S TRAILER, BEDROOM -   NIGHT                       59
</b>
     Ray lays down her bed and checks her cell phone for new
     messages: a little zero blinks at her.

     She listens to her own cell phone message,

<b>                            RAY'S VOICE
</b>               Hi, it's me. leave a message, and maybe
               I'll call ya back.

     It is harsh. She erases it and tries again.

<b>                            RAY
</b>                      (fake cheerful)
               Hi....it's me...leave a message and I'll
               call ya' back.

     She plays it back. It sounds fake. She tries again.

<b>                            RAY (CONT'D)
</b>                      (less cheerful, forced)
               Hey, leave me a message and I'll call ya'
               back. (under her breath) You son of a
               bitch.

     She plays it back. "You son of a..." was recorded.

     She tries again.

<b>                            RAY (CONT'D)
</b>               Hi, it's me. I can't take the call right
               now, but if it's you, Troy, please at
               least tell me you are alive, because the
               boys are worried about you.

     She brings up OLD MESSAGES on her cell phone and listens
     to one.

<b>                            TROY (O.S.)
</b>               Hey, I just got done here. I made two
               hours overtime fixing one of the snow-
               making machines. Pretty cool, huh? I'll
               be home late. I'm gonna catch that
               meeting at 7:30. Love you, bye.

     Ray stares across the room at a pile of Troy's dirty
     flannel shirts. She gets up and picks up the pile to move
     it to the closet, but feels something hard. From a shirt
     pocket she pulls out a stack of used scratch cards.

     She throws the shirts in the closet and reaches for her
     cigarettes.
<b>
</b><b>                                                            50.
</b>

     She takes out a glossy picture of her double wide dream
     home, "The Commodore" a gleaming pre-fab structure with
     a landscaped yard and a family with paid-for smiles.

     After a moment she takes the wad of cash out of her
     pocket and begins making stacks of fifties and twenties.


<b>60   EXT. LILA'S CAMPER -   DAY                                  60
</b>
     The camper is buried in snow. A shiny SUV pulls up out
     front. BERNIE LITTLEWOLF, 35, burly, well-dressed, Mohawk
     man gets out.

     He yells across the yard

<b>                            BERNIE
</b>               Lila. Get up. I got a job for you!


<b>61   INT. LILA'S CAMPER -   DAY                                  61
</b>
     Lila is sound asleep on her cot under three blankets next
     to the propane heater.

     Bernie's snow balls THUMP against the side of the camper.

<b>                            BERNIE (O.S.)
</b>               Lila! Get up.

     Lila opens her eyes and looks out the window, squinting
     at the snow glare.

<b>                            BERNIE (CONT'D)
</b>               They got two people out sick today, so if
               you get down there you got the job.

<b>                             LILA
</b>               Huh?

<b>                               BERNIE
</b>               Get dressed, I got coffee. Let's go!

     He holds up a paper cup.

     She slips on her jeans with a sweatshirt...


<b>62   EXT. LILA'S CAMPER -   DAY                                  62
</b>
     Lila forces the door open against the heavy snow and
     steps outside.
<b>
</b><b>                                                          51.
</b>

<b>                              LILA
</b>               Where is it?

<b>                            BERNIE
</b>               Get in, I'll tell you on the way.

     She grabs her coat and trudges across the yard.


<b>63   INT. BERNIE'S SUV -    DAY                             63
</b>
     Bernie hands her a paper cup of coffee.

<b>                            BERNIE
</b>               Rita said you quit.

<b>                            LILA
</b>               She fired me.

<b>                            BERNIE
</b>               That's not what she said.

<b>                            LILA
</b>               Well, she should have. I can't see to
               count the money. I told you that. I come
               up short half the time.

<b>                            BERNIE
</b>               Then get some glasses.

<b>                            LILA
</b>               They make me carsick.

<b>                            BERNIE
</b>               Gimme a break.

     She sips the coffee.

<b>                            LILA
</b>               So where are we going?

<b>                            BERNIE
</b>               The Tribal Council needs someone to
               answer phones.

<b>                              LILA
</b>               No way!

     She reaches for the door handle.

<b>                            BERNIE
</b>               Why not? You can answer a phone, can't
               you?
<b>
</b><b>                                                             52.
</b>

<b>                            LILA
</b>               Not there! Not with them.

     She starts to get out. He notices the Horizon, buried
     under the snow, near the camper.

<b>                            BERNIE
</b>                      (suspicious)
               What's that?

<b>                              LILA
</b>               I bought it.

<b>                              BERNIE
</b>               From who?

<b>                            LILA
</b>               Some white lady.

     He says nothing. Taps his thumbs on the steering wheel,
     suspicious. A long moment passes.

<b>                              LILA (CONT'D)
</b>               What?

<b>                            BERNIE
</b>               What do you need a car for?

<b>                            LILA
</b>               To get to work. So I don't have to walk
               in the breakdown lane. Last week I almost
               got hit by the plow.

<b>                            BERNIE
</b>               You'll live. And you know what I'm
               talking about.

<b>                            LILA
</b>               It doesn't have a trunk.

     He stares at straight ahead.

<b>                            LILA (CONT'D)
</b>               All right, all right! I'll go.



<b>64   INT. ALL FOR A DOLLAR STORE -     DAY                       64
</b>
     Ray rings up a counter full of merchandise for a heavyset
     CUSTOMER in her 20s.

<b>                            RAY
</b>               That's $87.50.
<b>
</b><b>                                                              53.
</b>

     The customer hands her a credit card.

     Ray processes the credit card. It is declined.

<b>                            RAY (CONT'D)
</b>               Sorry. Didn't go through.

     The customer looks up with exaggerated annoyance.

<b>                            RAY (CONT'D)
</b>                      (in a low voice)
               I can try to put it though again.

     The customer grabs her purse from the basket, and walks
     out the door, leaving the merchandise.

<b>                            CUSTOMER
</b>                      (yells back at Ray)
               You got a problem with your machine,
               lady!

     Ray moves the merchandise aside for the next customer.
     It is Trooper Napoli.

     Ray is startled to see him. He puts down some shaving
     cream and a diet Pepsi.

<b>                            RAY
</b>                      (rings him up)
               That'll be three seventy six.

     He digs in his pocket.

<b>                              TROOPER
</b>               I got exact.

     He counts it out. She hands him his bag and watches him
     walk out.



<b>65   INT. MOHAWK TRIBAL COUNCIL, RECEPTION AREA - DAY           65
</b>
     Mohawk paintings and a huge wolf carved out of wood
     decorate the waiting area.

     Nearby is an office marked "GRAND CHIEF"

     A MOHAWK WOMAN walks by the desk and recognizes Lila,
     then looks away, quickly.

     A tall, middle-aged woman, GRAND CHIEF ROSALIE comes out
     of the office and walks up to Lila.
<b>
</b><b>                                                              54.
</b>

<b>                            ROSALIE
</b>               Do I have any messages?

     Lila hands her a stack. She takes them and walks away,
     then stops.

<b>                            ROSALIE (CONT'D)
</b>               I can't read this.

     She holds the message out to Lila. Lila tries to read it,
     squinting.

<b>                             LILA
</b>               I think it's a "T.".

<b>                            ROSALIE
</b>               No, I can't read any of it.

<b>                            LILA
</b>               I told Bernie I couldn't see.

     Lila grabs her jean jacket.

<b>                            LILA (CONT'D)
</b>               Nevermind. I'll go.

     She walks out.


<b>66   INT. ACCLAIM AT BUBBLE CAMPER - NIGHT                       66
</b>
     Ray pulls up in heavy snow. Lila gets in with a gallon of
     windshield wiper fluid.

<b>                            LILA
</b>               We gotta get extra fluid.

<b>                            RAY
</b>               I gotta get back before KMART closes.

<b>                            LILA
</b>               What for?

<b>                            RAY
</b>               I got nothing for under the tree.


<b>67   INT. WOLF MART GAS STATION RESTAURANT - NIGHT               67
</b>
     Ray fills the car with gas.
<b>
</b><b>                                                              55.
</b>

     Lila goes inside to get some Pringles. Looking into the
     small restaurant she sees Evelyn Littlewolf, her mother -
     in-law and Little Jake sitting at a table with Grand
     Chief Rosalie.

     She stops dead in her tracks at the sight. They do not
     see her.

     Slowly, she walks up to the table.

     Little Jake notices her first.

     ANGLE: Through the window Ray catches sight of Lila
     standing at the table perfectly still.

     The other women glance up at her then turn away. No one
     speaks.

     Lila walks off with Little Jake still watching her.




<b>68   EXT. FROZEN RIVER - NIGHT                                   68
</b>
     Ray and Lila drive across the smooth river surface. Snow
     falls steadily. The windshield wipers SNAP back and
     forth.

     They barely avoid the oncoming headlights of another
     smuggler's car crossing the ice.

<b>                            RAY
</b>               Don't you people even take Christmas Eve
               off?

<b>                            LILA
</b>               Mohawks don't celebrate Christmas.

<b>                            RAY
</b>               You could fool me the way they were all
               lined up at All for a Dollar today.

<b>                            LILA
</b>               Those are Christians. The converted.

<b>                            RAY
</b>               From what?

<b>                            LILA
</b>               From the Longhouse ways.
<b>
</b><b>                                                             56.
</b>

<b>                             RAY
</b>                That's awful not to have Santa Claus--
                for the kids, I mean.


<b>69   EXT. RAY'S TRAILER - DAY                                    69
</b>
     T.J. dumps the contents of a box containing the pieces of
     an artificial Christmas tree. Branches cover the floor.
     The boys begin putting it together like a puzzle.

     The TV is on. A commercial for the HOT WHEELS TECH TRACK
     AIR STUNT CHALLENGE SET comes on.

     Ricky trains in on it, flinching and jerking his body
     with sound effects at the sight of the flying Hot Wheels
     cars and the booming voice of the announcer.

<b>                             RICKY
</b>                Daddy is gettin' me that for Christmas.

<b>                             T.J.
</b>                What about Santa Claus?

<b>                             RICKY
</b>                He's bringing the new house.



<b>70   INT.   ACCLAIM JIMMY'S GARAGE LOT - NIGHT                   70
</b>
     Ray and Lila drive up. Jimmy runs out with his jacket
     pulled over his head. He sees Lila and signals to the
     garage.

     Two figures start toward the car. As they get closer, Ray
     sees a man and a woman. Both Pakistani.

<b>                             RAY
</b>                Wait. They're not Chinese.

<b>                             LILA
</b>                They're "Pakis."

<b>                             RAY
</b>                What does that mean?

<b>                             LILA
</b>                They're from Pakistan.

<b>                             RAY
</b>                Well where's that?
<b>
</b><b>                                                      57.
</b>

<b>                       LILA
</b>          I don't know. What difference does it
          make?

<b>                       RAY
</b>          A big difference.

The Pakistani couple stand outside the car, shivering and
holding out the cash. The man carries a heavy duffle bag.

Ray rolls down the car window. The man holds out money to
Ray but she doesn't take it.

<b>                       LILA
</b>          If we wait much longer we won't be able
          to get back across the river.

<b>                       RAY
</b>          Look, I'm not driving just anybody across
          the border.

<b>                       LILA
</b>          Do you want the money or not?

<b>                       RAY
</b>          I wanna know what's in the bag.

Ray looks out the car window and points to the bag
speaking loudly.

<b>                       RAY (CONT'D)
</b>          What's in there?

The man looks at the woman.

<b>                       LILA
</b>          They don't understand you.

<b>                       RAY
</b>          Well, if they want to come over here so
          bad, they ought'a take the time to learn
          English.

Lila pops open the trunk.

<b>                       RAY (CONT'D)
</b>          Just hold on a second.

Ray gets out.
<b>
</b><b>                                                              58.
</b>

<b>71   EXT.   ACCLAIM, JIMMY'S GARAGE LOT - NIGHT                  71
</b>
     The Pakistani woman crawls into the trunk and the man
     picks up the duffle bag to put it in but Ray takes hold
     of it.

<b>                             RAY
</b>                I'll take that.

     Ray motions him into the trunk and shuts it. Then she
     opens the bag and starts to rifle through it but Lila
     stops her.

                              Lila
                What are you doing?! Just count the money
                and let's go.

     Ray looks down at the bag. Nothing is visible but
     clothes.

<b>                             LILA
</b>                If we keeps snowing like this we won't be
                able to get across the river.

<b>                             RAY
</b>                I just hope these aren't the ones that
                blow up themselves and everybody with
                them.

     Ray zips the bag up and Lila helps her slide it in the
     backseat.


<b>72   INT. ACCLAIM AT JIMMY'S GARAGE LOT - NIGHT                  72
</b>
     Ray and Lila get back in the car. Ray starts to count the
     money. Lila takes it back.

<b>                             LILA
</b>                We don't have time.


<b>73   EXT. ACCLAIM ON FROZEN RIVER - NIGHT                        73
</b>
     The Acclaim creeps along in heavy snow.


<b>74   INT. ACCLAIM ON FROZEN RIVER - SAME                         74
</b>
     Lila struggles to count the money by the light of the
     glove compartment.

<b>                             LILA
</b>                Is that a two or a five?
<b>
</b><b>                                                         59.
</b>

<b>                       RAY
</b>                 (glances down)
          A five.

Ray creeps along straining to see out the windshield. The
windshield fluid peters out.

<b>                         RAY (CONT'D)
</b>          Shit!

Lila looks up. Outside is a wall of white.

<b>                       LILA
</b>          You gotta stop so I can fill up the wiper
          fluid.

<b>                       RAY
</b>          I'm not stoppin'.

<b>                       LILA
</b>          It's a hundred feet deep out here if we
          get on black ice

Ray sticks her head out the window but the snow and the
wind are too strong. She stops.

Lila gets out with the wiper fluid. Ray pops the hood.

Ray looks in the backseat at the duffel bag. She
hesitates a moment then reaches into the back and opens
the back passenger door and slides the bag out of the
car.

Lila gets back inside.

<b>                       LILA (CONT'D)
</b>          What are you doing?

<b>                       RAY
</b>          Nuclear power, poison gas,...you can't
          tell what they might have in there. I'm
          not gonna be responsible for that.

Ray tries the windshield wipers. Fluid clears the
windshield.

Ray dials her cell phone with one hand.

<b>                       RAY (CONT'D)
</b>          -Hi, I'm gonna be a little late.(pause)
          -I have to work. Is Ricky asleep?
          -Put him on. (pause)
          -Ricky listen to me, he's not coming
          until you go to sleep. (pause)
<b>                       (MORE)
</b><b>
</b><b>                                                              60.
</b>
<b>                            RAY (CONT'D)
</b>               -No. Not yet. He's still flyin' over
               Canada okay? He's not even done with
               Canada yet, so he's not coming until you
               get to sleep. Now put your brother on.
               -I'll be home in a little while, okay?
               -No, I haven't got it,yet. What's it
               called again?
               -Hot Wheels Tech Trax Air Stunt whatever,
               right, right, I'll get it if I can!
               -I can't promise T.J.
               -There are more important things to get
               for Christmas this year. Be home in a
               little while. Okay, bye.

<b>                            RAY (CONT'D)
</b>                      (to Lila)
               You'd think a new house would be enough.

     Ray guns it up the boat launch to the shore.


<b>75   INT. RAY'S TRAILER -   NIGHT                               75
</b>
     In the living room, the artificial Christmas tree is up.
     The TV is on and Ricky is untangling a ball of red
     Christmas lights.

<b>                            T.J.
</b>                      (dials the phone)
               -Hi, is Mitch there? (a long pause)

     The microwave dings. Holding the phone, T.J. takes out
     two Hungry Man dinners and sets them on the table.

<b>                            T.J. (CONT'D)
</b>               -Hi Mitch. It's T.J. No, T.J. from
               school. Yeah, man. Right. Uh, I was
               wondering if you still needed those
               numbers we were talking about `cause I
               got one.
               -How much?
               -Cool, but the thing is I don't really
               have any wheels at the moment.
               -On Moira road off 37.
               -Yeah, but there's one more thing...(he
               whispers into the phone inaudibly)...no
               the air stunt challenge set.
               -Yeah, exactly. Yeah, man. Thanks a lot.
               Bye.

     He hangs up and puts the dinners on the table.
<b>
</b><b>                                                              61.
</b>

<b>                            T.J. (CONT'D)
</b>                      (to Ricky)
               Ricky, time to eat.

     T.J. turns around. Ricky has wrapped himself in Christmas
     lights from head to toe, by slowly revolving while
     holding the strings.

<b>                            RICKY
</b>               Hey T.J., watch this!

     He plugs in the lights and they turn on.

<b>                            T.J.
</b>               Yeah, that's pretty cool. But it's gonna
               hurt when you sit down.

     Ricky giggles.

<b>                            T.J. (CONT'D)
</b>               Now unwrap yourself, it's dinner time.


<b>76   EXT. BOB'S MOTEL -   NIGHT                                  76
</b>
     Ray and Lila drive to the back of Bob's. The Dealer
     hurries out to meet them.


<b>77   INT. ACCLAIM AT BOB'S MOTEL - NIGHT                         77
</b>
     He hands Ray a wad of cash. She counts it, then nods to
     Lila who pops the trunk.


<b>78   EXT. ACCLAIM AT BOB'S MOTEL -   NIGHT                       78
</b>
     The Pakistani man and woman hurry out of the trunk,
     looking around, and rush to the passenger door of the
     Acclaim, speaking frantically to each other.

     The Dealer tries to hustle them to the garage, but they
     won't be moved.

     Ray starts to back out, but the Dealer knocks on their
     window. Ray rolls it down.

<b>                            DEALER
</b>                      (heavy accent)
               They say there's a bag.

<b>                            RAY
</b>               It was too heavy. We had to unload it.
<b>
</b><b>                                                            62.
</b>

     The Dealer tells the woman in Urdu. She becomes
     HYSTERICAL. She grabs Ray through the window and the
     dealer pulls her off.

<b>                            RAY (CONT'D)
</b>               What's the matter with her!?

<b>                            DEALER
</b>               She had something in the bag.

     The woman continues screaming in Urdu.

<b>                            RAY
</b>               What is she saying!?

     He speaks to her in Urdu.

<b>                            DEALER
</b>               She says her baby. Her baby was in the
               bag.

     The Dealer and the man hurry the wailing Pakistani woman
     into the garage.



<b>79   INT. ACCLAIM ON ROUTE 37 -    NIGHT                        79
</b>
     Lila and Ray pull back onto Route 37 and drive along in
     stunned silence.

<b>                             RAY
</b>               It didn't feel like there was anything in
               that bag.

<b>                            LILA
</b>               We gotta go back.

<b>                             RAY
</b>               I can't believe they put their baby in a
               duffle bag.

<b>                            LILA
</b>               I can't believe you left it out there.

<b>                            RAY
</b>               If you'd let me search it I would never
               have taken it-

<b>                            LILA
</b>               We gotta go back.

<b>                            RAY
</b>               I know! I know that.
<b>
</b><b>                                                              63.
</b>

     Ray speeds along.



<b>80   INT. ROUTE 37, THE RESERVATION LINE - NIGHT                 80
</b>
     Partly hidden, behind a barn, Trooper Mike Napoli watches
     the cars pass on Route 37, leaving the Reservation. The
     Acclaim passes.


<b>81   INT. RAY'S TRAILER - NIGHT                                  81
</b>
     The trailer is aglow in Christmas lights. Ricky has
     fallen asleep on the couch.

     A car horn blows outside. T.J. runs outside.


<b>82   EXT. RAY'S TRAILER - SAME                                   82
</b>
     A beat up car is there. Inside a teenager, MITCH, a few
     years older than T.J., hands him out a Hot Wheels Tech
     Track Air Stunt Challenge Set.

<b>                            MITCH
</b>               That's what you wanted, right?

<b>                            T.J.
</b>               Close enough.

     T.J. gives Mitch a piece of paper with a list of names
     and credit card numbers including that of Irene
     ThreeRivers.

<b>                            MITCH
</b>               Thanks Man, Have a Merry One.

     T.J turns to go back inside. He sees SMOKE RISING through
     the cracks in the siding and goes to the back.

     BLACK SMOKE POURS from under the trailer where old
     insulation is smoldering. T.J. runs to the shed, takes a
     fire extinguisher and sprays under the trailer. Steam
     rises. The fire appears to be out.


<b>83   INT. RAY'S TRAILER   - NIGHT                                83
</b>
     T.J. comes back in. Smoke filters up though the cracks in
     the linoleum floor. He covers Ricky with extra blankets
     and opens the windows.
<b>
</b><b>                                                             64.
</b>

<b>84   EXT. FROZEN RIVER - NIGHT                                   84
</b>
     Ray and Lila drive down the boat launch to the river. The
     storm has stopped and the river is an endless white
     surface.


<b>85   INT. ACCLAIM ON FROZEN RIVER - NIGHT                        85
</b>
     Ray and Lila creep along.

<b>                            LILA
</b>               Look, there. Tracks.

<b>                              RAY
</b>                        (squints)
               Where?

<b>                              LILA
</b>               Up there.

     Ray speeds up. Faint tire tracks appear in the distance.

<b>                            LILA (CONT'D)
</b>               Slow down, I don't want to run over it.
               Stop. I think it was here.

     Ray stops the car. Lila gets out. Ray puts her jacket
     over her head and follows.

     Ray's cell phone plays "Old MacDonald" on the seat of the
     Acclaim.


<b>86   INT. RAY'S TRAILER - NIGHT                                  86
</b>
     Wearing his coat in the trailer, with the windows and
     door open, T.J. dials the phone. He gets Ray's cell
     phone.

<b>                            RAY'S VOICE
</b>                      (faintly heard though the
                       phone)
               Hi, it's me. I can't take the call right
               now, but if it's you, Troy, please at
               least tell me you're alive, because the
               boys are worried about you.

     He doesn't leave a message.

     Ricky snores on the couch covered in a pile of blankets.
<b>
</b><b>                                                             65.
</b>

<b>87   EXT. FROZEN RIVER - NIGHT                                   87
</b>
     Lila runs ahead. Ray struggles to keep Lila in sight.

     Ray comes up behind Lila, rifling through THE UNZIPPED
     DUFFEL BAG. She suddenly jumps back at the sight of the
     tiny face of an infant, wrapped in blankets, eyes closed,
     lips blue.

<b>                              LILA
</b>               It's dead.

     Ray looks at the baby. Instinctively, she swoops down and
     gathers it up.

     Ray heads for the car.

<b>                              RAY
</b>               Come on!

     Lila follows her.


<b>88   INT. ACCLAIM ON FROZEN RIVER - NIGHT                        88
</b>
     Ray gets in the car and sets the bundle down on the seat,
     unwraps it from layers of swaddling and begins taking off
     it's clothes. It is a boy.

     She tries to resuscitate him, but there is no response.

<b>                              LILA
</b>               It's dead.

     Ray keeps giving it air. There is no response but she
     keeps at it. Then, between breaths:

<b>                            RAY
</b>               Tap the bottom of his feet.

<b>                              LILA
</b>               Why?

<b>                            RAY
</b>               That's what they did to get Ricky
               breathing when he was born.

     Ray puts the baby on Lila's lap. She pulls away.

<b>                            LILA
</b>               I don't want to touch it.

<b>                            RAY
</b>               Well, I can't hold it and drive.
<b>
</b><b>                                                              66.
</b>

     Ray cranks the heater and aims the vents at the baby.
     Lila stares down at the baby in her lap, not touching it.

<b>                            LILA
</b>               I don't think it matters.

<b>                            RAY
</b>               At least put him next to your body. That
               will warm him up.

<b>                            LILA
</b>               But it's too late.

<b>                            RAY
</b>               Just do it! We can't give it back to her
               cold.


<b>89   INT. RAY'S TRAILER - NIGHT                                  89
</b>
     T.J. closes the windows and puts a package of microwave
     popcorn in the microwave and turns it on. He watches it
     begin to smoke, then pops open the microwave and takes
     the smoking bag from room to room to hide the smell of
     burnt insulation with burnt popcorn.


<b>90   EXT. ROUTE 37, THE RESERVATION LINE - NIGHT                 90
</b>
     Ray pulls out onto Route 37 and passes the reservation
     line: "You are now leaving the land of the Mohawk"

     Trooper Napoli watches the Acclaim pass again. This time
     he pulls out behind it.


<b>91   INT. ACCLAIM ON ROUTE 37 - NIGHT                            91
</b>
     Ray notices the cruiser following her.

<b>                            RAY
</b>               Shit!

     Lila looks back.

<b>                            LILA
</b>               Calm down.

     Lila quickly pulls the baby near and wraps him inside her
     coat hiding him from sight.

     The DOME LIGHTS START FLASHING.
<b>
</b><b>                                                             67.
</b>

<b>                            RAY
</b>               Oh shit. What do I do?

<b>                            LILA
</b>               Calm down. Just pull over.

<b>                            RAY
</b>               What if he saw us go by before. To Bob's.

<b>                            LILA
</b>               He's got no reason to stop us, unless you
               give him one, so keep your mouth shut.

<b>                            RAY
</b>               What if he searches the car. What do we
               say about-

<b>                            LILA
</b>               He won't, just remember you're white.

     Ray pushes the blankets onto the floor and kicks them
     under the seat.


<b>92   EXT. ACCLAIM ON ROUTE 37 - NIGHT                            92
</b>
     Ray pulls into the breakdown lane and the trooper pulls
     in behind her.


<b>93   INT. ACCLAIM ON ROUTE 37 - NIGHT                            93
</b>
     In Ray's rear view mirror, Trooper Napoli gets out of the
     cruiser. He puts on his hat and walks toward the car.

     Ray rolls down her window.

<b>                             TROOPER NAPOLI
</b>               License and registration?

     Ray hands them over. He examines them, then leans down to
     the window.

<b>                            TROOPER NAPOLI (CONT'D)
</b>               Could you step out of the vehicle, ma'am.

<b>                            RAY
</b>                      (fakely nice)
               I wasn't speeding, was I?

<b>                            TROOPER NAPOLI
</b>               Just step out of the car.
<b>
</b><b>                                                           68.
</b>

<b>                            RAY
</b>               Did I do something?

<b>                            TROOPER NAPOLI
</b>                      (suspicious)
               Ma'am I'm just directing you to step out
               of the vehicle?

<b>                              RAY
</b>               Okay.

     She gets out of the car reluctantly. He looks in at Lila,
     she keeps her head down.

<b>                            TROOPER NAPOLI
</b>               Step around to the back of the vehicle.

     He follows Ray to the back of the Acclaim.


<b>94   EXT. ACCLAIM ON ROUTE 37, BREAKDOWN LANE - NIGHT            94
</b>
     He points at the trunk. Ray stares at it, afraid to
     speak.

<b>                              TROOPER NAPOLI
</b>               See that.

     Ray stares at the back of the car, afraid to speak.

<b>                            TROOPER NAPOLI (CONT'D)
</b>               Your left rear parking light is not
               illuminated.

     Ray notices the light.

<b>                            RAY
</b>               Oh, I didn't know.

     He takes out his pad and pen.

<b>                             TROOPER NAPOLI (CONT'D)
</b>               I'm gonna give you a provisional
               citation. Get this repaired in the next
               48 hours and you'll have no problem.

<b>                              RAY (CONT'D)
</b>               Thanks.

<b>                             TROOPER NAPOLI
</b>                      (he looks into the car)
               Who's your friend?
<b>
</b><b>                                                              69.
</b>

<b>                            RAY
</b>               She looks after my kids when I have to
               work late.

     Ray gets back in the car. He shuts the door behind her
     and gives Lila a friendly nod.

<b>                             TROOPER NAPOLI
</b>               Have an enjoyable Holiday.

<b>                            RAY
</b>               Yeah, you, too.

     She rolls up her window.


<b>95   INT. ACCLAIM ON ROUTE 37, BREAKDOWN LANE - NIGHT            95
</b>
     In her rear view, Ray watches him get in his vehicle, u-
     turn and drive out of sight in the opposite direction.

<b>                             LILA
</b>                      (nervous)
               What did he want?

<b>                            RAY
</b>               Just a blown out tail light.

<b>                            LILA
</b>               That's it?

<b>                            RAY
</b>               Yeah.


<b>96   INT. RAY'S TRAILER - NIGHT                                  96
</b>
     T.J. looks at the clock. It's after midnight. He leads
     Ricky, half asleep into his room and tucks him in bed.
     Then he takes out the Hot Wheels Box and puts it under
     the tree.


<b>97   INT./EXT. ACCLAIM AT BOB'S MOTEL - NIGHT                    97
</b>
     Ray and Lila pull in to the motel but there is no sign of
     life.

     Ray gathers up the blankets. Lila sits motionless.

<b>                            RAY
</b>               We gotta take it in.

     Lila sits absolutely still.
<b>
</b><b>                                                              70.
</b>

<b>                               RAY (CONT'D)
</b>               What is it?

<b>                               LILA
</b>               It's moving.

<b>                            RAY
</b>               What? Are you sure?

     Lila slowly takes the baby from inside her jacket.   His
     eyes open. He blinks. Ray and Lila stare at him.

<b>                            LILA
</b>               Hello little baby.

     The baby looks back at them.

<b>                            RAY
</b>               He was just cold.

     Ray and Lila wrap him up in the blankets and get out with
     Lila carrying the bundle and walk into the motel office.


<b>98   INT. BOB'S MOTEL - SAME                                     98
</b>
     Ray and Lila look around the shabby motel office circa
     1950s with a few threadbare chairs. No one is at the
     front desk.

     Ray ventures behind the desk and knocks on a small door.
     She carefully opens it to a small office with a desk,
     cluttered with papers and, beyond it, another door. Ray
     knocks and opens it to:

     A living room hung with heavy red Pakistani fabrics and
     lights. The dealer and the Pakistani man study a map of
     New York State spread out on the table.

     Behind them the Pakistani woman sits on the couch.

     Ray comes in, followed by Lila carrying the baby.

<b>                            RAY
</b>               We found him.

     The Pakistani woman looks up, sees the bundle and hurries
     across the room to Lila. Lila holds out the baby with a
     little smile and the Pakistani woman snatches it out of
     her arms.

     The Pakistani women pulls back the blanket and sees the
     baby -- alive. She sinks to her knees letting out a
     wail.
<b>
</b><b>                                                               71.
</b>

      Lila's eyes fill with tears. Ray chokes back her own.

<b>                             RAY (CONT'D)
</b>                       (to Lila)
                Come on. Let's go.

      Lila follows Ray out, looking over her shoulder at the
      baby.


<b>99    INT. ACCLAIM ON ROUTE 37 -      NIGHT                      99
</b>
      Lila and Ray drive away.

<b>                               LILA
</b>                He was dead.

<b>                             RAY
</b>                He was just cold.

<b>                               LILA
</b>                He was dead.

<b>                             RAY
</b>                Okay, whatever, you brought him back to
                life.

<b>                             LILA
</b>                That was the Great Spirit, not me.

<b>                             RAY
</b>                All I know is Kmart is closed and I got
                nothing for under the tree.

      Lila looks at Ray.

<b>                               RAY (CONT'D)
</b>                What?

      Lila says nothing.


<b>                             RAY (CONT'D)
</b>                Look, I don't have time for that. I can't
                get deep about every little thing. I just
                have to keep on going. I only need one
                more run to have enough for my double.



<b>100   INT. ACCLAIM AT LILA'S CAMPER -     NIGHT                  100
</b>
      Ray and Lila pull up in front of Lila's camper and stop.
      Ray divides the money.
<b>
</b><b>                                                             72.
</b>

<b>                               RAY
</b>                Here.

      Lila takes the money and starts to get out.

<b>                             RAY (CONT'D)
</b>                Merry Christmas or whatever.

<b>                               LILA
</b>                Yeah.


      Lila gets out and goes inside.


<b>101   EXT. RAY'S TRAILER - NIGHT                              101
</b>
      Ray drives up. The trailer is covered in Christmas
      lights.


<b>102   INT. RAY'S TRAILER, KITCHEN - NIGHT                     102
</b>
      Ray comes in. The box containing the Hot Wheels Tech
      Track Air Stunt Challenge set is under the tree.

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

<b>                               T.J.
</b>                Hot Wheels.

      She is suspicious.

<b>                             RAY
</b>                Where'd you get it?

<b>                             T.J.
</b>                I called a friend.

<b>                             RAY
</b>                Mitch? Is that the friend you called?
                It's probably stolen, you know.

<b>                               T.J.
</b>                No, its not.

<b>                             RAY
</b>                Well, I don't want you hanging around
                him. That kid is bad news.

<b>                             T.J.
</b>                It's not like you were gonna get it.
<b>
</b><b>                                                            73.
</b>

<b>                             RAY
</b>                Look , Mister, I got more important
                things to worry about than toys. I'm
                trying to get our doublewide.

<b>                             T.J.
</b>                Oh, yeah. I forgot.

<b>                             RAY
</b>                Hey, you can lose the attitude. Anyway,
                Kmart was closed by the time I got off
                work.

      He gives her a sideways glance.

<b>                             RAY (CONT'D)
</b>                What's that smell?

<b>                             T.J.
</b>                Popcorn.

<b>                             RAY
</b>                I told you to be careful with the
                microwave, didn't I?

<b>                             T.J.
</b>                Sorry.


<b>103   INT./EXT. LILA'S CAMPER - NIGHT                            103
</b>
      A heavy THUD as something hits the side of Lila's camper.

<b>                             LILA
</b>                Bernie!

      She opens the door, but no one is there. At her feet she
      sees a Pringles can. In it: the cash she left at her
      mother-in-law's house for her son.

      She looks towards the woods but there is no sign of
      anyone. She shuts the door.

      Inside she digs through an old box of junk and pulls out
      a 2 foot long oval shaped wooden board, an infant board,
      and a blanket. She wraps her pillow in the blanket around
      the board in the Mohawk tradition and picks it up.

      She tries it on her back, then leans it against the wall,
      then hangs it on a hook on the wall.
<b>
</b><b>                                                              74.
</b>

<b>104   INT. RAY'S TRAILER, KITCHEN - DAY                         104
</b>
      Christmas Morning. Ray stands at the stove in her
      bathrobe making pancakes. T.J. helps Ricky set up his new
      Hot Wheels Set.

      A Knock at the door.

      Another knock.

<b>                               RICKY
</b>                Daddy?

      Ricky runs to the door and opens it, then backs away.
      Trooper Napoli is there.

<b>                             TROOPER NAPOLI
</b>                Is there a Ray Eddy here?

      Ray comes to the door.

<b>                               RAY
</b>                Yes.

<b>                             TROOPER NAPOLI
</b>                Can I speak to you outside for a minute.

<b>                             RAY
</b>                I haven't gotten the light fixed-

<b>                             TROOPER NAPOLI
</b>                It's not about that. I just have a few
                questions.

<b>                               RAY
</b>                Sure.


<b>105   EXT. RAY'S TRAILER YARD - DAY                             105
</b>
      Ray slips on her boots, grabs her jacket around her and
      steps outside the trailer door.


<b>                             TROOPER NAPOLI
</b>                This is about the woman who was with you.

<b>                               RAY
</b>                Yes.

<b>                             TROOPER NAPOLI
</b>                How long have you known her?
<b>
</b><b>                                                      75.
</b>

<b>                       RAY
</b>          Not too long. She looks after my kids.

<b>                       TROOPER NAPOLI
</b>          She's a smuggler.

<b>                        RAY
</b>          Really?

<b>                        TROOPER NAPOLI
</b>          Yes.

<b>                       RAY
</b>          Wow. That's a shock.

<b>                       TROOPER NAPOLI
</b>          Yes, well, there is that element on the
          Reservation I'm sure you know.

<b>                       RAY
</b>          Yeah, I've heard about it but I didn't
          know she was involved.

<b>                       TROOPER NAPOLI
</b>          How did you happen to meet her?

<b>                        RAY
</b>          Uh, I think there was a sign for a baby
          sitter at the Wolf Mart. That's where I
          get my gas.

<b>                       TROOPER NAPOLI
</b>          I just thought you should be aware of
          that. She's known to have smuggled
          illegal immigrants into the country.

<b>                        RAY
</b>          Oh my God.

He nods his head.

<b>                       TROOPER NAPOLI
</b>          If I were you I'd find a new baby sitter.
          You don't want her around young kids.

<b>                        RAY
</b>          Absolutely.

He eyes the side of the trailer where smoke stained
siding is visible.

<b>                       TROOPER NAPOLI
</b>          Well, you have an enjoyable Holiday.
<b>
</b><b>                                                               76.
</b>

<b>                             RAY
</b>                Thanks. You, too.

      Ray stands and watches the trooper drive away. She feels
      in the pocket of her bathrobe for her cigarettes and
      fumbles to light one, sucking on it, unaware of the cold.

      When she turns around she looks at the trailer and
      notices the smoke-stained siding on one end of it.


<b>106   INT. RAY'S TRAILER - DAY                                  106
</b>
      T.J. listens at the door. Ricky looks up.

<b>                             RICKY
</b>                Why is the police man here?

<b>                                T.J.
</b>                Shh.

      From outside the door:

<b>                             RAY (O.S.)
</b>                T.J. could you come out here for a
                minute.

      T.J. goes outside.


<b>107   EXT. TRAILER YARD - DAY                                   107
</b>
      Ray stands staring at T.J. at the trailer's burnt end.

<b>                              T.J.
</b>                What did he want? Did something happen to
                Dad?

<b>                                RAY
</b>                No.

<b>                             T.J.
</b>                Then what did he want?

      She points to the blackened siding on the trailer.

<b>                             RAY
</b>                Did you have a fire last night?

<b>                             T.J.
</b>                The pipes froze so I fixed `um.

<b>                             RAY
</b>                You fixed um?
<b>
</b><b>                                                      77.
</b>

<b>                         T.J.
</b>          Yeah.

<b>                       RAY
</b>          Did you happen to use the blow torch?

She walks around back and looks underneath the trailer: a
mass of charred and melted insulation.

<b>                       RAY (CONT'D)
</b>          Look at this. We can't live here anymore!

<b>                       T.J.
</b>          It's just a tin crapper.

<b>                       RAY
</b>          No, it was our house.

<b>                       T.J.
</b>          So, we're gettin' a new one, right?

<b>                       RAY
</b>          Jesus, you could have killed yourself and
          your brother.

She grabs the blowtorch and slams it to the ground, but
it is indestructible.

<b>                       T.J.
</b>          It's not yours, he gave it to me.

She goes to the car, takes out her gun then puts the blow
torch on the ground and aims at it -- but T.J. grabs it.

<b>                         RAY
</b>          Put it down.

<b>                         T.J.
</b>          No!

<b>                         RAY
</b>          Put it down.

<b>                       T.J.
</b>          Are you gonna shoot me now, too?

<b>                       RAY
</b>          Put that thing down!

He ignites the blow torch to spite her.

<b>                       T.J.
</b>          Maybe he didn't like gettin' shot in his
          own house. Maybe that's why he left.
<b>
</b><b>                                                         78.
</b>

<b>                       RAY
</b>          That was an accident.

<b>                       T.J.
</b>          Some accident you shot him in the foot.

<b>                       RAY
</b>          He spent the food money on scratch cards,
<b>          T.J.
</b>
<b>                       T.J.
</b>          So, he'd done it before.

He aims it at her. She walks towards him. He increases
the flame.

<b>                       RAY
</b>          Gimme that thing.

She tries to grab it out of his hand, but he is too
strong.

<b>                       RAY (CONT'D)
</b>          T.J. come on now.

<b>                       T.J.
</b>          You can't have it. It's mine.

His eyes fill with tears, but his face stays tight.

She grabs at it again, but he jerks it away. She pauses
and stares at him.

<b>                       RAY
</b>          He was clean for 23 months.

They look at one another.

<b>                       RAY (CONT'D)
</b>                 (chokes back tears)
          I didn't know how else to keep us
          together. I mean...he's a good dad when
          he's not gamblin'.

He cuts off the blow torch.

<b>                       T.J.
</b>          Yeah, awesome dad. Robs us and takes off
          a week before Christmas.

She walks up to him and wipes a tear from the side of his
face. He shakes it off.
<b>
</b><b>                                                               79.
</b>

      They stand in the cold air for a long moment their breath
      visible. She touches his hair.

<b>                               RAY
</b>                I know.


<b>                                                           CUT TO:
</b>

<b>108   EXT. BUBBLE CAMPER - NIGHT                                 108
</b>
      Ray drives up in the Acclaim. Lila and the Horizon are
      gone.

      Ray gets out and looks around but there is no sign of
      her.


<b>109   EXT. PARKING LOT, MOHAWK BINGO PALACE -                    109
</b>
      Ray slowly cruises the lot looking for the Horizon.

      She spots it in the distance behind the Bingo palace next
      to a dumpster.

      Ray parks and goes inside.


<b>110   EXT. MOHAWK BINGO PALACE ENTRANCE - NIGHT                  110
</b>
      The short chubby toothless Mohawk ticket taker perched on
      a metal stool beside a velvet rope.

      Ray sees her and begins to dig in her jeans for a five.
      The ticket taker looks her up and down, expressionless.

      Ray hands over the money. The ticket taker just looks at
      her.

<b>                             TICKET TAKER
</b>                The game's over. They're verifying the
                last winner.

<b>                             RAY
</b>                That's okay. I still wanna buy a ticket.

<b>                             TICKET TAKER
</b>                I can't sell you one.

<b>                               RAY
</b>                I got money.
<b>
</b><b>                                                               80.
</b>

<b>                             TICKET TAKER
</b>                Sorry.

<b>                             RAY
</b>                I just want to buy some scratch cards.

<b>                             TICKET TAKER
</b>                Go to Wolf Mart, they sell `um there.


      Ray walks away. The ticket taker watches her.


<b>111   EXT. MOHAWK BINGO PALACE, PARKING LOT -    DAY             111
</b>
      Ray slumps down in the driver's seat of the Acclaim
      waiting for Lila to come out. She is parked a few cars
      away from the Horizon.

      Other bingo players come out and get in cars surrounding
      Ray.

      Mohawks employees, including Lila come out of the
      "Employees Entrance". She starts toward Horizon. She
      wears new glasses.

      Catching sight of Ray in the Acclaim, she abruptly turns
      and starts walking in the opposite direction.

      Ray pulls out and drives over following her in the
      Acclaim.

<b>                             LILA
</b>                I quit smuggling.

<b>                             RAY
</b>                       (rolls down the window)
                T.J. set the trailer on fire.

      Lila keeps walking. Ray drives along beside her.

<b>                             RAY (CONT'D)
</b>                He didn't mean to, but the pipes froze
                and he got that damn torch out -- which I
                told him not to do touch when I wasn't
                there -- and he tried to thaw them out-

<b>                             LILA
</b>                I got glasses and now I can see up close.

<b>                             RAY
</b>                There's a hole in my bedroom floor. We
                gotta move.
<b>
</b><b>                                                      81.
</b>

Lila keeps walking.

<b>                        RAY (CONT'D)
</b>          I just need one more run to get the
          double.

Lila keeps walking.

<b>                       RAY (CONT'D)
</b>          Look you can have the Acclaim. Okay?

Lila keeps walking.

<b>                       LILA
</b>          I don't want it.

<b>                       RAY
</b>          What is it then?!

Lila keeps walking.

<b>                         RAY (CONT'D)
</b>          Are you still mad about that baby? `Cause
          it wasn't all my fault, ya' know. I mean
          who puts their kid in a duffle bag?

Lila keeps walking. Ray follows trying to figure her out.

<b>                       RAY (CONT'D)
</b>          You're gonna need a lot of money to take
          care of a one year old baby.

<b>                       LILA
</b>          I got enough.

<b>                       RAY
</b>          Yeah, but you gotta get him first.

Lila stops dead in her tracks and looks at Ray.

<b>                       RAY (CONT'D)
</b>          I'll help you. You can even borrow my
          gun.


Lila looks around to see if anyone is watching and gets
in the Acclaim with Ray.

ANGLE FROM BINGO PALACE ENTRANCE: The Ticket Taker
watches the Acclaim drive away.
<b>
</b><b>                                                              82.
</b>

<b>112   EXT. ACCLAIM, VERSAILLES MOBILE HOME LOT - NIGHT           112
</b>
      Ray and Lila pull up outside the model double wide home.


<b>113   INT. ACCLAIM. VERSAILLES MOBILE HOME LOT - SAME            113
</b>
      Ray and Lila look at it.


<b>                             RAY
</b>                You should see the inside.

<b>                             LILA
</b>                How many bedrooms?

<b>                             RAY
</b>                Three. And it's got a jacuzzi tub in the
                master bathroom.

<b>                             LILA
</b>                Wall to wall carpet?

<b>                             RAY
</b>                Oh yeah. But the best thing is the
                insulation. The pipes can never freeze.

      Ray gets out.

<b>                             RAY (CONT'D)
</b>                I'll be back.

      She disappears into the Office.

      Lila looks at the house.


<b>114   INT. OFFICE, VERSAILLES MOBILE HOME LOT - NIGHT            114
</b>
      Ray comes in on Guy Versailles giving a young couple the
      hard sell.

<b>                             VERSAILLES
</b>                ...what I think you'll find with the
                Commodore -- and you'll be the judge --
                is that the vinyl wall covering is
                perfect for small children. There is
                never a need to repaint or even touch up-

<b>                             RAY
</b>                I wanna schedule a delivery.

      Versailles looks up, annoyed. He plasters on a smile.
<b>
</b><b>                                                               83.
</b>

<b>                              VERSAILLES
</b>                        (to the couple)
                 Give me just a second.

      He tries to take Ray aside.

<b>                              VERSAILLES (CONT'D)
</b>                 What do you want?

      She pulls a huge wad of cash from her jacket pocket.

<b>                              VERSAILLES (CONT'D)
</b>                 Is this all of it?

<b>                              RAY
</b>                 It's three thousand but I want it
                 delivered tomorrow.

<b>                              VERSAILLES
</b>                 I told you all or nothing.

      She holds out the cash. The couple tries not to watch.

<b>                              RAY
</b>                 Take it as a deposit. All you have to do
                 is show up. If I don't have the rest you
                 keep it.

<b>                              VERSAILLES
</b>                 Can't argue with that. You'll have to
                 sign something, though.

      He takes out a contract and writes in the deposit amount
      as thirteen hundred seventy two dollars owing.

      Ray signs the paper.

<b>                                                            CUT TO:
</b>

<b>115   INT.   ACCLAIM ON FROZEN RIVER - NIGHT                     115
</b>
      Ray drives down the boat launch and starts across. The
      sky is clear and the moon shines down on the white river
      surface.

      Downstream patches of the river have thawed and water
      flows is visible.

      There is only the sound of the wheels on the smooth ice
      surface.


<b>                                                            CUT TO:
</b><b>
</b><b>                                                             84.
</b>

<b>116   EXT. JIMMY'S GARAGE, RIVER'S EDGE -   NIGHT                116
</b>
      Jimmy's is dark. Ray and Lila sit a minute. Then:

<b>                             LILA
</b>                Blow the horn.

      Ray honks the horn.

      A light comes on. Jimmy runs outside in a t-shirt. Lila
      rolls down the window.

<b>                             JIMMY
</b>                Heat wave!

<b>                             LILA
</b>                You got a run for us, Jimmy?

<b>                             JIMMY
</b>                       (shakes his head)
                It's pretty slow after Christmas. Unless
                you wanna to go off the Rez, there's a
                guy up in Montreal who's usually got
                heads.

<b>                             LILA
</b>                How far?

<b>                             JIMMY
</b>                Twenty miles or so. But...you gotta watch
                out for the Mounties and the Surete.
                and...this guy deals in ya' know girls.


<b>117   EXT./INT. ACCLAIM, QUEBEC HIGHWAY     -   SAME             117
</b>
      Ray and Lila drive down a Quebec highway. The road signs
      are in French.

      The skyline of Montreal is an orange glow in the far
      distance.

<b>                             RAY
</b>                Have you ever been there?

<b>                             LILA
</b>                A few times. Have you?

<b>                             RAY
</b>                No, Troy didn't like to travel. He liked
                to work in his shed, mostly.
<b>
</b><b>                                                               85.
</b>

      Ray and Lila drive down a commercial strip of shopping
      centers, fast food joints and strip clubs, with French
      names.

<b>                             LILA
</b>                Up there. That's it.

<b>                             RAY
</b>                Can't miss that.

<b>118   EXT. LE CLUB SUPER SEXE - SAME                             118
</b>
      Ray pulls in at a giant neon silhouette of a naked woman.

      They drive around back and get out. THROBBING DISCO music
      is heard from inside a door marked "Prive."


<b>119   INT. CLUB SUPER SEXE - NIGHT                               119
</b>
      They walk in. The place is mostly empty. There is a
      scantily dressed BARTENDER and JACQUES BRUNO sitting at
      the bar.

<b>                                BARTENDER
</b>                Oui?

<b>                                LILA
</b>                Bruno.

      She points to Bruno. Lila and Ray approach him. He is on
      his cell phone speaking in French.

      He looks them over, then closes up his telephone.

<b>                             BRUNO
</b>                       (French accent)
                You looking for a job.

<b>                             LILA
</b>                No, Jimmy called-

<b>                             BRUNO
</b>                Oh yeah, Jimmy. Okay.

      He calls over the Bartender. She comes over. He points to
      Ray and Lila.

      She walks over to them.

<b>                             BARTENDER
</b>                       (softly)
                Put your hands up.
<b>
</b><b>                                                            86.
</b>

      Ray and Lila put up their hands. The Bartender pat frisks
      them for body wires. When she is finished:

<b>                                 BRUNO
</b>                   Okay we go.

      He picks up his full-length fur coat.

<b>                                 BRUNO (CONT'D)
</b>                   D'is way.

      They follow him out the back of the club. The Bartender
      follows.


<b>120   EXT. PARKING LOT, CLUB SUPER SEXE - SAME                   120
</b>
      They wait.

<b>                                BRUNO
</b>                   D'at your car?

      He points to the Acclaim parked a few feet away. They
      nod. He walks out to a shed and unlocks the door. Two
      very young CHINESE GIRLS, sickly and pale, wearing jean
      jackets look vacantly out.

      Bruno signals them to get out.

<b>                                BRUNO (CONT'D)
</b>                   Open the trunk.

<b>                                LILA
</b>                   We need to get paid, first.

<b>                                 BRUNO
</b>                   Oh, yes.

      He pulls a wad of cash from inside his coat and hands it
      to Lila. She counts it out.

<b>                                LILA
</b>                   You only got six hundred here.

<b>                                BRUNO
</b>                   You get the rest at drop off.

<b>                                LILA
</b>                   It's six hundred apiece.

      The girls stand shivering by the trunk.
<b>
</b><b>                                                        87.
</b>

<b>                       BRUNO
</b>          That's the deal I make with Jimmy, now
          you want to change?

Lila and Ray look at each other.

<b>                       LILA
</b>          It's twelve hundred.

<b>                       BRUNO
</b>          You want to make a problem?

Bruno glances at the Bartender watching from the back
door of the club.

<b>                       BRUNO (CONT'D)
</b>                 (annoyed by Ray)
          ...because you're not making a problem
          for me. And you're making a problem for
          them. Let me show you something.

He approaches the two girls.

He grabs one of the girls by the hair, kicks her in the
back of the knees forcing her to the ground.

Lila looks at Ray. The girl tries to get on her feet, but
each time she does he kicks her in the back of the knees
again.

<b>                       LILA
</b>                 (to Ray)
          Let's just go.

Held up by her hair, the girl slides around helplessly.
Lila winces at the sight. Ray stares at Bruno.

<b>                       RAY
</b>          Okay. We'll take them.

Lila looks at Ray.

Bruno drops the girl who scrambles to her feet.

<b>                       LILA
</b>          Let's go.

<b>                       RAY
</b>          Just open the trunk.

Lila leans into the passenger side of the Acclaim and
pops the trunk. Bruno looks at Ray:
<b>
</b><b>                                                         88.
</b>

<b>                       BRUNO
</b>          You must be the brains of the operation.

He motions the girls into the trunk and shuts it after
them.

Lila get in the passenger side and Bruno starts for the
back door of the club.

Ray pulls her gun out of her jacket and aims it at Bruno.

<b>                         RAY
</b>          Turn around!

Bruno stops and turns around.

<b>                       RAY (CONT'D)
</b>          I want the rest.

He opens his fur coat.

<b>                        BRUNO
</b>                 (cool)
          I don't have any more.

In the shiny coat lining only the handle of a long pistol
is visible.

<b>                       RAY
</b>                 (to the Bartender)
           Go get it.

Bruno looks around and nods at the bartender. The
bartender panics not knowing what to do and begins
speaking in French to Bruno.

Ray shoots at the pavement beside Bruno.

<b>                       BRUNO
</b>                 (to the bartender)
          Give it to her.

The Bartender disappears into the club. Ray waits with
the gun on Bruno.

<b>                       LILA
</b>                 (from inside the Acclaim)
          Let's get out of here. I'll give you the
          rest of the money.

<b>                       RAY
</b>          No. But thanks.
<b>
</b><b>                                                         89.
</b>

<b>                       LILA
</b>          You're gonna get us all killed.

A moment later the Bartender comes back, shaking and
holding cash.

<b>                       RAY
</b>          Put it there.

She indicates the trunk.

<b>                       BRUNO
</b>                 (to the bartender)
          You aren't so smart as you look.


Ray grabs the money and still pointing at Bruno, backs
into the car.

Bruno reaches for his pistol and aims at them as the
Acclaim squeals away.

Bruno FIRES shattering the driver's side window, grazing
Ray's head.

Ray falls back, dazed for a moment. Lila steers. Then Ray
takes the wheel as they swerve out onto the main road.

<b>                         RAY
</b>          He shot me.

Ray wipes the blood from her forehead.

<b>                       LILA
</b>          You should'a just taken the money from
          me?

<b>                       RAY
</b>                 (blood streams down her face)
          I'm tired of people stealing from me.    Is
          it all there?

<b>                       LILA
</b>          We gotta get outta here, first.

<b>                       RAY
</b>          Just COUNT IT and make sure it's all
          there!

Ray hands her the wad of money. Lila struggles to put on
her glasses and counts out the money.

<b>                         RAY (CONT'D)
</b>          Is it there?
<b>
</b><b>                                                              90.
</b>

<b>                             LILA
</b>                It's all there.

<b>                               RAY
</b>                Good.

<b>                             LILA
</b>                Slow down a little. We gotta keep it
                under the speed limit.

      Ray smiles and wipes away the blood.

      They drive a short distance. Ray checks the rear-view
      mirror.

<b>                             LILA (CONT'D)
</b>                We gotta get off this road.

      Lila looks in the rear view. Headlights appear behing
      them.

      Ray speeds up approaching an intersection: the sign reads
<b>      "ARRET"
</b>
<b>                               LILA (CONT'D)
</b>                Slow down!

<b>                               RAY
</b>                I can't.

      Lila looks back in the rear view mirror. The headlights
      are gaining on them.

      She SPEEDS through it.

      A local SURETE DE QUEBEC police cruiser parked out of
      sight TAKES OFF after her, LIGHTS FLASHING.


<b>121   INT. ACCLAIM ON QUEBEC ROADS - NIGHT                       121
</b>
<b>                             LILA
</b>                We gotta get off this road!


<b>122   EXT. ACCLAIM ON DIRT ROAD - NIGHT                          122
</b>
      Ray swerves off the main road to a DIRT ROAD. The Québec
      police follow.

      Ray swerves off the road and across a field into the
      WOODS and kills the HEADLIGHTS.

      The Quebec Cruiser CHASES them.
<b>
</b><b>                                                               91.
</b>

<b>123   INT. ACCLAIM ON DIRT ROAD       - NIGHT                   123
</b>
      Ray speeds down the road.

<b>                             RAY
</b>                How much farther to the reservation?

<b>                             LILA
</b>                Just up at the tree line.

      Ray speeds towards it, but the Quebec cruiser still
      pursues them.

<b>                             RAY
</b>                What the hell? We're on the reservation.

<b>                             LILA
</b>                They can't arrest us but if they catch us
                they'll take the money.

<b>                                RAY
</b>                Shit!

      Ray bounces into the woods through the trees.


<b>124   EXT. ACCLAIM ON RIVER BANK - NIGHT                        124
</b>
      The Acclaim emerges from the woods at the edge of the
      river. The International Seaway Bridge looms above the
      ice surface of the river.


<b>125   INT. ACCLAIM ON RIVER BANK - NIGHT                        125
</b>
      Behind them the flashing lights close in.

<b>                             LILA
</b>                That ice is black out here.

<b>                             RAY
</b>                Will it hold us?

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

      Ray looks at her for a moment then drives toward the ice.


<b>126   EXT. RIVER BANK - NIGHT                                   126
</b>
      Behind them, the Quebec cruiser BRAKES at the edge of the
      river.
<b>
</b><b>                                                               92.
</b>

      The Québec officer GETS OUT TO WATCH the Acclaim drive
      out across the ice. He radios to:


<b>127   EXT. INTERNATIONAL SEAWAY BRIDGE - NIGHT                   127
</b>
      A BORDER GUARD picks up the phone. He nods, then hangs up
      and makes a call to...


<b>128   INT. NEW YORK STATE CRUISER - NIGHT                        128
</b>
      Trooper Napoli hears the call on the police radio.

<b>                             DISPATCHER
</b>                ...the Quebec Surete in pursuit of a
                vehicle with New York State plates,
                identified as a blue Plymouth Acclaim and
                the suspects are two women, suspected to
                be carrying illegals...

      He recognizes the car and u-turns.


<b>129   INT. ACCLAIM ON FROZEN RIVER - NIGHT                       129
</b>
      Ray and Lila hold their breath as they cross the river.
      They make it over the midpoint and Ray accelerates toward
      the shore.

      Two hundred feet from the bank, the BACK RIGHT TIRE HITS
      A CRACK in the ice. The TIRE DROPS and the UNDER BELLY of
      the car SCRAPES THE ICE. SPARKS FLY.

      The RIGHT REAR END of the car DROPS DOWN and the FRONT
      LEFT TIRE LIFTS off the ice. The car TEETERS BACK AND
<b>      FORTH.
</b>
      Ray and Lila sit perfectly still.

<b>                             LILA
</b>                We gotta crawl out the window.

      Lila rolls down her window. The car shifts. The wad of
      cash SLIDES toward the edge of the dashboard. Ray grabs
      it.

      Lila pops the trunk. The two Chinese girls scramble out.
      The four begin RUNNING FOR THE SHORE.

<b>      ANGLE FROM THE UNDER THE BRIDGE:
</b>
      Trooper Napoli watches the action on the ice.
<b>
</b><b>                                                               93.
</b>

<b>130   EXT. ACCLAIM ON FROZEN RIVER - NIGHT                       130
</b>
      The CAR SINKS DEEPER INTO THE WATER on one side.


<b>131   EXT. FROZEN RIVER - NIGHT                                  131
</b>
      Ray, Lila and the Chinese girls keep running, slipping
      and sliding, falling. Lila and Ray stop and go back to
      help one of the Chinese girls who keeps falling.

      When they get to the shore, they climb up the bank and
      collapse on the snow, gasping.

      ANGLE: Trooper Napoli gets in his cruiser and heads down
      the bank toward the women, lights flashing.


<b>132   EXT. RIVER BANK - NIGHT                                    132
</b>
      Two headlights are seen in the distance coming toward
      them. A PICKUP TRUCK approaches along the shore.

      Jimmy drives it. He gets out, gathers Ray, Lila and the
      two Chinese girls into the back of the truck and drives
      away.

      Ray looks back as the Acclaim SLIPS THROUGH THE ICE AND
<b>      DISAPPEARS.
</b>
      Trooper Napoli reaches the scene, too late. No one is
      there.


<b>133   INT. VILLAGE BAKERY - NIGHT                                133
</b>
      A small house on the river's edge with a hand painted
      sign:"Bakery" Jimmy drives up. He helps Ray, Lila and the
      Chinese girls to the door.

      The Ticket Taker, "VELMA" opens the door, wearing an
      apron.

<b>                                JIMMY
</b>                Hi Mom.

<b>                             VELMA
</b>                Jimmy, I told you not to bring no more
                half frozen people in here off the river.

<b>                             JIMMY
</b>                       (ignores her)
                We just need to borrow your oven, Mom.
<b>
</b><b>                                                             94.
</b>

      He leads them, wet and freezing, to the bakery kitchen.
      As they go by Velma and Ray recognize each other.


<b>134   INT. VILLAGE BAKERY, KITCHEN - NIGHT                      134
</b>
      An industrial oven sits beside an old couch. Lila, Ray
      and the teenage girls stand near it shivering.

      Velma looks them over, frowning and shakes her head.


<b>                              VELMA
</b>                I don't see how I can get any baking
                done. I'm supposed to be baking 200
                doughnuts for pee wee Lacrosse and now I
                have people bleeding and dripping all
                over my kitchen.

      She opens a closet filled with Indian medicine plants and
      takes out several kinds.

<b>                              VELMA (CONT'D)
</b>                       (to Ray)
                Sit down, I can't reach up that high.

      Ray sits down. Velma reaches up and dabs Ray's grazed and
      bleeding forehead.

<b>                             VELMA (CONT'D)
</b>                       (to Ray)
                Looks like somebody tried to blow your
                brains out.

      Ray winces in pain.

<b>                             VELMA (CONT'D)
</b>                Get outta here, Jimmy. They gotta strip
                down. (to girls) Gimme those jackets.

      Velma motions to the Chinese girls to take off their
      coats. They stare at her shivering.

      She gently goes to one of the girls and helps her out of
      her jean jacket. Under it she wears a short sleeved shirt
      showing her bruised arms.

      Velma sees the bruises.

<b>                             VELMA (CONT'D)
</b>                Somebody's been beatin' up on you.

      Lila and Ray see the girl's black and blue arms.
<b>
</b><b>                                                             95.
</b>

      Velma hangs the girl's jacket on the big oven to dry and
      gives her an old blanket to keep warm.

      Then Velma turns to Lila.

<b>                               VELMA (CONT'D)
</b>                You, too.



<b>135   INT. MOHAWK TRIBAL POLICE STATION - NIGHT                  135
</b>
      MOHAWK CHIEF OF POLICE, BILLY THREE RIVERS, a stressed-
      looking man in his 40's talks on the phone.

<b>                             THREE RIVERS
</b>                -Good, good Mike. What can I do for you? -
                -You say non-native smugglers?
                -A white woman? On the Rez?
                -I'll look into it and give you a call
                back. Sure thing. (pause)
                -I'll take your request to the Tribal
                Council and give you a call back.
                -No problem, Mike. You bet.


<b>136   INT. MOHAWK TRIBAL COUNCIL - NIGHT                         136
</b>
      Billy Three Rivers sits down at a long conference table.
      A middle-aged Mohawk woman, "BARBARA" sits behind a name
      plate reading "CHIEF". At the end of the table Bernie
      sits behind another name plate: "SUB-CHIEF."

      Rosalie comes in wearing her coat over her bathrobe and
      takes her place behind the "GRAND CHIEF" name plate.

<b>                               THREE RIVERS
</b>                Hi, Rosalie.

<b>                               ROSALIE
</b>                         (puts on her glasses)
                Billy.

<b>                             THREE RIVERS
</b>                We have a situation with a couple
                smugglers. They got chased by the Quebec
                police and crossed the river but their
                car went in and now the troopers know
                they're on the Rez.

<b>                               ROSALIE
</b>                Who is it?
<b>
</b><b>                                                      96.
</b>

<b>                       THREE RIVERS
</b>          Lila Littlewolf and some white woman.

<b>                       ROSALIE
</b>          What do the troopers want?

<b>                       THREE RIVERS
</b>          A surrender of the two illegals and the
          Non-Native smuggler. They need an example
          here.

<b>                       ROSALIE
</b>          Do you know where they are?

<b>                       THREE RIVERS
</b>          Probably over at Velma's.

<b>                       ROSALIE
</b>                 (to the other Chiefs)
          What do you think?

<b>                       BARBARA
</b>          Turn them in.

<b>                       ROSALIE
</b>          What about Lila Littlewolf?

<b>                       BERNIE
</b>          We got our own court system.

<b>                       ROSALIE
</b>          We don't charge people with smuggling.

<b>                       BARBARA
</b>          Maybe we should.

<b>                       BERNIE
</b>          If we did, we'd have to arrest half the
          people on the Rez.

Rosalie and Barbara shoot him an ANGRY STARE. He shrugs.

<b>                       BARBARA
</b>          We can expel her.

<b>                       BERNIE
</b>          You can't start throwin' Mohawks off the
          Rez, Rosalie. There's only, what, six
          thousand of us as it is.

<b>                       ROSALIE
</b>          She makes the Mohawk people look bad.
<b>
</b><b>                                                              97.
</b>

<b>                             BERNIE
</b>                But she has a Mohawk son.

<b>                             ROSALIE
</b>                She cost us a Mohawk son.

<b>                             BERNIE
</b>                Jake was a big boy. He knew what he was
                doin'

<b>                              ROSALIE
</b>                She'll never be anything but a smuggler.

<b>                             BERNIE
</b>                We've had smuggling on the Rez since Al
                Capone.

<b>                             ROSALIE
</b>                Then we'll take a vote.


<b>137   EXT. ROUTE 37, THE RESERVATION LINE - NIGHT               137
</b>
      Two New York State Cruisers block the road, lights
      flashing.


<b>138   INT. VILLAGE BAKERY, KITCHEN - NIGHT                      138
</b>
      The bell on the bakery door RINGS. Billy Three Rivers
      walks in looking very official. Jimmy opens the door.

<b>                             JIMMY
</b>                Hi, Billy.

      He comes in and Velma walks in from the kitchen closing
      the door behind her.

<b>                             THREE RIVERS
</b>                Velma, seen any smugglers tonight?

      Velma says nothing.

<b>                             JIMMY
</b>                Come on, Billy, you never bothered with
                smugglers before.

<b>                             THREE RIVERS
</b>                Rosalie is worried people are gonna think
                the Mohawks let in terrorists. Plus, I
                got the Troopers on my back. They want
                the illegals and they say there's some
                white lady with them too. Is that true,
                Jimmy?
<b>
</b><b>                                                            98.
</b>

      Jimmy looks away.

<b>                             THREE RIVERS (CONT'D)
</b>                You got white women doing it now? Jesus.
                (after a moment) Well, if you see any,
                let me know.

      Three Rivers leaves.


<b>139   INT. VILLAGE BAKERY, KITCHEN - NIGHT                      139
</b>
      Lila and Ray LISTEN from the kitchen. Ray eyes the back
      door.

      Ray grabs her jacket off the oven and takes half the cash
      out of the pocket and hands it to Lila.

<b>                              RAY
</b>                I gotta go.

      Lila takes the money. The Chinese girls look on confused.
      One gets up and grabs her jacket, but Ray motions her
      back.

<b>                             RAY (CONT'D)
</b>                No. You stay here.

      Ray hurries to the back door, opens it, but Bernie
      Littlewolf is there. At the sight of him, Ray backs up.

      He walks in.

<b>                              BERNIE
</b>                Hi, Lila.

<b>                              LILA
</b>                Hi Bernie.

<b>                             BERNIE
</b>                You're in a lot of trouble.

      Lila looks at him, unfazed.

<b>                             BERNIE (CONT'D)
</b>                The council voted to expel you.

<b>                              LILA
</b>                Expel me?

<b>                             BERNIE
</b>                For five years. You can appeal, but
                you'll never be able to change Rosalie's
                mind.
<b>
</b><b>                                                      99.
</b>

<b>                       LILA
</b>          They can't do that.

<b>                       BERNIE
</b>          They'll make your life miserable if you
          try to stay.

<b>                       LILA
</b>          They've already done that.

<b>                       BERNIE
</b>          Believe me, it could get even worse.

<b>                       RAY
</b>          I thought this was all legal on the
          reservation.

Bernie ignores her.

<b>                       RAY (CONT'D)
</b>                 (to Lila)
          Look, I gotta get home.

She moves for the door, but Bernie blocks her.

<b>                       BERNIE
</b>          If she leaves, they'll turn you in Lila.
          The troopers want somebody.

<b>                       RAY
</b>          But, she's a Mohawk.

<b>                       BERNIE
</b>          The Chiefs want her out, so there's
          nothing standing between her and the
          troopers.

<b>                       RAY
</b>          Listen, my kids got no one but me.

<b>                       BERNIE
</b>          If you leave she won't see her son again.

Ray and Bernie stare at each other.

<b>                        LILA
</b>          Let her go.

<b>                       BERNIE
</b>          Lila, you're giving up on him and he's
          only one year old.
<b>
</b><b>                                                             100.
</b>

<b>                             LILA
</b>                       (to Ray)
                Just go.

      Ray goes to the door, but turns around...

<b>                             RAY
</b>                At least you got family to take care of
                him, ya' know?


<b>140   EXT. RESERVATION WOODS - NIGHT                           140
</b>
      Ray shuts the door behind her and starts toward the
      river. She turns and runs along the bank...a long
      way...then slows down. Breathing hard, she stops. Snow
      melts on her face. A long moment passes.

      The sound of the river ice pushing against the bank
      releases a long, deep moan all around her.


<b>141   INT. VILLAGE BAKERY, KITCHEN -NIGHT                      141
</b>
      Lila and Bernie sit on the old sofa by the big oven.

<b>                             LILA
</b>                He might be better off.

<b>                             BERNIE
</b>                Jake wouldn't agree with that.

<b>                             LILA
</b>                It was all for a new crib. I wanted the
                baby to have a pretty new crib, not some
                handmedown. And he wouldn't let me go
                alone. (laughs) I was too fat to get
                behind the steering wheel.

<b>                             BERNIE
</b>                He wanted to keep you and little Jake
                safe.

      The back door opens. Ray is there.

<b>                             RAY
</b>                It's just a few months, right?

      Bernie and Lila turn around. Ray walks in.

<b>                             RAY (CONT'D)
</b>                I got baby stuff in the shed.
<b>
</b><b>                                                             101.
</b>

      She takes the folded double-wide contract out of her
      pocket and holds it out to Lila.

<b>                             RAY (CONT'D)
</b>                Get a good used single wide with
                insulation. Insulation is the key thing.
                Versailles will give you a hard time, but
                that will leave enough for you and the
                boys to live on for a couple of months.
                Ricky's allergic to penicillin.(a moment)
                And you can't feed `em Pringles all the
                time. Okay?

      Lila isn't sure.

<b>                             RAY (CONT'D)
</b>                Okay?

      Lila nods her head.

<b>                             RAY (CONT'D)
</b>                But you gotta get there quick, before the
                police, `cause T.J. will get scared. I
                don't want him to get scared, you know.

      Ray chokes back her own tears.

<b>                             LILA
</b>                Okay.

      Lila takes the contract from Ray.

<b>                             RAY
</b>                And don't let him jerk you around.
                Versailles, I mean. (to Bernie) Go with
                her. Okay?

      Bernie nods.

<b>                             BERNIE
</b>                Sure.


<b>142   INT. RAY'S TRAILER - NIGHT                               142
</b>
      T.J. and Ricky eat supper to the glow of the TV in the
      background.


<b>                             RICKY
</b>                Can I have more corn?

      T.J. dumps his own corn onto Ricky's plate.
<b>
</b><b>                                                             102.
</b>

<b>143   EXT. ROUTE 37, THE RESERVATION LINE - NIGHT                143
</b>
      Flashing dome lights of New York State troopers are seen
      just beyond the sign "YOU ARE NOW LEAVING THE LAND OF THE
      MOHAWK." Trooper Napoli waits in his cruiser with other
      vehicles.

      Billy drives Ray and the Chinese girls slowly toward them
      in the Mohawk Tribal Police Cruiser.

      Billy stops and the three get out of the car, handcuffed.


<b>144   EXT. HOUSE ON POINT - NIGHT                                144
</b>
      Bernie waits in the car. Lila walks to the front door.
      Thunder looks up from beside the front step.

<b>                             LILA
</b>                       (shows her empty hands)
                Sorry, Thunder, I got nothing for you.

      She knocks.

      Evelyn opens the door. Seeing Lila she tries to close it,
      but Lila WEDGES herself inside.


<b>145   INT. HOUSE ON POINT - NIGHT                                145
</b>
      Evelyn tires to push her out, but Lila walks in the
      house.

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

      Lila walks up to the Little Jake sitting in his high
      chair, his face covered in carrots.

      She reaches out to touch him, but Evelyn pushes her hand
      away.

<b>                             LILA
</b>                I need his coat.

      Lila picks up the baby, and looks around.


<b>                             LILA (CONT'D)
</b>                Where's his coat?

<b>                             EVELYN
</b>                You can't have him.
<b>
</b><b>                                                             103.
</b>

      She grabs Lila's arm, but Lila shakes her arm free and
      wraps Little Jake in her own jacket.

<b>                             LILA
</b>                Say goodbye to your Dudah.

      Evelyn stands in front of the door, blocking Lila. Lila
      stops and they stand for a moment looking at each other.
      There is anger and sadness. Evelyn moves aside.

      Lila walks out with the baby.


<b>146   EXT. HOUSE ON POINT - NIGHT                                146
</b>
      Bernie stands by the car holding a CAR SEAT.

<b>                             BERNIE
</b>                She's gonna kill me for taking this out
                of her car.

<b>                                                           CUT TO:
</b>

<b>147   INT. NEW YORK STATE TROOPER CRUISER - NIGHT                147
</b>
      Ray sits in the backseat. The two Chinese girls beside
      her.

<b>                             RAY
</b>                How long is it for me. You know if I
                confess?

<b>                             TROOPER NAPOLI
</b>                As long as they're not on a watch list.
                Four months.

      He glances around at them.

<b>                             TROOPER NAPOLI (CONT'D)
</b>                I don't think you have much to worry
                about judging from the look of them,
                probably brought here to work in the sex
                trade.

      Ray looks at the two girls.

<b>                             RAY
</b>                Will they get sent back?

<b>                             TROOPER NAPOLI
</b>                Not necessarily. They can apply for
                asylum.
<b>
</b><b>                                                           104.
</b>

<b>                             RAY
</b>                Can I have a cigarette?

      He lights one for her. She takes it, shaking.

<b>                             TROOPER NAPOLI
</b>                Is there somebody I can call for you? To
                take care of your children.

<b>                               RAY
</b>                I got somebody.

      He looks back at her.

<b>                              TROOPER NAPOLI
</b>                A relative.

<b>                              RAY
</b>                A friend.

      Trooper Napoli looks at her.


<b>                             RAY (CONT'D)
</b>                But I need to call my kid.



<b>148   INT RAY'S TRAILER - NIGHT                                148
</b>
      The phone rings. T.J. picks it up.

<b>                             T.J. (O.S.)
</b>                Hello. Hi, Mom.

      She hears his voice and can't speak.

<b>                             T.J. (CONT'D)
</b>                -Mom are you there? What's wrong?
                -What kinda trouble?
                -What did you do?
                -A smuggler!? Holy shit!
                -Are you in jail?
                -But are you're going to jail!?

      There is a long silence. He wipes a tear away with his
      sleeve.

      Ricky plays with his Hot Wheels on the floor.

<b>                             T.J. (CONT'D)
</b>                -Yeah, okay. What does that mean? But
                why? I can take care of him, I do it all
                the time. But I don't see why we need-?
<b>                             (MORE)
</b><b>
</b><b>                                                              105.
</b>
<b>                             T.J. (CONT'D)
</b>                -Who? (pause) A baby? No way.
                -Yeah I know where the stuff is. It's in
                the shed, but that's so stupid!.


      A KNOCK at the door. T.J. looks at it, unsure what to do.

<b>                             T.J. (CONT'D)
</b>                       (holding phone)
                -Yeah, I'm here. Somebody's at the door.

      He walks to it and opens it holding the phone. Lila is
      standing there holding Little Jake, wrapped in her jean
      jacket.

      T.J. and Lila look at each other.   She walks in.

<b>                              T.J. (CONT'D)
</b>                -Okay. Bye.

      He hangs up.

      Little Jake sees Ricky playing with the Hot Wheels Set
      and reaches to get down.

      Lila puts him on the floor. He crawls toward the
      Christmas tree and the Hot Wheels set.

<b>                             T.J. (CONT'D)
</b>                       (to Ricky )
                You're gonna have to get the little
                pieces up high -- or he'll eat them.


<b>149   INT. NEW YORK STATE TROOPER CRUISER - NIGHT               149
</b>
      Ray rides in the back of the Cruiser. They pass by
      trailer homes decorated for Christmas.


<b>150   EXT. ROUTE 37 - DAY                                       150
</b>
      A Semi ROARS down the road with "WIDE LOAD" banner
      hauling a single wide mobile home through the bright
      morning light, plastic covering rippling in the wind.


<b>151   EXT. RAY'S TRAILER - DAY                                  151
</b>
      Using the blow torch, T.J. works on the smiling duck
      Kiddie ride.
<b>
</b><b>                                                              106.
</b>

      Ricky plays with Little Jake, dressed in a snow suit.
      Lila comes outside with a plate of peanut butter
      sandwiches, badly made.

      T.J. signals Ricky who brings Little Jake over and puts
      him on the Kiddie ride. Ricky holds him on the seat and
      T.J. flips a switch. The ride JERKS a few times then
      starts to move back and fourth. Little Jake smiles.

      Behind T.J. a Mohawk Tribal Police Cruiser drives up.

      Billy Two Rivers gets out and walks up to T.J.

      He speaks sternly to T.J., pointing at the cruiser where
      an elderly and frail Mohawk women in her eighties, Mrs.
      ThreeRivers, looks out the window.

      T.J. walks over to the cruiser. She rolls down the
      window. He says something to her, looking at the ground
      as he speaks.

      Ricky and Lila holding Little Jake look on.

      Billy Two Rivers drives away.

      SUDDENLY T.J. and Ricky LOOK UP. A RUMBLE is heard in the
      distance. From down the road the SEMI is seen
<b>      APPROACHING...
</b>
      T.J. smiles and Ricky watches not sure whether to believe
      it or not. He takes T.J.'s hand.

<b>                                                           CUT TO:
</b>

<b>152   INT. NEW SINGLE-WIDE MOBILE HOME - NIGHT                   152
</b>
      Ray is asleep in her new bedroom with wall-to-wall carpet
      and a big window.

      Her cell phone RINGS. She doesn't move.

<b>                             RAY (O.S.)
</b>                       (her voice message plays)
                Hi, (happy) You've reached Ray. Leave me
                a message and I'll get back to you just
                as soon as I can.

      The tone is heard.

<b>                             TROY (O.S.)
</b>                       (sad sack voice)
                Ray, are you gonna pick up or not?
<b>                             (MORE)
</b><b>
</b><b>                                                              107.
</b>
<b>                               TROY (O.S.) (CONT'D)
</b>                  (pause) I need you to send me some money
                  so I can get home. I'm stuck here. I
                  could already be back at work by
                  now.(pause) Please Ray, I'm at the YMCA
                  in Tampa. I love you. I miss you. Please
                  call me here. Seriously. And tell the
                  boys-

      The message cuts off with a "BEEP."

      ClOSE ON: the cell phone screen. "12 NEW MESSAGES"
      changes to "13 NEW MESSAGES."


<b>153   EXT. INTERNATIONAL SEAWAY BRIDGE - DAY                     153
</b>
      A sign reads "Bridge to Canada."

      A steep 1940's era customs bridge arches over the St.
      Lawrence River.

      Cars and trucks line up in different lanes. Customs
      officials man booths at the center of the bridge,
      inspecting and questioning impatient drivers.

      Beyond them, a smaller sign: "THANK YOU FOR VISITING
      MASSENA NEW YORK, IT WORKS, for business, for family, for
      you".


<b>154   EXT. BELOW THE BRIDGE - SAME                               154
</b>
      The river stretches miles in either direction, no longer
      frozen and still with trees on either side.



<b>      FADE OUT
</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/Frozen-River.jpg" border=0>
	<td><h1>Frozen River</h1><br><br>
	    <b>Writers</b> : &nbsp;&nbsp;<a href="/writer.php?w=Courtney Hunt" title="Scripts by Courtney Hunt">Courtney Hunt</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/Frozen River Script.html#comments" title="Frozen River 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>
Why does T.J.set the trailer on fire?
Why does T.J.set the trailer on fire ?
He was trying to unfreeze the water pipe.
He was trying to unfreeze the water pipe .
it was an accident when he tried to thaw frozen pipes
it was an accident when he tried to thaw frozen pipes