Supergirl: Home - Ep. 7
"Family ties"
NOTE: the "present time" in this episode takes place with
Supergirl at age 15.
FADE IN:
INT. LIVING ROOM - DANVERS' HOME - DAY
KAREN STARR talks on the phone with her mother. She looks happy.
KAREN
Hi, mom.
MRS STARR (O.S.)
Hi, Karen, how're you doing?
KAREN
Great, mom. Best vacation ever.
MRS STARR (O.S.)
Really? I'm so happy. So you're
getting alone well with Linda?
KAREN
Sure, we're best friends. We hang
around all the time. I'm doing my
best to knock some of the
dorkness out of her.
MRS STARR (O.S.)
Don't say that! Linda's a great girl.
KAREN
I'm just kidding, mom. Chill out.
MRS STARR (O.S.)
And how're you getting along with
Linda's parents?
KAREN
Oh, Mr. F and Mrs. S are so cool.
They treat me so well. I mean
they always listen to me.
(mouths "hint")
They treat me like an adult and
respect my decisions.
(mouths "hint hint")
I really love it here, mom. I'm
glad you let me stay.
MRS STARR (O.S.)
And you're obeying them, right.
2.
KAREN
(slightly upset)
Yes, mom. I obey them every time
they give me an order, which
hasn't happened yet, 'cos they're
not bossy like some other people
I know.
MRS STARR (O.S.)
(warningly)
Karen. Don't use that tone with
me. Anyway, you remember to brush
your teeth, don't you?
KAREN
(mildly angry)
Yes, mother, I brush my teeth
three times a day. Though I'd
like to meet the bacteria that
can put a cavity in my teeth.
MRS STARR (O.S.)
It's not about that and you know it.
KAREN
(angry)
I know, it's about having clean-
looking teeth and minty-fresh
breath. Because if I don't, no
one will ever ever love me.
MRS STARR (O.S.)
(upset)
Karen, I warn you. Don't take
that tone with me.
KAREN
(very angry)
What tone mom? The tone that says
"I'm not a drooling idiot so you
should stop treating me like one"?
Is that the tone you're talking
about?
SYLVIA walks into the living room and looks at Karen.
MRS STARR (O.S.)
(very angry)
Yes, exactly that tone, young
lady. And you better learn some
respect in a hurry or else --
3.
KAREN
(fuming mad)
Or else what, mom?! You're going
to hit you with the belt?! You're
going to lock me in my room and
never let me out again?! What are
you going to do to me, eh? What?!
MRS STARR (O.S.)
(very angry)
Bah, there's no point in talking
to you when you act like this!
You think you're such a grown up
but you keep acting like a little
baby!
KAREN
(flaming from the nostrils)
I don't know why I bother trying
to talk to you! All you ever do
is criticize me and make me feel
like I'm an idiot! I'm an adult,
get that! And someday I'm going
to get really tired of you
treating me like a baby, and then
you'll see!
MRS STARR (O.S.)
Are you threatening me, Karen?
Because if you are --
KAREN
Oh, go to hell!!
Karen angrily hangs up the phone.
KAREN (CONT'D)
Damn!
SYLVIA
Karen, please be careful with the
phone.
Karen turns to Sylvia, still mad as hell.
KAREN
Why don't you mind your own
goddamn business!
LINDA instantly appears out of nowhere and stands
threateningly in front of Karen.
LINDA
Don't you ever talk to my mom
like that!
4.
Karen didn't hear Linda. The very second she finished
talking, all the anger dropped out of her body. She stares
at Sylvia with a mix of intense fear and regret in her eyes.
When she speaks, it's in a monotonous, almost inaudible whine.
KAREN
I'm sorry I'm sorry I'm sorry I
didn't mean to I'm sorry please
don't throw me out of your house
I'm sorry I didn't meant to I'm
sorry...
Linda's expression changes. She can't believe what she's
seeing in Karen's eyes.
Sylvia takes a few steps forward and holds Karen by her
shoulders reassuringly.
SYLVIA
Karen, don't worry.
KAREN
I'm sorry I'm sorry I didn't mean
to please don't throw me out...
SYLVIA
Karen, listen to me: this is your
house.
Tears cascade down Karen's cheeks.
SYLVIA (CONT'D)
And no matter what you say or
what you do, it will ALWAYS be
your house, do you understand me?
My door will always be open for
you. That bed upstairs will
always be ready for you whenever
you need it.
Karen hugs Sylvia.
KAREN
Thank you thank you thank you...
SYLVIA
Don't worry, Karen. I know how
you feel. I never got along with
my own mother either. I know she
drives you crazy. But you're here
now. Think about that. And you
can stay with us for as long as
you need to.
Linda just stands there, slack-jawed, without a clue as to
what is going on.
5.
Sylvia motions Linda to come close. Linda approaches and
hugs Karen and her mother.
LINDA
I'm sorry I yelled at you, Karen.
Karen turns to Linda, and glares at her.
KAREN
Don't be sorry, you knucklehead!
If you ever yell at her like I
did, I'll knock your teeth out!
Linda is taken aback by this reaction. She's even more
clueless now.
Karen hugs Sylvia for another moment, then pulls back. She
wipes the tears off her face.
KAREN (CONT'D)
(to Sylvia)
Thank you. I wish so much you
were my mom.
SYLVIA
Well, I'm not your mom, but if
you ever need A mom, I'm here for
you.
KAREN
Thanks. Now I... I sort of need
to clear my head... so I...
SYLVIA
Yeah, go fly around for a while.
Smash a few giant rocks. Just
remember that dinner's at seven-
thirty.
Karen smiles, and goes out the back door.
Linda stares at Karen with a dumbfound expression. She waits
a moment before turning to Sylvia.
LINDA
Okay, who was that girl and what
did she do with Power Girl?
SYLVIA
Linda, don't say that.
LINDA
I mean it. What happened to her?
One moment she's the toughest
girl I know, then she's blubbering
like a baby. I don't get it.
6.
SYLVIA
Come, honey, let's sit. I think
it's time we have a little chat.
They walk to the couch and sit down.
SYLVIA (CONT'D)
Linda, your friend Karen has lots
of problems, you know that.
LINDA
Yeah. Oracle said she's too
aggressive and violent.
SYLVIA
Well, most of Karen's problems
are the result of her relationship
with her parents. She loves them,
but she can't stand them. They
can't talk anymore, they just
yell at each other.
LINDA
What do you mean they can't talk?
SYLVIA
(sighs)
Honey, I love you, but the truth
is, when Karen calls you a dork,
she's not really kidding. Well,
you're not a dork, but you're as
naive as they come, and your
father and I are to blame for
that. You see, Fred and I had a
miserable childhood so we went
out of our way to make sure you
had a good one. And we did WAY
too good a job on that. So let's
see if I can snap you out of it
with a little shock therapy.
LINDA
What do you mean?
SYLVIA
I think it's time you heard about
your grandparents.
EXT. JOHN DANVERS' HOUSE - 25 YEARS EARLIER - AFTERNOON
SUPER: 25 years earlier.
The house of John Danvers, Fred's father. A rural home
somewhere at the outskirts of the town.
7.
Twelve-year-old LITTLE FRED plays with a baseball outside
the house.
SYLVIA (V.O.)
Fred's parents were John and
Aileen Danvers. John Danvers was
a college football hero who had a
promising career in the NFL until
a car accident cut it short. Most
people say that this is why he
became such a violent, bitter man.
We hear voices coming from the house. An argument between
Aileen and John.
JOHN (O.S.)
(angry)
You call this meatloaf!
AILEEN (O.S.)
John, I'm sorry. I don't know
what happened.
Fred's expression changes instantly. His face now shows
equal parts of anger and frustration well beyond what you'd
imagine a 12-year-old could do. He drops the ball and stares
at the door as if trying to decide if he should go in or not.
JOHN (O.S.)
You don't know what happened! Are
you stupid or something?!
AILEEN (O.S.)
John, I'm sorry. I don't -- no,
John, please, no!
We hear a fight inside. John is beating Aileen.
JOHN (O.S.)
I'll teach you to be sorry, you
bitch!
Aileen screams in pain. Fred begins to pace back and forth,
breathing heavily.
SYLVIA (V.O.)
John would beat Aileen almost on
a daily basis. Nothing she did
was good enough for him. And
every little mistake deserved a
punishment.
Fred stops pacing. His expression intensifies. A moment
later, he walks into the house, slamming the door behind him.
We stay on the outside.
8.
SYLVIA (V.O.)(CONT'D)
Sometimes Fred would walk into
the fight, trying to defend his
mother.
LITTLE FRED (O.S.)
Leave my mom alone, you sonofabitch!
SYLVIA (V.O.)
It wasn't so much that Fred
thought he could stand up to John
Danvers.
JOHN (O.S.)
You want some of this too, you
little prick?
John begins to hit Fred. Fred screams in pain.
AILEEN (O.S.)
No, John, don't hurt the boy!
SYLVIA (V.O.)
It was that he knew that while
his father was beating him, he
wasn't beating his mother.
The fight inside continues.
INT. LIVING ROOM - DANVERS' HOME - PRESENT TIME
Linda seems about to burst into tears.
SYLVIA
Shocked enough, honey?
Linda is speechless.
SYLVIA (CONT'D)
I wasn't much better off back
then. I was the only daughter of
Norman and Isabelle Holden. My
father was a drunk. A neighbor
described him once by saying:
"Norman is the kind of man who
tries to drown his sorrows in
alcohol, and apparently his
sorrows are really good swimmers
because it takes a whole lot of
alcohol to drown them." Mother
didn't like that and she let
father know about it.
9.
INT. SYLVIA'S ROOM - HOLDEN'S HOUSE - 25 YEARS EARLIER -
AFTERNOON
Ten-year-old LITTLE SYLVIA sits at her desk. There's a small
porcelain ballerina on it. She stares at it.
NORMAN (O.S.)
(slurred)
And what's wrong with a little
whiskey now and then, eh?
ISABELLE (O.S.)
A LITTLE whiskey!? What is that,
your third bottle TODAY!?
NORMAN (O.S.)
I make my own money. I can spend
it any way I want to.
SYLVIA (V.O.)
I had a porcelain ballerina that
my grandmother gave me for my
fifth birthday. She was my most
prized possession in the whole
world. Every time my parents
would fight, I would stare at the
ballerina and imagine her dancing.
FOCUS ON the ballerina. We hear "The Blue Danube" playing in
Little Sylvia's mind and we see the Ballerina dancing around
the desk.
Slowly the music grows louder and it drowns the screams
outside the bedroom.
Little Sylvia smiles.
INT. LIVING ROOM - DANVERS' HOME - PRESENT TIME
SYLVIA
My parents would scream at each
other for hours and hours. They
yelled at each other every single
four-letter word you can think of
and quite a few you can't. They
insulted their whole ancestry.
But they never laid a finger on
each other. No matter how angry
they were, they never, ever
physically hurt each other.
(beat)
That's why they had me.
10.
INT. SYLVIA'S ROOM - HOLDEN'S HOUSE - 25 YEARS EARLIER
Little Sylvia smiles as The Blue Danube plays in her mind
and the ballerina dances on her desk.
Isabelle and Norman still argue, but we can barely hear what
they say.
Then the argument stops.
Little Sylvia notices it, and her imagination fades. The
Blue Danube screeches to a halt. The ballerina returns to
her porcelain self. Her expression changes into sheer horror.
She quickly turns off the light in her room and jumps into
her bed, pretending to be asleep.
A moment later the door bursts open with so much force that
one of the stuffed animals on a shelf falls to the floor.
We see Isabelle's silhouette at the door. She has a large
belt on her hand. She turns on the light. She has an
expression of anger beyond all normal parameters.
She slowly turns to the floor, and sees the stuffed dog
lying there.
ISABELLE
What have I told you about your toys!
Little Sylvia pretends to wake up.
LITTLE SYLVIA
Mom, I...
Isabelle turns to Little Sylvia.
ISABELLE
You ungrateful little beast!
EXT. HOLDEN'S HOUSE - 25 YEARS EARLIER
We see Little Sylvia's window. The shades are closed. We see
Isabelle's shadow on them.
ISABELLE (O.S.)
I'll teach you how to obey, you
little beast!
LITTLE SYLVIA (O.S.)
No, mommy, please!
Isabelle beats Little Sylvia with the belt.
11.
EXT. PARK - 25 YEARS EARLIER - HOURS LATER
Little Sylvia sits on the grass next to a large tree. She's
crying and caressing her arms. She has quite a few belt
marks on her arms and neck.
The sunset is approaching. Little Sylvia stares at it.
SYLVIA (V.O.)
There was a park a few blocks
away from where we lived. I used
to go there and cry every time my
mother beat me. That's where I
met Fred.
Little Fred walks from behind some bushes, he has a black
eye, a swollen lip and many bruises.
The two children eye each other for several seconds,
noticing each other's wounds.
SYLVIA (V.O.)(CONT'D)
We became best friends before we
had said a word to each other.
LITTLE FRED
Are you okay?
LITTLE SYLVIA
No.
INT. LIVING ROOM - PRESENT TIME
SYLVIA
He was twelve at the time. I was
ten. We became inseparable. He'd
tend to my wounds. He had become
pretty good at it after so many
years helping his own mother.
(beat)
Things stayed pretty much the
same for four years until Fred
turned sixteen. By then, he'd
turned into a huge teenager.
EXT. JOHN DANVERS' HOUSE - 21 YEARS EARLIER - DAY
The front door bursts open as Teenage Fred pushes John out
of the house. Teenage Fred is almost six feet tall by now
and weighs close to 200 pounds. John Danvers is six-five, 270
pounds, but badly out of shape.
John shoves Fred back with all his strength, but only
manages to send him back a couple of feet.
12.
TEENAGE FRED
(angry)
Get the hell out of my sight, and
don't you ever come back!
JOHN
(scoffs)
You're throwing me out of my own
house, you little punk? I'll show
you.
John attacks Fred, but Fred dodges the punch and lands a
couple of his own, sending John to the ground, bleeding from
the nose.
Aileen appears at the doorstep, looking concerned but
somehow relieved.
John stands up slowly. He wipes the blood off his nose.
JOHN
I'm going to get you for this,
you little piece of crap.
TEENAGE FRED
I'd love to see you try, you
sonofabitch.
John glares at Teenage Fred for a moment, then heads for his
car. He climbs in and drives away.
Aileen walks to Teenage Fred and hugs him. He hugs her back,
but never takes his eyes of John's car.
TEENAGE FRED (CONT'D)
Don't worry, mom. He's gone for good.
SYLVIA (V.O.)
Without the monster, the house
felt like heaven.
INT. LIVING ROOM - JOHN DANVERS' HOUSE - 21 YEARS EARLIER -
HOURS LATER
Teenage Sylvia, fourteen now, sits on the couch, watching TV
with Aileen and Fred, who looks as proud as can be.
SYLVIA (V.O.)
I stayed with Fred that night. It
felt so good to be in a place
where no one was screaming at
each other, and no one was going
to hit me. I just couldn't force
myself to leave.
(MORE)
13.
SYLVIA (V.O.; CONT'D)
(beat)
Fred and I were just friends back
then. I slept on his bed. He
slept on the couch. Nothing
happened that night between us,
if you know what I mean.
(beat)
But my mother never believed that.
INT. LIVING ROOM - HOLDEN'S HOUSE - 21 YEARS EARLIER - DAY
NORMAN sits on the couch, sipping at his whiskey.
Isabelle and Teenage Sylvia are in the kitchen. We can't see
them, but we hear them and we see their shadows projected on
a wall behind Norman.
TEENAGE SYLVIA
We didn't do anything, mom, I swear.
ISABELLE
You think I'm going to believe
you just like that! Tell me that
at least you wore protection!
TEENAGE SYLVIA
Nothing happened, I swear!
ISABELLE
So you didn't even wear anything?
TEENAGE SYLVIA
Are you listening to me? Nothing
happened! Can you get it through
that thick skull of yours!
ISABELLE
Oh, you stupid little beast!
You're trying to turn me into a
grandmother before I'm forty!
SYLVIA (V.O.)
My mother believed that I'd had
sex with Fred and nothing I said
would convince her otherwise.
Worst, she thought I was pregnant.
That was her greatest fear: the
shame of having her fourteen-
year-old daughter with a belly.
She was already the wife of the
town drunk. There was no way she
was going to let me get pregnant.
We see Isabelle's shadow turn around and grab a knife.
14.
TEENAGE SYLVIA
Mom, what the hell are you doing
with that thing?!
SYLVIA (V.O.)
My mother was a registered nurse.
She knew where to aim the knife.
Isabelle's shadow stabs Teenage Sylvia in the lower abdomen.
Teenage Sylvia screams and falls to the ground.
Norman stands up and peeks into the kitchen.
NORMAN
(slurred)
What did you just do, you crazy
woman?
INT. HOSPITAL CORRIDOR - 21 YEARS EARLIER - DAY
Teenage Fred walks toward the room where Teenage Sylvia is.
Outside, a DOCTOR talks to Isabelle and Norman.
DOCTOR
She's stable now, but the knife
did a great deal of damage to her
uterus. In my opinion, I don't
think the damage can be repaired.
It's almost certain that Sylvia
will never be able to have children.
Teenage Fred hears this and stops dead on his tracks.
NORMAN
(slightly slurred)
Ah, these kids today... she
probably had a fight with her
boyfriend, maybe found her way to
my liquor cabinet... and you know.
Teenage Fred's expression changes into the one we saw when
he was twelve: anger and frustration to an inhuman degree.
TEENAGE FRED
You did this to her!
He rushes to Norman and Isabelle but the doctor stops him.
TEENAGE FRED (CONT'D)
Don't you ever touch her again,
you hear me! If you hurt her
again I'll kill both of you!
NORMAN
Please, someone call the police
and arrest this punk.
15.
INT. LIVING ROOM - PRESENT TIME
SYLVIA
I cannot have children of my own
because of my mother. Can you
even fathom the concept, Linda?
(beat)
Well, after that incident my
mother never hit me again. Maybe
because she felt guilty for
almost killing me. Maybe because
she was afraid of what Fred would
do to her. So my life for the
next four years was tense, but
relatively painless.
(beat)
Then I turned eighteen.
INT. LIVING ROOM - HOLDEN'S HOUSE - 17 YEARS EARLIER - MORNING
Norman sits on the couch, reading the newspaper.
A moment later, Teenage Sylvia, now eighteen, walks out of
her room, dragging a large suitcase.
NORMAN
Happy birthday, honey.
(beat)
Hey, what's up with the suitcase?
Isabelle comes out of the kitchen and sees Teenage Sylvia.
Teenage Sylvia regards her parents with a determined look on
her face.
TEENAGE SYLVIA
I'm eighteen today. I'm marrying
Fred Danvers. I never want to see
you two again.
Without looking back, Teenage Sylvia storms out of the house.
SYLVIA (V.O.)
Those were the last words I ever
said to my parents.
INT. LIVING ROOM - JOHN DANVERS' HOUSE - 17 YEARS EARLIER - DAY
Aileen sits on the couch, watching TV. Teenage Fred dusts,
while Teenage Sylvia sweeps the floor.
SYLVIA (V.O.)
I married Fred two hours later
and I moved in with him and his
mother.
(MORE)
16.
SYLVIA (V.O.; CONT'D)
That was the first moment of true
freedom I had ever felt in my life.
Aileen tries to change the channel with the remote control,
but nothing happens.
SYLVIA (V.O.) (CONT'D)
Fred's mother was a very nice,
caring woman. I got to know her a
lot better in the years we lived
together. She was a good person,
but a extremely weak woman.
Teenage Fred notices Aileen. She looks at him pleadingly.
AILEEN
(re: the remote)
I think it's broken, honey.
TEENAGE FRED
Let me see it, mom.
He grabs the remote and tries it. Nothing happens. He walks
to the TV.
TEENAGE FRED (CONT'D)
Just tell me what channel you
want to see.
He begins to change the channel manually. Three channels go by.
AILEEN
Yeah, leave it there, Freddy.
Thank you.
TEENAGE FRED
Is the volume all right?
AILEEN
(smiles)
Sure honey, don't worry.
TEENAGE FRED
Just let me know when you want me
to change it again, okay?
SYLVIA (V.O.)
Fred would take care of his
mother like she was made of
crystal. He would go out of his
way to make sure that nothing
bothered her.
17.
INT. LIVING ROOM - PRESENT TIME
SYLVIA
All three of us hated that house.
Even though John Danvers was gone,
his presence was still there. And
I never left the house because I
was afraid of meeting my parents.
So we decided to move to another
town. And Leesburg seemed so
friendly and lovely we decided to
buy a house here. We couldn't
sell the old house because it was
John's, so we couldn't really
afford one. Luckily, the owner of
this house felt so sorry for us
that he sold it for next to
nothing.
(beat)
Everything looked bright for a
while. Fred became a cop. Aileen
and I got along very well. My
parents were far away from me.
(beat)
And then, two years later, Aileen
crashed her car into a tree.
EXT. CEMETERY - 15 YEARS EARLIER - DAY
Young Fred, dressed in his police uniform, stands mournfully
in front of his mother's coffin, ready to be lowered into
the ground.
YOUNG DOUGLAS PORTER, twenty-one at the time, stands next to
him, also in his uniform.
Young Sylvia is nearby, wearing a black dress. She's looking
at Young Fred.
SYLVIA (V.O.)
Fred never believed it was an
accident. Aileen never drove the
car faster than thirty, and she
always wore her seatbelt.
(beat)
He still believes John Danvers
killed Aileen, though he could
never prove it.
Young Sylvia turns around and sees John Danvers walking
straight to them. She tries to remain calm. She walks to
Young Douglas and pulls him aside.
18.
YOUNG SYLVIA
(points)
That man is John Danvers. I'll
hold Fred -- you take his gun.
She walks around the grave, pulling Young Fred's eyes in the
opposite direction of John. She hugs Fred and he hugs her.
Then Young Douglas pulls Young Fred's gun from its holster.
Young Fred feels this and turns around to face Young Douglas.
Young Sylvia holds on to him.
YOUNG FRED
What the hell?
He sees John walking toward them. His face turns to the
anger/frustration face again.
YOUNG FRED (CONT'D)
(to John)
You killed her, you sonofabitch!
I'm going to get you for this!
John approaches the grave. He reads the gravestone. It reads:
Aileen McAllister.
JOHN
(calm)
Her name was Aileen Danvers. We
never got divorced.
Young Fred is fuming mad, but Young Sylvia holds him in
place, even though he's 120 pounds heavier.
Young Fred tries to advance toward John, but doesn't break
Young Sylvia's grip.
INT. LIVING ROOM - PRESENT TIME
SYLVIA
That's one of the things I love
the most about your father: he
was stark raving mad --
literally -- and he was a
extremely strong man. If I had
let him go, he would've crushed
John with his bare hands. And I'm
just a little squirt. But for
Fred, the very idea of using any
kind of force or violence against
a woman is so appalling that I
could have held him back with one
finger.
(beat, smiles)
That's your father.
19.
EXT. CEMETERY - 15 YEARS EARLIER - DAY
Young Fred still screams at John while Sylvia holds him.
YOUNG DOUGLAS
(to John)
Get the hell out of here!
JOHN
And what are you going to do if I
don't, shorty? Arrest me for
visiting my wife's grave?
YOUNG DOUGLAS
No, I'm going to give Fred his
gun back.
John seems to think about it, then turns around and walks away.
INT. LIVING ROOM - PRESENT TIME
SYLVIA
I'm sure you've noticed that
every mother's day, every August
twenty-third -- Aileen's death --
and every December eighteen --
Aileen's birthday -- your father
leaves the house at five o'clock
in the morning and returns at six.
He never says where he's going
but I know he goes to his
mother's grave to talk to her.
(beat)
He was always such a good son.
(beat)
Without Aileen, the house felt
empty. At least for Fred. He had
taken care of her for as long as
he could remember and now he had
no one to take care of. I
couldn't have children. So at
some point we thought about
adopting. We weren't sure about
it, until we met a certain blond
three-year-old girl who stole our
hearts.
INT. FRED AND SYLVIA'S ROOM - DANVERS' HOME - 12 YEARS
EARLIER - NIGHT
Young Sylvia and Young Fred lie in bed.
YOUNG FRED
She's such a lovely little girl,
isn't she?
20.
YOUNG SYLVIA
Yes. Such a bright smile. And
those cute little eyes.
A beat.
YOUNG SYLVIA (CONT'D)
Are we ready to take care of a
child? Really, Fred, are we ready?
YOUNG FRED
I love that little girl, Syl.
YOUNG SYLVIA
Yeah, I love her too. But how can
WE raise a child. After the
childhood we had. Can we really
be good parents?
YOUNG FRED
Of course, we know exactly what
not to do.
YOUNG SYLVIA
Don't joke about it, Fred.
YOUNG FRED
I'm not really joking. Syl, we've
been though hell and back. We
know the road better than anyone
else. We just have to do one
thing -- we have to promise
ourselves that we will never
become our parents.
Young Sylvia thinks about it. She's not too sure.
SYLVIA (V.O.)
So we adopted you. Clearly the
best decision we ever made.
INT. LIVING ROOM - PRESENT TIME
SYLVIA
I have to admit you were a
handful. You had so much energy.
And Fred was working most of the
day, so he wasn't very helpful.
And Fred and I were so busy
trying to keep anything wrong
away from you that we started
bottling up everything inside of
us. We were getting in each
other's nerves but we couldn't
talk it out for fear that it
might upset you.
21.
INT. LIVING ROOM - DANVERS HOME - 11 YEARS EARLIER - DAY
Linda, four-years-old at this point, sits at the dinner
table, drawing with some crayons on a piece of paper.
Young Fred sits on the couch, reading the newspaper.
Young Sylvia sweeps the floor. She approaches Fred,
expecting him to move or at least lift his feet, but he
doesn't move a muscle.
SYLVIA (V.O.)
One day, I just snapped.
YOUNG SYLVIA
(angry)
Do you mind! If you're not
helping, at least don't get in
the way!
Young Fred stares at her for a moment.
YOUNG FRED
What's wrong with you?
YOUNG SYLVIA
What's wrong with me? What's
WRONG with me?! I have to take
care of this whole house, an
overactive four-year-old, and a
husband who won't move a muscle
to help, all by myself. That's
what's wrong with me!
YOUNG FRED
(motions to Linda)
Honey, you know.
YOUNG SYLVIA
Oh yes! The poor little girl! We
can't talk about anything! We
have to swallow all our problems
and pretend they don't exist just
because we don't want to upset Linda!
Linda looks up, scared.
YOUNG FRED
(to Linda)
Honey, would you mind leaving
your mom and I alone for a moment?
Linda nods and leaves the living room.
22.
YOUNG FRED (CONT'D)
(to Young Sylvia)
What? You're going to start
screaming in front of the child now?
YOUNG SYLVIA
Yes, I'm going to start screaming
until you get your butt off the
couch and start giving me a hand!
YOUNG FRED
You know what, there's no talking
to you when you get like that.
You want me to get my butt off
the couch -- I'll get my butt off
the couch.
Young Fred stands up and leaves through the front door.
YOUNG SYLVIA
Goddammit, Fred.
Young Sylvia slams the broom against the wall and leaves.
SYLVIA (V.O.)
I was so angry with Fred. I
really wanted to scream at him
but I decided to storm to my room
instead.
INT. LIVING ROOM - PRESENT TIME
SYLVIA (CONT'D)
And what do you know -- I found
you in my room, playing with a
certain porcelain ballerina I
loved so much. Remember the
ballerina? The one my grandmother
game me? The ballerina that was
the one and only piece of
happiness through my whole
childhood? That's the one my
lovely adopted four-year-old
daughter was playing with.
Linda's expression turns to horror.
LINDA
Please, mom, tell me I didn't
break the ballerina. Please. Even
if I did, please tell me I didn't.
23.
SYLVIA
(smiles)
When I saw you, I yelled: "Linda,
don't touch that!" And like every
four-year-old child when she gets
yelled at, you dropped everything
you had on your hands.
INT. FRED AND SYLVIA'S ROOM - 11 YEARS EARLIER
Young Sylvia stands near the door and watches as the
Ballerina falls from Linda's hand.
In slow motion, the ballerina falls to the floor and
shatters into a hundred pieces.
Young Sylvia's expression turns to the same expression her
mother had when she beat Little Sylvia.
YOUNG SYLVIA
You ungrateful little beast!
Young Sylvia goes for the closet, opens it and grabs a large
belt. She lifts Linda and bends her over her lap and hits
her with the belt. Linda cries.
FOCUS ON Young Sylvia's face. She hits Linda again. And
again. Then something stops her hand.
Young Fred stands next to her, holding the belt. He has the
same expression Little Fred had when John hit Aileen.
Young Sylvia turns to Young Fred.
SYLVIA (V.O.)
I hated Fred at that moment like
I hadn't hated anyone in my whole
life. I was looking at him with
the same eyes my mother looked at
me whenever she beat me. He was
looking back at me with the same
expression he had whenever his
father beat his mother.
(beat)
We stayed like that for an
eternity. Hating each other more
than two people have ever hated
each other.
(beat)
Then a voice came from somewhere
inside Fred.
YOUNG FRED
We promised we would never become
our parents.
24.
Young Sylvia turns to the vanity mirror and sees her own
expression.
SYLVIA (V.O.)
To my horror, I had become my own
mother.
Young Sylvia's expression turns to horror, then regret. She
releases the belt and hugs Linda.
YOUNG SYLVIA
I'm sorry, honey. I'm sorry. I
promise, I'll never hit you again.
Young Fred's expression returns to normal. He hugs Young
Sylvia and Linda.
INT. LIVING ROOM - PRESENT TIME
LINDA
I remember that day. I'm sorry I
broke your ballerina.
SYLVIA
Oh, never mind the ballerina.
LINDA
I promise I'll get you a new one.
I don't care if I have to search
the entire world.
SYLVIA
Linda, forget about it. The
ballerina was my escape from a
life I hated. I don't hate my
life anymore. I don't need a
ballerina. I have something better.
Sylvia caresses Linda's hair.
SYLVIA (CONT'D)
I'm sorry I hit you, honey.
LINDA
It's okay. I deserved it.
SYLVIA
No, you didn't. Don't say that.
(beat)
That day was the lowest point in
my life. The lowest point in your
father's life came two years later.
25.
INT. KITCHEN - 9 YEARS EARLIER - AFTERNOON
Linda, six-years-old at this time, stands next to the
counter. There's a jar of cookies on one of the shelves and
Linda is reaching for it, but she's a foot short.
Linda jumps a couple of times, but the jar is still too high
for her.
She looks out to the living room, where Young Fred watches TV.
LINDA
Dad --?
YOUNG FRED
(turns to Linda)
Yeah, honey?
She points to the jar. He smiles, stands up and walks to the
kitchen.
YOUNG FRED (CONT'D)
Do you want a cookie?
She smiles and nods.
YOUNG FRED (CONT'D)
Did you clean your room?
She nods again.
YOUNG FRED (CONT'D)
Not a toy out of place?
She shakes her head.
YOUNG FRED (CONT'D)
Then you deserve a cookie.
He opens the jar, fishes a cookie and gives it to her.
LINDA
Thanks dad!
She walks out of the kitchen, skipping happily.
The phone rings. He picks it up.
YOUNG FRED
Hello.
YOUNG DOUGLAS (O.S.)
Ready to work, buddy?
26.
YOUNG FRED
Don't I have like fifteen minutes
before I start?
YOUNG DOUGLAS (O.S.)
We got a call -- domestic
disturbance.
EXT. DON'S APARTMENT - 9 YEARS EARLIER - NIGHT
The corridor outside Don Harries' apartment. We can hear
sounds of fighting inside.
Young Fred and Young Douglas arrive, and knock on the door.
The sounds stop inside the apartment.
A moment later, DON HARRIES, stout, mean looking, opens the
door.
DON
(smiles)
May I help you?
Young Fred peeks over Don and sees SUSAN, Don's wife,
sitting at the kitchen table, with bruises all over her face.
INT. DON'S APARTMENT - 9 YEARS EARLIER
Young Fred pushes Don into the apartment and cuffs him
behind his back.
YOUNG FRED
You have the right to remain
silent...
DON
Hey, what the hell's wrong with
you! I've done nothing.
Young Douglas enters.
YOUNG DOUGLAS
(to Susan)
Are you okay, madam?
YOUNG FRED
...Everything you say can and
will be used against you in a
court of law...
DON
What the hell are you arresting
me for, you pig?
27.
YOUNG DOUGLAS
Assault and battery.
DON
Why? I didn't touch her. She felt
down the stairs.
Young Fred turns to Susan.
YOUNG FRED
Is that right, madam?
Susan looks scared. She glances at Don before answering.
SUSAN
Well... yes, of course.
YOUNG FRED
Oh, don't give me that crap. Lady,
I know what you're going through,
okay. My father beat my mother
senseless for twenty years, so I
know exactly how you feel right
now. And believe me, you just
have to say the word and I'll
personally make sure this a-hole
won't ever again lay a finger on you.
SUSAN
(doubtful)
Er... I... I don't know what
you're talking about. I just felt
down the stairs.
DON
Lose the cuffs, pig.
Young Fred growls in frustration. He uncuffs Don.
Don smiles.
YOUNG FRED
Don't dream this is the last
you'll see of me.
DON
I'm looking forward to your next
visit, pig.
EXT. DON'S APARTMENT - 9 YEARS EARLIER - MORNING
The following day. Focus on the apartment door for a moment.
28.
SYLVIA (V.O.)
Seeing Susan Harries like that
brought Fred so many memories
about his mother. He had to help
her. But he couldn't help her
unless she decided to help herself.
Don opens the door and leaves the apartment, going for his work.
SYLVIA (V.O.)(CONT'D)
You know your dad. He always
prided himself that he could talk
the legs off a donkey.
A moment later, Young Fred appears at the door, wearing
plain clothes. He knocks.
Susan opens. Her face still has some bruises.
YOUNG FRED
May we speak for a moment?
SUSAN
(nervous)
About what?
YOUNG FRED
Just a friendly talk, okay?
INT. DON'S APARTMENT - 9 YEARS EARLIER - MOMENTS LATER
Young Fred and Susan sit at the table.
YOUNG FRED
...Every memory I have of my
early childhood is about my
father beating my mother. He used
to snap at her for just about
anything. Nothing she did was
good enough for him. And she'd
always come up with an excuse to
explain the neighbors all her
bruises. You have no idea how
much it hurt me to see her like
that --
SYLVIA (V.O.)
Fred must have talked to her for
at least two hours. But he
couldn't get through to her.
SUSAN
Officer Danvers I feel really bad
for you, but I assure you my Don
is nothing like your father.
(MORE)
29.
SUSAN (CONT'D)
He loves me. He really loves me.
I just happen to be very clumsy
and I hurt myself all the time --
SYLVIA (V.O.)
After all the pain her husband
had caused her over the years,
she'd still defend him.
EXT. DON'S APARTMENT - 9 YEARS EARLIER - HOURS LATER
Young Fred leaves the apartment. He looks in pain. He feels
like he failed.
SYLVIA (V.O.)
Your father felt so bad. He had
failed.
(beat)
But that wasn't the worst part.
Young Fred walks to the staircase.
PAN to the next apartment. The NEIGHBOR watches Young Fred
as he leaves.
SYLVIA (CONT'D)(V.O.)
A neighbor saw him leave.
SIX HOURS LATER
Don returns from work. The Neighbor sees him and motions him
to come.
NEIGHBOR
Hey, Harries, I got something for
you. But it's gonna cost you a
hundred.
DON
Is it worth it?
NEIGHBOR
You bet.
Don fishes a hundred-dollar bill from his pocket and hands
it to the neighbor.
NEIGHBOR
(smiles)
It's so good to do business with you.
DON
So, what is it?
30.
NEIGHBOR
You know that cop who was here
yesterday? He came this morning
after you left and spent a few
hours talking to your wife.
Don's expression changes into anger. He heads for his apartment.
INT. KITCHEN - DANVERS' HOME - 9 YEARS EARLIER - AFTERNOON
Young Fred is upset, pacing around the kitchen. Young Sylvia
is cooking. Linda sits at the table.
YOUNG FRED
I can't believe that woman. She
still defended that a-hole. After
all he did to her. Goddammit!
What else can I do!
YOUNG SYLVIA
Fred, calm down.
YOUNG FRED
How do you expect me to calm down,
eh?! Dammit, I just can't believe it!
YOUNG SYLVIA
You're scaring Linda.
Young Fred notices Linda. She looks scared by all his
yelling. His anger instantly fades. He goes to Linda and
gives her a kiss on the head and a hug.
YOUNG FRED
I'm sorry, honey. Daddy isn't
angry with you. It's just that...
I -- I promise not to yell again
in front of you, okay?
LINDA
Did I do something wrong?
YOUNG FRED
No, no honey, of course not.
You're a good girl, and daddy
loves you very much.
Linda smiles. Young Fred heads for the living room. A moment
later the phone rings. He picks it up.
YOUNG FRED
Hello.
NURSE (O.S.)
Hi, Fred, it's me.
31.
YOUNG FRED
Hey, Sal. What's up?
NURSE (O.S.)
You asked me to call you if
anything else happened to the
Harries woman. Well, she just
came in -- with three broken fingers.
Young Fred's expression changes to the anger/frustration
that we've seen a few times before.
YOUNG FRED
Thanks, Sal.
He hangs up and heads for the door. Young Sylvia walks out
of the kitchen.
YOUNG SYLVIA
Who was it?
She notices the expression on his face. She knows that face.
YOUNG SYLVIA (CONT'D)
(sternly)
Fred, what happened?
Young Fred leaves the house without answering.
YOUNG SYLVIA (CONT'D)
Fred!
(to herself)
Damn.
She goes for the phone and quickly dials.
YOUNG DOUGLAS (O.S.)
Porter here.
YOUNG SYLVIA
Doug, Fred just left the house in
a hurry. I don't know what
happened but he's about to hurt
someone.
YOUNG DOUGLAS (O.S.)
Damn. He must've heard about the
Harries woman.
YOUNG SYLVIA
You have to stop him before he
does something stupid.
YOUNG DOUGLAS (O.S.)
No kidding. Bye.
32.
EXT. HOSPITAL PARKING - 9 YEARS EARLIER - MINUTES LATER
Young Douglas arrives in his police car and parks it. Fred's
pickup truck is parked there.
He jumps out of the car and enters the hospital.
INT. HOSPITAL - 9 YEARS EARLIER
Young Douglas rushes to the front desk.
A MALE NURSE is there.
YOUNG DOUGLAS
Have you seen Fred?
MALE NURSE
He asked me about the Harries
woman. She's in room 202.
Young Douglas rushes down the corridor. We follow him.
He turns around the corner of the corridor to another
corridor lined with doors.
A second later one of the doors bursts open and Don flies
out of it. Young Fred follows quickly. He lifts Don off the
floor and starts punching him.
YOUNG DOUGLAS
Fred, stop!
Young Douglas grabs Young Fred and tries to pull him away
from Don, but Young Fred is too strong and keeps kicking Don.
INT. CHIEF'S OFFICE - POLICE PRECINCT - 9 YEARS EARLIER - DAY
Young Fred stands in front of the desk of the Chief of
police. He puts his badge and gun on the desk.
SYLVIA (V.O.)
Fred got suspended for attacking
Don Harries, pending an
investigation. The only reason
they didn't put him in jail was
that everyone knew who Don
Harries was and most of them
wanted to build Fred a statue.
CHIEF
I'm sorry about that, Fred. But
it's your fault.
YOUNG FRED
I know.
33.
SYLVIA (V.O.)
But you know your father. He's
not one to give up easily.
INT. MRS. ATKINS' APARTMENT - 9 YEARS EARLIER - DAY
Mrs. Atkins' apartment is the one right in front of Don's.
Mrs. Atkins is an eighty-two-year-old woman. She sits at her
table. Pouring tea for herself and for Young Fred.
YOUNG FRED
Oh yes, I remember all the news
about it.
MRS ATKINS
Oh, it was horrible. The worst
fire I've ever seen. It's a
miracle no one got hurt.
YOUNG FRED
A miracle. We could use so many
of those around here.
MRS ATKINS
Well... sometimes you have to
make your own miracles.
YOUNG FRED
You know, I couldn't agree with
you more.
We hear argument noises coming from the next apartment. We
can't make out what they're saying, but it's clear the
voices come from Susan and Don.
YOUNG FRED (CONT'D)
Oh, what do you know? I think
we're running low on sugar.
Perhaps I should go to our
friendly neighbor's apartment and
ask him for some.
MRS ATKINS
Yes. PLEASE do that.
EXT. DON'S APARTMENT - 9 YEARS EARLIER - MOMENTS LATER
We can hear the shouting more clearly now.
Young Fred knocks on the door. The shouting stops. A moment
later the door opens.
Don glares at Young Fred, who smiles warmly.
34.
YOUNG FRED
You know, I was having a
wonderful cup of tea with my very
good friend Mrs. Atkins -- you
remember her -- she's your next-
door neighbor. So anyway, we were
having tea -- like we do most
afternoons -- and we seem to have
run out of sugar. And I was
wondering if you'd be so kind as
to give us a bit of it, you know,
so we can continue talking for
hours and hours about Leesburg's
history.
DON
You think you can scare me?
YOUNG FRED
Oh, I don't want to scare anyone,
I just want to have some more tea
with my good friend Mrs. Atkins,
whom I visit every day for hours
and hours.
Don slams the door in Young Fred's face.
Young Fred continues to smile as he heads back to Mrs.
Atkins' apartment.
EXT. STREET - 9 YEARS EARLIER - NIGHT
A deserted street. Don walks lazily back to his apartment.
Young Fred follows some twenty yards behind. Don hasn't
notice him yet.
SYLVIA (V.O.)
Fred continued to annoy Harries
day in and day out. He was
suspended so he had nothing
better to do with his time and he
made sure Harries knew it.
Don notices Young Fred and hurries his step.
SYLVIA (V.O.) (CONT'D)
Fred was hoping that Harries
would make a mistake.
(beat)
One night he did.
Don starts running now. Young Fred runs after him.
EXT. ALLEY - 9 YEARS EARLIER
A Punk robs a teenager at gunpoint in the alley.
35.
Don darts into the alley. The Punk reacts instinctively by
firing his gun at Don. The bullet hits Don in the abdomen.
He goes down, clutching the wound.
The teenager runs one way. The Punk runs the other, toward
the entrance where Don came from.
The Punk runs into Young Fred who cloth-lines him, knocking
him out.
Young Fred stares at the Punk, then turns to Don, lying on
the ground, bleeding.
DON
(weakly)
Help... me...
YOUNG FRED
(chuckles)
Really? You want MY help?
Young Fred turns back to the Punk. He pulls a hanky out of
his pocket and grabs the Punk's gun, making sure he leaves
no fingerprints on it.
He points the gun at Don's head.
YOUNG FRED (CONT'D)
Do you know how easy it'd be for
me to blow your head off and
blame it on that kid?
Don stares at Young Fred in horror, panting heavily.
DON
Please... don't...
YOUNG FRED
But I'm not going to do that. You
want to know why, Donny?
(beat)
Because if I do it, the kid gets
the gas chamber. Do you understand
my reasoning here, Donny? I want
you to die, Don. Believe me, I do.
And I could easily kill you. And
not only I'd get away with it,
I'd be a hero for catching your
murderer. But I can't do that to
that stupid little punk back
there. Yeah, I know, that kid
wouldn't think it twice to blow
my head off for ten bucks. But
still, I can't do it. It's just
my nature.
36.
DON
Please... help...
YOUNG FRED
I could just turn around and walk
away and let you bleed to death
here. But I'm not going to do
that either.
(beat)
Consider yourself lucky.
INT. HOSPITAL CORRIDOR - 9 YEARS EARLIER - HOURS LATER
Young Fred stands next to the door to the emergency room
where doctors operate on Don.
Young Douglas arrives.
YOUNG DOUGLAS
Fred, what did you --
YOUNG FRED
Hey, it wasn't me. I didn't shoot
the bastard. I'm not saying I
didn't enjoy it. But I didn't do it.
YOUNG DOUGLAS
Fred...
YOUNG FRED
I'm not lying to you. Evans just
booked the punk who did it. Ask
him if you don't believe me.
Susan Harries arrives. Her hand still on a cast.
SUSAN
Thank you, Mr. Danvers, for
saving my husband's life --
Young Fred's expression turns to anger, he drags Susan into
an empty room.
INT. EMPTY ROOM - HOSPITAL - 9 YEARS EARLIER
YOUNG FRED
What are you doing here?
SUSAN
I... I came to see my husband of
course.
YOUNG FRED
Why don't you get away from him?
He's alive, but he's going to be
out of it for a couple of months.
37.
SUSAN
Why would I want to get away from
him?
YOUNG FRED
Dammit! Are you still going to
protect him?! After what he did
to you?!
Young Fred grabs Susan hand, the one with the cast.
YOUNG FRED (CONT'D)
He did this because we talked,
didn't he?
SUSAN
I don't know what you're talking
about. I just fell down --
YOUNG FRED
Don't give me that crap again! He
broke your fingers! Stop
protecting him! Come on, Susan,
snap out of it!
SUSAN
I don't know what --
YOUNG FRED
Please, Susan! I swear to you, on
my mother's grave that all you
have to do is say the word and
he'll never, ever lay a finger on
you again. Why don't you believe me?!
SUSAN
(beat, almost crying)
I do. I do believe you.
YOUNG FRED
Then why don't you do it!?
SUSAN
You think Don's a monster, but he
isn't. He loves me. He takes good
care of me.
YOUNG FRED
He doesn't love you. He just
loves the fact that he can beat
the crap out of you and you won't
fight back. You have to leave him,
or he'll end up killing you.
38.
SUSAN
But if I leave him -- then what?
What would I do? I have no
education. I can't do anything.
Your mother had you to take care
of her, but who do I have to take
care of me?
Something happens inside Young Fred's head. An epiphany of
sorts. All the anger flushes out of his body. He stares at
her for a long moment.
YOUNG FRED
How about yourself?
(beat)
Look, Susan, I'm tired of this.
I've done everything I can to
protect you. I got suspended and
might even end up in jail because
of you. And you won't move a
finger to help yourself. That's
fine with me. But I'm not going
to help you anymore. If you want
to stay with that husband of
yours; that's your choice. I'm
not going to interfere anymore.
But if you ever decide to stand
on your own two feet. If you ever
decide that your life should be
more than an endless string of
tense moments waiting for the
next time he decides to turn you
into a punching bag. If you ever
decide to live, not just exist.
Then give me a call and he'll be
out of your life forever. But
until that moment, you're on your
own.
Young Fred walks out of the room.
Susan watches him helplessly as he goes away. She looks like
she wants to say something, but can't.
INT. KITCHEN - DANVERS' HOME - 9 YEARS EARLIER - DAY
Linda stands in front of the counter, again trying to get
the cookie jar which is just inches out of her reach.
Young Fred watches TV at the living room.
39.
SYLVIA (V.O.)
Susan decided to take care of Don
during his convalescence. A week
later Don needed to go to the
bathroom, and apparently Susan
didn't help him fast enough, so
he -- well, let's say he was very
impolite about it. So Susan
stabbed him with a knife in the
wound. He would live. And Susan
decided that so should she. She
called Fred and in less than a
week, she was already moving to
another city with a job and new
name thanks to the Witness
Protection Program.
Linda keeps trying to reach the cookie jar.
LINDA
Dad --?
SYLVIA (V.O.)
Every Christmas Fred receives a
letter. It has no name or return
address on it. But we know it's
from Susan. The letter has only
six words written on it. It says:
thank you Fred, I love living.
Young Fred enters the kitchen.
YOUNG FRED
Do you want a cookie?
LINDA
Uh-huh.
YOUNG FRED
Is your room clean? All toys in
their place?
LINDA
(smiling)
Uh-huh.
YOUNG FRED
Then you get a cookie.
He goes for the jar and freezes.
SUSAN (V.O.)
...but who do I have to take care
of me?
40.
He slowly releases the jar, turns to Linda and stares at her
for a long moment.
YOUNG FRED
What am I doing, honey? You're a
big girl now. You don't need your
big old daddy to get the cookie
for you. You can get it yourself.
LINDA
(doubtful)
It's too high. Can't reach the jar.
YOUNG FRED
And what do we do when something
is out of reach?
LINDA
(smiling)
We call daddy?
YOUNG FRED
Try again.
She thinks about it, then drags a chair next to the counter.
She climbs the chair, opens the jar and grabs a cookie.
He hugs her. He looks as if about to cry.
She hugs him back. She leans her head on Young Fred's
shoulder while she nibbles at her cookie.
A moment later, he pulls back, looking as proud as can be.
She grabs another cookie and offers it to him.
LINDA
Wanna cookie?
YOUNG FRED
No, you eat that one too, honey.
You've earned it.
LINDA
Why?
YOUNG FRED
Because you're a big girl now.
INT. LIVING ROOM - PRESENT TIME
SYLVIA
Susan changed Fred almost as much
as he had changed her. Before
that whole incident.
(MORE)
41.
SYLVIA (CONT'D)
Your father thought the goal of
his life was to protect you. He
did everything for you. He
treated you like you were made of
crystal.
(beat)
He treated you like he had
treated his mother. After he met
Susan, he realized that maybe the
best way to protect someone is to
teach her how to protect herself.
LINDA
Yeah, I remember dad was always
teaching me to do things by myself.
SYLVIA
(chuckles)
He was so happy the day we
discovered you had powers. But
that's nothing compared to how
happy he was when you returned
from your debut as Supergirl.
INT. FRED AND SYLVIA'S ROOM - THREE MONTHS EARLIER - NIGHT
Fred and Sylvia lying on their bed. Fred is smiling ear to ear.
FRED
You should've seen her, Syl.
She's a natural. She handled
those kids like she's done it a
million times. She let her guard
down for a moment -- that was a
mistake -- but she recovered so
well...
Sylvia chuckles.
INT. LIVING ROOM - PRESENT TIME
LINDA
Yeah, I know. I heard you guys
talking. Sorry. I keep forgetting
not to do that.
SYLVIA
Never mind that.
Sylvia chuckles.
SYLVIA (CONT'D)
(beat)
So are you okay, honey?
42.
LINDA
Er... I... I always thought
grandparents were these really
cool old people who always gave
you money and cookies. I never
really... you know...
SYLVIA
Your grandparents weren't exactly
typical. And neither are your
parents, for that matter. And
neither are you, of course. Now
tell me, do you understand what
happened to Karen this afternoon?
LINDA
Not really. I'm still in shock.
I'm not really thinking clearly
right now.
Sylvia chuckles.
SYLVIA
Oh, honey. Well, Karen had a huge
fight with her mother. She was so
angry with her. She hated her
mother at that moment. Then I
made a harmless comment and she
turned all that anger toward me.
But at the very instant the words
flew out of her mouth, she
realized what she had done. She
thought I was going to kick her
out of the house.
(beat)
I know exactly how Karen feels
when she's here. At her home, she
feels constrained -- like she's
trapped inside a very small box.
She can't move. She can't even
think. Because everything she
does is wrong. No matter how hard
she tries. No matter how good her
intentions are, her mother will
always find something wrong with
everything she does. Here she
feels free. She can move. She can
talk. She can think. She feels
exactly how I felt at Fred's
house the night he kicked John
out. So when Karen yelled at me,
she felt that her whole world was
about to collapse.
(MORE)
43.
SYLVIA (CONT'D)
Not only did it mean that she was
going to lose this little
paradise because of what she did.
Not only did it mean that she was
going to be forced to return to
her home, begging her mother to
take her in even after she told
her to go to hell. But worst of
all, it meant that her mother had
been right al along -- that she
can never do anything right.
LINDA
I didn't know Karen felt like that.
SYLVIA
Yes. And that's part of the
problem. You're her best friend
and she can't talk about it --
not even with you.
LINDA
Oracle said she needs to learn
how to deal with her problems.
SYLVIA
She does. You need to talk to her.
Only you can help her.
LINDA
Could you...
SYLVIA
It has to be you. She won't talk
to me either.
LINDA
But she loves you.
SYLVIA
Exactly. She's too afraid of
saying something I won't like.
But with you, she doesn't mind
saying anything. Well, at least
she doesn't mind telling you
something you might not like.
LINDA
Like calling me dork, or
knucklehead...
SYLVIA
Uh-huh.
Linda smiles.
44.
LINDA
I'll try to talk to her.
INT. LINDA'S ROOM/KAREN'S ROOM - NIGHT
SPLIT SCREEN. One half shows Linda on her bed. The other
half shows Karen on hers. They both look about ready to
sleep. Karen's room is almost identical to Linda's only the
furniture is sparse (it's a guest room).
They talk to each other in hushed tones. (They can hear each
other quite well, of course.)
LINDA
Karen...?
KAREN
What?
LINDA
Can we talk?
KAREN
We ARE talking, Einstein.
LINDA
You know what I mean.
A beat. Karen turns around, facing away from Linda's room.
She looks sullen.
KAREN
I don't wanna talk.
LINDA
Karen...?
KAREN
Leave me alone.
LINDA
Okay. If that's what you want.
Linda turns to her side and closes her eyes.
A beat.
KAREN
You wouldn't understand.
Linda opens here eyes again.
LINDA
Then explain.
45.
KAREN
(beat)
You have the coolest parents in
the world. I wish so much they
were my parents. I'm so jealous
of you.
LINDA
You should hear about my
grandparents some time. That'll
knock the jealousy right out of
your mind.
KAREN
What the hell's that supposed to
mean?
LINDA
Well, mom can't have children of
her own because my grandmother
stabbed her with a knife because
she thought mom was pregnant when
she was fourteen.
KAREN
(beat)
You're kidding me, right?
LINDA
No.
KAREN
Wow.
LINDA
But that's not the worst part.
KAREN
It isn't?
LINDA
No. But if you don't want to hear
about it, I'll understand.
KAREN
No, no, I wanna hear -- I mean,
it's not like I wanna hear about,
you know, bad things, but if you
wanna talk about it...
LINDA
Yeah, but it's kinda hard to talk
about it.
46.
KAREN
(beat)
Yeah. I know.
LINDA
Tell you what. Why don't you tell
me something about your parents
and then I'll tell you something
about my grandparents?
KAREN
(beat)
Okay.
Karen takes a deep breath. She tries to talk, but can't find
the words. It's too painful.
KAREN (CONT'D)
Mom hates everything about me.
Everything I do is wrong. I'm
nothing but a drooling idiot who
can't do anything right...
EXT. CEMETERY - DAY
CLOSE ON Fred standing in front of his mother's grave. He
places flowers on it.
FRED
Hi, mom. I know this isn't one of
our dates but this is sort of a
special occasion. I want to
introduce you to your granddaughter.
PAN BACK. Linda stands next to Fred.
FRED (CONT'D)
I hadn't brought her here before
because I thought she was too
young and I didn't want her to --
you know -- get mixed up with all
the mess that was our lives. But
I think it's time for you two to
meet each other. Her name is
Linda. I'm so incredibly proud of
her I just can't put it into
words.
(as an aside)
She's Supergirl, you know.
LINDA
(smiles)
Dad!
47.
FRED
Well, she's your grandmother. You
shouldn't keep your secrets from her.
Linda chuckles.
FRED (CONT'D)
But seriously, mom. She's the
greatest girl I know. I'm sure
you would've been so proud of her.
LINDA
I'm proud of you too, dad.
FRED
Of course, you are. I'm the
greatest dad in the planet. There
are like a hundred songs written
about me. There are websites and
everything.
LINDA
Dad, don't joke. I'm still a bit
queasy about the whole family
history. And being in a cemetery
doesn't help.
FRED
This place makes you nervous?
Remind you to take you to the
morgue some day.
LINDA
Dad!
FRED
C'mon. Relax. Geez, if I'd known
you'd get like that I would've
asked you to wear your little
outfit or something.
Linda chuckles.
FRED (CONT'D)
Now, say something to your grandma.
Linda turns to the grave. She tries to say something, but
doesn't know what to say. She turns to Fred.
LINDA
I don't really know what to say
to her.
48.
FRED
It's symbolic, honey. That's not
your grandmother. It's just her
tomb. Just say what you feel.
Linda turns to the tomb again. She tries to find the right
words for a moment before speaking.
SLOWLY PAN away from them.
LINDA
Hi, grandma. It's a pleasure to
meet you. Or at least I'm sure it
would've been a pleasure to meet
you. I know dad loved you a lot
and mom told me she loved you too...
FADE OUT.
THE END
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