Pacify the Lions
(working title)

first draft

08/27/01

Treatment

Pacify the Lions is a story of Burke Weston, eighteen years old, who, at a young age, witnessed his father murder his mother and then commit suicide. The inner conflict of dealing with the loss of loved ones juxtaposed alongside the anger of hating/blaming the one you love drains him until he seeks out the only remaining person involved with the tragedy -- his dead mother's boyfriend.

This is a journey that begins with the murder/suicide viewed through the eyes of a young boy to the confrontation (years later) of the only one left to blame.

Pacify the Lions shows the path anger and violence can take when victims of tragedy are left on their own to comprehend the inexplicable.

"Sometimes the hardest thing to accept is nothing."

CAST

Tiffany Weston

Frances Smith

Burke Weston

Dick Weston

Police Officer (1)

Deford Bailey

Father in Park

Jay Avila

Diane Avila

Officer Cheval

Tag Line

              We shouldn't be surprised, a kid will only give back to the world what they were given.

Interior

Open on an broad-stroked watercolor of a kitchen counter with milk and cereal. We hear incidental noise of coffee pouring, spoon clicking on a mug, cupboards open and close. The image melts to a live shot of the same kitchen.

TIFFANY (O.S.)

I need you to help me today, Burke. I can't be late another day. Please eat your cereal.

We pull back from the counter to establish the room. Tiffany Weston (late twenties, dressed conservatively, like a bank teller) walks around the room drinking coffee on the move. At a kitchen table sits Burke Weston. He is seven years old. He looks as if he was dressed in a hurry. He just stares at the bowl of cereal in front of him. His hands are his side.

TIFFANY

(losing patience)

Oh, we can't play this game today, honey. I can't be late to work again. Please help me. Please eat your cereal.

The swinging door opens. Francis Smith, Tiffany's mother enters. She is in her late fifties, wearing a nightgown mostly covered by a thin robe.

FRANCIS

Can I help you today, Baby?

TIFFANY

It's Burke. He won't eat again. I can't be late again, mother.

FRANCIS

(to Burke)

Hey, Baby-baby. You've got to eat for your mother.

Burke stares at the bowl of cereal, his arms still at his side. A knock make all three turn toward the screened door.

DICK (O.S.)

Hey, little man.

BURKE

Daddy!

Burke runs to door. Through the screen, we see Dick Weston. He is in his late twenties, thin blond hair. He wears loose levis, with a demin jacket. He is not buff, but thick.

DICK

(to Burke)

Think your mother will let me in?

TIFFANY

What are you doing here?

FRANCIS:

I'm calling the police.

TIFFANY

Don't worry about it, mom, he'll leave.

FRANCIS

I'm calling the police.

Francis leaves the room. Burke opens the door and Dick comes in. He reaches down where he and Burke embrace.

TIFFANY

You know you shouldn't be here. We've gone through this before. And not today, Dick, I've got to get to work.

Dick leans against the counter.

DICK

I wanted to see my son.

TIFFANY

You can see him on the days we've scheduled. Now you better go.

DICK

Expecting company?

TIFFANY

Please, Dick. I know my mother will call the police. And you shouldn't be here.

DICK

Miss your dad, little man?

Burke shakes his head spastically

TIFFANY

He has to eat. I can't get him to eat.

Dick walks Burke to the table and kneels next to his chair.

DICK

Let's see what we can do about this bowl of cereal.

Francis swings open the door and looks in

FRANCIS

Are you alright, honey.

TIFFANY

Yes, I'm fine. He was just leaving. We'll be fine.

FRANCIS

(as the door closes)

I called the police.

DICK

Fuck!

TIFFANY

Don't talk that way in front my son.

DICK

I'm sorry.

TIFFANY

You better go.

DICK

(to Burke)

I was hoping you would grow up strong so you could help me push the boat off the pier. But you've got to eat, son. Watch, I eat this stuff every morning. It makes a big man out of a little man.

He takes a bite and swallows hard.

Yah, sugar is bad for you.

Burke starts to eat. Tiffany leans against the counter and watches the exchange.

TIFFANY

I always knew you would be a good father. That why I married you. Burke needs a good father.

DICK

You mean like that spick?

TIFFANY

(controlling her anger)

It's time you go.

DICK

Are you gonna get that wetback to kick the shit out me.

TIFFANY

Get the hell out of here.

Dick stands and reachs for Tiffany

DICK

(apparently composed)

Language, Tiff.

TIFFANY

Don't touch me. And get the hell out of this house.

DICK

Who are you to tell me what do?

TIFFANY

Get out!

DICK

I'm not that spick, Jay Avila. You can't boss me around.

TIFFANY

This isn't about Jay. This is about you being an asshole.

Tiffany reaches out and pushes Dick toward the door.

DICK

Don't fucking push me, bitch.

Dick backs up against the counter. He reaches into to his jacket and pulls out a revolver and points it at Tiffany.

Tiffany backs up against the opposite wall

TIFFANY

What...What...

DICK

Not so tough now, are you bitch?

TIFFANY

Richard...Burke...

DICK

I should have killed that Mexican.

TIFFANY

Not Jay!

DICK

Not Jay? Not Jay?

He pulls the trigger. The first shot hits Tiffany in the chest. She bounces off the wall and holds her bleeding chest. She looks at Burke and tries to talk. She falls to the floor. Dick walks up to her

DICK

You'll never fuck that spick again.

He shots her again. Blood splatters against his face and hair. He turns to Burke.

DICK

She...I...

Dick stands next to Burke and turns toward where Tiffany fell.

DICK

I'm sorry, little man.

Dick turns full toward Tiffany and brings the revolver to his own head. We pan off Dick and shows Burke who stares with an open mouth. We hear the gunshot and blood and debris splatters on Burke's face. Other than a blinking reaction, his face does not change expression. We slowly zoom into Burke. In the background we see Francis rush in.

FRANCIS

(shouting)

Oh, God! Oh, God! Baby...Baby

A cop rushes in the screen door. The zoom closes in on Burke. We hear (O.S.) the cop calling for an ambulance. We hear Francis bellow. Burke stares with a frozen expression. Francis' scream is followed by the silence of her lungs refilling with air. We FADE INTO a high long shot of the room with Tiffany dead against the wall. Francis bellows. In the silence that follows, we hear a loud guitar begin.

Fade to black.

2. Montage

FADE IN

Over song we see an eight year old Burke in school. A male teacher is dragging Burke out of class down the hall. It is obvious the teacher is beyond angry.

FLASH CUT TO

a slightly older Burke on the playground. A same aged girl is standing alone. Burke is smiling and walks up to her. He crowds her space. She steps back. It looks like innocent child play. He pulls her pony tail and she pulls her head away. Still smiling, he pulls her ponytail harder. She pushes him away. The smile disappears and Burke violently pushes her to the ground.

FLASH CUT TO

still an eight year old Burke. His grandparents are talking to a police officer. Burke is standing with head bowed.

FLASH CUT TO

A twelve year old Burke with his much older grandmother. She is standing yelling at him and he just walks out the door. She goes to door and continues yelling.

FLASH CUT TO

Twelve year old Burke with a brick in his hand. At his feet is a dead cat. We can see a new wound on the side of a cat. He kicks the corpse across the ground. He walks up the cat and stares down. We zoom into a tight shot of Burke. He has a smirk on his face that melts to anger. He raised the brick over his head and throws. He bends over, leaving the screen, he apparently picks up the brick, reenters the screen and throws the brick again. We hold on a tight shot of Burke as he appears exhausted.

SLOW FADE

3. Case Worker's office

Interior

FADE IN on case workers office. Our POV is from behind Burke's back toward a cluttered desk. A gold plated name placard reflects light. Deford Bailey, the man in the nameplate, sits back in his chair and reads a report folder. He is a large black man who looks uncomfortable in a shirt and tie. When we finally see Burke, now eighteen, quite resembles his father. He is dressed in a white tee shirt and orange sweatpants.

BAILEY

(looking up)

You're one lucky son of a bitch, one hell of a lucky son of a bitch. Eighteen years old and some old pussy judge amends that attempted murder charge to assault with intent to harm. Harm? Fuck. Now, you keep your ass clean in a proctor home and get a job and you'll be on your own in about three months. One lucky son of a bitch, don't you think?

Burke sits with head bowed between his splayed legs, slowly looks up nodding

BURKE

Yah, lucky

BAILEY

I've been your case worker for six years. I know the shit you've seen. I know the shit you been given. But this record shows the shit you've given. Isn't it time it evens out.

Burke nods

BAILEY

Look, Burke, it isn't fair. I know that. Ok, so your dad kills your mom and then himself. Your grandmother dies in an accident when you were twelve and your grandfather dies six months later for the hell of it, and you are left alone. In and out of foster homes and state custody and detention...

Bailey rifles through his folder

shoplifting, assault, larceny, another assault, you steal a car...all before your sixteen. Then you go after some kid with a...a...what was it again?

BURKE

(proud)

A sheath from a ceremonial sword...

BAILEY

...yah, a sheath from a ceremonial sword. He nearly died. Remind me why again.

Burke bows his head again and doesn't answer.

BAILEY

(reads from a page in the folder)

You said, because you didn't like the color of his car. Burke, look at me. Burke!

Burke looks up

BAILEY

Don't you think it's even yet?

(silence)

Don't you think you've punished the world enough? Isn't it time to stop paying back and start living? It's your choice now.

(waits for answer)

Is it done?

(waits for answer)

Is it over? Burke, is it over now?

Burke slowly realizes that unless he answers he may never leave the office

BURKE

Yah...it's over.

Bailey stands and walks around the table

BAILEY

You have to come see me every week...And Adult Probation too. Maybe some therapy, that's up to AP. You've got to keep your ass clean, kid. The next time it's gonna be prison. And you don't want that shit. Trust me. You don't want that shit. If you need to talk to someone, give me a call. Serious. Call me anytime. And stay away from ceremonial swords.

Bailey reaches down and tips Burke's head

BAILEY

Listen, I'm sorry you've been given this raw deal. No shit, nobody deserves what's happened to you. But you've given enough back to call it even, right?

(waits for answer)

When you leave here today, let's say it's over. What do you say?

(waits for answer)

What do you say?

(waits for answer)

BURKE

(empty)

Yah, it's over

Fade to Black

4. Small Park

Exterior

FADE IN

We see Burke walking through the park. His hair is longer and we assume it is three months later. The park is nearly empty except for a young family of three ÷- the father is sitting on a swing, his long legs balancing him as he leans back on the seat, the mother pushing a small boy who shrieks with glee each time the swing reaches it apex. Burke sits on a log bench, and watches them without expression. The low music (baptism music) starts to slowly build. The feeling is sadness building to hopefulness. Of course, they resemble his family or what could have been his family. The POV changes is from behind Burke facing the family. He watches as the father moves from his seat and dares the small boy to jump from the swing to his arms. We alternate between the behind Burke's pov and a slow zoom to Burke's face. The small boy shrieks

FATHER

Jump, Jacky. Trust me.

The mother pushes the swing. Jacky shrieks

FATHER

Don't worry. I'll catch you. I'm here. Jump, Jacky, Jump

Finally Jacky jumps. The father catches him and wrestles and tickles Jacky on the ground. Jacky screams and the father and mother laugh. The sound which started at normal volume slowly amplifies. Zoom to closeup of Burke. The noise becomes deafening. Finally Burke looks away and the noise stops. The family continues play fighting, but without noise. When Burke looks up, they are walking away. The father and mother are holding hands and Jacky is running around tugging at his father's leg. Burke moves over to the same swing that Jacky jumped from. He slowly rocks back and forth. (begin baptism theme) There is a sense of acceptance. Burke head begins nodding slowly, he seems to have come to a closure. He pulls a small pistol from his jacket. He looks at it and puts it back in his pocket. He walks out in the direction of the family.

5. Avila's home

Interior

FADE IN on well lit hall and closed door. We hear the doorbell and moments later, a man walks into the hall. He is mid thirties, tall, slim, dark...the opposite of Dick Weston. He opens the door and sees Burke in the dark of night. He has harsh shadows on his face from the hall lighting. The two look at each other.

BURKE

I'm Burke Weston. Tiffany Weston was my mother. Are you Jay Avilas?

JAY

Hello, Burke.

(silence)

Please, come in.

Jay opens the door and Burke enters. Diane Avila enters. She is late twenties, small, white, resembles Tiffany Weston.

DIANE

Who is it, Jay?

JAY

Burke, this is my wife Diane. Diane, this is Burke Weston, Tiffany's son.

Diane gasps

JAY

We heard you were back.

DIANE

Jay?

JAY

It'll be ok. What can I do for you, Burke.

BURKE

I wanted to talk to you...ask you about my mother and things.

JAY

Sure. Come on in...

Jay steps back and motions to another room. We follow with Jay leading, Burke following and Diane standing back.

JAY

Sit down.

Burke sits comfortably in a overstuffed chair.

JAY

We got a letter a few weeks ago telling us that you were being released and that you made some veiled threats towards me...and my family. I would like to think that it was some misguided anger. I trust that it was your curiosity and a need for closure that brought you here.

Burke nods.

JAY

I was sorry to hear about your grandparents. They were good people.

Burke coninues to nod

Diane pokes her head in the door.

DIANE

Jay, I called the police.

BURKE

Fuck!

JAY

(to Diane)

There was no need for that, honey. We're just here to talk.

(to Burke)

I'm sorry about that.

(to Diane)

Could you call them back and tell them not to bother?

Jay sits forward on the couch.

JAY

Let's talk. What do you want to know?

BURKE

I don't know.

(pause)

I guess...my mom...

JAY

I knew your dad from high school. We both played baseball. I remember Dick was pretty cool. Good ballplayer. When he married your mother, I went to the wedding. She was so beautiful. She came from another school. They met at a game. She told me later that she wanted to go to college, but she traded that in on your dad...and you. She said it was worth it. After they separated, she started working at the county assessors office. I was a surveyor then. I used to go into her office maybe four five times a week to get plot specs. Everyone else there was so old, it was natural that we began a friendship. So...we ended up hanging out.

BURKE

Hanging out?

JAY

Yes, she was still legally married to Dick, so she was very careful. She didn't want to call it dating. We hung out. We were together for nearly a year. Don't you remember? You were there most of the time.

BURKE

Yah, I remember.

JAY

I really loved your mother. And it was clearly over between Tif and your dad.

BURKE

Why?

JAY

I think it was because they got married too young. They both grew up as a couple and parents. Trouble was, when they got there, they were different people than when they started.

BURKE

Did you ever sleep with her?

JAY

I loved your mother, Burke. I'm not going to answer that.

BURKE

Did you?

Jay smiles and shakes his head meaning that he wasn't going to answer.

BURKE

(almost whispering)

Then why was my dad so angry.

JAY

I don't know. He was never physical in that rage. But he sure was angry. I don't think your mother was afraid of him. At least she didn't tell me she was. She did say that the only time he flipped out was when he mentioned my name. He had a hard time accepting that. But to kill...you know. There was no way of guessing he could kill her.

BURKE

...and himself.

JAY

...and himself. Your mother wanted to go to school. She wanted to be a teacher, history teacher. Did you know that?

BURKE

No.

JAY

She would have been a good one.

We hear a loud knock.

JAY

That must be the police. I'm sorry my wife called them.

Burke leaned forward on the chair no longer comfortable. He reached for the pocket of his jacket.

BURKE

Shit.

JAY

Are you in trouble?

BURKE

Shit. Probation.

JAY

Do you have something you shouldn't have? Drugs? Gun?

BURKE

Shit!

JAY

Do you have a gun?

BURKE

Yes.

JAY

Give it to me.

BURKE

What?

JAY

Give it to me.

BURKE

Shit.

JAY

Give me the gun.

Burke stares at him.

JAY

Trust me.

Burke reaches in his pocket and hands Jay the pistol. Jay tucks it under the cushions of the sofa. The officer enters following Diane.

OFFICER CHEVEL

If everything alright here?

JAY

Yes, no problems.

OFFICER CHEVEL

You live here?

DIANE

That's my husband, Jay Avila.

OFFICER CHEVEL

(to Burke)

And you are?

BURKE

Burke Weston.

OFFICER CHEVEL

I was told you were on probation and that you were told not to come here.

JAY

Everything's ok, officer. We were just talking.

OFFICER CHEVEL

(to Burke)

You know I could take you in right now?

Burke does not answer

Get up.

Burke stands up. The officer pats him down.

Would you like me to escort him out of here?

JAY

No, that won't be necessary. Thank you coming out here, but I don't feel we have a problem.

OFFICER CHEVEL

No problem. If he causes you any problem, just let us know.

(to Burke)

I'll be watching for you.

Diane escorts the officer out of the room. She returns.

DIANE

I'm sorry, honey. I was just...

Jay goes over to Diane. He embraces her.

JAY

Don't apologize. But I think we will be fine.

Diane leaves the room. Jay takes the pistol out of the sofa and places it on a side table. He sits down and motions for Burke to sit. Finally Burke does.

JAY

I loved your mother, Burke. I was planning to marry her. And she loved me. It took quite a while to get over her death. But I did. I haven't forgotten her. And I hope I never will. But I got over it. I hated your father for what he took away from me. But I can't have it back.

(Silence)

I wanted to see you after. I just didn't have a right. When your grandparents died, I wanted to see if I could do anything for you. But by then, you were gone. I read where you were in and out of trouble and felt for you. I met Diane and fell in love and married. We have two kids, both girls. When we received that letter a few months ago, I had to explain it all to her. She knew about Tif, I had told her. But it scared her. I felt guilty. But she was scared.

(Silence)

I'm glad you came here. There was so much I wanted to tell you. Like how much your mother loved you. Like who she was and what she felt...what she liked and what she hated...I wanted you to know everything I knew about her. I knew it wouldn't be much, but I was something.

(Silence)

Jay was giving Burke a change to say something.

JAY

I'm sorry your father killed your mother... and himself. I'm sorry for my sake and I'm sorry for yours. But here we are. I hope you come back. I hope you can think of us as family.

Burke starts to stand. Jay stands.

BURKE

Thanks. And for that...

He points toward the pistol.

thanks.

Jay picks up the pistol and hands it back to Burke.

JAY

You should get rid of this. It will only bring you trouble.

Burke hesitates but takes the pistol and puts it back in his pocket. Burke turns to leave.

JAY

Burke!

Burke turns.

JAY

I could have been your stepfather. In fact, I was going to be your stepfather. Come back. You're not alone now. We're here.

BURKE

Thank you. I'm sorry I came here to kill you.

JAY

I'm glad you didn't. Listen whatever happened is over now. It's time for a new beginning. It's time to forgive mistakes. I hope you see that. And I hope you come back.

SLOW FADE TO BLACK

6.  Exterior Park

FADE IN to park at night. The park is empty. Burke appears exhausted. Like he has walked most of the night. He collapses on the log bench with arm outstretched like Christ on the cross. POV directly above him.

BURKE

(mumbles)

...Fuck!

the image of the empty swing slowly fades in superimposed over half the screen. It moves slowly by itself.

BURKE

OK...Ok...ok...you hated her, she hurt you and you hated her...and you loved her. So you killed her. Fucking pussy. Why didn't you kill me? Didn't you love me enough? You killed yourself. Fucking pussy. Left me here alone.

(silence)

Fuck!

(silence)

I wish I hated you.

Burke takes in a deep breath and walks to the swing. The music (baptism theme) begins. The image of the swing come forward taking focus from the log fence. Burke sits on the swing and with his feet pushes himself as far back as he can go. He looks up.

I forgive you, fucker.

Burke begins swinging. A slow pull back shows him gaining height. The music begins to crescendo as we see Burke jump from swing and tumble to the ground. He rolls to his back. From our ever longer distance we see Burke reach into his jacket for the pistol. We see light reflect off the barrel as he brings the pistol to his head. The music builds to the end and we hear the report and see Burke kick.