Baywatch (1989–2001): Season 2, Episode 7 - Sandcastles - full transcript

Hobie meets a homeless girl, named Charlie, who's about his age and gets Mitch to help Charlie find her missing mother. Meanwhile, Eddie gets stabbed by a crazed homeless man known as ...

[THEME MUSIC PLAYING]

-♪ SOME PEOPLE STAND
IN THE DARKNESS ♪

♪ AFRAID TO STEP
INTO THE LIGHT ♪

♪ SOME PEOPLE NEED
TO HELP SOMEBODY ♪

♪ WHEN THE EDGE OF
SURRENDER'S IN SIGHT ♪

♪ DON'T YOU WORRY

♪ ITS GONNA BE ALRIGHT ♪

♪ 'CAUSE I'M ALWAYS READY

♪ I WON'T LET YOU
OUT OF MY SIGHT ♪

♪ I'LL BE READY,
I'LL BE READY ♪

♪ NEVER YOU FEAR,
NO, DON'T YOU FEAR ♪



♪ I'LL BE READY

♪ FOREVER AND ALWAYS

♪ I'M ALWAYS HERE

♪ 'CAUSE I'M ALWAYS READY

♪ I WON'T LET YOU
OUT OF MY SIGHT ♪

♪ I'LL BE READY,
I'LL BE READY ♪

♪ NEVER YOU FEAR,
NO, DON'T YOU FEAR ♪

♪ I'LL BE READY

♪ FOREVER AND ALWAYS ♪

♪ I'M ALWAYS HERE

[GENTLE MUSIC]

[HEAVY BREATHING]

[GENTLE MUSIC]

-THERE'S MORE AND
MORE OF 'EM EVERY DAY.



-OTHER CITIES JUST
KEEP GIVING 'EM

A ONE WAY BUS
TICKET TO THE BEACH.

-THEN THEY BECOME OUR PROBLEM.

-HOMELESSNESS IS
EVERYBODY'S PROBLEM.

-JUST HOPE I CAN MAKE THE
MORTGAGE ON THE BOAT THIS MONTH.

-COME ON, ONE MORE.

[SOMBER MUSIC]

-HEY, COME ON, LET'S GO.

LET'S MOVE IT, ALRIGHT?

COME ON.

HEY, WHAT ARE YOU
DOING WITH THAT?

-NO, IT'S MINE.

-NO, IT'S NOT.

-LEAVE IT ALONE.

-HEY, HEY, THIS ISN'T YOURS.

LET'S GO, COME ON.

IT'S NOT A HOTEL, HUH.

LET'S MOVE IT.

WHY DON'T YOU GO DOWN TO
ONE OF THOSE SHELTERS, HUH?

-MINE!

[GASPING]

-SAME TIME TOMORROW.

-YEAH, YOU GOT IT.

WHOA! HEY!

WHERE'S HE OFF TO
IN SUCH A HURRY?

-THE NEW "SURF RIDER"
MAGAZINE JUST HIT THE RACKS.

-I DIDN'T KNOW HOBIE
WAS THAT INTO SURFING.

-IT'S THE SWIMSUIT EDITION.

WEIRD, IT'S LIKE
OVERNIGHT HE'S GONE

FROM LOOKING AT SCAGS
TO CHECKING OUT LEGS.

-WELL, MAYBE I SHOULD
HAVE A TALK WITH HIM.

-ABOUT WHAT?

-YOU KNOW, FACTS OF LIFE.

[LAUGHING]

-THANKS, HARVEY, I
THINK I CAN HANDLE THAT.

-WELL, I WAS JUST OFFERING.

I MEAN SOMETIMES IT'S
EASIER FOR A NON-PARENT

TO CUT THROUGH ALL THE
HEMMING AND HAWING.

-THERE'S NOT GONNA BE
ANY HEMMING OR HAWING.

I'M PERFECTLY COMFORTABLE
TALKING TO MY SON

ABOUT ANYTHING AND
EVERYTHING, THANK YOU.

-MAN: THANKS,
THANKS A LOT, NOW TAKE CARE.

3.50 SIR, PLEASE.

3.75 SIR, HERE YOU GO.

THERE'S YOUR CHANGE.

HERE YOU GO, THANKS A LOT.

BURRITOS UP!

HERE YOU GO, SIR.
THANK YOU VERY MUCH, 35.

THANK YOU, THANK YOU VERY MUCH.

HAVE A GOOD DAY, MA'AM.
GET 'EM WHILE THEY'RE HOT!

3.50, SIR.

THANK YOU VERY MUCH.
-THANKS.

-HEY YOU! HOLD IT,
WHAT'D YOU PUT IN HERE, HUH?

-NOTHING! LET GO OF ME!

-WHAT ELSE DID YOU STEAL, HUH?

WHAT ELSE IS THERE?

-IT'S MINE!

[GRUNTING]
-OW!

I CATCH YOU AROUND HERE AGAIN

I'LL HAVE YOU ARRESTED,
YOU LITTLE THIEF!

NEXT.

-LIFEGUARD: THAT OUGHTA DO IT,

JUST CHANGE THE
BANDAGE TWICE A DAY.

-PATIENT: THANKS.

-JUST BECAUSE SOME HOMELESS GUY

TOOK MY PICTURE DOESN'T
MAKE HIM DANGEROUS.

-OH! HOMELESS, YOU KNOW WHAT?

I AM REALLY SICK AND TIRED
OF EVERY VAGRANT AND CRIMINAL

ON THE STREET BEING
CALLED THE HOMELESS.

THIS GUY DOESN'T
BELONG IN A SHELTER,

HE BELONGS IN AN ASYLUM. OW!

-EDDIE, THIS IS GONNA
NEED STITCHES, IT'S DEEP.

-YOU'RE RIGHT.

BUT YOU DIDN'T SEE
THIS GUY, HE WAS CRAZY.

HE ACTED LIKE YOUR
PICTURE WAS HIS

AND I WAS TAKING
IT AWAY FROM HIM.

-THE ONLY THING THAT
MATTERS IS THAT YOU'RE OKAY.

-WRONG, THE ONLY
THING THAT MATTERS

IS ME CATCHING THIS GUY. OW!

-WELL I DON'T KNOW, WHAT
CAN I TELL YOU, MITCH?

HOW'S THE CITY SUPPOSED
TO HANDLE OVER 3,000

WHEN WE ONLY HAVE
558 SHELTER BEDS?

-I DON'T KNOW, GARNER, BUT
SOMETHING'S GOTTA BE DONE,

AND SOMETHING'S
GOTTA BE DONE SOON.

-MITCH, YOU KNOW
AS WELL AS I DO

THERE ARE NO EASY ANSWERS HERE.

-MY GUARDS HAVE PULLED OUT
OVER TWO DOZEN TRANSIENTS

FROM THE WATER IN
THE LAST TWO MONTHS.

NOW WE GOT A STABBING.

I'M TELLING YA, IT'S
GETTING DANGEROUS OUT HERE.

-AL! AL BRING YOUR
PRINT KIT DOWN HERE.

-I'LL BE RIGHT DOWN.

-HEY, LEAH!

WHERE'D YOU GO THIS MORNING,
YOU WERE GONE WHEN I GOT UP.

WHAT'S THIS?

-I BROUGHT YOUR CLOTHES, YOUR
STEREO AND YOUR TOOTHBRUSH.

I CHANGED THE LOCKS
ON THE DOOR,

SO DON'T EVEN BOTHER
TRYING TO USE YOUR KEY.

GOODBYE, HARVEY.

-HEY, MUSCLES, DON'T PUT
THE STEREO IN THE SAND!

LEAH, COME ON, WHY
ARE YOU DOING THIS?

-WHEN YOU MOVED IN WE WERE
SUPPOSED TO SHARE EXPENSES,

SHARE A LIFE TOGETHER,
SHARE EVERYTHING,

BUT I GUESS THE THRILL
YOU GET OUT OF GAMBLING

TURNS YOU ON
MORE THAN I DO.

-OH, NOW THAT IS NOT TRUE!

-YOU LOST THE RENT
MONEY AT THE TRACK,

THE GROCERY MONEY AT POKER.
WELL, NOW YOU'VE LOST ME.

GOODBYE, I HOPE THE
THRILL WAS WORTH IT.

-I'M JUST ON A COLD
STREAK, IT'LL TURN AROUND.

LEAH, COME ON, WHERE
AM I GONNA LIVE?

-♪ TURN ANOTHER CORNER
AND YOU'LL SEE THE DARKER PLACES ♪

♪ LEAN IN HARDER FIND THE FUTURE
IN THEIR FACES ♪

♪ STANDING IN LINE BEHIND
THE PROMISE OF AFFECTION ♪

♪ ON EVERY CORNER
THERE'S A REASON FOR REFLECTION ♪

♪ CRYING OVER WRONG AND RIGHT ♪

♪ THEY CAN ONLY WAVE THE FLAG SO HIGH

♪ WATCHING YOU WALK BY

♪ AND THEY'LL NEVER
KEEP US WAITING FOR LONG ♪

♪ WE ARE ON OUR WAY TO SOMEWHERE ♪

♪ CLOSE TO HEAVEN
[A LITTLE PIECE OF HEAVEN] ♪

♪ AND THE LOVE THAT TIDES US
OVER CAN'T BE WRONG ♪

♪ WE ARE ON OUR WAY TO SOMEWHERE

♪ CLOSE TO HEAVEN
[A LITTLE PIECE OF HEAVEN] ♪

♪ CLOSE TO HEAVEN

♪ INNOCENCE FOLLOWING DISARRAY

♪ CAN ONLY LEAD TO HARM

♪ BETTER OFF GIVING UP FIGHTING
OVER COLOR AND CREED ♪

♪ HEAVEN IS WATCHING OUR KIDS GROW

♪ THE KEEPER OF THE CALM
[KEEPER OF THE CALM]♪

♪ THEY KNOW EASILY LOVE IS GONNA BE
THE WAY HOME ♪

♪ THE WAY IS LOVE

♪ THE WAY IS LOVE

♪ AND THEY'LL NEVER KEEP US
WAITING FOR LONG ♪

♪ WE ARE ON OUR WAY TO SOMEWHERE
CLOSE TO HEAVEN ♪

♪ [A LITTLE PIECE OF HEAVEN]

♪ AND THE LOVE THAT TIDES
US OVER CAN'T BE WRONG ♪

♪ WE ARE ON OUR WAY TO SOMEWHERE
CLOSE TO HEAVEN ♪

♪ [A LITTLE PIECE OF HEAVEN]

♪ CLOSE TO HEAVEN

♪ CLOSE TO HEAVEN

[HARMONICA MUSIC]

-HEY! THAT'S MY HARMONICA.

-OH, SORRY, I WAS
LOOKING FOR YOU.

YOU DROPPED IT WHEN YOU WERE
RUNNING AWAY FROM THE TRUCK.

HERE.

-YOU GOT YOUR SPIT ALL OVER IT.

-OH, SORRY.

YOU KNOW HOW TO PLAY IT?

-NO. JUST LIKE THE WAY
YOU CAN HEAR YOURSELF BREATHE.

[HARMONICA MUSIC]

-WHATCHA WRITING ABOUT?

-WHAT JUST HAPPENED.

-OH, LIKE A DIARY.

-A JOURNAL.

ME AND MY MOM SHARE IT.

-SO, DID YOU WRITE ABOUT WHY

YOU STOLE THAT STUFF BACK THERE?

-I PAID IN ADVANCE
AND HE FORGOT, OKAY?

HEY, HE'S THE ONE WHO
RIPPED ME OFF MY CHANGE,

AND THAT WAS ALL
THE MONEY I HAD.

WHAT ARE YOU STARING AT?

-UH, YOU HAVE SOME
CHOCOLATE RIGHT HERE.

YOU USE MAKEUP?

-SOMETIMES.

MY NAME'S CHARLIE,
WHAT'S YOURS?

-HOBIE.

-LISTEN, HOBIE, I GOTTA GET TO
WORK AND EARNIN' SOME MONEY.

-YOU HAVE A JOB?

-SORTA.

HERE, PLAY THIS.

-I DON'T KNOW HOW.

-IT DOESN'T MATTER, JUST DO
LIKE YOU WERE DOING BEFORE.

YOU KNOW, BLOW OUT AND SUCK IN.

[HARMONICA MUSIC]
MOVE IT SIDE TO SIDE.

[HARMONICA MUSIC]

YEAH, YOU'LL DO.

AND NO MATTER WHAT ANYBODY
SAYS, YOU DON'T ANSWER,

DON'T EVEN STOP PLAYING.

PRETEND LIKE YOU
CAN'T EVEN HEAR 'EM.

-HOBIE: WHY?
-JUST DO IT. DON'T DANCE AROUND
OR ANYTHING. JUST STAND THERE.

GIVE IT A SHOT.

KEEP IT UP.

HI, EXCUSE ME, COULD YOU SPARE

A LITTLE CHANGE FOR
ME AND MY BROTHER?

HI, COULD YOU...

-IT WAS AWFUL, I HATED IT.

-WELL YOU PICKED THE
PLACE, YOU ALWAYS DO.

-LADIES.
-I THOUGHT IT WAS
A GREAT PLACE.

-HI, MY BROTHER AND I,

WE REALLY NEED SOME MONEY,
COULD YOU HELP US OUT?

-WHAT'S WRONG WITH THE BOY?

SEE, HE CAN'T PLAY
TOO WELL, HE'S DEAF.

OH, THANKS WE'RE SAVING
UP FOR A HEARING AID.

WE'RE VERY GRATEFUL.

-BYE.
-THANKS. BYE.

HI.
-HI.

HI, MY BROTHER AND I ARE
TRYING TO GET SOME MONEY

FOR THE BUS HOME, DO YOU
THINK YOU COULD HELP US OUT?

-HOBIE?

-HE CAN'T HEAR
YOU, SEE HE'S DEAF.

-HOBIE.

-YOU SCARED HIM.

HEY, WAIT UP!

-HE CAN'T HEAR YOU, REMEMBER?

-MITCH: GIRL, HUH?
-YEAH.

SHE'S REALLY DIFFERENT, DAD.

-HOW'S SHE DIFFERENT?

WELL, SHE'S OLDER.

I DON'T KNOW, I FEEL
FUNNY AROUND HER.

-FUNNY, HOW?

-WELL, I CAN'T THINK
OF ANYTHING TO SAY,

AND EVERYTHING I DO
SAY SOUNDS STUPID.

-YEAH, WELL, WOMEN CAN DO
THAT TO YOU, BELIEVE ME.

-WHY DOES IT HAPPEN?

-WELL, BECAUSE MAYBE
YOU'RE SAYING ONE THING

AND YOU'RE THINKING
SOMETHING ELSE.

-YEAH, I KEPT ON THINKING
ABOUT KISSING HER.

-WHAT?

-AM I OLD ENOUGH
TO KISS A GIRL, DAD?

-WELL, I, I, UH...

-LOOK, IF YOU DON'T
WANNA TALK ABOUT THIS...

-NO, NO, I DO WANNA
TALK ABOUT THIS.

-THEN WHY ARE YOU
HEMMING AND HAWING?

-I'M...

WELL, BECAUSE IT'S A
LITTLE BIT TOO LATE

TO GET INTO THIS
NOW, AND I DON'T

WANNA HAVE TO STOP
IN THE MIDDLE.

-YEAH, THAT'D PROBABLY
DRIVE ME CRAZY.

-YEAH, I'LL TELL YOU WHAT.

WHY DON'T YOU GO UPSTAIRS,
I'LL TUCK YOU IN BED,

AND WE'LL GET INTO IT TOMORROW.

-GOOD, 'CAUSE THE
STUFF HARVEY TOLD ME

DIDN'T MAKE ANY SENSE.

[GENTLE MUSIC]

[EERIE MUSIC]

[EERIE MUSIC]

-NOT QUITE, THE EYES
ARE STILL TOO CLOSE.

THEY NEED TO BE A
LITTLE, I DON'T KNOW,

DEEPER SET OR SOMETHING.

-HEY GUYS, MITCH AROUND?

-UPSTAIRS.

-WHAT'S THIS?

-SOME CREEP WHO STABBED
ME AT MY TOWER YESTERDAY.

-YOU'RE KIDDING.

-AH, HEY, EDDIE.

SPEAKING OF THE
HOMELESS, DO YOU THINK

I COULD MAYBE STAY WITH
YOU FOR A COUPLE A DAYS?

I MEAN JUST 'TIL I
FIND A SUITABLE PLACE.

-AH COME ON, HARV, YOU KNOW HOW
THE MARINA FEELS ABOUT PETS.

NO, I'M A LITTLE
CRAMPED, YOU UNDERSTAND.

-GARNER, MY MAIN MAN!

-REEVA DOESN'T EVEN LIKE
IT WHEN MY RELATIVES VISIT.

-KAY?

-FORGET IT.

-WAIT A MINUTE, THAT'S IT!

THAT'S IT, NOW YOU'RE
GETTING SOMEWHERE.

-YOU KNOW, GARNER,
I CAN RUN THIS PICTURE

IN "THE VOICE"
IF THAT WILL HELP.

-CAN'T HURT. THANKS, KAY.

-POLICE LAB JUST FAXED
OVER A POSITIVE ID

FROM THE PRINTS ON
THAT SHARD OF GLASS.

HI, KAY.
-KAY: HI.

-HIS NAME IS HECTOR CLAY,
CALL HIM HECTOR THE COLLECTOR.

APPARENTLY HE STEALS
THINGS FROM PEOPLE

THAT AREN'T NECESSARILY
VALUABLE BUT PRECIOUS TO THEM.

YOU KNOW, LIKE
KEEPSAKES, LOCKETS...

-PICTURES.
-OF LOVED ONES, EXACTLY.

AND HE ASSUMES THEM AS HIS OWN.

THIS GUY HAS A HISTORY
OF VIOLENT BEHAVIOR.

HE WAS SERVING SIX MONTHS

AT THE STATE HOSPITAL FOR
THE CRIMINALLY INSANE.

-WHEN DID HE ESCAPE?

-HE DIDN'T.

THEY RELEASED HIM
THREE WEEKS AGO,

LACK OF FUNDS.

[DRAMATIC MUSIC]

SURE I GIVE HOBIE
AN ALLOWANCE, WHY?

-WELL, I SAW HIM PANHANDLING
ON THE STRAND YESTERDAY.

-HOBIE? NO WAY.

-YEAH, IT WAS HIM.

HE RAN AWAY WHEN HE SAW ME.

-KAY, IT COULDN'T
HAVE BEEN HOBIE.

-I'M 99% SURE IT WAS HIM.

HE WAS PLAYING THE
HARMONICA, BADLY I MIGHT ADD,

AND THEN THIS LITTLE GIRL RAN
UP TO ME AND SAID HOBIE

WAS HER DEAF BROTHER, AND
ASKED ME FOR SOME MONEY.

-A GIRL?

HMM, "I SEE,"
SAID THE BLIND MAN.

WHERE WERE THEY?

-OH, ROSE STREET BENCHES.

-THANKS.

-YOU'RE WELCOME.

SEE YA.
-SEE YA.

-HI.

-WHY'D YOU RUN
OFF WITH MY STUFF?

-YOU KNOW THAT LADY YOU
WERE ASKING FOR MONEY?

SHE'S MY DAD'S FRIEND.

WHY DID YOU TELL HER I WAS
YOUR DEAF BROTHER, ANYWAY?

-YOU TELL PEOPLE A SAD
STORY, THEY FEEL BETTER

WHEN THEY HELP YOU OUT.

-WHO YOU LOOKING FOR?

-MY MOM.

SHE WENT ON A JOB BUT
SHE'S NOT BACK YET.

-WELL, WHAT DOES SHE DO?

-DIFFERENT THINGS.

WELL, ACTUALLY SHE'S
SORT OF A WRITER.

A POET.

ME TOO.

WANNA HEAR ONE OF MY POEMS?

-YEAH, SURE!

-IT'S GONE!
-HOBIE: WHAT?

-OUR JOURNAL.

-MAYBE YOU LEFT IT AT HOME.

-LAST NIGHT.

-HEY! WAIT UP!

[EERIE MUSIC]

YOU LOST IT IN HERE?

-I MUST HAVE.

I WAS PLAYING AROUND IN HERE.

I'VE GOTTA FIND IT.

-WHY ARE YOU IN MY HOUSE?
-LET GO OF ME!

LET GO OF ME! LET GO OF ME!
-YOU'RE HURTING HER!

LET HER GO!
-NO! LET GO OF ME!

-HOBIE: RUN, CHARLIE, RUN!

COME ON, COME ON!

RUN!

-YOU KNOW, I THINK THEY SHOULD
TAKE ALL THE MILITARY BASES

THAT THEY'RE CLOSING
UP AND TURN IT

INTO HOUSING FOR
PEOPLE WHO NEED IT.

-CAN'T DO THAT.

-WHY NOT?

EDDIE THEY HAVE TONS
OF EMPTY BUILDINGS

AND BARRACKS AND MESS HALLS.

AND THE TOWNS AROUND
THOSE BASES NEED PEOPLE

OR ELSE THEY'RE GONNA DIE OUT.

-YEAH, PEOPLE WHO WANNA WORK.

-YEAH, I GUARANTEE YOU THAT
ALL THOSE PEOPLE WOULD WORK

IF THEY'D JUST BE
GIVEN HALF A CHANCE

AND A LITTLE BIT
OF ENCOURAGEMENT.

OH NO.

-WHAT?

WAIT A MINUTE, I SAW THAT GUY
YESTERDAY AT THE PAVILION.

-WHAT ARE YOU DOING?

-GETTING HIM.

-NO, YOU'RE NOT, NOT
WITH YOUR SHOULDER.

-SHAUNI, HE COULD BE DANGEROUS.
I'M NOT LETTING YOU NEAR HIM.

-EDDIE!

[DRAMATIC MUSIC]

BETTER GO CHANGE
THAT BANDAGE, OKAY?

-EDDIE: I'M FINE.

-NO, YOU'RE STUBBORN.

-THAT GUY'S ABOUT
THE SAME AGE AS ME.

MAYBE IF HE WERE A
LITTLE MORE STUBBORN,

HE WOULDN'T HAVE GIVEN UP.

AND TO TRY TO END
HIS LIFE LIKE THAT.

-WHAT'S THE MATTER?

-I'VE ALWAYS BEEN AFRAID THAT

I'D END UP LIKE HIM.

NOWHERE TO LIVE,
NOTHING TO LIVE FOR.

-WE'VE ALL FELT LIKE THAT
SOMETIMES, I MEAN THAT'S WHY

THE HOMELESS ARE SO
HARD TO DEAL WITH.

THEY BRING OUT ALL
OF OUR WORST FEARS.

[PANTING]

-I THINK WE LOST HIM.

WHO WAS THAT GUY?

-HE'S A LOONEY TUNE.

SAW HIM A COUPLE TIMES
UNDER THE BRIDGE.

I DON'T BELIEVE IT,
SHE'S STILL NOT HERE.

-MAYBE SHE'S WAITING
FOR YOU AT HOME.

-DON'T YOU GET IT?
WE DON'T HAVE A HOME.

-WHAT DO YOU MEAN?

WHERE DO YOU SLEEP?

-SHELTERS,

THE BEACH,

THAT EMPTY POWER PLANT.

[CRYING]

-DON'T WORRY, SHE'LL COME.

[HORN HONKING]

CHARLIE, CHARLIE, MY DAD'S HERE.

HE'LL KNOW WHAT TO DO.

HEY DAD!

-HEY, HOBSTER, WHAT'S GOING ON?

-NOTHING, DAD, THIS IS CHARLIE,

THE GIRL I BEEN
TELLING YOU ABOUT.

-OH YEAH, HI, CHARLIE.

HOW ARE YOU?
-HI.

WHAT'S THE MATTER, HONEY?

-CHARLIE'S MOM'S BEEN
GONE SINCE YESTERDAY.

SHE HAD TO SLEEP IN
THE OLD POWER PLANT

LAST NIGHT UNDER THE BRIDGE.

-SO WHY DON'T YOU COME OVER
TO LIFEGUARD HEADQUARTERS,

WE'LL SEE IF WE CAN
FIND YOU MOM, HUH?

-NO, NO, WHAT IF SHE COMES
BACK AND I'M NOT HERE?

-WELL, THEN SHE'LL CALL THE
POLICE, AND THEY'LL CALL US

AT LIFEGUARD HEADQUARTERS, AND
WE'LL GET YOU GUYS TOGETHER.

COME ON, DON'T WORRY.

YOU RIDE IN THE BACK.

[GENTLE MUSIC]

-29 MINUTES, I CAN'T WIN.

THERE YOU GO, TAKE WHAT
YOU NEED, KEEP THE CHANGE.

-SO, WHEN THE PLANT SHUT DOWN

IT WAS REALLY HARD
FOR MOM TO FIND WORK.

THEN THE UNEMPLOYMENT RAN OUT.

WHEN WE COULDN'T PAY
THE RENT, WE GOT EVICTED.

-HOW LONG YOU
BEEN ON THE STREET?

-THREE MONTHS.

MOM FINDS WORK
SOMETIMES, BUT THE MONEY

JUST GOES FOR FOOD
AND A PLACE TO STAY.

-CHARLIE, I GOTTA ASK YOU
A COUPLE OF QUESTIONS,

AND I'D LIKE YOU TO BE
HONEST WITH ME, OKAY?

HAS YOUR MOM EVER
USED DRUGS OR ALCOHOL?

-CHARLIE: NO!
-HOBIE: DAD!

-HOBIE, JUST A SECOND HERE.

HAS SHE EVER ABANDONED YOU?

-NO, AND SHE DIDN'T
THIS TIME EITHER.

SOMETHING MUST HAVE
HAPPENED TO HER.

-WELL, WE'RE CHECKING WITH THE

CHILD WELFARE DEPARTMENT AND...

-IF SOMEONE COMES TO GET
ME, I SWEAR I'LL RUN AWAY.

-NOBODY'S COMING TO GET YOU.

WE'RE JUST CHECKING WITH
THE HOSPITALS AND THE POLICE

TO SEE IF ANYTHING
HAPPENED TO YOUR MOM.

WE WON'T KNOW ANYTHING
UNTIL MORNING.

IN THE MEANTIME, IF YOU
WANNA SPEND THE NIGHT HERE

YOU'RE WELCOME. HOBIE
CAN BUNK IN WITH ME,

AND YOU CAN SLEEP IN HIS BED.

-I'LL TUCK YOU IN.

-CAN I HAVE
SOME MORE PLEASE?

-SURE.

[ROCK MUSIC]

-♪ UHH HEY HEY YOU!

♪ UHH HEY HEY YOU!

♪ BABY BABY BABY BABY

♪ YOU'RE MY FANTASY

♪ BABY BABY BABY BABY

♪ I THINK YOUR MY DESTINY

♪ AND I WANT YOUR LOVE
AND I WANT YOUR HEART ♪

♪ AND I WANT IT ALL TONIGHT

♪ AND I WANT YOUR LOVE
AND I WANT YOUR HEART ♪

♪ AND I WANT IT ALL TONIGHT

♪ UHH HEY HEY YOU
I WANT YOU ♪

♪ UHH HEY HEY YOU
I WANNA BE WITH YOU ♪

♪ UHH HEY HEY YOU
I WANT YOU ♪

♪ UHH HEY HEY YOU
I WANNA BE WITH YOU ♪

♪ UHH HEY HEY YOU

♪UHH HEY HEY YOU

♪ UHH HEY HEY YOU L

♪ UHH HEY HEY YOU

♪ UHH HEY HEY YOU
I WANT YOU ♪

♪ UHH HEY HEY YOU
I WANNA BE WITH YOU ♪

♪ UHH HEY HEY YOU
I WANT YOU ♪

-CAREFUL, DON'T TRIP. MY
DAD'S SHIRTS ARE KINDA LONG.

-HOBE.

-HEY, EDDIE, WHAT
ARE YOU DOING HERE?

WHERE'S MY DAD?

-WELL, HE CALLED ME AND
WANTED ME TO COME OVER HERE

AND HANG WITH
YOU GUYS FOR A WHILE.

HE HAD TO
TAKE CARE OF SOMETHING
BUT HE'LL BE BACK PRETTY SOON.

HI, I'M EDDIE.

-HI, I'M CHARLIE.

-HEY, THAT'S THE
GUY, THAT'S HIM.

-WHAT, HECTOR?

WAIT A MINUTE, YOU
SAW THIS GUY? WHEN?

-YESTERDAY, UNDER THE BRIDGE
IN THE OLD POWER PLANT.

HE GRABBED CHARLIE.

-BUT HOBIE HIT HIM
WITH A PIECE OF WOOD.

-WHAT'S HE DOING
IN THE PAPER, ANYWAY?

-THAT MANIAC STABBED
ME THE OTHER DAY.

AND WHAT WERE YOU TWO
DOING IN THE PLANT?

-WELL, CHARLIE THOUGHT SHE
LOST HER DIARY IN THERE.

-IT'S A JOURNAL MY MOM
AND I HAVE BEEN KEEPING.

-YEAH, WELL IF
IT'S SPECIAL TO YOU,

HECTOR THE COLLECTOR
PROBABLY TOOK IT.

[PHONE RINGING]

HELLO?

HEY, MITCH.

YUP, THEY'RE BOTH HERE.

OKAY, GREAT, GREAT.

YEAH, I'LL TELL HER.

OKAY, I'LL SEE YOU SOON.

WELL,

HE FOUND YOUR MOM, THEY'LL
BE HERE IN AN HOUR.

-IS SHE ALRIGHT?

-SHE'S FINE.

-WHERE WAS SHE?

-SHE WAS IN JAIL,
BUT IT WAS A MISTAKE.

-A MISTAKE?

-BUT YOUR DAD STRAIGHTENED
THE WHOLE THING OUT.

-I UH,

I BETTER GO GET DRESSED.

[EERIE MUSIC]

-HEY, HOBE.

-DAD!

-HOBIE, THIS IS
CHARLIE'S MOM, JUNE.

JUNE, MY SON HOBIE.

-HI, NICE TO MEET YOU.

-YOU DAD'S TOLD
ME A LOT ABOUT YOU.

-CHARLIE TALKS ABOUT
YOU ALL THE TIME TOO.

-OH, THIS IS EDDIE KRAMER,
EDDIE, THIS IS JUNE REED.

-NICE TO MEET YOU.

CHARLIE'S UPSTAIRS
GETTING READY.

HOBIE, WHY DON'T YOU GO SEE
WHAT'S TAKING HER SO LONG.

-HOBIE: YEAH, SURE.

-ARE YOU HUNGRY?
I MEAN, YOU WANT
SOMETHING TO DRINK?

-MAYBE JUST A GLASS OF WATER.

-I'LL GET IT.

-I CAN'T THANK YOU ENOUGH FOR
ALL YOU'VE DONE FOR CHARLENE.

I FEEL SO HUMILIATED
BY ALL THIS.

-DON'T, BAD THINGS SOMETIMES
HAPPEN TO GOOD PEOPLE.

-SHE'S GONE.

-WHAT?

-THE WINDOW WAS OPEN
AND THERE WAS THIS NOTE.

-"SORRY TO RUN OUT, BUT I
HAVE TO GET OUR JOURNAL BACK

"BEFORE MY MOM GETS
HERE. CHARLIE."

[EERIE MUSIC]

[DRAMATIC MUSIC]

[PEOPLE CHATTERING]

-THAT'S MINE!
-NO, IT'S NOT!

-MINE!

[CRASH]
-WHOA!

-MITCH, MITCH, OVER THERE.

-GIVE IT!
GIVE IT TO ME!

-MINE!
-DAD, DAD, THERE SHE IS!

-STOP IT! LET GO OF ME!
-[GRUNTING]

-MINE! NO! NO!

[SPLASH]

-OH MY GOD, SHE CAN'T SWIM!

-MEET ME DOWN THERE, HUH?

[DRAMATIC MUSIC]

IT'S OKAY. IT'S OKAY.

I GOT YOU.

-EDDIE: HEY!

-NO, MY THINGS!

MY THINGS!

MY THINGS, MY THINGS.

THEY'RE MY THINGS!

-HECTOR, IT'S OKAY.

-[CRYING] PLEASE.

I'LL BE GOOD.

I'LL BE GOOD.

-HECTOR, IT'S OKAY.

IT'S ALRIGHT, NOBODY'S
GONNA HURT YA.

[CRYING]

-SHE'S ALRIGHT.

-"I USED TO THINK MY
BEDROOM WAS TOO SMALL

"UNTIL I DIDN'T
HAVE A ROOM AT ALL."

-KEEP GOING HONEY.

-"I WOKE UP THIS MORNING
WITH A SNAIL NEXT TO MY HAND,

"I TOUCHED HIM AND HE
WENT INTO HIS SHELL.

"I SOMETIMES WISH I HAD A SHELL
THAT I COULD CALL MY OWN.

"THEN I WOULDN'T BE ASHAMED

"WHEN SOMEONE ASKS
ME WHERE I LIVED.

"'CAUSE I'D ALWAYS AND
FOREVER, HAVE A HOME."

-THAT WAS BEAUTIFUL, CHARLIE.

-MY MOM'S A REALLY GOOD WRITER.

-I'D LOVE TO PUBLISH SOME OF
WHAT YOU BOTH HAVE WRITTEN.

IF THAT'D BE ALRIGHT.

-IT'S VERY PERSONAL.

-ALL GOOD WRITING IS.

-WILL THEY GET PAID?

-YOU BET, IN FACT,

I COULD USE SOME EXTRA
HELP ON THE PAPER.

-REALLY?

THAT'D BE WONDERFUL.

[DOORBELL RINGING]

-WAIT A MINUTE.

-OH, DON'T WORRY, I'M
NOT LOOKING TO MOVE IN.

I FOUND A PLACE TO ROOST.

-I FEEL SORRY FOR THE CHICKEN.

-HEY, I MOVE IN MONDAY.

32 UNITS, ALL STEWARDESSES.

-I THOUGHT YOU WERE BROKE.

-ROOMMATES, THE SECRET
TO LUXURIOUS LIVING.

-YOU HAVE STEWARDESSES
FOR ROOMMATES?

-WELL, NOT EXACTLY.

YOU SEE, THE DEAL IS
THAT I GET TO MOVE

INTO THEIR APARTMENTS WHEN
THEY'RE AWAY ON FLIGHTS.

BUT, DEALS ARE NEGOTIABLE.

OOH, CAKE.

-COME ON IN.

-HERE YOU GO.

-THANKS.

I DON'T KNOW HOW I'D HAVE
GOTTEN THROUGH THIS WITHOUT YOU.

-DAD, DAD, SHE KISSED ME.

WHAT DO I DO NOW?

-YOU WANT ME TO
HANDLE THIS ONE, MITCH?

-BOOK A FLIGHT, HARVEY.

-OKAY.

-HOBE, A KISS IS LIKE A WAVE.

CATCH THE RIGHT
ONE, UNBELIEVABLE.

CATCH THE WRONG ONE, WIPE-OUT.

-HOW DO YOU TELL
THE DIFFERENCE?

-WELL, WHEN THE WAVES
ARE OVER YOUR HEAD...

-YEAH?

-STAY OUT OF THE WATER.

-HARVEY!

[END THEME PLAYING]