Dear God Page #5

Synopsis: Tom Turner is a con man, defrauding people from their money with a variety of two-bit hustles. One night he makes the mistake of attempting to hustle some undercover cops, and finds himself in court faced with the dilemma of either going to jail or getting a real job. Choosing to stay out of jail, he gets a job at the post office working in their Dead Letter Office helping to sort Dead Letters (i.e. mail which, for whatever reason, can't be delivered). Some of the mail he recieves can't be delivered because it's addressed to God, and he accidentally answers (sending them money in the process). This starts the ball rolling as more of his co-workers get in on the idea of helping people by answering "God" mail.
Genre: Comedy
Director(s): Garry Marshall
Production: Paramount
  1 nomination.
 
IMDB:
5.3
Rotten Tomatoes:
12%
PG
Year:
1996
112 min
151 Views


Well, do you mind if I join you?

I'll keep score.

Why don't you ask Joey?

- Hello.|- Are you a stranger?

I'm that forgettable?|You remember me!

- Tom?|- Yes. Shall we make it a threesome?

You know how to play?

I used to. Kind of.|I took it up on the weekends

when I got the urge|to wear ridiculous clothing.

To tell the truth, I like baseball|and basketball better.

But with baseball and basketball,|if you gamble, you get big trouble.

So, that's why they invented golf.

Like most miniature golf courses on|Thanksgiving, it's virtually empty.

OK. I'll hold your cotton candy.

- Definitely off his game today.|- He's nervous. Or something.

I think it's too much cotton candy.

There it is! Good job!

Now?

OK. Ready?

OK. Do your thing.

I don't know why|he's playing so badly tonight.

- Get in your proper stance.|- Mom, I'm OK.

- I know.|- Mom, I'm gonna do great this hole.

Mom, I am. I'm going to do so good,|I bet you 50 cents I make it.

- Joe, we don't gamble.|- Come on, Mom!

OK. 50 cents. And that's it.

Get in there! Get in there!

- I did it!|- That is improvement.

Yes!

Great shot.

Probably just kid's luck.|Wanna bet a dollar next hole?

Go get your ball, Joey.

You taught my kid to hustle.

Hustle! Miniature golf.

Miniature golf.|What's next, tether ball?

I don't get it.|Why else would you play the game?

For fun! You know, no salary,|no bets, no angles.

You just play for the pure joy|of playing the game.

- You mean like the Olympics?|- Yes. Didn't you ever do that?

Not that I remember.

Olympic people end up selling|their medals to pawn shops.

You are something else. Always|working something. Like tonight.

- What about tonight?|- You saw Joey's note to his dad.

You decided to come play the hero.|Wasn't that your angle?

- There's no angle.|- Come on.

There was no angle.

It's just not the easiest thing|to be alone on Thanksgiving.

I'm not alone. I have my son, OK?

I wasn't talking about you.

Thanks for joining us tonight.

Why don't you come down the shop|and have a latte? On me.

Thanks again and happy Thanksgiving.

So we're gonna try again, Tom.

- No.|- Nine for God.

I am not in charge|of the loony bin, alright? I'm not!

"I'm not." He's not in charge|of the loony bin!

OK, fine.|Just so I'm absolutely clear,

this is about everybody|wanting to be a hero, right?

Better than sorting.

When I get my audition, I'm gone.|Till then...

The have-nots have got to do it.

The haves haven't helped anybody|but themselves since the '70s!

And you all realise|we can get in trouble for this.

How many laws does this violate,|Rebecca?

- A lot.|- Hear that? A lot. Correct.

- Tom...|- What?

- More volunteers for God's work.|- You've got to be kidding me!

Alright, we do one.|But we've got to keep this quiet.

It would be really bad|if I lost my job.

- Who's this?|- She's Jane. She's hearing impaired.

Tom!

Hi. OK.

Mary, can you distract today's spy?

Distract?|I am good distraction! OK.

Has anyone ever actually met|the spies?

Hope we never do.

Idris, you pray the most.|You pick one.

No. I'm one month away|from the Promised Land,

and I'm taking no chances,|thank you.

Let me do it, Captain.

My mother was a bingo caller|at church. It's in my genes.

Our first miracle!

Let Lucille read it.|She is the closest to God.

Lucille?

Out loud.

"Dear God, living alone|this past year has been hell

and that's probably where I'll end up|if you don't forgive me

for what I'm about to do."

"I know it's a sin to take|your own life." Yes, it is.

"But honest, God, I feel my life|is meaningless to everyone."

"So on Sunday, I shall go|to your place of worship

and then a final plunge at noon."

Signed...

Jammy? Janey? Jean?

Let me see it. Let me see.|Look how shaky the handwriting is.

It could be Jimmy, Jenny...

- Juanita.|- Jose.

- Hymie.|- Hymie?

So, we know it's either|a man or a woman.

That's good. At least|we know it's not a giraffe.

This one's too hard. Get an easy one.

Great.

The deaf girl wants quiet.

She's right. She said you tell us|what to do, Tom,

- since you did it before.|- No, I didn't do it.

Here, Tom.

I can't even... Wendy, can you...?

Can you decipher this?

It's a man. Jemi. He's older.

I think she said older man.|Check the postmark.

Yep. 90401.|That's Santa Monica district.

There's a cemetery there.|There should be a place of worship.

- Good. We show this to the clergy...|- Could be a mosque, synagogue.

- Right. Mosque, synagogue.|- Write it down. Write it down!

You got your Baptist, Our Lady|of Grace, Christian Science...

- Dooly, you were in the military.|- Right.

Get one of those Santa Monica maps,|coordinate everybody.

Reconnaissance.

An assignment. Right.

Temples and mosques on Saturday,|then we do churches Sunday morning.

- I think I care again.|- Are you gonna be alright?

One of our postal customers|is in danger.

Thanks, Mrs Alcot, for letting us|use your coffee shop.

Listen up, everybody. Alright. OK.

807,

Santa Monica, 9:
30am.

At 9:
40am, 672,

Wilshire.

are we not, in truth,

in the highest sense,|serving ourselves?

Jemi. Is there a Jemi something or|someone Jemi in your congregation?

There'll be a day you need a saviour.

You think you don't need a master|but you do!

And yet we don't need to see our|eyebrows to know that they are there.

And we don't need to see the light|to know that it is there.

And as we approach the holidays,|we come closer to our families...

- Hang on! What?|- People here want to contemplate.

You got it, Mrs Alcot.

Handsome, listen, I can't talk loud.|People here wanna contemplate.

Contemplate!

Yeah! They buy one of them|latte things and stare at each other.

When you go to sleep at night,

you believe you'll wake up|in the morning.

What if you went to sleep and began|to wonder whether you'd wake up?

Which brings me to Doubting Thomas.|Our old friend Doubting Thomas.

He was lost...

Tom, listen. Wendy's got something.

Tom, you gotta hurry back here.

so speak up.

- What did you find here?|- The letter has an S I didn't see.

- What did she say?|- She found Jemi's ass.

He did a unique thing on the tail|on "place". It's places of worship.

I didn't see the S because I didn't|have my glass. Not place, places.

Several religious places in|one compact area. Like the Vatican.

Does it even make any difference?|We got 45 minutes.

Then somebody's just gonna die|because we lost him.

I got it. But I'm not helping,|I'm just hanging out.

three-dimensional tableaux

in Santa Monica. Religious places.

They're right there.

Alright, Wendy, Rebecca, we'll check|it out. You guys watch the phones.

Stop the car! Behind the manger,|that's Look Out Point.

- We've no time to sightsee.|- That's where people jump from!

- How do you know that?|- Cos I dated a guy that jumped.

- What time is it?|- Is it noon yet?

We blew it.

We blew our first miracle.

Is there a splattered body anywhere|or has a car flattened the sucker?

I can't look.

No, I will look.|I am good enough to look.

Rate this script:0.0 / 0 votes

Warren Leight

Warren Leight (born January 17, 1957) is an American playwright, screenwriter, film director and television producer. He is best known for his work on Law & Order: Criminal Intent, Lights Out and the showrunner for In Treatment and Law & Order: Special Victims Unit. His play Side Man was a finalist for the 1999 Pulitzer Prize for Drama. more…

All Warren Leight scripts | Warren Leight Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Dear God" Scripts.com. STANDS4 LLC, 2024. Web. 26 Jul 2024. <https://www.scripts.com/script/dear_god_6554>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Browse Scripts.com

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is "blocking" in screenwriting?
    A The construction of sets
    B The end of a scene
    C The planning of actors' movements on stage or set
    D The prevention of story progress