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INT. [FRL]'S APARTMENT - NIGHT [FRL] lies in bed with [EX8].
EXT. FOOT OF DRIVEWAY - MOMENTS LATER [MRL] faces [FRL]. [MRL] Hey. [FRL] I heard what you did. Thank you. He nods, but quickly changes the subject. [MRL] She great or what? [FRL] Why are you doing all this? To impress me? [MRL] No. But are you -- impressed? She smiles. CONTINUED: [FRL] Like fire. [MRL] What? [FRL] You. She heads for her father's old Pontiac. [MRL] New Year's Eve. Would you go out with me?! She stops. Turns around. Surprised. [FRL] Yes. But not as a date date. [MRL] Why not? [FRL] I'm not allowed to date. She smiles and gets in the car.
EXT. DAY. COPSE Opposite her she sees [FRL] descending through the copse.
EXT. HOUSE � NIGHT CLOSE SHOT [EX24] beside lighted window pulls down the shade as [MRL] blows his whistle.
EXT. ROAD The Camaro swerves. TIRES SQUEALING. A LOUD, HEART- SEARING THUMP. The old man -- sideswiped, drops to the asphalt. The CAMARO SLAMS into a light pole. CRUNCHING METAL. TINKLING GLASS.
INT. KITCHEN - DAY [MRL] and [FRL] are in the playpen. [MRL]'s oversized mother reaches down as she hurries by and pats [MRL] on the head. MOTHER How's my baby boy? She's gone. [MRL] I really want her to pick me up. It's weird how strong that desire is. [FRL] holds his hand. He looks over at her. [FRL] You know, we're okay. They're not finding us. You'll remember me in the morning. And you'll come to me and tell me about us and we'll start over. [MRL] I loved you so much this day. On my bed in your panties. I remember I thought, how impossibly lucky am I to have you on my bed in your panties. She kisses him. [FRL] You remember what happened next? [MRL] I came over to the bed and you smelled so good, like you just woke up, slightly sweaty. And I climbed on the bed with you and you said something like -- [FRL] -- another rainy day. Whatever shall we do? He laughs. She unbuttons his pajamas. They begin to make love. [MRL]'s mother hurries around the kitchen. [MRL] stops, looks at [FRL]. [MRL] There's this guy! [FRL] What? [MRL] There's this guy. I heard him talking in my apartment. He's one of the eraser guys. And he fell for you when they were erasing you, so he introduced himself the next day as if he were a stranger and now you're dating him. [FRL] Really? Is he cute? [MRL] He stole a pair of your panties while you were being erased! [FRL] Gross! You must remember to tell me this in the morning. I'm, like, so freaked out now.
INT. BISHOP HOUSE. DAY [EX13] listens on the telephone with a strained look on his face. [EX14] watches him intently. [EX13] Oh, dear God. [EX13] grabs [EX14] by the wrist. He says grimly: [EX13] Get the boys. [EX14] raises her megaphone to her mouth. She shouts: [EX14] Let's go! Right now!
EXT. CREEK HOUSE - NIGHT We follow [EX14] running towards the creek house, fastening a good shirt. He's dressed and cleaned for dinner. He's late.
INT. [MRL]'S LIVING ROOM - EVENING [MRL] in a towel rushes downstairs, having just had a shower. He shoots past [EX1]. [MRL] Bollocks, bollocks, bollocks. Have you seen my glasses? [EX1] No, 'fraid not. [MRL] Bollocks. This happens every time I go to the cinema. Average day, my glasses are everywhere -- everywhere I look, glasses. But the moment I need them they disappear. It's one of life's real cruelties. [EX1] That's compared to, like, earthquakes in the Far East or testicular cancer? [MRL] Oh shit, is that the time? I have to go.
INT. [EX2]'S OFFICE [EX2] paces and dictates to a secretary. [MRL] He hired a secretary that he could dictate to.
INT. HALLWAY -- NIGHT [FRL] stops in the hallway to see that [MRL] Maguire has arrived at the back-kitchen door. She watches unseen as Maguire shakes hands with [EX28] the Nanny and is hit suddenly by a flying hug from [EX11]. He gives the kid an athletic bag, which is filled with state-of-the-art promotional athletic wear, etc. [EX11] continues hugging [MRL].
INTERCUT BETWEEN TWO LOCATIONS: [MRL] sits on his bed, on the phone, working and eating his breakfast. He's watching [FRL]'s wedding tape again. [EX4] is cooking an elaborate breakfast. [EX8] rushes around getting ready for work. He is on the phone to [MRL]. [EX4] Yes, well, my theory was that she may be running because she gets attention... Negative attention is attention. Like when women whack you on the street because of your column, that's negative attention. [MRL] This is about her negative attention, not mine. Did you get the reimbursement for the dress yet? [EX4] No, I'm paying for the dress. Do you think she's still gonna run? [MRL] I don't know. [EX8] enters the kitchen, hears the question and shakes her head to herself. If only these boys would give it up.
INT. LUGGAGE AREA -- MORNING [FRL] looks through the rubber flaps of the luggage conveyor belt. She clutches a cup of coffee. In the background, other SMI agents' grab their bags and exit. [FRL] [EX11]! [EX11]! Maguire enters picture, joining her as she looks into the dark depths behind the flaps. [MRL] Can I help? [FRL] Oh. Hi. I work in your office. I was on the junket to the conference. I'm -- [MRL] I know who y6u are. You're [FRL] Boyd. You're in... wait... you're in Accounts. You have the middle cubicle toward the back with that poster of Albert Einstein morphed onto Shaquille 0 Neal's body. [FRL] Hmm. Pretty good. [MRL] Now what did you lose? [FRL] My son... my mind... Over her shoulder, Maguire sees [EX11] rounding the corner, riding the luggage conveyor belt like Washington crossing the Delaware. [MRL] Well, while I go look for him, why don't you hang onto this curious gentleman behind you -- [FRL] turns, is greatly relieved to see [EX11], and snatches him off the belt. She bends down into his face. She speaks softly but intensely, with no frills. [FRL] Remember "imagination?"... remember what that means? Well, this is one of my bosses so you will now IMAGINE me screaming at you right now. Do NOT do that again. Ever ever EVER. She rises, shifting back to being a somewhat relaxed young woman of It's a transition she makes, oh, 500 times a day. [FRL] Well, thanks. [MRL] Well, take care. [FRL] And have fun at your bachelor party. [MRL] pauses just a moment, but it's long enough. [FRL] freezes. [FRL] Oh no. [MRL] No no. I knew. [FRL] Nnnnn. I just killed the surprise. [MRL] No, I'm just... anxiously looking past it. I already had my bachelor party. It was called "my twenties." See you later. [MRL] takes off. [FRL] I loved your memo, by the way. He stops. Turns. She flashes the well-thumbed copy in her purse. [MRL] takes a step closer, interested and flattered. [MRL] Thanks... actually, it was just a "Mission Statement." [EX11] has taken [MRL]'s free hand, and begun swinging on him. [FRL] I think in this age, optimism like that... it's a revolutionary act. [MRL] You think so? [FRL] Oh tsht. Yes. [MRL] I appreciate that, because some of that stuff... you know, it was two in the morning and... [FRL] -- the part about "we should embrace what it is still virginal about our enthusiasm" -- [MRL] looks slightly edgy at the naked vulnerability of his words. [FRL] -- "and we should all force open the tightly-clenched fist of commerce, and give a little back for the greater good.". I mean, I was inspired, and I'm an accountant. [EX11], don't spill my coffee. [MRL] looks more nervous, as [EX11] has now taken his mother's hand. He is now swinging on both of them. [EX11] One-two-three... swing. [FRL] Hey. To respect yourself enough to say it out loud, to put yourself out there, so openly... ... I don't know, it got me. Now [MRL] looks concerned, as [EX11] continues swinging happily. [EX11] One-two-three, swing. [MRL] Thanks. May I offer you both a ride? [FRL] Oh no. I'm sure it would just make your day to drive us all the way to Manhattan Beach, taking that left down to little tiny Waterloo street where you have to play chicken with oncoming traffic, and your life flashes before your eyes, but -- hey, I've obviously had too much coffee and all -- here's my sister [EX12] to pick us up. Thanks, though. Bye. [MRL] [FRL]. [EX11]. A pleasure. [EX11] One-two... [MRL] lets [EX11] down easy. The kid is a little disappointed. But Maguire bows, always courtly, and exits to get his bag. He then realizes something amiss and returns quickly, pulling [EX11]'s hand up again and completing the swing. [MRL] ... three, swing. [EX11] is now happy, in love even, as [MRL] exits. [FRL] laughs, as her sister arrives. [EX12] BOYD is No make-up, no bullshit. [EX12] has a pin on her sweater, which catches on dorothy's shirt as they hug. [EX12] Come on, I'm double-parked. [FRL] returns to the world of motherhood, bending down, gathering [EX11]'s toys. She wipes at [EX11]'s hair. She is surprised that she's a little jazzed from her encounter with [MRL] Maguire. She can't help but look back at [MRL], who catches her looking. He salutes her, with mock circumstance. She returns it with a guilty smile. He disappears, and she finds herself oddly short of breath. [FRL] Hmmph. Whoever snagged him must be some classy babe --
INT. TRIPLE DOOR BAR - LATER [FRL] with [MRL] and his friends: [EX3] and [EX2]. [EX3] [FRL], has [MRL] told you that in addition to being an Uber driver he also has a one-man show? [FRL] No, he did not tell me that. Do you really? [MRL] It's really nothing. It's just something I'm fiddling around with. 23 [FRL] How is a one man show different from stand-up? [MRL] It's really not. [EX2] There's lots of wigs and costume changes. [EX3] There's a lot of acting in it. [EX2] And then like at the end of it, you've got this very awkward conversation where you go, "I really liked it." [MRL] But I thought you really liked it! [EX2] I really liked it. [FRL] I can't wait to see the show. [MRL] You will never see the show... [EX3] You have to see the show. [EX2] You have to see it. [MRL] It's not ready. [EX3] You will love the acting. [MRL] They're fucking with you. It's not really like that. [FRL] Are they fucking with me or you? It seems like they're fucking with you. 24
INT. TOWNHOUSE - LIVING ROOM - DAY [EX3] is sitting in front of the television, scowling. ON TV - A HIDDEN VIDEO OF [EX6] AND [EX4] IN THE LIVING ROOM. [EX6] plays Beethoven's "Moonlight Sonata" at the piano while [EX4] listens and sways to the music. ANGLE ON: LIVING ROOM - [EX3] Enough with the music. Fuck her already. She throws a magazine at the television. [MRL] bursts into the living room. [MRL] You would not believe what-- [EX3] Shhh. ON TELEVISION - [EX6] FINISHES THE SONG. [EX4] STANDS AND APPLAUDS. [EX6] TAKES A BOW. [EX4] That was beautiful. [EX6] Almost as beautiful as you. [EX4] blushes. [EX6] checks his watch. [EX6] Well, I guess it's getting late. Please thank [EX3] for the use of her Steinway. [EX4] I'll see you tomorrow. [EX6] Absolutely. He approaches her, awkwardly then shakes her hand. [EX3] Idiot! ANGLE ON: LIVING ROOM - [EX3] FREEZE FRAMES the image. [EX3] What's wrong with you? [MRL] You ready for this? I've recently discovered that our good friend Mrs. Caldwell is the one who sent the letter to [FRL] urging her to stay away from me. [EX3] Interesting. [MRL] I now plan to devote all my energies to destroying the douche bag. Any luck corrupting her daughter? [EX3] No. [MRL] Call [EX4] up and get her to come over. I'll bust that cherry in a heartbeat. She walks over to the "freeze frame" image of [EX6] and [EX4] on the television. [EX3] The plot thickens. It appears that [EX4] has fallen for her music teacher. [MRL] Ooo, I'm sure Mrs. Caldwell will love that. [EX3] Not to mention Court Reynolds. Unfortunately, [EX6]'s moving with the speed of a Special Olympic Bobsledder. [MRL] What's your plan of attack? [EX3] I rat [EX4] out to mommy. Mommy goes ballistic and ends their relationship. Boo hoo. [MRL] But who will they turn to for help? [EX3] smiles and sits on [MRL]'s lap. [EX3] [EX4] is planning to go away with Court next week. I'll need you to speed up her sexual awakenings. [MRL] rubs her shoulders. [MRL] I'm at your service. [EX3] Thank you. Mmmm, that feels good. [MRL] Oh sis. You're so tense. [MRL] moves his hand down her shirt and under her bra. He's met with no resistance. [EX3] I hate when things don't go my way. It makes me so horny. [MRL] I hate it too. He takes his hand out from her shirt and slides it under her skirt. [MRL] Oh baby, your soaking. [EX3] I know. She closes her eyes and rubs his crotch. She unzips his fly. [EX3] Any luck with your girl? [MRL] Moving along quite well. [EX3] Have you succeeded in your task? [MRL] Any day now. [EX3] Well, let me know when you do. Until then. She takes his hand out from under her pants. [EX3] No pootie. [EX3] smiles. [EX3] Sorry.
INT. WONG BROTHERS' DELI - SECONDS LATER [MRL] walks into the brightly lit deli... [EX7], 20s, is with his 80-year-old GRANDFATHER behind the counter. There's a NERDY COLLEGE KID at the salad bar, a drunken DEPARTMENT STORE SANTA at the liquor display, a WOMAN with a BABY in an aisle and... ...a BLACK [EX24], 30s, with a dollar sign and the name "[EX6]" tattooed on his arm, stands in front of the coffee machine... [EX6] Oh yeah...yeah, yee-ah! She's a certified winner...paper- thin but good as gold... [MRL] notices [EX6] talking to himself, seemingly crazy. [MRL] approaches [EX7] at the counter. [MRL] Egg nog? [EX7] Dairy case. Five dollar. [EX6] Y'all do the lotto here...? `Cause I got me a winner...I know, I know, Lotto keeps the black man down... but not me... [MRL] grabs a carton of egg nog, then notices [EX6] handing [EX7] his ticket. [MRL] heads back toward the counter... [EX6] ...........right there. Four numbers...that's two hundred and thirty eight dollar... Merry Christmas and shit... [EX7] Ticket bad. You draw in lines with pencil. [EX6] What're you talkin' about? [EX7] You draw lines with pencil! I know about this! The woman with the baby looks over...the college kid looks up, nervous...the drunken Santa, bottle of bourbon in hand, starts to walk by [MRL]...[MRL] instinctively puts an arm out, holding the Santa back... [EX6] What!? Look at the ticket...! [EX7] Get out, I call The Santa looks at [MRL], confused. [EX6] You're lookin' at me, you're not even lookin' at the ticket! The woman with the baby puts a loaf of bread back on the shelf, starts nervously inching toward the door. [EX7] You leave now. Take ticket somewhere else. Next customer in line...! [EX6] You first generation, xenophobic, money-theistic, hot pastrami sandwich making... [EX7] Get out! Just watching...[EX6] shoves the ticket in [EX7]'s face... [EX6] LOOK AT THE GODDAMN TICKET!! A moment of decision for [MRL]. Then... [MRL] Let me see that ticket. [EX6] turns to [MRL]. [EX6] Was I talkin' to you?! [MRL] looks at the woman, the college kid, the Santa, then... [MRL] Maybe I'll buy it from you. Now [EX6] walks over to [MRL]... [EX6] Guy in $2,000 suit gets ass kicked tryin' to be a hero. Film at eleven... What?! Oh no, not another lookie-loo. You know how big a job this is? The patrons exchange nervous glances...[MRL] watches, confused. [EX6] You're double bookin' me! You're gonna get double billed! Shit! [EX6] throws a bottle of Perrier against the wall, it SHATTERS. The woman reels back in terror with the baby... [MRL] Hey, c'mon... In a flash, [EX6] whips a .38 from the back of his pants, aiming it at [MRL]'s face. The woman SCREAMS, covers her baby. [EX6] Do you want to die? [MRL] stares at [EX6], trying his best to keep his cool... [EX6] DO YOU WANNA DIE?! [MRL] No. [EX6] Yes you do... [MRL] Look, I'm talking about a business deal here. I buy the ticket for two hundred, take it to a store where the guy behind the counter... ...doesn't have a death wish ...I just made myself a quick thirty eight dollars. [EX6] gets closer... [MRL] Like I said, it's a business deal... [EX6] Damn, you are the real thing... [EX6] narrows his eyes...then, a smile as he puts the gun back into his pants... [EX6] C'mon, [MRL], let's get outta here... You were lookin' at me, papa, you shoulda been lookin' at the ticket. That ticket was legit, B. You're fake... [EX6] starts out of the deli. [MRL] follows...
EXT. TERRACE - DAY A little later. They're in the thick of the script. [MRL] 'Message from command. Would you like them to send in the HKs?' [FRL] 'No, turn over 4 TRS's and tell them we need radar feedback before the KFT's return at 19 hundred -- then inform the Pentagon that we'll be needing black star cover from ten hundred through 15' -- and don't you dare say one word about how many mistakes I made in that speech or I'll pelt you with olives. [MRL] 'Very well, captain -- I'll pass that on straightaway.' [FRL] 'Thank you.' How many mistake did I make? [MRL] Eleven. [FRL] Damn. 'And Wainwright...' [MRL] Cartwright. [FRL] 'Cartwright, Wainwright, whatever your name is, I promised little Jimmy I'd be home for his birthday -- could you get a message through that I may be a little late.' [MRL] 'Certainly. And little Johnny?' [FRL] My son's name is Johnny? [MRL] Yup. [FRL] Well, get a message through to him too. [MRL] Brilliant. Word perfect I'd say. [FRL] What do you think? [MRL] Gripping. It's not Jane Austen, it's not Henry [EX27], but it's gripping. [FRL] You think I should do Henry [EX27] instead? [MRL] I'm sure you'd be great in Henry [EX27]. But, you know -- this writer's pretty damn good too. [FRL] Yes -- I mean -- you never get anyone in 'Wings of a Dove' having the nerve to say 'inform the Pentagon that we need black star cover.' [MRL] And I think the book is the poorer for it. [FRL] smiles her biggest smile of the day. He is helping.
INT. CAR. [MRL] Come on! Get it out!
HALLWAY - DAY [EX3] tries to pull away as [EX2] drags her by the hair between two rows of lockers. [EX3] Let go! [EX2] You set me up. [EX3] I just wanted -- [EX2] What? To completely damage me? To send me to therapy forever? What? [EX3] No! I just wanted [EX7] walks up [EX7] Ladies? Shall we take a trip to my office?
INT. HALLWAY - CONTINUOUS Sure enough, it seems as if most of the party is listening at the door - falling all over each other to hear. Nearest to the door is the bully, who is pleasantly surprised by the noise inside.
EXT. THE ALLEY BEHIND THE WHOREHOUSE -- NIGHT Several of the Hookers follow to watch. [MRL] is drunk and lost. [EX24] in control. [EX24] C'mon, we got nothin' to fight about. [MRL] You fuck! [EX24] Why am I a fuck? [MRL] Why are you a fuck? 'Cause you got talent. I got brains. But you got talent! You're God damn left arm is worth a million dollars a year. All my limbs put together are worth 7 cents a pound -- and that's for science and dog meat. [EX24] You're a great catcher. [MRL] Come over here into the light so I can kick your ass. [EX24] No. [MRL] Okay, I'll kick your ass there. [MRL] takes a step toward [EX24]. Pulls up his bare feet quickly, stepping on a sharp stone. [MRL] ...God damn... I forgot my fucking shoes. Honey, go get my shoes. One of the Hookers goes inside for his shoes. [EX24] I'll take you back to the hotel. [MRL] You know what the difference is between hitting .250 and hitting .300? I got it figured out. Twenty-five hits a year in 500 at bats is 50 points. Okay? There's 6 months in a season, that's about 25 weeks -- you get one extra flare a week -- just one -- a gork, a ground ball with eyes, a dying quail -- just one more dying quail a week and you're in Yankee Stadium! CUT TO:
INT. RECEPTION - NIGHT The doors open and [MRL] and [FRL] enter. Heads turn. [EX18] looks up and sees [MRL] with [FRL]. She shakes her head. [EX17] sees [MRL] and gets up. She joins him. [MRL] Hey. [EX17] Hi. [MRL] I didn't go. [EX17] I'm glad. Off [EX17]'s look, [MRL] turns to [FRL]. [MRL] This is [FRL]. A... friend. [FRL] Hi. Congratulations. You look fantastic. [EX17] Thank you. Slightly awkward pause. [FRL] I'm really sorry to gate-crash. Your father sort of insisted. [EX17] No, it's fine. I'm sure... ...there's room. [EX17] looks back at the full top table. [MRL] You get back. Don't worry about us, we'll find a place. [FRL] Yes... [EX17] No. Could you find them a seat please. [EX31] Sure. [EX16], acting as Master of Ceremonies, stands and clinks his glass for attention. [EX17] I'd better go. [EX16] And now for the best man's speech. Except we seem to be missing the bride. Oh, no, here she is. [EX17] heads back and resumes her seat at top table. The best man takes the mic... [EX15] [EX14]. What can I say...
EXT. AIRFIELD - NIGHT Ambulances, fire trucks, and police cars start to move. [EX36] Airport vehicles take positions one and two.
INT. [FRL]'S BEDROOM - NIGHT [FRL] paces her room, not wanting to sleep/dream. She eyes the phone, waiting for it to ring. BEEEEP -- [FRL] Me again. I just... need to hear your voice...
INT. DAY. EWEDOWN - THE PUB. [MRL] is lying on one of the seats, his head on [EX11]'s lap. [EX11] I'm going to move on soon, [MRL]. [MRL] No way... GOLDENROD REVISIONS 09 [EX11] Don't know if I can stick a winter here. The way the light disappears; it's doing me in. I'm a blue sky girl. Got to have some warmth. [MRL] just looks up at her, smiling his understanding. [MRL] We all need a bit of that, don't we.
EXT. THE NORTHWEST EXECUTIVE ENTRANCE - DAY In front of the guardhouse, [EX7] and her new colleague, [FRL] , are being cleared. [FRL] Hi, my name's [FRL] . [EX7] He just needs your driver's license. [EX7] hands the guard her license. [FRL] I'm from Virginia. [EX7] He doesn't care. [FRL] I'm here for a meeting with Mr. MacInerney. [EX7] He doesn't need to know that. The [EX14] BUZZES her through the gate. [FRL] Forgive me, this is my first time at the White House. I'm trying to savor the Capra-esque quality. [EX7] He doesn't know what Capra-esque means. [EX14] Yeah, I do. Frank Capra, great American director -- It's a Wonderful Life, Mr. Smith Goes to Washington. [FRL] of Virginia. Knock 'em dead. [FRL] Thanks. [FRL] and [EX7] begin to walk up the path toward the entrance to the West Wing. CUT TO:
EXT. AIRFIELD - NIGHT Ambulances, firetrucks, and police cars speed toward runway. They are followed by a baggage truck, fuel truck, a taxi, Coke truck, an ice cream truck, farm machinery, and a cement mixer. [EX36] Air Force positions number four and five. All ambulances to position three.
INT. RAINBOW ROOM - DUSK [EX9] and [FRL] walking toward their table with the MAITRE D'. [FRL] sits down, looks at the view. [EX9] starts to sit, revealing a spectacular view of the EMPIRE STATE BUILDING directly behind him. [FRL]'s smile fades. [EX9] Is something wrong. [FRL] shakes her head. MAITRE D' May I get you a drink? [EX9] Some champagne? [FRL] Fine, fine. [EX9] glances back over his shoulder. [EX9] Beautiful view, isn't it? [FRL] [EX9], there's something I have to tell you --
EXT. ROAD - DAY A short time later. [EX6] is now driving. [EX6] I'm sure, [EX2], they did something real off for you to feel this way... But when it comes to your partners -- or your kid -- things will always be off for you unless you set it straight. Maybe this thing happened to you just to give you that chance. [EX1] Nonsense! [EX6] Anybody here who's interested in what [EX1] has to say raise their hands. [EX2] does not raise his hand. [EX2] and [EX6] have thus declared their majority. [EX2] Do you want to know what happened with my parents? [EX6] Yes. I really would. [EX2] Well... [EX6] No, let me pull over so I can pay full attention. Car pulling over toward parking spot.
EXT. STREET MED. SHOT The truck and taxicab crash and the screen blacks out. DISSOLVE TO:
EXT. STREET - AFTERNOON [MRL] and [EX17] walk arm in arm, [MRL] in cool clothes and sunglasses trying to look cool, [EX17] making a point about something. [MRL] checks out how cool he looks with her as they walk by a store window REFLECTION. [MRL] We went out for two years, and for every single minute I felt as though I was standing on a dangerously narrow ledge. I couldn't get comfortable, couldn't ever stretch out and relax. Why would a girl -- no, a woman -- like [EX17] go out with someone who only a few years ago sewed a Foghat patch on his jacket? I felt like all those people who suddenly shaved their heads and said they'd always been punks. I felt like a fraud. And I was depressed by the lack of flamboyance in my wardrobe...
INT. LOCKER ROOM -- DAWN PLAYERS THROW THEIR GEAR into their travel bags. A PAPER BEER CUP IS TAPED TO THE WALL -- With a sign: "Married men deposit wedding rings here for road trips". CLOSE ON THE CUP -- A ring is dropped in, and another, and... We begin hearing [FRL]'s VOICE OVER: [FRL] A woman should never ask questions about road trips. CUT TO:
EXT. HOSPITAL - DAY [MRL] exits the Hospital. [MRL] Taxi! A taxi pulls up. [MRL] Heathrow please. As quick as you can. [MRL] gets in as the Taxi speeds away.
INT. COCKPIT - NIGHT [FRL] enters with dinners. [EX12] Hey, we've been waiting for you. A little bit late tonight. [FRL] Who wants to be first? [EX16] Go ahead, Clarence, I got it. [EX12] removes his headset, [FRL] puts tray down. [FRL] How's the weather? [EX16] Not so good. We've got some heavy stuff ahead of us. It might get rough again unless we can climb on top. But our airspeed is holding steady at six hundred ten knots. [FRL] That's great. By the way, [EX27] Hammen asked me if you would autograph this basketball. [EX16] autographs it reluctantly.
INT. [EX6]'S RESTAURANT - DAY ANGLE ON WAITRESS [EX6] CONNELLY talks with another MOTHER -- a customer. You would not guess it, but her working hours tend to be the most carefree time of the day. She is telling a story about her son for the umpteenth time. [EX6] Look at you, you're all better. MOTHER It's that new medication. [EX6] You know all my son's stuff, right? The Mother nods too sympathetically that she does, but [EX6] interrupts her. [EX6] No, no, no, I got a date tonight. I'm walking out the door this morning and he says to me, 'Mom, I promise not to get one of my fevers or coughs during your date.' MOTHER Isn't that sweet. [EX6] Little blonde angle. Eat everything. [EX1] enters and moves past several empty tables to a table towards the back and is obviously surprised to find a [EX10] and [EX7] sitting at the table. [EX7] It just came out of me. I said you love me the way a remote control loves a TV. As long as I switch every time... [EX8] Wonderful. [EX1] People who talk in metaphors can shampoo my crotch. Eat up. They turn away -- [EX1] walks a few paces to the waitress station where two waitresses, [EX9] and [EX6], are talking. [EX9] Pay me back next week. [EX6] I owe you. I told you today... them's the rules. Oh, excuse me, [EX1]. She puts two hands lightly on his waist to move him out of the way. He gulps at the contact but covers his self-consciousness. [EX1] I'm starving. [EX6] Will you please take it? [EX1] intentionally moves a step in her path, with stealth, so that she must touch him again to get him out of the way... [EX9] This way you take a cab home so you have time to get ready for the date. [EX6] "Ready" is not my problem. She barks a mirthless though hearty laugh. If we could read [EX1] which we can't, we'd see him unsettled by the date talk. To [EX6] he is as harmless as furniture. [EX6] Go sit down. You know you're not allowed back here... [EX13]'s more excited about it than I am... He says, "Mom, I promise not to get a fever or couch during your date." The other WAITRESSES and the SHORT ORDER COOK all go "awww." [EX6] I know. He's just the best. [EX1] I've got Jews at my table. [EX6] It's not your table. It's the place's table. Behave. This once, you can sit at someone else's station. The two waitresses signal their protests. [EX6] Or you can just wait your turn... [EX1] walks back into the restaurant proper... he hangs near their table... his discomfort builds in this limbo... then: [EX1] How much more you got to eat? Your appetite isn't as big as your noses, is it? [EX7] What?!! [EX10] Let's go -- The [EX7] starts to protest. [EX10] Let's leave. We're going. [EX1] sits down at the table -- and takes from his pocket a plastic eating utensil set wrapped and sealed. As he opens his utensils. [EX6] Bryan says he doesn't care how long you've been coming you ever act like this again you're barred for life. I'm gonna miss the excitement, but I'll handle it. There is in [EX6]'s attitude toward [EX1] some ingredient of self-satisfaction -- that she is the only one in the place who can handle him. She starts to clear the table. [EX1] The table's fine if it had some cholesterol on it. Two sausages, six bacon strips, fries, three eggs over easy and coffee. [EX6] You're gonna die soon with that diet, you know that? [EX1] We're all gonna die soon. I will. You will. It sure sounds like your son will. ON [EX6] Stunned. Some crazy street-freak has slipped under her perfect guard and momentarily devastated her. [EX1] senses that he's gone way too far. He wipes his knife. [EX6] If you ever mention my son again, you will never be able to eat here again. Do you understand? Give me some sign you understand or leave now. Do you understand me... you crazy freak? Do you?!? A beat and then [EX1] nods, hardly breathing -- backing down. [EX6] Okay. I'll get your order. She walks away. [EX1] watches her, biting his lower lip. He takes some napkins and cleans the table himself.
[MRL] turns the corner into bumper to bumper traffic. No problem, the traffic magically opens up for him, cars instantly swerving right and left clearing a path for [MRL]. He waves as he passes. [MRL] And the last shall be first. EXT. POLICE TRAINING CENTER - DAY A POLICE DOG, HANK, performs some standard TAKE DOWNS by "attacking" a "criminal" on the run. [EX36], a reporter from a rival station is wrapping up his story. [EX36] I certainly wouldn't want to be a fugitive on the run with Hank, Buffalo's number one police dog, on the job. This is [EX36] Sidleman reporting from The Police Canine Training center. And cut it. Let's go, guys. The crew start to wrap up. ANGLE - [MRL] Watching the action from the side, holding his own home video camera. [EX36] spots him. [EX36] Hey, channel seven, right? You're the guy that went crazy. [MRL] Yeah, I had a bad day. But things are lookin' up. [EX36] What are you doin' here? [MRL] Just lookin' for a story. [EX36] Well, this pond's fished out. Pretty standard stuff anyway. [MRL] I don't know. My instinct tells me there's something more. [EX36] Well, go with that. It's served you well in the past, right? [EX36] and a couple of his crew laugh, as they load the last of their equipment into the van and shut the doors. TRAINER Hey, Hank found something1 [EX36] turns back, [MRL] and he exchange a glance. Hank is DIGGING FURIOUSLY, making a BIG HOLE. The [EX37] jogs over, joins the trainer. They watch as TWO DRESS SHOES ARE UNCOVERE D IN THE DI RT. Hank BARKS. [EX37] We got a bodyI [EX36] Shit. Get the camera, now!
EXT. CENTRAL PARK - MORNING [MRL]�s Ferrari racing through the park...
[EX34] HAPPY HOLIDAYS! As another carol begins, [MRL] wraps his arms around [FRL] and kisses her. He pulls away, looks deeply into her eyes, and whispers with passionate sincerity -- [MRL] I love you, [FRL]. For an instant, her eyes flare as though she were surprised. Then her eyes fill with tears. She tries to speak but she is choked by a sob. She buries her face in his chest and cries. [MRL] smiles with warm, almost paternal, indulgence. He strokes her hair. She hugs him as though she'll never let go.
INT. PARK HYATT BAR - NIGHT [MRL], still in his tuxedo and make-up from the shoot, sits alone having a drink. A JAZZ BAND FROM SAUSALITO performs. The [EX25] is a middle-aged woman with red wavy hair, dressed in red, and takes her singing very seriously. She sings a slow version of "Parsley, Sage, Rosemary and Thyme". C.U. - a golden beer is poured very slowly. [MRL] drinks his scotch, hoping it will all go away. Across the bar, [FRL] sits with [EX10], her husband , and some FRIENDS - super stylish, weird Japanese fashion people . One of them, [EX17], in a shiny suit, keeps taking pictures, and showing them magazine layouts. [EX9] Thank you. We're glad to be here, we're Sausalito. [FRL] laughs and looks down, the Japanese audience clap very seriously... she and [MRL] catch eyes - about Sausalito and how weird it is there. CUT TO:
66 INT. [FRL]'S FLAT - DAY [FRL] sits holding [MRL]'s torn T-shirt. She is trying to read her book, but is just too distracted. The phone rings and she runs for it. [FRL] Hello? No, Dr. Hirsch, he hasn't come back yet. Yes, I will, doctor, but I just feel so helpless sitting here doing nothing. Thank you, yes, goodbye. She hangs up and looks around the empty flat. She is now more worried than ever.
INT. SEELBACH HOTEL - BATHROOM - MORNING In the bath, [FRL]'s grips the letter in her trembling hands. [EX1] What was in the letter? A deep breath, a last look, and then, [FRL] opens her hand... The letter comes to pieces like snow. [EX4] I don't know. She wouldn't tell me. But before the letter disappears completely we read one more line: "The truth is..." DISSOLVE TO:
IN THE KITCHEN: We see 10-year-old [MRL] watching his mother [EX5] and father kiss quickly, politely, and then his father leaves quickly. [EX2] remains in silhouette through the shot. DIFFERENT DAY, IN [MRL]'S BEDROOM: [MRL] watches [EX2] and [EX5] kiss, and [EX2] leave - more like a performance than anything real. DIFFERENT DAY, IN PARENT'S BEDROOM: [MRL] watches [EX2] and [EX5] kiss and [EX2] exit, quick and dry. 10-year-old [MRL] studies them each time. 10/29/07 CONTINUED:
INT. [EX5]'S ROOM - NIGHT [MRL] I have to have a life. I have to do things that I want with people my own age. It's none of your business who I am going out with. I don't give a good goddam if you're angry -- [EX5] This is the one I like. [MRL] starts back to his bedroom.
INT. [EX6]'S GARAGE - CONTINUOUS As [EX3] and [EX1] enter the dim garage, [EX6], a nervous, spiritless man, appears from the back office. [EX3] Hello [EX6]! How's business? [EX6] I can't complain. When are you going to sell me that car? [EX3] I've got my man working on it. [EX6] Works pretty slow, don't he? [EX3] Maybe I'd better sell it somewhere else? [EX6] I don't mean that, I just... [EX6]'s grovelling is terminated by the sound of chunky red heels corkscrewing down stairs from above. All turn to see: [EX7] [EX6]. Buxom. Smoldering. Elementally sensual. [EX7] If its business you're talking, you should be talking to me... Get some chairs why don't you; so somebody can sit down... [EX7] smiles slowly and, walking through her husband as if he were a ghost, shakes hands with [EX3]. [EX7] Hurry up! [EX6] Oh, sure... Sure... [EX6] hurries out back. [EX3] Mrs. [EX6]... [EX1] Carraway. [EX7] A pleasure... [EX3] [EX1]'s a writer... [EX7] is completely uninterested. [EX1] I'm in bonds, actually... [EX3] Get on the next train. [EX7] Now...? Are we gettin' that dog? [EX3] Whatever you want. And you can call up your sister... She'll like him... [EX1] Oh no, that's alright, I'm busy... [EX7] Catherine's said to be very good looking, by people who oughta know. [EX1] Really I can't... [EX3] Do you want to embarrass [EX7]...? That's rude. CUT TO:
INT. BEDROOM-- NIGHT Fierce, driving jazz. [FRL] and [MRL] making out on bed. Getting hotter. The music gets wilder. Finally it is impossible to ignore, and [MRL] collapses backwards on the bed laughing. She is left frozen, her arms open but he is gone. [FRL] What is this MUSIC? They both crack up, and she kisses him as the music plays. He looks at her. She turns away, then back again, he's still looking at her. It's a powerful moment for her. Laughter continues, the music is ridiculous.
INT. LOCKER ROOM - DUSK The female players continue to celebrate as they undress. [EX26] Shoot, you see that crowd? We need to be playing in the Sports Arena. [EX28] Hell yeah. They give each other a pound. [EX21] looks at [FRL], standing in her shorts and sports bra. [EX21] Oh damn, Mon. [FRL] What? [EX21] I think ol' girl took out your chi-chis with that charge. The women break into laughter. [FRL] smiles. [FRL] Kiss my ass. [EX20] Nah, I think she took that too. [FRL] [EX20], please, last time you chest- bumped me, it took you three tries. More laughter. [FRL] looks over at [EX27], sitting quietly at the bench. [FRL] Yo, T, why you so quiet? [EX27] I don't want to go play overseas. [EX36] I thought you were hyped about going to Portugal next year. [EX27] It's never gonna be like this. Playing in front of my family, hanging out with my girls. Probably not even a McDonald's. [EX20] Nah, there's always a McDonald's. [EX18] Least you got an offer. My agent's still looking. [EX25] What about you? [EX21] Maybe it'd be worth it if I knew some day I could come back here and play. But for right now, it's law school. [EX17] [FRL]. [FRL] turns, sees [EX17] standing in her office doorway. She motions for her. [FRL] heads over. [EX18] watches.
INT. HELLER HOME - VARIOUS - CONTINUOUS - PRESENT DAY In THE KITCHEN, [EX1] climbs in through the old dog door. She sees her father kneeling on the floor at her mother's feet. Perplexed, she pulls at her bottom lip with her finger. [FRL] releases herself from [MRL]'s grip and goes to her suitcase. She carries it up the stairs.
[MRL] STEPS CLOSER, LEANING TOWARD [EX26]. WHISPERS INTIMATELY
INT. WOODS - MORNING [MRL] and [FRL] tramp through the woods to FIND -- [EX6] leaning against a tree. His expression is hard. [EX6] You're still alive. [FRL] I've been calling you. [EX6] Couldn't drop by? [MRL] He thinks I'm keeping you away. [EX6] Stay the hell out of my head! [FRL] Dad grounded me, Jake. We're trying to get back before he wakes up. [EX6] doesn't buy it. [FRL] is frustrated. But [MRL] takes a step toward [EX6]. Calm. Diplomatic. [MRL] [EX6], I know you have something to say to me, but I'd like to say something first. Alright? [EX6] leans back against the tree, arms folded, waiting. [MRL] Thank you. For keeping [FRL] alive when I... didn't. [EX6] No, you didn't. And it wasn't for your benefit, trust me. [MRL] I know. I'm still grateful. But I'm back now. And I'm not leaving [FRL]'s side till she orders me away. She looks at him. He returns the look. [EX6] sees the devotion between them. It wounds him. But he masks it. [EX6] We'll see. [MRL] Either way, we'll handle [EX28] from here on out. [EX6] She's been laying low. Ever since your freaky sister showed up. Guess she can't stand you Cullens either. [MRL] She'll come back. [EX6] She does, she's ours. She killed on our turf. [MRL] We'll see. [EX6] My turn to talk. I'm here to remind you about a key point in the Treaty. [MRL] I haven't forgotten. [EX6] Good. [FRL] What? What key point? [EX6] If any of them bites a human, the truce is over. That's bite, not kill. [FRL] But... if I choose it, it's none of your business. [EX6] is horrified, starting to shake with rage. [EX6] If you... what!? No. No way. I won't let you -- [MRL] -- [FRL], step back -- [EX6] You're not gonna be one of them. [FRL] That's not your call -- [EX6] You know what we'll do to you - I won't have a choice -- [MRL] We're done here -- [MRL] takes [FRL]'s arm, starts to pull her away. [EX6] lunges, trying to extract [FRL] from him -- [EX6] You don't speak for her!
INT. THE SLAUGHTERED LAMB - NIGHT The rain is loud on the roof and beating on the windows. The gathered continue to drink, play chess and darts, but all are silent and contemplative. [EX4] Perhaps they'll be safe in the rain. The [EX6] slams his hand on the table. Shouts: [EX6] No one brought them here! No one wanted them here! [EX4] You could have told them! [EX8] Are you daft? What do you think they'd say? They'd think us mad. [EX4] Listen! The rain is subsiding. There is a very faint howl. [EX4] Did you hear it? We must go to them. [EX8] I heard nothing. [EX6] Nor I. The camera lingers as the [EX6]'s hard face shows the man's struggle. Another howl. The Chess Player turns suddenly.
INT LANCASTER HOUSE - DINING ROOM - ANOTHER NIGHT Where [FRL] is having dinner with her parents. [EX1] [EX27] called today. The PET Scan is set for the eighth. [FRL] nods. This could be a source of worry but she's not going to think about that right now. She's upbeat. And she's actually eating, which her parents can't help but notice. [EX1] and [EX7] look at one another, pleased. [EX1] I told you Support Group was a good idea. [FRL]'s phone buzzes. "." She looks to her parents. [EX7] By all means.
INT. KINGS FAMILY RESTAURANT - NIGHT The Devils' faithful cheer as [EX4] and his guys enter! The place is packed. [EX7] and [FRL] drink coffee while [MRL] eats his brownie. They're all excited. [FRL] Do you have a favorite band? [MRL] I think The Smiths are my favorite. [FRL] Are you kidding!? I love The Smiths! The best breakup band ever. What's your favorite song? [MRL] Asleep. It's from Louder Than Bombs. I heard it on Pony Tail [EX6]'s mix tape. [EX7] That works on so many levels. [MRL] I could make a copy for you. [FRL] Thanks. What about Eide's? You love Eide's, right? [MRL] Yeah. They're great. [EX7] Not a band, [MRL]. [FRL] It's an old record store downtown. [EX7] I used to be popular before [FRL] got me some good music. So, watch out, [MRL]. She'll ruin your life forever. [MRL] That's okay. [EX4], the quarterback, passes with his posse. Taunting. [EX3] & [EX2] Hey, Nothing. Hey, Nothing. [EX7] Let it go! Jesus! It's an old joke! It's over! [FRL] laughs. She loves watching [EX7] get riled up. [FRL] So, [MRL]... what are you going to do when you get out of here? [MRL] My [EX15] said I should be a writer, but I don't know what I'd write about. [FRL] You could write about us. [EX7] Yeah. Call it Slut and The Falcon. Make us solve crimes. [FRL] laughs. [MRL] smiles. [MRL] You guys look happy together. How long have you been boyfriend and girlfriend? What? [FRL] He's my step-brother. My mom finally left my worthless dad and married his nice dad 3 years ago. [EX7] But [FRL]'s not bitter. Make no mistake. [FRL] Absolutely. I'm not a bulimic. I'm a bulim-ist. They laugh at their inside joke. [MRL] has no idea what's so funny. [MRL] I'm sorry. I don't know what that means. [EX7] She just really believes in bulimia. [FRL] I love bulimia.
INT. VAGUE SPACE Vague reenactments of memories intermingle in this undefined space: The young girl being raped by the man in the car. A soldier on a battlefield looking at his slaughtered friends. A couple fighting, from the woman's point of view. [EX22] I...I... I... find you physically repulsive! I can't even look at you! They look at each other in silence. A little boy being called "faggot" by an endless succession of boys. The aftermath of a car accident from the driver's POV. [EX3] having an abortion.
EXT. ARCADIA STREET. MID-MORNING. A street in Arcadia. The car is parked. [FRL] and [MRL] walks toward the car carrying big bags of groceries and supplies and put them inside. [MRL] What happened to C.W.? [FRL] He stopped off in that hardware store to get light bulbs for his daddy. [MRL] opens the door of the driver's seat and sits down.
INT. THE PRESS BRIEFING ROOM - EARLY MORNING [EX5] is on her last drops of energy and patience. [EX56] [EX5], will the President ever respond to Senator [EX22]'s question about being a member of the American Civil Liberties Union? But instead of hands going up, the PRESS CORPS suddenly stands. [EX5] turns to see [MRL] stride in and step up to the podium. [MRL] Yes, he will. 'Morning. [EX5] Good morning, Mr. President. [MRL] takes the podium. There's a palpable BUZZ in the room as video operators adjust their equipment, etc. People starts to stand. [MRL] That's all right, you can keep your seats. For the last couple of months, Senator [EX22] has suggested that being president of this country was, to a certain extent, about character... ANGLE - [EX5] who's picked up the receiver from a wall phone and punches in four numbers. She turns in to the wall to shield her conversation from the rest of the room. [EX5] [EX3]...call A.J. and come on down here...I don't know, but something's happening. [MRL] ...and although I have not been willing to engage in his attacks on me, I've been here three years and three days, and I can tell you without hesitation: Being President of this country is entirely about character. [EX3] enters with A.J. and [EX6]. [MRL] For the record: Yes, I am a card- carrying member of the A.C.L.U. But the more important question is why aren't you, Bob? This is an organization whose sole purpose is to defend the Bill of Rights, so it naturally begs the questions. [MRL] Why would a senator, his party's most powerful spokesman and a candidate for president, choose to reject upholding the Constitution? If you can answer that question, then, folks, you're smarter than I am, because I didn't understand it until a couple of minutes ago. Everybody knows American isn't easy. America is advanced citizenship. [MRL] You gotta want it bad, 'cause it's gonna put up a fight. It's gonna say, "You want free speech? Let's see you acknowledge a man whose words make your blood boil, who's standing center stage and advocating, at the top of his lungs, that which you would spend a lifetime opposing at the top of yours. You want to claim this land as the land of the free, then the symbol of your country can't just be a flag; the symbol also has to be one of its citizens exercising his right to burn that flag in protest." Show me that, defend that, celebrate that in your classrooms. Then you can stand up and sing about the land of the free. I've known Bob [EX22] for years. I've been operating under the assumption that the reason Bob devotes so much time and energy to shouting at the rain was that he simply didn't get it. Well, I was wrong. [MRL] Bob's problem isn't that he doesn't get it. Bob's problem is that he can't sell it. Nobody has ever won an election by talking about what I was just talking about. [MRL] This is a country made up of people with hard jobs that they're terrified of losing. The roots of freedom are of little or no interest to them at the moment. We are a nation afraid to go out at night. We're a society that has assigned low priority to education and has looked the other way while our public schools have been decimated. We have serious problems to solve, and we need serious men to solve them. And whatever your particular problem is, friend, I promise you, Bob [EX22] is not the least bit interested in solving it. He is interested in two things and two things only: Making you afraid of it and telling you who's to blame for it. That, ladies and gentlemen, is how you win elections. You gather a group of middle-aged, middle-class, middle- income voters who remember with longing an easier time, and you talk to them about family and American values and personal character. Then you have an old photo of the President's girlfriend. You scream about patriotism and you tell them she's to blame for their lot in life, you go on television and you call her a whore. [FRL] has done nothing to you, Bob. She has done nothing but put herself through law school, prosecute criminals for five years, represent the interests of public school teachers for two years, and lobby for the safety of our natural resources. [MRL] You want a character debate? Fine, but you better stick with me, 'cause [FRL] is way out of your league. I've loved two women in my life. I lost one to cancer, and I lost the other 'cause I was so busy keeping my job I forgot to do my job. Well that ends right now. [MRL] Tomorrow morning the White House is sending a bill to Congress for its consideration. It's White House Resolution 455, an energy bill requiring a 20 percent reduction of the emission of fossil fuels over the next ten years. It is by far the most aggressive stride ever taken in the fight to reverse the effects of global warming. The other piece of legislation is the crime bill. As of today it no longer exists. I'm throwing it out. I'm throwing it out and writing a law that makes sense. You cannot address crime prevention without getting rid of assault weapons and handguns. I consider them a threat to national security, and I will go door to door if I have to, but I'm gonna convince Americans that I'm right, and I'm gonna get the guns. We've got serous problems, and we need serious men, and if you want to talk about character, Bob, you'd better come at me with more than a burning flag and a membership card. If you want to talk about character and American values, fine. Just tell me where and when, and I'll show up. This is a time for serious men, Bob, and your fifteen minutes are up. My name's [MRL], and I am the President. [MRL] exits the press room, leaving a stunned room in his wake. The MURMURS begin from the PRESS CORPS. They're talking among themselves, confirming that they just saw what they just saw. [EX5] steps to the podium. [EX5] Any questions? CUT TO:
EXT. THE ROUND PEN - DAY [MRL] stands in the pen with Pilgrim. He looks to see [FRL] and [EX2] approaching but makes no acknowledgement. He turns his focus back to Pilgrim. [FRL] and [EX2] appear. [EX2] takes a position a distance away from the pen. [FRL] moves in closer, beside [EX17] with one leg up on the pen fence. [EX17] Howdy... Howdy. He and [FRL] watch as [MRL] stands before Pilgrim -- turning sideways... then standing... [FRL] What's he doing? [EX17] Trying to get his eye. [FRL] How's it going? [EX17] doesn't respond -- how it's going is exactly how it looks. [MRL] takes a few steps, stops and stands still again. We sense the process is long and requires great patience. DISSOLVE TO:
INT. REVEREND'S OFFICE [MRL] doesn't sit. [MRL] I'd like to take [FRL] to dinner on New Year's Eve. REV. SULLIVAN That won't be possible. He looks back to his papers. End of conversation. [MRL] I'm sorry I haven't always treated [FRL] the way -- I should have. She deserves better. Reverend Sullivan glances up. As if surprised [MRL] is still there. [MRL] I care for her. REV. SULLIVAN I don't want to see her hurt. [MRL] I wouldn't do that -- REV. SULLIVAN This week. [MRL] Ever again. The Reverend looks out the window. A gray day, cold, bitter, stark. He considers his options. REV. SULLIVAN Have her home by one. And drive carefully.
EXT. COUNTRY ROAD, CT. - EARLY MORNING Pilgrim is first to find his legs. [EX1]'s horse, its leg broken at the ankle, walks in a confused state. [EX1]'s foot is helplessly caught in the stirrup... [EX2] ... [EX1]'s foot was caught in the stirrup... she couldn't get up, she was so scared... I saw this truck, coming around the turn... She sees the glint of the steel. The Truck suddenly appears from around the bend. [EX2] ...He was honking, trying to get us to move... I tried to grab the reins to get [EX1]'s horse out of the way... [EX2] grabs the reins of [EX1]'s horse. The horses are spooking... [EX2] ...And the truck started skidding... The truck skidded on the icy road, going out of control, jack- knifing, heading right for them... [EX2] ...It was coming right at us... There wasn't any time to do anything... It ran right into [EX1]'s horse... The truck bed plows into [EX1]'s horse... [EX2] ...[EX1] just disappeared... And it came right at Pilgrim and me... We see this... [EX2] ...And Pilgrim reared up at the truck and I fell off... [EX2] falls onto the road, the truck running over her.
INT. TUBE - NIGHT The old woman travels in the commuter tube over Manhattan. It's late, the tube is mostly empty. She has earphones on. SECOND [EX2] I remember [MRL] and I were having breakfast --
INT. [MRL]'S HOTEL ROOM - CONTINUOUS He is finding it very hard to gloat. [EX4] is annoying him. [MRL] Look -- I'll be in there later today. I'll come by and tell you all about it. [EX4] You're coming here? [MRL] Yeah. [EX4] Then come for dinner. [MRL] Okay, we'll order out. [EX4] Order out like a Philistine, when you got the Galloping Gourmet here?... [MRL] hangs up and watches more of the [EX22] Swilling wedding video.
EXT. TOWN STREETS - DUSK TO DAWN [MRL] and [FRL] wander side by side down the sidewalks and streets of the town. They walk and talk about - small towns and big cities, school and work, dreams and nightmares, being old and being young, etc. Blue Valentine Official Green Script as of 6/9/09 [MRL] Where's you house? [FRL] We passed it. [MRL] Where? [FRL] Back there... [MRL] looks back. He sees a bunch of houses that all look the same. They keep walking. ELLIPSE: [FRL] smokes one of [MRL]'s cigarettes, calls her dad A89 A89 on a pay phone and tells him she won't be home for dinner because she is studying. ELLIPSE. [MRL] tells [FRL] about his childhood, the B89 B89 sexualizing of his mother, and his fascination with women's purses. It makes [FRL] a little uncomfortable. [MRL] Do you think it would be okay if I looked in your purse? [FRL] No. [MRL] Why? [FRL] thinks about it for a moment. Against her better judgement, she hands over her bag. It weighs a lot. [MRL] Jeez... What you got in here? [FRL] Books. Mostly. [MRL] Lot of books. You doing good? [FRL] We'll see. [MRL] What are you gonna be when you grow up? [FRL] I'm trying to get into med school. Blue Valentine Official Green Script as of 6/9/09 88 CONTINUED: 88 [MRL] You going to be a doctor? [FRL] Someday. [MRL] Oh yeah? What should I do about this? He pretends to bump into a pole. [FRL] laughs. [FRL] Don't do it. [MRL] You're gonna be a good doctor. I can tell. He digs through text books, pens, a wallet, asthma inhaler. Then he comes to a bottle of lotion. Opens the cap, sniffs. [MRL] Mmm. This is what you smell like? [FRL] nods, "I guess so." [MRL] I wanna smell like you. Can I? [FRL] You wanna put on my lotion? [MRL] nods, applies a little lotion to his fingertips, rubs it in circles on his hands, applies it to his forearms, neck, face. He enjoys the feeling of it, offers her some. She say's no. He digs through her purse and finds lip balm, smells it. [MRL] This is what your lips smell like? They must smell good. He puts some on his lips. [MRL] Mmm. Your lips must taste good. [FRL] Are you fucking with me? [MRL] No. Blue Valentine Official Green Script as of 6/9/09 [MRL] FINDS A LITTLE BAG INSIDE THE PURSE. SHE SNATCHES IT. [MRL] What's in there? She takes her purse back. [FRL] Okay enough... [MRL] Why? [FRL] Because. Throughout the rest of the night [MRL] tries to continually steal [FRL]'s purse from her. It is a game. Innocent. ELLIPSE. [MRL] TRIES TO GIVE [FRL] THE LOCKET. SHE REFUSES. [FRL] Aren't you gonna miss your train? [MRL] Probably. I think I... I think I already did. It's okay. There's an early one. [FRL] You are just gonna stay up all night? [MRL] Until you get tired... ELLIPSE: MORE WALK AND TALK. [MRL] Where'd you grow up? [FRL] Here. [MRL] Here? [FRL] gives him a grimace. [FRL] Same streets. Same people. Everything here is the same. You walk down the street, you can't get lost... you know. . Blue Valentine Official Green Script as of 6/9/09 [MRL] Where do you want to go? I mean, if you could go anywhere.. They walk to an old playground. [FRL] gets an idea. [FRL] There! [FRL] runs to an old, creaky merry-go round, jumps on. [FRL] I used to love these things. [MRL] Oh God... I hate these things. [FRL] Push me. [MRL] is tentative, but goes along with her. He starts slow, but she eggs him to go faster. He runs in circles picking up speed until he is in a breathless, circular sprint. He can't keep up with the centrifugal force. [FRL] Get on! [MRL] does as he's told. They both hold on for dear life. The world spins in a frenzy. The dread on [MRL]'s face builds to insane laughter. It is super fun. [FRL] screams. Her hair snaps in her face. Then, a look of sickness steals her smile away. She wants it to stop, which, slowly, it does. She gets off first, tries to walk, but is too dizzy. She just keeps falling to the ground. [MRL] crawls off the merry-go round on all fours, laughing. Blue Valentine Official Green Script as of 6/9/09 91 CONTINUED: 91 [MRL] What happened, tough guy? [FRL] Make it stop. [MRL] You gotta puke... it's the only way. She refuses. [MRL] It's the only way. It will make you feel better. Don't be embarrassed. I'll do it. He sticks his finger down his throat and forces himself to vomit. The sound of it is too much for her. She gags. Side by side, they puke into the gravel. They finish their business and end up on their backs and out of breath, side by side, looking up at the stars. They are both covered in sweat. We see their breath. [FRL] I'm still spinning. [MRL] Me too. [FRL] Maybe it's just the Earth that's spinning. [MRL] Yeah. We're flying. They laugh. Birds begin to awaken and fly. [MRL] You should come visit me in the city sometime. The morning air chills their bodies. [MRL] takes off his jacket and uses it as a blanket. They get close together to get warm and watch the stars spin above them.
INT. BEDROOM. DAY. Running from the window, she flings open a closet and grabs a dress, and shoes. She slips on the shoes, and flings the dress on, running out the door as she does. The camera tracks with her, moving as fast. As she runs down the stairs she buttons up the dress.
INT. LIVING ROOM -- NIGHT [MRL], who is playing with a kaleidoscope on the table, looks up to see [EX11]. [EX11] Hi. [MRL] Hi [EX11].
INT. COCKPIT - NIGHT DRAMATIC MUSIC as we see [MRL]'s ominous look of recognition. [MRL] Yes, Captain [EX36]. Read you loud and clear.
INT. TOWER - NIGHT [EX36] sighs in relief as controllers and Mrs. [EX12] dash from room.
EXT. WASHINGTON, D.C. STREET - NIGHT [FRL] driving toward the house where [EX9]'s parents live. DR. MARCIA FIELDSTONE Do you think there's somebody out there you could love as much as your wife? Maybe even more? [MRL] It's hard to imagine. And cut back and forth between the car and the houseboat. [MRL] and [EX5] are still on the bench, but [EX5] has fallen asleep in [MRL]'s lap. [MRL] is stroking the boy's hair. DR. MARCIA FIELDSTONE What are you going to do, [MRL]? [MRL] I don't know. When I met my wife, it was so clear. I just knew. [FRL] is listening now. DR. MARCIA FIELDSTONE What was it that made you know? [MRL] I don't think I could really describe it. DR. MARCIA FIELDSTONE Why not? [MRL] And if I could describe it, it probably wouldn't be on a radio show. But what the hell. It's not one specific thing. It's more of a feeling. [FRL] coasts to a stop outside a handsome mansion in Washington, D.C., the motor running. She's hooked now, she's not getting out of the car until she's heard it all. [MRL] You touch her for the first time, and suddenly... you're home. It's almost like... [FRL] Magic. [MRL] Magic. CLOSER ON [FRL] realizing she has just said this. Realizing that it must mean something but not knowing what. SHE'S CRYING. DR. MARCIA FIELDSTONE Well, it's time to wrap up, folks -- A FIGURE appears at the passenger side window, which [FRL] doesn't notice. She's wiping the tears away with her hand. DR. MARCIA FIELDSTONE We hope you'll call again soon. The figure TAPS on the window -- [EX9] [FRL]? DR. MARCIA FIELDSTONE ... and let us know how it's going. -- and taps again. [EX9] [FRL]? She turns. He's pointing at the locked door. She searches for the button. Finally finds it so that [EX9] can open the door. [FRL] I'm sorry, [EX9]. I just heard the most amazing thing on the radio. They start toward the front door, [EX9] and [FRL] carrying presents, an overnight bag of [FRL]'s. [FRL] People call up these shows and you can't believe the stuff they say. It's the end of privacy as we know it, this country is just one big global village with everyone out there going blah blah blah -- As they enter the house, we hear Silent Night and we see a Christmas tree, glittering with lights. CUT TO: A CHRISTMAS TREE GLITTERING WITH LIGHTS as we pull back to reveal:
INT. HOTEL LOBBY - DAY [FRL] comes out of the elevator and crosses the lobby. She is back in her hooker clothes. She leaves an envelope at the front desk. MR. THOMAS, the prim, middle-aged hotel manager, steps out from his office. He stares in surprise and displeasure as he sees [FRL] exit out the front door. [FRL] doesn't notice the odd stares she gets from two well-dressed MIDDLE-AGED WOMEN who are just entering.
EXT. WOODS - NIGHT Rhi sits, bored and uncomfortable, while her parents smile at the campfire for an, again, awkwardly long moment.
INT. PENTHOUSE BEDROOM - MORNING [MRL] comes out into the bedroom. [FRL] quickly follows. They move through the bedroom into the living room. [MRL] I'll be out most of the day. He reaches into his pocket for a money clip. He peels off bills. He hands the cash to [FRL]. [MRL] I want you to go out and buy some decent clothes. [FRL]'s eyes go wide at the amount of money. [MRL] Nothing too flashy, not too sexy. Conservative. Understand?
INT. A HOSPITAL. [FRL] is lying in bed with her brand new nose bandaged up. He face is covered in bruising. She is panicking - experiencing a loss of self.
INT. READY ROOM ON AIRCRAFT CARRIER � NIGHT CLOSE SHOT [EX2] is fastening the helmet of his flying clothes. He waves as he exits through the door. JOSEPH'S VOICE [EX2]... [EX2] [EX9] topped them all. A Navy flier, he shot down fifteen planes.
INT. [FRL]'S HOTEL ROOM [FRL] is sitting on the bed, gently petting [EX28]. [FRL] He's sweet. He misses your Dad. She stops. Gets up, nervous, and walks past [MRL] into the next room. [MRL] follows her in. They pause uncomfortably, [FRL] suddenly leans in and kisses him. Before it goes to far... [MRL] Maybe we, we could, um, just talk for a second. [FRL] Right. They awkwardly break apart. [FRL] goes to a chair, [MRL] follows. While nothing has really been expressed between the two, [FRL] seems to understand the problem. [FRL] Well, my name is [FRL]. You're worried you can't trust me because you don't know who I am. I get it. That makes sense to me. She falters, looks at him vulnerably. [MRL] abruptly kisses her. She pushes back. They pause. She traces his brow slowly with her index finger, the way she did their first night. JELLY ROLL MORTON'S "SWEET JAZZ MUSIC" PLAYS 10/29/07 CONTINUED: CUT TO POST SEX: The music carries us, they lie in bed, naked. [FRL] innocently leans over and takes [MRL]'s arm and bites down hard. He grimaces. She stops and kisses it, admiring her teeth marks. She gets up, sits at a side table and finds her cigarettes. [MRL] watches her. The music seems to bend and slow down, this continues as we fall into memory... CUT TO PAST
INT. COURTYARD THE GALLOWS The trap is sprung by two or three earnest men.
INT. DINER- EVENING [EX11] Here you go. [FRL] Thank you. [MRL] LOOKS AT THE MENU. THE [EX11] STANDS, WAITING. [MRL] I'm gonna have a bowl of your Raisin Bran. [FRL]'S PERPLEXED. [FRL] Tea. THE [EX11] TAKES THE MENUS FROM THEM AND WALKS AWAY. [EX11] Be right back. [MRL] You look nice. [FRL] Thanks. THE [EX11] ENTERS L. WITH THEIR ORDER. [EX11] Raisin Bran. Milk. [FRL] WATCHES AS THE [EX11] SETS HER TEA DOWN. [FRL] Thank you.
INT. NIGHT. STONEFIELD - THE KITCHEN. [EX6] strolls in. He's ecstatically happy. [EX3] is getting something out of the Aga. [EX3] Oh poor you - was it awful? [EX6] Bloody terrible. Didn't move till well past Chiswick. But look, I nipped into Fortnums... He hands her a package. [EX3] All my favourite teas - Oh! He embraces her. He is affectionate, magnanimous in his bliss. [EX3] is taken aback by his warmth. [EX3] My goodness. You feel like my buzzy toothbrush just after I've charged it up. You should go up to London more often. [EX6] Maybe I will... [EX6] goes to the table. The writers greet him as he sits. [EX6] Sorry everybody; traffic was a pig. Do carry on... [EX25] I'm trying this magic realist bit at the end of chapter three, where the characters slowly turn into BIRDS - [EX6] That sounds very innovative... [EX25] Do you think so? It's sort of the key to the structure, which I'm thinking of as a nest shape... GOLDENROD REVISIONS 09 [EX6] listens benevolently as [EX25] shares. His good humour is so out of his recent character that [EX3] watches him with increasing unease. There is something in her eyes akin to suspicion. 121 SPRING. POSY DRAWING. 121
INT. TRAFALGAR SUITE CORRIDOR - DAY [MRL] exits fairly despondent and heads for the door. [EX7] is in the corridor calling on his mobile phone. [EX7] How was she? [MRL] Fabulous. [EX7] Wait a minute -- she took your grandmother's flowers? [MRL] can't think his way out of this. [MRL] Yes. That's right. Bitch. He turns to go, but is accosted by [EX8]. [EX8] If you'd like to come with me we can rush you through the others. [MRL] The others?
INT. [MRL]'S APARTMENT - NIGHT [MRL] checks his machine: zero messages. VOICE-OVER That's it. I'm just gonna-- Without a moment's hesitation, he dials the phone. VOICE-OVER I'm gonna tell her I'm through playing games and -- RECORDED VOICE The number you have dialed has been disconnected. [MRL]'s eyes bug.
INT. COCKPIT - NIGHT [EX12] Thank you, Omaha. Two-zero-niner out. Victor, we're running into a heavy storm, can you... [EX12] turns to see [EX15] slumped over the console. Dramatic MUSIC. [EX12] Victor! Roger, take over! [EX12] lifts [EX15] onto ground.
INT. [MRL]'S APARTMENT - NIGHT [EX4] is at the machine. [EX4] We got him back. [EX5], I think I'm just going to have to get through this manually. We're running late.
INT. TAXI - MOMENTS LATER [FRL] jumps in. The cabbie looks at her in the rearview mirror [EX28] You're not an escaped mental patient, are you? [FRL] Kind of.
INT. RED LOBSTER - NIGHT [FRL] and [EX15] sit in a booth at a dimly-lit RED LOBSTER. [FRL] looks beautiful. The `A' on her shirt is sequined. [FRL] I can't believe you brought me to the nicest restaurant in town. This is swank. I was beginning to think that there was no such thing as class. [EX15] Yeah. What's better than getting to select your dinner and have nice conversation while they boil it alive in the back? [FRL] I think [EX15] Jr. doesn't mind making the sacrifice. You don't mind that I named him [EX15] Jr., do you? [EX15] Not at all. I'm actually kind of honored. [FRL] Do you believe this whole thing about lobster being an aphrodisiac? [EX15] I didn't know it was. [FRL] Y'know, medical science has not substantiated claims that any particular food increases sexual desire or performance. It's so funny when guys ply women with food that they think is gonna get them laid. I mean, what's really sexy about slurping back oysters? You know, native people believed that you gained the strength of the animal by consuming it. Some people grind up rhinoceros horn, because it's thought to stiffen the male sex organ. It's all bullshit. And spanish fly? It's pulverized beetle that people eat! Although, it's illegal for human consumption in the United States and do you know why? Because if you take just a bit too much, it causes painful urination, fever and bloody discharge. A [EX26] appears with their LOBSTER. [EX15] is an odd shade of green from [FRL]'s little science lesson. [FRL] Yum! The server leaves them and [FRL] digs in. [EX15] is feeling nauseous and can't touch his. From across the restaurant, a [EX25] enters from the back, enthusiastically clapping and holding a cupcake. Leading the brigade is Meerkat Todd, who's wearing a RED FOAM LOBSTER HAT. With as much spirit, as he has as a meerkat -- [MRL] I don't know but I've been told! [EX25] I don't know but I've been told! He leads them through to another part of the restaurant. [FRL] I didn't know Meerkat Todd worked here! And he's a lobster! I wonder if I should start calling him Lobster Todd. [MRL] Marguerite is getting old! [EX25] Marguerite is getting old! They land at the table of the birthday girl. [FRL] cranes her neck to see -- [EX1], miserable of course, sitting with her parents at a table in the next room. [FRL] immediately becomes uneasy. [FRL] Shit! [MRL] The best thing is her dessert is free! [EX25] The best thing is her dessert is free! [MRL] The worst thing is I sing off-key! [EX25] The worst thing is I sing off-key! [FRL] is visibly squirming in her seat. [MRL] Sound off! [EX25] Happy! [MRL] Sound off! [EX25] Birthday! [MRL] Sound off! [EX25] Happy birthday to you! The whole place applauds, unenthusiastically. [EX15] sees [FRL]'s discomfort. [EX15] What's wrong? [FRL] [EX1]'s over there. [EX15] So? [FRL] So? She's been in love with you since the first grade. [EX15] So? [FRL] Well, she's my best friend. [EX15] I thought you two weren't speaking. [FRL] We're not, but it doesn't mean I should be out with you. [EX15] Then why are you? [FRL] I don't know. You asked me out? [EX15] Exactly. I have no interest in her. I mean, we're friends, but -- [FRL] She can't see us.
INT. STABLES, THE DYER HORSE FARM - MORNING There are several horses in their stalls. [EX2] and [EX1] enter, talking, carrying their English saddles. [EX1] stops at a stall, disappearing into it as she says "Hello?"..., [EX2] continues to the end stall. Pilgrim stands looking at her. [EX2] Hello, beautiful boy. He's a massive figure beside her but she shows no inhibition. She enters, touching his muzzle. He plays with her by nudging her back. [EX2] Stop... Will you stop!
INT. MACGUFF HOUSE - [FRL]'S BEDROOM - NIGHT [FRL]'s BEDROOM is decorated with punk posters: The Damned, The Germs, the Stooges, Television, Richard Hell, etc. She picks up a hamburger-shaped phone to call her best friend, [EX3].
EXT. SUBURBAN STREETS - MORNING
EXT. [EX]'S HOUSE - DAY [FRL] exits to find [EX3] greeting the driver, [EX5] BLACK, 16, Quileute Indian, amiable with long black hair, and hints of childish roundness in his face. The two of them help [EX5]'s father, [EX4] BLACK , into a wheelchair. [EX3] [FRL], you remember [EX4] Black. [EX4] Glad you're finally here. [EX3] hasn't shut up about it since you told him you were coming. [EX3] Keep exaggerating, I'll wheel you down the hill. [EX4] Right after I ram you in the ankles. [EX4] takes several rolls at [EX3], who dodges. [EX5] shakes his head at their two fathers as he shyly approaches [FRL]. [EX5] I'm [EX5]. We made mud pies together when we were little kids. [FRL] Yeah... I think I remember.. . Are they always like this? [EX5] It's getting worse with old age. [EX3] then pats the hood of the truck, addressing [FRL] - [EX3] So what do you think of your homecoming gift? [FRL] No way. The truck is for me? [EX3] Just bought it off [EX4], here. [EX5] I rebuilt the engine and - - [FRL] It's perfect! She beams. It's the first genuine smile we've seen on her. She rushes to the truck. [EX5] eagerly joins her. [EX5] Okay, so you gotta double pump the clutch when you shift, but - - He hands her the keys as she climbs in. [FRL] Maybe I can give you a ride to school. [EX5] I go to school on the reservation. [FRL] Too bad. Would've been nice to know at least one person. As she starts up the truck we MATCH CUT -
INT. [EX32]'S WAITING ROOM - DAY A female [EX32] in surgical scrubs holds Verdell as [EX1] finishes filling out some forms. On opposite sides of the waiting room, a very large black dog and a tiny Chihuahua sit patiently with their owners. [EX32] Anything unusual in the dog's diet? [EX1] No. Everybody gets their own cage? [EX32] Certainly. [EX1] Put him in with that one, not that one... ... Builds his confidence.
INT. SHOWERS - DAY The cowboy Cells a Coffee [EX31], as he shields his java from the spray of the shower.
INT. FRIED CHICKEN CAFE. The camera remains stationary in this scene, in this position. A lunch counter sweeps down the center of the screen. We are at one end of the counter. In the f.g., a [EX23] sits drinking coffee, absorbed in his cup. In the b.g., at the other end of the counter, by the Exit door, [EX5] and C.W. are being handed their order by the counterman. [EX5] Hey, C.W., I ain't got my money. Give me some, will you? The [EX23] turns his head and looks over there. C.W. opens his jacket to reach in his pocket for money. As he opens his coat, his gun is clearly seen tucked in his pants. Camera zooms in to tight close-up of gun. Close shot. [EX23]--his face tense. Sound of door closing shut, as C.W. and [EX5] leave. [EX23] Get Sheriff Smoot on the phone. DISSOLVE TO:
EXT. LIBRARY -- SUNRISE 76 Students work in the library as light refracts through icicles in the window. But if I did I would kneel down and ask Him Not to intervene When it came to you
INT. [EX2]'S HOSPITAL ROOM - NIGHT [FRL] enters. No one else is there. She places the suitcase on a chair and opens it. She takes out the INDIAN LUCKY CHARM and some horse books, and places them on her bedside table. She takes care to prop up the Lucky Charm. She wets a cloth with some water from a pitcher and gently wipes [EX2]'s sweaty brow... INSERT VISUAL FLASHBACK HERE, instead of in Country House. [FRL] then continues unpacking the suitcase. She opens [EX2]'s closet and sees a hospital bag filled with [EX2]'s clothes at the time of the accident. [FRL] examines them and discovers they are hers. [FRL] shoves the clothes into a bag and starts unpacking.
EXT. DURHAM BALLPARK -- DUSK A BLACK GOSPEL GROUP at a mike at home plate, singing: [EX34] I come to the garden alone, When the dew is still on the roses, And the voice I hear, whispering in my ear,. The Son of God discloses -- [FRL] SPRINKLES [EX17]'S ASHES on the pitcher's mound, as: [EX7] SITS IN THE DUGOUT FILLING ROSIN BAGS with the extra ashes from a box.
INT. CAFETERIA - DAY [EX8] and [EX10] flank [EX9] as he shovels food into mouth. [EX9] You were right. She's still pissed. [EX10] Sweet love, renew thy force! [EX9] Man -- don't say shit like that to me. People can hear you. [EX8] (exasperated) You humiliated the woman! Sacrifice yourself on the altar of dignity and even the score. [EX10] Best case scenario, you're back on the payroll for awhile. [EX9] What's the worst? [EX8] You get the girl. [EX9] thinks for a minute [EX9] If I go down. I'm takin' her with me
INT. HALLWAY/[FRL] & [EX3]'S BEDROOM - MORNING [EX2], fully dressed except for her boots, tiptoes past a partially opened bedroom door. Her father [EX3] is asleep, alone, on his huge king size bed.
INT. PASSENGER CABIN - NIGHT [MRL] We laughed, we talked, we danced, I never wanted it to end and I guess I still don't. But enough about me. I hope this hasn't been boring for you. CAMERA WIDENS to reveal Mrs. Elderly's legs dangling next to him. She has hung herself. [MRL] It's just that when I start to talk about [FRL], I get so carried away -- I lose all track of time -- not unlike Oliver in 'Jesus: the Man.'
INT. IRON SKILLET RESTAURANT - DAY [EX1] sits at the counter at the rear of the busy diner sipping an iced tea. He sees [EX9] enter -- she pulls a dollar bill out of her purse as she approaches the cash register near the front door. She calls out to a waitress who is fetching an order from the grill. [EX9] Excuse me -- could I get change for a dollar? The waitress is too distracted to take notice of [EX9] and [EX9] herself doesn't notice [EX1] as he steps up behind her. [EX1] Can I help you? [EX9] Yes, I need change for... Oh... you don't work here, do you? [EX1] No. I was just thinking about you. I was going to call you tonight. INVENTING THE ABBOTTS - Rev. 2/16/96 [EX9] What? Why? [EX1] There's a picnic out at River Point on Sunday -- I wanted to invite you. [EX9] I couldn't. [EX1] Bring Susan, kids love picnics. [EX9] I need change for the parking meter. [EX1] Here. [EX1] opens his palm and reveals the correct change. [EX9] nervously exchanges the dollar bill for the coins. [EX9] Oh, thanks. [EX1] Do you have time for an ice tea? [EX9] My mother's waiting by the car so I won't get a ticket. [EX1] Maybe she'd like an ice tea, too? [EX9] No. [EX1] No harm asking. [EX9] No. Don't do that. [EX1] Why not? [EX9] You know why. INVENTING THE ABBOTTS - Rev. 2/16/96 [EX1] Then I'll make you a deal. [EX9] I just came in to get some change. [EX1] Come to the picnic on Sunday and I'll wait here and let you leave first, so your mother won't see me. [EX9] I don't care if my mother sees you. [EX1] Then you won't care if I ask her if she'd like to join us for an ice tea? [EX9] No! Wait. [EX1] turns to her. [EX9] I don't know if I can. I'll try. It just depends. [EX9] goes out the door -- as she passes by [EX1] he says: [EX1] Sunday. River Point. Around noon. [EX1] watches through the window as [EX9] returns to the Town & Country station wagon and puts a few coins into the meter. [EX11] waits impatiently beside the car with Susan in hand. As the women walk down the sidewalk , [EX9] glances back and sees [EX1] smiling at her from the diner window.
INT. CLUB FOYER - NIGHT [EX9] walks up to [EX22], who's frisking a badly mowhawked PIERCED EYEBROW [EX5]. [EX22] pulls a SWITCHBLADE out of the boy's inside pocket. [EX22] Next time, leave the Bic at home, [EX23]. [EX23] It's a bottle opener. [EX22] pushes him inside the club, then sees [EX9]. [EX22] , my man. They shake. [EX9] Always a pleasure, Brucie. [EX22] Didn't have you pegged for a Gigglepuss fan. Aren't they a little too pre-teen belly-button ring for you? [EX9] Fan of a fan. You see a couple of minors come in? [EX22] Never [EX9] Padua girls. One tall, decent body. The other one kinda short and undersexed? [EX22] Just sent 'em through. [EX9] starts to go in [EX22] (continuing) Hey -- what happened to that chick you brought last time? The one with the snake? [EX9] laughs and goes into the club
INT. [FRL]'S HOTEL [MRL] remembers [FRL] on her hotel bed the night they met, messing up his hair, kissing for the first time. BACK TO PRESENT
19 INT. CHILDREN'S WARD - DAY A ward with seven or eight beds in it, all occupied. She goes to a little Pakistani boy named [EX13]. [FRL] Hello, [EX13]. [EX13] No. [FRL] No what? [EX13] No. [FRL] Well, all right then, be that way. Here, swallow this. [EX13] No. [FRL] pours a glass of water, gives the pill to [EX13] who promptly takes it and then drinks the water, handing [FRL] back the glass. [FRL] Feeling better? [EX13] No. [FRL] The doctor will be round later. Would you like a picture book to look at? We have some lovely funny Beanos. [EX13] No. [FRL] Right. She exits, pausing in the hall to speak to a black Jamaican [EX14] pushing a cart of lunch trays into [EX13]'s ward.
INT. DAY. WINNARDS FARM - [FRL]'S BEDROOM. [EX5] plonks herself down at [FRL]'s PC. [EX5] We have to get him back down here. I'm sending him a valentine. GOLDENROD REVISIONS 09 [EX2] No you are not! [EX5] From her address. [EX2] He'll think it's from [FRL], you dipshit. [EX5] But I know it'll be from me. Subject: Hot Love. [EX2] Oh God, [EX5]... [EX5] Contacts: where are you [EX14]? [EX2] Look, there's that bloke my mum works for; [EX6] . [EX5] Let's put him on. Who else? [EX2] Uncle [MRL]. [EX5] [MRL] . `Come to Winnards Farm. I'll give you the biggest shagging of your life. Love [FRL] xxx.' They fall about giggling. [EX5] swigs more wine. [EX2] Don't ever, ever send that. [EX5] I just did. [EX2] is appalled. [EX2] You never! [EX5] nods. [EX2] You'll spoil it! [EX5] - I love coming here and you'll spoil it! GOLDENROD REVISIONS 09 66A. [EX5] No I won't. GOLDENROD REVISIONS 09 [EX2] She'll know someone's read all her stuff! [EX5] I'll delete it from sent items. It's just a laugh, Case. I only want [EX14] to come back.
INT. [MRL] AND [EX1]'S ROOM � MORNING 85 [MRL] enters and takes off his coat. [EX1] sits up, annoyed. [MRL] Man, I'm sorry. Go back to sleep. [EX1] What's the point? I have to be up in 15 minutes anyway. Not that I could sleep. [MRL] I didn't sleep either, but for some reason I'm still refreshed. I feel great. [EX1] stares at him. [EX1] What the fuck is your problem? [MRL] It's [FRL]. Last night we officially became a couple. [EX1] Officially? [MRL] We hooked up. [EX1] That doesn't mean anything. [MRL] It meant something to me. [EX1] considers him. [EX1] I don't believe you. Just last week you told me the happy should be quarantined. I don't know you anymore. [MRL] Still down about [EX2], huh? [EX1] We broke up for good last night. He gets out of bed and starts dressing. [MRL] Oh, man, I'm sorry. [EX1] I thought I knew what I was doing. Ever since she became my girlfriend, I've felt more and more constricted. Like I was trapped under the weight of the label. "My girlfriend." "Her boyfriend." [MRL] You guys were together a long time. [EX1] Yeah, we were. [MRL] Have fun in Saturday lab. [EX1] Ah, eat shit and die.

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