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Romance-cleaned-1

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TEXT VOICE Sexy daytime star Kimberly Ashford reveals provocative pregnancy photos. He scrolls through titillating but tasteful pregnant woman photos.

INT. MACGUFF HOUSE - KITCHEN - NIGHT [EX7] is alone at the kitchen table going over the family finances while drinking one of [EX8]'s weight loss shakes. [FRL] enters. [FRL] Hi Dad. [EX7] Hey, big puffy version of Junebug. Where have you been? [FRL] Dealing with stuff way beyond my maturity level. Where is everyone? [EX7] [EX8] took Liberty Bell to her tot ice skating class. [FRL] Tot ice skating? Tots can't ice skate. Liberty Bell's still getting the hang of stairs. [EX7] No, but you know [EX8]. She dreams big. [FRL] Yeah, she does. [EX7] You look a little morose, honey. What's eating you? [FRL] I'm losing my faith in humanity. [EX7] Think you can narrow it down for me. [FRL] I guess I wonder sometimes if people ever stay together for good. [EX7] You mean like couples? [FRL] Yeah, like people in love. [EX7] Are you having boy trouble? I gotta be honest; I don't much approve of you dating in your condition, 'cause... well, that's kind of messed up. [FRL] Dad, no! [EX7] Well, it's kind of skanky. Isn't that what you girls call it? Skanky? Skeevy? [FRL] Please stop now. [EX7] Tore up from the floor up? [FRL] Dad, it's not about that. I just need to know that it's possible for two people to stay happy together forever. Or at least for a few years. [EX7] It's not easy, that's for sure. Now, I may not have the best track record in the world, but I have been with your stepmother for ten years now, and I'm proud to say that we're very happy. [FRL] nods in agreement. [EX7] In my opinion, the best thing you can do is to find a person who loves you for exactly what you are. Good mood, bad mood, ugly, pretty, handsome, what have you, the right person will still think that the sun shines out your ass. That's the kind of person that's worth sticking with. A wave of REALIZATION crosses [FRL]'s face. [FRL] I sort of already have. [EX7] Well, of course. Your old D-A-D! You know I'll always be there to love and support you, no matter what kind of pickle you're in. He nods toward her belly. [EX7] Obviously. [FRL] laughs and hugs her father, planting a smooch on his cheek. [FRL] I need to go out somewhere for just a little while. I don't have any homework, and I swear I'll be back by ten. She salutes and dashes out of the kitchen. [EX7] You were talking about me, right? MONTAGE:

EXT. BEAUFORT HIGH - COURTYARD - DAY [MRL] and [FRL] head into school. [MRL] nods to [EX2], others. They glare back. [MRL] What's your damage?

INT. RANCH HOUSE, KITCHEN - NIGHT [EX2] sits at the table. [MRL] is cooking at the stove. It feels as if they are the only two people on earth. [EX2] gets up her nerve... and begins: [EX2] [EX1] was telling me about this boy she really liked. She never even had a chance to tell me his name... She starts to quietly cry, but it doesn't stop her. [EX2] We were going to go around by the railroad bridge... And we see the accident all over again... But this time, a movie -- as clear as reality -- but in deathly silence. Just the sound of [EX2]'s voice, and her heartbeat...

INT. PENTHOUSE BEDROOM - DAY The closet door is open. [MRL] reaches for a tie. In the closet are about a dozen expensive looking suits, shirts, shoes, etc. She follows him in. [FRL] So what a ya do with the companies once you buy'm? [MRL] I sell them. [FRL] What? Why? She undoes his knot and starts over. [FRL] At ease, let me do that. Part of the all night services. [MRL] By breaking up a company's assets -- [FRL] What are assets? [MRL] [FRL] -- [FRL] C'mon, I might buy a company some day. [MRL] Assets are anything of value a company owns. Sometimes the pieces are worth more than the whole. By selling them off, I make a profit. [FRL] Sorta like stealing cars and selling'm for parts, huh? [MRL] Not... quite. [FRL] There, see? Now the emblem is right in the middle of the knot. [MRL] Where'd you learn to do this? [FRL] I fucked the debate team in high school. Tsk. I had a grampa. He liked ties on Sundays. You mind if I take a swim in your bathtub before I hit it? [MRL] Don't drown. [FRL] turns and heads toward the bathroom. He follows her into the bathroom.

INT. BRENNER'S OFFICE. PRISON. DAY [EX29] is sitting at her desk in a simple, modern office. [EX29] [FRL] has been in prison for over twenty years. She has no family. She has no friends. You're her only contact. And I'm told you don't visit her.

EXT. STREET � NIGHT CLOSE SHOT [EX14] stops the cab, and [MRL] enters it. [MRL] [EX14], take me home. I'm off my nut! [EX14] Where do you live? [MRL] Aw, now, doggone it, [EX14], don't you start pulling that stuff. You know where I live. Three-twenty Sycamore. Now hurry up. [EX14] Okay. Three-twenty Sycamore?... [MRL] Yeah � yeah � hurry up. [EX46]'s sick. [EX14] All right. He pulls down the flag on the meter and starts the cab.

INT. HOTEL ROOM - NIGHT [MRL] and the woman open the door and enter her suite. They look at each other nervously. [MRL] Nice place. They sit on her bed. She steals his pipe, put's it in her mouth -- writes on her pad and shows it to him. [MRL] Oh, my mother. My mother died five years ago. [FRL] Oh merd. [MRL] Oh, you spoke. [FRL] I'm not supposed to. She writes and present him with a new question. [MRL] My father died two months ago, almost three. She looks at him with sincere empathy and surprise. [MRL]'s opened up, an now everything gushes out, he barely knows what he's saying. [MRL] He, he was gay. She's very surprised. [MRL] He was gay the whole time they were married. 10/29/07 CONTINUED: [MRL] He came out after my mother died and, uh... he was 75 years old. There's a quiet moment of deep connection. [MRL] Sorry. She mouths "No" . She reaches out and gently runs a finger across [MRL]'s brow and the outline of his face, he's so vulnerable, she lovingly/mischievously squishes his face together and messes up his hair. Then she leans in, and they kiss for the first time - delicately. [FRL] Can we just sleep? [MRL] Sure, sure. They lay down, she takes his arm and pulls him into spooning her. He pulls the covers over them.

EXT. STREET. DAY. The camera pulls back to show [FRL] looking at it with fascination. The weapon has an immediate effect on her. She touches it in a manner almost sexual, full of repressed excitement. [FRL] Yeah, well you got one all right, I guess...but you wouldn't have the gumption to use it. [MRL] You just keep your eyes open.

EXT. DURHAM STADIUM -- CONTINUOUS DAY [EX24] TOSSES HIS BAG in the Porsche and motions to [FRL]. They step away from the others. [FRL] Well I guess this is it. [EX24] I won't be needing these anymore. [EX24] PULLS [FRL]'S RED PANTIES from his jacket pocket. The frilly, silk lace is tattered. The panties have been through the mill. She accepts them graciously. [FRL] Neither will I. [EX24] I think I'm ready for the Show. [FRL] [EX4] Calvin [EX24] LaLoosh -- don't think too much. [EX24] Don't worry. They look at each other awkwardly, sweetly, and: [EX24] KISSES [FRL] GENTLY ON THE LIPS -- They hesitate, and [EX24] heads for his Porsche. [MRL] ARRIVES IN THE DOORWAY to watch. [EX24] bids farewell to his father and climbs into his car. [EX24] I gotta go now, Dad. FATHER I was thinking I could fly up and spend a week in the Big Leagues with you -- help you get comfortable. [EX24] No. If I screw up, I wanta do it alone. I'll call. FATHER We'll be praying for you. [EX24] Dad -- if my curveball is hanging, God ain't gonna help me. FATHER We'll pray anyway. [EX24] If it makes you and mom feel better, go for it. I gotta run -- They shake hands, and: [MRL]'S P.O.V. -- [EX24] ROARS AWAY in his Porsche, leaving a trail of dust in the Stadium parking lot. DISSOLVE TO:

INT. [EX6]'S APARTMENT - NIGHT She is underneath a YOUNGER, cuter [EX10] on the living room sofa. He is expertly into foreplay. She begins to make noises as she responds... each time startling herself with her own noise and trying to reign it in. She's two women here -- one speeding the pleasure highway -- the other -- functional mom so blown away by the emergence of this sexy self that she laughs. The Young [EX10] stops and looks at her. YOUNG [EX10] What? [EX6] I... I... I don't know... You got me. His eyes try to burn into hers... She is getting excited but doesn't know how to play it... He pushes one of the fingers of the hand caressing her face toward her mouth... She closes her teeth, his fingers attempt opening her mouth. She stops him. [EX6] Let me just do whatever I do by myself... I'll catch up to you someplace I promise. Oh, no... don't look like that. No. I'm sorry if I'm a goof. And so with earnestness and caring, she has transformed the sex into something more intimate -- and, talk about egg in your beer, hotter. Things are getting wild when we hear from the distance a child, [EX13], CALLING and COUGHING. [EX6] Kissing... kissing boys. Oh my. [EX6] pulls her head away -- as [EX13]'s call continues. [EX13] Grandma, grandma... YOUNG [EX10] Maybe you better check. [EX6] Like what did you think I was going to do?

INT. LOCKER ROOM - CONTINUOUS As [FRL] walks back to her teammates, [EX17] steps into the doorway. [EX17] [EX18]. [EX18] looks at [FRL] as she rises, crosses over. [FRL] avoids her eyes as they pass. [EX18] enters the office and the door closes. [EX29] Yo sis, what's going on? Beat, then [FRL] smiles. SMASH CUT TO:

INT. BROWNSTONE LIVING ROOM -- SAME Dolores sits watching an old movie, her eyes dulled by a cataract of boozy fatigue. The door opens. She looks up and sees [FRL] in costume. [EX13] Well, if it ain't the Belle of Amherst. [FRL] smiles feebly and plops down on the cracked leather ottoman. She looks blankly at the TV. She sniffles and wipes a hand across her nose. Dolores glances over, then back at the set. [EX13] Seen that face before. [FRL] You have? [EX13] And for the same god damn reason. [FRL] is confused, but then puts it together -- [FRL] But you said [MRL] and my Mom were just friends. [EX13] Sure, but she was nuts about him. The only reason she didn't sleep with him is 'cause she was sentimental. And smart. She wanted a ring first. [FRL] Why didn't he give her one? [EX13] 'Cause he knocked up little Millie Tyler instead. In Newport. At Bailey's Beach. During the Labor Day clam bake. She chuckles grimly, coughs, and sips her drink. [EX13] Millie was your mom's best friend from Nightingale. You had to hand it to him. He sure knew how to make a point. She coughs again. [FRL] struggles to make sense of it all. [FRL] Why did he do that? [EX13] Aw, who the hell knows? 'Cause the moon was full. 'Cause life's short. 'Cause he's [MRL] Keane. I'll tell you a little secret -- after that, your Mom hated his guts, but your dad never made her smile like he did. 'Course your dad never made her cry like that either. [FRL] Why didn't you tell me any of this before? [EX13] Oh, I dunno... [FRL] You never talk to me! You never try to help me! Dolores' eyes grow nervous. She swallows hard. [EX13] Christ, look at me. I'm gonna tell you what to do? [FRL] Yes! You're my family. You're supposed to take care of me. [EX13] Aw, you wouldn't listen. That's the thing about people -- they just do what they want from the day they're born till the day they die. She realizes her poor choice of words. She looks over and their eyes collide. [FRL] begins to cry -- [FRL] No, that's you, [EX13]! People who have given up don't listen to other people! People who want to die close off! That's not me! I wanted your help! I wanted to learn! [FRL] drops her head dejectedly. [FRL] Anything... anything you would ever have told me, I would have listened to! I promise. [EX13] Aw, come on, honey. I can throw a party and I can mix a gimlet. After that, what the fuck do I know? She rises, gives [FRL] a nervous, awkward pat on the shoulder, then crosses over to the bar.

INT BATHROOM - 1994 Teenage [FRL] stares at herself in the mirror. Her hair extends down to her lower back. [EX2] Since the disintegration of her parents' marriage, she'd only loved two things. The first was her long blonde hair. She picks up scissors from the counter and begins to slice. [EX2] The second was how easily she could cut it off... And feel nothing. CUT TO:

30 INT. HOSPITAL ROOM - DAY [MRL] rocking back and forth weeping. [EX2] Don't cry, [MRL].

INT CHINESE RESTAURANT - NIGHT [MRL] and [FRL] eating, not really talking much. At another table, [MRL] sees a VERY UNATTRACTIVE COUPLE feeding each other food. [MRL] Check them out. [FRL] sees. She has no reaction. [MRL] That is hot. [FRL] keeps eating. [MRL] I am very turned on right now. [FRL] Sometimes you can be so judgmental. [MRL] Huh? [FRL] I mean, who are you? They're happy. Just mind your own business. [FRL] goes back to eating. [MRL] can't believe she snapped.

EXT. [FRL]'S APARTMENT BUILDING - DAY [FRL] comes out onto the fire escape. She stares in wonder. A snow white limo comes up the street. A necktie has been tied to the antennae like a knight's token. The MUSIC from La Boheme is BLARING from the car's stereo. [MRL] is standing on the car's seat, his head and body up through the open sunroof. The wind blows at his hair. He is smiling. Everywhere on the street people are staring; the BUMS, the PUSHERS, the PASSERBY'S, the TOURISTS. [FRL] doesn't know whether to laugh or cry. The car comes to a stop in front of the [FRL]'s building. [FRL]'s landlord comes out the front door. His eyes go wide in disbelief. [MRL] disembarks from the limo by coming up through the sunroof. He leaps nimbly to the ground. He crosses to the entrance of the alleyway, looking up at [FRL] on the fire escape. [FRL] You are really lost this time. [MRL] wordlessly holds up a hand for her. With a sudden cry of joy, [FRL] comes down the fire escape. She stops at the bottom stair. [MRL] comes forward and sweeps her into his arms. They kiss. He carries her to the limo as if she's weightless. Her feet never touch the ground. The car door closes behind them. The limo drives away. The people of the street watch it go.

EXT. PONT DE BIR-HAKEIM - DAY We watch [FRL] come out of the APARTMENT BUILDING. She climbs the stairs to the RAISED WALKWAY. She is back where it all started. We watch her a bit. RAISED WALKWAY - MOMENTS LATER [FRL] walks, in her own world. A somewhat MORE CONTENT world now. Back to HERSELF. We suddenly see [MRL]. He watches her for a moment before TRAILING HER. He is more DRESSED UP then we have seen him previously. As she walks, he RUNS UP BEHIND her and playfully taps her on her SHOULDER. She turns, SURPRISED. DIALOGUE IS ENGLISH [MRL] It's me again. She stops and stares at him, DISGUSTED by his GALL and over him. [FRL] It's over. It's over. He doesn't get the hint. He doesn't care what she says. He presses on PLAYFULLY. [MRL] It's over, then it begins again. [FRL] What begins again? I don't understand anything any more. [MRL] There's nothing to understand. We left the apartment. Now we begin again with love and all the rest of it. [FRL] The rest? [MRL] Yeah, listen. He puts his arm around her as THEY STROLL. [MRL] I'm I'm a widower. I've got a little hotel, a kind of a dump. But it's not completely a flophouse. And... I used to live on my luck, and I got married. My wife killed herself. AND WE... CUT TO:

EXT. CLINIC - PARKING LOT - CONTINUOUS - PRESENT DAY [MRL] follows behind [FRL]. [MRL] Last night got fucked up, OK? I know it. I know I'm lazy, I eat too much, I drink too much, I drive you crazy with all my jealous bullshit. I fuck up. I know I'm clumsy. But you're not trying anymore. [FRL] hurls the bags into the back of the car. [MRL] helps. [MRL] Please don't make me be alone. [FRL] Are you drunk? [MRL] I'm OK. [FRL] Can you drive? [MRL] Yeah. Let's go. [FRL] No, you go. Take the car home. She hands him the keys. [MRL] You don't think about anyone but yourself. Do you? [FRL] walks back to the clinic. [MRL] follows close behind. [MRL] You got no time for me anymore. It all goes to this fucking job. Blue Valentine Official Green Script as of 6/9/09 You give it all to them. All these people who don't give a shit about you. They get the beautiful version of you. What does your family get? Nothing. You come home and you're empty. You think I don't notice? You think [EX1] doesn't notice? Her mom walking around like a ghost? [FRL] You know how many sacrifices I make every day. [MRL] You! What about me? I gave up everything for you. [FRL] I never asked you to! I can't take this shit anymore. [FRL] enters through the electric doors.

A SERIES OF SHOTS - DAY/NIGHT AS we move through a series of quick DISSOLVES, all M.O.S., we HEAR in [EX53]-OVER the sounds of American's electronic media -- network news, news magazines, gossip shows, talk radio, political round tables, etc. -- dissecting the "Girlfriend Factor."

INT. ELYSIUM -- NIGHT The restaurant is packed. [EX9], overwhelmed by the crowd waiting for tables, glances angrily away when he hears the phone ringing and no one answering it.

INT. PASSENGER CABIN - ANOTHER AREA - NIGHT MR. HAMMEN Oooh, I shouldn't have had that second cup of coffee. He grabs for motion sickness bag. CAMERA ZOOMS to CLOSEUP of Mrs. Hammen. MRS. HAMMEN'S THOUGHTS Jim never vomits at home.

INT. SHABU SHABU RESTAURANT - DAY [MRL] and [FRL] are seated at a big booth in a corny Shabu Shabu restaurant. [FRL] The Jazz singer? The red-head? [MRL] looks at her like- don't make it worse. [FRL] Well, I guess she's more around your age... You guys could talk about things in common, like growing up in the fifties. [MRL] You're a brat, wasn't there anyone else around to lavish you with attention? She scowls at him. The waitress brings them drinks- she pours beer slowly, and turns on a pot on the table to cook their food. [FRL] looks at the menu - it is filled with photos of different trays of meat. The waitress doesn't speak English. [FRL] I can't tell the difference? They have trouble ordering, but point to a picture on the menu. [MRL] We'll have two of these. He makes some small talk, she is bugged. [MRL] What do you want to drink? [FRL] A coke. He orders the drinks. [MRL] So, where'd you go today. [FRL] Around. "This is the End" by The Doors starts playing on the stereo. The waitress brings two huge trays of sliced raw beef. Steam rises from the pot on the table. The song ends, and another Doors song comes on. [FRL] They're not going to play the whole album, are they? They look across the table, over the steam and meat, at each other- the whole thing is awful. FADE OUT:

EXT. RUNWAY - NIGHT Flight 733 taxis toward gate. A GROUND CREWMAN with red flashlights is directing plane to his right. A SECOND GROUND CREWMAN approaches as First Ground Crewman continues to direct plane to his right. CREDITS END. [EX10] Hey, Joe, where's the forklift? [EX11] The forklift? It's over there by the baggage loader. He points to the left with his flashlights. Flight 733 follows flashlights and CRASHES into terminal.

INT. [MRL]'S APARTMENT - NIGHT [MRL] is unconscious on the bed, completely still. [EX3] and [EX5] watch the monitor and smoke a joint. After a silence: [EX3] It's amazing, isn't it? Such a gift [EX19] gave the world. [EX5] Yeah. [EX3] To let people begin again. It's beautiful. You look at a baby and it's so fresh, so clean, so free. And adults... they're like this messy tangle of anger and phobias and sadness... hopelessness. And [EX19] just makes it go away. [EX5] You love him, don't you? [EX3] seems surprised, taken aback, caught. She is silent for a long moment. [EX3] No. Besides, [EX19]'s married, [EX5]. He's a very serious and ethical man. I'm not going to tempt him to betray all he believes in. [EX5] takes another drag on the joint, passes it to [EX3].

EXT. OLD GRANVILLE HOUSE � NIGHT MEDIUM LONG SHOT An old-fashioned, run-down house, unpainted and warped by the weather. It once had class but has not been lived in for years. This is the house that [MRL] and [FRL] will live in from now on. The rain is pouring down. A faint glow of light shines out from bottom windows. [MRL] hurries into scene. He stops to make sure it is the right number before going up the steps.

EXT. [MRL]'S STREET - NIGHT [MRL] hovers over the glowing luminaria. Something is bothering him. He shakes it off.

[EX23] SWINGS at the dark silver wolf, SMACKING the wolf half-way across the meadow. Another wolf lunges at [EX23] - he kicks it and it sails into a tree, SPLINTERING it. The two wolves recover, lurch back to the pack which closes in on [EX23]. It's impossible to know who will prevail -- [FRL] doesn't stay to find out. She RACES into the woods --

INT. [EX4]'S OFFICE - DAY [MRL] and [EX4] are in the sitting area. [MRL] looks at the tape recorder. [EX4] I'm sorry you saw one of our notification cards. You never should have. [MRL] Well... I did. [EX4] We can help you through this. Why don't you start now by telling me everything you can remember about your relationship with [FRL]. [MRL] It was a mess. I don't know how it got this way... [EX8]'S VOICE It's kind of a dump, don't you think? [MRL] looks up, trying to locate the voice.

EXT. THE DOUBLE DIVIDE - ANOTHER DAY Pilgrim, his scarred head above water, legs moving in odd sycopation, swimming. We discover he is in a pond, tethered to a pole... Except for the sound of his legs in the water, everything is quiet and focused on Pilgrim. [EX17], holds the pole, walking on the outside of the pond, leading Pilgrim back and forth as he swims. [MRL], crouched by the pond, silently concentrating on Pilgrim... [EX2] watches, off by herself... [FRL] stands beside [EX14]. She can't help but be intrigued by the sight. She asks [EX14]; [FRL] I though horses were afraid of water? [EX14] doesn't answer her. [EX2] likes that. [FRL], frustrated, feels she has the right to simple shout out to [MRL]. [FRL] Is that to get his strength back? [MRL] pays her no mind -- concentrating on Pilgrim. Suddenly, [FRL]'s CELL PHONE rings, jarring the proceedings. [MRL] turns to [FRL]. She hides her embarrassment by answering it, walking away. [MRL] gives her a look. [EX2] is loving this. [MRL] turns back to Pilgrim. After a few moments -- [MRL], taking the rope tether, unhooks it from the pole. He starts to lead Pilgrim out of the water. Pilgrim, fearful, fights him. He rears, splashing [MRL], not wanting to come out of the water. [EX2] is worried. She looks to [EX14] and sees he is concerned too, though he stands quietly. [FRL] hears the commotion from where she stands and finishes her call to return to the pond. [MRL] enters the pond, waist deep in water, trying to grab Pilgrim's rope. Pilgrim rises up, rearing at him. [EX14] and [EX17], sensing danger, come closer to the pond. [FRL] appears beside [EX2] and watches as [MRL] reaches for the rope again. Pilgrim rears again. [MRL] stumbles backwards from his hooves. [FRL] gasps. [EX2] turns to walk away from the pond. She can't watch -- it brings back too much. But as she does, she is stopped by the sight of -- [MRL], righting himself, unphased, calmly walks back to Pilgrim. The horse, baffled by this man's lack of fear, lets him take the rope and walk him out of the pond. [EX2] can't help but be impressed. [EX14] nods. [FRL] is shaken. [FRL] Mr. , I'm not at all comfortable with you taking those kinds of chances... As [MRL] leads Pilgrim out, the horse suddenly whirls, bolting, knocking [MRL] down... [FRL] Oh, God! Pilgrim runs off, pulling the wet rope behind him. [EX14] runs over and grabs for the rope. [MRL] NO... LET HIM GO! [EX14] obeys. Pilgrim runs past the corral and down into a hill out onto a pasture, He keeps on running into the distance -- running across the pasture, not knowing where he is going... [MRL], arms folded across his chest, watches him run. A concerned [FRL] approaches. [FRL] She's running away! How are you going to get him back? [MRL] doesn't respond. He walks off down the hill out onto the pasture, stops, arms folded and watches Pilgrim. [FRL] turns when she hears [EX17], who appears behind her: [EX17] He don't really want to run. Don't know where he's going. All this open space scares the daylight out of him. Confused, Pilgrim stops running and walks, in no particular direction. [EX17] My guess is he's spent his life in a six-by-eight stall... He's forgot what it's like to be a horse... [EX17] ambles off and she turns back to see [MRL] crouching on his haunches, sitting in the grass, just waiting. Pilgrim walks back towards the ranch, stops a distance from [MRL], looks at him... [FRL], needing to know exactly what's going on, crosses down the hill to him. [FRL] So what now? Should we leave? [MRL] continues watching Pilgrim. [FRL] looks at him, sitting there motionless and feels like an idiot. Clearly she doesn't understand all this and clearly no one thinks this is the time to explain to her. [FRL] Well, we're going to go then... Without looking at her, [MRL] just nods. [FRL], awkwardly, walks back up the hill to where [EX2] is... ON THE GRASSY HILLSIDE, [EX2] is watching the scene by herself as [EX14] appears, staring at her leg... It makes her uncomfortable. She turns to him with a curt, impatient tone; [EX2] What? Their eyes meet. [EX14] is so guileless, [EX2] is taken off guard when he asks in such a compassionate voice; [EX14] Does that hurt you? [EX2] tries to think of an answer -- and of how to say it: [EX2] Only when I kick somebody. Her gentle delivery makes him smile. She smiles, then: [EX2] Don't you go to school? [EX14] Twice a month they give you a day off to work on the ranch. He tips his hat down as he looks out to Pilgrim with respect; [EX14] Look at him out in the pasture -- Yeah, he must've been a big, beautiful looking horse. How was he to ride? [EX2] is uncomfortable again. She looks away, just struggling. [EX14] senses she's done talking; [EX14] Excuse me. I got chores to look after. He tips his hat and walks off, passing [FRL] as she arrives. [FRL] You ready to go? [EX2] hesitates. Then mother and daughter take one more look -- POV -- Pilgrim standing in the pasture with [MRL] crouching in the grass waiting for him. DISSOLVE TO:

58 EXT. PARK - NIGHT [EX19] has exited the back of his flat to investigate his wife's complaints. She hangs by the door. He walks deeper into the park. [EX19] Is anyone there?

EXT. TRACK - NIGHT The clock tower glows 12: [MRL] still sits in the bleachers. Alone. Tears fill his eyes as his world comes crashing down... DISSOLVE TO:

INT. SHEPHERED'S BEDROOM - LATE AFTERNOON [FRL] is going through the closet in search of something. The door opens, and [MRL] steps in, perhaps a little tentatively. He doesn't see [FRL] at first. [MRL] Syd? [FRL] comes out. [FRL] Have you seen a gray cableknit sweater? [MRL] A grey...sweater? No. I called you at the office, but... [FRL] It's [EX17]'s. I wore it here one time, and I didn't want to leave it. [MRL] Where were you going? [FRL] continues her search. [FRL] I'm going home, and then I'm going to Hartford. [MRL] Connecticut? [FRL] Yes. Do you know if it was sent with your dry cleaning by any-- [MRL] What's in Connecticut? [FRL] Richard Reynolds' campaign. He may be able to get me a job. [MRL] When did you decide to get a new job? [FRL] Not long after [EX8] Solomon fired me from my old one. [EX17]'s gonna kill me. She loves that-- [MRL] Why did he fire you? [FRL] Total failure to achieve any of the objectives for which I was hired. I told him he was being unreasonable. After all, I did get to dance with the President and ride in Air Force One a couple of times. But you know those prickly environmentalists. It's always gonna be something with them. If it's not clean air, then it's clean water. Like it isn't good enough that I'm on the cover of People Magazine. [MRL] I'll call him. [FRL] You'll call him? You mean you'll call him yourself? Personally? It'll come from the President? That's a great idea. I think you should call [EX8] and make a deal. He hires me back for, say, 72 days. I go around scaring the hell out of Congress, making them think that the President's about to drive through a very damaging and costly bill. They'll believe me, right, 'cause I'm the President's Friday Night [EX47]. Now I don't know if you can dip into this well twice, especially since I've lost all credibility in politics, but you never know, I might just be able to pull it off again. I might be able to give you just the leverage you need to pass some ground-breaking piece of crime legislation -- like a mandatory three-day waiting period before a five-year-old can buy an Uzi. Fuck the sweater -- she'll have to learn to live with disappointment. She starts to exit [MRL] What do you think went on here today? She stops. [FRL] I know exactly what went on here today. I got screwed. You saw the poll, you needed the crime bill, you couldn't get it on your own, so I got screwed. [MRL] The environment got screwed. Nothing happened to you today, [FRL]. Governing is choosing. Governing is prioritizing. I've made no secret of the fact that the crime bill was my top priority. [FRL] Well then, congratulations. It's only taken you three years to put together crime prevention legislation that has no hope of preventing crime. [FRL] heads out the door-- [MRL] [FRL]. Please. I don't want to lose you over this. [FRL] Mr. President, you got bigger problems than losing me. You just lost my vote. And [FRL] is out the door... ...we HOLD on [MRL], looking like a man who's taken a lot of punches to the heads... CUT TO:

INT. [MRL]'S BEDROOM - MORNING CU of [MRL] putting on double socks in his Car-Bed. CU of [MRL] putting on his sweat bands. CU of [MRL] applying Runner's Glide.

EXT. THE HOUSE - NIGHT [MRL] comes out of the house. Jags, a limo with waiting [EX39] and two BMW's pack the circular driveway behind a black Ferrari. The limo driver leaps to attention at the sight of [MRL]. [MRL] stands, making an obvious effort to keep his impatience under control. [EX3] comes out of the house and down the walk. [EX3] What's up, where you going? [MRL] Give me your car keys, will you, I'm going back to my hotel. [EX3] At least stay for a drink. This party's for you. [MRL] Apologize to [EX8] for me. [EX3] gropes uncertainly in his pocket for keys. [EX3] Listen, there're some major local talent inside just dying to meet you... [MRL] Really? Some high class gold digger who speaks French better than I do? No, thank you. I just got off the phone with one. [EX3] Cynthia's not coming? [MRL] No. [MRL] grabs the keys out of [EX3]'s hand. He crosses to a black Ferrari and gets in. [EX3] Let your driver take you. We'll move the cars... [MRL] starts the car. [EX3] Can you drive a stick? The car lurches forward with a squeal of wheels and promptly stalls. [EX3] [MRL], give me a break! With a squeal of tires, the Ferrari bucks out of the driveway and... stalls again. [MRL] Love this car! Is it new? [EX3] Yes! And you don't even know where you're going! [MRL] starts it again and heads uncertainly uphill. [EX3] watching, throws up his hands. [EX3] That's the wrong way! CREDITS BEGIN AS IN A SERIES OF CROSSCUTS:

INT. [MRL]'S BEDROOM - NIGHT [EX4] looks up from the computer screen. [EX4] Okay, we're back in. [EX3] That was beautiful to watch, [EX19]. Like a surgeon or a concert pianist. [EX4] Well, thank you, [EX3]. [EX5] You get some sleep, [EX19]. I'll take it from here. [EX4] Yeah, probably a good idea.

INT. SOLATANO HOUSE/STUDY - NIGHT

INT. DR. PATEL'S OFFICE - DAY [MRL] That was a messed up thing you did, Doctor Patel. That's a messed up thing. I'm sorry, but that's.... DR. PATEL You can call me Cliff, please. [MRL] Yeah, well, Cliff, that's not the way you're supposed to meet people, okay? Why don't you write that down in your, I don't know, your little book you write stuff down in. DR. PATEL I'm sorry about that song. I just wanted to see if it was still a trigger for you. [MRL] Bravo. It's a trigger. I'm not gonna take any meds, I should just tell you that right now. DR. PATEL You have to take medicine. [MRL] No, I'm not gonna take any medicine. It makes me foggy-- DR. PATEL

EXT. CVS 41 A shitbox pulls up. [EX1] drives, [MRL] rides shotgun. [EX10] and [EX9] are in back. [EX9] And then I got to thinking, you know, I really think I like vanilla. [EX1] turns off the car. [EX1] I'll be right back. [MRL] Me too. They get out and go into the store.

EXT. RECORD STORE - DAY [MRL] emerges behind them, [EX4]'s skateboard in hand. They have enough distance to bolt, but they can't leave that board behind. [MRL] Okay, fuckos. How much is this deck worth to you, and how many CD's did you rip off? Can you do the math? [EX3] pulls two CD's out and slides them over to [MRL]. [MRL] And what about you, dork? [EX4] pulls about six, and puts them down in a neutral spot. [MRL] picks all of them up and starts looking through them. Dicks pokes his head out of the door. [MRL] [EX1], call the police, please. [EX4] and [EX3] look at each other. [MRL] Eno import. Sigue Sigue Sputnik. Break beats. Serge Gainsbourg. Ryuchi Sakamoto, Syd Barrett... What's going on here? Are you guys stealing for other people now? [EX4] Naw. Those are for us. [MRL] Oh really. You two are slamming to Nico now? [EX3] You're, like, so bigoted to look at us and, like, think you know what we listen to. [EX4] You got the CD's so can I have my board back? [MRL] I think you have more. [EX4] Well we don't. [MRL] I can't frisk you but the cops can. [EX3] reaches down again into his baggy shorts and comes up with a tattered old book, "How To Make A Record." He tosses it over. [MRL] Jesus. That thing's been in the bargain bin for six months! Was it just your criminal nature or what? Hell, I would've given it to you for free. [EX4] No, we... [EX3] We don't know how it works. Nobody even knows, so we wanted to check it out in that mag. [MRL] snorts. [EX3] Like, do you know how to actually make a CD? [MRL] can't resist edifying them -- the curse of the underappreciated expert. [MRL] Uh, yes I, like, do... It's simple. You make the tracks -- recording studio -- deliver them to the pressing plant where a master is cut, the master is then dubbed to submasters, which are the "mothers," as their called, for each press in the plant. You press the CD's or records, put in your cover art, and that's it. [EX4] Records are those big round black things, right? [MRL] Fuck off. [MRL] turns to go back in the store. [EX4] Hey, can I have my board? [MRL] drops it and enters the store. CUT TO:

INT. RIB HOUSE - THAT NIGHT It's a noisy restaurant with a large bar area. We PAN TO a booth of off-duty cops, out of uniform now, including [EX10], [EX11], [FRL] and a few more male officers. They're all a bit high. [FRL] shows the signs, too. They are passing around a photo now as one [EX13] looks at it and says... [EX13] Beautiful. ... And [EX11] says proudly. [EX11] Yeah. My wife's got him in agility class. [EX10] No shit. [EX10] is handed the photo, and we see that they're talking about [EX11]'s dog, the name "REX" printed on the photo. CONTINUED: [EX10] 'Rex.' Rex is good. I wonder who the first person was to name a dog 'Fido,' and what the hell does it mean? [FRL] I like how you're always asking the big questions, [EX10]. There is some laughter. [EX10] is a smart-ass and a flirt. [EX10] I got a big question for you, Pogo -- but I can only ask it when we're alone. She moves some of the change on the table, sliding it toward [EX10]. [FRL] Here -- use this -- call your wife and ask her instead. [EX11] I happen to know [EX10]'s wife is busy tonight. They laugh and drink and [EX10] asks her... [EX10] Why doesn't your partner ever come out with us? [FRL] [EX1]'s a family man. [EX10] I'm a family man. [FRL] Yeah, but his family actually likes him. More laughter. [FRL]'s eyes do a quick roam of the bar. [EX10] catches this. [EX10] That -- I guess he's not showing either. She shrugs this off like it's not important and starts to slide out of the booth. CONTINUED: [EX10] Where are you going? [FRL] The head. Do you mind? [EX11] She's just gonna freshen up her makeup. [EX10] You're wearing makeup? She leaves the booth with a wry frown. [FRL] That reminds me, [EX10]. You still have that eye-liner you borrowed from me? She grins, leaving the laughter behind her. ANGLE - DOOR [MRL] has entered the bar. He is watching [FRL] leave the booth and walk to the rest rooms. He looks back at the raucous booth and hesitates. He sits at a small table near the door.

INT. ROMANTASUITES - MOON ROOM - NIGHT - PRESENT DAY The dining room table is set for two. A single champagne glass is raised. [MRL] To honesty... Blue Valentine Official Green Script as of 6/9/09 They sit across from each other. [FRL] drinks premature. [MRL] Hey! Wait up. [FRL] We're toasting tonight? [MRL] makes his toast. CLINK. [MRL] quaffs his glass. [FRL] Sometimes you don't make any sense. You might as well be speaking Chinese. [MRL] imitates a Chinese man - it goes on too long. [FRL] Happy belated anniversary. [FRL] starts to eat a spread of Indian food and booze. [MRL] How is it? [FRL] Good. How did [EX1] sound? [MRL] Great. She's the best. [FRL] She didn't sound sad? [MRL] Naw. She's the champ. She's the best parts of you and the best parts of me put together. Everyday she gets more and more amazing. [MRL] chews a bite of meat and washes it down with a shot of vodka. He refills both their glasses. [FRL] Daddy's little girl. [MRL] She's not mine. I'm hers. Blue Valentine Official Green Script as of 6/9/09 92 CONTINUED: 92 [FRL] slows down. [MRL] I'm her father. She isn't there for me... I'm there for her. That's the way I look at it. [FRL] That's beautiful. [MRL] It's the choice I made when she was born. Silence. They chew. [FRL] stares through [MRL]. [FRL] Why don't you do something... [MRL] Like what? [FRL] I don't know... isn't there anything you want to do? [MRL] thinks about it. Shakes his head. [MRL] What am I supposed to want to do? [FRL] I don't know... You have so many things you could do. You're good at everything. You could do anything you wanted. [MRL] I just wanna be with you. Silence. [FRL] tries not to look disappointed. [MRL] You look like an animal right now. Your eyes look like an animal. Like a bear's eyes. [FRL] Like right before the bear eats the man? [MRL] Yeah... You do. It's true. That's what you look like. [MRL] is amused but fearful. [FRL]'s confidence surges. Blue Valentine Official Green Script as of 6/9/09 92 CONTINUED: 92 [MRL] Whatchu thinking about? [FRL] How different we are. You and me. [MRL] Different? [FRL] It's a good thing. [MRL] You think that's good that we're different? [FRL] Absolutely. We don't have to get in each other's way. [MRL] And that's the way you like it, don't you? You don't like me to bother you. [FRL] I didn't say that. What I meant is that it's important for us to have our space. That's all. We're grown people. [MRL] Well there's not much space here. So I guess you won't be able to get away from me will ya? [FRL] You know, we rarely sit down and have a conversation. An adult conversation. Because every time we do, you turn something that I say around and make it mean something that I didn't mean to say. You just blab. Blab. [MRL] If you're not interested in hearing what I think I just won't say anything. [FRL] Good luck. I just want you to think about what you say sometimes instead of saying what you think all the time. Blue Valentine Official Green Script as of 6/9/09 92 CONTINUED: 92 [MRL] OK. I'm going to say something. And what I'm about to say I've thought long and hard about. I'm the luckiest person alive because I'm living my dream - you, her, this, us, all of it. [FRL] lifts up her empty wine glass to the light. [FRL] I think my glass has a hole in it. [FRL] cuts around her food and pushes a piece aside. [MRL] What's wrong with that? [FRL] It's fat. [MRL] That's the flavor. Eat it. [FRL] I don't want to. You eat it. [MRL] stabs a piece of fat and pops it into his mouth. [FRL] That's going straight to your tits. [MRL] My tits? I got tits? [MRL] opens his shirt and peers down at his chest. [MRL] I could still kick yer ass. Blue Valentine Official Green Script as of 6/9/09 92 CONTINUED: 92 [FRL] Shiiit. I bet you a nickel you can't even beat me at arm wrestling. [MRL] A dime and you're on. [FRL] gulps more champagne. They scoot dishes out of the way and clasp hands in the middle of the table. [FRL] Ready? [MRL] I'm always ready, baby. [FRL] On the count of three... One... Two... [FRL] flexes and starts. [FRL] THREE! [MRL], acting as if he isn't trying at all, holds [FRL]'s hand at a stand still. [MRL] Come on. Go! Start. [FRL] ignores his taunts and pushes as hard as she can. Slowly, she begins to push [MRL]'s hand down. [MRL] groans, letting her win a little. [FRL] presses down with all her weight. His hand is centimeters from hitting the table. Then, he turns the tide. [FRL] battles back with all the strength she can muster. [MRL] laughs, realizing her passion for victory. [MRL] pounds her hand into the table. He stands kisses his flexed bicep. [FRL] lifts her hand. A fork is stuck in the back of it. She looks at it with curiosity. [MRL] Oh fuck. [FRL] I'm alright. Blue Valentine Official Green Script as of 6/9/09 92 CONTINUED: 92 [MRL] Hold still. He plucks the fork from her hand, leaving four vampire bites. [FRL] Ow ow ow. [MRL] leads her to the kitchen, holds her hand under the faucet. [MRL] You think we should rush you to the hospital before you bleed to death? [FRL] shoots him a look. [MRL] wraps her hand with a dishrag. [MRL] Does it hurt? [FRL] It stings a little. [MRL] tries to pick up [FRL]. She struggles against it. Finally he cradles her like a squirming baby. [FRL] No, no... Put me down. It's okay... [MRL] huffs a little. [FRL] adjusts her weight, self- conscious. He hefts her down the hallway to the bedroom.

INT. NIGHT. HADDITON - A BOOK SHOP. [EX6] is doing a book signing. There's a good crowd. [EX6] Is that Claire with an `i'? [EX3] has a tray of mince pies. [EX1] is at her side. [EX3] What about you, [EX1]? Where will you be? [EX1] In London with a collection of spare academics. I guess we'll be decking the halls in our own erudite way. [EX3] I'll miss our chats. [EX1] I've been in a state of writerly bliss these last weeks. I hope I get to come back. [EX3] Me too. We'd love to have you. [EX1] doesn't want [EX3] to move away. [EX1] You know, this is the best mince pie I've ever had. [EX3] Oh? [EX1] If it was possible to have an orgasm from mere food, this mince pie would do it. [EX3] Golly. She moves away. [EX1] heads for the wine, kicking himself. GOLDENROD REVISIONS 09 [FRL] and [EX14] walk in. [EX14] looks at the country casuals in undisguised horror. [EX14] What the fuck are we doing here? [FRL] It's kind of research; I want to write about them. They're funny, [EX14] - come on. They move through the crowd.

INT. [MRL]'S BEDROOM - CONTINUOUS [EX3] looks confusedly at [EX19]. [EX3] What? She follows his eyes and sees the woman in the window, who turns and walks off in a huff. [EX3] Oh my God! [EX4] is already in his coat. He's out the door.

INT. [MRL]' BEDROOM -- NIGHT [MRL] and [FRL] stand, disrobing in the near-total darkness. They converse in whispers, between kisses -- [FRL] You know what would scare me right now? [MRL] What? [FRL] moves slowly through the darkness. [FRL] This. She yanks a cord by the window. The BLIND OPENS and the room is flooded with MOONLIGHT. The room is still dark, but she is far more clearly visible. Her dress is unbuttoned down the front. She walks back to him and stops about five feet away. She releases the last buttons on her dress, then slides it off her shoulders to the floor. She wears only her underwear. She crosses her arms over her breasts, and smiles -- [FRL] Have I told you my latest motto? [MRL] No. [FRL] If it's scary, do it. [MRL] I'm not sure I like that motto. [FRL] I'm not sure that matters. She closes her eyes, takes a deep breath, then slips off her underwear. She drops her arms to her side. She stands before him entirely naked. Her self-consciousness is excruciating but she is determined to endure it. Finally, she opens her eyes and smiles with a hint of pride. [MRL]' eyes widen as he takes her in. He crosses to her and lays his hands on her hips. He kisses her neck. As their breathing quickens, she begins to unbutton his shirt and pull it free of his pants. He takes hold of her hands, stopping her, and starts to ease her toward the bed. She resists. [MRL] falters and she realizes something. [FRL] Oh my God. [MRL] What? [FRL] You're scared, too. From his expression, she knows she is right. [FRL] Your turn. For the first time since we've met him, [MRL] is utterly at a loss. But he sees that [FRL] has no intention of backing down. He begins to undress. His hands are uncertain as he untucks his shirt and unbuckles his belt. When he is finished undressing, he turns to face her, his arms at his side. Although we cannot see him in the moonlight and shadows, [FRL] can. She looks down at his naked body and studies it. He stares back with shy wariness. Then she breaks into a crooked grin -- [FRL] What's the matter, old man? Can't afford a gym? [MRL] That's it! Laughing, he grabs her wrists and throws her on the bed. She dissolves into paroxysms of laughter.

INT. [EX8]'S LIVING ROOM - MOMENTS LATER [MRL], walks backwards with his head down, holding a mirror. [MRL] Excuse me. Hello. I'm [MRL]. Excuse me. Hi. I'm [MRL]. [EX6] grabs the mirror and holds it under [EX8]. [EX8] lifts her leg like a dog taking a piss and then starts to cry. [EX8] Look at all that wet, curly hair. [MRL] steals a look, starts to dry heave and rushes to [FRL]. [MRL] Let's get the hell out of here. [FRL] I can't. I'm her focal point. [MRL] What does that mean? [FRL] I don't know. Suddenly, we hear a huge SCREAM. [FRL] and [MRL] turn just in time to see the baby emerge and plop into the water. CU of the baby in the dirty water still attached to the umbilical cord. CU of [FRL] and [MRL]'s horrified faces. [FRL]'s eyes roll back and we: FADE TO BLACK. OVER BLACK we hear silence. Blessed silence. No drums. No chants. No screams. Nothing. Until, we hear the SPLASH.

EXT. CREEK HOUSE - DUSK The ranch is still. [FRL] stands on the porch, her arms folded, vulnerable, looking at the ranch. All her boxes are packed and stacked in the room. She looks over to the Ranch House... to [MRL]'s window.

INT. THE HOUSE IN CHEVY CHASE - NIGHT A cocktail party is underway. This is a fat cat fundraiser for the Republicans. [EX22] You're over-thinking this. CUT TO:

EXT. TAXI - CONTINUOUS [FRL] and [MRL] stand on opposite sides of the taxi in the POURING RAIN. [FRL] crosses her arms. [FRL] Now what? [MRL] I don't know. You tell me. That question is answered by the cabbie, who now peels out. [FRL] What? Where's he going?! Come back! They both stand there with a taxi's width between them. [FRL] Well, that was stupid. Why'd you get out, you, stupid-head? [MRL] You said you were in a great mood and I was ruining it. I felt bad. Did you just call me stupid-head? [FRL] storms off with her little steps.

INT. COMMAND TENT. DAY The commander's entourage is frantically packing up their portable telephones, P.A. system, folding tables, collapsible chairs, etc. One of them wraps a tarp around boxes labelled Fireworks. INSERT: A transistor radio. The announcer says urgently: WEATHER MAN Once again: storm waters have just breached the dam at Black Beacon WEATHER MAN Reservoir. A flash flood alert is in effect. Take immediate precautions. [EX23] and Secretary McIntire listen to the report. Secretary McIntire says gravely:

EXT. [MRL]'S CASTLE - POOL - NIGHT [MRL] And then I just let myself go.

EXT. HOLLYWOOD BOULEVARD - DAY [EX16] enters the falafel stand on Hollywood Boulevard.

INT. LIVING ROOM -- SAME We hear chuckles and whispers of anticipation. An older woman's raspy, boozy voice growls -- [EX3] My ass hurts. A few people chuckle, but they're quickly hushed. The DOOR KNOB TURNS and the DOOR OPENS. Everyone leaps up in a blaze of light -- [EX4] SURPRISE! The MANNEQUIN bursts into the room, teetering crazily, wearing [FRL]'S JACKET, BACKPACK, and HAT. Everyone FLINCHES and SCREAMS. Amid a chorus of laughter, [FRL] enters. Grinning, she wags a facetious finger -- [FRL] See? Surprises suck!

EXT. DOCKS - DAY. 2 4 * A driver, [EX17] - seated at a fine carriage. As [EX17] becomes alarmed - from his POV [EX24] moves towards us - the mulatto child in arms.

INT. LORING HOUSE - DEN - AFTERNOON As they move into the living room, [FRL] sits down and motions for [EX13] to join her on the couch. [FRL] Park it, dude. [EX13] sits down. With great fanfare, [FRL] retrieves a dark, glossy sheet from the envelope. It's her ULTRASOUND. [FRL] Behold, good sir! The very first photo of your future child. [EX13] You're kidding! [EX13] EXAMINES the ultrasound, baffled. [FRL] I think it kind of looks like my friend, Paulie. [EX13] Oh, is he bald and amorphous? [FRL] No, he's the dad. [EX13] looks jolted, as if it's the first time he considered that her baby might have a father. He stands up and holds the photo up to the light critically. [EX13] Can you tell if it's a boy or a girl? [FRL] The doctor can tell, but I decided not to know. I want it to be a big surprise. [EX13] Well, it can really only go two ways. [FRL] That's what you think. I drink tons of booze so you might get one of those scary neuter-babies that's born without junk. [EX13] Junk? [FRL] You know... it's parts... [EX13] I know what junk is. [FRL] Yeah? [EX13] We definitely want it to have junk. [FRL] Well don't worry about it. My stepmom is forcing me to eat really healthy. She won't even let me stand in front of the microwave or eat red M&Ms. Hope you're ready. [EX13] chuckles. [EX13] Wait...do you hear that? A new SONG has begun. [EX13] closes his eyes in ecstasy and walks toward the stereo. [FRL] follows him toward the source of the music, looking perplexed by how happy he is. [FRL] What is it? [EX13] It's only my favorite song. It's Sonic Youth doing "Superstar" by the Carpenters. [FRL] I've heard the Carpenters before. Chick drummer and freaky dude. Not unlike the White Stripes. [EX13] You haven't heard the Carpenters like this. Listen. [EX13] grabs the STEREO REMOTE off the kitchen counter and turns up the volume to a roar. [EX13] and [FRL] stand in silence in the kitchen. [EX13] mouths along with the lyrics. [EX13] Don't you remember you told me you loved me, baby... [FRL] Hey, I like this. [EX13] This album is all Carpenters covers by alt-rock bands. It's called If I Were a Carpenter. It is God. I'll rip a copy for you before you leave. [FRL] You don't have to do that. [EX13] It's the least I can do. What did you say your favorite band was? [FRL] I didn't. But it's a three-way tie between the Stooges, Patti Smith and the Runaways. [EX13] Yeah, I definitely need to make you some CDs. At least while my kid is hanging out in there. He gestures at [FRL]'s burgeoning paunch. [EX13] walks over to his music collections and starts pulling CD's. He's got a Carpenter's disc, the "No Alternative" charity compilation, and Mother Love Bone. [FRL] spots a VHS TAPE on the coffee table and picks it up. [FRL] The Wizard of Gore? [EX13] Oh yeah. It's Herschel Gordon Lewis. He's the ultimate master of horror. [FRL] Please. Dario Argento is the ultimate master of horror. [EX13] SWIVELS AROUND slowly on his desk chair, surprised. [EX13] Argento's good, but Lewis is completely demented. We're talking buckets of goo. Red corn syrup everywhere. And fake brains up the yin-yang. [FRL] Frankly, this looks kind of stupid. [EX13] gives a look - "Oh, Really?"

INT. HOUSE - DAY [EX2] is sprawled on the couch in sweats, wrapped in a blanket, watching "Sixteen Candles". When Molly Ringwald leans across the birthday cake to get a kiss from her dream date, [EX2] changes the channel disgustedly, settling for an infomercial The phone sits next to her. Not ringing. [EX3] breezes in, bearing a cup of tea. [EX3] Are you sure you don't want to come with us? It'll be fun. [EX2] takes the tea and gives a weak smile. [EX2] I ' m sure . [EX3] sits down next to her [EX3] You looked beautiful last night, you know. [EX2] So did you [EX3] gives her a squeeze, then jumps up when the DOORBELL rings, opening the door to a waiting [EX8]. He peeks his head inside. [EX8] She okay? [EX3] I hope so. The door shuts behind her as [EX17] enters. [EX17] Was that your sister? [EX2] Yeah. She left with some bikers Big ones. Full of sperm. [EX17] Funny. [EX17] sits down on the arm of the chair and watches the infomercial with [EX2]. [EX17] (continuing) I don't understand the allure of dehydrated food. Is this something I should be hip to? [EX2] No, Daddy. [EX17] (dreading the answer) So tell me about this dance. Was it fun? [EX2] Parts of it. [EX17] Which parts? [EX2] The part where [EX3] beat the hell out of some guy. [EX17] [EX3] did what? [EX2] What's the matter? Upset that I rubbed off on her? [EX17] No -- impressed. [EX2] looks up in surprise. [EX17] (continuing) You know, fathers don't like to admit that their daughters are capable of running their own lives. It means we've become spectators. [EX3] still lets me play a few innings. You've had me on the bleachers for years. When you go to Sarah Lawrence, I won't even be able to watch the game. [EX2] (hopeful) When I go? [EX17] Oh, Christ. Don't tell me you've changed your mind. I already sent 'em a check. [EX2] reaches over and gives him a hug

INT. OVAL OFFICE - DAY [MRL] stands in front A.J., [EX3], [EX5], and [EX6]. [EX2] is somewhere in the background. A.J. We lost Quincy, too. [MRL] Did he give a reason? [EX3] He thinks your numbers aren't likely to rebound. [EX6] We're three votes down again, sir. There's a pause before ... [EX6] Mr. President, as of this morning, [FRL] only needed one more vote. The Motown Three have gotta be scared blind. I don't think there'll be a better opportunity. [EX5] The press is expecting an announcement on the crime bill by the Sate of the Union. [EX6] If you agree to stick 455 in a drawer until after the elections, they'll give you the three votes. [EX5] And we declare victory, sir. [MRL] We said as a last resort. [EX6] We're there, sir. The State of the Union is 48 hours away. [MRL] No. Come on. There's gotta be three votes someplace else. [EX6] There isn't. [MRL] Bullshit, Leon. There's gotta be somebody we haven't-- [EX6] There isn't, sir. [MRL] Storch. [EX6] I beg your pardon? [MRL] What about Storch? A.J. Mr. President-- [EX6] Storch is a "no." [MRL] Wagner. [EX6] No. [MRL] Sobel. [EX6] No. [MRL] Clark. [EX6] No. [MRL] Not that Clark, the one from Indiana. [EX6] That one too, sir. [MRL] is stopped. A.J. Mr. President, I think we have to do it. [MRL] She is one vote away, A.J. It's important legislation that for the first time has a legitimate chance. I think she deserves every possible opportunity to-- [EX3] She? You meant "it," didn't you, sir? You meant the "important legislation" deserves every opportunity. A.J. [EX3], shut up. There's a horrible silence in the room. [MRL] has locked eyes with [EX3]. [MRL] You got something to say to me? [EX3] Respectfully, sir. I think we should examine the new poll for more than its value as a box score. [MRL] Examine what? They don't like that I'm going out with [FRL]. [EX3] It's not that simple, sir. I think this poll helps bribg a murky problem into specific relief. [MRL] Whose problem we talking about, [EX3]? Yours? You worried about your job? This poll isn't talking about my Presidency. This poll is talking about my life. Two hundred and sixty-four million people have decided-- [EX3] Mr. President, two hundred and sixty- four million people don't give a damn about your life. They give a damn about their own. A.J. All right, that's enough. [EX3] Mr. President, you've raised a daughter almost entirely on your own, and she's terrific. What does it say to you that in the last seven weeks, 59 percent of this country has begun to question your family values? A.J. The President doesn't answer to you, [EX3]. [EX3] Oh yes, he does, A.J. I'm a citizen, this is my president, and in this country it is not only permissible to question our leaders, it is our responsibility. But you already know that, Mr. President, because you have a deeper love of this country than any man I've ever known, and I want to know what it says to you that in the past seven weeks 59 percent of Americans have begun to question your patriotism? [MRL] Look, if people want to listen to Bob [EX22]-- [EX3] They don't have a choice! Rob [EX22]'s the only one doing the talking. People want leadership. And in the absence of genuine leadership, they will listen to anyone who steps up to the microphone. They want leadership, Mr. President. They're so thirsty for it, they'll crawl through the desert toward a mirage, and when they discover there's no water, they'll drink the sand. [MRL] [EX3], we've had Presidents who were beloved, who couldn't find a coherent sentence with two hands and a flashlight. People don't drink the sand, 'cause they're thirsty, [EX3]. They drink it 'cause they don't know the difference. The room is slightly stunned by what their President has just said. [MRL] picks up the polling data and heads to the door... [MRL] Make the deal. CUT TO:

FADE IN: INT. PRESS ROOM - CRIMINAL COURTS BLDG - DAY CLOSE SHOT AT [EX20] It is ringing. A hand comes in to take the phone. CAMERA DRAWS BACK A LITTLE to show Endicott taking the phone. He has an eye shade over his eyes and five cards in his other hand. ENDICOTT Criminal Courts Press Room... This is Endicott... No, nothing new on the [EX25] case yet boss. Well, you bet I'm here plugging away every minute. Up a dime. CAMERA PANS SLOWLY to reveal the other players as they speak. Playing are reporters [EX15], Endicott, [EX16], [EX18] and McCue. [EX15] By me. [EX16] Droparoo. [EX18] knocks on table and drops cards. [EX17] I'll call. ENDICOTT Three sixes. Is that any good? [FRL]'S [EX30] It sure looks good from here. The boys all look up toward sound of [FRL]'s voice. CLOSE SHOT [FRL] JOHNSON framed in the doorway. She is carrying a bag and has changed her costume to a tailored travelling suit. She grins and comes into the room. MED. SHOT [EX36] They are all talking at once as [FRL] comes into the scene. There are ad libs of "[FRL]!" "Where'd you come from?" "Holy Mackeral, [FRL] Johnson!", etc. [FRL] raises her hand for silence. [FRL] One at a time, boys. She enters to a desk, places her bag on top of the desk, takes her hat off and hangs it on a clothes tree in the corner, comes back to desk and opens the travelling bag. All through the above action she is talking rapidly. [FRL] No, I'm not back for good. I'm just covering the Earl [EX25] story for Mr. Sweeney who had a sudden attack of something but will be all right by tomorrow. No, I haven't made up with [MRL] [EX9] -- far from it! As a matter of fact, I'm leaving tonight for Albany and I'll be married tomorrow morning. The lucky man is Mr. [EX6] Baldwin, a gentleman in the insurance business -- and when I say gentleman, I mean gentleman! Are there any other questions? [FRL] takes notebook and pencil out of bag, looks at the stockings she is wearing, sees she has a run and takes a fresh pair out of the bag. She sits down and begins to put on the new stockings. ENDICOTT Well, that about covers everything. [FRL] Good. Now I want to ask you fellows a couple of questions. Did Earl [EX25] know what he was doing when he fired that gun? [EX15] If you ask us, no. If you ask the state alienists, the answer is yes. [EX17] It's a simple story. Earl [EX25] works for the E.J. McClosky Manufacturing Company as a bookkeeper for fourteen years. He starts in at twenty dollars a week and gradually works his way up to twenty-two fifty. A year ago the McClosky Company goes out of business and [EX25] loses his job. Take it away, Fred [EX16]! [EX16] Well -- [EX25] goes a little balmy and begins making speeches on a plan he's got to save the world. Only he makes his speeches, usually, on a very busy street and neglects to get a license for it. Well, the cops let him alone as much as they can because he's harmless and they're kinda sorry for him. But one day he decides to hold a meeting right in the middle of a Veteran's Parade and the cops chase him. He gets scared and goes into hiding. Come in, Dave [EX18]. [EX18] His Honor, the [EX33], now comes out with a statement that Earl [EX25] is a dangerous character in the employ of two or three foreign governments and the police are going to get him dead or alive. Somebody sends out a tip that this guy is hiding in Molly Malloy's joint. And this colored policeman, Daniels, goes over to pick [EX25] up. [EX25] has read the papers, thinks the cop is going to kill him and shoots first. That is all. [FRL] Thanks, boys. That's all I want to know. [FRL] gets up, rolls the pair of stockings she has just discarded into a ball, crosses to [EX21]'s desk and puts the stockings in a drawer. ENDICOTT Say, that's old Prissy [EX21]'s desk. [FRL] I know, I just want to give him a thrill. [FRL] crosses back to desk and sits down. [FRL] All right, boys, now that everything is settled, deal me in. [FRL] glances toward clock on wall. The hands show 2:45 PM. INSERT: CLOCK - Hands pointing to 2:45 PM. CLOSE SHOT [FRL] She picks up phone nearest her on desk and starts to dial, picking up cards dealt her with one hand. [FRL] Hello, this is [FRL] Johnson. Get me [MRL] [EX9]. Hello, [MRL]. How's the old double- crosser? CLOSE SHOT [MRL] [EX9] [EX20] at his ear. [EX9] Hello, my fine-feathered friend. Thought I might be hearing from you. What have you got to report? CAMERA PULLS BACK TO MEDIUM SHOT and we see that [EX9] is stripped to the waist. A doctor is applying a stethoscope to his chest. We HOLD the picture a second: [EX9] listening intently on the phone and the doctor listening intently to his chest. [EX9] Going all right, eh? [EX19] Fine. [EX19] suddenly realizes what he's said and looks up. [EX9] [EX19], will you please keep quiet a minute? How do you expect me to get any work done? CAMERA PULLS BACK to include [EX6], who has some papers in front of him at the desk. [EX6] grins. [EX19] How do you expect me to get anywhere if you're going to keep on that phone? If you'll just give me two minutes more -- [EX9] Well, they haven't finished with me yet but I'm hoping to get my shirt back. Oh, no. I'm in the pink of condition. They found two new dimples. CUT TO:

INT. LORING HOUSE - LIVING ROOM - DAY [EX12], [EX7] and [EX14] Rauss are waiting in awkward silence for [FRL] and [EX13] to return. [EX7] notices a brand new PILATES MACHINE sitting in its packaging in a corner of the room. [EX7] So. What's that thing? [EX12] A Pilates machine? [EX7] What do you make with that? [EX12] You don't make anything. It's for exercising.

INT. TRIPLE DOOR - LATER [EX1] is on stage performing. [EX1] What is your dad's sister's favorite kind of music to dance to? [MRL] and [EX2] chat off to the side of the stage. 62 [MRL] [FRL]'s parents are here. [EX1] Auntz, auntz, auntz. [EX2] Tonight? Why? [EX1] Is anybody here from out of town? [EX24] claps. [EX23] barely pays attention. [EX1] focuses on [EX24]. [EX1] A few, a few. What's your name, sir? [EX24] [EX24]. [EX1] [EX24]. And who's this lady next to you? Is it Cloth? A little [EX24] Cloth? [EX23] It's [EX23]. Backstage [MRL] peers through the curtain, cringing. [EX1] [EX23]. Pretty close. [EX24]-[EX23], where are you guys from? [EX24] We're from North Carolina. [EX1] Ooh North Carolina. The Tar Heel State! Home of Krispy Kreme donuts! And what brings you to Chicago? [EX23] Our daughter's in a coma. [EX1] tries to absorb that. He turns to another person in the crowd. [EX1] Where are you from? 63

INT. THE OVAL OFFICE - DAY [MRL] and [EX3] -- working on a speech. [MRL] Try it like this and lose that. [EX5] [EX20] Sasser from the Times called and wanted to know what the White House felt was a great society. [EX3] What did you tell him? [EX5] I told him I couldn't speak for the President, but for my money: Bermuda. [MRL] Perfect. [EX2] steps in-- [EX2] Mr. President, your cousin Judith's come down with the flu and won't be able to join you Thursday night. [MRL] That's too bad. Remind me to give her a call later. [EX2] Yes, sir. [EX5] You gonna go stag? [MRL] That's not a problem. [EX5] No. We've never gone wrong parading you around as the lonely widower. The words came out casually, but they instantly freeze everyone. [EX5] My God. I can't believe I said that. Mr. President, that was an incredibly thoughtless remark. I would never dream of insulting you or the memory of your wife. [MRL] That's okay, forget it. What time is it? [EX2] It's 3:45, sir. [MRL] I'm gonna go over and say hi to [EX9]. [EX2] You have the Attorney [EX34] at 4:00 and the trade representative at 4: Somewhere in there you promised NPR five minutes. [EX5] Mr. President-- [MRL] [EX5], don't worry about it. CUT TO:

EXT. [FRL]'S HOUSE -- DAY AS SHE APPROACHES -- She stops. Looks up. [MRL]'s beat up car in the driveway. P.O.V. [MRL] SITTING ON THE PORCH SWING Still raining. CLOSE ON [FRL] -- She hesitates, and smiles. [FRL] Oh my... [FRL] SITS DOWN on the porch owing next to [MRL]. [FRL] What happened? [MRL] I quit. Hit my dinger and hung 'em up. A moment of silence over the significance of him quitting. [FRL] I'm quitting too. Boys, not baseball. [MRL] There might be an opening for a manager at Salem next spring. [FRL] Salem, Massachusetts? Where all the witches were? [MRL] Yeah... you a witch? [FRL] Not yet. It takes years of practice... He smiles slightly and takes her hand. [MRL] You think I could make it to the Show as a manager? [FRL] You'd be great, just great... 'Cause you understand non-linear thinking even though it seems like baseball is a linear game 'cause of the lines and the box scores an' all -- but the fact is that there's a spacious-"non-time kind of time" to it... [MRL] [FRL] -- [FRL] What? [MRL] I got a lotta time to hear your theories and I wanta hear every damn one of 'em... but right now I'm tired and I don't wanta think about baseball and I don't wanta think about Quantum Physics... I don't wanta think about nothing... I just wanta be. [FRL] I can do that, too. He rises, takes her hand, and they head inside. And as the rains fall on Durham... CUT TO:

INT. TOWER - NIGHT [EX36] Now, [MRL]...hold your present heading, put down full flap, bring your air speed back to a hundred and thirty-five, then I want you to take hold of the throttle... [EX33] And stick it in your ear. [EX36] And stick it in your ear. McCroskey gives [EX33] a disapproving look. [EX33] I'll be good, I will, I will.

INT. CONFERENCE ROOM - NIGHT [MRL] slides along the seat and indicates for [FRL] to join him. She does so and listens as [MRL] plays beautifully. He's good. He finally brings the piece to an end. [FRL] Wow. [MRL] blushes. [FRL] One of yours? [MRL] smiles at [FRL]. [MRL] You are very kind. But...no. Shearing doing Rogers. [FRL] Ah. Well...you play it very well. [MRL] Well, thank you Ms. . [FRL] You're most welcome, Mr Shine. They share a little smile. Beat. [MRL] Me thinks you were leaving? [FRL] Indeed I was, Sire. [MRL] Why? Beat. [FRL] Because you looked happy. [MRL] looks quizzically at [FRL]. Beat. [FRL] You should be with your family, [MRL]. [MRL] But, you know, maybe I want to be with you. You make me happy - when skies are grey. [FRL] smiles. [FRL] Careful, [MRL]. I'm blushing. Beat. [MRL] Thank you. [FRL] For what? [MRL] For making me come here. Beat. [FRL] You're welcome. They share a look, before both looking away. Beat. [MRL] Can I? [FRL] What? [MRL] Can I...? Just then a vacuum cleaner sounds. They both look up - as a cleaning lady vacuums the floor nearby. Beat. [MRL] Hey kid, they're playing our song. [FRL] smiles. [FRL] Yes. In the background we hear clapping and cheering coming from the reception. A funky number starts up. [MRL] takes [FRL]'s hand. [MRL] Come on. I want you to meet people. I want them to meet you. [MRL] leads a slightly reluctant [FRL] back down the hall towards the reception.

INT. HOUSE FOYER - MINUTES LATER The front door opens and [MRL] walks in with Lucy on a leash, his face red from the cold outside. He gives the dog a pat on the rump, then takes off his coat, hanging it and the leash on a hook by the door... He walks through the quiet house, into the living room, rubbing his hands together to warm them up. CHAPTER ELEVEN � HOME MOVIES He goes over to a glass bar stand and pours himself a scotch, taking a sip, letting the alcohol warm him... He strolls through the room, looking at some of the family photos framed and hanging on the wall, focusing on his own face in the pictures, studying the expressions... He moves to a pile of video tapes sitting on a shelf, marked with titles like, �Trip to Yosemite, �96" and �Josh�s 1st Birthday.� He runs his fingers along the tapes, stopping at one marked, �[MRL] Singing.� His eyes linger there a moment... He puts his drink down and pops the tape in the VCR... ON TV: It�s a party for [FRL]�s birthday thrown at the Kramers� house...same crowd of people as the Christmas party, cheesy �Happy Birthday� decorations. The image jerks up and down, surveying the crowd... [EX15] at the piano, playing some light cocktail music ...[FRL] talking with a group of friends... [EX12] Jesus, Bill, this thing is an antique. Don�t you even have image stabilization? Bill stops playing and looks up at [EX12]. [EX15] Four hundred bucks at Best Buy, Arn. Then...[MRL] comes into frame, a confident smile on his face. [MRL] And everyone knows image stabilization is for the weak... [MRL] is jarred by the image of himself on the video... [MRL] on TV...he smiles as [FRL] walks into frame, easily putting an arm around [MRL]... [EX12] So [MRL], it�s your wife�s birthday, got anything to say to her? [MRL] It�s your birthday? Today? What�s your name? Where were you born? [FRL] [MRL]. [MRL] Wait a minute. You�re my wife? She slaps him playfully on the arm... [MRL] I do have one thing I wanna say... [FRL] looks at him expectantly. Then... [MRL] Oh those fingers in my hair, that sly come hither stare, strips my conscience bare, it�s witchcraft... [MRL] doesn�t have the greatest voice in the world but he�s not the least bit self-conscious...and [FRL] seems to like it, there�s a twinkle in her eye...some of the guests focus their attention on [MRL] and [FRL]. [MRL] winces, embarrassed, as he watches himself sing... [MRL] ...and I�ve got no defense for it, that heat is too intense for it, what good would common sense for it do... [EX15] still at the piano, chimes in with the basic chords for �Witchcract,� sounding it out as he goes along... [MRL] ...�Cause it�s witchcraft, wicked witchcraft...and although I know it�s strictly taboo...when you rouse the need in me, my heart says yes indeed in me, proceed with what you�re leadin� me to... The camera catches the reactions of guests in the crowd... the women, smiles on their faces, wrapped up in the romance of the moment. Envy on the men�s faces as they watch [MRL] serenade his wife... A musical interlude from Bill as [MRL] takes off his jacket...some HOOTS and HOLLERS from the crowd...[EX12] captures the image of [FRL] whistling at her husband... [EX12] follows with the camera as [MRL] strolls in front of the gathered guests... [MRL] It�s such an ancient pitch, but one that I�d never switch, there ain�t no nicer witch than you... [MRL] watches himself move gracefully. But it�s no longer embarrassment on his face, it�s fascination... Back in the video, the camera catches [EX13] Thompson watching longingly as [MRL] moves back toward [FRL]...[EX13] can�t take it anymore, she abruptly turns and walks toward the kitchen... [MRL] raises an eyebrow... In the video...[MRL] approaches [FRL], she couldn�t have a more delighted look on her face. He picks up the verse... [MRL] �Cause it�s witchcraft, that koo koo witchcraft...and although I know it�s strictly taboo... The camera pans across the crowd, even the men are getting into it, focused on [MRL] as he sings lovingly, unashamed, to his wife...[EX14] Careli mouths the words along with [MRL], almost as if he�s studying him, revering him... [MRL] watches the TV, seeing [EX14] do this...maybe he underestimated his alter ego... On the video...[MRL] staring into [FRL]�s eyes... [MRL] ...when you rouse the need in me, my heart says yes indeed to me, proceed with what you�re leadin� me to... [MRL] and [FRL] exchange a sexy smile... [MRL] It�s such an ancient pitch, but one that I�d never switch... [MRL] kisses her on the lips...HOOTS and HOLLERS from the crowd. [MRL] �Cause there�s no nicer witch than you... [FRL] brushes a hand across [MRL]�s face... Smash cut to [MRL] watching this...seeing the connection, the heat between them...coveting it... Back to the video...the music building...the crowd completely in the palm of [MRL]�s hand... [MRL] ...than you... The camera closes in on [MRL] and [FRL] as the music builds to a crescendo... [MRL] ...than you... A little musical flourish from Bill as the crowd breaks out into huge CHEERS and APPLAUSE... [MRL], watching this other version of himself in the video, the center of attention, larger than life, focused on [FRL]... Back on video... [MRL] Happy Birthday sweetheart...I love you. [FRL] leans over, giving [MRL] a deep kiss...OOHS and AHHS from the crowd...but [MRL] and [FRL] are in their own little world... [MRL] continues to watch himself on the video, his smile fading, becoming a look of realization...then loss... A tear at the corner of his eye... The SOUND fades in [MRL]�s head as the action in the video continues... He�s left standing there...silent, still... DISSOLVE TO:

INTERCUT WITH:

INT. CITY VIEW HOSPITAL - EMERGENCY ROOM - NIGHT [MRL] walks up to the reception desk. [MRL] Hi. I am looking for [FRL] Gardner. Um, [FRL] Gardner? She was checked in... A MAN is rolled in a stretcher by EMTs. The nurses run off.

EXT. JAZZ CLUB - NIGHT The sun is gone now and the moon is in the sky. We see the hot neon exterior of a tiny jazz club.

EXT. 14TH STREET - DAY [FRL] runs across 14th street. The blanket flaps behind her like a cape. She looks like a hugely pregnant super-hero. And suddenly, she has to slow down and then stop completely for a contraction. She leans against a parked van to steady herself. [FRL] Ow. Son of a bitch, that hurts. [EX11] Are you okay? Out of the corner of her eye, [FRL] sees an enormous strawberry on the side of the van. And then next to it, she sees [EX11]. [EX11] Are you in labor? As soon as the contraction ends... [FRL] Fuck off. [FRL] takes off again. [EX11] watches her go.

EXT. LAKE - ANGLE ON SPEEDBOAT -- with [EX1] skiing behind it. [EX7] is at the helm. [EX2] and [EX6] lounge in their bathing suits. As they pass a ski ramp [EX7] points to it. [EX1] gives him a thumb's up gesture and [EX7] circles the boat around for the approach. [EX6] No way! He's never done the ramp. [EX7] He wants to do it. [EX7] lines up the approach and pushes the throttle open. [EX1] swings out on the end of the tow-rope and pops over the wake. [EX2] leans over to [EX7]. [EX2] You know you're going too fast? [EX7] Yeah, I know. The boat zips by the ramp and [EX1]'s skis contact the slippery surface and his skis go out from under him. He takes a hard bounce, loses hold of the tow-rope, and goes tumbling over the apex of the ramp into the water.

SECRETARY MCINTIRE I couldn't say. [EX23] shakes his head. He continues to study the document as he sits back down. Secretary McIntire begins to lather his cheeks with a brush. CUT TO: A vast archway of wood, straw, and rope construction. Fort Lebanon is spelled out across the top with bound sticks. A large flag waving madly on a pole reads Khaki Scouts of North America. A bugler on a platform plays the familiar staccato tattoo. It echoes for miles. [MRL] and [FRL] wait inside the gates crouched behind a row of trash cans with the rest of the troop except [EX5]. They shiver. [MRL] has on his back-pack. [FRL] carries her suitcase. [EX3] holds a tennis ball can. A scout master in an Indian chief's headdress stops as he walks by. He looks curiously at [MRL] and especially [FRL]. He says to [EX12]: [EX24] Who's your unit leader? Pause. [EX12] points to a fat man in an apron cooking hamburgers on a grill. [EX12] That guy. The scout master shrugs. [EX5] comes over and says FURTIVELY: [EX5] There's a broken gum-ball machine behind the snack tent. [EX5] distributes a handful of gum-balls among [MRL], [FRL], and the rest of the troop. They all put them in their mouths. [EX5] motions for everyone to follow him. A footbridge across a stream leads to a Quonset hut with an awning in front labelled Supply Tent. A crowd of very young scouts waits at a wide counter bartering over boxes of food, drink, and equipment. A team of helpers collects money and packages goods. At the center, there is a twenty-year-old scout with a pencil behind his ear. He is [EX25]. He says to a nine-year-old Junior Khaki: [EX25] I don't care how they do it where you come from. You want pop? You want candy? You want a snake-bite kit? Get some money. [EX5] appears and whispers something to [EX25]. Cousin Ben nods. He says to his customers: [EX25] Come back in five minutes. [EX25] pulls a curtain shut behind the counter.

INT. BLOOMSBURY SQ. [FRL] & [EX6]'S BEDROOM. NIGHT.14 70 * Darkness. [EX6] whispers softly. [EX6] [FRL]...was there any message for me? [FRL] hesitates a moment - then whispers back just as softly [FRL] No, Bette But..I am sure it * won't be long. [EX6] thinks a moment - Then musters a smile for [FRL]. [EX6] What does it feel like [FRL]? To be engaged? [FRL] is struck. She falters, privately, as she thinks. [FRL] Perfect, Bette - pefect. CUT TO: Later. [FRL] awake as [EX6] sleeps. [FRL] slips from bed. She sits alone at the window, silhouetted by moonlight.

EXT. EQUESTRIAN CENTER - LATER AFTERNOON [FRL] and [MRL] make their way towards the party. [MRL] is wearing his new tie. [FRL] is looking very chic and beautiful in one of her new outfits. Not that it's helping -- the place, the people, the wealth -- everything here suddenly has her overwhelmed. She suddenly stops. [FRL] You're really pushing it, bringing me here. [MRL] I think it's exciting. [FRL] What id we run into someone I know? [MRL] I really doubt anyone here frequents Hollywood Boulevard. [FRL] You did. A VOICE calls out. [EX3] [MRL]! They turn. William [EX3] is with a group of people. He waves them over. [EX3] Come on! Over here! [MRL] takes [FRL]'s arm and leads her forward.

INT. CREEK HOUSE - MOMENT'S LATER [EX2] watches her mother stand there a moment, then turn and walk towards the house. [EX2] moves away from the window, her emotions churning -- jealousy, anger -- and enters her bedroom, shutting the door. DISSOLVE TO:

INT. CHEZ GERARD - DAY [MRL] and [FRL] remain seated at adjacent tables. Muzak plays in the background. They are now virtually the sole patrons of Chez Gerard. [FRL] eats a salad and reads her book. Just then, [MRL]'s food arrives. Beat. [MRL] Look we are having lunch together. [FRL] No. We're having lunch next to each other. [MRL] Ah. I'm [MRL]. [MRL] Shine. [FRL] [FRL]. [FRL] . [FRL] can't help but smile at [MRL]'s persistence. Beat. She puts down her book. [FRL] So why aren't you at the wedding? [MRL], momentarily taken aback by the directness of [FRL]'s question, is about to answer, when the sound of a vacuum cleaner erupts. [MRL] and [FRL] look over to see a cleaner vacuuming the floor nearby. [MRL] Ah, that's better. I knew something was missing. I had to get back for a work thing. [FRL] A work thing. For the job you just lost? Beat. [MRL] Yes. [FRL] I see. So, this job you lost. You liked it? [MRL] Yes. No. Not really. They've beaten it out of me. But its what i do - did. [FRL] Which is - was? [MRL] I'm a composer. I write jingles. The vacuuming stops. They both look over, then back. [FRL] Wow. [MRL] That's about the normal response. [FRL] Anything I would of heard? [MRL] Yes. Uh...Uh... Well, maybe, I mean it maybe before your time. [FRL] No, go on. [MRL] smiles a little sheepishly. [MRL] You can take the Salem out of the country - but you can't take the country out of Salem. Beat. [FRL] No. [MRL] It's a cigarette. [FRL] Oh really? [MRL] Forget it. [FRL] Ok. The vacuuming starts up again. They look over then back. [FRL] Did you always want to write jingles or was there something more? [MRL] laughs. [FRL] What? [MRL] No, I just love the way you...you just cut through it. [FRL] I'll take that as a compliment. [MRL] You should. I was going to be a Jazz pianist. [FRL] Were you good? Beat. [MRL] No. Not enough. [MRL] looks away. [FRL] I'm sorry, I can be nosey. I tend to blurt stuff out. Breaking from his reverie. [MRL] No. I like it. I like it... ...Alot. Vacuuming stops. Beat. [FRL] looks away. [MRL] It's a relief to find someone in this country who actually says what they feel. [FRL] Oh, haven't you heard? [MRL] What? [FRL] That's all changed. We're a nation changed. Ever since Diana, we've unlocked ourselves. Everything's flowing out. You guys showed us the way. [MRL] Just as we're trying to adopt your stiff upper lip. [FRL] smiles. [MRL] What is a stiff upper lip, exactly? [MRL] tries to physicalize it. [FRL] No, I think, it's more this. [FRL] stretches her top lip. [MRL] I see. How's that? [FRL] Yeah you're getting there. Stretch it out further. [MRL] Let me see again. [FRL] No, now you're doing a bulldog. [MRL] Like this? [FRL] No, now you look like you don't have any teeth. Are they your own? [MRL] What? [FRL] Your teeth? [MRL] The front ones. [FRL] My dad had a front one that you could just take out. [MRL] Really? As they sit there, lips stretched, nattering away, we start to pull back. Accompanied by a simple piano score we look on as they appear to us, momentarily, like an ordinary couple.

EXT. THE FAIRGROUNDS - LATER THAT DAY [MRL] has finished his "show." People are shaking his hand, thanking him, as he walks away from the corral, towards a trailer. The [EX11] in the Ralph Lauren approaches: [EX11] Excuse me. He faces the [EX11]: [EX11] Hi. I'm Dale. I just wanted to -- I can't get over the way he felt under me after you'd finish with him. Everything had just, I don't know, freed up or something. The [EX11] is flirting. [MRL] shrugs, uncomfortably; [MRL] Well, that'll happen. [EX11] Where did you learn all this stuff? [MRL] What stuff is that? [EX11] About horses? I'd love to learn more about it myself. Do you offer any private lessons for riders? [MRL] Well... Dale... you know, a lot of this stuff... it just... nuts and bolts. [EX11] What do you mean? [MRL] Well, if the rider's nuts, the horse bolts. That's the whole lesson right there. You have a good day now... Just... keep on freeing yourself up. He leaves her, entering the trailer.

INT. [MRL]'S APARTMENT [MRL] enters with a small grocery bag and opens the refrigerator. A carton of cream, a few eggs -- there's not much there. He takes a small container of cottage cheese from the grocery bag and places it on an empty shelf. As he closes the refrigerator door, he glances around the apartment. It is very still, very quiet. He looks up at the ceiling absently, then walks over to the window and looks out. There is a mug of coffee there on the sill. He takes it and holds it in both hands for a moment, then places it back on the sill. He sits at the piano and runs his fingers lightly over the ivory, not making a sound, then places his hands on the keys and begins to play. "Jingle Bells."

INT. DANCING ELK SCHOOL - CORRIDOR - DAY [FRL] exits the head office and bumps into [MRL]. [MRL] Hey [FRL]... A couple of us are going to the cineplex after school to donut that movie with the guy with eighteen kids. [FRL] Sorry, Bleek... Going for my ultrasound. Gotta note and everything. [MRL] Okay, cool. [FRL] I'll try to drop by later.

EXT. RURAL SUBURBAN STREET - DAWN - PRESENT DAY A 5-year old girl wearing pajamas wanders alone down the street. [EX1] Me-gan!

INT. PRESS ROOM - CRIMINAL COURTS BLDG. CLOSE SHOT [FRL] AT [EX20] cards in her other hand. [FRL] How about that check? All right, Mr. [EX9], but remember, no checkee -- no story. Well, as soon as they decide whether you live or not will you have that new man of mine call me up? Yes, sir. All right, boys. Up a dime. ENDICOTT'S [EX30] Right back at you. MED. SHOT [EX17] You fight it cut. [FRL] And up a dime. ENDICOTT I call. What you got? [FRL] Three bullets! Any good? ENDICOTT Beats king up. [FRL] rakes in the money. [EX17] What are you going to do with all that money, [FRL]? [EX16] Yeah -- you can't spend it in Albany. [FRL] Oh, I'll think of something. MED. SHOT taking in door and including group. [EX21], another reporter, comes in from the corridor. He stands out from the others because of his tidy appearance, and carries a book under his arm. [EX15] Hello, Harvard! Got anything new on the hanging? CLOSE SHOT [EX21] [EX21] Why don't you fellows get your own news? CLOSE SHOT [FRL] [FRL] Can't you say 'hello' to a fellow? TWO SHOT FEATURING [FRL] AND [EX21] [EX21] [FRL]! He comes over to shake hands. [EX21] Are you back? [FRL] No, just a farewell appearance, batting for Sweeney. I'm going into business for myself. [EX21] What doing? [FRL] I'm getting married tomorrow. [EX21] Well, congratulations! Good luck! THE TABLE ANOTHER ANGLE ENDICOTT Why don't you use him for a bridesmaid, [FRL]? [EX18] Come on, [FRL], your deal. CLOSE SHOT [EX21] AT HIS DESK He opens a drawer, the one in which [FRL] put her stockings. [EX21] Say, who put these stockings in my desk? McCUE's [EX30] I don't know, but I think they got rats in the building. [EX21] This is [EX21]. I just saw the Sheriff. He won't move the hanging up a minute... All right, I'll talk to him again, but it's no use. The execution is set for seven in the morning. Get me a rewrite man. CLOSE SHOT ENDICOTT dealing the cards. ENDICOTT Why can't they hang that guy at a reasonable hour, so we can get some sleep? CLOSE SHOT [EX21] [EX21] Jake, new lead on the hanging. This new alienist from New York -- Dr. Max J. [EX28] -- is going to interview [EX25] in about half an hour -- in the Sheriff's office. MED. SHOT AT TABLE - FEATURING [EX15] [EX15] reaches for the phone. Without dropping his cards, he jiggles the hook. [EX15] That must be the tenth alienist they've had on [EX25]. Even if he wasn't crazy before, he would be after ten of those babies got through psychoanalyzing him. Gimme the desk. ENDICOTT This [EX28]'s pretty good. [EX15] Yeah? What did he ever do for his country? ENDICOTT Don't you remember? He's the guy went to Washington to interview the Brain Trust, and gave out a statement that they were all sane. It created a sensation! CLOSE SHOT [EX21] He is referring to his notes as he talks: [EX21] Here's the situation on the eve of the hanging: CLOSE SHOT [EX15] He continues playing his cards: [EX15] This is [EX15]. More slop on the hanging. CLOSE SHOT [EX21] [EX21] A double guard's been thrown around the jail, municipal buildings, railroad terminals, and elevated stations to prepare for the expected general uprising of radicals at the hour of execution. CLOSE SHOT [EX15] [EX15] Ready? The Sheriff's just put two hundred more relatives on the payroll to protect the city against the Red Army -- which is leaving Moscow in a couple of minutes. Up a dime. CLOSE SHOT [EX21] [EX21] The Sheriff has just received four more letters threatening his life, but he says nothing can interfere with his duty. CLOSE SHOT [EX15] [EX15] And to prove to the voters that the Red Menace is on the level, the Sheriff has written himself four more letters, threatening his life. I know he wrote 'em on account of the misspellings. MED. SHOT AT TABLE FEATURING [FRL] ENDICOTT Trouble is, when the Red Menace shows up the Sheriff will still be crying 'Wolf!' [EX15] What have you got, [FRL]? [FRL] Kings and sixes. [EX15] That's good. [FRL] 'Kings and sixes The pot affixes'... Poetry. I learned that at my grandma's knee. [EX16] That's why I keep losing. My grandma was a modest woman -- nobody ever saw her knees, not even my grandpop.

INT. [FRL]'S BEDROOM - PRESENT DAY Into the webcam -- [FRL] Like all families, mine has a deep dark secret. And since I'm spilling all this dirt, I might as well go ahead and confess it. She takes a deep breath. [FRL] I'm trusting that this nugget of information isn't going to be spread around, but - okay, here it goes: My dad's name is [EX5] and my mother's name is [EX6]. They were so amused by this that they decided to name all of their children after -- -- edible items. My brother's name is Sage and my sister's name is [EX7]. It's shocking, I know. We're like a fucking pantry, us s! But at least my parents didn't meet at a `Star Trek' convention, BITCH! Sorry. Now, I'm just being mean. Okay. Back to the story.

INT. RADIO STATION -- PRESENT 21 [MRL] What a nightmare. I dunno why I can't stop thinking about these things. I guess I've been a little restless lately, since getting back from winter break. Everything's been kind of weird lately. He grabs a CD from a rack. [MRL] Hope you enjoyed this week's Reggae Revelry Hour. This is [MRL] filling in for Rasta Ronnie, taking you out with a little Bad Religion. He puts in the CD, hits "Shuffle/Repeat," and leaves. The caller request lines blink furiously. CUT TO:

INT. [FRL]'S ICU ROOM - MOMENTS LATER [MRL] puts the STUFFED GIRAFFE by her bed. [EX22] smiles. [EX22] Oh, you're giraffe-ing it. [MRL] It was the biggest thing they had. I don't even know if she likes giraffes. We never talked about giraffes. Hey, do they know what they're doing? Cause they don't tell us anything. Like, Lyme Disease? You know the girl on The Real World had it? Did you guys look for that? [EX22] Yes, we did. 81 [MRL] Did you know she gets hurt all the time? She messed up her ankle recently - could that be Lupus? [EX22] [MRL]. We're looking into everything. We're not holding anything back from you. We're still just eliminating possibilities. [MRL] Cause [EX23] wants to move her to Northwestern. [EX22] Oh no. [FRL] should not be moved. The hospital will approve it because it'll get the liability off their hands, but we put her in a coma for a reason. To stabilize her. Moving her could be very dangerous. The infection could spread. Trust me she is fighting. And so are we. [MRL] looks frightened.

INT. ESPN STUDIOS Sportscaster [EX31] talks animatedly about the upcoming season. [EX31] It's the start of the new college season and I'm like a kid in a candy store. Too many great teams to choose from. You have your Dukes', Kentuckys', Arkansas', but my surprise treat this season...

[MRL] leads her out of the car. [MRL] Keep 'em closed... [FRL] What is this? EXT. UPSCALE HOME - DAY *

INT. PROM - NIGHT - LATER [EX2] and [EX9] dance to a slow SONG. Whatever he's whispering into her ear is making her laugh. Cam and [EX3] dance nearby, glowing with happiness. She whispers something in his ear and heads for the ladies' room

EXT. PERIERA HOME- BACKYARD- PRESENT DAY A35 A35 [MRL] buries Megan by the fence. He places a stone on the mound as a marker. He stands over it, smoking a cigarette. [FRL] looks on from the porch, arms hugging her body. [MRL] walks to her and wraps his arms around her. Her arms fall and move up to touch his side. [FRL] What are we going to tell her? [MRL] We'll tell her Monday. After the weekend. Let's not ruin her Holiday. [MRL] turns [FRL] around, closes his eyes, and hugs her. [FRL] She would have wanted to say goodbye. Blue Valentine Official Green Script as of 6/9/09

INT. DAY. WINNARDS FARM - [FRL]'S BEDROOM. [FRL] is opening a Tiffany's box. There is a ring inside it. She looks at [EX14], almost in disbelief. Boss can be heard, barks fading in the distance. [FRL] What's this? [EX14] What's it look like? [FRL] [EX14]... For which finger? [EX14] Whatever one you like. That's a nice one. Why not put it on that? He's pointing to her ring finger. [FRL] is moved. GOLDENROD REVISIONS 09 49A.

INT. [MRL]'S LIVING ROOM - AFTERNOON [MRL] watches his brother and the Penn State Nittany Lions on TV. He looks over at his father, but his dad is too busy building [MRL]'s clock for shop class to notice him.

INT. HOTEL LOBBY - LATE AFTERNOON Mr. Thomas is behind the desk. He looks up. [FRL] is standing there, a happy look on her face. She holds up a garment bag. [FRL] I got a dress. MR. THOMAS I rather hoped you'd be wearing it. [FRL] I didn't want to get it messed. I got shoes too. Wanna see? MR. THOMAS That's all right. I'm sure they're quite lovely. [FRL] They were real nice to me there. They treated me, y'know... nice. Thanks, Barney. Mr. Thomas tries not to wince at the familiarity. MR. THOMAS You're very welcome, Miss [FRL]. She smiles at him. He watches as [FRL] turns and walks toward the elevator. The provocative way her hips move just naturally attracts the attention of a MALE PASSERBY. And the white gloved ELEVATOR [EX15] literally leaps to press the elevator button for [FRL] who rewards him with a happy smile. Mr. Thomas sighs.

INT. DAY. WINNARDS FARM - THE KITCHEN / HALL. [FRL] is playing with the ill-fitting ring that [EX14] gave her. She puts it a jar and closes the lid. There's a knock on the front door. She startles, her face falling. She answers it. [EX6] is on the threshold. GOLDENROD REVISIONS 09 [EX6] Hello. [FRL] So. [EX6]. She lets the door fall open. She backs into the hall. [EX6] walks in. He closes the door. They look at each other. Neither of them moves. [EX6] You can tell me to leave. [FRL] says nothing. [EX6] You can throw me right out. [EX6] slowly takes his red scarf and coat off. He hangs them on a coat hook, bringing himself closer to her. [EX6] Just say and I'll go. She still can't speak. [EX6] takes her in his arms. He is big and fatherly and comforting. [FRL] feels a sense of relief, of not being alone. Her arms go around him. When he kisses her, he's surprisingly real, vulnerable even, as if he's left his lordly persona at the door. [FRL] closes her eyes. Their kisses become more urgent.

INT. [MRL]'S BEDROOM - DAY BACK TO PRESENT. [MRL] holds his head. Trying to stuff the pictures back in his brain. But he can't. They keep coming and coming, faster and faster. [FRL]'s hand, Little [MRL] on top of the stairs, the police telling him Aunt Helen is dead. [MRL] It'll be our little secret. We go behind his head. The image moves closer and closer. Until it feels like we are inside [MRL]'s mind. SMASH CUT TO:

INT. [EX47]'S BAR � NIGHT CLOSE SHOT [EX47] at the cash register, busily ringing the bell. [EX47] Hey! Get me! I'm giving out wings!

INT. [EX38]'S WHOREHOUSE -- NIGHT [EX24] ENTERS TENTATIVELY -- Another world. Grim. Sleazy. The Doorman leads him down a hallway full of doors. A BLACK PROSTITUTE enters a room with a HUGE REDNECK. As they go down the hallway, and as they do: We begin hearing singing -- raucous, soulful, drunk. [EX24] STOPS IN A DOORWAY -- Looks into the "waiting room". -- P.O.V. SEVERAL HOOKERS in various stages of undress, sit on couches and chairs. Bored, smoking, ancient. The ONE WHITE HOOKER, a skinny 25 year old, accompanies on a guitar, struggling to keep up. And a couple HOOKERS are hanging around a piano that -- [MRL] IS PLAYING and singing. He doesn't look up. [MRL] is dressed but barefoot. A cigarette dangles from his mouth as he accompanies himself with decent cocktail lounge chords. Two Hookers at the piano hum along. [MRL] But when she does get weary -- Try a little tenderness...

INT. PARK HYATT BAR - NIGHT Tall glass walls show the neon and high-rises of the city. A sad and romantic Bill Evans song plays. [MRL] sits alone with a scotch at the bar. Some drunk AMERICAN BUSINESSMEN, with their ties thrown over their shoulders recognize him. [EX3] Hey- you're [MRL] Harris- you're awesome, man. ANOTHER [EX3] Yeah, I love Sunset Odds! [MRL] Oh, Ok, thanks. [EX3] Man, that car chase- [MRL] nods.

THE NEXT [EX35] POPS UP -- [MRL] circles into foul ground to make the catch, whipping the ball around the infield. AND [MRL] GOES TO THE MOUND for a visit. [EX24] Hey, I'm cruisin', man -- what're you doing out here?! [MRL] I want you to throw this one at the bat rack. [EX24] Why?! I'm finally throwin' the damn thing where I want to. [MRL] It'll keep the fear of God in the hitters. Trust me. [EX24] You're the boss. [MRL] RETURNS TO THE PLATE -- Flashes a sign. CUT TO: THE PRESS BOX [EX11]'s getting worked up. [EX11] THE RADIO MAN -- a staggering start by LaLoosh -- he's thrown 5 cuts on 9 pitches, all of them strikes -- he's got pin point control here tonight, Bull fans... here's the pitch -- CUT TO:

INT. NIGHT. STONEFIELD - THE KITCHEN. [EX3] Oh - actually - don't worry - I've just found it. [EX3] puts the phone down, biting her lip. She is relieved, ashamed and ultimately not reassured. She looks to camera. [EX3] [EX6] has been telling the truth a lot recently. The cake, with its question mark, is finished. [EX2] Roses are red, violets are blue. GOLDENROD REVISIONS 09

EXT. DAY. WINNARDS FARM. The mask drops. All her old insecurities come back. She gets out of the car and slams the door, unable to stand the sight of herself. She lets herself in.

INT. [MRL]'S BATHROOM - NEW YEAR'S EVE [MRL], dressed with care, faces the mirror and wet combs his hair.

INT. [EX]'S LOFT APARTMENT - NIGHT Truth or dare. The gang is seated in a circle, drinking from plastic cups. [MRL] sits between [EX17] and [FRL]. [EX16] [EX7] Who are you talking to? [EX16] I dare you to kiss [EX18]. [EX7] Get ready, breeder. As [EX7] approaches an apprehensive [EX18]... [EX21] [EX17]? Samantha told me that you got into Harvard. Congratulations. [EX17] Thank you. This one still hasn't gotten me flowers. But I forgive you. She kisses him. [MRL] bites his cheeks. [FRL] looks a little depressed. [EX21] Don't worry about Penn State. You're just wait-listed. [EX7] Excuse me, everyone, but you're missing some hot "fag on goth" action. Anticipation. [EX7] is getting ready to plant the biggest kiss on [EX18] when she jumps him. Everyone groans. Ew! Laughter. [EX7] looks for the next person. [MRL]'s heart pounds. Don't pick me! Please! [EX7] Okay. My turn. Um... let's think... [MRL]... truth or dare? Silence. Thinking. Finally... [MRL] Truth. [EX7] How is your first relationship going? [MRL] It's so bad that I keep fantasizing that one of us is dying of cancer, so I don't have to break up with her. [EX7] [MRL]? Truth or dare? [MRL] blinks. It was all fantasy. [MRL] Dare. [EX7] I dare you to kiss the prettiest girl in the room on the lips. Notice I charitably said girl and not person because let's face it... I'd smoke all you bitches. [EX18] hits him. Laughter. [MRL] thinks. He looks at Mary Elizabeth, then turns to [FRL]. Before [FRL] can even react... [MRL] plants a kiss right on her lips. When he opens his eyes, he looks around, and realizes the magnitude of his mistake. Everyone stares. After a horrible silence... [EX7] Now that's fucked up. Without a word, [EX17] just stands, dignified, and goes into the kitchen. [MRL] [EX17], I'm sorry. I'm-- [EX18] follows [EX17]. [FRL] is close behind. [MRL] [FRL]?! [FRL]! I'm sorry. I didn't mean anything by it. I'm sorry. [FRL] turns and looks at him. She doesn't even recognize him. [FRL] What the hell is wrong with you? [MRL] is devastated.