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Romance-cleaned-1

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EXT. [EX17]'S GARAGE - DAY [FRL] drives up to an old brick firehouse that is now an auto garage. The faded sign reads: "[EX17]'s Garage".

INT. ESTATE - [MRL]'S ROOM - DAY [MRL] lies sleeping in his bed. His journal lies beside him. A FEATHER tickles his nose. He stirs awake and looks up to see [EX3] staring down at him. [EX3] Morning! [MRL] Morning. [EX3] So? How'd it go last night? [MRL] With who? [EX3] Well I know how it went with [EX4]. She won't shut up about it. How'd it go with Mrs. Jesus? [MRL] sits up in bed. [MRL] If your asking if I nailed her the answer is no. [EX3] She shot you down. [MRL] Exactly the opposite. [EX3] So what went wrong? [MRL] I don't know. She was lying on the bed, ready to do it, but I-- I don't, I was... I just didn't feel right about it. [EX3] You're telling me you had the chance to fuck her and you didn't. God are you a chump. [MRL] A momentary lapse of judgment, soon to be rectified. He climbs out of bed and puts on his robe. He starts out the door, when - [EX3] If you're heading towards her room, you won't find her. [MRL] Where is she? [EX3] You don't know? She left thirty minutes ago. [MRL] Where'd she go? [EX3] She wouldn't say. She apologized to your aunt and told her she was going to stay with some friends. You blew it, [MRL]. That girl has come to her senses and she will never go near you again. [MRL] throws off the robe and starts to dress. [MRL] We'll see about that.

INT. [EX18]'S ROOM. NIGHT [EX18] is apparently asleep, [MRL] awake. As quietly as he can [MRL] tries to slip away. [EX18] Where are you going? [MRL] I'm sorry. I need to sleep by myself.

EXT. SUBURBAN STREET. NIGHT. The car from the outside, a half hour later. They have eluded the police. They are barreling down the road at top speed on a nice suburban street with proper homes. It is the middle of the night, utter silence. [MRL] stops the car, points to ca car in a driveway--it is a beautiful, shiny new and expensive automobile. C.W. runs out, runs up the driveway, peers inside, gets in, quietly backs it down the driveway and pulls behind the gang's bullet-riddled getaway car. Suddenly they both zoom off down the road together.

INT. LOBBY - DAY [FRL] enters, looks at the elevators. It's not moving. She goes to the stairs, listens, hears him TRUDGING UP the stairway. She follows silently.

INT. [MRL]'S CASTLE - MAPROOM - LATE AFTERNOON [MRL] whispers into the phone... [MRL] [EX1]... [FRL]'s ready. Shes ready. But there's just one thing. She's requested that you and Miss Baker be there, at lunch tomorrow, at her house... Will you come, old sport? [FRL] needs you. I... We need you. Will you come old sport?

INT. LIVING ROOM [MRL] enters, as [FRL] rounds the corner. [FRL] Hey you. [MRL] Hi. The lights are low and his glasses are very dark. [MRL] Thanks for inviting me over. Where's the little guy? [FRL] He's asleep. Watch out for that lamp. [MRL] I'm glad you're home. That "alone" thing is... not my specialty... He ducks the lamp, barely. [EX12] exits through his shot, miming "drinking" behind his back. [MRL] takes off his glasses, revealing a welt and a cut below his eye. [FRL] Oh my God. [MRL] Yeah. That too. I broke up with [EX13]. [FRL]'s entire body chemistry changes in ways she doesn't quite understand. [FRL] Too bad. [MRL] Better now than later. We'll still be friends. I'm dying here. [FRL] Jesus, it's a real gash, isn't it? [MRL] And just think if I got her the ring she really wanted. [FRL] laughs. He looks at her strangely. Suddenly she feels very nervous, as he sets down his bags. [FRL] Sorry. Uh, let me see, have a seat. I'll get you some aloe vera for that cut too. [MRL] Do you have something to drink? [FRL] Sure -- She moves to the kitchen door. She is about to exit, when [MRL] begins to unburden. [MRL] My brother works for the White House. He pretends he's an intellectual. He pretends he's from the east coast. She turns, not quite sure what his point is. She waits politely for [MRL] to finish before exiting into the kitchen. [MRL] I was supposed to be the successful one. [MRL] But I don't want to talk about it. And yet! My family. I grew up with repression as a... a religion --you don't bitch. No moaning! Head down. Do it, whatever "it" may be. My dad... he worked for the United Way for 38 years! You know what he said when he retired? He said, "I wish I'd had a more comfortable chair." 38 years he sat in it! Do you know what I'm saying, [FRL]? Repression as a religion. I'm almost as old as his chair. He rubs his face. She looks at him, and the situation slightly overwhems her. Here he is, wide-open, ripe for the taking. [FRL] Beer okay? [MRL] Yeah, thanks.

A big accident ahead. [MRL] looks at his watch, he's screwed. A person is CARRIED BY ON A STRETCHER, [MRL] is oblivious. [MRL] This is just my luck. [MRL]'s BEEPER sounds. He checks it. [MRL]. The meeting's starting, perfect... Screw it. He looks to the right of the car in front of him, then peels off onto the shoulder, passing tons of cars. [MRL] Catch you later, lemmings 1 It's kill or be killed, only the strong survive, no guts, no glory1 SFX: SIREN [MRL] pulls over, fumes. [MRL] Thank you. EXT. PARKING LOT - DAY [MRL] screeches into a space, races out of the car, bumping over a trash can, goes back to pick it up, sees a HOMELESS MAN who sits peacefully next to a paint bucket and sign boards. The various "warnings" change daily. Today's SIGN reads: R EWE BLIND? [MRL] looks at the sign quizzically for a beat, then continues on. INT. NEWSROOM - DAY [MRL] rushes through the newsroom, rounds a corner and runs right into [EX5], the endlessly yammering PASTRY CART GUY. 1 [EX5] [MRL] the goose! Morning, Buddy. Don't even move, I got somethin' special today. My mom made it just for you. [MRL] Well, that's- [EX5], I gotta go- I'm late... [EX5] You like Quiche? He comes back up, proudly presents a slice of quiche. [EX5] You know, contrary to popular belief the quiche was actually invented by the Mayans, then stolen by the French. They shoulda said, "Hey, that quiche ain't yours, it's Mayan!" [EX5] belts out a laugh. [MRL] [EX5], I can't, I-- [EX5] Just taste it, taste it... [EX5] shoves a bite into [MRL]'s mouth. [MRL] feigns liking it with exasperation. [MRL] Mmm, delicious, I really gotta go. [EX5] That's a buck seventy-five. [MRL] Can you get Kelly- Ahh... [MRL] tosses the thought, digs into his pocket, fishing for cash. [EX5] Oh, two o'clock, two o'clock, two-o- five, two-ten... [MRL] glances over, annoyed but freezes at the sight of sexy anchorwoman, [EX11] across the room. [EX5] Way out of our league, huh? [MRL] offers his money to [EX5]. [EX5] You know, I saw them editing your cookie piece. [MRL] Really? [EX5] They must have gotten high or something, cause they was orderin' everything, I had. Hey, how long have you been interested in pastry? 'Cause I've got an aunt who makes baklava twenty layers deep.

EXT. DAY. TEN MINUTES LATER. STONEFIELD - THE GROUNDS. [EX14]'s Porsche skids to a halt, music blaring. [EX9] is looking on in irate astonishment. The hat is on. [EX3] Shhh! There are writers here, trying to write. [EX3] is in the hen enclosure, a hen in her arms. [EX3] This is a Buff Orpington. She's looking a bit peaky today. Not a great layer but she's very decorative. [EX3] puts down the hen. [EX3] We're fully organic - but I like to think that our champion product is the written word. [EX6] approaches, his hand held out, heartily. GOLDENROD REVISIONS 09 [EX6] The famous [EX14] - Swipe, eh? [EX14] just about manages to shake it. [EX14] Swipe's over. Thought the whole world knew that. [EX6] It wasn't on Newsnight, no. [EX3] [EX14] is engaged to [FRL]. Isn't that lovely? He'd just popped the question when I rang. [EX6] She said yes? [EX6] can't hide his disbelief. [EX14] is insulted. [EX3] We're delighted for you both. Boss leaps up, straining against a chain. [EX14] Why's he on a chain? [EX3] He was out of control. [EX14] How'd you like to be chained up? [EX3] He was chasing livestock. He could've got shot. [EX14] They shoot him; I'll fucking shoot them. He takes Boss. [EX3] and [EX6] are left alone. [EX6] I think the word is gobshite. [EX3] I hope he makes her happy. It's hard for girls when their dads walk out. Gives them bad taste in men. [EX6] What's that supposed to mean? GOLDENROD REVISIONS 09 [EX3] Just saying her father left when she was a girl and - [EX6] That is ten pence psychology! You don't know what you're talking about, do you? He walks away. [EX3] is completely taken aback.

INT. ARTISTS DRESSING ROOM - NIGHT The music from Scene 3 continues. The soloist is surrounded by admirers who congratulate him. Now [MRL] and [FRL] push their way into the room. . When the soloist notices their presence, he leaves his group of fans, heads towards them and greets them very warmly, visibly glad to see them.

EXT [FRL]'S HOUSE - BACKYARD [FRL] walks out back. Looks up at the clouds, threatening rain but not yet delivering it. She sits down in the grass, on the verge of tears. She looks at the old rusty SWING SET that's been in her backyard for years. And starts to cry. Just for a few brief moments, she lets herself cry. Then she wipes the tears. Becomes strong again. And makes a decision. [FRL] dials her phone. We hear: [MRL] [FRL] Grace! [FRL] Hi . [MRL] Are you crying, [FRL] Grace? [FRL] Kind of. [MRL] What's the matter? [FRL] I don't know. I want to go to Amsterdam. And I want him to tell us what happens after the book and I don't want my particular life and also the sky is making me sad and there's this old swing set that my Dad made for me when I was a kid. It's just... everything. [FRL] is on the verge of losing it again. A few beats of silence pass by. [MRL] I demand to see this swing set of tears. [FRL] can't help but smile and we CUT TO: LATER. Same backyard - only now [FRL] is with [MRL]. Which makes everything better. They both look at the swing set. [MRL] I see your point. That is one sad swing set. [FRL] nudges her head onto his shoulder. [FRL] Thanks for coming over. [MRL] You do realize... trying to keep your distance from me will in no way lessen my affection for you. [FRL] says nothing. [MRL] All efforts to save me from you will fail. [FRL] looks at him. He's sure not making this easy. [MRL] Is this about Amsterdam? Cause we DON'T -- [FRL] It's not about Amsterdam. It's about me. It's about... [MRL] Grenades. [FRL] nods. [MRL] I get it. One day you're going to explode in a huge ball of fire and everyone close to you will die in your wake. [FRL] Exactly. [MRL] There's already two people in your life you're going to destroy. Why add a third to that list. Am I right? [FRL] That's why I don't have a hamster. [MRL] is silent. He can't argue. They stand there quietly a few more beats, looking out at the swing set. Until: [MRL] We have got to do something about this frigging swing set.

THEY ARE MAKING LOVE ON A BLANKET AMIDST OF THE MOVING BOXES IN THE MIDDLE OF THE DAY.

EXT. AIRPLANE - NIGHT THUNDER and lightning.

INT. HOUSE/BATHROOM - DAY- FLASHBACK PAST [MRL], TO [EX26], VISIBLE THROUGH THE SHOWER CURTAIN. [EX26] TURNS AND REACTS, REVEALING A MAN IN THE SHOWER WITH HER, DOUG CULPEPPER. [MRL] ...-teacher with tenure.

INT. [MRL]'S APARTMENT - NIGHT [MRL] enters his apartment.

INT. CLINIC - DAY - PRESENT DAY An ultrasound monitor, the abstracted image of a 20-week fetus. [FRL] watches [EX2] perform an ultrasound. DR. [EX2] Do you want to take over from here? [FRL] places her hand on the sensor. [EX2] places his hand over hers. They gently glide it over the abdomen. Blue Valentine Official Green Script as of 6/9/09 DR. [EX2] Easy. [EX2] releases [FRL]'s hand and removes his latex gloves. DR. [EX2] Very good, [FRL]. You're in good hands. [FRL] is one of our favorites. [FRL] blushes. She is transfixed on the monitor. [FRL] Do you want to know the sex?

INT LOCAL DIVE BAR - AS BEFORE [MRL] Not once did she take the bait. Not once. Screw it. I'm done with her. It's over. [MRL]'s friends all look at him like he's crazy.

[MRL] STRIDES INTO THE PITCH -- Lashes a line drive down the first base line. Just foul. [MRL] has started to first. Pulls up. Returns slowly to the plate. Picks up his bat. [MRL] Throw that shit again, meat. Throw that weak ass shit. Now he's gotta try to slip the cheese by me. One and one. You're on top. Now bring me the gas -- P.O.V. PITCHER'S THIRD DELIVERY -- High and tight. Right at [MRL]'s head. The ball seems to accelerate. About to explode his skull. For a moment -- THE FEAR OF DEATH... [MRL] HITS THE DIRT -- It just misses his head. [MRL] CLIMBS OUT OF THE DIRT -- Brushes himself off. [MRL] This son of a bitch throws hard. [FRL], [FRL], [FRL] -- who is this [FRL]? Jesus, get outta the box you idiot, where's your head? Get the broad outta your head. [MRL] HOLDS UP HIS HAND to the ump. [MRL] Time out. [EX21] Time out! [MRL] STEPS OUT OF THE BOX -- Motions to the bat boy for the pine tar rag. The boy brings it over. [MRL] re-applies it to his bat. BAT BOY Get a hit, [MRL]. [MRL] Shut up. [MRL] WALKS BACK TO THE BOX -- Talking to himself. [MRL] Awright, awright. You've seen all his pitches. Two and one. Relax. Wait. Quick bat. You can hit this shit -- [MRL] IN THE [EX35]'S BOX -- Digs in-again. Takes his stance. Upright. Relaxed. Ready. [MRL] Shorten up. Bring the gas... Be quick -- be quick -- yeah, yeah... CUT TO: [FRL] AND [EX7] IN THE STANDS -- She's writing a note quickly, and hands it to [EX7], who hurries off. CUT TO:

EXT. YMCA - A FEW MINUTES LATER The mini-van pulls up to the drop-off point at this suburban New Jersey Y. [EX8] opens the door. [EX8] I have winter camp until four, then ballet until five thirty. [MRL] Five thirty. Okay. [EX8] Try not to be late because kids don�t like to be the last one picked up. [MRL] Got it. Good tip. [EX8] Bye... CHAPTER SEVEN - A TIRE [EX22] [MRL] watches her as she runs toward the building. Then... [MRL] Hey! [EX8]! [EX8] turns back toward him. [MRL] Where do I go now? [EX8] [EX9]�s. [MRL] [EX9]�s? [EX9]�s Tires? Why...? [EX8] That�s where you work. A beat. Then... [MRL] You mean I sell tires... She shrugs her shoulders and walks off. [MRL] That�s what I do. I�m a tire salesman... CUT TO:

EXT. [MRL]'S STREET - NIGHT The wind blows out a candle in one of the luminaria bags. The suburb is quiet. Not a creature is stirring. Except... [MRL]. He fills a brown paper bag with sand and a candle. He lights the candle, making the bag glow like a beautiful lantern. He looks down his street, where families are out with their kids, doing the same luminaria ritual. MATCH CUT TO:

EXT. SMALL KANSAS TOWN. The car driving into a small Kansas town. It is Saturday afternoon, sunny. The streets are filled with people, cars, wagons. C.W. is driving, [FRL] is in front with him, [MRL] is in the back. C.W. looks scared to death at the idea of robbing a bank. The car pulls up in front of the bank, double-parked. [FRL] and [MRL] get out.

EXT. [FRL]'S BACKYARD -- DAY [EX20] sings Marvin Gaye's "What's Going On" at the wedding for assorted guests gathered here in the backyard. Contrary to his own belief, Rod is not a gifted singer. In the wedding band, standing on a small stage in the corner, are [EX28] and [EX15]. ON [MRL] who stands watching, smile pasted on, with stoic FATHER and well-dressed [EX42]. [EX42] Where are all your friends? [MRL] In the band.

EXT. BLOOMSBURY SQ. MANSFIELD HOME. DAY.21 93 * As [FRL] climbs into the carriage.

INT. [MRL]'S APARTMENT - DAY The next morning. [MRL] is sitting on the windowsill, watching the RAIN DRUM the GLASS. He glances at the phone across the room, takes another look at the rain, then goes to the phone. He picks it up hesitantly, then dials. It rings. Again. Again. [EX34] Hello? [MRL] blinks. It's [EX34]. [EX34] Hello ... Hellooooo ... Daddy. Daddy! Someone's on the phone and they won't talk. [MRL] sets the phone back down on the cradle.

EXT. DAY. FIELD. [EX3] walks into the field. She sees [FRL] kneeling, looking at something on the other side of the trough. [EX3] Bitch. [FRL] looks up. [FRL] [EX3] - no - [EX3] Brazen. That is brazen. [EX3] carries on walking towards her. [FRL] [EX3]. Don't. [FRL] is running towards [EX3]. She cannot bear her to see. She throws her arms around her, protecting her. [FRL] Don't look. Don't look... It is too late. [EX3] is seeing the corpse. A great wave of shock hits her. [FRL] holds her tight, trying to contain it. Another great wave of shock. GOLDENROD REVISIONS 09 [EX3] [EX6]. No. Her cries of grief soar over the valley.

INT. HOME - [EX]'S BEDROOM - DAY [EX3] assists [EX1] as he packs his bags in preparation for his departure to college the next day. [EX3] Oh, we forgot an umbrella. [EX1] I'll buy a new one in Philadelphia. [EX3] And don't forget your sport coat. [EX1] Yeah, I'll go pick it up. [EX3] Take [MRL] with you. [EX1] I'm just going to the cleaners. [EX3] Take him along for the ride. Go have a root beer at the Dog'n'Suds. [EX1] I gotta finish packing. [EX3] I'll finish up. [MRL]'s going to miss you. [EX1] Baloney. [EX3] I think he will. [EX1] Not much. [EX3] Oh, dammit, [EX1], please -- take your brother with you. [EX1] Yes, ma'am.

INT. [MRL]'S CAR - NIGHT [MRL] drives fast, recklessly. The intensity is back. He's weeping as he drives. [MRL] Gotta get home. How could she do this to me? How could she not care about what we meant to each other. What a fuck! What a fucking monster she is! VOICE-OVER Oh, God. I miss her. I can't believe she's with that guy now! I'm never going to see her again. I love her so much. What a fucking monster she is! The scene is faded as he parks in front of his apartment building, and gets out of the car. [MRL] spots the parked van. We've seen this before, but it's dried out now. [MRL] Them.

INT. THE ANGRY DIAMOND SPEAKEASY - DAY The sweaty grind of music shakes the air. On stage a pianist, THE PROFESSOR, bangs out a sizzling tune!

INT. CAMPUS GYM - LATE DAY USC vs. Louisiana Tech. The packed crowd is hyped. [EX4] sits by himself in the stands, excited. [FRL] sits on the bench with four of her teammates. The rest of the team is lined up in front of them, including [EX18] in street clothes. [EX35] And now the starting line-up for your Women of Troy! At center, a senior, [EX27] Noise! [EX27] rises, jogs through the line of teammates to the court. [EX35] At forward, a senior, [EX21] Mason! [EX21] stands, skips through the line. [EX35] At forward, a junior, [EX24] Mitchell! [EX24] jumps up, bumps into each teammate as she moves down the line. [EX35] At guard, a freshman, [FRL] Wright! [FRL] takes a deep breath, then jogs through the line. She gets to the middle of the floor and looks around with her game face on. [EX35] And at guard, a sophomore, [EX20] Perez! [EX20] jogs out and the rest of the team follows. Everyone gathers in a tight circle with their arms around each other. [EX27] Look y'all, we got all these people here to see big-bad, La Tech. We need to let them know that this is our house. So everybody better leave everything out on that floor, you got that? Ready? One, two, three.... [EX15] [EX15]! SMASH CUT TO:

INT. HOME - ENTRYWAY Eager to hear what is being said, [MRL] dashes through the living room to the front door. INVENTING THE ABBOTTS - Rev. 2/16/96

INT. BEAUTY PARLOR - LATER [MRL] sits with a towel over his head as [EX6] blow-dries the back of his head. His back is to the mirror, his body faces [FRL]. [EX10] does her own nails as Mrs. Pressman scratches off lottery tickets. The dog, Sprout, sits in is basket. [FRL] In another one... [EX11], wearing a hat, comes in the front door of the salon. [EX6] Hey, [EX11], I'll be right with you. [MRL] peeks out from under his towel as [FRL] continues. [FRL] I'm inside the church. Everyone I know is there, only they're not really them. They're like Frankenstein monsters, but without the bolts coming out of their necks. It's all very "Night of the Living Dead". And here's the creepiest part -- I look down at my dress and it's red. I mean, I have no idea what it means. Red's not my color! [MRL] listens intently and stares steadily into her eyes. [EX6] removes the towel. His hair is divided into equal parts and dyed orange and red. [FRL] So what do you think? [MRL] stares back at her, the tickle of suspicion creeping up his spine. [MRL] I think you'd look good in red. [EX6] No, she's talking about your hair. [FRL] swivels his chair so that [MRL] faces the mirror. [MRL] looks at his brightly colored hair. [FRL] You're all ready for football season, Mr. Graham. [MRL] stares at his hair in total confusion. With icy calm, [MRL] rises from his chair and primps the end of his hair as if giving it the finishing touches. Then he sees his defaced newspaper clipping and all becomes clear. He picks up the article and shows it to everyone. [MRL] does a slow burn. [MRL] Yes, I think I nailed the personality profile of the women of Hale. [MRL] turns and puts the clipping up on the mirror. [MRL] My jacket, please. [EX6] hands him his jacket. [MRL] Thank you. [MRL] moves toward the door. He spots [EX11]. [MRL] Excuse me, [EX11], do you know a place that sells shampoo... Strong shampoo? [EX11] Doc's Pharmacy. Third and Elm. Tell him [EX11] sent you. Want my hat? [MRL] No thanks. [MRL] smiles at [FRL] and exits. [FRL] He seems crabby. CUT TO:

[FRL] She's not my friend anymore. Todd walks over and puts his arm around her and leads her to his car. He opens the door for her and she sits down.

INT. [MRL]' BEDROOM -- NIGHT Cloaked in deep shadow, set off against a rainy window pane, we see [MRL], his shirt off, on top of [FRL] whose blouse is open. He passionately kisses her neck and mouth. DISSOLVE TO:

EXT. LA PUSH - CLIFFS - DAY [FRL]'s truck comes to a stop; she climbs out. Ignoring the wind and rain, she strides to the cliff's edge; looks down -- [FRL]'S POV - THE WATER - steely gray. Rough whitecaps. [MRL] Step back. [FRL] smiles, tears of relief springing to her eyes. She turns to find [MRL]'s apparition at her side. She steps back from the cliff's edge - which causes him to disappear. That's it. She starts pulling off her shoes and coat, adrenaline pumping -- [MRL]'s apparition reappears, but she keeps going -- [MRL] Stop this now, [FRL]. [FRL] You won't stay with me any other way. She takes a last look at him... then with a running leap -- FLINGS herself over the edge --

LIVING ROOM - NIGHT [EX17] and [EX18] are in front of the television. [EX17] has the TV Guide in hand, glasses on. [EX17] What do you wanna watch? We've got crap, crap, crap or crap [EX18] Dr. Ruth? [EX3] walks into the living room. She's wearing a prom dress. [EX3] Hi, Mommy. (looking away) [EX17] [EX17] scurries takes off his glasses and looks from [EX3] to [EX18]. [EX18] Honey, you look beautiful! [EX3] You like? My date should be here in five. [EX17] I'm missing something. [EX3] I have a date, Daddy. And he ' s not a captain of oppression like some men we know. The DOORBELL RINGS. [EX3] runs to open it. There stands [EX8]. He takes in [EX3]'s outfit. [EX8] Wow [EX3] Let's go. [EX17] rises. [EX18] pulls him back down on the couch [EX18] (to [EX3]) Have a great time, honey! [EX17] But -- who -- what --? The door SLAMS. As [EX18] looks at [EX17] with a grin, a blur rushes down the stairs and out the door. The blur has [EX2] ' s voice. [EX2] Hey, guys. I'm going to the prom. See you in a few. The door SLAMS again. [EX17] and [EX18] 'are alone [EX17] What just happened? [EX18] Your daughters went to the prom. [EX17] Did I have anything to say about it? [EX18] Absolutely not. [EX17] That ' s what I thought The DOORBELL RINGS again. [EX17] opens it to find [EX12] on the porch, wearing a tux. [EX12] I'm here to pick up [EX3]. [EX17] late He SLAMS the door shut

INT. CHINESE RESTAURANT - NIGHT [MRL] finds himself eating Chinese food and sitting across from [FRL]. He is ragged and jarred. [MRL] I'm done, Clem. I'm just going to ride it out. Hiding is clearly not working. [FRL] Yeah. [MRL] I want to enjoy my little time left with you. [FRL] This is our first "date" date. [MRL] Do you remember what we talked about? [FRL] [EX16], I guess. [MRL] Yeah. [FRL] What was I wearing? [MRL] God, I should know. Your hair was red. I remember it matched the wallpaper. [FRL] Egad, were you horrified? [MRL] No! I think you were wearing that black dress, y'know, with the buttons. She is wearing the black dress. [FRL] No, you were with me when I bought that. At that place on East 6th. It was later.

INT. THE DUGOUT [EX24] PUTS ON HIS WARM UP JACKET and sits down next to [MRL], who's taking off his gear, readying to hit. [EX24] I was great, eh? [MRL] Your fastball was up and your curveball was hanging -- in the Show they woulda ripped you. [EX24] Can't you let me enjoy the moment? [MRL] The moment's over. If this guy starts me off with a breaking ball, I'm going downtown -- [MRL] SMILES in his disarming way, and grabs a bat. CUT TO:

TITLE CARD: white on black: "FRIDAY"

IT. RITZ LOBBY - DAY [MRL] Is Miss Scott staying here? It is the same man. [EX6] No, sir. [MRL] How about Miss Flintstone? [EX6] No, sir. [MRL] Or Bambi... or, I don't know, Beavis or Butthead? Man shakes his head. [EX6] No, sir. [MRL] Right. Right. Fair enough. Thanks. He turns despondent and takes two steps when the [EX6] stops him in his tracks. [EX6] There was a Miss Pocahontas in room 126 -- but she checked out an hour ago. I believe she's holding a press conference at The Savoy before flying to America. [MRL] is very grateful. He kisses the [EX6]. [EX16]'s also gratuful. He kisses him too. [EX16] We have lift off!! A Japanese guest assumes this is the way to behave and the Ritz Man gets kissed a third time.

EXT. [MRL]'S STREET - NIGHT QUICK FLASH. It's Christmas Eve. [EX15] smiles to Little [MRL]. [EX15] It'll be our little secret, okay? Little [MRL] nods.

INT. FIRST RATE RESTAURANT - NIGHT As they enters... [EX34] Good evening. [EX1] Hi. You have hard shells, right? [EX6] Stop asking everyone. [EX1] Just him and that's it. Okay, you can answer -- we've worked it out. [EX34] Yes, we do... And I can give you a tie and jacket. [EX1] What? [EX34] They require a tie and jacket but we have some available. He reaches into the coat and check room and withdraws them. [EX1] No... I'm not wearing that -- and just in case you were going to ask I'm not going to let you inject me with plaque either. [EX6] You promised a nice place -- can't you just... You have these dry cleaned all the time, don't you? [EX34] Actually, I don't think so. [EX1] Wait here.

INT. [MRL]'S HOUSE - MOMENTS LATER [MRL] anxiously walks through the hallway of his suburban split level house. [MRL] I hope it's okay for me to think that. You see, I haven't really talked to anyone outside of my family all summer. [MRL] moves to the living room where dad watches a football game. Mom reads a page turner and sips her white wine. [MRL] waits for them to notice him. And waits. And waits.

INT. NIGHT. WINNARDS FARM - THE HALL. [EX6] is putting his coat on. [FRL] is uneasy. [EX6] When can we do this again? [FRL] What about [EX3]? [EX6] Look, [EX3] and I have this kind of OPEN - [FRL] Bullshit. GOLDENROD REVISIONS 09 76A. [EX6] Thursday? GOLDENROD REVISIONS 09 [FRL] Isn't life complicated enough? [EX6] shakes his head. He kisses her.

INT. [EX20] [MRL] and [EX4] stand in a lounge, talking to [EX30], the manager. Busboys move in and out, preparing the room for the evening. [EX30] Sick? How sick? [EX4] The flu. [EX30] So she's got a few sniffles. [EX4] Doctor's orders. [EX30] frowns, looking at the two pianos across the room. [EX30] You got no right springing this on me, Frankie. It's unethical. [EX4] Look, [EX30]. You want us to pack up, we'll pack up. [EX30] What am I gonna do? Put a record player out there? Bad, Frankie. Bad. [MRL] What're you doing? [EX4] Just until we find another girl. [MRL] Cancel, [EX4]. [EX4] You want to know how much I got tied up in deposits with [EX7]? We're in for three weeks solid, [MRL]. [MRL] Better give her pneumonia.

INT. [MRL]' BEDROOM -- LATER In grey afternoon shadows, [FRL] lies on her side, fully clothed under the covers, with her eyes open, thinking. She hears something and looks back. [MRL] stands in the lighted doorway. She gestures for him to come. He walks over and lies down next to her. She turns her back to him, so that he's spooning her, but she takes hold of his hand, pressing it against her chest and squeezing it like a doll. For a long time, they lie in silence. Finally, she murmurs almost inaudibly -- [FRL] When we met, I was so lonely. But I didn't even know it. I'd been alone so long.. almost forever... [MRL] So had I. [FRL] But now we have each other. Oh, what would I do, [MRL]? What would I do if you weren't here? Where would I be? Fighting his emotions, determined to stay strong for her, he holds her close. [MRL] You don't ever have to worry about that. [FRL] I'll do whatever I have to! I'll tear up the papers! Whatever you want! Tell the doctor! Because... I really do want... I don't want to leave you! The dam breaks and she is wracked by sobs. [MRL] closes his eyes, holds her even tighter, and rocks her in his arms. DISSOLVE TO:

EXT. DURHAM NEIGHBORHOOD -- DAY [FRL] AND [EX7] UNDER UMBRELLAS -- He turns down one street, she heads toward home. CUT TO:

INT. CLEVELAND CLINIC CORRIDOR -- LATER [EX36] and [MRL] walk together -- [EX36] In these sorts of cases, it's best if she signs a consent. [MRL] No problem. [EX36] Good. The last time [FRL] passed out, she regained consciousness almost immediately. The next time or the time after, she won't. When that happens, call me. Here's my service. They'll reach me no matter where I am. In the meantime, I'll coordinate with Dr. [EX23]. [MRL] I can't thank you enough. [EX36] smiles and pats him on the shoulder. [EX36] I haven't done anything yet.

INT. [EX2]'S APARTMENT - BEDROOM/LIVING ROOM/HALLWAY - DAY As the rookie invalid awakens in precisely the same foul mood he'd had on falling asleep. In the living room, the maid, [EX29], is talking with [EX19] -- we catch only a few words as they review [EX2]'s mounting pile of bills and talk of how long [EX29] can stay on.

INT. AIRPORT FIRST CLASS TICKET COUNTER - DAY The [EX38] turns back to the counter. [EX38] Next. [EX5] steps forward, with his ticket.

[FRL] is helping one of the kids, when she notices something outside the window. It's a cloud formation that strangely looks like [MRL] HOLDING HANDS WITH [FRL]. She reacts as the imagery melts away into a very faint "FORGIVE HIM." EXT. SMALL WONDERS DAY CARE - LATER [FRL] is talking with one of the other teachers. The kids, playing dodgeball in the background, laugh and scream louder and louder. [FRL] turns and sees... [MRL] getting pelted by multiple balls. [MRL] Okay, surrender, surrender. He walks over to [FRL]. [MRL] Hi. [FRL] Hi.. [MRL] I, ah, have my first anchor tonight. [FRL] That's great. I hope it goes well for you. He's hit in the head by a ball. [FRL] can't help but smiles [MRL] leaps at the opportunity. [MRL] I miss you. I just took the first step, shot myself out on the ledge, awaiting vulnerably your response. [FRL] . . . I don't know what to say. [MRL] How about you love me and you'll take me back. [FRL] No, [MRL]. [MRL] Come on, what about all the signs? [FRL] What? How do you know about that? Did you talk to [EX13]? [MRL] Would it help if I told you I acted like an ass? [EX50] is standing nearby. [EX50] Hey, you said ass. [MRL] It's okay as long as you mean a donkey. I didn't add "hole." It's only bad when you say "ass-ho--

INT. [FRL]'S APARTMENT - DAY It's the next day, and [FRL] is preparing to go to her parents' renewal of vows. She is at the bottom -- with [MRL] gone from her life -- but she is doing her best to go through with this. We START ON a table, looking at the invitation and next to that is a wrapped gift. We hear [FRL] moving about, see her nervous, half-dressed, speaking to herself. In the b.g. we hear our TRUMPET-BASED MUSIC. Very soulful. [FRL] I just came by to... wish you well. To... congratulate you and wish you well. Shit. CONTINUED: She checks the mirror again, doesn't like the look, starts undressing, comes back to the table with the gift on it, wonders if she should add more decoration to the box. She does, and as the trumpet plays on we -- CUT TO: [FRL] dressed differently, re-wrapping the gift and then -- CUT TO: [FRL] dressed differently, rewrapping it again and then -- CUT TO: [FRL] sitting still in a chair, holding the gift on her lap, looking at the clock, nervous, scared, sad.

EXT CHURCH - ANOTHER DAY [FRL] walks with [EX9] out of Support Group. [EX9] Do you like him? [FRL] Of course I like him. [EX9] But you don't want to hook up with him? [FRL] doesn't know what she wants. [FRL] It's complicated.

INT. [MRL]'S APARTMENT - NIGHT [MRL] is on the phone pacing. [EX10]'S VOICE You can't tell her, [MRL]. They explained that. Like waking a sleepwalker. It might have a devastating effect.

INT. PENTHOUSE BEDROOM - DAY [FRL] is sitting on the bed, on the phone. [FRL] Hello. Is [EX16] DeLuca there? When she comes in will you have her call [FRL] Wells at 560- Yes. Okay. She hangs up as [MRL] comes in. [FRL] What did you do to him? [MRL] What do you mean? [FRL] Last time I saw him he was this strong guy. Now he's beaten. And you liked him. [MRL] [FRL], I want you to listen to me. The man realized that it would be better for his future and his son's future, if he cooperated. [FRL] Right. [MRL] It's not your concern. It's... business, that's all. [FRL] Business. [MRL] Yes. The man made a business decision. [FRL] It's all just business to you. Him. Me. Your life. Everything's business. [MRL] It's what I do for a living. It's how I make money. Silence. [MRL] I'll be back in a few hours. We'll talk about this later.

INT. [FRL]'S HOTEL ROOM - NIGHT [FRL] lies in bed awake. The clock says its 4 a.m. Finally she gives up on trying to sleep, and turns the light on. In [EX10]'s old T-shirt and Ugg boots, she goes to the couch, looks at some strange pastry with an elaborate presentation left by the hotel. She picks up a magazine, but she's already looked at it a few times before. She hears something and goes over to the door. On her way, she passes her red T. Anthony suitcase overflowing with stuff that looks like a bomb went off in it. A HOTEL MESSAGE envelope is slipped under the door. She opens it to see a typed note from the operator: "From: Mr. Harris. Message: Are you awake?" She smiles like she's gotten a valentine. CUT TO:

23 INT. HOSPITAL NURSES' STATION - NIGHT Mrs. Hobbs hears [MRL]'s screams and efficiently calls out.... MRS. HOBBS [EX14]! [EX10]! [EX10] and an [EX14] appear at once. MRS. HOBBS [EX14], go at once to twenty- one and restrain the patient. The orderly exits. MRS. HOBBS [EX10], remain here at the desk. I'll be in twenty- one. She exits.

[MRL] CLOSES THE REAR PASSENGER DOOR, GETTING INTO THE FRONT PASSENGER SEAT. [EX2] IN THE DRIVER'S SEAT. THE CAR BEGINS TO MOVE, [EX1] APPEARS., CARRYING A SUITCASE. [MRL] Hey, Mom. Can we give [EX1] a ride to North Philly? [EX2] STOPS THE CAR. [EX2] What? I don't understand. [MRL] Mom, no, it'll be fine. It'll be fine.

INT. EVENING. STONEFIELD - DOWNSTAIRS. [EX3], her back to the door, is regretting her gesture.

INT. [MRL]'S BEDROOM - NIGHT [MRL] enters and closes the door. Turns on a stereo which plays a cello piece by Yo-Yo Ma. Books fills his room. He sits at his desk, puts on eye glasses and looks through some paperwork. Suddenly he stops, looking over the paperwork, into space. A thought passes by. We don't know what. FADE OUT:

INT. [EX2]'S LIVING ROOM [MRL] enters and sees [EX2] and [EX1] taking a nap together on the day bed. [EX2] wakes up and waves at [MRL]. 10/29/07 CONTINUED: [MRL] V.O. For the first time I saw him really in love. [MRL] waves back at his father. [FRL] V.O. He sounds amazing. But that must have been crazy for you. CUT TO PRESENT

INT. PENTHOUSE BATHROOM - DAY [FRL] turns on the water in the tub. It fills the tub in a torrential rush. [FRL] You could hold a pep rally in here! The phone on the marbled bathroom wall suddenly rings. [MRL] reaches for it. [MRL] Yes.

EXT. WINDOW OF CHURCH/INT. SUNDAY SCHOOL ROOM - DAY INSERT window of church. [EX6] peers out the window at the carnival scene. [EX10] sits with [FRL] as she leans forward, doubled over on a child's chair. [EX6] moves from the window to sit with them. [FRL] He's not coming. Watch. He's not coming. [EX6] No, no. I saw eight geese flying in a "V". [FRL] You and your lucky geese. You always see geese. [EX6] Not eight... [EX10] And in a "V". [FRL] Eight is good... "V" could be Victory. They ad lib various words starting with the letter "V". [FRL] is nervous. [EX10] Rub your ears. [EX6] Yes, rubbing your ears is very soothing. [EX27] does that to me when I hyperventilate. [FRL] rubs her ears. [EX10] We do it to our dog. [FRL] It's hurting. [EX10] We'll rub. After they rub [FRL]'s ears a bit: [EX6] He's here! He's here! They all squeeze and peer out window. They scream in excitement. [EX10] rushes to [FRL]'s wedding dress. [EX10] I'll get the dress. [FRL] He's here!... He's here! [EX6] Now's the time for calm... If you don't calm down, you won't get your dress on... He's the one... He's the one. [EX6] moves to help [EX10] with the dress. [FRL] stands alone at the window a moment. She picks up a toy horse. [FRL] This is not a good sign. [FRL] goes over to [EX6] and [EX10], and starts to get into her bridal gown. They continue to ad lib words standing with the letter "V". [EX10] We have to hurry. The Sunday School kids will be here soon. CUT TO:

INT. HOUSE BEDROOM - LATE NIGHT [FRL] is in bed, fast asleep. [MRL] walks into the room, his face still red from the cold outside. He looks over at [FRL], sleeping happily. He takes off his shirt and khakis, laying them neatly on the chair. He looks over at the pair of flannel pajamas folded on the dresser. He shakes his head, resigned, then dons the pajamas and climbs into bed... CHAPTER SIX - BEING A PARENT

DISSOLVE INTO: QUICK MONTAGE OF [EX4]'S FIRST GAME -- Strikeouts and wild pitches. A young, gifted, uncontrollable thrower. BILL HALEY AND HIS COMETS When the chimes ring five, six and seven -- We'll be right in Seventh Heaven, Gonna rock around the clock tonight... [EX4] UNLEASHES A WILD ONE -- And decks the Bull Mascot. [EX4] IN THE DUGOUT READS THE NOTE from [FRL]. [EX4] STRIKES OUT a Peninsula batter. [EX4] UNLEASHES ANOTHER WILD ONE and a batter hits the dirt. End "Rock Around the Clock" and -- CUT TO:

INT. [MRL]'S BEDROOM - CONTINUOUS ...impeccably decorated and obsessively neat. Close in on the bed where [MRL] , now 35, sans mustache and long hair, opens his eyes. A FLASH of bright morning light from the window. [MRL] shields his eyes, turning his head toward the bathroom where he sees... A WOMAN'S BACK...draped in a towel...an incredible back, neither flabby nor overly toned, beautifully curved...[MRL] focuses on it a moment. As the woman turns to him... [EX1]. Beautiful, late 20s, a toothbrush in her mouth... [EX1] I hope you don't mind. There were like ten new ones in the cabinet. A playful smile from [EX1]. [MRL] It's not what you think. I took Mentadent public... [EX1] smiles, moves over to a chair and grabs a little black dress hanging neatly over it. [EX1] Did you really mean what you said about Tuscany? [MRL] Of course I did. [EX1] Last night was great... [MRL] You are an amazing lover. You should be giving motivational seminars. [EX1] Thanks. You're not bad yourself... [MRL] grabs his [EX5] Mueller watch from the night stand, puts it on his wrist. He looks at [EX1] as she slips the dress on. [MRL] I want to see you again. [EX1] I'd like that, too. [MRL] Tonight. She turns to him. [EX1] It's Christmas Eve, [MRL]. [MRL] So we'll get egg nog. [EX1] laughs. [EX1] I have to go to my parents' house out in Jersey. Would you like to come? [MRL] Jersey? You know what the traffic's gonna be like? [EX1] I'm taking the train... [EX1] approaches [MRL], leaning over him, her long hair dangling on his chest. [EX1] Don't you have anywhere to go? [MRL] I've got plenty of places to go. He stays there, confident, sexy, waiting for an answer... [EX1] Maybe I can try and sneak away some time tomorrow morning... Okay? [MRL] If it's something you feel strongly about. [EX1] walks to the door, then turns back to [MRL]. [EX1] It was nice meeting you, [MRL]... CHAPTER TWO - MAIN TITLES

INT. FORUM - DAY In the empty gym, [MRL] jogs up and down the court. He is still tentative on his knee, but he keeps jogging. And then, slowly, the determination melts from his face. His jog turns into a walk, and then he just...stops.

EXT. [FRL]'S HOUSE - NIGHT [EX6] walks her to the door. [EX6] Don't worry, we've got this place covered. She won't get near you or [EX1]. [FRL] nods. He sees she's blue. [EX6] Hey, we should do something fun. Like... cliff diving, right? [FRL] I could use the rush. [EX6] Soon. After we catch her. He offers a reassuring look before jogging into the woods.

INT. [FRL]'S ROOM - DAY [MRL] and [FRL] open and close a Hoberman ball by holding its opposite ends in their teeth. Grandma looks in.

EXT. RANCH - DAY [EX2] waits in the truck as [MRL] leads [EX3] through the cows and cowshit, climbs up and hops over a wood fence. [EX3] follows suit -- not as gracefully -- and gets a splinter...

INT. FRONT HALL [EX9] HOME � DAY � SEVERAL MONTHS LATER CLOSEUP [EX8]'s face fills the screen as she cries: [EX8] Here they come! CAMERA PULLS BACK, and we hear the SOUND of the Wedding March. [EX57] are crowded into the rooms: family, friends, neighbors. There is a din of conversation. [FRL] and [MRL] appear at the top of the stairs in traveling clothes, with Mrs. Hatch, red-eyed, behind them. [FRL] throws her bouquet, which is caught by [EX5] Bick. As they come out onto the porch, we see that it is raining. Nevertheless, [EX13] has his camera equipment set up and is taking pictures of the group. [MRL] and [FRL] dodge through the rain and a shower of rice and get into [EX14]'s taxicab, which pulls away from the curb.

AND HE KEEPS WALKING INTO: CUT TO:

EXT. [MRL]' BUILDING -- LATER The doorman [EX19], smoking a cigarette, sees [MRL] walk up, his expression pensive. [EX19] Mr. Keane -- [MRL] Good night, [EX19]. [EX19] You've got a visitor. [MRL] stops and turns -- [MRL] Who? [EX19] She's been waitin' almost an hour. In the lobby. A little surprise for ya. He winks. [MRL] realizes that it's [FRL]. It must be. He smiles and hurries inside.

[MRL] Standing at the door with both arms extended toward the bathroom like an WARLOCK CASTING A SPELL. Suddenly the light hits him from the open bathroom door and he quickly strikes a casual pose. [FRL] stands in the open doorway, panting like an animal. She dives on [MRL], attacking him. INT. KITCHEN - MORNING ON TV - THE MORNING NEWS [EX34] In international news, Japanese relief workers are staging a desperate effort to rescue hundreds of people stranded by a freak tidal wave that hit Kitamoto City... We see remote footage of Japanese families being airlifted from root tops. [EX34] Scientists say the tsunami may have been caused by what they're describing as "unusual lunar activity." More on this, as it develops. . . [FRL] half watches the newscast as she finishes breakfast. INT. BEDROOM - MORNING [MRL] lies blissfully asleep. Big smile, life is good. Then, we hear WHISPERING - Like distant voices MURMURING all at once. [MRL] wakes with a start. He looks around puzzled, sticks his finger in his ear checking his hearing as the voices fade away. ANGLE - SAM Circling, getting ready to go on the carpet. [MRL] casually warns. [MRL] Sam. Uh uh uh. Sam looks at [MRL] for a beat, then walks into bathroom, raises the toilet seat with his nos e, and STANDS UP ON HIS TWO HIND LEGS, HOLDING HIS SNAUSAGE WITH HIS FRONT PAWS AND STARTS TO GO. He looks proudly back at [MRL]. [MRL] Good boy.

EXT. 2ND AVENUE - CONTINUOUS [MRL] crosses the cold New York avenue.

INT. PRESS ROOM CLOSE SHOT [FRL] AT PHONE [FRL] Fine. And here's a kiss for you. She blows a kiss into the phone. Immediately we hear kiss sounds all over. She looks up and glares. Then back to phone: [FRL] Now, darling, you go back to the hotel and pack and you and Mother pick me up here about half-past five. Goodbye, dear.

EXT. DAY. WINNARDS. DAY [MRL] is outside the farm beside his landrover. He walks up to the front door. Hesitates. Behind the railings, the girls arrive. [EX2] What's Uncle [MRL] doing here? [MRL] knocks.

INT. [EX2]'S APARTMENT, STUDIO - DAY MUSIC PLAYS -- [EX2] cleaning up his stuff. [EX17] So you're practically finished, huh? [EX2] Yes... well, there's one more stage -- trying to figure out if it's any good. [EX2] sneaks a look at the canvas from another perspective... he focuses -- then the smallest shy nod of self-approval -- he's finished. [EX17] is desperate to distract. CLOSE ON dog as Verdell awakens, stretches and pricks his ears. He moves quickly to the closed door and starts to frantically scratch, attracting [EX2]'s attention. As [EX2] keeps walking... [EX17] shoots over to the canvas. [EX17] Wait -- I want to see the painting. [EX2] Just a second -- he has to go. [EX17] Please!! NO!!! [EX2] opens the door and Verdell shoots out like a bullet. [EX17] pauses before the painting and is thrown to see his humanity captured -- to be "immortalized."

EXT. CLEARING IN WOODS - TWILIGHT Storm clouds gather in the sky as [FRL] and [MRL] pull up in the Jeep. She takes in a rough baseball diamond, set into an enormous field in the lap of the Olympic peaks. [EX20] and [EX21] come to greet [FRL]. [EX20] Good thing you're here. We need a umpire. [EX21] She thinks we cheat. [EX20] I know you cheat. Call �em as you see �em, [FRL]. WHIP PAN to [EX15] on the Pitcher's Mound. [EX15] It's time. -- Just as a deep RUMBLE of thunder shakes the forest. BEGIN MONTAGE - THE GAME And it's extraordinary. [FRL] stays by [EX20] who plays catcher. [EX15] pitches with lightning-fast speed. [MRL] and [EX21] take positions in the outfield. -- [EX14] SMASHES the ball with the aluminum bat. It CRACKS like thunder -- and is followed directly by real THUNDER. [FRL] Now I get why you need the thunder. The ball SHOOTS like a meteor deep into the forest, rocketing through the trees. [MRL] disappears after it. [FRL] That has to be a home run. [EX20] [MRL]'s very fast. [EX14] darts around the bases, almost a blur -- [MRL] races out of the forest with the ball and WHIPS it to home plate. WHAP! [EX20] catches it a millisecond before [EX14] slides in. [FRL] Yer out? [EX20] nods... Amazed, [FRL] watches as DR. CULLEN hits a line drive. [MRL] and [EX21] race for the catch, DIVING 15 feet and COLLIDING with such might that it sounds like enormous boulders falling. They miss the ball -- Dr. Cullen is safe! [EX22] WHACKS the next pitch -- deep into the forest. But before [MRL] can chase it, [EX15] suddenly GASPS. [EX15] Stop! I didn't see them.. . They all stop. [MRL] is immediately at [FRL]'s side. The family instantly gathers at home plate. [EX15] They're traveling so quickly - [EX14] You said they left the county - - [EX15] They did, but then they heard us.. . And changed their minds. [MRL] Put your hair down - [EX14] Like that'll help. I could smell her from across the field. [MRL] ignores [EX14] as he arranges [FRL]'s hair. [MRL] I shouldn't have brought you here. I'm so sorry. She'd ask why, but suddenly, they all turn as one toward - THE EDGE OF THE FOREST There's a faint rustle... then [EX17], [EX18] and [EX19] emerge. As they near, [FRL] SEES their bare feet, then the deep BURGUNDY of their eyes. [EX19] holds up the baseball. [EX19] I believe this belongs to you. He tosses the ball to Dr. Cullen who easily catches it and smiles politely. DR. CULLEN Thank you. [EX19] Could you use three more players? DR. CULLEN Of course. [EX19] I'm [EX19]. This is [EX18]. And [EX17]. DR. CULLEN Would you like to bat first? [EX19] picks up a bat. The Cullens take the field. Dr. Cullen is catcher, [MRL] is on first, with [FRL] behind him, near the Jeep. [FRL] sees that [MRL]'s eyes are locked onto [EX17]. [EX19] is at bat first. DR. CULLEN I'm afraid your hunting activities have caused something of a mess for us. [EX19] Our apologies. We didn't realize the territory had been claimed. DR. CULLEN Yes, we maintain a permanent residence. The three newcomers exchange a look of surprise. [EX19] Really? Well, we won't be a problem any more. [EX18] The humans were tracking us, but we led them East- [EX22] pitches the ball -- [EX19] SLAMS it -- but [EX15] is up a tree is a flash and the ball slams into [EX15]'s hand with a THWAP. [EX19] is pissed, but [EX17] smiles ever so slightly, delighted at the discovery of worthy opponents. [EX17] is up next and he POWER-SLAMS IT with AMAZING FORCE.. . He runs past first, past [MRL], past [FRL].. . CLOSE ON [FRL] -- IN SLOW MOTION as the wind from the ball ruffles her hair, carrying her scent, which floats to - [EX17] -- who suddenly SCREECHES to a halt. His head WHIPS around at her and he lurches into a crouch, his nostrils flaring, excitedly, eyes locked on [FRL]. [EX17] You brought a snack. [MRL] springs in front of [FRL], baring his teeth. A truly menacing, feral SNARL rips from his throat. [EX17] GROWLS back. OVERHEAD SHOT: in a flash, the Cullens rush into position behind [MRL] -- [EX19] and [EX18] line up behind [EX17]. DR. CULLEN The girl is with us. [EX19] We won't harm her. [EX21] Just try it. DR. CULLEN I think it best if you leave. [EX19] Yes, I can see the game is over. We'll go now. [EX17]? But [EX17]' eyes don't leave [MRL]'s. [EX19] puts a hand on [EX17]' shoulder, and finally, [EX17] backs into the woods with his cohorts, disappearing. Once they're gone, [EX20] immediately gathers up the bats- - DR. CULLEN Get [FRL] out of here. We'll follow them. Dr. Cullen, [EX22] and a resentful [EX14] race off after the three vampires. [MRL] scoops [FRL] up as we - SMASH TO:

EXT. DAY. A SECLUDED LANE. The tyres are done. [EX6] is about to get in the car. [FRL] [EX6], someone knows. Maybe we SHOULD - [EX6] Who cares? He kisses her, passionately. She is troubled but eventually responds. [EX5] nudges [EX2]. [EX5] [EX2], pap them. Pap them! [EX2] holds out her mobile and takes a picture. Then [FRL] extricates herself from his embrace. [EX5] peers at [EX2]'s photo. A close-up clinch. [EX5] Fucking bingo. 141AA CUT 141AA

INT. [MRL]' LIVING ROOM -- NIGHT The room is empty. There's laughter in the distance. The front door opens and shuts. We hear [MRL] and [FRL], both a little tipsy, advancing down the hall toward us -- [FRL] God, you talk like you're a hundred and sixteen! [MRL] That's usually how I feel. But not tonight. Tonight I feel sixteen... just sixteen... and three-quarters. [MRL] crosses to the bar and from a small refrigerator pulls out a BOTTLE OF CHAMPAGNE already sitting in an ice bucket. [MRL] Champagne? [FRL] He asked nonchalantly. [MRL] laughs, then opens the bottle as he picks up his previous train of thought -- [MRL] You see, [FRL], the way you know you're getting older is that you start to notice patterns. People start falling into types. Pretty soon you know a person before you've even been introduced. And if it's a woman, before the romance even starts, a whisper in your head tells you exactly what it is and how long it's going to last. And the saddest, the most tedious, part of all is that that little voice is almost always right. Now, what I like about you -- and I think that's actually what inspired this little lecture -- is that I find you completely unprecedented... and, therefore, wholly unpredictable. [FRL] God, it must be a relief. [MRL] What? [FRL] To finally deliver that speech to a woman and actually have it apply to her. [MRL] Now wait a minute. [FRL] No, because coincidentally I am all those things you just said. And more. [MRL] chuckles, shaking his head, charmed but a little unsettled. [FRL] I'm a "unique". At least that's what my yoga teacher says. He says there are very few uniques in the world and I'm one of them. [MRL] Well, he's a wise man. He hands her a glass of champagne. [FRL] You, on the other hand, are what he'd call a "typical." [MRL] Oh, really? [FRL] Uh-huh. And I can prove it. Want me to? Come here. [MRL] moves a few steps closer. [FRL] Closer. [MRL] walks even closer, until they are just a few feet apart. [FRL] No, come on, really close. [MRL] can't believe his good luck. He nears her until their faces are almost touching. [FRL] Perfect. Now watch very carefully. She rises on tiptoe and puts her mouth just inches from his. Their breathing mingles. [MRL] seems almost dizzied by it. And then, very slowly, he kisses her. She does not kiss back. Finally, he pulls away, staring blankly, breathing hard, not sure what to say. [FRL] whispers -- [FRL] See? You're a typical. And for what you just did, most girls my age would slap your face. Or ask to be put in a cab. Lucky for you, I'm a unique. She smiles, then kisses him deeply on the mouth. Her arms wrap around his neck.

INT. WRIGHT HOUSE - [FRL]'S ROOM - NIGHT [FRL] sits between [EX8]'s legs, grimacing, as [EX8] works a comb through her freshly washed, kinky hair. [FRL]'s head flops like a rag doll. Her eyes are wet. [FRL] Ow! [EX8] keeps tugging. [FRL] Ow, [EX8]!!! [FRL] punches her in the leg. [EX8] Ow! [EX8] yanks [FRL]'s head back as [EX5] enters, carrying a yellow dress on a hanger. [FRL] sees it and her face falls. [FRL] Ah, Mom. [EX5] I'm lucky I found it. Someone put your box of dresses under a pile of rags in the garbage. [FRL] sulks. [EX8] cackles in her ear. [EX5] has to laugh. [EX5] Child, pick up your lip. [FRL] I hate it. [EX5] Fine, you don't like this one, which one would you rather wear? [FRL] Pants. [EX5] rubs her temples, then hangs the dress on the door. [EX5] When you're done can you make sure she brushes her teeth? [EX8] Are you okay? [EX5] I just need to lay down. I've been running around all day. Just then, [EX4] enters. He holds up two dress shirts as if it were a matter of life and death. [EX4] Which one for tomorrow? [EX5] The blue. [EX4] You sure? [EX5] nods. [EX4] looks at both of them, then: [EX4] Can you iron both tonight just in case? [EX5] Okay. [EX4] Thanks, sweetheart. He kisses her on the cheek, hands her the two shirts and crosses out. [FRL] just watches. Beat, then Camile turns back to her daughters. [EX5] The boy next door is riding with you to school so you'll know somebody your first day. Hurry so she can go to sleep. [FRL] reacts, surprised. [EX5] leaves. [EX8] puts the comb back to [FRL]'s hair. Beat, then: [FRL] Make it look nice, kay.

EXT. BALTIMORE SUN - MORNING

INT. [FRL]'S HOUSE SIMULTANEOUS -- NIGHT CLOSE ON TELEVISION -- "DYNASTY" drones on. [EX3]'S WIFE [EX3] was a great player in high school. I thought held go right to the Major Leagues -- I was gonna be a Big League wife. Pass the Pampers, please. [MRL] Helluva guy -- Silence. [MRL] flips off the T.V. with the remote. [EX24] Can I ask you something? [MRL] What? [EX24] What would you think of a pitcher who wore women's panties? [MRL] If he had a good breaking ball, I'd respect the shit outta him. [MRL] turns off the light. CLOSE ON [EX24] -- A bit of light spill on his face. Eyes open. A long ways from sleep. CUT TO:

INT. ARIZONA KAROAKE BAR -- NIGHT [EX20] sings karoake, on stage. He's struggling through U2's "One." In the audience are many Arizona players, as well as most of [EX21]'s family. [EX21] One love... you got to share it...

EXT. IRON SKILLET RESTAURANT - DAY [MRL] bicycles away .

INT. REED HALL - [MRL]'S DORM ROOM - THAT NIGHT [MRL] is revising a set design -- deeply concentrating on his task. He's startled by a KNOCK on the door. MALE STUDENT Hey, ! You got a visitor downstairs!

INT. [MRL]'S BEDROOM - DAWN [MRL] wakes up, he figures out he's alone again. Feelings he was trying to overlook come to the surface now.

EXT. LOS ANGELES STREETS/INT. CAR - NIGHT [FRL], [MRL], [EX7], [EX8] and [EX28] drive up Sunset Blvd. They arrive at Alvarado, park and get out. Above them a well lit large blank/white billboard. As [MRL] and [EX7] get spray paint cans from the back of the car... [EX7] [MRL], don't write any of that serious stuff, okay? Just write something funny. Girls like funny.

EXT. LATE AFTERNOON. EWEDOWN - BUS SHELTER. [EX5] and [EX2] are slouched on the bench at the bus stop. Three teenage boys are doing wheelies over the T-junction. One of them almost lands in the shop. An old lady comes out, shoo-ing them away. [EX5] We could walk up the garage. [EX2] I'm supposed to be helping my mum up at Stonefield. [EX5] They keep you busy. [EX2] Yeah. [EX5] You never stop, you! Neither of them moves. The boys are yelling. Two try to put the third head first into the bin outside the shop. [EX5] and [EX2] are not impressed. GOLDENROD REVISIONS 09

[EX1] Yes sir, of course nothing is one hundred percent. Well, I wouldn't go investing every penny. But... DISSOLVE TO:

INT. HOTEL LOBBY - DAY - INTERCUT Mr. Thomas is standing behind the front desk, a rather strained expression on his face. MR. THOMAS Barnard Thomas here. Miss [FRL], I wonder if you might come down to the front desk. There's someone here to see you. [FRL] Me? MR. THOMAS I'd send them up, but sadly, I don't trust the young lady to find you on her own. A hand reaches out and wrenches the phone away from Mr. Thomas. [EX16], heavy make-up, skimpy outfit, chewing gum, cigarette and all, keeps her voice just below a bellow. [EX16] Viv? Where are you, babe? The sphincter-police won't let me through.

INT. [EX2]'S LIVING ROOM [MRL] enters to find [EX2] and [EX1] dancing humorously to loud opera music. [EX2] dances free, without restraint, full of life. [MRL] ...Generally by the time you are real, most of your hair has been loved off, and your eyes drop out and you get loose in the joints. But these things don't matter at all because you are real and you can't be ugly, except to people who don't understand.'" The music blares as [EX28] greets [MRL]. [EX2] comes to [MRL], [EX1] continues to dance. [EX2] [EX1]'s moving in. [MRL] Yeah? Is that a good idea? [EX2] hugs [MRL]. [EX2] Just be happy about it. [MRL] can't just be happy about it. CUT TO PRESENT 10/29/07

EXT. MOVIE THEATER - EVENING Ferris Bueller's Day Off and Three Amigos! on the marquee. [MRL] and [FRL] exit as [EX2] and a new boyfriend buy tickets. [EX3] and [EX1] and a crowd behind them. [MRL] Hey, [EX2]. She takes her boyfriend's arm, turns away, snubbing him. [MRL] [EX3], [EX1]. [EX1] says something inaudible and the whole crowd sniggers and laughs. He's become [MRL]. [MRL] reddens, now realizing for certain that he's become a [FRL] Sullivan.

INT. [FRL]'S BEDROOM -- AFTERNOON [FRL] LIES IN BED READING -- She suddenly jerks up. [FRL] I was reading in bed when [MRL] hit his 247th home run. I knew the moment it happened... CUT TO:

EXT. CITY STREETS - 3 A.M. [MRL]'s Yugo winds through city streets.

INT. [EX2]'S APARTMENT, ENTRANCE HALL - NIGHT A group of PARTY GOERS enters -- followed by a [EX5] holding Verdell who looks and finds: [EX2] who looks up -- lights up -- and tears up as he moves quickly toward the group and his dog. [EX2] Thank the good Lord... wow... my honey... where have you been? [EX4] He always liked me. As [EX2] goes past him to take the dog from the [EX5]... [EX19], [EX3]'s junior partner, barking a laugh at the [EX4] -- VERDELL BARKING some love. As the others greet [EX2], [EX19] directs the group inside. [EX19] lingers, looking on affectionately as [EX2] picks some awful, sticky gunk from the dog's body... he puts Verdell down to reach for his wallet -- the tiny DOG YAPS in protest. [EX2] Just for a second, okay? The DOG YAPS "no." [EX2], delighted, picks him up again. [EX2] Look at him... where was little baby? [EX5] In the basement garbage bin eating diaper shit. [EX2] reacts -- then notices the [EX5], tongue in cheek, trying to suppress his amusement. [EX2] Go ahead, John, you earned your fun. How did he get down in the basement? I mean even if he got on the elevator how... ? [EX5] Maybe some nice neighbor shoved him down the garbage chute. [EX2] My God! No! He stares out... [EX3] frustrated following.

INT. HOUSE KITCHEN - MORNING [MRL] is mixing a glass of chocolate milk. [EX8], arms folded, is waiting expectantly. He finishes, sliding the glass to her. She takes a long sip, puts the glass down, a chocolate milk mustache on her lip. [EX8] Not bad...I shoulda warned you. Dad always does something really special for their anniversary. [MRL] Like what? [EX8] One year he had a solar system named after her... [MRL] Don�t you think that�s a little gimmicky? [EX8] Mom liked it. [MRL] raises an eyebrow. [MRL] Maybe there�s a jewelry store back at the mall. I could get her a pair of earrings or something. [EX8] That�s good but...you did forget the anniversary. [MRL] Right. That�s a major oversight... So if I�m [FRL]...I can�t really afford the finer things, my husband�s career is a crushing disappointment to me, I�m trapped in suburbia... Then... [MRL] Did he ever take her to the City? [EX8] smiles, impressed. [EX8] You�re really gettin� the hang of this. Suddenly, a look of confidence comes over [MRL]�s face. For the first time, he seems like a man in control.

EXT. DAY. THE FIELDS . Up on the ridge of the hill, [EX20] Upminster is standing in a straw hat and flowery wellies, with a smoking gun. [EX20] Got `im. The beast. 166 CUT 166

INT. BROKERAGE HOUSE - DAY [MRL], carrying a briefcase, moves jauntily down a long hallway. [EX3] trails after him. [EX3] This is no time to disappear. We're in too far. [MRL] Bill? Stop panicking. [EX26] isn't going anywhere and I don't need to spend the rest of the day watching his stock go down. I'll be in the office tomorrow. [EX3] Promise me you'll read those contracts by then. [MRL] Goodbye, Bill. [EX3] stops. He calls after [MRL]. [EX3] Shit... By tomorrow, [MRL]! [MRL] hurries on.

EXT. [EX3]'S HOUSE - DAY [EX3]'s front door swings open to reveal a breathless [FRL] standing sheepishly on the porch. [EX3] sighs. [EX3] What are you doing here, dumbass? I thought I was supposed to pick you up at four. [FRL] I couldn't do it, [EX3]! It smelled like a dentist in there. They had these really horrible magazines, with, like, spritz cookie recipes and bad fiction and water stains, like someone read them in the tub. And the receptionist tried to give me these weird condoms that looked like grape suckers, and she told me about her boyfriend's pie balls, and Su-Chin Kuah was there, and she told me the baby had fingernails. Fingernails! [EX3] Oh, gruesome. I wonder if the baby's claws could scratch your vag on the way out? [FRL] I'm staying pregnant, Le. [EX3] Keep your voice down dude, my mom's around here somewhere. She doesn't know we're sexually active. [FRL] What does that even mean? Anyway, I got to thinking on the way over. I was thinking maybe I could give the baby to somebody who actually likes that kind of thing. You know, like a woman with a bum ovary or something. Or some nice lesbos. [EX3] But then you'll get huge. Your chest is going to milktate. And you have to tell everyone you're pregnant. [FRL] I know. Maybe they'll canonize me for being so selfless. [EX3] Maybe they'll totally shit and be super mad at you and not let you graduate or go to Cabo San Lucas for spring break. [FRL] [MRL] and I were going to go to Gettysburg for spring break. [EX3] sighs, as if there's no helping her nerdy friend. [EX3] Well, maybe you could look at one of those adoption ads. I see them all the time in the Penny Saver. [FRL] There are ads? For parents? [EX3] Oh yeah! "Desperately Seeking Spawn." They're right by the ads for like, iguanas and terriers and used fitness equipment. It's totally legit. [FRL] Come on, [EX3]. I can't scope out wannabe parents in the Penny Saver! That's tacky. That's like buying clothes at the Pump n' Munch.