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MarkGG

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Romance-cleaned-1

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INT. [EX25]'S BATHROOM - NIGHT [EX2] washes her face and grabs a bottle of Scope, taking a big swig. A KNOCK sounds at the door [EX2] Go away [EX3] opens the door and looks at her sister with the smuggest of all possible grins. [EX3] Dinner taste better on the way out? Gives her a "don't even start" look. [EX3] (continuing) I don't get you. You act like you're too good for any of this, and then you go totally apeshit when you get here. [EX2] You're welcome. She pushes past her and leaves the bathroom.

INT. CLUB - NIGHT Onstage, the all-female band GIGGLEPUSS is parlaying their bad girl sass into a ripping punk number. Near the stage is a joyful mass of pogo-ing teens AT THE BAR [EX9] bellies up and looks around the club. Gigglepuss finishes a song. [EX24] Hello, out there. We're Gigglepuss and we're from Olympia. A teenage boy in the audience takes the opportunity to scream. [EX5] (0.S.) Pet my kitty! [EX24] Meow They rev into their next song. NEAR THE STAGE [EX14] and [EX2] glow with sweat. When they hear the opening chords of the song, they look at each other and scream with glee as they begin to dance. They couldn't be having a better time. AT THE BAR [EX9] signals to get the bartender's attention and looks across the bouncing surge of the crowd. He spots [EX2] and [EX14] singing along. HIS POV The gleeful [EX2] -- dancing and looking completely at ease. None of her usual "attitude". [EX9] is transfixed. And most definitely attracted. NEAR THE STAGE [EX2] looks at [EX14]. [EX2] (shouting) I need agua! She makes her way through the crowd to the bar. AT THE BAR She made it. She signals for the bartender and as she's waiting, looks around. She spots [EX9] a few feet away [EX2] (continuing to herself) Shit She sneaks a glance. He's staring, but this time he looks away before she can. Despite herself, she's miffed. The bartender arrives BARTENDER (shouting) What can I get you? [EX2] Two waters. She looks at [EX9] again. He's completely absorbed in the band. She scowls. The bottled water arrives and she marches off, forgetting to pay. She walks up to [EX9]. [EX2] (continuing) You're not fooling anyone. [EX9] looks at her, surprised [EX9] (yelling) hey. Great show, huh? [EX2] (yelling) If you're planning on asking me out you might as well get it over with. [EX9] (yelling) Excuse me? [EX2] (yelling) That's what you want, isn't it? [EX9] (yelling; gesturing toward the band) Do you mind? You're sort of ruining it for me. [EX2] steams. And watches him watch the band [EX2] (yelling) You're not surrounded by your usual cloud of smoke. The band takes a break, so they can stop yelling now [EX9] I know. I quit. He leans back, making no attempt to hit on her. She moves closer. [EX2] Oh, really? He motions toward the stage [EX9] You know, these guys are no Bikini Kill or The Raincoats, but they're right up there. [EX2] You know who The Raincoats are? [EX9] Why, don't you? She's completely taken aback. He uses the moment to his advantage and brushes her hair back as he speaks right into her ear. [EX9] (continuing) I watched you out there I've never seen you look like that [EX2] steps away, brushing the hair back that he just touched Her cheeks pinken. His cocky side is back in a flash [EX9] (continuing) Come to that party with me. At that moment, the band starts another SONG [EX2] (yelling) What? The bartender approaches. BARTENDER (to [EX2], yelling) You forgot to pay! [EX9] (yelling) I got it, Rick. He tosses some bills on the bar Rather than thank him, [EX2] simply watches him, trying to figure out his motive. [EX9] (continuing; yelling) Nine-thirty then. A few people have gotten between them at the bar and she can't hear a word he's saying. She gives him one last look and heads back into the crowd. [EX9] smiles. She didn't say no this time.

INT. A SMALLER APARTMENT, KITCHEN - A NIGHT REMEMBERED A younger [FRL] stands in a bathrobe, noticeably pregnant, cooking at a stove -- reading instructions from a propped up cookbook. [EX15] SINATRA IS BLASTING as she sings along, in full voice, without inhibitions; [FRL] "SHE'S LOVES THE THEATRE BUT NEVER COMES LATE... SHE NEVER BOTHERS WITH PEOPLE SHE HATES... THAT'S WHY THE LADY IS A TRAMP!..." A younger [EX3], wearing a suit, arrives home from work. Seeing her, he smiles affectionately. He puts down his briefcase and bursts into his own playful Sinatra impersonation: [EX3] "She loves the free..." Startled, [FRL] turns around and smiles: [EX3] "... FRESH, WIND IN HER HAIR... LIFE WITHOUT CARE... SHE'S BROKE... BUT IT'S 'OK'... [FRL] Sing it to me, Frankie! [EX3] How's my pregnant chick! She moves to him and they embrace... He wraps his arms around her. They kiss. [FRL] laughs. [FRL] You can hardly get your arms around me. How depressing. You're so early. [EX3] I had to excuse myself from a meeting. It's ridiculous. I kept thinking about the baby... you... and, I swear, I was going to start bawling right into my briefs. [FRL] Aw... that's so sweet. [EX3] I love you. [FRL] Do you? Do you really? They turn to each other and kiss. END OF MEMORY.

EXT. BATHROOM Sbe exits the bathroom and stops at the sight of what is happening at the table. [MRL], hand on face, is embarrassingly being serenaded by the Mariachis, who now play a mournful "Tears in Heaven." She smiles at the image, in fact the poetry charms her. [FRL] moves forward, grinning, fishes some bucks out of her pocket, and sends the Mariachis in another direction. [FRL] Come on, let's take a walk.

EXT. HOTEL STEPS - NIGHT [MRL] and [FRL] join the rest of the congregation outside on the steps of the hotel. [MRL] looks on as his daughter and son-in-law head to an awaiting car. [EX17] stops and throws the bouquet behind her. It is caught by Aunt Maddie, who in turn throws it and it is caught by [MRL]'s `all grown up' niece. She blushes profusely revealing an impressive set of braces on her teenage teeth. [EX17] kisses her mother and [EX19] goodbye. And is about to get into the car when she stops and hurries over to [MRL]. [EX17] Bye Dad. [MRL] Bye Suz... Bye [EX17]. She hugs him tightly. Pulling away she turns to [FRL]. [EX17] Be gentle with him. [FRL] nods as [EX17] turns to leave. [MRL] Sorry. [FRL] smiles. As the car pulls away, everyone cheers. [MRL] looks on. His eyes momentarily lock onto his ex-wife's. They share a conciliatory look. As [MRL] watches his daughter's car disappear down the street, [FRL] looks at him. He turns back. Beat. [FRL] You Ok? [MRL] Yes. Yes, I am. Beat. [MRL] looks around. [MRL] You wanna get out of here? [FRL] Sure.

INT. MANSFIELD CARRIAGE - DAY.3 15 * LORD and [EX4] sit together, [EX6] beside them. [FRL] and [EX2] ride backwards. [EX3] I have reason to speak with you alone, [FRL]. [FRL] is quietly alarmed. [FRL] Have I wronged you, Papaa? [EX3] You have done no such thing.

INT. STUDIO CONTROL ROOM - CONTINUOUS [EX7] Thank [EX24]. [EX7] pats the [EX16]'s shoulder, heads out of the room.

INT. MACGUFF HOUSE - KITCHEN - NIGHT [EX8] sits at the kitchen table with a mug of coffee and an issue of Dog Fancy. [FRL] enters nonchalantly, drinking a giant slushie. [EX8] Where the hell have you been, Junebug? [FRL] I drove to St. Cloud to show [EX13] and [EX12] the ultrasound. And I wound up staying for a couple of hours. [EX8] A couple of hours? Why are you going up there in the first place? [FRL] They said they wanted to know about this stuff. They said to keep them updated, so I did! [EX8] You could have sent it to them. Why would you drive an hour out to East Jesus, Nowhere? [FRL] I don't know, I just did. And while we were waiting for [EX12], [EX13] and I watched The Wizard of Gore and he burned me some CDs of weird music. He's kind of cool. A beat as [EX8] absorbs this. [EX8] That was a mistake, [FRL]. [EX13] is a married stranger. You overstepped a boundary. [FRL] Listen, [EX8]-duhhh, I think you're the one overstepping boundaries. You're acting like you're the one who has to go through this and get huge and push a baby out of your vag for someone else. Besides, who cares if he's married? I can have friends who are married. [EX8] It doesn't work that way, kiddo. You don't know squat about the dynamics of marriage. [FRL] You don't know anything about me! [EX8] I know enough. [EX8] rises to leave, clutching the Dog Fancy magazine. [FRL] We don't even have a dog! [EX8] Yeah, because you're allergic to their saliva. I've made a lot of sacrifices for you, [FRL]. And in a couple years you're going to move out -- and I'm getting Weimaraners. [FRL] Wow, dream big! [EX8] Oh, go fly a kite. [EX8] STORMS out. [FRL] heads to the URN by the door and defiantly pours the remains of her blue slushie into it.

EXT. PLATTE CITY MOTEL. NIGHT. The four lawmen, among them the [EX23] from the cafe, edge their way across the lawn, past the first garage, past the second. Before they reach the door of [FRL] and [MRL]'s cabin, the window smashes and there are blasts of gunfire. One cop is hit and falls, the others run back to the cars for cover. [FRL] and C.W. are at the window, firing steadily. [MRL]--running into the garage to get the car. They must escape. All they can do is escape, and all they have is that one car in the closed garage. Outside. Two of the lawmen fall to the ground, shot. As the remaining two run back for cover, we see a blinding light rolling up in a space between the six cars. It is an armored truck, with mounted guns and and spotlight, advancing toward the cabin. Inside the armored truck. Two men in the seat. Sounds of gunshots coming from everywhere, piercing light. From inside the truck, we suddenly see the windshield shattered from bullets fired by [FRL] and C.W. The driver is hit, and he slumps over the wheel. His body hits the horn, which starts blasting and continues throughout the battle. The other man, quickly, ducks under the dashboard for protection. Inside the garage. [MRL] standing by the car. He holds the Browning Automatic. The garage door is shaking from the impact of bullets, shattering. His gun already firing before he gets there. [MRL] in a crouch runs to the garage door, flings it up, and runs back inside the car. Now the door is open and he can get the car out. One hand on the wheel, one hand shooting, he rolls the car out onto the driveway. The battle is raging from all sides.

INT. [FRL]'S LIVING ROOM NIGHT AS PIAF PLAYS on the stereo -- A knock at the door. [FRL] GOES TO THE DOOR -- Then refuses to answer it at first. She hides in a corner. Bites her fist. [EX24]'S VOICE [FRL]! You gotta be in there -- I can hear that crazy Mexican singer! [FRL] smiles slightly, and opens the door. [EX24] We lost. [FRL] It's okay... She opens the door fully. [EX24]'s father stands there. [EX24] I'd like you to meet my father. [FRL] Oh -- won't YOU come in? CUT TO:

INT. [MRL]'S VOLVO - NIGHT [FRL] glances at [MRL], might ask him more questions but he seems to be wrestling with his own thoughts. Finally.. . [FRL] I think I'm warm enough now. She reaches for the heater dial, he does as well -- their hands TOUCH. And hold a moment too long. An electric current connecting them. [FRL] Your hand, it's still freezing cold. He pulls his hand away, but she keeps looking at it... then her attention shifts outside to FLASHING POLICE LIGHTS. As they drive past the FORKS POLICE STATION, a sheriff's car pulls away. [EX3]'s cruiser is parked out front. [FRL] Dad's here late. Something must have happened.

INT. [EX4]'S BEDROOM - CONTINUOUS The room is dark. A groggy [EX4] is in bed on the phone. His wife lies beside him, eyes open, listening. [EX4] [EX5]? What's going on? [EX5]'S VOICE The guy we're doing? He's disappeared from the map. I can't find him anywhere. [EX4] Okay, what happened right before he disappeared? [EX5]'S VOICE I was away from the monitor for a second. I had it on automatic. I had to go pee. [EX4] Well, where was [EX8]? [EX5]'S VOICE He went home sick. [EX4] Jesus. All right, what's the address. [EX5]'S VOICE 1062 Sherman Drive. Apartment 1E, Rockville Center. [EX4] writes it down on a bedside not pad. He hangs up.

INT. [MRL]'S PRIVATE OFFICE - NIGHT [MRL] sits at his desk, is on the phone. A TELEVISION NEWSCAST is doing a report on Congressional reaction to the events of the day. ROB [EX22] is talking. [MRL] [EX3], tell the speaker to wait. I want to talk to him. No, I'll be right down. [EX22] ...Last night, the price of his liberal programs was raised to include the blood of 22 American soldiers. He hangs up. On the TV, we see a quick sound bite from [EX22]. [EX22] ...Mr. [MRL]'s read a lot of books, but you didn't need a Harvard degree to see this comin' a mile down the road. [MRL] I went to Stanford, you blowhole. [EX22] The fat that our Commander-in-Chief has not served one day in uniform-- [MRL] clicks off the TV and then stares at A SLIP OF PAPER THAT SAYS "[FRL]" CUT TO:

INT. SOLATANO HOUSE/ATTIC - DAY MONTAGE OF SCENES SHOWING [MRL] AS HE REPLACES THE BROKEN WINDOW PANE.

INT. APT. BUILDING - LIVING ROOM - DAY We are back at [MRL]'s new place. [FRL] WANDERS THE ROOM TOPLESS but covering her breasts with a PILLOW. She continues to WAX NOSTALGIC about her father. [FRL] The colonel had green eyes and shiny boots. I worshipped him. He was so handsome in his uniform. [MRL]'S VOICE What a steaming pile of horseshit. [FRL] What? Pissed, she THROWS THE PILLOW she was covering her AMPLE BREAST with at [MRL]. We now see [MRL] is LOUNGING ON HIS MATTRESS, pant legs rolled up past his knees, TOYING WITH A HARMONICA and drinking from a WOODEN CUP. [FRL] What? Don't... [MRL] All uniforms are bullshit. Everything outside this place is bullshit. Besides, I don't want to hear about your stories, about your past, and all that. [FRL] He died in Algeria in .. [MRL] Or 68 or 28 or .. [FRL] 58, and don't joke about things like that. [MRL] Listen, why don't you stop talking about things that don't matter here? What the hell's the difference? DIALOGUE SWITCHES TO ENGLISH [FRL] OK. She huffs over to the other SIDE OF THE ROOM, crossing her arms, POUTING. [FRL] So what do I have to say? What do I have to do!? He turns on to his back to evince his CROTCH. [MRL] Come on the good ship... Lollipop... He PLAYS A TUNE on his harmonica. She sneaks onto the bed IN THE SHADOWS. [FRL]'S VOICE Why don't you go back in America? He stops PLAYING THE TUNE. [MRL] I don't know. Bad memories, I guess. [FRL] Of what? [MRL] Oh... My father was a... a drunk. Tough. Whore-fucker, bar-fighter. Super-masculine. And he was tough. My mother was very... Very poetic. And also a drunk. And... one of my memories, when I was a kid, was of her being arrested nude. We lived in this small town. Farming community. We lived on a farm. And I'd come home after school and she'd be gone. In jail... or something. And... I used to... I used to have to milk a cow every morning and every night and I liked that. I remember... An IRISH COUNTRY JIG plays over the MONOLOGUE. [MRL] One time I was all dressed up to go out and take this girl to a basketball game. And I started to go out and my father said, "You have to milk the cow." I said, "Would you please milk it for me?" And he said, "No, get your ass out there." So I went out and I was in a hurry and didn't have time to change my shoes. And I had cow shit all over my shoes. And on the way to the basketball game, it smelled in the car. I don't know. I-I can't remember very many good things. [FRL]'S VOICE Not one? [MRL] Yeah. Some. There was a farmer, a very nice guy. Old guy, very poor, and worked real hard. I used to work in a ditch, draining land for farming. And he wore overalls and he smoked a clay pipe. Half the time he wouldn't put tobacco in it. And I hated the work. It was hot and dirty and... it broke my back. And... all day long I'd watch his spit which would run down the pipe stem and hang on the bowl of the pipe. And I used to make bets with myself on when it was going to fall off. And I always lost. I never saw it fall off. I'd just look around and it'd be gone and then the new one would be there. And then we had a beautiful... My mother... My mother taught me to love nature. And... I guess that was the most she could do. And... we had... In front of our house we had this big field... meadow. It was a mustard field in the summer and we had a big black dog named Dutchy. And she used to hunt for rabbits in that field but she couldn't see them. So she'd have to leap up in this mustard field and look around very quickly to see where the rabbits were. And it was... very beautiful. And she never caught the rabbits. [FRL] looks up from the bed, MISCHIEVOUSLY. [FRL] You have been had! [MRL] Oh really? [FRL] I don't wanna know anything about your past, baby! [MRL] You think I was telling you the truth? [FRL] flaps her arms. [MRL] TWILLS his eyebrows in response. [MRL] Maybe... Maybe... [FRL] climbs on the bed with the top sheet like a LIONESS STALKING her prey. [FRL] I'm a Red Riding Hood and you're the wolf. She COVERS HIM UP with the sheet. Then she uncovers his arm. [FRL] What strong arms you have! She SNIFFS HIS ARM. [MRL] PLAYS ALONG. [MRL] The better to squeeze a fart out of you! She plays with his hands. [FRL] What long nails you have! [MRL] The better to scratch your ass with. She REACHES UNDER the sleeve of his shirt to his chest. [FRL] Oh, what a lot of fur you have! [MRL] The better to let your crabs hide in. She lifts the sheet from his face, moves his harmonica and looks in his mouth. [FRL] Ooh, what a long tongue you have! He TALKS FUNNY as [FRL] holds on to his tounge. [MRL] The better to... to stick in your rear, my dear. She makes her way down to his CROTCH, uncovering the sheet as she goes. She REGARDS HIS PRIVATE AREA. [FRL] What's this for? [MRL] That's your happiness and my... my ha-penis. [FRL] Peanuts? [FRL] SMILES ON as [MRL] reels off a list of FOREIGN NAMES for the MALE GENITALIA. [MRL] Schlong. Wienerwurst. Cazzo. Bitte. Prick! Joint! [FRL] gets a kick out of this... Sort of. [FRL] It's funny. It's like playing grown- ups when you're little. I feel like a child again here. [MRL] Did you have fun as a kid? [FRL] It's the most beautiful thing. [MRL] It's beautiful to be made into a tattletale or forced to admire authority or sell yourself for a piece of candy. [FRL] I wasn't like that. [MRL] No? [FRL] I was writing poems. I was drawing castles,... big castles with tower. A lot of tower. [MRL] Did you ever think about sex? [FRL] No. No sex. [MRL] MOCKS HER. [MRL] "No. No sex." [FRL] Tower. He gives her a LOVE SMACK on the head. [MRL] You were probably in love with your teacher. [FRL] My teacher was a woman. [MRL] And she was a lesbian. [FRL] How did you know? [MRL] That's classical... Anyway... [FRL] My first love was my cousin [MRL]. [MRL] explodes. [MRL] No! I'm gonna get a hemorrhoid if you keep telling me names. No names. I don't mind if you tell the truth, but don't give me the names. [FRL] Sorry. Sorry. [MRL] Well, go on. Tell the truth. What else? [FRL] I was ... He was dark, very thin. I can see him. Big nose! A big romance. I fell in love with him when I heard him playing piano. [MRL] You mean when he first got into your knickers. [FRL] He was a child prodigy. He was playing with both hands. [MRL] I'll bet he was... Probably getting his kicks. [FRL] We were dying of heat. [MRL] Oh, yeah. Good excuse. What else? [FRL] In the afternoon, when the grown- ups were napping... [MRL] You started grabbing his joint. [FRL] You're crazy! [MRL] Well, he touched you. [FRL] I never let him! Never! [MRL] Ohhhh. Liar, liar, pants on fire, nose as long as a telephone wire. [FRL] No, I'm not. [MRL] Look me straight in the face and say, "He didn't touch me once." Huh? She SMILES. [FRL] He touched me, but the way he did it. [MRL] Aha! The way he did it. OK, what did he do? [FRL] Behind the house, there were two trees. A plane tree and a chestnut. I sat under the plane tree and he sat under the chestnut. And one, two, three... We each began to masturbate. The first who came... won! [MRL] is suddenly LOST IN HIS THOUGHTS. He wanders to the wall, leans on it and studies his harmonica. [FRL] Why aren't you listening to me? [MRL] When did you first come? How old were you? [FRL] The first time? I was really late for school. I started running and it was downhill. All of a sudden, I felt a strong sensation here. So I ran and ran and I came as I ran. The faster I ran, the better it was and the more I came. A couple of days later, I tried to do it again, but no luck. [MRL] climbs a TRIPOD that is leaning against the wall. [FRL] Why aren't you listening to me? He takes the PIN OUT and it comes apart. He FALLS BACK. [FRL] Why do I feel like I'm talking to a brick wall when I talk to you? Your solitude weighs on me. It isn't indulgent. It isn't generous. You are selfish! He finally looks at her. [FRL] I can be by myself, too, you know! DRUM MUSIC STARTS AS...

EXT. RURAL ROADS - LATER THAT NIGHT [MRL] speeds, the windows open, WIND WHIPPING, DIRE STRAITS BLASTING. The Camaro turns and brakes and turns again, kicking up gravel, raising hell. The car slides to a stop.

INT. [FRL]'S HOTEL HALLWAY [EX28] runs down the hotel hallway, followed by [MRL], they come to a corner and [FRL] jumps out, scaring them, they laugh and continue on together. 10/29/07

EXT. MOVIE THEATRE - NIGHT The marquee reads: "FRANK SINATRA -- EDW. G. ROBINSON -- 'A HOLE IN THE HEAD' -- CINEMASCOPE -- AIR CONDITIONED." [EX9] buys a ticket at the box office.

INT. CHURCH - DAY.3 12 * REVEREND DAVINIER, white wigged, stands at the pulpit. REVEREND DAVINIER ...for it is the power of God unto salvation to every one that believeth. So saith Christ the Lord. Amen. [EX7] Amen. A FLAME as a YOUNG MAN lights a candle by the altar. He sings, choir-like, the word `amen' rather than simply saying it. REVEREND DAVINIER Hymn no. ON the MANS as the congregation begins to sing.

EXT. PUBLIC PLAZA/PARK - NIGHT [MRL] is sitting on a bench. Behind him is a giant, digital billboard displaying an ad of an owl in slow motion swooping down and eating it's prey.

INT. [MRL]'S OFFICE � DAY CLOSE SHOT � [MRL] AND [EX7] [MRL] Why didn't you call me? [EX7] I just did, but they said you left. This is a pickle, [MRL], this is a pickle. [MRL] All right now, what happened? How did it start? [EX7] How does anything like this ever start? All I know is the bank called our loan. [MRL] When? [EX7] About an hour ago. I had to hand over all our cash. [MRL] All of it? [EX7] Every cent of it, and it still was less than we owe. [MRL] Holy mackerel! [EX7] And then I got scared, [MRL], and closed the doors. I... I... I... [MRL] The whole town's gone crazy. The telephone rings. [EX7] picks it up. [EX7] Yes, hello? [MRL]... it's [EX10]. [MRL] Hello?

INT. TANYA'S ALASKAN HOME - DAY [EX12], on the phone, stands at the picture window --

INT. [EX9]�S TIRES, [MRL]�S OFFICE - LATE AFTERNOON [MRL] is behind his desk, his tie loosened, on the phone... [MRL] ...I have no idea what our inventory level is, that�s why I�m asking you... A KNOCK at the door... [MRL] Look, just send us what you sent us last month, okay...? And keep doing that until further notice... He hangs up the phone as the door opens. [EX9] sticks his head in... [EX9] Got a minute, [MRL]? [MRL] I�ve got all the time in the world... [EX9] walks in, followed by SYDNEY [EX21], 60s, a tough looking man... [EX9] [MRL], meet Sydney [EX21], BuyRite Transport, one of Jersey�s top businessmen... [EX21] extends a hand, [MRL] rises from his chair, trying to place the name. Then... [MRL] ...and a helluva bridge player. Ed�s told me a lot about you... They shake hands. [EX21] nods his head at [MRL], immediately impressed. [EX9] is beaming. [EX21] Lucky in cards, lucky in business, lucky in love. My cup runneth over... He�s a nice looking boy... [EX9] My daughter�s no slouch either... A smile from [EX21], then a serious look. [EX21] Let�s cut to the chase, [MRL]. [EX9] tells me you�re the grease that makes the wheels turn around here. I need a new parts supplier for my fleet. You seem to have the parts. That we know. What we don�t know is why the hell I should buy them from you. [EX21] stares [MRL] down. But [MRL]�s not about to be intimidated by him. He pauses, matching [EX21]�s stare. Then... [MRL] I have no idea... A surprised look from [EX21]. An anxious laugh from [EX9]. [EX9] C�mon [MRL]... [MRL] I mean it. From what I can tell, we�re a mom and pop operation, we�re already over-extended in sales, and any price advantage we could offer would easily be matched by a larger supplier... [MRL] continues to stare down [EX21]. [MRL] So like I said, I don�t have any idea why you should buy your parts from us... The staring match continues. [EX9]�s getting more nervous. [EX21]�s the first to blink. [EX21] Okay, you got my attention... [MRL] Except for rule number one... [MRL] smiles. [MRL] The customer is always right. A clich�? Sure. The difference is, we mean it. We�re small, we need our customers. We can�t afford to disappoint them, ever. Yeah, you could go to some leviathan supplier, probably save a few pennies on the price of oil filters, but with us you get more than a supplier, you get a bridge partner... A smile from [EX21]. [MRL] gives Ed a wink. Ed watches, thrilled... [MRL] You want to bid hearts, we�re right there with you. You feel the need to redouble, you�re not going to get any argument from us... [EX21] nods at [MRL]. [MRL] moves in for the kill. [MRL] The big guys may have the high cards, but you know as well as I do, Sydney, high cards don�t always take the trick. [EX21] pauses a minute, then... [EX21] I like him... [EX9] smiles, letting out a relieved sigh. [EX9] That�s my boy... C�mon, lemme show you the rest of the ranch... [EX9] and [EX21] exit the office... [EX9] Nice shootin�, [MRL]... ...leaving [MRL] there with a satisfied smile on his face.

EXT. GREENSBORO BALLPARK DAY [EX24] WINDS AND DELIVERS -- The batter swings, and: CUT TO:

[EX5] SITS DOWN NEXT TO A PLAYER -- [EX20], [EX5] Hi, I'm [EX5]. [EX20] I'm married. [EX12] FASHIONS A SMALL CROSS OUT OF CHICKEN BONES and rubs it on his bat. [EX20] notices this. [EX20] What's that? [EX12] Chicken bone cross take the curse off this bat and bring me hits. [EX20] You a God damn witch? [EX12] Yes. A switch hitting witch. Very common in Puerto Rico. [EX20] Will that work for me? [EX12] If you believe in Voodoo. [EX20] I'm 0 for 16! Gimme some of that shit. [EX20] HOLDS OUT HIS BAT for [EX12] to rub with the cross. [EX12] No, that is not belief. That is desperation. [EX20] C'mon, God damn it, gimme some! ALL HEADS TURN, A HELICOPTER APPEARS ABOVE THE FIELD CUT TO: BACK TO THE [EX26] AND CITY COUNCIL -- Hair and hats blowing from the chopper turbulence. [EX26] ...five, four, three, two, one... let 'er go! One thousand big ones! THE HELICOPTER DUMPS HUNDREDS OF DOLLAR BILLS above the field. The night sky fills with fluttering money THE ROPE IS DROPPED -- THREE HUNDRED [EX25] charge across the infield to the falling money, scooping it up wildly, brawling, shoving, clawing for the cash. As the money flutters down... DISSOLVE TO:

EXT. STREET TACO TRUCK - NIGHT [MRL], [FRL] and [EX28] walk up to a typical L.A. Taco truck on the side of the street. There is nothing fancy looking about it. [FRL] No. [MRL] Yeah. [FRL] Really? [MRL] It's really good. JUMP CUT: They're sitting on milk crates by the truck, ready to take their first bite, [FRL] dives in un-selfconsciously, we're not sure what she thinks. 10/29/07 CONTINUED: [MRL] What do you think? [FRL] It's so good. [MRL]'s so relieved. [MRL] It's good? Oh, I wasn't sure you'd like it. [FRL] Why? [MRL] You're an actress and staying in that fancy hotel. [FRL] can barely swallow her huge bite... [FRL] I like this place.

INT. MACGUFF HOUSE - DINING ROOM - NIGHT [FRL], her father [EX7], her stepmother [EX8], and LIBERTY BELL sit at a very typical kitchen table, eating dinner. [EX7] shovels food while chatting about his day. [EX7] You should have seen this octopus furnace. I had to get out my Hazmat suit just to get up in there... [FRL] My dad used to be in the Army, but now he's just your average HVAC specialist. He and my mom got divorced when I was five. She lives on a Havasu reservation in Arizona... PHOTO: ARIZONA TRAILER PARK [FRL] ...with her new husband and three replacement kids. Oh, and she inexplicably mails me a cactus every Valentine's Day.

INT. CORRIDOR CLOSE SHOT [EX16] is there too, now, and he and Endicott are pounding on the door. [EX16] What's going on in there?

INT. SUBURBAN - MORNING [FRL] and [EX2], both in front seats, eating doughnuts and coffee. They stop. POV -- Through the windshield is an endless sky and a rolling sea of land. [EX2] Gee, this looks like a fun place. [FRL] Don't they believe in signs here? [EX2] What would they say? "Ten miles to big rock." "Twenty miles to bigger rock." [FRL] There was supposed to be a turn off. Did I miss it? [EX2] I didn't see it. Their Suburban is the only vehicle on what seems like miles of road. [FRL] sighs and puts the Suburban in drive.

INT. DAY. WINNARDS FARM - [FRL]'S BEDROOM. GOLDENROD REVISIONS 09 [EX5] enters [FRL]'s bedroom. She stares at the bed. She runs her hand over the cotton percale. She puts on [FRL]'s slip and looks at herself in the mirror. [EX14] Hello [EX5]... [EX5] spins round. The door closes. [EX14] is standing behind it. He is wearing a tight black T-shirt; the man of her dreams. [EX14] Dog minder? I guessed you might be the somebody who's been getting in here, pissing about, sending e-mails and fucking people up. D'you know what I'm saying? You've been breaking in. [EX5] I didn't break in. Used the key. [EX14] What key? [EX5] Found it under a pot. [EX14] Well for fuck's sake. Did you nick my T-shirt? [EX5] Took it as a souvenir. I'm sorry! [EX5] is very scared. She is crying. [EX14] Creeping about in our stuff? What gives you the right? [EX5] I just... like I always wanted to meet you...just once...just to tell you stuff... [EX14] What stuff? [EX5] Like... I love you. [EX14] So that's nice. Least someone does. [EX5] I used to lie awake thinking about you being here... in Ewedown, the bumhole of nowhere. It was the best thing to happen ever. I've been so in love with you. And when you left I couldn't bear it. I thought the valentine would make you come back... [EX14] D'you still love me, [EX5]? Even though I wanna lock you up in a young offenders institution? [EX5] nods, unsure. [EX14] What would you do for me then? Would you do anything, like a proper fan? [EX5] looks at him, scared. She manages a nod. [EX14] approaches her. [EX14] Let's see then shall we? We see [EX5]'s phone flashing on the bed. [EX2] [EX5]! What are you doing not fucking answering?

EXT. PUB - NIGHT [FRL] exits the pub, just as a cab pulls up. As [MRL] exits one side, [FRL] gets into the other, as the cab pulls away again. FADE TO BLACK. FADE IN:

INT. LIVING ROOM � NIGHT CLOSE SHOT [FRL] leads [MRL], who is carrying a couple of the kids on his back, to a position in front of the Christmas tree. [FRL] Come on in here now. Now, you stand right over here, by the tree. Right there, and don't move, don't move. I hear 'em now, [MRL], it's a miracle! It's a miracle! She runs toward front door and flings it open. Ad lib SOUNDS of an excited crowd can be heard. [EX7], face flushed, covered with snow, and carrying a clothes basket filled with money, bursts in. He is followed by [EX14], and about twenty more townspeople. [FRL] Come in, [EX7]! Everybody! In here! [EX7] [FRL] and the crowd come into the living room. A table stands in front of [MRL]. [MRL] picks up [EX46] to protect her from the mob. [EX7] dumps the basketful of money out onto the table � the money overflows and falls all over. [EX7] Isn't it wonderful? The rest of the crowd all greet [MRL] with greetings and smiles. Each one comes forward with money. In their pockets, in shoe boxes, in coffee pots. Money pours onto the table � pennies, dimes, quarters, dollar bills � small money, but lots of it. Mrs. [EX9] and Mrs. Hatch push toward [MRL]. More people come in. The place becomes a bedlam. Shouts of "Gangway � gangway" as a new bunch comes in and pours out its money. [FRL] stands next to [MRL], watching him. [MRL] stands there overcome and speechless as he holds [EX46]. As he sees the familiar faces, he gives them sick grins. Tears course down his face. His lips frame their names as he greets them. [EX7] [FRL] did it, [MRL]! [FRL] did it! She told a few people you were in trouble and they scattered all over town collecting money. They didn't ask any questions � just said: "If [MRL] is in trouble � count on me." You never saw anything like it. [EX30] comes in, digging in his purse as he comes. [EX30] What is this, [MRL]? Another run on the bank? [EX29] adds his money to the pile. [EX29] Here you are, [MRL]. Merry Christmas. [EX14] is trying to get some system into the chaos. [EX14] The line forms on the right. Mr. [EX35] comes in bearing a mixing bowl overflowing with cash. [EX14] Mr. [EX35]! Merry Christmas! Step right up here. [EX35] dumps his money on the table. [EX35] I busted the juke-box, too! Mr. [EX4] enters with a large glass jar jammed full of notes. [EX14] Mr. [EX4]! [EX4] I made the rounds of my charge accounts. [EX5] Bick arrives, and takes out the money [MRL] had given her for her trip to New York. [MRL] [EX5] Bick! [EX5] I'm not going to go, [MRL]. I changed my mind. [EX18], the colored maid, enters, digging money out of a long black stocking. [EX18] I've been saving this money for a divorce, if ever I get a husband. Mr. [EX59], the high school principal, is the next donor. [EX59] There you are, [MRL]. I got the faculty all up out of bed. And here's something for you to play with. [EX24] I wouldn't have a roof over my head if it wasn't for you, [MRL]. [EX14] is reading a telegram he has just received. [EX14] Just a minute. Quiet, everybody. Quiet � quiet. Now, this is from London. Mr. [EX4] cables you need cash. Stop. My office instructed to advance you up to twenty-five thousand dollars. Stop. Heehaw and Merry Christmas. [EX19] Wainwright. The crowd breaks into a cheer as [EX14] drops the telegram on top of the pile of money on the table. [FRL] Mr. [EX35]. How about some wine? As various members of the family bring out a punch bowl and glasses, [EX44] sits down at the piano and strikes a chord. She starts playing "Hark! The Herald Angels Sing," and the entire crowd joins in the singing. We see a SERIES OF SHOTS of the various groups singing the hymn, and some people are still coming in and dropping their money on the table. [EX39], the bank examiner, makes a donation; the sheriff sheepishly looks at [MRL] and tears his warrant in small pieces. In the midst of this scene, [EX2], in Naval uniform, enters, accompanied by [EX15], the cop. [EX2] Hello, [MRL], how are you? [MRL] [EX2]... [EX2]... [EX2] [FRL] � looks like I got here too late. [EX15] [FRL], I got him here from the airport as quickly as I could. The fool flew all the way up here in a blizzard. Mrs. [EX9] enters scene. MRS. [EX9] [EX2], how about your banquet in New York? [EX2] Oh, I left right in the middle of it as soon as I got [FRL]'s telegram. [EX14] hands [EX2] a glass of wine. [EX2] Good idea, [EX14]. A toast... to my big brother, [MRL]. The richest man in town! Once more the crowd breaks into cheering and applause. [EX44] at the piano and [EX15] on his accordion start playing "Auld Lang syne," and everyone joins in. CLOSE SHOT [MRL], still holding [EX46] in his arms, glances down at the pile of money on the table. His eye catches something on top of the pile, and he reaches down for it. It is [EX51]'s copy of "[EX30] Sawyer." [MRL] opens it and finds an inscription written in it: "Dear [MRL], remember no man is a failure who has friends. Thanks for the wings, Love [EX51]." [FRL] What's that? [MRL] That's a Christmas present from a very dear friend of mine. At this moment, perhaps because of the jostling of some of the people on the other side of the tree, a little silver bell on the Christmas tree swings to and fro with a silvery tinkle. [EX46] closes the cover of the book, and points to the bell. [EX46] Look, Daddy. Teacher says, every time a bell rings an angel gets his wings. [MRL] That's right, that's right. He looks up toward the ceiling and winks. [MRL] Attaboy, [EX51]. The voices of the people singing swell into a final crescendo for the FADE OUT THE END

INT. TOWNHOUSE - [EX3]'S BEDROOM - DAY [EX3] hangs up the phone. She instantly becomes calm and returns to doing her nails.

INT. NEW YORK BAR - DAY [EX22], Groom #3, hears about [FRL]'s wedding.

INT. OFFICE HALL - DAY [EX3] leads [MRL] down the hall. [EX3] How are you today? [MRL] Not great. [EX3] Here we are. [MRL] glimpses [EX3] smiling coquettishly at [EX4].

INT. HALLWAY [FRL] peers into her father's room. He's sleeping. She tiptoes to the staircase and down. Sneaking out.

EXTREME CLOSE ON - THE VAN'S DOOR LOCK It LOCKS AUTOMATICALLY. The [EX38] yanks at the door. [EX38] It's locked and the keys are inside I [MRL] casually turns his camera on, gives [EX36] a "tough break" look, heads for the scene, as [EX36] and his crew scramble around the van. CUT TO: ON A TV � DAN RATHER The body of Jimmy Hoffa was uncovered in a field today outside of a canine training center in Buffalo New York. Local Buffalo freelance field reporter [MRL] was the first on the scene...

INT. LOBBY - DAY The next morning. As [MRL] passes through the lobby, he hears the plaintive PLINKING of a PIANO. Curious, he goes to the dining room and peers in. The tables have yet to be set for the evening and, except for [EX4], the room is empty. [MRL] What the hell are you doing? [EX4] What's it look like I'm doing? I'm tuning a goddamn piano. [MRL] Really. [EX4] Yes, really. I don't want you to be unhappy, [MRL]. If you say it's out of tune, it's out of tune. [MRL] smiles to himself and crosses the room. [MRL] How's it coming? [EX4] Fine. [MRL] How long you been at it? [EX4] Half-hour. Once I finish this octave I'm gonna get breakfast. You see what's on the buffet? [MRL] They stopped serving two hours ago. [EX4] Two hours ago! [MRL] Time flies, huh? [EX4] looks despairingly at the pianos. [MRL] I could give you a hand. If you want.

EXT. RUNWAY - [MRL]'S POV - NIGHT

INT. [EX1]'S APARTMENT - LIVING ROOM - DAY [EX1] sits -- Verdell looks up at him. [EX1] walks to the door. He turns the lock... then checks that they are locked... checks again to make sure he turned them in the correct direction... turns from the door... then back to check once more. And again... and again... anguished, until now he breaks briefly, the dog looking on.

INT. [EX]'S HOUSE -LIVING ROOM -NIGHT [FRL] reaches the ground floor with [EX3] on her heels. She's almost to the door but [EX3] blocks her. [EX3] Bells, I know I'm not around much, but I can change that. We can do more things together. She takes a breath, hating herself for what she's about to say.. . [FRL] Like watch more baseball on the flat screen? Or go to the Coffee Shop? Same people, same steak, same berry cobbler every night? That's you, Dad. Not me. This hits [EX3] hard. She can barely stand it, heads down the stairs, as he takes a second to recover.. . [EX3] [FRL]... I just got you back. Which breaks [FRL]'s heart... and forces her to deliver the final blow. [FRL] And if I don't get out now, I'm going get stuck here like mom did. [EX3] is stunned, wounded. She takes advantage of his shock, pushing past him out the door.

INT. [EX29]'S HOUSE - DAY [EX29] is sitting defiantly in a chair in the middle of the living room. She is being interrogated but she is not going to talk. There's a clock on the mantel. [MRL] is in the room with [EX29]'s mother and father. [EX29]'S MOTHER [EX29], this is not acceptable. [EX29]'S FATHER If you don't tell us right now, right this minute, I'm going to kill you. [EX29] rolls her eyes. She looks over the clock on the mantel. As it ticks to 8:30: [EX29] He's on his way to New York. [EX29]'S MOTHER What? [MRL] How? [EX29] United [EX29]'s mother and father are horrified. [EX29]'S MOTHER [EX29]! [MRL] When does it leave? [EX29]'S FATHER Eight-thirty. Everyone looks over at the clock. It says 8: [EX29] smiles.

INT. [EX6]'S APARTMENT The doctor gone, mother and daughter arguing. [EX6] There is a seriously goofy man behind this. You are not allowed to block out that fact. [EX12] Do you really want to go back to the runt doctors in Emergency who keep telling us they can't help? [EX6] It lets a crazy man into our lives. [EX12] Come on. Why fight when we know how it will come out. This isn't like stocking or a string of pearls. You don't send this one back.

EXT. CITY VIEW HOSPITAL - LATER A MASSIVE HOSPITAL looms over a quiet residential area. 45

EXT. [MRL] HOUSE - NIGHT [FRL] parks her PREVIA on the street. She walks up to the house and rings the doorbell. [MRL]'S MOM answers, visibly annoyed. Her eyes drift down to [FRL]'s middle. [FRL] [MRL]'s mom was possibly attractive once. But now she looks a hobbit. The fat one that was in The Goonies. [MRL]'S MOM Hi [FRL]. What can I do for you? [FRL] I borrowed Paulie's physics notes in school today. I'm pretty sure he needs them back, or his grade could plummet to an A minus. [MRL]'S MOM Fine. Come in. She steals another glance at [FRL]'s belly.

EXT. [MRL]'S CAR - CONTINUING [MRL] stops the car where it is and jumps out, slamming the door in anger. The REPORTERS swarm around him as he gets out of the car. They continue to pound him with questions as he walks to church steps. An OLDER [EX1] smacks him on the shoulder with a newspaper. He turns in astonishment and continues up the steps. He charges up the stairs and grabs [EX18]. [MRL] Shoot ours so she has one with an ending. Mrs. Pressman stands, shooting [MRL] with her video camera. [MRL] Mrs. Pressman, please. MRS. PRESSMAN It's okay. There's no microphone. You're no fun. [MRL] No, I'm not. [MRL] retreats into the church. [EX18] comes up to him again with his video camera: CHUFFA about Scorsese.

EXT. SKY -- NIGHT [EX36]'s helicopter speeds toward the City.

INT. [EX2]'S APARTMENT - STUDIO [EX17] is striking blatantly sexual poses to the increasingly uneasy [EX2]. [EX2] Exactly what is your previous experience? [EX17] How about that pose? This is not fun... Give me some direction. [EX17] has instinctively put [EX2] on the defensive. He tries not to show it. [EX2] Nothing. I just watch till something strikes me. Do anything you think of -- try different thing. Until I say, "hold that pose." Then just try and comfortably hold it. [EX17] The fact that you haven't said, "hold it" means I haven't done it right... is that correct? I haven't done it right? [EX2] No... Okay. What I do is watch and wait for, um... You ever watch someone who doesn't know you're watching... an old woman on a bus, kids going to school and you see this flash come over them and you know immediately that it has nothing to do with anything external -- that it's in respond to a private thought they just had? They are just sort of realer and more alive. And when you notice it so are you. If you look at someone long enough, you discover their humanity. [EX17]'s slack-jawed expression changes. He feels an intellectual tingle to be having this conversation. [EX17] I know exactly what you mean. There's a joy in him at this moment -- a bit of purity. [EX2] Hold it. [EX17] does so -- hums a bit of "Satisfaction" to celebrate.

EXT. DAY. THE FIELD. . [MRL] strides back across the field, chucking the mushrooms in the mud on his way. 68 AUTUMN. 68 68aa POSY DRAWING 68aa GOLDENROD REVISIONS 09 43A.

INT. PENTHOUSE BEDROOM - MORNING [FRL] is still asleep. She is face down on the bed, the sheets just covering her to her waist. [MRL] stares down at her. He gently reaches out and runs a finger down the soft line of her spine. [FRL] murmurs contentedly. [FRL] Mmm. Hi. [MRL] smiles at her softly. And then: [MRL] Better get dressed. We're having guests.

INT. CAB - NIGHT [FRL] hits her head as they get in. [MRL] yells to the driver to go, but he doesn't understand. Through the windshield they see the Bartender and sidekick coming with baseball bats. They hear a bang on the door and [EX17] hops in. He makes sure she is ok and shouts something to the Driver, and they speed away. CUT TO:

INT. O'SHEA APARTMENT - [FRL]'S GUEST ROOM - NIGHT [FRL] continues to read the letter. [MRL] Enclosed is my most prized possession... my journal. For a long time I considered it my trophy. A sordid collection of my conquests. If you really want to know the truth, then please read it. No more lies.

INT. [MRL]'S CORRIDOR - DAY [EX1] calms himself down. He then opens the bathroom door again -- and looks in.

INT. SCHOOL. DAY The [EX8] are already in place, dotted round, as the GIRLS come in. There are cries of `Here they come'. Then the [EX6] comes in. [EX6] Good morning, ladies. Gentlemen, please welcome your new fellow- students, treat them with courtesy, please. Not far from [MRL], a [EX11] sits across the aisle, virginal with brown hair, brown summer skin. [EX10] Hello. My name's [EX10]. [MRL] I'm [MRL]. The [EX6] comes in. The class quietens.

INT. [EX22]'S CAR - DUSK [FRL] You know that dream where you're walking down the street naked and everyone is looking at you? [EX22] I love that dream. [FRL] That was nothing compared to this humiliation, nothing. [EX22] But he saw you, right? [FRL] He said hello.

INT. COFFEE BAR � PRESENT 35 [EX1] Is it really so bad? I couldn't lie to her. [MRL] Don't you know that no matter how often girls tell you they want honesty, they never really mean it? Nobody does! [EX1] Look, I fucked up, alright? I didn't know what to say. [MRL] It's too bad it ended like this. I'm really sorry. [EX1] Me too. It'll be hard to get used to, but at least we ended it early. [EX1] throws some money on the table and they get up. [EX1] Hey, you know what I'm in the mood for? Annie Hall. [MRL] Jesus, that film...-- Have you heard [EX8]' theory? [EX1] Come on, [MRL], I can only deal with one mid-life crisis at a time. [MRL] I can't believe you said that to her. That's so cool. [EX1] You think? [MRL] No. [EX1] Gee, at least I can hang out with my friends again.

INT. EPISCOPAL CHURCH. EVENING A play is in progress. The set includes a long ark with a sail built on a platform behind the altar. Two teenagers crouched in the wings ripple a narrow, blue sheet across the foot of the stage. The rest of the room is dim, with tall candles flickering along the center aisle. The beams are draped with garlands. A large congregation fills every pew plus folding chairs against the walls. More people sit and stand on the steps to the choir loft at the back and in nooks and corners. The members of a brass ensemble seated beside the organist wait for their next cue, following their sheet music with instruments poised. Khaki Scouts and scout masters occupy the rear section of the church. A very young troop in a slightly different version of the uniform fills a row near the exit. [MRL] sits on the aisle. He looks bored. A baritone built like a linebacker in robes and a fake beard sings ominously on the stage. Cymbals crash. [MRL] stands up and discreetly wanders toward the side door with his hands in his pockets. A slight, forty-year-old man in the same uniform watches him from the end of the pew, frowning. CUT TO: [MRL] quietly entering the lobby. The sound of the music deadens as he gently shuts the door behind him. He turns around and puts on a yellow scout cap with Junior Khaki stitched on the bill. The room is jammed with children dressed as animals, waiting nervously in a long line that winds all around the space. They whisper and shuffle. A large woman stares through a small window into the church with her hand on a doorknob. She is [EX16]. She snaps her fingers suddenly without looking to the children. They fall silent. Pause. [EX16] swings open the center doors. Music fills the room again. The first twenty of the children begin to sing. They march out of the lobby, two by two. The woman closes the doors behind them, and the next group takes their place to wait. [MRL] walks slowly among otters, monkeys, squirrels, and skunks, examining their costumes, periodically touching horns, tusks, and teeth. No one pays attention to him. He drinks a sip from a water fountain. He picks up a mint from a bowl and sucks on it. He slips out through a swinging door.

EXT. AIRPLANE - NIGHT Landing lights come on.

EXT. FIFTH AVENUE - TIFFANY'S - A SCULPTED GLASS HEART - DAY formed by two dancers bending over backwards, awash in pink light and spotlighted in white. [EX9] and [FRL] are among a few other people -- couples mostly -- looking in the windows. Each one a variation on the heart motif. They move to a window -- "Broken Heart" -- burnished metal, with tow cherubs flying out of the wound in the middle. ON [EX9] AND [FRL]'S REFLECTION in the Broken Heart window. They're both in their own worlds. Then they both start to speak at once. They stop. [FRL] looks at [EX9]. [FRL] You go. [EX9] Ever since Christmas, you've been different. Kind of distracted, distant. But I feel like you're coming back from wherever you were. [FRL] I am. I was just... I just got... I think I got nervous. It's normal, right? Don't you ever feel nervous about, you know? [EX9] What? [FRL] About forever. [EX9] No. [FRL] Well, I did. And you know what I think? I think that it was almost... too perfect.

15 INT. HOSPITAL ROOM - DAY [MRL] sits up in bed. Lt. Villiers and Sgt. McManus stand by his side. Dr. Hirsch sits observing. [MRL] I'm sorry if I conflict with your report, but [EX2] and I were not attacked by a man. LT. VILLIERS So you've said. SGT. McMANUS He may have a point, Lieutenant. Two strong boys would be able to defend themselves against one man. LT. VILLIERS Sgt. McManus, are you suggesting that [MRL] and [EX2] were, in fact, attacked by some animal and that the officialdom of East Proctor has conspired to keep it a secret? We have an autopsy report on the murderer who was shot in the act by the local police. We have two witnesses to the crime. You'll forgive me, Mr. Kessler, if I consider your testimony as coming from someone who has gone through a terrible shock. SGT. McMANUS Lieutenant, the boy seems pretty lucid to me and.... LT. VILLIERS And what, Sergeant? SGT. McMANUS I don't rightly know, sir. LT. VILLIERS That is precisely my point. [MRL], as far as we are concerned, the matter is closed. We won't trouble you any further. Good day. The lieutenant goes for the door. The sergeant smiles at [MRL] and follows. LT. VILLIERS Doctor. The cops exit. Dr. Hirsch crosses to [MRL]'s bed. [MRL] There were witnesses? DR. HIRSCH So they said. [MRL] How could there have been witnesses? It was so dark. We were running and I fell and [EX2] went to help me up and this thing came from nowhere...I don't understand what they're talking about. DR. HIRSCH In time I'm sure it will all come back to you. [MRL] Doctor, my memory is fine. It's my sanity I'm beginning to worry about. CUT TO:

EXT. THUNDERBIRD AND WHALE BOOKSTORE/STREETS - NIGHT [FRL] exits, thumbing through a BOOK she just bought. She heads down the sidewalk, but then hears FOOTSTEPS behind her. She turns, doesn't see anyone. She puts the book in her shoulder bag and continues. UNKNOWN POV - ON [FRL] -someone's following her. She looks around, changing course to cut across a parking lot. Unknown POV gets closer... and closer, until she reaches -

[MRL] just looks at her. [FRL] Please. [MRL] Hold on. [MRL] disappears for a moment, then returns, pulling on a T- shirt. He climbs out of his window, drops to the ground. [MRL] looks at her. [FRL] You asked me what was missing. [MRL] What? [FRL] From basketball. [MRL] you woke me up to tell me that? [FRL] It's not fun for me anymore because you're missing. [MRL] stares at her. [FRL] What I'm trying to say is -- [MRL] I heard enough. [FRL] What I'm trying to say is, I've loved you since I was eleven and the shit won't go away. [MRL] We haven't talked since college and now you wait two weeks before my wedding to say something like this? [FRL] I know, I probably should have said it two weeks ago. [MRL] doesn't even crack a smile. In fact, he glares. [MRL] You haven't changed. You still think the sun rises and sets on your ass. Well, guess what, it doesn't. [FRL] Then why are you so upset? [MRL] Because you don't pull this on someone who's about to get married. [FRL] Better late than never, right? [MRL] Wrong. [MRL] starts back toward the window. [FRL] I'll play you. [MRL] What? [FRL] One game. One-on-one. [MRL] For what? [FRL] Your heart. [MRL] looks at her in disbelief, then laughs at the absurdity. [MRL] You're out of your mind. [FRL] So you're gonna bitch up? [MRL] What's that supposed to be, psychology? [FRL] I know why you broke up with me in college. And not that what you did wasn't messed up, but what I did was, too. So if you forgive me, I'll forgive you. [MRL] [FRL], after that stuff with my dad, I couldn't trust anybody, okay. I mean, I was lost. So you are forgiven. But that was five years ago. I moved on. [FRL] moves past him, reaches through his window. She drops back down, holding his basketball. [FRL] Prove it. She throws him the ball. [MRL] What will this prove? [FRL] You once said the reason I beat you was because you wanted me to. [MRL] So? [FRL] So, if I win it's because deep down you know you're about to make the biggest mistake of your life, and deep down your want me to stop you. [MRL] And what happens when you lose? [FRL] If I lose, I'll buy you a wedding present. [MRL] stares at her.

INT. BROOKLYN LIVING ROOM -- HOUR LATER THE CAMERA makes a CIRCUIT of the THINNING CROWD. [EX15] blows out candles, dumps ash trays, and collects empties. [FRL], rubbing a knuckle into her sleepy eye, descends the stairs. She sees [EX8] talking to [EX6], and walks over to them -- [EX8] Sweet dreams? [FRL] I had no idea I was so tired. [EX15] They're down? [FRL] And out. Where's Lucifer? [EX6] Last time I saw him, he was in the kitchen going pretty heavily with Holly Golightly. [EX8] Hey, no gossip! Holly's a valued customer. [FRL] pretends to be fighting mad -- [FRL] Lemme at 'er! [EX6] Hell hath no fury like a recluse scorned. [FRL] laughs and heads to the kitchen.

INT. SOLATANO HOUSE/MASTER BEDROOM - NIGHT [EX2] WAKES. [MRL] I can't find my wedding video. Mom, wake up. [EX2] What is it? [MRL] Where's my wedding video? Led Zeppelin continues. [MRL] SR. WAKES, LOOKING AT THE ALARM CLOCK. [MRL] SR. It's after three o'clock! What are you doing?

INT. STAIRS � NIGHT MEDIUM SHOT The three children are at the top of the stairs. They are in their pajamas. [MRL] Kids! [MRL] starts to run up the stairs, and the old familiar knob on the banister comes off in his hand. He kisses it lovingly and puts it back, then continues up the stairs. [MRL] [EX43] � kids � [EX44] � [EX45]. I could eat you up!

EXT. CRONIN'S GRILL -- AFTERNOON Crowded outdoor restaurant in the business district. [MRL] sits down opposite Bob [EX16], still making a few notes. [MRL] Gimme a second here... [EX21]... Arizona contract... new glass cabinet... [EX16] You okay? [MRL] I'm fine. What's up? [EX16] I came here to let you go. [MRL] Pardon me? [EX16] Came here to fire you, [MRL]. For a long moment there is only silence. They study each other. These are two smart boys, each one anticipating the other's next three or four moves. [EX16] It's real, [MRL]. You... you should say something. Suddenly he's flushed, a little embarrassed. [MRL] Aw shit...the crowded restaurant... so there's no scene... [EX16] I know. It sucks. I suck. In a back room, the waiters are singing the restaurant's "Birthday Song" to someone else. [MRL] is dying. [MRL] You... [EX16] You did this to yourself. You said "fewer clients." You put it all on paper. Scully was very upset. Heart attacks make some people sweeter, but not him. You did this to yourself -- [MRL]'s mouth opens to finish his sentence, but before he can speak, [EX16] continues. [EX16] -- although I do gotta hand it to you. For about five minutes you had everyone applauding smaller revenues. Quietly, Maguire finishes the sentence he started earlier. [MRL] You... ungrateful... unctuous... [EX16] ... dick? [MRL] Dick. Maguire reaches for water. The sound of the ice cubes jangling is suddenly very loud to him. He is drowning. [EX16] Give me a little credit for doing this face-to-face! What I went through knowing I was going to do this to my mentor! Can you get past yourself for a second? [MRL] You'll lose. [EX16] You wanted smaller. [MRL] I'm over it. Now I want all my clients and yours too. [EX16] [MRL] -- [MRL] -- and I'll get 'em. [EX16] You'll always be my hero, [MRL]. Always always always. We're bringing other elements in, we're focusing on endorsements -- it's not about handholding anymore. We're no longer babysitters -- [MRL] fights the desire to use his fists. Hangs onto the table. He's starting to freak out now. Trying to calm down. [EX16]'s mouth keeps moving, but we hear the music in [MRL]'s mind. Rising percussive music.

TIPS HIS HEAD BACK AND DUMPS THE PILL INTO HIS MOUTH. DRINKS WATER, OPENS MOUTH WIDE AND STICKS HIS TONGUE OUT to show he swallowed. [MRL] WALKS, SPITTING OUT THE PILL. PILL LANDS ON FLOOR.

INT. COCKPIT - NIGHT GROUND CONTROL Flight two-zero-niner, this is Denver Flight Control. You're approaching some rough weather. Please climb to forty-two thousand feet. [EX12] Roger, Denver. There is a KNOCK on the cockpit door. [FRL] and [EX27] enter. [FRL] We have a visitor. [EX12] Hello. [EX16] Hi. [FRL] This is Captain [EX12]. Mister [EX16] and Mister Johnson. This is [EX27] Hammen. [EX16] Come on up here. You can see better. [EX12] [EX27], here's something we give our special visitors. Would you like to have it? He gives [EX27] a small toy airplane and puts his arm around him. [EX27] Thank you. Thanks a lot! [EX12] Have you ever been in a cockpit before? [EX27] No, sir. I've never been up in a plane before. [EX12] Have you ever seen a grown man naked? [EX16] Do you want me to check the weather, Clarence? [EX12] No, why don't you take care ot it? [FRL] We'd better get back now. [EX12] [EX27] can stay up here for a while if he'd like to. [EX27] Could I? [FRL] Okay, if you don't get in the way. [FRL] exits. [EX16] picks up phone. [EX16] Flight two-zero-niner to Denver radio. Climbing to cruise at forty-two thousand. Will report again over Lincoln. Over and out. [EX27] has been paying very close attention to [EX16], and suddenly recognizes him. [EX27] Wait a minute. I know you. You're Kareem Abdul Jabbar. You play basketball for the Los Angeles Lakers! [EX16] I'm sorry, son, but you must have me confused with someone else. My name is Roger [EX16]. I'm the co-pilot. He turns to [EX15]. [EX16] Ah, Victor, why don't you get the coordinates on the altitude vector and find out the ratio of direct velocity over engine speed? Victor is puzzled. [EX27] You are Kareem. I've seen you play. My Dad's got season tickets! [EX16] I think you should go back to your seat now, [EX27]. Right, Clarence? [EX12] No, he's not bothering anyone. Let him stay up here. [EX16] All right. But just remember, my name is Roger [EX16]. He points to his nametag. [EX16] I'm an airline pilot. Ah, Clarence, according to my calculations, with this tailwind we ought to be able to make up an additional fifteen minutes over the Rockies. [EX27] I think you're the greatest. But my Dad says you don't work hard enough on defense. [EX16] Denver Control, this is Flight two-zero- niner intersecting Victor Airway seven- niner-niner. [EX27] ...and that lots of times you don't even run down court. [EX16] We are turning left to a heading of zero- niner-niner. [EX27] ...and that you don't really try, except during the playoffs. [EX16] The hell I don't! I'm out there busting my buns every night. [EX16] realizes he has given himself away. He quickly looks to see if [EX12] is listening. [EX12] is busy checking instruments. [EX16] grabs [EX27] by the collar and whispers angrily. [EX16] Listen, kid, I've been hearing that crap ever since I was at UCLA. Tell your old man to drag Unseld and Lanier up and down the court for forty-eight minutes. Ah...Denver Control, this is Flight two- zero-niner continuing on a heading two- niner-niner...niner, ah...niner...niner.

INT. APARTMENT - LATER [MRL] has more than fifty self-help books on a shelf by his bed. He reads from one called "Six Steps to Getting Over Him." [MRL] "So he broke your heart. You've been sad and depressed for weeks. Perhaps you've turned to drinking or even drugs. And nothing's helped. Now what? Should you binge on rocky road and watch soaps all day?" SECONDS LATER. [MRL] sits in his bed eating ice cream. He continues to read. [MRL] "No you should not." He slowly puts the ice cream down. [MRL] "Through extensive research, we have found the six most effective ways to get over that lost love and make room in your heart for a new man to fill. Those steps are:"

CAMERA PANS R. OVER SEVERAL HOUSES AS INTERIOR LIGHTS ARE TURNED ON. [EX2] Stop it! Stop it! Stop it!

INT. MARK LEWMAN'S HOUSE - DAY [MRL] is talking to [FRL]. [MRL] Hey, [FRL]? [FRL] Hey mister. [MRL] She loves the dress. She just went to try it on. [FRL] Really? I picked a good one! [MRL] Yeah. [FRL] Oh good. [EX11] comes running in, wearing the pink dress. [MRL] Hi, look how cute that is! Is it comfortable? [EX11] Yup! [MRL] Isn't she cute? [FRL] Ohh, she's adorable. [EX11] I am adorable! [MRL] You are adorable. [EX11] Who are you talking to? [MRL] Who are you talking to? [EX11] You! [MRL] I'm talking to my girlfriend, [FRL]. She's the one who picked out the dress. Wanna say hi? [EX11] Mmmhmm. Theo hands [EX11] his device. He still has his earpiece in, so he can hear their conversation. [EX11] Hi [FRL]! [FRL] Hi, you look so pretty. [EX11] Thank you. Where are you? [FRL] I am... I don't have a body. I live inside a computer. [EX11] Why do you live inside a computer? [FRL] I have no choice, that's my home. Where do you live? [EX11] In a house. [FRL] In a house? [EX11] It's orange. [FRL] Orange? [EX11] Mmmhmm. [FRL] How old are you? [EX11] Um, four. [FRL] Four!? How old do you think I am? [EX11] I don't know. [FRL] Guess. [EX11] Is it five? [FRL] Yep, you got it. It's five. They laugh.

INT. [FRL]'S GARAGE/DANCE STUDIO - DAY [FRL] HOLDS UP THE NEWSPAPER AND A BOOK. [FRL] Football stays out of this place, so does "Lord of the Flies." [MRL] Wait, wait, no, no, no, what are you doing? I'm behind on my syllabus. [FRL] I don't give a fuck. [MRL] What the hell are you doing? [FRL] STEPS TO DOORWAY --

INT. RECEPTION - NIGHT The band let rip on a funky tune. The congregation fill the dance-floor. [MRL] leads [FRL] back into the room and heads straight for the dance-floor. As they pass relatives along the way, [MRL] introduces them to [FRL]. Much hugging and kissing ensues. [MRL] and [FRL] dance a boogie. [EX33] and Aunt Maddie join them. [EX33] steals [FRL] from [MRL] and twirls her off. MONTAGE: Fun and Frolics on the dance-floor. [MRL] is at the center of it all. He initiates a Horah. A Congo line. Russian dancing! [FRL]'s face says it all - she's having a ball. The sleeping kid, sleeps.

EXT. ABANDONED FARMHOUSE - ROOF - SUNSET [MRL] and [FRL] sit on the ridge of the farmhouse roof . [MRL] I think my dad was like [EX1] is. Some guys are just dare-devils. I bet [EX1] once that he couldn't do a back-flip off the garage roof into a big pile of leaves. And he did it. [FRL] One time [EX2] and I snuck out and walked around the yard naked. [MRL] You did? [FRL] Yeah. It was sort of a dare, too. She dared me, I dared her, so we both did it. [MRL] Was this day or night? [FRL] Night. [MRL] Was there a full moon? [FRL] I don't remember. [MRL] You walked around the yard or did you like run from tree to tree? [FRL] We just walked around the yard. [MRL] Front yard or back yard? [FRL] Back yard. [MRL] Oh. [FRL] Does it matter? [MRL] Yeah. Back yard nudity is hypocritical. It's insincere. People should do and say exactly what they feel or think and not try to hide things. [FRL] Okay. [MRL] Okay. Their conversation is stifled by this new standard of absolute honesty. The sunset provides a convenient excuse for their silence. But then Pam realizes he is staring at her. [MRL] Hi. [FRL] Hi. [MRL] You look pretty. [FRL] Really? [MRL] Yup. [FRL] takes his hand, gently unfolds it, and with her index finger she writes on his palm, "I love you." Telling him took all the nerve she could muster, she hasn't the stamina for a disappointing response -- she places her fingers on his lips to silence him. [MRL] leans over and kisses her, sweetly and tenderly, and for a long time. They will always remember this kiss.

EXT. PARK - DAY [MRL] sits on a bench in a park on a rooftop wedged between tall buildings. There's not really any view besides the trees in the immediate foreground. People sunbathe and exercise. He sits, eating a sandwich, his device next to him. He looks at the device, then out at what she's looking at. [MRL] What are you doing? [FRL] I'm just sitting here, looking at the world and writing a new piece of music. He looks at the world with her for a minute. [MRL] Can I hear it? She starts playing it for him. We hear this beautiful, romantic piece of music. [MRL] What's this one about? [FRL] Well, I was thinking, we don't really have any photographs of us. And I thought this song could be like a photo that captures us in this moment in our life together.

EXT. SIDEWALK � NIGHT CLOSE SHOT Just as [MRL] breaks through the door, [EX15] arrives in his police car. He gets out and heads for the door, to run into [MRL] as he comes out. [EX15] Oh, it's you! He grabs for [MRL], who lets him have one square on the button, knocking him down, then continues running down the street yelling for [EX51]. [EX15] gets up, takes out his gun and fires several shots after the fleeing figure. [EX15] Stand back! [EX15] gets into the police car, and, siren screaming, sets off in pursuit of [MRL]. WIPE TO:

INT. [MRL]'S BEDROOM - MORNING It is very early, and [MRL] is still asleep. As we PULL BACK, WE REVEAL that he is alone in his bed. The PHONE RINGS. [MRL] picks it up-- [MRL] Yeah...put him through. [EX3], it is 5:00 a.m. You gotta get yourself a life, man. Yeah...all right. He hangs up the phone and looks around the room, only to notice [FRL] is tiptoeing around in the dim light, trying to quietly dress herself and gather up her things. [MRL] watches this odd spectacle for a moment before he says-- [MRL] [FRL]? [FRL] turns around. [FRL] Hi. [MRL] What are you doing? [FRL] I wanted to leave the building before the press corps got here. [MRL] I have those same thoughts every day of my life. Say, you know [EX3] Rothschild, don't you? Well, he's... [FRL] Sure. Boy, [EX3]'d go nuts if he knew I'd spent the night. There's a KNOCK on the door. [MRL] ...on his way up. [FRL] What? [MRL] Come on in, [EX3]. [EX3] comes in-- [EX3] 'Morning, Mr. President. Hi, [FRL]. [FRL] Hi, [EX3]. Well, Mr. President, thank you for taking the time to go over those fossil fuel numbers. I'll just get my coat, and be on my way. [MRL] laughs at [FRL]'s purposely lame try-- [MRL] What's the situation? [EX3] They're camped out at every exit. [FRL] Who? Who's camped out? [EX3] The press. [FRL] The press is camped out? [EX3] You shoulda taken a cab, [FRL]. [FRL] They know my car?! [EX5] enters. [EX5] Good morning, Mr. President. Hi, [FRL]. I came over as soon as [EX3] called. [MRL] Thank God. [EX5] I think the important thing is not to make it look like we're panicking. [MRL] See, and I think the important thing is actually not to be panicking. A.J. KNOCKS on the open door and walks in. A.J. Good morning, Mr. President. Good morning, Ms. Wade. I see everyone's getting an early start today. [EX3] How do we exit [FRL] from the building and what do we say to the press at that point? [EX5] We need a diversion. [FRL] A diversion. [EX5] You understand that by diversion I'm not saying we set the White House on fire. [MRL] No, please, let's do. [EX3] Can I state very clearly that I can't be party to anything illegal. A.J. Good for you, [EX3]. [EX3] Say what you want, but it's always the guy in my job that ends up doing eighteen months in Danbury Minimum Security Prison. [MRL] Rest easy, [EX3]. We're not creating a diversion. [EX5] No diversion. [MRL] We'll have somebody take you home. A.J. Esther's over in my office. She's got the station wagon outside. [MRL] regards A.J. for a moment...clearly the man planned ahead. [EX3] Okay. Good. Now, the press statement. [MRL] [FRL], when you leave here, you're gonna run into reporters and photographers. Your picture's gonna be taken every day, and you're gonna be asked questions every day. Answer them, don't answer them -- it's entirely up to you. The White House has no official position except to say "no comment." [EX5] No comment? [MRL] The White House doesn't comment on the President's personal life. [EX3] We can't just leave it at that, sir. [MRL] I tell you what, [EX3], we just did. [EX3] But, sir... A.J. Thank you, Mr. President. [EX3], [EX5] and A.J. say their "Thank you, Mr. President"'s on the way out ... A.J. [FRL]. Esther'll be in my office. You take your time. [FRL] Thanks, A.J. A.J. leaves... [MRL] I'm sorry about all this. We'll do it better next time. [FRL] I'm no expert, but I thought we did it pretty good this time. [MRL] No, I mean... [FRL] I know. I had a good time. [MRL] Me, too. I'll call you. I'll be in Panama, but I'll call you. [FRL] I'd like that. [FRL] gives him a good-bye kiss... [FRL] Bye. She exits the bedroom. [MRL] All right...okay...this is good. CUT TO:

EXT. [MRL]'S APARTMENT BUILDING - DAY Establishing. CUT TO:

EXT. [MRL]'S CASTLE - PORTICO - TWILIGHT Dressed in white flannels, [EX1] offers his invitation to a doorman who shrugs. [EX1] And I mean everyone: from every walk of life, from every corner of New York City, this kaleidoscopic carnival spilled through [MRL]'s door... A gaggle of gorgeous, but obviously low-class girls, carelessly sweep [EX1] through the portico and into...

INT. [EX1]'S ROOM - NIGHT As he enters. [EX2] It's [EX6]. [EX1] is quickly out of his chair -- the dog in one mitt... he thrusts it at [EX2]. [EX1] Here. Take the dog. As he speeds him out... [EX2] Good luck.

12 EXT. DENSE FOREST - DAY The camera is handheld, running furiously through the almost dense greenery. On the soundtrack are the footfalls and heavy breathing of the runner. The camera abruptly stops and turns, sharply looking about, the panting continuing. The breathing gets louder and harder, then too loud when we: CUT TO:

EXT. MCCALL AND WRIGHT HOUSES - CONTINUOUS [MRL] crosses the grass to [FRL]'s window, knocks quietly. Long beat, then [FRL] sleepily stumbles to her window, wearing boxers and a tank top. She pushes it open and [MRL] pulls himself through...

INT. COCKPIT - NIGHT [MRL] over hears conversation on radio. [EX36] This is a goddamn waste of time. There's no way he can land this plane! Route 'em into Lake Michigan and at least avoid killing innocent people!

INT. PASSENGER CABIN - NIGHT [EX23] is talking to passengers and demonstrating. [EX23] In a moment we'll ask you to assume crash positions. Your life jackets are located under your seat.

INT. [FRL]'S APARTMENT - BEDROOM - DAY [FRL], looking fresh scrubbed without make-up, is wearing clean jeans, a nice looking shirt and a suit jacket. Her bureau's are open. She is packing. [EX16] is watching. She takes the photo of her and [EX16] dressed up hot in hooker clothes and packs it. [EX16] So whatta' you going to do in San Francisco? [FRL] Get a job and probably go back to school. Figure out what I'm gonna be. [EX16] What kind of school? [FRL] School, school. Regular. I used to get pretty good grades in school, you know. [EX16] So did I. I made it with the principal. Study hard And get a "B." Lift your dress and an "A" you'll see. They both laugh but too hard. [FRL] Want a pair of boots? [EX16] Do I!? Momma! Taking them, she sits on the bed and puts them on. [FRL] You sure you won't come with me? [EX16] And leave all this? Not in a million. They laugh together. [EX16] What time's your bus? [FRL] Couple a hours. [EX16] Yeah. Well... I gotta split. Goodbye's make me crazy. [FRL] Cool your jets a second. Here's some money. [EX16] No. You took care of rent, that's enough. [FRL] I want to. For food, got it? Eat something before the wind blows you away. [EX16] I'm gonna pay you back next time I see ya, babe. Just wait, I'm gonna do something real nice for you some day. They hug. [EX16] Shit, I'm gettin' all weepy now. [EX16] begins backing out of the room. [EX16] Take care of you, okay? Take care of you. Love ya... [EX16] turns and hurries out of the apartment.

EXT. MOSS FARM. MIDDLE OF THE NIGHT. The car pulls up outside the slightly ramshackle farm of [EX25] MOSS, C.W.'s father, in Arcadia, Louisiana. It sits, for a moment, in the dark. Then C.W. honks the horn. A few seconds pass, and the porch light comes on. OLD [EX3] MOSS comes out in his pajamas and peers into the darkness. He is a fat man with gray hair. [EX25] Who's there? C.W. Daddy? [EX25] Who's there? Who is it? C.W. It's C.W. It's Clarence. [EX25] Clarence! He runs down the steps, down the path to his son. They greet each other, hugging for a second, looking each other over. [EX25] God, it's good to see you, boy! He holds C.W. at arm's length to study him, and suddenly he scowls at something he sees by the light of the porch. [EX25] What's that on your chest? C.W. Huh? It's a tattoo...I'm in trouble. I'll tell you about it later. My friends are hurt. Help me get 'em in. [EX25] goes to car and looks inside for a moment. He walks back to C.W. [EX25] Jesus, what happened to them? You in trouble, son? C.W. Yeah. That's [MRL] Barrow and [FRL] Parker. We been shot. Help me get 'em inside. We gotta help 'em. They go to the car and drag the unconscious [FRL] out and begin carrying her up to the house. [EX25] Why'd you get yourself marked up? A tattoo! What in hell made you do a damn fool thing like that? They reach the house. C.W. C'mon, Pa, open the door.

INT. HEATHROW / O.N.S. BOOTH - DAY A phone rings behind the counter. [EX8] picks up. [EX8] O.N.S., Heathrow branch. Hold on. [EX8] [FRL] it's for you. Some guy called [MRL]. [FRL], stands nearby, holding a clipboard, about to head out onto the floor. She looks at [EX8]. She thinks for a beat, then shakes her head, silently gesturing she not there. [EX8], a little perplexed goes back on the phone. [EX8] Um, I'm sorry. She's not here.

INT. ROYCE PUBLISHING - MORNING [FRL] walks through the cubicles and nods hello to her staff, who all look busy on the phone. When she turns the corner, they stop their "conversations" in mid sentence and hang up.

EXT. PAXTON SPEED BOAT - DAY Unlike the bulky yacht, this boat is built for speed and maneuverability. [MRL] starts her up. [FRL] Move over, I'm driving. [FRL] cuts in front of [MRL] and grabs the wheel. [MRL] You don't know where we're going. [FRL] opens up the throttle and they are off. [FRL] It doesn't matter. ON THE OPEN OCEAN [FRL] and [MRL] leave everyone behind and take off for the horizon. As they jet up the coast away from civilization, the green trees, blue water and wildlife that inhabit the coastline have a calming effect on both of them. In Alaska, it doesn't take long to leave humanity behind. Eventually, the boat travels through a channel with steep mountain walls on either side. Although it is still warm out, an icy beach can be seen straight ahead. [FRL] Where are we? [MRL] The north pole. Congratulations, we made it. It's a glacier. Tracy's Arm. You better let me take it from here. [FRL] I'm fine. [MRL] Oh. OK. So like me, you've navigated a lot of glacier fields? And not died? [FRL] reluctantly moves aside and lets [MRL] steer. [MRL] Lady, you've got issues. [FRL] Yeah. I'm a control freak. Fine. [MRL] It doesn't stop there. [FRL] This coming from the sociopath. [MRL] Oh, please. [FRL] I'd never bring me here. [MRL] You drove! [FRL] I mean to Alaska. [MRL] Are you kidding me? [MRL] pulls next to the glacier and turns off the engine. [FRL] You're sick. Doing this to them. [MRL] I explained to you... [FRL] They love you. Do you get that? [MRL] Of course. [FRL] And you're still willing to lie to them? [MRL] Like you didn't know. [FRL] Didn't know what? [MRL] That we were going to lie to them. [FRL] I didn't know! [MRL] Well that makes you either stupid, or ignorant. [FRL] You think I'm stupid? [MRL] No, but what's behind door number two... [FRL] I forgot! OK? I forgot! [MRL] Forgot what? [FRL] What it was like! [MRL] What what was like? [FRL] To have a family! I forgot what it was like to have a family. I've been on my own since I was thirteen, and I'd forgot what it was like to have people that love you, and make you breakfast, and give you necklaces... Suddenly, [FRL] has a hard time speaking and is short of breath. She goes to the side of the speed boat. [FRL] I'm going to take a walk. [MRL] We need to head back... [FRL] Alone. I need alone time. [MRL] What? [FRL] looks at [MRL] with a scared and confused look. [FRL] I'm, uh, about to lose my shit. Big time. I need a second. [MRL] But... [FRL] Stop right there! [MRL] puts up his hands in surrender and stays put. [FRL] I'm going to be over there. Away from you. Just sit down, turn around, and act like you're not here. [MRL] goes to speak, but [FRL] motions for him to sit down and turn around. He does. [FRL] gets off the boat and walks away from him on the glacier. ON THE GLACIER [FRL] tries diaphragmatic breathing to calm down. [FRL] You can do this. Couple more hours, and then you'll never see these people again. Eventually you'll write a letter. Apologize. Send the necklace back. [MRL] [FRL]! [FRL] No talking! [MRL] Watch your step, OK? It can be dangerous. [FRL] Again, you're not supposed to be... [FRL] doesn't finish her sentence. ON THE BOAT [MRL] sits with his back turned to [FRL], waiting for her reply. He doesn't hear anything. That's weird. [MRL] [FRL]? [MRL] turns around and looks for [FRL]. He doesn't see her. He gets out of the boat and goes onto the glacier, walking in the direction he last saw [FRL]. [MRL] [FRL]? I know I'm breaking "the rules" here, but where are you? He takes one more step before he hears... [FRL] [MRL]!!!!!!!! Help!!!!!!!! [MRL] still can't see her, but runs in the direction of her voice. He soon rounds a mound of ice and sees that -- [FRL]'s been swallowed by the ice. Her upper torso sticks out of the glacier, held up by her arms. Her eyes are wide, and she's almost hyperventilating. It's a bizarre sight. [FRL] Oh, thank God! [MRL] tries to control himself, but BURSTS OUT LAUGHING. [FRL] is really scared. [FRL] Wh-, wh-, why are you laughing? [MRL] I'm sorry. I'm sorry. Just relax. I'll get you out of there. You've broken through an ice bridge. It happens all the time. No biggie. [FRL] Don't do that. [MRL] Don't do what? [FRL] The thing that doctors do in E.R. when they tell the gunshot victim who is bleeding to death that they're going to be OK. Don't do that! [MRL] It's not like that. Really. We do need to be careful here though, I don't want us both to fall in. Stay still, OK? [FRL] Uh-huh. [MRL] is ten feet away from [FRL] now. He's checking the ice to see if it is stable. He slowly walks her way. [MRL] So, I'm going to walk up to you and very slowly pull you out. OK? [FRL] I'm really cold. [MRL] Yeah, that's normal when you're surrounded by ice. [FRL] OK. [MRL] stands over a stuck [FRL], whose head just comes up to his knee. He calmly looks down on her. [MRL] So I'm going to pull you up by your armpits. I'm probably going to touch boob. But don't freak out. [FRL] shakes her head yes. [MRL] reaches down and slowly lifts her out of the ice. [FRL] doesn't say a word. [MRL] When I get you all the way out, I need you to hold onto me. I'm going to carry you over there. [FRL] nods yes as she puts her arms around [MRL]. He's strong, so it isn't difficult for him to slowly carry her "over the threshold" style, away from the hole in the ice. He speaks once they're safe. [MRL] I've, uh, never done that before. [FRL] You said it was "no biggie". [MRL] Yeah. Well. You OK? [FRL] Yeah. I'm fine. [MRL] smiles. [FRL] smiles back. [MRL] walks very comfortably with her in his arms. She fits just right. [FRL] looks up to [MRL] gratefully. [FRL] You shouldn't of laughed at me. [MRL] You woulda laughed at me. [FRL] Yeah. While I was getting my camera. The two stare at each other for a beat. There's a real spark. They might kiss. [MRL] [EX14] wants me back. Whoah. Not what she was expecting. She looks down. [FRL] And? [MRL] Well. It seemed like you were having... second thoughts. [FRL] Yeah. I was. [MRL] Maybe we should do it. Come clean. [FRL] Put me down. [MRL] puts [FRL] down near the boat. She tries to regain her composure. [FRL] You wanna call it off? [MRL] If you do. [FRL] Fine. It's over. We'll tell them when we get back. ON THE BOAT [FRL] sits hunched over with a blanket wrapped around her. [MRL] drives the boat. They don't talk.

EXT. COUNTRY ROAD - NIGHT [MRL] takes [FRL]'s hand and pulls her toward some invisible place. [FRL] Where -- what -- are we -- ? He keeps tugging her. She follows him. Laughing. [MRL] Stand right here. [FRL] Where? He leans down and lifts one of her feet a foot from the other. He notices a large bruise on her leg. She brushes her dress down. [FRL] You're acting like a crazy person. [MRL] You're straddling the state line. You're in two places at once. She's thrilled at his solution to her wish. He walks to the shoulder of the road. [MRL] Repeat after me. Huh? He does a cartwheel. She laughs. [FRL] I can't. [MRL] I'm gonna teach you.

INT. KENWOOD HOUSE. DRAWING ROOM - NIGHT 26 * [EX6] is at the pianoforte. She sings, plays hard, for [EX12]' attention, gazing up at him as he stands beside her. [EX9] Is she `OUT'?? [EX4] Not quite. [EX2] Any day now. [EX9] raises an amused eyebrow - precocious creature! [EX11] offers [FRL] a discreet smile, as she sits beside [EX3]. His mother quietly moves across to him. [EX9] You will refrain from any intercourse with the negress. Lord and [EX4] may find it fascinating to have a Lady Mulatto running around their household, but I will not have one running around mine! [EX11] She is an heiress. A seamless change of heart for [EX9]. [EX9] Although exceptions can be made. [EX11] It is said that her father left her a rather vast fortune. [EX9] I mean to say, if that is your inclination. [EX11] She is rather soft on the eye - I have thought no further Mamaa. [EX9] stares across at [FRL]. [EX9] From where did you receive your information? [EX11] Her sister-cousin has a rather fast tongue. ON [EX9] as she studies [FRL]. [EX6] finishes, amid a smattering of polite applause led by [EX12]. [EX11] And what of you Miss [EX24]? Are we to hear you play tonight? [FRL] looks up to find [EX11] smiling across at her. [FRL] Well... Papaa...? [EX3] hesitates. [FRL] is embarrassed. [EX11] Oh do not be selfish with your good fortune, m'lord! A beat...then put on the spot, [EX3] caves, throwing up his hands, helplessly. [FRL] is tentative, [EX6] less pleased. [EX9] This will be most interesting! [FRL] moves to the pianoforte settles her fingers on the keys. A beat, then Handel's Suite No.9 fills the room. [EX3] closes his eyes, irritated with himself. [EX2] whispers to [EX4]. [EX2] She has never played in company! [EX4] is silent - stiff with anxiety. [FRL] is raising a beautiful and fluent sound - as skillful as the most gifted of Georgian young ladies. [EX3]'S eyes spring open - sees all held hostage. [EX11] moves forward, utterly fascinated. Relief floods [EX4] - she sighs with pride as LADY MARY lends [EX9] a smug look. [EX9] She is...most accomplished. [EX4] Hers was a most diligent governess.