Split (2)

train · 6.47k rows

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INT. RESTAURANT - NIGHT [MRL]: sits across from [EX16]. [EX16]: So... you haven't been involved with anyone in all this time? [MRL]: It's been a pretty lonely couple of years. [EX16]: I'm sorry. [MRL]: I miss you. [EX16]: Miss you, too. I have been seeing someone for a little while. [MRL]: Oh! Great. That's great! [EX16]: A religion instructor at Columbia. A good guy. He's a good guy. [MRL]: I'm sorry. I really shouldn't have -- [EX16]: I'm glad you called.
EXT. STREET. MOVING SHOT. DAY. [MRL]: Goin' to work, huh? What do you do? [FRL]: None of your business. [MRL]: I bet you're a...movie star! No...A lady mechanic?...No...A maid?-- [FRL]: What do you think I am? [MRL]: A waitress. [FRL]: What line of work are you in? When you're not stealin' cars? [MRL]: I tell you, I'm lookin' for suitable employment right at the moment. [FRL]: What did you do before? [MRL]: I was in State Prison. [FRL]: State Prison? [MRL] Yeah. [FRL]: Guess some little old lady wasn't so nice. [MRL]: It was armed robbery.
INT. [MRL]'S KITCHEN ROOM - MORNING [MRL]: alone in the kitchen, brooding. [FRL] enters in her Kimono. [FRL]: You seem so unhappy with me. [MRL]: Well are you happy here? [FRL]: Maybe I'm not perfect at it. I don't really know what I'm doing... but I want to be here. He's silent, distant, confused. She's hurt by his silence and mistrust and leaves.
INT. AIRPORT TOWER - DAY [EX27]: has an easy job. Jets fly into Sitka, but there are only about six flights a day. He is half awake as he radios [FRL]'s flight. Reggae music plays in the background. [EX27]: Flight 1601, you're clear for takeoff. [EX27]: Tower. Talk to me. [MRL]: Hey [EX27], it's [MRL]. [EX27]: Hey man. Heard about your lady bailing. How often does this happen to you? [MRL]: Need you to do me a solid, brother. I gotta see my girl and she's on that flight. Could you stop it for me? [EX27]: No can do brohan. Need a good reason for the FAA holes. Lose my jobby job if I delivered that favor.
EXT. [MRL]'S HOUSE - DAY [MRL]: walks up the path to his house. [MRL]: If my parents ask me about it, I probably won't tell them the truth because I don't want them to worry that I might get bad again.
INT. [MRL]'S APARTMENT - NIGHT [EX4]: is at the machine. [EX4]: We got him back. [EX5], I think I'm just going to have to get through this manually. We're running late.
INT. HOUSE - NIGHT [MRL]: Here is Seattle. And here is Baltimore. Case closed. [EX5] She doesn't want us to go to Baltimore. She wants to meet us in New York City on Valentine's Day. On top of the Empire State Building. [MRL]: Perfect. We'll be there. [MRL]: goes out the door. [EX5] just looks down at his letter, his hopes on hold. [EX32] switches the TV back to [EX30].
INT. HOTEL SPA BATH - EVENING [MRL]: reclines in the big Japanese wooden tub, steam rises as he is turning red. His phone rings. He dries his hands quickly to reach it before it stops ringing. [MRL]: Hello? [EX23]: [MRL]? [EX23]: Is this a bad time? [EX23]: It's really hard to reach you... Did you get the carpet samples? I like the burgundy. [EX23]: It's just carpet. [MRL]: That's not what I'm talking about. [EX23]: What are you talking about? [MRL]: I don't know. [EX23]: Is there anything I can do? [MRL]: I don't know... I want to be more healthy. I want to eat better. [EX23]: What? [MRL]: You know, eat healthier. [EX23]: Alright? [MRL]: Not all that pasta. [EX23]: Fine. [MRL]: Like Japanese food. [EX23]: Why don't you just stay there, and you can have it everyday. [EX23]: I have to go, Adam's tormenting Zoe, I'll talk to you later. Are you going to be Ok?
INT. [MRL]'S BEDROOM [MRL]: I don't know [FRL]. I don't think this is what I am supposed to feel like. [FRL] looks crushed and surprised. [FRL]: Okay. I will go back to New York then. She gets up to go.
INT. THE PARTY ROOM -- NIGHT [EX3]: It's them, it's them! Be casual. Come in! [EX30]: Shut up and be cool, man. Like [EX14] there... [EX14]: "LOUNGES" WITH A DRINK and a cigaret. [EX14]: You wanta make it to the Show, Rock, you gotta learn how to "lounge". [EX24]: LEANS ON THE BAR with an elbow, striking his version of a "lounging" pose. [EX24]: How's this? [EX14]: You got it. [EX30]: Entre. [EX31]: Pa--rty!
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. [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. [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. [MRL]: I'll be back in a few hours. We'll talk about this later.
[EX1]: Damn. [EX14]: Let's go, Patty! [EX1]: Come on, [MRL]! [MRL]: AND [FRL] STAND IN THE AWKWARD SILENCE BEFORE THE MUSIC STARTS, STARE AT EACH OTHER. SHE TILTS HER HEAD TO SAY, `Come on' to him. [FRL]: AND [MRL] AS THEY DANCE, MOVING DOWN ONTO THE FLOOR. [MRL]: CRAWLS TOWARD [FRL].
EXT. PRISON YARD. DAY [MRL]: is led in the GROUP towards the visiting room. It has come on to snow. As he walks towards the room, he loses heart. He changes his mind. The rest of the GROUP go on, as he falls behind, watching them go. He begins to turn back.
INT ANNE FRANK HOUSE - GROUND FLOOR - MOMENTS LATER A VIDEO plays on a MONITOR showing the Nazi invasion of Holland. [FRL] and [MRL] stand with [EX24] in a pack of BACKPACKERS and TRAVELERS about to take the tour. Many of them begin to walk up the first flight of stairs. [EX24]: Shall we? [FRL] nods. Both [FRL] and [MRL] walk slowly up the stairs. So far so good. They find themselves in an office space. [EX24]: This is the bookcase that hid the Frank family and four others. The BOOKCASE is half open. Behind it is an even steeper set of stairs, only wide enough for one person at a time.
INT. PASSENGER CABIN - ANOTHER AREA - NIGHT [EX23]: is taking [MRL]'s ticket. [EX23]: Fourteen-B. It's halfway down on your right. [MRL]: Thank you.
INT. HOTEL LOUNGE - DAY [EX16]: finishes slurping on a big, frosty ice cream soda. She smacks her lips like a happy, little girl. [FRL] isn't having anything. [EX16]: Was that you? [FRL]: Who did you think? [EX16]: [EX17]. I still owe him two hundred bucks... [EX16]: Yeah. I just got it. [EX16]: Fifty bucks, grampa. For seventy-five, the wife can watch. [FRL]: [EX16]... [EX16]: Everybody keeps starin' at me. [FRL]: Yeah... I know what you mean. [EX16]: What do you know? You look good. All dressed up. You clean up real nice. You sure don't fit in down on the Boulevard, lookin' like you do. Not that you ever did anyway. [FRL]: You think I fit here where they just about chew your food for you? [EX16]: Where do you fit? [FRL]: is silent, then. [FRL]: I kissed him, [EX16]. On the mouth. [FRL]: I know. I stopped pretending and started liking it with him for real. [FRL]: It was great. [EX16]: Dummy. [FRL]: He wants to set me up in a place, give me some money. [EX16]: I pray for that. [FRL]: All I'm doing is feeling lousy about it. I don't know what to do. What do I do, [EX16]? [EX16]: Go for the bucks. [FRL]: I don't care about bucks. I might love this guy. [FRL]: is silent again. [EX16]: I blame myself here. First time I laid eyes on ya', I knew you were too complicated to be a whore. [FRL]: nods. Her face is filled with confusion.
He gets to the door and holds Josh out to the DAY CARE LADY. She stares at Josh�s outfit... [MRL] Do I get a receipt or something...? The woman looks at [MRL] like he�s crazy.
INT. HOUSE/UPSTAIRS HALLWAY - DAY - FLASHBACK
INT. HOTEL - [MRL] AND ROSA'S ROOM - DAY [MRL]: lays down on his TWIN BED with his ROBE on over his clothes.
INT. SOLATANO HOUSE/ATTIC - NIGHT [MRL]: You can't tell [EX26] about this, Officer. [EX9]: She can see it by law. [MRL]: STANDS UP. [EX2]: Hey! [EX9]: Sit down.
INT. [MRL]'S HOUSE - AFTERNOON [MRL]: tapes his book cover back together. He looks up as his dad comes home from a long day. [MRL]'s mom hugs him. [MRL]: If my [EX15] were still here, I could talk to her. And I know she would understand how I am both happy and sad, and I'm still trying to figure out how that could be. I just hope I make a friend soon. Love always, [MRL].
INT. ARRIVALS HALL - DAY [FRL]: So you spent the whole 2 weeks in the Toronto area? [EX9]: Yes. Our daughter lives there, see. [FRL]: Ah. So not a business trip then? [FRL]: Some might.
EXT. COUNTRYSIDE. DAY
INT. HALLWAY - LIVING ROOM - DINING ROOM - DAY [MRL]: is drinking tea and reading the newspaper. [EX3]. Suddenly, the DOORBELL RINGS. [MRL]: Who's there? [MRL]: [EX4]? [MRL]: Just a minute. [MRL]: Hello. [EX4]: Hello. What was going on? [MRL]: I was in the toilet. Sorry. [MRL]: Come in. [EX4]: points to the bedroom with a questioning look. He shakes his head as if to play down the question, and indicates back in the direction of the living room, as if to say: "You understand, huh?". [EX4] is slightly irritated, but follows him into the living room. [MRL]: Why this unannounced visit? Where have you come from? [EX4]: What's going on with Mom? [MRL]: Nothing. What should be going on? [EX4]: Well... [MRL] Don't you want to sit down first? [EX4]: wants to answer, but finally gives in and sits down. [MRL] does the same. [MRL]: So why are you in Paris? [EX4]: What's going on with Mom? Why don't you answer the phone? After our last conversation, I left four messages on your answering machine. Why don't you call back? [MRL]: Sorry. I didn't listen to it. Forgive me. [EX4]: Don't you realize we're worried? [MRL]: Your worries are no use to me. [EX4]: glares at him. [EX4]: Dad... [MRL]: No. Let's stop this conversation right there. I'm taking care of your mother. It's a full-time job. And I'm not saying that to complain, just to explain why I didn't answer your phone calls and why I don't want to have any pointless discussions on the subject. Your mother is just as could have been expected: bad the whole time. [MRL] She is turning more and more into a helpless child, and it's sad and humiliating, for her and for me. And she doesn't want to be seen in that state either. Even the last time you visited, she didn't want you to come. You two have your own life. Nothing wrong with that. But let us have our life too. Even though it's a lousy one. OK? [MRL]: Nothing's the matter; your visit caught me by surprise. And I'm annoyed that you show up here to check that everything's OK. Who do you think you are? [EX4]: I...
INT. COMMUTER TRAIN - NIGHT
INT. WRIGHT HOUSE - [FRL]'S ROOM - NIGHT
INT. [MRL]'S APARTMENT. EVE [MRL]: is holding a letter. He looks down at the writing : `Thanks for the latest, kid. I really liked it.' He stares, then puts it down and steps back stunned.
INT. HOME/TENT - NIGHT [MRL]: enters the tent and surveys the gathering -- a tuxedoed ten-piece band plays on the bandstand. [EX2]: I'm going out to the lake tomorrow. [EX6] wants to show-off her dad's new boat. Why don't you come? [EX1]: I have to work. [EX1]: What do you mean? [EX2]: You said you wanted to talk to me in private. [EX1]: I meant... just... we never get a chance to be together, alone, you know? [EX7]: makes his move and cuts in on [EX1] and dances away with [EX2]. [EX1] handles it with aplomb but his true irritation at being separated from the object of his desire reveals itself as he observes [EX2] flirting with her new dance partner.
INT. BROWNSTONE LIVING ROOM -- SAME [FRL]: smiles feebly and plops down on the cracked leather ottoman. She looks blankly at the TV. She sniffles and wipes a hand across her nose. Dolores glances over, then back at the set. [EX13]: Seen that face before. [FRL]: You have? [EX13]: And for the same god damn reason. [FRL]: is confused, but then puts it together -- [FRL]: But you said [MRL] and my Mom were just friends. [FRL]: Why didn't he give her one? [EX13]: 'Cause he knocked up little Millie Tyler instead. In Newport. At Bailey's Beach. During the Labor Day clam bake. [EX13]: Millie was your mom's best friend from Nightingale. You had to hand it to him. He sure knew how to make a point. [FRL]: Why did he do that? [FRL]: Why didn't you tell me any of this before? [FRL]: You never talk to me! You never try to help me! [FRL]: Yes! You're my family. You're supposed to take care of me. [FRL]: drops her head dejectedly. [FRL]: Anything... anything you would ever have told me, I would have listened to! I promise.
EXT. HOTEL - EVENING
INT. GRAY'S PAPAYA HOT DOGS - DAY [FRL]: Who knew you were such a romantic. [MRL]: What a year, huh? [FRL]: Incredible. Wouldn't change a thing. Well, except for the part where you dumped me. [MRL]: And the part where you dumped me. Girls...Mommy and Daddy were stupid. [MRL]: The first time we held hands was in here. It started out as a high- five, but then I strategically turned into a hand-hold. [FRL]: How do you remember that? [MRL]: We both agreed that we were totally sick of weddings and hated when people wrote their own vows. [FRL]: That's right. I remember that. [MRL]: So...I hope you won't hold it against me. [FRL]: What? [FRL]: What are you doing here? [FRL]: [EX1]? [FRL]: What's happening?
INT. [EX2]'S HOME - DAY - LATER
FROM THE NEXT SCENE, we hear the sound of SQUEALING, LAUGHING, SHOUTING CHILDREN.
INT. BATTING CAGES - DAY [EX8]: fully geared up: batting helmet, gloves, elbow pad, eye-black. [MRL] behind the backstop, watching. [EX8]: Watch and learn, Bhai. It's all about shifting weight and torque. [EX8]: Oh Christ! [MRL]: Oh. [MRL]: You're like a Pakistani Sammy Sosa. [MRL]: Hey he's pretty good. Just do what he's doing. [EX8]: throws down his bat and exits the cage.
INT. [EX13] AND [EX14]'S KITCHEN/CONSERVATORY - NIGHT [EX13]: walks over to the table. [EX15], [EX14], [MRL] and another girl. [EX13]: [EX21] -- some woodcock? [EX13]: I don't realize that. [MRL]: And ahm -- what's a fruitarian exactly? [EX21]: We believe that fruits and vegetables have feelings so we think cooking is cruel. We only eat things that have actually fallen from the tree or bush -- that are, in fact, dead already. [MRL]: Right. Right. Interesting stuff. So these carrots... [EX21]: Have been murdered, yes. [MRL]: Murdered? Poor carrots. How beastly.
EXT. MILL GROVE HIGH SCHOOL - FOOTBALL STADIUM - NIGHT [EX7]: Come on Devils! Woooooo! [MRL]: looks up at [EX7], cheering his head off. TWIN SENIOR GIRLS pass him, taunting. [EX7]: Suck it, virginity pledges! [MRL]: wants to go up to [EX7] so badly. After driving himself crazy, sitting up and down twice, he approaches. [MRL]: Hey... [EX7]. [EX7]: Hey! You're in my shop class, right? How's your clock coming? [MRL]: My dad's building it. [EX7]: Yeah. Mine looks like a boat. You want to sit over here, or are you waiting for your friends? [MRL]: No. I'll sit if that's okay. [EX7]: motions for [MRL] to sit. [MRL] sits. Elated. [EX7]: Thanks for not calling me "Nothing" by the way. It's an endless nightmare. And these assholes actually think they're being original. [EX4]: puts on his helmet and rushes onto the field. [MRL] dries his hands on his pants. So nervous. A 5 second silence that feels like a year. Think of something to say. Anything. [EX7]: Love it. [MRL]: looks up. Standing there is the prettiest girl he's ever seen. [FRL] would make every mother proud and every father nervous. She is alive, adventurous, and a world class flirt. Great attitude. Great taste. Great banter. [FRL]: Question. Could the bathrooms here be more disgusting? [FRL]: sits down, sandwiching [MRL] between her and [EX7]. [MRL] tries to remain casual. Hang in there, buddy. [EX7]: Party tonight? [FRL]: No. He's still trying to shag that waitress from the Olive Garden. [EX7]: He's never tossing that salad. [EX4]: marches the Devils offense down the field. The kids clap. [FRL] looks at [MRL], then turns back to [EX7]. [FRL]: [EX7]... who's this? [EX7]: This is... [MRL]: Uh... [MRL]... Kelmeckis. [EX7]: Kelmeckis! No shit! Your sister dates Pony Tail [EX6], doesn't she? [MRL]: Is that what they call him? [FRL]: Awww. Leave Pony Tail [EX6] alone. You put the "ass" in "class," [EX7]. [EX7]: I try, [FRL]. I try. [FRL]: It's nice to meet you, [MRL]. I'm [FRL]. [FRL]: extends her hand to [MRL]. Every nail a different color. They shake. Then, [FRL] grabs a nacho. Zoinks! [FRL]: Can't. She got caught watering down her parent's brandy with iced tea. Let's just go to Kings. [EX7]: Hey... we're going to Kings after the game if you want to come. [MRL]: nods just as [EX4] tosses a touchdown pass. The fans go crazy. Especially [EX7]. [MRL] smiles.
INT. [EX11] - NIGHT [FRL]: is seated on a stool. [MRL] washes her.
INT. [MRL]'S APARTMENT - NIGHT [FRL]: [MRL]. Can you... pick up? Will you call me?
EXT. [FRL]'S HOUSE -- NIGHT [MRL]: exits cab, holding hang-up bag. Looks at the house. On the other side of that window is a world he hopes he's still a part of.
INT. THE WEST WING - DAY [EX3]: Because you dropped the whole kick-ass section, now we've got this thing hanging out there. [MRL]: There's a thing hanging out there? [EX3]: "Americans can no longer afford to pretend that they live in a great society." Then ...nothing. No explanation. No context. So now it's just this thing. [MRL]: And it's hanging out there? [MRL]: stops at an open doorway, calls to a STAFFER-- [MRL]: Maria-- [MRL]: Did they tell you I'm gonna need-- [MRL]: Thanks. [MRL]: moves on. [EX3] and [EX2] stay with him. [EX3]: Mr. President, I really feel we need to focus on... [EX3]: I don't drink coffee. [MRL]: Then hit yourself over the head with a baseball bat, would you please? [EX2]: Happy birthday, Laura. [MRL]: I should send her some flowers. [EX2]: You already did, sir.
EXT. OLD PARSONAGE - CONTINUOUS ACTION [MRL]: heads up the walk and onto the front porch. Presses the DOORBELL. It RINGS inside. [MRL] is edgy, unsettled.
INT. EQUINOX - DAY [FRL]: What if I'm pregnant? [EX2]: Then you'll get fat and hormonal and I'll say, "I told you so." [FRL]: But what if this could go somewhere with [MRL]? Like, really go somewhere. [EX2]: Then it will work out perfectly. [FRL]: What do you mean? [EX2]: Because just when you really like him, you'll break up because you're pregnant and then you never have to put yourself out there and possibly get hurt. That's your dream. [FRL]: I'm not pregnant.
INT. DR. CARTER'S HOME [MRL]: Open the door! Please!!
INT. [MRL]'S APARTMENT LOBBY - EVENING [MRL]: Uh yeah, um, I guess cause I'm a kook? [EX6]: That sounds about right. [EX7]: Good to see you, [MRL]. [MRL]: You too. [EX7]: You went shopping. Get anything good? [MRL]: Just some cables. And a fruit smoothie. [EX7]: Always the fruit! Come on, you know what they say - you should eat your fruits and juice your vegetables. [MRL]: I didn't know that.
INT. KITCHEN. MOSS FARM. TWILIGHT. [EX25]: [FRL] and [MRL]!... [FRL] and [MRL]. [EX25]: thinks hard about this. [EX25]: ...better go then, you better go, better go... --but when they get back in the car to come on home, don't get in with them. [EX25]: You just listen to your Pa fer once! Cain't you do that? I'm yore Daddy, I'm your kin, not [MRL]. [EX25]: is ready to kill--his son's obtuseness and his fear of [MRL] is whipping him into a quiet frenzy. [EX25]: hauls off and whacks C.W. across the top of his head with the flat of his hand, then momentarily holds his hand over C.W's mouth. [EX25]: ...the law. Just don't get back in that car. And whatever you do, don't let onto them, hear? [EX25]: What do you think, Clarence? [EX25]: Mebbe. Just you be off'n the streets of that town when they go to get in their car. [EX25]: knows better, but for just a moment he stares at his son, fearing that maybe C.W., for all his limitations, has a sense about [MRL]'s sense. C.W. has finished with the carton and crumples it, licking the last remnants of cream off his fingers.
INT KARAOKE BAR - NIGHT [FRL]: is in a back booth with some co-workers when [MRL] walks in to the crowded place. McKenzie has the microphone and he's singing "Every Rose Has Its Thorn" by Poison. He's real into it and, well, it's kinda sad. [MRL] waves to McKenzie and walks over to the booth. [MRL]: Hi. [FRL]: Hey! They said you weren't coming. [MRL]: You asked if I was coming? I mean...my plans got cancelled... [MRL]: is at a loss. There's yet another awkward silent beat between them. Thankfully, it's interrupted by... [EX6]: Goddamn that song is brilliant! What's up ? [FRL]: sees the next song come up on the screen. [FRL]: Ooh that's me. [FRL]: Ok. I'm the new girl so no making fun of me. [MRL]: You were great up there, by the way. [FRL]: Well you can't go wrong with The Boss. [MRL]: I hear that. [FRL]: Yeah? [MRL]: Lived there til I was [FRL]: I named my cat after Springsteen. [MRL]: No kidding? What's his name? [FRL]: Bruce. [MRL]: That makes sense. [EX6]: So you got a boyfriend? [FRL]: Me? No. [MRL]: shoots daggers at McKenzie for that comment. McKenzie mouths "what?" [FRL] sees nothing. [EX6]: Why not? [FRL]: Don't really want one. [EX6]: Come on. I don't believe that. [FRL]: You don't believe a woman could enjoy being free and independent? [EX6]: Are you a lesbian? [FRL]: It sounds selfish, I know, but... I just like being on my own. Relationships are messy and feelings are always getting hurt. Who needs all that? We're young. We're in one of the most beautiful cities in the world. [FRL] I say, let's have as much fun as we can afford and leave the serious shit for later. [MRL]: But...what if you meet someone and fall in love? [FRL]: Love? You seriously believe in that stuff? [MRL]: Of course I do. [FRL]: Interesting. A real romantic. [EX6]: Oh you have no idea. This one... embarrassing. There was this one girl, I gotta tell this story -- [MRL]: elbows McKenzie hard in the ribs to shut him up. [FRL]: I don't even know what that word means. I know I've never felt it, whatever it is in all those songs. And I know that today most marriages end in divorce. Like my parents. [MRL]: Well mine too but -- [FRL]: Oh yeah, And I read in Newsweek, there were these scientists who found that by stimulating a part of the brain with electrodes you can make a person fall in "love" with a rock. Is that the love you're talking about? [MRL]: Well...
EXT. UPPER EAST SIDE -- SAME
INT. [EX1]'S APARTMENT - LIVING ROOM - NIGHT [EX1]: walks in anxious circles in the living room. He is impatient. [EX1]: You going to come talk to me or not? [EX2]: I'm coming. [EX2]: What did she say? [EX1]: I'm a great guy -- "extraordinary"... ... and she doesn't want contact with me. I'm dying here. [EX2]: Because... ... you love her? [EX1]: No... and you're supposed to be sensitive and sharp. [EX2]: Okay... you tell me why -- "You're dying here." [EX1]: I don't know... Let me sleep on it and figure it out. Because I'm stuck! Can't go back to what I had... She's evicted me from my life. [EX2]: Did you like it that much? [EX1]: It was better than this... Look, you, I'm very intelligent. If you're going to give me advice or conversation or consolation or hope, you got to be better than you're doing. If you can't be at least momentarily interesting than shut the hell up. I'm drowning and you're describing water. [EX2]: Picking on me won't help. [EX2]: But you know where you're lucky? [EX1]: Absolutely not. [EX2]: You know who you want. I'll take your seat any day. So do something... don't sleep on it... go over there. I don't think anybody should ever sleep on anything -- it's not always good to let things calm down. [EX1]: Hey... I'm charged here. But she might kill me for showing up this late. [EX2]: Then get in your jammies and I'll read you a story... I think you've got a chance. The only real enemy you have is her ability to think logically -- the best thing you have going for you is your willingness to humiliate yourself if it gives you one chance in whatever -- so go catch her off- guard. [EX1]: Okay. Thanks a lot. Here I go. [EX2]: What's wrong? [EX1]: I forgot to lock the door.
EXT. THE NORTHWEST EXECUTIVE ENTRANCE - DAY
EXT. STREET [MRL]: steps out onto the rainy street alone. He glances back at the vet's with second thought, then moves slowly off.
INT. RITZ CORRIDOR/[FRL]'S SUITE - NIGHT [MRL]: coming along the hotel corridor. He knocks on the door. [FRL]: Hiya. [MRL]: Hi. [MRL]: To be able to do that is such a wonderful thing. [FRL]: You've got to go. [MRL]: Why? [FRL]: Because my boyfriend, who I thought was in America, is in fact in the next room. [MRL]: Your boyfriend? [FRL]: Yes... [EX19]: Who is it? [EX19]: drifts into view behind. He is a very famous film star and looks the part -- well built, very handsome. Unshaven, he has magic charm, whatever he says. Over a t-shirt, he wears a shirt, which he unbuttons as he talks. [MRL]: Ahm... room service. [EX19]: How you doing? I thought you guys all wore those penguin coats. [EX19]: Oh great. Could you do me a favour and try to get us some really cold water up here? [MRL]: I'll see what I can do. [MRL]: Absolutely. Ice cold still water. [EX19]: Unless it's illegal in the UK to serve liquids below room temperature: I don't want you going to jail just to satisfy my whims... [EX19]: And maybe you could just adios the dishes and empty the trash. [MRL]: Right. [FRL]: Really -- don't do that -- I'm sure this is not his job. [EX19]: I'm sorry. Is this a problem? [MRL]: Ah -- no. It's fine. [EX19]: What's your name? [MRL]: Ahm... [EX16]. [EX19]: slips him a fiver. [EX19]: Thank you, [EX16]. Hey -- nice surprise, or nasty surprise? [FRL]: Nice surprise. [EX19]: Liar. She hates surprises. What are you ordering? [FRL]: I haven't decided. [MRL]: I better leave. [FRL]: just nods. [MRL]: -- this is a fairly strange reality to be faced with. To be honest, I don't realize... [FRL]: I'm sorry... I don't know what to say. [MRL]: I think goodbye is traditional.
INT. HALLWAY BY REVEREND SULLIVAN'S OFFICE - MOMENTS LATER [MRL]: looks into the Reverend's office. [MRL]: knocks. The Reverend looks up, furrows his brow. [MRL]: Reverend Sullivan. Can I ask you something?
INT. MASERATI - SAME [EX28]: James hated cars. He liked being close to the ground. But I'd steal one occasionally, to throw him off the scent... See, we played hide and seek sometimes. No one can hide like me -- -- but no one could seek like James. [EX29]: What -- what are you -- ? [EX28] Some games lasted months... but we always got hungry for each other. So I'd let him find me... [EX29]: now lucid, looks around to SEE -- [EX29]: Michael? Oh my God -- [EX28]: We never could get enough of each other... We would have had forever to try. [EX28]: James always loved a screamer.
34 INT. HOSPITAL ROOM - DAY - [EX11] [EX2]: Beware the moon, [MRL]. [FRL]: [MRL]? [MRL]! [MRL]: pulls away sharply, his head jerking about wildly until he focuses on [FRL]'s face and begins to breathe easier. [MRL]: smiles and kisses her, a real kiss. [MRL]: I'm a werewolf. [FRL]: A werewolf? [FRL]: holds [MRL] a moment then realizes where she is and backs off a little. [MRL] composes himself. [FRL]: Are you better now? [MRL]: I'll let you know the next full moon. [FRL]: You're to be discharged tomorrow. Will you be all right? [MRL]: takes [FRL]'s hand. [MRL]: My friend [EX2] was just here. [FRL]: Your dead friend [EX2]? [MRL]: Yeah. He says that I will become a monster in two days. What do you think? [FRL]: What do I think? You mean about the possibility of your becoming a monster in two days or about visits from dead friends? [MRL]: I was dreaming again? [FRL]: I would think so. [FRL]: considers for a while, finally.... [FRL]: Do you have a place to stay in London?
INT. POLICE STATION. DAY [EX8]: Hello? This is [EX8]. Over. [EX8]: pours himself a cup of coffee from a pot on a hot-plate as he answers distractedly: [EX2]: I'm not sure, exactly. I've got an escaped Khaki Scout. Over. [EX8]: What does that mean? Over. [EX2]: One of my boys seems to have stolen a dug- out and some fishing tackle, ten pounds [EX2] of sundries, two bedrolls, plus an air rifle -- and disappeared. Over. [EX8]: slowly stirs sugar into his coffee as he contemplates this. He says finally: [EX8]: Any idea why? Over. [EX2]: No. He left me a letter of resignation. Over. [EX8]: scratches his head. He checks his watch. Pause. [EX8]: I guess we better notify his folks. Over. [EX2]: OK. Over and out.
INT. [MRL]'S APARTMENT - NEXT MORNING [FRL]: is eating cereal in bed. [MRL] is in the kitchen making coffee. [MRL]: I can never tell with those names. I'm glad I like him cause I don't want to have to come up with excuses to avoid him, you know. Like, oh no, I have kite surfing tonight. [FRL]: opens the cigar box and sees the headshots of the women. She flips through them. [MRL]: Did you know in the UK it's pronounced "Crayg". Which is good because that's actually how it's written, right? He's a "Crate" guy. [MRL]: enters. [MRL]: I was going to tell you about that. [FRL]: Are you like judging Pakistan's Next Top Model or something? Seriously, who are these women? [MRL]: You know how we have arranged marriage in my culture? These are those women. [FRL]: These are women in Pakistan who want to marry you? [MRL]: They're not in Pakistan. [FRL]: You've met these women? [MRL]: Just with my parents. We haven't like - [FRL]: You're not serious about this, are you? [MRL]: It's my mom's thing, I just go along with it. [FRL]: So what does your mom think about you and me, then? 37 [FRL]: She doesn't know about me, does she? [MRL]: No. [FRL]: storms out of the bedroom.
INT. DURHAM BULLS LOCKER ROOM -- DAY [EX13]: STANDS ON A BENCH trying to get the players' attention. [EX13]: Listen up, guys, could I have your attention a minute? I'm going to be leading a daily chapel service at three in the afternoons here in the locker room and you're all invited to drop by and worship before batting practice. [EX13]: I don't care If you think I'm square but I believe what I believe. [EX4]: ENTERS THE LOCKER ROOM -- He looks trashed. [EX4]: Call me "[EX24]". [FRL] said it's my new nickname. [EX3]: [FRL] nailed you? That's great, means you're gonna have a helluva year. Does she fuck as good as they say? [EX4]: We didn't do it, man -- she read poetry to me all night, I swear. It's more tiring than fucking. [EX4]: GOES TO HIS LOCKER and starts undressing. [MRL] sits next to him, looking straight ahead. [EX20] nearby. [EX4]: -- of love"... hey, [MRL], does that mean what I think it means? What's the deal here? [MRL]: studies [EX4]. [MRL]: Your shower shoes have fungus on 'em. You'll never get to the Bigs with fungus on your shower shoes. Think classy and you'll be classy. If you win 20 in the Show you can let the fungus grow back on your shower shoes and the press'll think you're colorful. Until you win twenty in the Show, however, it means you're a slob. [MRL]: RISES AND HEADS OUT to the field. [EX4] sits silently, holding his shower shoes, taking it all in.
INT OFFICE - DAY [MRL]: passes [FRL]'s desk. A new SECRETARY sits there. He notices, in the trash, a reprint of an avant garde surrealist painting of two dogs humping. He stops and retrieves it from the bin like it's some family heirloom. He gives the secretary a dirty look for tossing it.
INT. [MRL]'S PARENTS DINING ROOM - BRUNCH [MRL]: is eating brunch with his father, [EX7], his mother [EX9], his brother, [EX8], and his sister-in- law, [EX10]. [EX7]: Look at these jeans, Kumi. They're from Citizens of Humanity, that's the brand's name. Touch them. They're so soft. [MRL]: I don't want to touch your jeans. [EX7]: They're like sweatpants. You should be stylish like your father. It's not very difficult. Just observe me. [EX8]: Get some Daddy Style. [EX7]: Maybe like mine, small and stylish. [MRL]: Yeah sorry, Ma. I haven't done it yet. I like that you bring it up as though you've never brought it up before. [EX8]: How's the stand-up coming Bhai? [MRL]: It's going fine. [EX9]: Since when are you someone to stand-up? You know who I think should stand up is Malala. She has something to say. 15 [EX8]: Ma-la-la. [MRL]: She does open mics and she crushes. Lot of ethnic material, which I think is a crutch, and that one story gets a lot of play, but - [EX10]: You should be on that show Saturday Night Live! [EX8]: SNL! [MRL]: That's a great idea. I should e-mail them, I don't know why I hadn't thought of that. [EX7]: You know, I hacked into your Cousin Rehan's Facebook account- [MRL]: You hacked into it? [MRL]: They're married. [MRL]: Dave. It's probably Dave. [EX10]: It's like he's dead. Or worse. [EX9]: It's very sad. Kumi, go pray now so we can eat ice cream. Go! The ja-namaz is downstairs. [EX8]: Hurry up yaar. Ice cream. [MRL]: leaves the room.
EXT. BOUTIQUE - DAY
INT. OFFICE/DR. PATEL'S OFFICE - DAY [MRL]: And you know what he says to me?
INT. LENOX HILL HOSPITAL - DAY [FRL]: is being wheeled into Labor and Delivery with the gang in tow. [EX1] still has a glass of champagne in his hand. [EX16] grabs the glass and swigs it. [EX16]: [EX1]... [EX1]: What? [EX16]: I don't know if I can do this. [EX1]: What?! [EX16]: I can't go in with her. [EX15]: Don't look at me. [EX16]: starts to hyperventilate. [EX16]: Help me, [EX1].
EXT. [EX6]'S RESTAURANT - DAY
EXT. MACGUFF HOUSE - NIGHT [FRL]: kicks the snow off her shoes before she enters.
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. VAGUE SPACE [EX22]: I...I... I... find you physically repulsive! I can't even look at you! [EX3]: having an abortion.
INT. [EX2]'S KITCHEN - DAY
EXT. CAR. ANOTHER ANGLE. DAY.
INT. CAR. LATER. [FRL]: So then she drinks her milk down again, every drop. And she looks over at her son and says, "Son, whatever you do, don't sell that cow!"
INT MOVIE - LATER
INT. CAR.
INT. [FRL]'S APARTMENT - NIGHT [FRL]: Want a drink? [MRL]: No thanks. [FRL]: Sit down or something. [MRL]: I'm circling awhile. [FRL]: You're not supposed to look around. I didn't have time to straighten up. [MRL]: So... it's more real this way. [FRL]: It's rude. [MRL]: Now that I'm in here, you seem mad about it. [FRL]: I'm not mad. You'll know when I'm mad. I don't usually let somebody in here, but here you are. That's all. Let's talk about something stupid. [MRL]: You first. [FRL]: Okay -- one thing I don't believe is that 'supposed to' business. We were 'supposed to' meet. That sounds a little fringy to me, like something you might hear on public access TV. You believe that? [MRL]: Some people say we each give off a particular odor -- that can only be detected by one other person's brain. [MRL]: I have no idea. I'm more in the destiny school, we-met-in-another-life school. Do you believe that? Do you think when we die -- we come back in another form? [FRL]: You mean like a duck? No. I think dead is dead. I've been thinking about it all day -- and I don't want to think about it anymore. [FRL]: Why'd you do that? [MRL]: See? Now you're thinking about me. [MRL]: Let me guess. Colorado. [FRL]: It's Austria, but I can't picture myself in Austria. I'm not good with languages, so I couldn't qualify for the departments over there. [FRL]: Thanks for... coming up here. [MRL]: Does that mean I'm going? [FRL]: No. You don't have to. I... [MRL]: You okay now? [FRL]: Oh. You're here as a medic. [MRL]: Is this the mad part? [FRL]: Maybe going is a good idea. [MRL]: Can I come back some time? [FRL]: Why? [MRL]: Must be the smell. [MRL]: I better go.
INT. SF MUSEUM OF MODERN ART - DAY [MRL]: It's very... complex. [FRL]: Complex. Yes. [FRL]: In a way, it speaks so much by saying... so little. [MRL]: I feel the same way. [MRL]: You wanna go to the movies? [FRL]: God yes!
INT. [FRL]'S GARAGE/DANCE STUDIO - DAY [FRL]: Hey.
INT. PARK HYATT LOBBY - NIGHT
INT. COMMON ROOM -- HOURS LATER 86 [MRL] is alone, playing "Goldeneye" with a dopey smile on his face. [EX8] comes in, rolls of blueprints under his arm. [EX8] What's this, "Goldeneye"? [EX8] sits and they play against each other. [MRL] Yeah... [EX8] Have you been here all day? [MRL] Yeah, this game's so much fun. [EX8] [MRL], gotta tell you, you're really creeping me out. [EX11] comes out of his room, dressed in a shirt and tie. [MRL] [EX1] said the same thing. He's still depressed. [EX8] Still can't believe he broke up with [EX2]. I saw her yesterday and she looked sad. [MORE] [EX8] I asked her how she was doing, and she said "Fine," and asked me why I was asking. [MRL] A non-denial denial. I invented that. She's learned from the best. [EX11] I saw her, too. She didn't seem upset to me. [EX8] kills [MRL] with a rocket launcher. [EX8] I was hanging with [EX12]. That girl pisses me off! She'll say the dumbest things, like, the Breeders are better than the Beatles. [MRL] Happiness is a warm gun. [EX8] I wouldn't go that far. She's just a daffy dame, that's all. Now, [EX5]'s foxy, but she's too serious. [MRL] What about [EX6]? [EX8] What about her? [EX1] comes in, totally morose. Silently, he joins them in three-player mode, then quickly kills himself with a rocket launcher. [MRL] You just came from [EX2]'s, huh? [EX1] Yeah, we just broke up for good. [EX8] Oh, man, I'm sorry. Was it you or her? [EX1] Me. Us. Both. It was just time, I guess. I have to go, uh, mail a letter or something. He puts on his coat and leaves. [EX8], [EX11], and [MRL] exchange looks. [MRL] turns off the game. [MRL] Well, that took the wind out of my sails. [EX8] What's up with you? Got another date with [EX9]? [EX11] It wasn't a date. [EX8] A no-show, huh? [EX11] Yeah, but it's okay. Today's her birthday, and she invited me out for dinner at a nice restaurant. [EX8] She invited all of us. [EX11] Oh? Well, that's cool, too. [MRL] It's barely lunch, why are you dressed up? [EX11] I don't want to wait til the last minute to pick out my clothes. [EX8] Are you really wearing that tie? [EX11] Damn, I knew this was the wrong one! He runs into his room. [EX8] laughs at him. [MRL] I don't wanna go to a birthday party. I'm broke, and I wanna hang out with [FRL]. [EX8] So take her. And pray [EX12]'s not there.
INT. TOWNHOUSE - [EX3]'S BEDROOM - NIGHT [EX3]: sits in a chair doing her nails. She checks her watch, takes a moment and makes herself upset. She picks up the phone and dials.
INT. S.F. OPERA HOUSE LOBBY - ANOTHER ANGLE - NIGHT [MRL]: They all think you look very beautiful, [FRL]. [FRL]: gives him a grateful look. Relaxing, she lowers her hand from the necklace. With a flourish, he offers his arm. She takes it. They start forward.
EXT./INT. MANSION, VIEW POINT INN - TWILIGHT
INT. KENWOOD HOUSE. LADIES' PARLOUR - DAY. 7 40 * [EX4] [FRL] is not. [EX6]'S face falls.
INT. BEAUFORT HIGH - CORRIDOR - HALF HOUR LATER [MRL]: [FRL]! [FRL]: AND [MRL] [MRL]: I'm so sorry. I'm a coward -- [FRL]: I should have told you sooner -- [MRL]: I made you do too many things, kept you up all night -- [FRL]: No. The drugs just stopped working. If anything, doing things I love kept me healthy longer. [MRL]: Are you frightened? [FRL]: All the time. I feel like I have no one. [MRL]: You have me. [FRL]: Help me live until I die? [MRL]: I will.
INT. REMAND CELL. EVE [FRL]: is sitting on the edge of her bed. A [EX26] comes to the door. [EX26]: You have a visitor. [MRL] . [FRL]: is taken aback for a moment. Then she gets up.
EXT. LONDON STREET - MORNING
EXT. DAY. EWEDOWN. OUTSIDE THE PUB. [FRL]: What a dump. As she drives away, we see [EX7] sitting outside the pub in her urban heels, anxiously smoking a cigarette.
[EX35]: This guy's crazy. [MRL]: Yep. Next one might be at your head. Hell if I know where the damn thing's going...
INT. HOTEL SUITE - DAY [EX2]: finishes dialing the phone... a brief wait, then: [EX1]: has been reduced to straight talk as [EX6] brings the bathroom bounty into the room and begins to put it in her suitcase. [EX1]: I get why you're angry. It's no snap to explain why I was like that, but let's not try to do it on the run... [EX2]: ... so Mom. Truly no grudges -- truly. A little odd that you didn't come to see me when you heard I was hurt, but the important thing I want you to know is your son is happy. I'm working again. I'll make do -- I don't want a thing. Wouldn't take it if it was offered. I'll drop you a note from wherever I land and then it's up to you. I hope we patch things up but know that if we don't, I wish you both the very best... I can't hear you. You heard me, though, right? Good -- take good care. 'Bye. [EX1]: ... Now he's going to want to stay. And they'll want to take a ride to the lake or whatever. So it's a good five hours back. It gives us a chance to take it easy and... [EX2]: I'm going back with you. [EX6]: But what about... [EX2]: I'll take care of myself -- [EX1]: What are you talking about? You got real problems. [EX2]: I know. I'm a little bit nervous. Suddenly everything seems so easy. [EX6], a load has been lifted. [EX6]: One night with me! [EX2]: You think you're kidding. [EX1]: stalks out.
INT. POLICE CELL CLOSEUP [EX6] [EX6]: I'm innocent. I didn't do anything. I never stole a watch in my life. [FRL]: I know you didn't, [EX6]. [FRL]: Let him out of here, [EX29]. [FRL]: And who accused him? Diamond [EX24]! One of the worst crooks in town! Why don't you arrest [EX24] instead of innocent people that he frames? [FRL]: Don't [FRL] me! Are you going to let him out? [EX29]: I can't. [FRL]: All right. You can't. But tomorrow the Post will run the story of that roulette game on 43rd Street that your brother-in-law runs. And we'll print that you get five hundred a month for forgetting about it! [FRL]: You can let him out on bail, can't you? [EX29]: Five hundred dollars. [FRL]: You'll take fifty and like it! [FRL]: You'll get into a worse one if you don't.
EXT. NIGHT - VARIOUS FLASH CUTS
-- [EX20], A RANCH HEAD, HELPING [FRL] INTO THE CHUTE... [FRL] GETTING KICKED BY A CALF. [MRL]: That's good... firm but gentle... It hurts but he'll get over it. [EX2]: smiles proudly. [MRL]: You handled that pretty well. Think it's time you earn your keep around here. So, when we're not working and when you don't have your therapy, I'd like you to help out with the horses... Rubbing them, cleaning up the stalls... You think you can handle that? [EX2]: knows him well enough to know; [EX2]: That's not a question, is it? [MRL]: You're catching on. [EX2]: smiles. [MRL]: You okay? [FRL]: It is cocktail hour yet? [MRL]: laughs. She takes a big breath.
EXT. DURHAM BASEBALL PARK -- DUSK [EX24]: ON A PAY PHONE -- In his uniform. Players warming up in the background as the ground crew prepares the field. [EX24]: Hello? Dad? This is [EX4]. Yeah, I know, I know -- you got the Durham papers yet? Well I been a little wild... These hitters down here are better than the ones in high school... How's Mom? Yeah? Well I am trying hard... I am bending my back... you're not coming down' here to visit just yet, are you? Can I talk to Mom?
INT. HIGH SCHOOL - HALLWAY - DAY
INT. [FRL]'S ROOM - DAY [FRL]: Uh-huh. Yeah. That's great Frank. Good news. Talk to you on Monday. [FRL] hangs up. [MRL]: So Frank's back in? [FRL] nods distractedly. Getting Frank to do the publicity tour doesn't mean much right now. [FRL]: Yup. He's in. For now. [MRL]: Maybe this'll be your Mockingbird? [FRL]: Yeah. Right. [FRL] starts collecting her bags. [MRL]: Great exit back there. [FRL]: Thanks. Fun weekend. [MRL]: Same old, same old, around here. [FRL]: Wasn't sure if your mom would want me to strip the sheets, so I just left them. [MRL]: I'll let her know. [FRL]: It was getting too messy. We weren't going to be able to keep it up. [MRL]: Don't start lying to me now. [FRL] stops for a moment. [FRL]: I heard you and [EX14] at the school. I think she meant what she said. She's a great girl, you should stay. It's the right thing. You're perfect for each other. [MRL]: But... but what about you? What are you gonna do? [FRL] wants to keep the conversation short. [FRL]: Don't worry about me. I'll survive. [MRL]: So what? This is it? [FRL]: Yup. This is it. [FRL]: walks to the door, but stops. She turns to [MRL]. Despite her best effort to act cold, she can't help herself. [FRL] Have an amazing life, OK? You're a good person. You deserve it. She puts out her hand, and [MRL] shakes it. It's electric, but [FRL] denies it. [FRL] Goodbye, [MRL].
INT. ROMANTASUITES - NIGHT - CONTINUOUS
INT. RECORD STORE - NIGHT - QUICK CUTS: [EX2]: emerges from the back with three opened bottles of beer as the last customer goes out the door... The three lean against the bins, tired and smiling. [EX2]: What? [MRL]: What do you mean, "what?" [EX2]: What are you snickering about? [MRL]: I'm not snickering. I'm smiling. Because I'm happy. [EX2]: What am I missing? What do you have to be happy about? [EX1]: Well we rang $900 today. [MRL]: Yeah but more than that. I'm happy because I'm proud of us. Because although our talents are small and peculiar, we use them to their best advantage.
INT. KENWOOD HOUSE. DRAWING ROOM. DAY. 2 6 * [EX4] , the years have been kind. She is beautiful, regal - stares ahead in shock... [EX3] - a majestic man, white wigged and low brows, is incandescent, his sister, [EX2], frozen. [EX3] What in God's name have you done!! Their POV - [EX24] and little [FRL] stand. [EX4] She...she is black. [EX24] is pained. [EX1] She is my blood. [EX2] But she IS black! [EX3] A detail you chose NOT to share. [EX1] Uncle? You assured me! [EX3] [EX1], do you find me a fool? She is a MULATTO! [EX3]'S blood boils, he rages towards [EX24]. LADY MANSFIELD restrains him. [EX24] is red with humiliation. [EX1] I have no wife to take her...In a few hours I am to captain a voyage to the Indies on a longitude experiment. From there, who knows!!! It is not in my gift to question the King and his Royal Navy. [EX3] You keep in mind my position..? My reputation...? [EX1] Sir... [EX3] Then have some sense of propriety boy...and understand what you are asking. [EX24] lowers his voice, shielding [FRL]. [EX5] Her mother is dead! My wishes may not be orthodox but they ARE necessary! [EX3] How do we raise her...? [EX5] I beg you, uncle...love her - as I would, were I here. And ensure that she is in receipt of all that is due to her as a child of mine. [EX2] gasps, under... [EX4] That is simply impossible. [EX5] What is right can never be impossible. His firm gaze holds his aunt and uncle to account. A long beat. [EX4] stands conflicted. [EX4] What has she been named? [EX5] She is Belle...after her mother. [FRL] [EX6] Belle...[EX24]. [EX3] She takes your name? [EX5] I am not ashamed. [EX24] stands his ground. [EX2] We cannot have another [EX6] in the household. [EX4] regards the child, then looks to her husband, gravely. He turns his back - aggrieved. [EX4] We...we will call her [FRL]. Good Lord, she is thin. Mary, find her something to eat. [EX3] storms from the room. [EX4] follows. [EX24] kneels, choked with emotion. [EX5] Little Belle - sweet child... My wish is to keep you...keep you with me...but a ship...it is no place for one so precious as you. In these walls, yours will be a life equal to my blood. A beat. Through eyes that brim...he catches his breath. [EX2] is both stunned and moved - she has to turn away. [EX5] You will not understand in this moment, but hold this in your heart...you are loved...Just as I loved your mother. A tear spills and [FRL]'s little fingers come up to wipe it from his cheek. He presses his lips to her hand, sobbing a moment, and then he is gone - to stay any longer would be too much to bare.
EXT. LA PUSH - CLIFFS - DAY [MRL]: Step back. [MRL]: Stop this now, [FRL]. [FRL]: You won't stay with me any other way.
EXT. [EX]'S HOUSE - BEAUTIFUL LATE AFTERNOON [FRL]: --framed in the doorway in a stunning long dress. [MRL] is enchanted. [FRL] descends the steps with difficulty, due to her LEG CAST. [EX3] edges out [MRL] to help her down. [EX15]: lent me the dress. It was the [EX3]: Heard that before. [MRL]: moves to open the car door. [EX3] holds [FRL] back. [EX3]: I put new pepper spray in your bag. [EX3]: ... and... you look beautiful.
INT. PASSENGER CABIN - NIGHT [EX30]: is singing to the two black dudes. [EX30]: 'What you want, Baby I got, What you need, You know I got it. All I'm askin' for Is a little respect When you come home.'
INT. HALLWAY - LIVING ROOM - DAY [MRL]: tries to rid of the three as quickly as possible. He stuffs a twenty euro note into the hand of the first paramedic. [MRL]: Here. Thank you very much. It's for both of you. You can just put the things down here. There, beside the window, right. We'll be okay on our own. Thanks a lot. [MRL]: Thank you, Mr. Mery. [EX14]: If you need anything, just call downstairs. If we can help at all... [MRL]: Right now everything's fine. I'll let your wife know as soon as we need anything. [EX14]: It's nice to have you back, Mrs. Laurent. [FRL]: Yes. Thank you, Mr. Mery. Thank you. [EX14]: Yes... So... Goodbye then, ma'am. Welcome home again. Goodbye, Sir. [EX14]: Goodbye. [MRL]: Where do you want... [FRL]: In the living room. [MRL]: pushes her toward the living room door, walks around the wheelchair, opens the door, comes back behind the wheelchair and pushes [FRL] into the LIVING ROOM. [MRL]: Shall I make some tea? [FRL]: First come sit with me. [FRL]: Can you help me into the chair? [MRL]: Of course. [FRL]: It's best if you put my arm around your neck and your right arm around me, that way it'll be easy. [FRL]: Thanks. [MRL]: I'm glad you're back. [FRL]: Me too. [FRL]: Promise me one thing. [MRL]: What? [FRL]: Please never take me back to the hospital. [MRL]: What? [FRL]: You promise? [MRL]: [FRL]... [FRL]: You promise? [FRL]: Don't talk right now. And don't give me any lectures. Please. [MRL]: What can I say, it's...
INT. NEW HAVEN HOSPITAL LECTURE HALL -- NIGHT

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