THE SILVER LININGS PLAYBOOK

OFFICIAL SHOOTING DRAFT

by
DAVID O. RUSSELL

(Based on the novel by Matthew Quick)

David O. Russell
WGAE
Property of Weinstein Co. 2008

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 2.

INT. KAREL PSYCHIATRIC FACILITY - DAY

OVER BLACK
PAT
What, are you kidding me? Sundays?
I love Sundays. I live for Sundays.
The whole family’s together. Mom
makes braciole. Dad puts the jersey
on. We’re all watching the game.
Yeah, it drives me crazy, and yes,
I was negative.
FADE IN ON:
INT. KAREL PSYCHIATRIC FACILITY/PAT’S ROOM - DAY
PAT SOLATANO stands in the middle of his room, his back to
camera.
PAT (CONT’D)
You didn’t even know that I loved
it, Nikki, but I did. I just didn’t
appreciate it, or you, before.”
There is a knock at the door.
MALE ORDERLY (O.S.)
Come on. Time to go.
PAT
I lost all that. I blew it. But you
also blew it. We can get it back.
We’re gonna get it back. It’s all
gonna be better now. I’m better now
and I hope you are, too. And I’m
gonna appreciate--”
Another knock at the door. Pat ignores it.
PAT (CONT’D)
Hey, I’ll be there in a minute,
okay?
MALE ORDERLY (O.S.)
Doctor’s waiting. Let’s go.
PAT
I’ll be there in a minute.
Pat returns to his speech.

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 3.

PAT (CONT’D)
That’s true love.
See glimpses of Pat's room: mayonnaise jar filled with water,
black trash bag strewn on the bed, handwritten sign taped to
Pat's wall, "EXCELSIOR".
INT. PSYCHIATRIC FACILITY/ HALLWAY - DAY
PAT HURRIES DOWN THE STAIRS.

INT. PSYCHIATRIC FACILITY/ DISPENSARY - DAY

PAT HOLDS SMALL PAPER CONTAINER WITH PILL.
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.
PAT WALKS, SPITTING OUT THE PILL. PILL LANDS ON FLOOR.

INT. PSYCHIATRIC FACILITY/ROOM - DAY

A GROUP OF PATIENTS SEATED IN A CIRCLE WITH A DOCTOR, HAVING
A GROUP THERAPY SESSION. PAT IS INCLUDED.
DANNY
Yeah, that’s when I had long hair.
People say I talk about my hair too
much.

DANNY SITS BETWEEN TWO OTHER MALE PATIENTS.

DANNY (CONT’D)
And it was just the way I wanted
it, but he cut it back too far. He
cut this side back too far trying
to even it up. I didn’t tell him to
do that. I said, “Just cut it the
way you cut it....”
PAT
Once you get in the right frame of
mind, I think anything’s possible.
I think we get, we so often get
caught in this state of negativity
and it’s a, it’s a poison like
nothing else.

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 4.

EXT. PSYCHIATRIC FACILITY - DAY

PAT works out: drinks water from his plastic mayo jar, does
squats, sit ups, push ups --
A WOMAN'S FOOT STEPS INTO FRAME NOT FAR FROM HIS FACE -- WITH
RED TOE NAILS IN A WHITE FLAT SANDAL --
Pat looks at the foot -- then looks up --
HIS MOTHER, DOLORES SOLATANO, dressed in a dress.
INT. PSYCHIATRIC FACILITY/HALLWAY - DAY
CAMERA TILTS UP OVER A MALE DOCTOR, DR. TIMBERS, AS HE WALKS
WITH DOLORES. PAT FOLLOWS. CAMERA MOVES BACK WITH THEM.
DR. TIMBERS
...technically, you can take him
out against our recommendation,
but you assume a lot of liability
in the eyes of the court. And he's
just getting used to the routine
here.
DOLORES
I don't want him to get used to the
routine here. Eight months is
already long enough.

INT. PSYCHIATRIC FACILITY/OFFICE - DAY

CS - A FORM WITH THE HEADING:
HOSPITAL DISCHARGE APPROVAL FORM
PART OF THE FORM, WHICH STATES:
ACKNOWLEDGE THAT THE HOSPITAL BEARS NO LIABILITY
DOLORES SIGNS HER NAME.

INT. DOLORES’S CAR - DAY

PAT CLOSES THE REAR PASSENGER DOOR, GETTING INTO THE FRONT
PASSENGER SEAT. DOLORES IN THE DRIVER’S SEAT.
THE CAR BEGINS TO MOVE, DANNY APPEARS., CARRYING A SUITCASE.
PAT
Hey, Mom. Can we give Danny a ride
to North Philly?
DOLORES STOPS THE CAR.

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 5.

DOLORES
What? I don't understand.
PAT
Mom, no, it’ll be fine. It’ll be
fine.
DANNY OPENS THE REAR PASSENGER SEAT AND GETS INTO THE CAR
WITH HIS SUITCASE.
DANNY
I guess everybody’s leaving today!
Hello, Mrs. S. An honor to finally
meet you. Pat told me all about
you, how God made you rich in
character, and you're the mighty
oak that holds the household
together, and not to mention the
lasagna you make on game day when
the Birds play.

EXT. HIGHWAY - DAY

DOLORES’S CAR DRIVES TOWARDS PHILADELPHIA.

INT. DOLORES’S CAR - DAY

PAT
Danny was in for assault because of
crystal meth and alcohol.
DANNY
Bad combination.
PAT
Yeah. On top of an anxiety
disorder.
DANNY
That was when I was an X-ray
technician with my ADD and my
anxiety. I had a lot of access to
medication and I took advantage of
it. That’s when my hair was long,
too. But my hair only grew when I
was older. When I was younger, my
hair didn’t grow because my
brother...
(to Pat)
Remember I told you about my
brother, he had a Jheri curl, and I
couldn’t get a Jheri curl because
my hair didn’t grow long enough. I
was so jealous of my brother...

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 6.

PAT
(to Dolores)
He’s obsessed with his hair.
DOLORES’S CELL PHONE RINGS. SHE ANSWERS AS SHE DRIVES.
DOLORES
(into cell phone)
Hello?
PAT
(to Danny)
It looks great now.
DANNY
You like it?
PAT
It’s good now.
DOLORES
(into cell phone)
Yes, it is.
PAT TOUCHES DANNY’S HAIR.
DANNY
(as Pat touches hair)
Wait, you’re going the wrong way!
DOLORES
(into cell phone)
What? Are you sure about that? I’ll
bring him back right away.
DOLORES HANGS UP.
DOLORES (CONT’D)
You lied to me, Pat. Danny's not
allowed to leave.
PAT
All right, Mom, just hold on a sec.

EXT. STREET - DAY

DOLORES’S CAR BEGINS TO TURN AT A SMALL INTERSECTION.
PAT
(voice over)
Let’s just talk about this.

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 7.

INT. DOLORES’S CAR - DAY

DOLORES REACTS AS PAT GRABS THE STEERING WHEEL.
PAT
Mom, just listen--

EXT. STREET - DAY

DOLORES’S CAR SWERVES TOWARD THE LANE AGAIN. A PASSING CAR
HONKS AND SWERVES TO AVOID DOLORES’S CAR.
DOLORES
Don’t tou-...

INT. DOLORES’S CAR - DAY

DOLORES REACTS AS PAT GRABS THE STEERING WHEEL.
DOLORES
...-ch the steering...

EXT. STREET - DAY

DOLORES’S CAR MOVES. THE PASSING CAR HONKS AND SWERVES TO
AVOID DOLORES’S CAR.
DOLORES
(voice over)
...wheel!

INT. DOLORES’S CAR - DAY

DOLORES PULLS THE CAR OVER AND STOPS.
DOLORES
Pat, this whole thing was a
mistake.
PAT
I’m sorry, Mom. You okay?
DOLORES
I am out on a limb for you with the
courts right now.
DANNY
It’s my fault. Pat didn’t know. Pat
didn’t know. He’s my friend, so he
was rootin’ for me.
(MORE)

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 8.

DANNY (CONT'D)
I’m havin’ a disagreement with the
hospital, but we’re working it out.
Take me back to the hospital, but
take Pat home, he’s fine. Trust me.
You’ll see, he’s fine. It’s my
fault.
DISSOLVE TO:
INT. DOLORES’S CAR - DAY
THE EMPTY REAR PASSENGER SEAT: DANNY GONE. PAN TO: PAT, IN
THE FRONT PASSENGER SEAT.
PAT
Mom, can we stop at the library? I
wanna read Nikki’s entire English
high school syllabus.
DELORES LOOKS AT HER SON, WORRIED.
PAT (CONT’D)
Mom, it’s a good thing. I’m
remaking myself.
DOLORES SMILES. PRE-LAP INCOMING DIALOG FROM HOUSE:
RANDY (O.S. PRELAP)
DeSean Jackson. What happened to
DeSean Jackson?

INT. SOLATANO HOUSE/LIVING ROOM - DAY

CAMERA PANS L. ONTO PAT’S FATHER, PAT SR., AND HIS NEIGHBOR,
RANDY.
RANDY
Come on, tell me that one.
PAT SR.
It’s insanity. He spikes the ball
at the one yard line. The one-
fucking-yard line. I mean, get into
the end zone, dummy. I mean, he
celebrates before he's even in!
RANDY
You know something? It’s nothing
new. Your team does that all the
time. They get close...
PAT SR. LEANS DOWN, SHUFFLES RESTAURANT DESIGN PLANS ON
COFFEE TABLE.

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 9.

RANDY (CONT’D)
...and then they blow it. They got
an inferiority complex.

PAT SR. STRAIGHTENS AND TURNS TO RANDY.

PAT SR.
Wait a minute, what are you talking
about? What makes the Cowboys
America's Team?
RANDY
Because we are, we're America's
Team.
PAT SR.
You should be ashamed of yourself.
We’re in Philadelphia, what’s the
matter with you? You’re a fucking
traitor.
RANDY
What's more American than a cowboy?
PAT SR.
You know what’s more American?
RANDY
What?
PAT SR.
Benjamin Franklin, that’s what’s
more American.
RANDY
Benjamin Franklin?
PAT SR.
Benjamin Franklin. The founder of
our country, here in Philadelphia.
RANDY
You mean the guy with the...

INT. SOLATANO HOUSE/FOYER - DAY

THE FRONT DOOR OPENS AND DOLORES AND PAT STEP INTO THE HOUSE.
RANDY
...little glasses and the long
scraggly hair?

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 10.

PAT SR.
What about the lightning with the
kite? He stood in the storm with a
kite.
RANDY
If he wasn’t on the hundred dollar
bill, nobody...
A FRAMED PHOTO OF PAT’S BROTHER JAKE ON THE WALL. PAN TO
EMPTY SPACE WHERE ANOTHER FRAME HUNG --
RANDY (CONT’D)
...would even know who he is.
FALLEN FRAMED PHOTO OF PAT, ON THE TABLE BELOW.
PAT SR.
What are you doing? No, no, no, no.
Don’t touch them, don’t touch them.
RANDY
I didn’t even touch ‘em. Why are
you--, don’t blame me.
PAT SR.
Who did this? Who took, who took,
who took the...

INT. SOLATANO HOUSE/LIVING ROOM - DAY

PAT SR. LEANS OVER, STRAIGHTENS MULTIPLE REMOTE CONTROLS ON
TABLE.
PAT SR.
-the remotes like this? Did you do
this, Randy?
RANDY
No, I don’t touch them. As a matter
of fact, I don’t know why you need
so many. Hey, there she is! Look
how beautiful!
PAT SR.
(turns, sees Pat)
What?! What’s this?!
RANDY
Hey.
PAT SR. STEPS CLOSER, PATTING PAT ON THE ARM.
PAT SR.
Everything good?

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 11.

PAT
(awkward, unsure)
Mm-hmm.
PAT SR.
Ahh.
PAT SR. EMBRACES PAT.
PAT SR. (CONT’D)
Where is it?
PAT SR. TOUCHES PAT’S SHIRT.
PAT
It’s right here.
PAT SR.
You got it. Ahh, well, we got that.
We don’t want them to steal that.
PAT SR. PULLS A GOLD NECKLACE OUT OF PAT’S SHIRT.
PAT
You still got yours?
PAT SR.
Yeah, I got mine.
PAT SR. LOOKS AT DOLORES.
PAT SR. (CONT’D)
So what, you don’t talk to me? You
didn’t tell me you took him out.
DOLORES
Well, he’s ready. Look at him.
PAT
You didn’t tell Dad you were
picking me up?
DOLORES
Don’t worry about that.
PAT SR.
I wanna make sure when you come out
that you’re okay, and she didn’t
say anything. (to Dolores) You
didn’t tell me?
DOLORES
The court said yes. Don’t worry.

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 12.

PAT SR.
Yeah, but what did the doctor say?
Because the, the court listens to
the doctor.
PAT
Yeah, and the court said--
PAT SR.
The court listens to the doctor,
the doctor--
PAT
Dad, relax. The court said it’s
fine, okay? Let it go.
DOLORES
Don’t worry.
PAT
Dad, I’m in there because of the
court. That’s the agreement that we
made months ago. It was a plea
bargain with the courts. The
lawyer, he instructed me, he said
that what we should plead that, and
then I would serve eight months and
then I’d get out.
PAT SR.
Yeah, no, I just--
DOLORES
It’s all under control.
PAT SR.
Well...okay, okay. Congratulations.
PAT
Thank you. So what are you doing
with yourself?
PAT SR.
You know, I’m gonna start a
restaurant.
A DRAWING OF A RESTAURANT ON THE COFFEE TABLE.
PAT SR. (CONT’D)
It’s gonna be a cheesesteak place.
PAT
How you gonna pay for it?
PAT SR.
I’m gonna pay for it, don’t worry
about it.

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 13.

PAT
From your bookmaking?
PAT SR.
Who told you that?
PAT
Mom told me. Outside.
DOLORES
I did not. No, I didn’t.
PAT
You just told me outside, Mom, what
are you talking about? Five minutes
ago, we were walking up the stairs,
you said, “Don’t say anything, but
Dad lost his job and he’s
bookmaking.”
PAT SR.
Why, Dolores? Why did you say that
to him? He has the wrong idea.
(to Pat)
Everything’s fine, Patrick. I’m
more concerned about you than
anything else.
PAT
Good, Dad. Good.
PAT SR.
Okay, the question, the big
question, is what are you gonna do
with yourself?
PAT
What am I gonna do? I’m getting in
shape, I’m getting trim, I’m
getting really fit for Nikki. I’m
gonna read Nikki’s teaching
syllabus and get my old job back.
PAT SR.
Nikki sold the house. She left.
Didn’t your mother tell you that?
PAT
Let me tell you something. You
don’t know anything about my
marriage, okay, Dad? All right? Our
marriage...we’re very, very much in
love, okay? Just like you two.
PAT SR.
Listen, Patrick, she’s gone. She’s
not around anymore. Nikki left.

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 14.

PAT
What are you doing, Dad? You know
what? Excelsior. Excelsior.
PAT SR.
What does that mean?
PAT
It means you know what I’m gonna
do, I’m gonna take all this
negativity and use it as fuel and
I’m gonna find a silver lining,
that’s what I’m gonna do. And
that’s no bullshit. That’s no
bullshit. That takes work and
that’s the truth.

EXT. SOLATANO HOUSE - NIGHT

INT. SOLATANO HOUSE/LIVING ROOM - EVENING

PAT SR. AND DOLORES SIT, READING.

INT. SOLATANO HOUSE/ATTIC - EVENING

PAT SITS, READING A BOOK. SIGHS. HE TURNS A PAGE.
PAT LIES ON HIS BED, READING. DOLORES ENTERS AND SETS A TRAY
OF FOOD ON THE BED FOR DINNER.

INT. SOLATANO HOUSE/MASTER BEDROOM - NIGHT

PAT SR. AND DOLORES GET INTO BED.

INT. SOLATANO HOUSE/ATTIC - NIGHT

PAT’S HAND TURNS A PAGE.
PAT LIES ON HIS BED, READING.

INT. SOLATANO HOUSE/MASTER BEDROOM - NIGHT

PAT SR. TURNS OFF THE LAMP ON HIS SIDE OF THE BED. DOLORES IS
NEXT TO HIM.

INT. SOLATANO HOUSE/ATTIC - NIGHT

CU - THE BOOK PAGES.

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 15.

PAT SITS IN A CHAIR, READING.

PAT AS HE READS.
PAT TURNS THE LAST PAGE.
HANDS CLOSE THE BOOK.
CAMERA TILTS UP ONTO HIS FACE.
PAT
What the fuck?!
CAMERA PULLS BACK AS PAT THROWS THE BOOK.

EXT. SOLATANO HOUSE - NIGHT

THE BOOK SMASHES THROUGH THE ATTIC WINDOW, SOARS THROUGH AIR,
LANDS ON THE FRONT LAWN.
PAT
(yelling)
Stupid fucking book!

INT. SOLATANO HOUSE/MASTER BEDROOM - NIGHT

PAT SR. WAKES.
CUT TO:

PAT PACES IN HIS PARENTS BEDROOM.

PAT
(yelling)
I just can’t believe Nikki’s
teaching that book to the kids. I
mean the whole time -- let me just
break it down for you -- the whole
time you’re rooting for this
Hemingway guy to survive the war
and to be with the woman that he
loves, Catherine Barkley...
HIS TIRED PARENTS LOOK AT HIM FROM THE BED.
DOLORES
It's four o’clock in the morning,
Pat.

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 16.

PAT
...and he does. He does. He
survives the war, after getting
blown up he survives it, and he
escapes to Switzerland with
Catherine. But now Catherine’s
pregnant. Isn’t that wonderful?
She’s pregnant. And they escape up
into the mountains and they’re
gonna be happy, and they’re gonna
be drinking wine and they dance --
they both like to dance with each
other, there’s scenes of them
dancing, which was boring, but I
liked it, because they were happy.
You think he ends it there? No! He
writes another ending. She dies,
Dad! I mean, the world’s hard
enough as it is, guys. It’s fucking
hard enough as it is. Can’t
somebody say, “Hey, let’s be
positive? Let’s have a good ending
to the story?”
DOLORES
Pat, you owe us an apology.
PAT
Mom, for what, I can’t apologize.
I’m not gonna apologize for this.
You know what I will do? I will
apologize on behalf of Ernest
Hemingway, because that’s who’s to
blame here.
PAT WALKS TO THE DOOR.
PAT SR.
Yeah, have Ernest Hemingway call us
and apologize to us, too.
PAT EXITS, CLOSING IT BEHIND HIM.

EXT. STREET - DAY

PAT SR. AS HE JOGS TO PAT. HE WALKS TO THE SIDEWALK AND
BEGINS STRETCHING.
PAT SR. JOGS.
PAT SR.
Why didn’t you run with me?
PAT
I was reading.

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 17.

PAT SR.
Please. Do us a favor, don’t read
for a while.
PAT GROANS
PAT SR. (CONT’D)
What are you wearing a garbage bag
for?
PAT
I’m gonna go run now.
PAT BEGINS TO JOG PAST PAT SR.
PAT SR.
Wait, wait, wait. You have to fix
this window.
PAT STOPS AND TURNS.
PAT
I’ll fix it when I get back.
PAT SR.
Fix it now.
DOLORES ENTERS.
DOLORES
Get in the car, Pat. You have to go
to therapy.
DOLORES EXITS.
PAT
I don't wanna go to therapy.
DOLORES
You have to go. It's part of the
deal. You can't live with us and
not go.

INT. OFFICE/LOBBY - DAY

PAT STEPS INTO THE LOBBY. THE FEMALE RECEPTIONIST SITS AT HER
DESK AND SHE PUSHES A SIGN- IN SHEET TO PAT WHO ENTERS,
WRITING HIS NAME.
SONG FADES IN: ‘CHERIE AMOUR’ BY STEVIE WONDER.
PAT
Is that song really playing?
RECEPTIONIST
We have music sometimes.

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 18.

PAT
That song is killing me. Could you
please turn it off?
RECEPTIONIST
I can’t.
PAT
What do you mean, you can’t?
RECEPTIONIST
I don’t have the controls. I’m
sorry, I--
PAT
(interrupting))
Did Doctor Timbers put you up to
this? Is there a speaker here?
PAT WALKS TO A MAGAZINE RACK.
PAT (CONT’D)
Is, is the speaker here?
HE OVERTURNS THE METAL MAGAZINE RACK.
WAITING PATIENTS STARE, A MALE THERAPIST OPENS HIS OFFICE
DOOR, LOOKING AROUND.
THE RECEPTIONIST REACTS.
PAT (CONT’D)
I’m sorry. I’m sorry. Okay...I’m
sorry. I'll fix all this, okay?
PAT PICKS UP THE MAGAZINES, EMOTIONAL, EMBARRASSED.

INT. DR. PATEL’S OFFICE - DAY

PAT
That was a messed up thing you did,
Doctor Patel. That’s a messed up
thing. I’m sorry, but that’s....
DR. PATEL
You can call me Cliff, please.
PAT
Yeah, well, Cliff, that’s not the
way you’re supposed to meet people,
okay? Why don’t you write that down
in your, I don’t know, your little
book you write stuff down in.

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 19.

DR. PATEL
I’m sorry about that song. I just
wanted to see if it was still a
trigger for you.
PAT
Bravo. It’s a trigger. I’m not
gonna take any meds, I should just
tell you that right now.
DR. PATEL
You have to take medicine.
PAT
No, I’m not gonna take any
medicine. It makes me foggy--
DR. PATEL
(interrupting)
No, you will have to take
medication.
PAT
I don’t want any meds, Doctor.
Look, I am not the explosion guy,
okay? My father is the explosion
guy. I’m not that guy. He got
kicked out of that stadium he beat
up so many people at Eagles games,
he’s on the exclusion list. I had
one incident.
DR. PATEL
One incident can change a lifetime.
PAT
But I'm ready. I’m ready to take
responsibility for my side of the
street. She just needs to take
responsibility for hers.
DR. PATEL
What's hers?
PAT
What's hers? Are you joking? Let’s
go back to the incident. I come
home from work after I

EXT. HOUSE - DAY-FLASHBACK

THE HOUSE WHERE PAT AND NIKKI LIVED. PAT’S POV GOES TO HOUSE.

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 20.

PAT
(voice over)
I left work early -- which I never
do, by the way, but I got in a
fight with Nancy, the high school

INT. OFFICE/DR. PATEL’S OFFICE - DAY

PAT
...principal. I come home and
what’s playing but the song from my
wedding. The song that you so
charmingly played out here today
for us. That’s playing and I don’t
think anything of it. Which is odd,
‘cause I should have.

INT. HOUSE/LIVING ROOM - DAY - FLASHBACK

CAMERA MOVES OVER THE FLOOR AND STAIRCASE, WHICH IS LITTERED
WITH CLOTHING.
PAT
(voice over)
I come home, what do I see? I walk
in the door and I see underwear and
pieces of clothing and a guy’s
pants with his belt in it, and I
walk up the stairs, and all...
THE SONG PLAYS

INT. OFFICE/DR. PATEL’S OFFICE - DAY

PAT
...ll of a sudden I see the DVD
player, and on the D-...

INT. HOUSE/UPSTAIRS HALLWAY - DAY - FLASHBACK

CAMERA MOVES IN ON A SMALL MUSIC SYSTEM.
PAT
(voice over)
...-VD player is the CD and it’s
playing our wedding song, and then
I look down and I see my wife’s...
CAMERA PANS L. ONTO A PAIR OF WOMEN’S UNDERWEAR ON THE FLOOR.

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 21.

INT. OFFICE/DR. PATEL’S OFFICE - DAY

PAT
...panties on the ground and then-

INT. HOUSE/UPSTAIRS HALLWAY - DAY - FLASHBACK

CAMERA TILTS UP FROM THE UNDERWEAR ONTO THE BATHROOM DOORWAY.
THE DOOR IS OPEN AND PAT’S WIFE NIKKI IS VISIBLE THROUGH THE
TRANSPARENT SHOWER CURTAIN. SHE FACES THE WALL IN BG.
PAT
(voice over)
...I look up and I see her naked in
the shower...

INT. OFFICE/DR. PATEL’S OFFICE - DAY

PAT
...and I think, “Oh, that’s kinda
sweet, she’s in the shower. What a
perfect thing. I’m gonna find her
and maybe I’ll go in there. We
never-...

INT. HOUSE/BATHROOM - DAY- FLASHBACK

PAT SEES NIKKI, VISIBLE THROUGH THE SHOWER CURTAIN.
PAT
(voice over)
...fuck in the shower anymore.
Maybe today we will.” I...

INT. OFFICE/DR. PATEL’S OFFICE - DAY

PAT
...pull the curtain back and
there’s the fucking history...

INT. HOUSE/BATHROOM - DAY- FLASHBACK

PAST PAT, TO NIKKI, VISIBLE THROUGH THE SHOWER CURTAIN. NIKKI
TURNS AND REACTS, REVEALING A MAN IN THE SHOWER WITH HER,
DOUG CULPEPPER.
PAT
(voice over)
...-teacher with tenure.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 22.

INT. OFFICE/DR. PATEL’S OFFICE - DAY

PAT
And you know what he says to me?

INT. HOUSE/BATHROOM - DAY- FLASHBACK

PAST PAT, TO DOUG AND NIKKI AS THEY REACT.
PAT
(voice over)
“You should probably go.” That’s
what he says to me.

INT. OFFICE/DR. PATEL’S OFFICE - DAY

PAT
So yeah, I snapped. I almost beat
him to death. But now I get fucking
chastised for it? I’m parallel to
my father? I don’t think so.
DR. PATEL
All right. Can you talk about
something that you did, before or
after?
PAT
Yeah, about a week before the
incident, I called the cops and I
told them that my wife and the
history guy were plotting against
me by embezzling money from the
local high school, which wasn’t
true. It was a delusion. And we
later found out from the hospital
that’s because I’m, uh...
DR. PATEL
...undiagnosed bipolar.
PAT
Yeah. With mood swings and weird
thinking brought on by severe
stress, which rarely happens, thank
God. And then the shower incident
happened and that’s when everything
snapped, so I then realized that,
oh, wow, I’ve been dealing with
this my whole life. And without any
supervision I’ve been doing it all
on my own with no help and
basically I’ve been white-knuckling
it this whole time.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 23.

DR. PATEL
That had to be hard.
PAT
Yeah. It’s a lot to deal with,
especially when you don’t know what
the hell is happening, which I do
now. Sort of.
DOLORES
(O.S. PRELAP)
Pat, you have to take your
medication -

INT. SOLATANO HOUSE/LIVING ROOM - DAY

PAT SR. SITS, WATCHING THE O.S. TELEVISION. DOLORES AND PAT
ARE VISIBLE IN THE KITCHEN, THROUGH THE DOORWAY IN BG.
PAT
I can’t, Mom. I can’t.
DOLORES
I will call them. They’ll come for
you.
PAT
Why would you do that? You wouldn’t
do that. Why would you call them?
PAT SR.
What’s up?
PAT
I don’t, I don’t feel good when I’m
on them, Mom. I don’t feel good.
I’m so much clearer without them.
Mom, they make me bloated. I don’t
like the way it makes me look.
DOLORES
You’ve gotta take your medication.
PAT SR.
Why don’t you just take your
medication?
PAT WALKS INTO THE ROOM, CAMERA MOVING BACK WITH HIM. DOLORES
FOLLOWS HIM.
PAT
Come on, I’m doing it with my
physicality. I’ve been workin’ out,
that’s what I’m doin’.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 24.

PAT SR.
Why is he wearing a garbage bag?
DOLORES
Why are you wearing a garbage bag?
PAT
To sweat.
PAT SR.
Sit down. We’re seven minutes in,
no score. Come on, help turn the
juju around.
PAT
I don’t believe in juju, Dad.
PAT SR.
Come on, Mister Excelsior. You
wanna be positive? Be positive. Sit
down.
PAT
All right, all right.
PAT SR.
Come on.
PAT
For a second. I’ll watch the
beginning of the game.
DOLORES
He says you’re good...
PAT SR. HOLDS A GREEN HANDKERCHIEF IN ONE HAND, FIDGETING
WITH IT. SEVERAL REMOTE CONTROLS ARE ALIGNED PERFECTLY ON THE
TABLE NEXT TO HIM.
DOLORES (CONT’D)
..luck, honey.
PAT
What’s that in your hand?
PAT SR.
It’s a... see?
PAT
Handkerchief?
PAT SR.
Yeah.
PAT SR. STRAIGHTENS THE REMOTE CONTROLS. PAT SITS.

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 25.

PAT
That’s OCD. That’s crazy.
PAT SR.
What OCD? I want my son to watch
the game with me, so sue me.
PAT ENTERS R., STANDING UP.
PAT SR. (CONT’D)
Just sit down, come on. I want you
to watch the game with me. I’m not
superstitious. That’s a small thing
that I do. If I make a lot of
money, what’s the difference if I
do this or that? It’s a small
thing. Sit down. Come on.
DOLORES
I’m making crabby snacks and
homemades.
TOUCHDOWN ON TV. PAT SR. YELLS, DOLORES YELLS. PAT REACTS.
PAT SR.
You see?! You see that?! You’re
meant to be here!
PAT LAUGHS.
PAT SR. (CONT’D)
This is special. Everything happens
for a reason. That’s why you came
home. Embrace it! Embrace it!
THE TELEPHONE RINGS.
PAT
I’m the reason? I don’t think so.
PAT SR. ANSWERS THE TELEPHONE, HANDLING BETS.
PAT SR.
(into telephone)
Yeah, Tommy, Tommy, yes, yes. I got
your whole sheet. Yeah. No, no...
PAT
Mom.
PAT SR.
(into telephone)
...I’m just confirming. I’m just
confirming. Okay.
THE DOORBELL RINGS.

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 26.

INT. SOLATANO HOUSE/FOYER - DAY

PAT OPENS THE FRONT DOOR, REVEALING A NEIGHBORHOOD TEENAGER,
RICK, WHO HOLDS A SMALL VIDEO CAMERA UP.
PAT SR.
Wait, wait, wait, wait.
RICKY
Can I do..an interview for a school
project on mental illness?
PAT SR.
No.
PAT SR. SLAMS THE DOOR CLOSED.

INT. SOLATANO HOUSE/FOYER - DAY

RICKY (O.S.)
It’s for a school project!
PAT SR.
Don’t pay any attention.
PAT
Who’s that? That’s not Rick
D’Angelo, is it?
DOLORES
That’s him.
PAT
Is he the guy who’s having the
problem?
PAT SR.
People are stupid.
DOLORES
Yeah, that’s the one.
PAT SR.
They, they, they, they don’t know
what they’re saying.
PAT SR. (CONT’D)
Don’t let them hurt your feelings.
PAT
No, you shut the door in his face.
I’m going for a run.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 27.

EXT. SOLATANO HOUSE - DAY

PAT SR.
No! (to kid Rick) Get outta here
with that camera!
DOLORES
Pat, don’t look for Nikki!
PAT SR.
Take your camera and get out of
here!
PAT JOGS, EXITING. RICK FOLLOWS.
PAT SR. (CONT’D)
Patrick, please.
DOLORES
Pat!
PAT SR.
Patty! Patty!
DOLORES
Don’t look for Nikki!

EXT. STREET - DAY

PAT RUNS. HE TURNS A CORNER AND RUNS.
THE SONG PLAYS

EXT. RAILROAD TRACK - DAY

PAT RUNS TO A HIGH SCHOOL.

EXT. HIGH SCHOOL - DAY

THE PRINCIPAL, NANCY METGERS, STANDS NEXT TO HER PARKED CAR
WITH AN ARMLOAD OF PAPERWORK AS PAT RUNS TOWARD HER.
PAT
Ms. Meckers!
NANCY SEES PAT APPROACH.
NANCY
Oh, God! Oh, God!
NANCY HURRIES to avoid him.

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 28.

PAT
Nance! This is my lucky day! Look
at you working on a Sunday!
NANCY HURRIES UP THE STAIRS TO A LOCKED SCHOOL ENTRANCE.
PAT (CONT’D)
How are you? Hey.
NANCY
What are you doing here?
PAT
I just came by to say hi, to let
you know I’m ready to come back to
work.
NANCY
You shouldn’t be here.
PAT
I’ll work full-time, half-time.
I’ll sub, I’ll work history,
whatever you want.
PAT WALKS UP THE STAIRS TO NANCY, WHO UNLOCKS THE DOOR.
PAT (CONT’D)
Here, let me give you a hand. I’m
sorry. I’m being rude.
NANCY
I got it.
PAT HELPS HER. NANCY OPENS THE DOOR.
NANCY (CONT’D)
I got it. I got it.
PAT
Let me ask you something. Let me
just ask you something. Does Nikki
still work here?
NANCY
You know I can’t tell you that. But
Doug Culpepper is still here.
PAT
Why would you tell me that? You
know he broke up my marriage. What,
are you being, a troublemaker?
NANCY
You know, you look good. Did you
lose a lot of weight?

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 29.

PAT
I did, yeah. I did. Thank you.
PAT EMBRACES NANCY, WHO REACTS.
NANCY
Get away from me! Get away!
PAT
I’m better. I just want to let you
know, I’m better now. Okay? I’m
better. I feel good. I feel so
good. Look at my eyes. Look at my
eyes. Look at how clear they are.

INT. HIGH SCHOOL /HALLWAY - DAY

PAT OPENS A DOOR, HOLDING IT FOR NANCY AS SHE STEPS PAST HIM.
PAT
I’m not a complainer anymore. I’m a
positive guy. Okay?
NANCY
You just have to give it some time.
PAT
Yes.
NANCY
You know, a lot went down. People
will get over it. It’ll be all
good. It’ll work out.
PAT
Yes! It will be!
PAT (CONT’D)
I’m gonna take that as a silver
development, Nancy! A silver
development! That’s a silver
lining!
NANCY
Good luck.

EXT. STREET - DAY

PAT RUNS.
THE SONG PLAYS.
PAT SEES HIS FRIEND RONNIE CARRYING GROCERIES FROM HIS PARKED
CAR.

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 30.

PAT
Ronnie! Pat.
RONNIE
(laughs)
There he is! He’s back!
THEY EMBRACE.
PAT
Hey.
RONNIE
Welcome home.
PAT
Thank you.
RONNIE
Welcome back, man.
PAT
Yeah, I’m out.
RONNIE
Yeah? You’re out out?
PAT
Uh-huh.
RONNIE
Cool, man. Wow, you lost a lot of
weight. I almost didn’t recognize
you.
PAT
Thank you.
RONNIE
I'm sorry I didn't visit you in the
hospital. You know, work’s out of
control, you know, she had the
baby. I’m really glad you’re back.
I missed you. I really need someone
to talk to. You gotta come see the
baby. She’s beautiful. And Veronica
wants to make dinner for you.
PAT
Congratulations on the baby, but
I’m not buying the invitation.
RONNIE
'Cause you think Veronica still
hates you?

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 31.

PAT
I know Veronica still hates me.
RONNIE
That’s not true.
PAT
Yes, it is. Nikki always said that
“Ronnie’s wife keeps his social
calendar where she keeps his balls,
in her purse.”
RONNIE
That's not true.
UPSTAIRS WINDOW RONNIE’S HOUSE OPENS IN BG. WIFE VERONICA
LEANS OUT.
VERONICA
Ronnie! What are you doing?
RONNIE
Okay, it’s a little true. But if
you think she still hates you,
you’re wrong because why would she
tell me to invite you to dinner?
Hmm?
VERONICA
Did you invite him?
RONNIE
Yes.
VERONICA
Well, can he make it?
RONNIE
I don't know yet! (to Pat) Can you
make it next Sunday?
PAT
Sure.
RONNIE
I’ll see you next Sunday.
RONNIE LEANS DOWN TO PICK UP THE BOX OF DIAPERS. PAT GRABS
HIS ARM.
PAT
Now, you guys are still in touch
with Nikki, right? Does Veronica
still talk to Nikki?
RONNIE
Yeah.

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 32.

VERONICA
Get in here, please. I need you.
RONNIE
Okay.
VERONICA EXITS INTO THE HOUSE, CLOSING THE WINDOW.

INT. SOLATANO HOUSE/KITCHEN - DAY

PAT SR.
As soon as you left, the Redskins
threw a trick play, a pitch out to
Randal El. Andy Reid wastes a time-
out challenging it, loses the
challenge, loses the game. You're
in this house, please show some
respect for what I do. And we
should spend time together anyway.
I’m trying to keep you out of
trouble, please.
PAT
I have very, good news, everybody.
Very good news.
PAT SR.
What’s that? What’s the good news?
PAT
Things are looking up.
PAT SR.
Oh, are they?
PAT PICKS UP THE PHONE TO DIAL.
PAT
You know what, I knew why they
invited me over. I knew it.
PAT SR.
Listen, she might be with that guy.
That, the....
PAT
Oh, no way!
PAT SR.
She--, no, she might be with him.
She’s afraid of you. She doesn’t
want to talk to you.
PAT
No way, Dad. You mean, Doug
Culpepper?

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 33.

PAT SR.
Put the phone down. You gotta...
PAT
Wait just a minute.
PAT SR REACHES FOR THE TELEPHONE.
PAT SR.
...Put the phone down, please.
PAT
What are you doing?
THEY BOTH PULL ON THE TELEPHONE RECEIVER.
PAT SR.
Listen--, stop.
PAT
Give me the phone. Dad, this is my
life. Dad.
PAT SR.
Gimme the phone. Gimme the phone.
DOLORES
Pat!
PAT SR.
You gotta understand me. You wanna
go back? Well then, stop this! Then
don’t fucking do this.
PAT
(tearfully)
Don’t talk to me like that.
PAT SR.
Well then, don’t behave this way.
THEY REACT AS THE DOORBELL RINGS.
OFFICER KEOGH
(voice over)
I got...a call asking to...

INT. SOLATANO HOUSE/FOYER - DAY

PAT SR. OPENING THE FRONT DOOR TO A POLICE OFFICER STANDING
ON THE PORCH. HE IS OFFICER KEOGH.
OFFICER KEOGH
...check on this house. Pat
Solatano?

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 34.

PAT
Yeah.
OFFICER KEOGH
Yeah? Missus Solatano, Mister
Solatano, I’m Officer Keogh. I work
this beat. Look, I heard about the
restraining order. And I heard you
went to your old house and the
school. It’s not okay. I’ve been
assigned to your case, so you’re
gonna be seeing a lot of me. Do
yourself a favor. Respect the
restraining order, okay? Five
hundred feet.
PAT SR.
You hear what he just said? You
have a restraining order.
PAT
Yeah, Dad, I know.
PAT SR.
Thank you, Officer.
OFFICER KEOGH
If you need anything...my card.
PAT SR. TAKES THE BUSINESS CARD.
PAT SR.
Thank you. Sorry. We understand.
PAT
Since when do cops have cards?
PAT SR. CLOSES THE DOOR.

INT. OFFICE/DR. PATEL’S OFFICE - DAY

DR. PATEL
Tell me one thing. Would you like
to be a guy who goes back to jail
or to the hospital? Hmm? So take
your medication and if you do fine,
we’ll reduce them.
PAT
Nikki’s waiting for me to get in
shape and get my life in order, and
then she’s gonna be with me. And
that’s better than any medication.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 35.

DR. PATEL
Pat, there’s a possibility, and I
want you to be prepared for it,
that she may not return. True love
is about letting her go and seeing
if she returns. In the meantime, if
you listen to that song, I don’t
want you to fall apart. So get a
strategy, okay? You need one.
PAT
Let me say something, I gotta say
something.
DR. PATEL
Okay.
PAT
This is what I believe to be true.
This is what I learned in the
hospital. You have to do everything
you can, you have to work your
hardest, and if you do, if you stay
positive, you have a shot at a
silver lining.
DR. PATEL
Work on a strategy, okay?
PAT
Hey, my friend Ronnie’s having this
party on Sunday night and it’s like
a real hoity-toity thing and his
wife, Veronica’s a real stickler
for.... I don’t know, my mom got
this Gap outfit she wants me to
wear, but I wanna wear a jersey
that my brother, Jake, got me from
the Eagles.
DR. PATEL
Which jersey?
PAT
DeSean Jackson.
DR. PATEL
DeSean Jackson is the man.
PAT
Well, that settles that.

EXT. RONNIE’S HOUSE/FRONT PORCH - EVENING

PAT STANDS ON THE PORCH, HOLDING A BOTTLE OF WINE AND A
BOUQUET OF FLOWERS. HE WEARS THE FOOTBALL JERSEY.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 36.

HE LOOKS DOWN AT HIS JERSEY, THEN TURNS AND LEAVES.

EXT. RONNIE’S HOUSE - EVENING

PAT HURRIES. RONNIE OPENS THE DOOR IN BG.
RONNIE
Pat! What are you doin’?
PAT STOPS AND TURNS.
PAT
I gotta go, man.
RONNIE
Why?
PAT
I can’t stay, come on. I made a
mistake, I shouldn’t have worn
this.
RONNIE
Dude, you’re fine. I like that
jersey. I wish I was wearing that
jersey.
PAT
I feel like an idiot.
RONNIE
Are you comfortable?
PAT
Veronica’s not gonna like it.
RONNIE
Get over here.
PAT
Plus you got a tie on.
RONNIE
Don’t worry about it, you’re the
guest of honor. You come however
you wanna come.
PAT
Really?
RONNIE
Get over here.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 37.

INT. RONNIE’S HOUSE/FOYER - EVENING

RONNIE
DeSean Jackson's in the house!
CAMERA TILTS UP ONTO VERONICA, HOLDING THE BABY.
VERONICA
You mean rookie of the year?
RONNIE
Yeah.
VERONICA
(to baby)
DeSean Jackson? DeSean Jackson?
(noticing Pat) Oh, you wore a
jersey to dinner.
RONNIE
Isn’t it awesome?
VERONICA
Not for dinner.
RONNIE
Look, he got us flowers.
VERONICA
Oh, that’s sweet. (to Pat) That’s
sweet, Pat. That’s lovely.
RONNIE
And wine.
PAT
Hey.
VERONICA
Hey.

INT. RONNIE’S HOUSE/DEN - EVENING

RONNE AND PAT HAVE A MOMENT. A FRAMED PHOTO OF RONNIE,
VERONICA AND THE BABY ON THE WALL.
RONNIE
Check this out. We just redid the
whole thing.
PAT
Wow!
RONNIE LAUGHS.

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 38.

PAT (CONT’D)
Tremendous. Tremendous.
RONNIE
Isn’t it great?
PAT
Tremendous.
RONNIE
Yeah, man, I’m, I’m thinking of
redoing it again.
PAT
Why?
RONNIE
Because.
PAT
Gotta be making a lot of paper to
do that.
RONNIE
Yeah, we’re doing all right, man. I
can’t complain.
PAT
Isn’t the market down, though?
RONNIE
It is down, but you know, she wants
more, so I’m giving her more, man.
PAT
Hey, you know my dad lost his
pension.
RONNIE
I’m sorry, man.
PAT
Yeah.
RONNIE
A lot of people. My uncle, too.
PAT
Really?
RONNIE
Yeah, but you know what? No
disrespect, it’s not personal, but
this is the time to strike.
(MORE)

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 39.

RONNIE (CONT'D)
You start snapping up commercial
real estate -- cheap -- flip it
over, you flip it over and that’s
when you make the money. But the
pressure...it’s like....
RONNIE GLANCES, LOOKING FOR VERONICA.
PAT
You okay?
RONNIE
(whispering)
I’m not okay. Don’t tell anybody.
Listen to me. I feel like I’m
getting crushed and--
PAT
(whispering)
Crushed by what?
RONNIE
(whispering)
Everything. The family, the baby,
the job, the fucking dicks at work,
and it’s like, you know, like I’m
trying to do this, (Ronnie reaches
for his throat, mimicking trying to
breath) you know, and, and, and I’m
like...suffocating.
RONNIE COVERS HIS FACE WITH ONE HAND.
PAT
Holy shit.
RONNIE
You can’t be happy all the time.
PAT
Who told you you can’t be happy?
RONNIE
It’s all right. You just do your
best, you have no choice.
PAT
That’s not true at all.
RONNIE
You just can’t.
PAT
Ronnie, Ronnie, Ronnie!
THE DOORBELL RINGS.

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 40.

RONNIE
I hope you’re okay with Veronica’s
sister coming over. You okay with
that?
PAT
Who?
RONNIE
Veronica’s sister.
PAT AND RONNIE
(in unison)
Tiffany.
PAT
Tiffany and...Tommy?
RONNIE
Yeah. Just Tiffany.
PAT
What happened to Tommy?
RONNIE
He died.
PAT
Tommy died?
RONNIE
Cops die.
PAT
How’d he die?
RONNIE
Please, don’t bring it up.
PAT
No, how did he die?
TIFFANY
How did who die?
PAT LOOKS UP TO SEE VERONICA’S SISTER TIFFANY ENTER: THEY
LOCK EYES IMMEDIATELY. SHE IS TALL, STRIKING, INTENSE. She
walks to Ronnie and Pat, who is unsure how to behave.
RONNIE
Hey, Tiffany! This is Pat. Pat, my
sister-in-law Tiffany.
PAT
You look nice.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 41.

TIFFANY
Thank you.
PAT
I’m not flirting with you.
TIFFANY
Oh, I didn’t think you were.
PAT
I just see that you made an effort
and I’m gonna be better with my
wife, I’m working on that. I wanna
acknowledge her beauty. I never
used to do that. I do that now.
‘Cause we’re gonna be better than
ever...Nikki. Just practicing.
How’d Tommy die?
TIFFANY IS STUNNED. RONNIE CAN’T BELIEVE WHAT PAT JUST SAID.
PAT (CONT’D)
What about your job?
TIFFANY
I just got fired, actually.
PAT
Oh, really? How?
PAT (CONT’D)
I mean, I’m sorry. How’d that
happen?
TIFFANY
Does it really matter?
TIFFANY AND PAT FACE EACH OTHER. VERONICA ENTERS IN BG.,
VISIBLE THROUGH A PASS-THROUGH WINDOW INTO THE KITCHEN.
VERONICA
Baby, how’s it going?
RONNIE
Great, great.
VERONICA
Everyone having fun? We’re gonna go
on a tour now. We’re gonna go on a
tour now.
TIFFANY
(to Pat)
Let’s go see the house.
RONNIE
Come on, let’s go for the tour.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 42.

VERONICA (O.S.)
I’ve, I’ve been planning this
forever. I love our house. I love
our house. I’m really excited about
it.
Tiffany looks back over her shoulder at Pat, intensely.
RONNIE
(motions to Pat)
Come on.

INT. RONNIE’S HOUSE/LIVING ROOM - EVENING

A SILVER FRAME MOUNTED ON THE WALL.
VERONICA
Guess what it is.
PAT
Oh, it’s a television.
TIFFANY
It’s a computer screen.
RONNIE
Nope.
VERONICA
Just keep going, keep going, keep
going.
PAT
It’s a brick oven, it’s a brick
oven.
TIFFANY
It’s a light. It’s a...
VERONICA
Ooh, ooh, warmer, warmer, warmer.
TIFFANY
...it’s a drawer at a morgue where
they pull out dead bodies and shoot
them with formaldehyde.
VERONICA
Don’t think so hard, don’t think so
hard.
PAT
Where would the dead body...where
would the body go, though? ‘Cause
the outside of the--

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 43.

TIFFANY
(annoyed)
It’s a joke!
VERONICA LIGHTS THE FRAME --
VERONICA
It’s a...fireplace.
TIFFANY
In the middle of the wall?

INT. RONNIE’S HOUSE/BATHROOM - EVENING

VERONICA SHOWS OFF AN OUTLET ON THE WALL.
VERONICA
We have a port in every room. Gimme
an iPod. Who, who doesn’t have an
iPod?
PAT
Well, I don’t have an iPod. I don’t
even have a phone. They won’t let
me make any calls. They think I’m
gonna call Nikki.
RONNIE
Don’t worry about it. Don’t focus
on that.
PAT
I would call Nikki.
RONNIE
I’m actually gonna give you one of
my iPods. I have an old one.
VERONICA
Gimme your iPod.
RONNIE HANDS AN IPOD TO VERONICA.
VERONICA (CONT’D)
Give it to me. Thank you, baby,
thank you.
VERONICA PLUGS THE IPOD INTO THE OUTLET.
TIFFANY
Of all the rooms there are iPod
ports in, I’m happy you brought us
into the bathroom.
VERONICA
Look, look, look.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 44.

MUSIC BEGINS TO PLAY.

VERONICA (CONT’D)
I can play music for the baby in
any room.
PAT
Can you play “Ride the Lightning”
by Metallica?
VERONICA IS SPEECHLESS. RONNIE GRINS.

INT. RONNIE’S HOUSE/DINING ROOM - EVENING

RONNIE
Pat was a history sub at the high
school, Tiffany. Ask him about any
president, he knows 'em all.
PAT
Here’s a fun fact. You know where
the term “OK” comes from?
VERONICA
No. No, I don’t.
RONNIE
Where?
PAT
Well, Martin Van Buren, the eighth
president of the United States of
America, is from Kinderhook, New
York...
VERONICA
Oh.
PAT
...and he was part of a club, a
men’s club, called Old Kinderhook.
And if you were cool, you were in
the club, they’d say, “That guy’s
OK.” ‘Cause he was in the Old
Kinderhooks.
RONNIE
Really?
PAT
Yeah. Pretty cool, right?
RONNIE
That’s interesting.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 45.

VERONICA
You know, Tiffany's been doing this
dance thing for years and she’s
real good at it. She's gonna be
competing at the Ben Franklin
Hotel.
PAT
Oh, really? My wife loves dance.
Nikki loves dance.
TIFFANY
Why do you have to talk about me
like that?
VERONICA
I’m just bragging about you. Can’t
I brag about my little sister?
TIFFANY
Don’t talk about me in the third
person.
VERONICA
Please, gimme a break.
TIFFANY
I’m right here.
VERONICA
Just be nice. Just be nice.
PAT
Wow, wow, wow. Fascinating.
TIFFANY
Sorry. I don’t wanna be mean.
VERONICA
I know. I know, I know.
TIFFANY
(to Pat)
What meds are you on?
PAT
Me? None. I used to be on Lithium
and Seroquel and Abilify, but I
don't take them anymore, no. They
make me foggy and they also make me
bloated.
TIFFANY
Yeah, I was on Xanax and Effexor,
but I agree, I wasn’t as sharp, so
I stopped.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 46.

PAT
You ever take Klonopin?
TIFFANY
Klonopin? (Chuckling) Yeah.
PAT
Right?
TIFFANY
Jesus.
PAT
It’s like, “What? What day is it?”
How about Trazodone?
TIFFANY
Trazodone!
TIFFANY LAUGHS
PAT
Oh, it flattens you out. I mean,
you are done. It takes the light
right out of your eyes.
TIFFANY
God, I bet it does.
VERONICA AND RONNIE FEEL UNCOMFORTABLE. TIFFANY STANDS UP.
TIFFANY (CONT’D)
I'm tired. I wanna go.
VERONICA
No. No, no, no, no. We haven’t, we
haven’t even finished the salad
yet, or the duck. I made the Fire
and Ice cake.
TIFFANY
I said I’m tired. (to Pat) Are you
gonna walk me home or what?
PAT
You mean me?
TIFFANY
Yeah, you. Are you gonna walk me
home?
PAT
You have poor social skills. You
have a problem.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 47.

TIFFANY
I have a problem? You say more
inappropriate things than
appropriate things. You scare
people.
PAT
I tell the truth. But you’re mean.
TIFFANY
What? I’m not telling the truth?
Veronica and Ronnie are very uncomfortable.
RONNIE
Um, maybe I should drive them home
separately?
VERONICA
You can drive them both home. Now.
TIFFANY
Stop talking about me in third
person.
VERONICA
You can take Tiffany home first.
TIFFANY
You love it when I have problems.
You love it, Von, because then you
can be the good one. Just say it.
VERONICA
No...
PAT STANDS UP.
VERONICA (CONT’D)
...I don’t. I don’t. I just wanted
to have a nice, I just wanted to
have a nice dinner.
TIFFANY
Oh, God.
VERONICA
What is your problem?!
TIFFANY
Nothing’s my problem! I’m fine. I’m
tired and I wanna go. (to Pat) Come
on, are you ready?
Pat stands.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 48.

VERONICA
You really, you really wanna go
right now?
TIFFANY
Yes, I really wanna go! It’s been
great.
RONNIE
Okay, guys, the baby is sleeping!
TIFFANY
Sorry. I don’t wanna wake up the
baby. Bye.
PAT FOLLOWS TIFFANY.
RONNIE
Sorry, man.
PAT GIVES RONNIE AN “ALL GOOD” AND FOLLOWS TIFFANY OUT.

EXT. STREET - EVENING

PAT AND TIFFANY WALK TOGETHER IN SILENCE.
TIFFANY
This is me.
TIFFANY AND PAT STOP, FACE EACH OTHER.
TIFFANY (CONT’D)
Listen, I haven't dated since
before my marriage so I don't
really remember how this works.
PAT
How what works?
TIFFANY
I saw the way you were looking at
me, Pat. You felt it, I felt it,
don't lie. We're not liars like
they are. I live in the addition
around back, which is completely
separate from my parents' house, so
there's no chance of them walking
in on us. I hate the fact that you
wore a football jersey to dinner
because I hate football, but you
can fuck me if you turn the lights
off, okay?
PAT IS MOMENTARILY SPEECHLESS.

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 49.

PAT
How old are you?
TIFFANY
Old enough to have a marriage end
and not wind up in a mental
hospital.
PAT
Look, I had a really good time
tonight and I think you're really
pretty, but I'm married, okay?
PAT HOLDS UP HIS HAND, DISPLAYING HIS WEDDING RING.
TIFFANY
You're married? So am I.
TIFFANY HOLDS UP HER HAND, DISPLAYING HER WEDDING RING.
PAT
No, that's confusing. He's dead.
TIFFANY LOOKS AS IF SHE HAS BEEN PUNCHED, SHE EMBRACES PAT.
PAT (CONT’D)
Wait, what?
TIFFANY STARTS TO CRY.
PAT (CONT’D)
What’s happening?
PAT (CONT’D)
Oh, my God. Hey.
TIFFANY PUSHES PAT AWAY AND SLAPS HIM ACROSS THE FACE.
TIFFANY TURNS AND WALKS TO HER RENOVATED GARAGE APARTMENT.
LED ZEPPELIN’S “WHAT IS AND WHAT SHALL NEVER BE” STARTS TO
PLAY ON SOUNDTRACK.

INT. SOLATANO HOUSE/KITCHEN - EVENING

PAT ENTERS THROUGH THE BACK OF THE HOUSE, DEEPLY UNSETTLED.
HE WALKS PAST DELORES IN THE KITCHEN.
DOLORES
Are you okay? Ronnie called. Hey,
is that make-up on your shirt?
PAT
I don’t know, Mom.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 50.

INT. SOLATANO HOUSE/LIVING ROOM - EVENING

PAT IS WITH PAT SR. HE STANDS UP FROM HIS CHAIR.
PAT SR.
What happened over there?
PAT BEELINES PAST PAT SR. TO THE STAIRCASE.
PAT
When am I gonna get a phone?
PAT SR.
You’ll get a phone in due time. (to
Dolores) What happened?
DOLORES ENTERS.
DOLORES
Pat!

INT. SOLATANO HOUSE/ATTIC - EVENING

PAT REMOVES HIS JERSEY.
LED ZEPPELIN CONTINUES alternately quiet and LOUD.
PAT LIES ON HIS BED, RESTLESS. SUDDENLY HE IS FRANTICALLY
SEARCHING THROUGH ATTIC BOXES AS IF HIS LIFE DEPENDED ON IT.

INT. SOLATANO HOUSE/UPSTAIRS HALLWAY - NIGHT

PAT WALKS OUT OF THE ATTIC. HE OPENS THE DOOR TO THE MASTER
BEDROOM AND WALKS INTO THE ROOM. HE KNEELS DOWN NEXT TO
DOLORES’S SIDE OF THE BED.
PAT
(whispering)
Mom!

INT. SOLATANO HOUSE/MASTER BEDROOM - NIGHT

DOLORES WAKES.
PAT
(whispering)
I can't find my wedding video. Mom,
wake up.
DOLORES
(whispering)
What is it?

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 51.

PAT
(whispering)
Where’s my wedding video?
Led Zeppelin continues.
PAT SR. WAKES, LOOKING AT THE ALARM CLOCK.
PAT SR.
It’s after three o’clock! What are
you doing?

INT. SOLATANO HOUSE/ATTIC - NIGHT

DOLORES AND PAT WALK INTO THE ATTIC.
PAT
I looked in here, but this is all
your sewing shit up here, for your
sewing and everything. Did you put
it up here?
PAT STEPS TO AN OPEN CLOSET.
DOLORES
What about in your father’s study?

INT. SOLATANO HOUSE/MASTER BEDROOM - NIGHT

PAT SR.
(shouts from bed)
Don’t go in my study.
PAT
(shouts O.S.)
Dad, not now!

INT. SOLATANO HOUSE/ATTIC - NIGHT

PAT’S HANDS AS HE RIFLES THROUGH STUFF ON THE CLOSET FLOOR.
PAT
Would you put it in here? It makes
no sense for you to put it in here.

INT. SOLATANO HOUSE/MASTER BEDROOM - NIGHT

PAT SR. IN BED

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 52.

PAT SR.
(shouts from bed)
Patty, what are you doing?

INT. SOLATANO HOUSE/STUDY - NIGHT

WE SEE PAT AS HE LOOKS INTO A CABINET OF VIDEOTAPED FOOTBALL
GAMES.
PAT
He’s got all his Eagles videos and
not one video of my wedding!
PAT SEARCHES THROUGH THE VIDEOTAPES.
PAT (CONT’D)
Is it here? I mean....?
PAT SR.
(shouts from bed)
Patty!
DOLORES
It’s probably in the attic.

INT. SOLATANO HOUSE/MASTER BEDROOM - NIGHT

PAT SR. IN BED.
PAT SR.
(shouts from bed)
Are you going in my study?

INT. SOLATANO HOUSE/ATTIC - NIGHT

PAT WALKS INTO THE ATTIC, FOLLOWED BY DOLORES.
PAT
It feels to me like you wanna hide
my wedding video.
CAMERA SWISH PANS OVER PILES OF BOXES. PAT’S HANDS AS HE
LIFTS AND ITEM AND TOSSES IT ONTO THE FLOOR.
DOLORES
Please stop yelling!
PAT SEARCHES THROUGH BOXES.
PAT
I’m not yelling, Mom, I’m just
frustrated because I should have my
fucking wedding video!

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 53.

PAT CONTINUES LOOKING.

DOLORES
Pat! Pat!
SHE GOES AFTER HIM.
PAT
(spiraling)
I looked over there! I already
looked all over there!
CAMERA SWISH PANS R. ONTO A PLASTIC BAG WHICH APPEARS TO BE
FULL OF CLOTHING.
PAT YELLS AS HE SORTS THROUGH THE CLOTHING DOLORES PUTS HER
HAND ON PAT’S SHOULDER.
DOLORES
Calm down, Pat.
PAT TURNS TO FACE HER.
PAT
(yelling)
I’m not calming down! I don’t give
a fuck who hears, I’m not calming
down! Anybody can wake up! I’m not
ashamed of it! I’m not ashamed of
it! Let the whole neighborhood wake
up! I...
DOLORES
Pat! Stop it!

EXT. SOLATANO HOUSE - NIGHT

PAT
(yelling)
...don’t care!
DOLORES
(yelling)
Stop it! Stop it! Stop it!
PAT
(yelling)
No, Mom!

INT. SOLATANO HOUSE/UPSTAIRS HALLWAY - NIGHT

PAT SR., SITTING ON THE EDGE OF THE BED.
PAT SR.
What’s going on?

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 54.

PAT SR. STANDS AND WALKS OUT OF THE ROOM.

PAT SR. (CONT’D)
What?
PAT
(yelling and crying)
I want it! It-...
PAT SR.
(yelling)
Hey!

INT. SOLATANO HOUSE/ATTIC - NIGHT

PAT
(yelling and crying)
It’s my wedding! It’s my wedding
video!
DOLORES
(yelling)
Pat!
THE O.S. TELEPHONE RINGS.

EXT. STREET - NIGHT

CAMERA PANS R. OVER SEVERAL HOUSES AS INTERIOR LIGHTS ARE
TURNED ON.
DOLORES
(yelling)
Stop it! Stop it! Stop it!

INT. SOLATANO HOUSE/ATTIC - NIGHT

PAT
(yelling)
I can’t watch my wedding video, but
I CAN hear the fucking song in my
head, goddamn it!
He grabs his head, to stop hearing the wedding song.
FLASHBACKS OF NIKKI IN THE SHOWER, DOLORES AND PAT REACTING,
NIKKI AND DOUG IN THE SHOWER, NIKKI SCREAMING, PAT BEATING
DOUG, NIKKI TRYING TO PULL PAT OFF OF DOUG.
PAT SOBS DOLORES, HUGS PAT FROM BEHIND; NICKI JUMPS ON PAT IN
FLASHBACK TO STOP HIM FROM BEATING THE HISTORY TEACHER; PAT
JERKS HIS ARM AWAY; KNOCKING DOLORES SPRAWLING ONTO THE
FLOOR.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 55.

PAT (CONT’D)
Mom?
PAT RUNS.
PAT SR.
(yelling)
What the fuck you doing?! You...
PAT
Mom?
DOLORES SITS UP, STUNNED.
PAT SR.
...hit your mother?!
PAT
No, no, no, no, no!
PAT SR. SLAPS PAT IN THE FACE TWICE.
DOLORES REACTS.
DOLORES
(yelling)
Stop it!
PAT SLAPS PAT SR. IN THE FACE. PAT SR. PUSHES PAT R.
PAT
Get off me, Dad!
PAT SR. PUSHES PAT DOWN ON THE BED, FIGHTING.
DOLORES REACTS, STANDING UP.
DOLORES
Stop hitting him!
PAT STRUGGLES AS PAT SR. SLAPS PAT IN THE FACE, DOLORES TRIES
TO PULL PAT SR. OFF OF PAT.
DOLORES (CONT’D)
(screaming)
Stop hitting him!
PAT SR.
I’m not hitting him! He’s hitting
me!
THE DOORBELL RINGS.
PAT
(crying)
I’m sorry! I’m sorry! I’m sorry!

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 56.

INT. SOLATANO HOUSE/FOYER - NIGHT

PAT SR. HURRIES DOWN THE STAIRS.
OFFICER KEOGH
Police!
PAT SR. STEPS TO THE FRONT DOOR AND OPENS IT, REVEALING
OFFICER KEOGH STANDING OUTSIDE.
OFFICER KEOGH (CONT’D)
Open the door, please. Open up.
Mister Solatano, I got a lot of
calls. People in the neighborhood
are scared. I gotta come in.
NEIGHBORS clamour behind him.
OFFICER KEOGH HURRIES UP THE STAIRS.
OFFICER KEOGH (CONT’D)
How are we doing in here, huh?

INT. SOLATANO HOUSE/ATTIC - NIGHT

OFFICER KEOGH TO PAT SR., DOLORES AND PAT.
OFFICER KEOGH
There are a lot of reports from
your neighbors, we got a lot of
phone calls.
PAT STANDS UP AND PAT SR. RESTRAINS HIM.
PAT
Nikki is being manipulated and
controlled. You have to talk to
her.
OFFICER KEOGH
Hey, sit down.
PAT SR.
Sit down.
PAT SR. FORCES PAT TO SIT DOWN. DOLORES SITS WITH HIM.
PAT SR. (CONT’D)
You gotta stop with these crazy
theories. He’s a cop. What are you
doing?
DOLORES
It's a medication problem, but
he's fine now.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 57.

OFFICER KEOGH
Oh yeah? He’s fine now? You wanna
send him back to Baltimore? We know
all about the explosion at the
psychiatrist’s office.
DOLORES
What?
PAT
What explosion? No. Cliff is lying,
that’s not true. He’s not allowed
to talk about that.
THE DOORBELL RINGS.
DOLORES
Jesus Christ, who’s that?

INT. SOLATANO HOUSE/FOYER - NIGHT

PAT SR. HURRIES DOWN THE STAIRS.
PAT SR.
Keep an eye on him.
PAT SR. OPENS THE FRONT DOOR TO SEE: RICKY D’ANGELO AGAIN,
THE CURIOUS NEIGHBOR KID WITH THE FLIP CAMERA.
RICKY
Is this a bipolar episode?

EXT. SOLATANO HOUSE/FRONT PORCH - NIGHT

PAT SR. PUSHING RICK AWAY. RICK EXITS.
NEIGHBORS (indistinct chatter - continues under following
scene and dialogue)
PAT SR.
Get outta here, you little fuckin’
idiot! Get outta here!
RICKY
Someone, help me! Help me!

INT. SOLATANO HOUSE/ATTIC - NIGHT

OFFICER KEOGH, DOLORES AND PAT.
PAT
You can’t tell Nikki about this,
Officer.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 58.

OFFICER KEOGH
Look, I gotta make out a report.
PAT
No, no! No!
OFFICER KEOGH
She can see it by law.
PAT STANDS UP.
DOLORES
Hey!
OFFICER KEOGH
Sit down.
PAT
No, no, no, listen, sir.

EXT. RICK’S HOUSE - NIGHT

PAT SR. FOLLOWS RICK BG. TO HIS HOUSE.
RICKYY
He’s chasing me! This guy’s chasing
me! Help me!
PAT SR. KNOCKS ON THE CLOSED FRONT DOOR.

INT. SOLATANO HOUSE/ATTIC - NIGHT

OFFICER KEOGH
Sit down!
PAT SITS DOWN WITH DOLORES.
PAT
I’m sorry. I could just write you a
letter and you could just let me
have five minutes, explaining how
much better I’m doing.
OFFICER KEOGH
There’s a court order against you --
five hundred feet. Listen to me!

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 59.

INT. RICKY’S HOUSE/FOYER - NIGHT

PAT SR.
...and I’ll take that fucking
camera and I’m gonna break it over
your fuckin’ head, then I’m gonna
come back and interview you about
what it’s like to get that fuckin’
camera broken over your head! You
wa--, what are you laughing about?
(to Rosalie)
I’m sorry. I’m sorry.
RICKY’S MOTHER ROSALIE
I’m sorry.
PAT SR.
Okay.
PAT SR. WALKS BACK TO HIS HOUSE. NEIGHBORS CATCALL PAT SR.
PAT SR. (CONT’D)
Go back to sleep. The party’s over.
Show’s over.

INT. SOLATANO HOUSE/ATTIC - NIGHT

PAST OFFICER, DOLORES AND PAT.
PAT
...this is not a reflection of
where I’m at. You can’t...please,
you can’t tell her any of this You
can’t tell Nikki about this.
OFFICER KEOGH
You need to pipe down.
PAT SR.
Everything all right?
DOLORES
Who was at the door?
PAT
Who was that, Dad?
PAT SR.
It was that kid with the camera.
OFFICER KEOGH
Good luck. I gotta write this up.
PAT
Come on, don’t write it up! I don’t
want her to see this!

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 60.

PAT SR.
It’s okay, everything is okay.
We’re fine, thank you, we
appreciate it. Thank you.
The family stands together in silence.
FADE TO BLACK.

INT. SOLATANO HOUSE/ BATHROOM - MORNING

OPENING STRAINS OF ALT-J’S “BUFFALO”. PAT STARES AT HIS
REFLECTION IN A MIRROR AS HE GENTLY TOUCHES A BRUISE ON HIS
FOREHEAD.

INT. SOLATANO HOUSE/MASTER BEDROOM - MORNING

PAST PAT SR. TO HIS REFLECTION AS HE TOUCHES A SCRAPE AND
BRUISE ON HIS CHEEK.

INT. SOLATANO HOUSE/KITCHEN - MORNING

PAT STANDS AT THE KITCHEN SINK. DOLORES AND PAT SR. STAND,
WATCHING HIM.
CU - TWO PILLS IN PAT’S HAND -- SEROQUEL AND LITHIUM -- PAT
TAKES THE PILLS.
INT. SOLATANO HOUSE/ATTIC - DAY
MONTAGE OF SCENES SHOWING PAT AS HE REPLACES THE BROKEN
WINDOW PANE.

EXT. STREET - DAY

PAT RUNS, CAMERA MOVING WITH HIM. CAMERA TILTS UP ONTO HIS
FACE.
PAT BREATHS HEAVY. HE LOOKS AT TIFFANY’S HOUSE AS HE PASSES.
TIFFANY BURSTS INTO FRAME, RUNNING PAST PAT.
TIFFANY
(running)
Hey!
PAT
(running)
What the hell?
TIFFANY
What happened to your face?

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 61.

PAT
Weight lifting accident.
TIFFANY
That sounds like bullshit. Why’d
you run by my house? Did our little
conversation get you upset last
night?
PAT
Hey, this is my route, okay? Just
back off.
TIFFANY
This is my neighborhood. You just
ran by my house.
PAT
I like to run by myself, okay?
TIFFANY
Me too.
PAT
(stops and turns)
Hey, I like to run alone! Will you
stop?
TIFFANY
What?
PAT
Okay? I’m running here!
TIFFANY
Me too!
PAT
Well then, why don’t you run
somewhere else? There’s a fucking
ton of roads to run in! What are
you trying to do?
TIFFANY
I like this road. This is my
neighborhood.
PAT
(sighs)
Oh, come on, please!
TIFFANY
Calm down, crazy.
PAT SPITS. TIFFANY SPITS.

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 62.

PAT TAKES OFF DOWN AN ALLEYWAY TO DITCH TIFFANY; HE DOES. AS

PAT SLOWS TO A JOG AGAIN, MUTTERS TO HIMSELF, NOTICEABLY
DISTURBED BY HIS ENCOUNTER WITH TIFFANY WHEN --
TIFFANY (CONT’D)
Hey!
TIFFANY REAPPEARS FROM ANOTHER ALLEY BEHIND PAT.

PAT
What the fuck?!
PAT (CONT’D)
I’m married!
TIFFANY
So am I!
PAT
What the fuck are you doing? Your
husband’s dead!
TIFFANY
Where is your wife?
PAT
You’re crazy!
TIFFANY
I’m not the one that just got out
of that hospital in Baltimore.
PAT
I'm not the big slut!
TIFFANY STOPS AND REACTS, BENDING OVER. PAT STOPS AND WALKS.
PAT (CONT’D)
(breathes heavily)
I'm sorry. I’m sorry. I’m sorry.
TIFFANY STANDS UP.
TIFFANY
I was a big slut, but I'm not
anymore. There’s always gonna be a
part of me that’s sloppy and dirty,
but I like that, with all the other
parts of myself. Can you say the
same about yourself, fucker?! Can
you forgive? Are you any good at
that?
TIFFANY TURNS AND WALKS.

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 63.

INT. OFFICE/DR. PATEL’S OFFICE - DAY

DR. PATEL
You seemed to have trouble last
night.
PAT
Let me just set the record straight
about last night. Hurting my mother
was a mistake and I hate myself for
it, and I hate my illness and I
want to control it. My father, on
the other hand, had no trouble
slapping the shit out of me last
night, which I did not return
‘cause I could’ve killed him and I
didn’t. He’s sixty-five years old.
You don’t think I could’ve beat the
shit out of him? I mean....
DR. PATEL
He was scared for your mother and
you hurt him as well.
PAT
Yes, last night was a mess. Okay?
And I think he probably just tried
to do his best.
DR. PATEL
Pat, you have to have a strategy. I
told you earlier. You need to
recognize these feelings coming to
you, otherwise you will be sent
back to Baltimore. So when you get
these feelings, you need to get to
a quieter place, and be at peace
with yourself, however you can.
PAT
Yeah, but that’s easier said than
done.
DR. PATEL
You have to do it. You have no
choice. Excelsior.
PAT
Yeah, Excelsior. Listen, I have a
letter I want you to give Nikki,
okay?
DR. PATEL
No.
PAT
Why?

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 64.

DR. PATEL
Because you have a restraining
order.
PAT
(sighs)
What good are you, man?
DR. PATEL
Why did you have this overwhelming
urgency to see your wedding video
last night?
PAT
Oh, I don’t know, because I’m
married and I haven’t seen my wife
in eight and a half months?
DR. PATEL
Maybe you think that Nikki’s not
around and Tiffany’s an attractive
girl and if you get drawn towards
Tiffany, you will spoil your
chances of getting Nikki back to
you?
PAT
Not bad, Doctor Jones. But I don't
think I'm gonna blow it with Nikki
because Tiffany's a slut.
DR. PATEL
Why is she a slut?
PAT
After the dinner at Ronnie's, she
said, quote, "We can go to the back
house and you can fuck me as long
as we turn the lights out."
Unquote. And she still wears her
wedding ring. So she's a loyal,
married-to-a-dead-guy slut.
DR. PATEL
Maybe she just needs a friend and
she thought if she offers you sex,
it will be easier for you to become
friends with her.
PAT
She said she's not a whore anymore,
but she likes that part of herself
along with all the other parts of
herself and can I say the same?
DR. PATEL
Can you?

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 65.

PAT
Is that....? You’re asking me,
you’re really asking me that
question?
DR. PATEL
Yes.
PAT
With all my crazy sad shit? What,
are you fucking nuts?
DR. PATEL
Pat, the silver lining thing is
yours. I'm just giving back your
words to you. This "crazy sad
shit," as you call it, made you a
happier, calmer person with a
beautiful positive philosophy of
going outdoors, working out, and
reading books.
PAT
No, not the books.
DR. PATEL
You said Nikki’s friends with
Ronnie, Veronica and Tiffany. So if
you become friends with Tiffany,
Nikki will think that you’re a
kind, generous, large-hearted
person, who helps people in need,
who is basically thriving. So if
you help Tiffany, it will be good
for you.

EXT. STREET - DAY

PAT RUNS. CAMERA TILTS UP AND MOVES BG. WITH HIM. CHILDREN
AND PARENTS ARE ON THE SIDEWALK, DRESSED IN HALLOWEEN
COSTUMES.
CHILD (O.C.)
Trick or treat!
PAT LOOKS AT THE MAXWELL HOUSE AS HE RUNS PAST IT. HE RUNS
ONTO THE SIDEWALK. HE RUNS AROUND A TREE. TIFFANY ENTERS AND
CIRCLES HIM.
TIFFANY
Hey!
THEY RUN.
PAT
How do you know when I run?

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 66.

TIFFANY
I wanted to clarify something. I
just want us to be friends.
(Pat doesn’t answer)
Did you hear what I said?
(Pat doesn’t answer still)
Why are you giving me such a hard
time?
PAT
No, I'm not giving you a hard time.
PAT AND TIFFANY RUN ACROSS THE STREET TOWARD A SMALL DINER.
TIFFANY
I don’t know how to act with you
when you do this shit.
PAT STOPS.
PAT
(winded)
You wanna have dinner at this
diner?
TIFFANY IS MOMENTARILY TAKEN ABACK BY PAT’S PROPOSAL.
TIFFANY
Pick me up at seven thirty.
SHE RUNS AND EXITS.

EXT. STREET - EVENING

SEVERAL CHILDREN RUN AROUND IN COSTUMES. PAT WALKS TO THE
MAXWELLS’ DRIVEWAY AND STOPS. CAMERA DOLLIES L. AROUND HIM.
WE SEE TIFFANY AS SHE WALKS AND WE SEE TIFFANY’S PARENTS PEER
THROUGH A LIVING ROOM WINDOW.
TIFFANY’S GRANDMOTHER LOOKS FROM AN UPSTAIRS WINDOW.
PAT
Happy Halloween.
TIFFANY
Hi.
ACROSS THE STREET TO THE DINER, PAT AND TIFFANY WALK TOWARD
IT.

INT. DINER - EVENING

PAT OPENS THE DOOR FOR TIFFANY AS SHE WALKS INTO THE DINER.
PAT FOLLOWS.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 67.

EXT. DINER - EVENING

THROUGH THE WINDOWS, TO A WAITRESS AS SHE LEADS TIFFANY AND
PAT L. TO A BOOTH. CAMERA PANS WITH THEM.

INT. DINER- EVENING

WAITRESS
Here you go.
TIFFANY
Thank you.
PAT LOOKS AT THE MENU. THE WAITRESS STANDS, WAITING.
PAT
I'm gonna have a bowl of your
Raisin Bran.
TIFFANY’S PERPLEXED.
TIFFANY
Tea.
THE WAITRESS TAKES THE MENUS FROM THEM AND WALKS AWAY.
WAITRESS
Be right back.
PAT
You look nice.
TIFFANY
Thanks.
THE WAITRESS ENTERS L. WITH THEIR ORDER.
WAITRESS
Raisin Bran. Milk.
TIFFANY WATCHES AS THE WAITRESS SETS HER TEA DOWN.
TIFFANY
Thank you.
PAT POURS HIS CEREAL INTO A BOWL. PAUSES.
PAT
You want to share this?
TIFFANY
Why did you order Raisin Bran?
PAT
Why did you order tea?

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 68.

SHE EATS CEREAL.

TIFFANY
(chewing)
Because you ordered Raisin Bran.
PAT
I ordered Raisin Bran because I
didn’t want there to be any
mistaking this for a date.
TIFFANY
(chewing)
It can still be a date if you order
Raisin Bran.
PAT
It's not a date. So how's your
thing going -- your dancing thing?
TIFFANY
It's good. How's your restraining
order?
PAT
I wouldn't actually call the
restraining order "my thing,” but
getting back with Nikki is, and
I've been doing pretty well. Except
for a minor incident at the
doctor's office.
TIFFANY
And the so-called incident with the
weights.
PAT
Yeah. That was a thing with my
parents. I wish I could just
explain it all in a letter to Nikki
because it was minor and I could
just explain it and let her know
that I’m actually not out of
control and that I’m actually doing
really well.
TIFFANY TAKES THIS IN. BEAT.
TIFFANY
I can get a letter to Nikki. I see
her sometimes with my sister.
PAT CAN’T BELIEVE WHAT HE IS HEARING.
PAT
It would be so amazing if you could
get a letter to Nikki from me.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 69.

TIFFANY
I'd have to hide it from Veronica.
She's not into breaking the law,
which this letter would definitely
be doing.
PAT
But you would do it?
TIFFANY
I’d have to be careful. I'm already
on thin ice with my family, you
should hear how I lost my job.
PAT
How did you lose your job?
TIFFANY
By...having sex with everybody in
the office.
PAT
Everybody?
TIFFANY
I was very depressed after Tommy
died. It was a lot of people.
PAT
We don't have to talk about it.
TIFFANY
Thanks.
PAT
How many were there?
TIFFANY
Eleven.
PAT
Wow.
TIFFANY
I know.
PAT
I’m not gonna talk about it
anymore.
TIFFANY
Okay.
PAT
Can I ask you one more question?
Were there any women?

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 70.

TIFFANY
Yes.
PAT
Really?
TIFFANY
Yes.
PAT
What was that like?
TIFFANY
Hot.
PAT
Jesus Christ. Was it like...older
women, a sexy teacher who wants to
seduce you--
TIFFANY
Made me sit on her lap and do
things? Yeah.
PAT
What? You sat on her lap?
TIFFANY
Mm-hmm.
PAT
She told you what to do?
TIFFANY
Mm-hmm.
PAT
Oh...my God. Nikki hated when I
talked like this. Made me feel like
such a pervert. Maybe we should
change the subject.
TIFFANY
I don’t mind it.
PAT
You don’t, do you.
TIFFANY
No. But then people were getting
into fights in the parking lot at
work, and in the bathroom...and the
boss called me in to his office and
tried to pin it all on me. So I
accused him of harassment and then
they fired me, sent me home and put
me on some meds.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 71.

PAT
I get it. The song that was playing
when my wife...was in the shower
with the history teacher...
TIFFANY
I heard about that.
PAT
...it was my wedding song and when
I hear it, I go kinda crazy.
Sometimes I hear it when it’s not
even playing.
TIFFANY
Wow.
PAT
Yeah. So they put me on medication,
which I feel ashamed of.
TIFFANY
Yeah.
PAT
So I know.
TIFFANY
You do.
PAT
I just gotta get a strategy, you
know?
TIFFANY
Me too.
PAT
We’d better get back to the letter.
TIFFANY
Yeah, let’s get back to the letter.
PAT
What if you told Nikki when
Veronica was in the bathroom?
TIFFANY
Yes. Yes, that could work. I love
that.
PAT
Oh, my God, I’m gonna go home and
write the letter right now.
PAT BEGINS TO SLIDE OUT OF THE BOOTH.

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 72.

TIFFANY
Can I at least finish my tea?
PAT
Wait, what?
TIFFANY
My tea. Can I finish it?
PAT
Wait a minute. Did Veronica tell
Nikki about our dinner? Why would
she do that? Was it a test?
TIFFANY
I kinda got that feeling, yeah.
PAT
Goddamn it. I knew it. It was a
test. How did I do? I think I did
pretty well.
TIFFANY
Yeah, she said you were cool,
basically.
PAT
“Basically”? Was I some percentage
not cool?
TIFFANY
No, she said you were cool, but you
know.
PAT
No, I don’t know.
TIFFANY
Sort of how you are. It’s fine,
relax.
PAT
What do you mean? How am I? What
does that mean?
TIFFANY
Sort of like me.
PAT
"Sort of like you"? I hope to God
she didn't tell Nikki that.
TIFFANY
Why?

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 73.

PAT
Because, it's just not right,
lumping you and I together, I mean,
it’s just wrong. And Nikki wouldn’t
like that. Especially after all the
shit you just told me.
TIFFANY
You think that I'm crazier than
you.
PAT
(scoffs) (chuckling)
Because, well, we’re different, I
mean--
TIFFANY
Oh, my God. Ugh. You’re killing me.
You know what? Forget I offered to
help you. Forget the entire fucking
idea. ‘Cause that must have been
fucking crazy because I am so much
crazier than you.
PAT
Keep your voice down.
TIFFANY
I’m just the crazy slut with a dead
husband!
HALLOWEEN DINERS LOOK.
TIFFANY (CONT’D)
Forget it!
PAT
Shut the fuck up.
TIFFANY STANDS, SWEEPING THE DISHES OFF THE EDGE OF THE
TABLE.
TIFFANY
Fuck you!
DINERS GASP
CAMERA PANS R. ONTO THE FLOOR WITH THE BROKEN DISHES.
PAT STANDS UP.
TIFFANY (CONT’D)
You shut the fuck up!
PAT
Tiffany! Hey! Tiffany!

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 74.

TIFFANY WALKS. PAT WATCHES.

DINERS (scattered applause and cheers)

EXT. DINER - EVENING

TIFFANY WALKS.

INT. DINER - EVENING

PAT GRABS HIS WALLET FROM THE TABLE.
THROUGH THE WINDOW TIFFANY HOLDING UP HER MIDDLE FINGERS.
PAT WALKS, BUT IS STOPPED BY THE WAITRESS, HOLDING UP HIS
BILL.
WAITRESS
Slow down, Raisin Bran.

EXT. STREET - EVENING

TIFFANY WALKS.
PEDESTRIANS (low and indistinct chatter - continues under
following scenes and dialogue)
PAT
Hey, come on. Look, I don't think
you're crazy, all right?
PAT HURRIES TO TIFFANY.
TIFFANY
Yes, you do.
PAT
No, I don’t.
TIFFANY
You told your therapist that you
were in a superior mental illness
category, didn't you?
PAT
What? Hey, calm down! Hey--
TIFFANY STOPPING AND TURNING TO FACE PAT.
TIFFANY
Just leave me alone!

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 75.

PAT
Can I just explain myself, please?
I didn’t want Nikki to think that I
was associated with that kind of
sexual behavior because I’ve never
done anything like that, okay?
TIFFANY
You may not have experienced the
shit that I did. But you loved
hearing about it, didn’t you? You
are afraid to be alive, you’re
afraid to live. You’re a hypocrite.
You’re a conformist. You’re a liar.
I opened up to you and you judged
me. You are an asshole. You are an
asshole!
TIFFANY GRABS PAT’S JACKET COLLAR.
TIFFANY (CONT’D)
Get off of me! (yelling) Get off!
You’re harassing me!
PAT
Hey, hey!
TIFFANY
(yelling)
He’s harassing me!
PAT
Shut up!
SEVERAL PEDESTRIANS STEP IN, INTERVENING.
‘CHERIE AMOUR’ starts in Pat’s head.
TIFFANY
Get off!
MAN
(to Pat)
Take it easy. Dude, relax.
PAT
Bro, get off of me.
TIFFANY
(yelling))
He’s harassing me!!
PAT
Hey, hey, stop, stop. Stop, all
right?
THREE TEENAGE BOYS SURROUND PAT, TAUNTING.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 76.

PAT (CONT’D)
Hey, get off of me! Shut up, shut
up.
PEDESTRIANS CROWD AROUND, WATCHING.
PAT (CONT’D)
Stop it.
A POLICE CAR SIREN IS HEARD. A POLICE CAR AS IT PARKS.
OFFICER KEOGH GETS OUT AND WALKS
PAT (CONT’D)
Hey, hey, hey, get off me!
OFFICER KEOGH
What are you doing? Come on. What
are you doing? What are you doing
to these kids?
CAMERA PANS WITH OFFICER KEOGH AS HE WALKS TO PAT, GRABS HIS
ARM.
OFFICER KEOGH (CONT’D)
Are you being a punk on Halloween
with these kids? You wanna go back
to Baltimore? Is that what you
wanna do?
PAT
I didn’t, I didn’t, I didn’t--
TIFFANY WATCHES IN THE CROWD OF HALLOWEEN TEENS. Softens.
TIFFANY
It’s the kids! [Walks to Pat and
Officer Keogh]. He didn’t do
anything, it was all the kids.
Officer Keogh turns to push the crowd back.
OFFICER KEOGH
(walks crowd back)
Let’s go, clear out, nothing going
on here.
AS -- TIFFANY LEANS IN CLOSE TO PAT WHO IS UPSET, SONG
PLAYING IN HIS HEAD. Tormented.
TIFFANY
You gonna go your whole life scared
of that song? It’s just a song.
Don’t make it a monster.
She leans close to Pat’s downcast face.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 77.

TIFFANY (CONT’D)
There’s no song playing. There’s
no song. Breathe, count backwards
from ten. That’s it.
Pat breathes, listens to her. Calms himself. Song stops.
Tiffany’s face stays close to his.
TIFFANY (CONT’D)
That’s it. There you go. I’m sorry.
I’m sorry.
PAT
I’m sorry.
TIFFANY
I took it too far.
PAT
I’m sorry.
OFFICER KEOGH
(pulls her away)
Hey, is he messing with you?
TIFFANY
No, no. No, this was just a joke.
This is a joke I started.
OFFICER KEOGH
There's a restraining order on this
guy.
TIFFANY
I know, I have a stupid sense of
humor.
OFFICER KEOGH
That’s not a good thing to do.
TIFFANY
Well, I’m fucked up. What can I
tell you? I’m sorry.
OFFICER KEOGH
You're Tommy's widow, right?
TIFFANY
Yes, I'm Tommy's crazy whore widow,
minus the whore thing for the most
part.
OFFICER KEOGH
You’re a funny girl. You wanna get
a drink sometime?
TIFFANY TURNS AND WALKS AWAY.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 78.

OFFICER KEOGH (CONT’D)

What’d I say?
PAT
She doesn’t, she doesn’t do that
anymore.

EXT. STREET - EVENING

TIFFANY WALKS - upset, vulnerable. Pat walks behind, CATCHES
UP TO TIFFANY AND THEY WALK TOGETHER.
PAT
I'm sorry about what I said in the
diner.
TIFFANY
I know. I know you didn’t mean it.
PAT
I didn’t mean it at all.
TIFFANY
I know, you say shit you don’t mean
all the time.
PAT
All the time.
TIFFANY
I’ll still give your letter to
Nikki, don’t worry.
TIFFANY WALKS THE DRIVEWAY TOWARD HER GARAGE. Pat watches her
go.
PAT
Wow. I really appreciate that,
Tiffany.
TIFFANY
(walking away)
I know you do.
PAT
You do?
TIFFANY
(disheartened)
Yeah, sure.
PAT
I’ll see you tomorrow? With the
letter?

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 79.

INT. SOLATANO HOUSE/DINING ROOM - DAY

PAT SR.’S BOOKMAKING MATERIALS SPREAD OUT ON THE DINING
TABLE.
RANDY
I’ll bet I know what happened if
only one is missing. Either Dolores
or Pat needed an envelope and one
of ‘em took it. That’s the only
answer.
PAT SR.
No, no, no.
DOLORES, PREPARING FOOD IN THE KITCHEN.
PAT SR. (CONT’D)
Dolores, somebody was in my study.
Who took one of my envelopes?
Somebody took an envelope.
DOLORES
Maybe we should call the FBI.
PAT SR.
Don’t make fun. This is serious.
What FBI? Come on, let’s take a
look. I’ll show you what this is.
I’m gonna just explain to you
something. I mean, you know what
I’m doing, honey. This everything,
like this. I got this, it all
corresponds.
PAT ENTERS.
PAT
Dad, I borrowed one of your
envelopes. I hope that’s not a
problem
PAT SR.
No, it’s not okay. It’s not okay.
You gotta ask.
DOLORES
“Do not go in my study or I will
eat you!”
RANDY LAUGHS
PAT SR.
It’s not funny, it’s not funny.
What’s everybody making a joke out
of this for?

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 80.

RANDY
Dolores, you are so beautiful!
PAT SR.
(to Randy)
Stop that! Hey, hey, hey, stop,
stop, stop!
(to Pat)
Listen, a lot of envelopes go in
and out of my office every day
after games with a lot of cash in
‘em. So show some respect for what
I do.
PAT
Yeah, I know. I saw two-seven-four.
I just wanted to tell you the
number.
PAT SR.
Thank you.
PAT
But the envelope was empty. I’m
sorry, you were sleeping. I didn’t
want to wake you, but I needed an
envelope.
PAT SR.
You didn’t want to wake me? (to
Dolores and Randy) He didn’t want
to wake me. He doesn’t have a
problem complaining about Ernest
fucking Hemingway. He doesn’t have
a problem asking for his wedding
video-
DOLORES
Be nice. It’s game day! I’m makin’
crabby snacks and homemades.
PAT
Yeah, come on, Dad, be nice. Come
on, she’s making crabby snacks and
homemades. Come on, Dad!
PAT SR.
What are you so up about?
DOLORES
He’s very happy.
PAT
I’m happy.
PAT SR.
No, you’re so up, up, up, up.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 81.

PAT
Isn’t that a good thing?
PAT SR.
You’re just up, up, up. I don’t
know what that is. Are you taking
the proper dosage of your
medication?
PAT
Am I taking the right dose? Of
course I am.
PAT SR.
Okay. Taking a little bit too many
or something?
PAT
No, if I was taking that, I’d be on
the floor, Dad.
PAT SR.
Just stay with us. Stay for the
game. Spend some family time.
PAT
Dad, I can’t. Look, I’m ready to
go.
PAT SR.
Spend family time.
PAT
Wait, you mean OCD, superstitious
time?
RANDY
Come on, your dad needs a winner.
Help him out.
PAT SR.
Come on.
PAT
I can’t.
PAT SR.
It’s the Seahawks. Put on the
jersey and stay, please. Please.
It’s important, please.
DOLORES
What are you up to, Pat?
PAT
Nothing, come on.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 82.

DOLORES
What’s in the envelope?
PAT SR.
Yeah, what are you doing? What’s in
that envelope?
PAT
Guys, I’m beating the song! I'm on
the scoreboard! I'm playing down
field! I feel great!
PAT WALKS OUT THE DOOR.

EXT. MAXWELL HOUSE/FRONT PORCH - DAY

PAT WALKS TO THE DOOR AND KNOCKS.
PAT
Tiffany!
PAT PUSHES THE DOORBELL.
TIFFANY’S MOTHER OPENS THE FRONT DOOR.
PAT (CONT’D)
Hey, how you doin’? Is Tiffany
here?
TIFFANY’S MOTHER
What do you want with her?
TIFFANY’S FATHER APPEARS.
TIFFANY’S FATHER
Is that another creep? What do you
want, creep? Just beat it.
PAT
Whoa, no, no, no. No, I’m married.
PAT HOLDS UP HIS HAND, POINTING TO HIS WEDDING RING.
A CAR PARKS AT THE CURB IN BG.
TIFFANY’S FATHER
Oh, great, a married creep.
PAT
I’m her friend.
ANOTHER MAN, JORDIE, JOGS UP TO THE PORCH, BEHIND PAT.
PAT (CONT’D)
We go running. Have you guys not
seen us? I took her to the diner.

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 83.

TIFFANY’S MOTHER
She’s not here.
JORDIE
Hi, guys. How’s it going? Hey. Is
Tiffany home?
TIFFANY’S MOTHER
Go away.
JORDIE
I know her. I know her, we’ve
dated. We still date.
PAT
What are you doing here?
JORDIE
I’ve called her, I’ve texted her.
PAT
Do you know this guy?
JORDIE
I still haven’t heard back. We used
to work together--
TIFFANY’S FATHER
Just get the hell out of here...
JORDIE’S HAND, HOLDING OUT A BUSINESS CARD.
JORDIE
I just wanted to give you my card
to give to her.
TIFFANY’S FATHER
Another rude creep.
PAT
Listen to what he’s saying. Listen
to what he’s saying.
JORDIE
What’s he saying?
PAT
He’s saying you’re being rude.
JORDIE
How am I being rude?
PAT
Oh, you know. You know. Come on.
Sometimes it’s okay with girls like
this, they wanna have fun and
sometimes --

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 84.

INT. MAXWELL HOUSE/HALLWAY - DAY

TIFFANY STANDS CONCEALED BEHIND DOOR LISTENING.
PAT
--it’s not because they got a
broken wing, and they’re hurt, and
they’re an easy target. And in this
case, in this particular case, I
think that wing is being fixed.

EXT. MAXWELL HOUSE/FRONT PORCH - DAY

PAT
And you gotta make sure it gets
mended. And you’re gettin’ in the
way of that right now, okay?
Because she’s sensitive and she’s
smart, she’s artistic. This is a
great girl and you gotta be
respectful of that. Come on.
PAT TURNS AND LEADS JORDIE BACK TO HIS CAR.
PAT (CONT’D)
Let me walk you down to your car.
You’re a better guy than this. I
can see it in your eyes.
JORDIE LOOKS OVER HIS SHOULDER TOWARDS TIFFANY’S STUNNED
PARENTS.
JORDIE
She just texted me!

INT. MAXWELL HOUSE/HALLWAY - DAY

TIFFANY BEHIND DOOR TAKES IN HOW PAT STOOD UP FOR HER.
THINKS.

EXT. STREET - DAY

PAT RUNS. TIFFANY ENTERS. PAT REACTS.
PAT
Hey! Hey, wait a second! What are
you doing? What happened? How come
you weren’t outside? What the
hell’s going on?
THEY STOP, FACING EACH OTHER.
TIFFANY
I can’t, I can’t do it.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 85.

PAT
What do you mean, you can’t do it?
You can’t do what?
TIFFANY
I can’t give the letter to Nikki.
PAT
Tiffany, what are you talking
about? What do you mean you can’t
give the letter to Nikki?
TIFFANY
Because what am I getting in
return? What are you doing for me?
PAT
You said! You said if I wrote a
letter, you’d get it to Nikki.
TIFFANY
I know.
PAT
That was the set-up.
TIFFANY
Because I do this time after time
after time, I do all this shit for
other people and then I wake up
and, and I’m empty, I have nothing!
PAT
What are you talking about? You
seem like you’re a tough girl to
me. Why don’t you just do things on
your own?
TIFFANY
I always get myself in these
fucking situations. I give
everything to other people and
nobody ever, I never -- I don’t get
what I want, okay? I’m not my
sister.
Pat takes this in.
PAT
Alright, well, ask for you. What
can I do for you?
TIFFANY
I can’t do it.
PAT
Tiffany, what do you want me to do?

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 86.

TIFFANY SIGHS.
PAT (CONT’D)
Think of something.
TIFFANY
There’s this thing.
PAT
There’s a thing, okay. What kind of
thing?
TIFFANY
It’s a thing, it’s a thing. It’s a,
it’s a dance thing.
PAT
It’s a dance thing, all right.
TIFFANY
It’s a competition thing at the
Benjamin Franklin Hotel. Tommy
would never do it with me and I
missed it every single year.
PAT
Well, Tommy’s dead, so he’s not
gonna fucking do it.
TIFFANY
Would you please!
PAT
I don’t have a filter when I talk.
TIFFANY
Can we have one conversation
without you reminding me that my
goddamn husband is dead? My God.
PAT
Yes, I’m sorry. I’m sorry. Okay,
I’m sorry.
TIFFANY
But I can only do it if I have a
partner...and now I’m about to miss
it for another year.
PAT
Whoa, whoa, whoa, I’m not gonna
fuckin’ dance with you. What are
you talking about?

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 87.

TIFFANY
What, your schedule is so busy?
“Grapes of Wrath” and watching
football with your dad?
PAT
Tiffany, I’m not gonna do a dance
with you.
TIFFANY
All right, then I’m not giving her
your fucking letter.
TIFFANY WALKS AWAY.
PAT
Wait a second! But you promised you
would do this.
TIFFANY TURNS
TIFFANY
Think about it.
TIFFANY TURNS AND WALKS.
PAT
Well, I already did do something
for you, you know.
TIFFANY TURNS.
TIFFANY
WHAT DID YOU DO FOR ME?
PAT
I took care of that jerkoff that
was in front of your house.
TIFFANY
What? Jordie?
PAT
Let me ask you something. Do you
call him when you’re lonely?
TIFFANY STOPS.
PAT (CONT’D)
That encourages him, Tiffany. You
shouldn’t do it.
TIFFANY
Couldn’t you say the same about you
and Nikki?

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 88.

PAT
It’s not at all like me and Nikki.
What are you talking about? We’re
in love and we’re married. It’s
completely different.
TIFFANY
How are you in love? Tell me about
that. The big Nikki love. Tell me
about it, I wanna understand it.
PAT
We have a very unconventional
chemistry, it makes people feel
awkward, but not me. She’s the most
beautiful woman I’ve ever been
with.
TIFFANY
Wow.
PAT
It’s electric between us, okay?
Yeah, we wanna change each other,
but that’s normal, couples wanna do
that, I want her to stop dressing
like she dresses, I want her to
stop acting so superior to me,
okay? And she wanted me to lose
weight and stop my mood swings,
both of which I’ve done. I mean,
people fight. Couples fight. We
would fight, we wouldn’t talk for a
couple weeks. That’s normal. She
always wanted the best for me.
Tiffany listens.
PAT (CONT’D)
She wanted me to be passionate and
compassionate. And that’s a good
thing. You know? I just, look, I’m
my best self today, and I think
she’s her best self today, and our
love’s gonna be fucking amazing.
TIFFANY
It’s gonna be amazing, and you’re
gonna be amazing, and she’s gonna
be amazing, and you’re not gonna be
that guy that’s gonna take
advantage of a situation without
offering to do something back. So
think about the dance thing.
TIFFANY TURNS AND WALKS. PRELAP OF EAGLES GAME FADES IN.

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 89.

PAT (O.S.)
Danny, you’re out of the hospital?
And you’re here on game day?

INT. SOLATANO HOUSE/LIVING ROOM - DAY

PAT EMBRACES DANNY.
DANNY
I’m out.
DANNY AND PAT EMBRACE.
DANNY (CONT’D)
It’s official, man. They didn't
convert me to my Mental Hygiene Law
admission status within two thirds
of the maximum length of my felony
sentence, so I'm out. They had to
let me go.
PAT
I never understand what he’s
saying.
PAST DANNY, TO PAT SR. DOLORES AND RONNIE WATCH IN BG.
PAT SR.
Okay, jailhouse lawyer, come on,
let’s come back and sit down the
way you were before.
PAT
(laughs)
What a treat!

INT. SOLATANO HOUSE/LIVING ROOM - DAY

PAT SR. ESCORTS DANNY TO THE SOFA, WHERE RANDY SIT. DOLORES
AND RONNIE STAND.
SPORTS ANNOUNCER (over television) (low and indistinct
chatter - continues under following scenes and dialogue)
PAT
Whoa, whoa, whoa. Dad’s got you
sitting here?
PAT SR.
Oh, yeah.
DANNY
He calls me “Jailhouse Lawyer.”
DANNY SITS DOWN ON THE SOFA NEXT TO RANDY.

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 90.

PAT SR.
Hold the remote the way you were
holding it before.
DANNY
Okay.
PAT SR. AND DANNY, WHO CAREFULLY HOLDS THE REMOTE CONTROL IN
ONE HAND AND THE GREEN HANDKERCHIEF IN THE OTHER HAND.
PAT
And now you’re holding the remote?
DANNY
And it’s working. Your dad’s a
genius.
PAT SR. URGES DANNY TO SIT UP STRAIGHTER with remote.
PAT SR.
Now sit up.
PAT
And Danny’s the good luck charm?
PAT SR.
Danny’s from you. This is your
house, so it comes down to you.
You’re the one.
DANNY
Yeah, you’re the one, Pat.
PAT
Superstition, Danny. I don’t know.
WE SEE DOLORES.
PAT SR.
Come sit down.
PAT SR. (CONT’D)
Don’t disappear doing God knows
what with that Tiffany Maxwell.
PAT
Dad, Dad, Dad. She’s my friend. Why
would you say that?
RONNIE
Oh, she’s a mess. You gotta be
careful. She goes to a lot of
therapy.
PAT SR. GROANS

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 91.

PAT
I go to a lot of therapy, Ronnie.
What are you trying to say?
RONNIE
I’m just saying--
PAT
(interrupting) )
Am I messed up?
PAT (CONT’D)
Why don’t you stop judging people?
You judge everybody. You’re the one
who has a messed up marriage.
RONNIE
I’m just looking out for you, I’m
just looking out for you. She’s
unstable.
DOLORES
(alarmed)
What’s wrong with your marriage?
What’s wrong with your marriage?
RONNIE
Nothing’s wrong!
PAT
You should have seen when I was at
his house. It’s like a circus over
there.
RONNIE
Shh, shh.
RONNIE PUSHES PAT R. INTO THE FOYER.
PAT
What are you talking about? I’m not
gonna hide this. You need to deal
with it.
RONNIE
Stop breaking my balls.
RONNIE HOLDS UP AN IPOD.
PAT
Oh!!!!
RONNIE
I got you an iPod.
PAT
Whoa! Is this for me?

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 92.

RONNIE
Yeah. Well, that’s my old iPod, but-
PAT
(hugs Ronnie)
Oh, buddy, thank you. That’s so
nice of you. Wow.
RONNIE
Thirty-two gigabytes.
PAT
How many songs is that?
RONNIE
Seven thousand.
PAT
(scrolling through iPod)
Oh, yeah, you got The Stranglers.
You love The Stranglers. Oh, the
Sex Pistols. The Clash.
RONNIE
Got some Clash.
PAT
Oh, “West Side Story.”
RONNIE
Yeah, “West Side Story.” It makes
me peaceful.
(singing)
“Maria, I just met a girl named
Maria...”
PAT
Right, right, right.
RONNIE
And then when I’m angry, which is a
lot these days, I go to the
garage...Metallica...Megadeth. I
start fucking smashing shit.
PAT
You gotta get your marriage
together.
RONNIE
(whispering)
I start breaking shit, and I hurt
my hand. And --
PAT
Ronnie, that’s fucked up.

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 93.

RONNIE
Yeah, but it makes me feel better.
It’s like my therapy, you know?
PAT
When I’m with Nikki, I’m never
gonna do stuff like that...
JAKE (O.S.)
Whoa, Nikki? What’s all this about
Nikki?
Pan from the framed photo of Jake on foyer wall, to Jake on
the stairs above.
JAKE (CONT’D)
A restraining order is nothing to
fool with, bro. [Walks down to
Pat]. Holy shit, look at you! You
are fit! You look absolutely
amazing. You feel good?
PAT
How you doing, Jake?
JAKE
Good. You look like Schwarzenegger
in his prime.
DOLORES
Didn't I say you wouldn't recognize
him?
JAKE
So, listen, I’m sorry that I didn’t
come see you down at the hospital.
You know how those places creep me
out, and the firm’s been expanding.
I’ve been helping Pop with the
restaurant ‘cause he needs to have
a legitimate business. He needs a
tax return. With all the money that
he’s making with his bookmaking,
they’re gonna come after him. And
then it looks like I’m making, I’m
gonna make partner at the firm.
Pat just stares at Jake. The room is silent.
JAKE (CONT’D)
Well, I don’t even know what to say
to you anymore. You lost your wife,
I’m getting engaged, and I wanna be
able to tell you about those kind
of things. You lost your house, I’m
getting a new house. You lost your
job, things are going great for me
at the firm.

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 94.

PAT SR.
Maybe stop talking about all the
stuff that’s good for you and bad
for him. Just, you know, leave it
alone. We’re watching the game.
JAKE
You know what, I’m just gonna, I’m
just gonna, I’m just gonna stop
talking. I’m gonna shut my mouth.
Pat stares down Jake. Tense.
PAT
As my friend Danny would say 00
The room hangs on Pat’s words.
PAT (CONT’D)
I got nothing but love for you,
brother.
PAT SMILES. TENSION EASES. PAT AND JAKE EMBRACE.
DANNY
That’s right. That’s right.
RONNIE/RANDY/DANNY/DELORES (O.C.)
That’s nice. That’s nice.
DOLORES INHALES TEARFULLY.
PAT SR.
Well, thank God, finally.
PAT
DeSean Jackson.
JAKE
Yeah. Did it fit?
PAT
I wore it to Ronnie’s for dinner.
RONNIE
Beautiful jersey. I love that
jersey.
PAT
Veronica didn’t like it.
RONNIE
Veronica hates the jersey.
JAKE
Whatever you do, watch out for
that restraining order, okay?

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 95.

JAKE PATS PAT’S CHEST AND WALKS TO SOFA.

PAT
I’m not doing anything!
RONNIE
Don't let Tiffany get you in
trouble.
DOLORES
Pat, you’re up to something, I
know.
PAT
People like Tiffany, or Danny, or
me, maybe we know something that
you guys don’t know, okay? Did you
ever think about that? Maybe we
understand something because we’re
more--
DOORBELL RINGS.
DANNY
We have a sixth sense. I mean,
everybody’s got it. Everybody’s
just not in touch with it.
OFFICER KEOGH STANDS WITH MALE ORDERLIES FROM THE PSYCHIATRIC
HOSPITAL.
DOLORES
Oh, no.
OFFICER KEOGH
How you doing, Pat?
PAT
Jesus.
PAT SR.
I guess his sixth sense forgot to
tell him the cops were coming.
OFFICER KEOGH
(re: Danny)
I’m taking him back to the
hospital.
PAT
What? No, no, he passed his thing,
right?
RANDY LAUGHS

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 96.

DANNY
First of all, check with the latest
legal development.
OFFICER KEOGH
Well, we got a call that they did
convert you to a Mental Hygiene Law
admission status by the deadline of
your sentence, so....
PAT SR.
(to Keogh)
Wait a minute. Are you an Eagles
fan or are you not an Eagles fan?
OFFICER KEOGH
I’m an Eagles fan.
PAT SR.
Well then, what’s the problem? He’s
not goin’ anywhere. Just let him
finish the game, that’s all. The
handkerchief is working. We’re
killing the Seahawks, twenty-seven-
ten. What’s the matter with you?
Let him stay, please!
OFFICER KEOGH
I don’t know what the hell you’re
talking about “the handkerchief”.
And I’m glad that the Seahawks are
losing and we’re winning, but I
gotta take Danny McDaniels back to
Baltimore, alright? He can contest
his case from Baltimore.
DANNY STANDS UP.
DANNY
Not correct about the Mental
Hygiene Law. You’re not correct.
OFFICER KEOGH
Come on.
DANNY ENTERS R. AND OFFICER KEOGH GRABS HIS ARM. THE
ORDERLIES AND OFFICER KEOGH ESCORT DANNY L. THROUGH THE FRONT
DOOR.
DANNY
You guys oughta be ashamed of
yourselves.
PAT SR. CAREFULLY FOLDS UP THE GREEN HANDKERCHIEF.

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 97.

EXT. MAXWELL HOUSE - DAY

PAT WALKS ALONG THE DRIVEWAY TOWARD TIFFANY’S GARAGE,
CARRYING HIS ENVELOPE. HE SEES TIFFANY’S MOTHER, LOOKING
THROUGH A WINDOW.
PAT WAVES.

INT. TIFFANY’S GARAGE/DANCE STUDIO - DAY

TIFFANY LEADS PAT INTO HER DANE STUDIO.
TIFFANY
I used the insurance money to build
this. I designed it. All the floors
are hard oak. It has good bounce
for dancers.
PAT
Wow.
TIFFANY
I’m not that great of a dancer, but
who cares? It’s therapy and it’s
fun. And the walls are good ‘cause
I can play music really loud
without anybody hearing.
PAT
Where do you sleep?
TIFFANY GESTURES AT A STAIRCASE.
TIFFANY
Upstairs. It's a garage, I just
renovated it. You know, I was
thinking about putting a ballet
barre here.
PAT
When are you gonna give it to her?
TIFFANY
What?
PAT
The letter to Nikki.
PAT HOLDS UP THE ENVELOPE.
TIFFANY
Probably tonight.
PAT
Really?

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 98.

TIFFANY
Ronnie and Veronica and I are gonna
see her tonight.
PAT
Oh, I actually changed the first
paragraph. I did this thing about
Shakespeare and how it’s very
romantic-
TIFFANY
Mm-hmm.
PAT
-and that maybe in the future if
she wanted to go dancing, I can be
able to do that because of all the
training that--
TIFFANY
(interrupting)
No, that’s good, that’s really
good.
PAT
I assume you’re a good teacher.
TIFFANY’S HAND TAKES THE ENVELOPE FROM PAT.
TIFFANY
Yeah. I mean, I hope so.
PAT
Maybe you can teach us both, you
know what I mean?
TIFFANY EXITS AND PLACES THE ENVELOPE ON THE STAIRCASE.
PAT (CONT’D)
And I also mentioned how generous
it is, what I’m doing for you.
TIFFANY
Yeah. Mm-hmm. It’s really generous.
PAT
You know, being of service.
TIFFANY
Yeah.
PAT
To your need.
TIFFANY
Uh-huh.

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 99.

TIFFANY (CONT’D)
All right, let’s start simple.
Start at that corner, walk towards
me. Walk across the room.
Pat stands in the corner, doesn’t move.
PAT
Can we do something else besides
the dance deal?
TIFFANY
Are you fucking kidding me?
PAT
I’m good with a hammer. You want me
to fix something?
TIFFANY
A deal is a deal.
PAT
I know. Okay. I was just suggesting
that maybe there’s a better
scenario.
TIFFANY
Why don’t you walk towards me like
I’m Nikki. And the only way to
convey how much you’ve missed me is
by your walk. By your slow walk.
You can’t talk.
PAT
I’m not doing it.
TIFFANY
Only walk. Do it.
PAT
No. That’s stupid.
TIFFANY
No walk, no letter. Walk to me like
I’m Nikki, come on. Do it. I’m
Nikki. Come on.
PAT
(under his breath)
You’re not Nikki.
PAT RELUCTANTLY WALKS.
TIFFANY
Don’t look up until you’re halfway
here.

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 100.

PAT WALKS SLOWLY. CAMERA TILTS UP ONTO HIS FACE AS HE KEEPS

HIS HEAD DOWN.
TIFFANY (CONT’D)
That’s right.
PAT WALKS TO HER.
TIFFANY (CONT’D)
Not yet.
PAT AS HE STOPS FACE TO FACE WITH TIFFANY AND LOOKS HER IN
THE EYES.
TIFFANY (CONT’D)
Yes. Do you feel that? That’s
emotion.
PAT
I don’t feel anything.
TIFFANY
Has anybody ever told you how Tommy
died?
PAT
No.
TIFFANY
We were married for three years and
five days, and I loved him. But for
the last couple months, I just
wasn't into sex at all. It just
felt like we were so different and
I was depressed. Some of that is
just me, some of it was he wanted
me to have kids and I have a hard
enough time taking care of myself.
I don’t think that makes me a
criminal. Anyway one night after
dinner, he drove to Victoria's
Secret at King of Prussia Mall and
got some lingerie to get something
going. And on the way back, he
stopped on 76 to help a guy with a
flat tire and he got hit by a car
and killed. And the Victoria's
Secret box was still in the front
seat. (pause) That's a feeling.
PAT, VISIBLY UPSET, WATCHES AS TIFFANY TURNS TO HER IPOD. BOB
DYLAN’S “GIRL FROM NORTH COUNTRY” DUET WITH JOHNNY CASH
STARTS.
PAT AND TIFFANY SIT ON THE FLOOR, FACING EACH OTHER AS THEY
LISTEN. CUT TO:

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 101.

TIFFANY LEADS PAT ONTO THE DANCE FLOOR.

TIFFANY (CONT’D)
Okay, this is the waltz. I’m gonna
teach you the waltz step.
TIFFANY POSITIONS PAT AND GESTURES FOR HIM TO DANCE. HE MOVES
AROUND HER as she showed him, his hands on his shoulders.
PAT AND TIFFANY AS THEY DANCE WALTZ CAMERA MOVING WITH THEM.

INT. SOLATANO HOUSE/LIVING ROOM - DAY

DOLORES AND PAT SR. SIT TOGETHER ON THE SOFA. THEY WATCH AS
O.S. PAT PASSES BY.

INT. SOLATANO HOUSE/ATTIC - DAY

PAT FALLS ONTO HIS BED, EXHAUSTED.
PAT’S LEG HITS A STACK OF BOOKS AS HE ROLLS OVER. HE KNOCKS
NIKKI’S BOOKS ONTO THE FLOOR.

INT. SOLATANO HOUSE/FOYER - DAY

PAT HURRIES DOWN THE STAIRS. HE WAVES AT DOLORES AND PAT SR.

INT. TIFFANY’S GARAGE/DANCE STUDIO - DAY

TIFFANY IS HOLDING HER IPOD. SHE WATCHES A CLIP OF TWO
DANCERS IN AN OLD MOVIE.
PAT AND TIFFANY WATCH THE IPOD.
PAT AND TIFFANY DANCE, COPYING THE MOVES. CAMERA TILTS DOWN
ONTO THEIR FEET.
PAT AND TIFFANY AS THEY DANCE. PAT PULLS TIFFANY CLOSE AND
THEY LOOK AT EACH OTHER. SHE SPINS AWAY.
PAT’S HANDS LIFT HIS TRASH BAG AND SWEATSHIRT OFF THE FLOOR,
CAMERA TILTS UP WITH HIM. HE LOOKS R. AND REACTS.
PAT’S POV - THE OPEN BATHROOM DOOR, WHICH HAS A MIRROR
MOUNTED ON IT. THE MIRROR SHOWS THE REFLECTION OF TIFFANY, IN
THE BATHROOM, AS SHE TAKES OFF DANCE TOP, BACK TO HIM.
PAT STARES FROM AFAR--
HE SUDDENLY TURNS AND LEAVES

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 102.

EXT. MAXWELL HOUSE/DRIVEWAY - DAY

PAT RUNS DOWN GRAVEL DRIVE.

INT. SOLATANO HOUSE/ATTIC - DAY

PAT LIES ON BED STARES AT CEILING, emotions churning inside.

INT. SOLATANO HOUSE/KITCHEN - DAY

PAT CROSSES KITCHEN.
DOLORES
Whoa! Slow down.
PAT STOPS AND TURNS.
PAT
What?
DOLORES
Your father wanted you to have
this.
SHE PICKS UP A SECTION OF THE NEWSPAPER AND HANDS IT.
HE TAKES THE NEWSPAPER AND LOOKS AT IT.
PAT
He wants me to have-
THROUGH THE DOORWAY, PAT SR. LISTENS.
PAT (CONT’D)
-all this Eagles information.
DOLORES
It’s his living.
PAT
Um, tell Dad thanks.
DOLORES
Your father expects to spend time
with you, Pat.
PAT NODS. HE OPENS THE BACK DOOR.

INT. TIFFANY’S GARAGE/DANCE STUDIO - DAY

TIFFANY HOLDS UP THE NEWSPAPER AND A BOOK.

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 103.

TIFFANY
Football stays out of this place,
so does “Lord of the Flies.”
PAT
Wait, wait, no, no, no, what are
you doing? I'm behind on my
syllabus.
TIFFANY
I don’t give a fuck.
PAT
What the hell are you doing?
TIFFANY STEPS TO DOORWAY --

EXT. TIFFANY’S GARAGE - DAY

TIFFANY THROWS THE NEWSPAPER AND BOOK TO DRIVEWAY.
PAT (O.S.)
Hey, hey!

INT. TIFFANY’S GARAGE/DANCE STUDIO - DAY

PAT
Did you just throw that outside?
TIFFANY
What? You’re not gonna read that
shit on my time. I can tell you all
about the “Lord of the Flies.” It’s
a bunch of boys on an island and
they have a conch -- they have a
shell -- and whoever has the conch
has the power and they can talk.
And if you don’t have the conch,
then you don’t have the power. And
then there’s a little chubby boy,
and they call him Piggy and they’re
really mean, and then there’s a
murder. I mean, humanity is just
nasty and there’s no silver lining.
PAT
Wow. That was a great synopsis. I
still need to read it, though.
A KNOCK AT THE DOOR.
PAT (CONT’D)
Who’s that?
PAT OPENS THE DOOR.

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 104.

PAT (CONT’D)
What the....? (laughing) What are
you doing here, man?
DANNY WALKS INTO THE ROOM.
DANNY
If one of your two supervising
physicians loses their license,
then your whole ajudication is
thrown out.
PAT
How’d you know we were here?
DANNY
I went by your parents’ house
looking for you and they told me
you was over here.
PAT
Danny, this is Tiffany. (to
Tiffany) Tiffany, this is Danny.
TIFFANY
Hello. Pat told me about you.
DANNY
So is the girl, that you wrote
about?
PAT
Yeah.
TIFFANY
What? He wrote about me? I’m “the
girl”?
DANNY
He wrote about you, all right.
TIFFANY
What’d he say?
DANNY
He said you guys was helping each
other out and you were nice and had
a mouth on you, that you were
mouthy, but--
PAT
Whoa, whoa, that’s enough.
TIFFANY
No, please, tell me more about what
he said in the letter.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 105.

PAT
Yeah, anything you wanna know, I’ll
just tell you. It was nothing. It
was just a very general letter.
TIFFANY
Cool.
DANNY
(looks at Tiffany)
She’s fine.
PAT
She is my friend with an “F.”
DANNY
A capital “F.”
PAT
For “friend.”
The three stand there awkwardly for a beat.
DANNY
Hey, can I see what you guys are
doing?
PAT
Yeah.
TIFFANY
Okay.
SHE TURNS ON MUSIC: PAT AND TIFFANY DANCE SIDE BY SIDE.
TIFFANY (CONT’D)
And then this goes into something
else.
DANNY
That’s it?
PAT
Why? What is it, what is it, what
is it.
DANNY
Can I say something? Do you mind?
TIFFANY
No.
DANNY
You sure?
PAT
Just say it. Say it.

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 106.

TIFFANY
No, please.
DANNY
I think Pat, you should be facing
Tiffany.
DANNY STEPS TO PAT AND TIFFANY, REMOVING HIS JACKET.
DANNY (CONT’D)
Let me show you, Pat, let me show
you what I mean. You gotta come at
her with a little bit more soul,
man.
HE HANDS HIS JACKET TO PAT AND FACES TIFFANY.
DANNY (CONT’D)
(to Tiffany)
You should move more hips.
TIFFANY AND DANNY. PAT WATCHES, STANDING BEHIND DANNY.
DANNY (CONT’D)
(to Pat)
Just, just sort of come in, Pat,
come in like this. And....
DANNY DANCES, DEMONSTRATING.
PAT
Okay.
DANNY
Yeah. Can you move ‘em a little bit
more? Yeah, that’s it. Move ‘em a
bit more.
PAST DANNY, TO TIFFANY AS SHE DANCES. TIFFANY CHUCKLES
DANNY (CONT’D)
You could turn around, too, there’s
nothing wrong with that. Yeah.
You’re pretty good.
TIFFANY, DANNY AND PAT AS THEY DANCE. ONE HAND ON HER WAIST.
DANNY (CONT’D)
(hums)
Mm, yeah.
PAT ENTERS, STEPPING BETWEEN DANNY AND TIFFANY.
PAT
Okay, we got it, we got it.

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 107.

DANNY
Okay. Okay.
DANNY MOVES, EXITING. AS PAT AND TIFFANY DANCE.
DANNY (CONT’D)
Come on, Pat, come on. A little bit
more soul. Black it up, Pat.
PAT
“Black it up”?
DANNY
You know damn well what it means.
TIFFANY LAUGHS.
DANNY (CONT’D)
Oh, wait a minute, wait a minute,
wait a minute. Oh, man! I got an
idea.
CAMERA MOVES IN ON DANNY. CAMERA TILTS UP OVER DANNY AND
TIFFANY AS THEY JUMP UP REPEATEDLY, HOLDING HANDS AND MOVING
IN A CIRCLE.
PAT WATCHES AS DANNY AND TIFFANY JUMP TOGETHER.
DANNY (CONT’D)
Come get some, Pat. Come get some.
PAT BEGINS JUMPING WITH TIFFANY. CUT TO: DANNY WITH TIFFANY
AGAIN.
DANNY (CONT’D)
Shuffle back, shuffle back. Shuffle
back, shuffle back. Girl, you gotta
move your junk.
TIFFANY’S HIPS AS SHE DANCES. DANNY DANCES WITH HER. MUSIC
STOPS.
DANNY (CONT’D)
I gotta get out of here. I gotta go
see this girl, Tanya. She lives on
this side of town.
PAT
Yeah, go see Tanya. Good idea.
DANNY
Okay, man, hey. I’m gonna be there,
man. I want you guys to win!
TIFFANY
Bye!

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 108.

DANNY
Excelsior, Pat!
PAT
Excelsior!
DANNY
That’s my man.
DANNY EXITS.
TIFFANY AND PAT SMILE.

INT. SOLATANO HOUSE/ATTIC - MORNING

PAT, ASLEEP IN BED.
PAT SR. WALKS INTO THE ATTIC. HE SITS DOWN ON THE BED NEXT TO
PAT.
PAT SR. TOUCHES PAT’S SHOULDER.
PAT SR.
Hey. Patty.
PAT WAKES.
PAT SR. (CONT’D)
Pat.
PAT SR. (CONT’D)
Patty. Where have you been? Huh?
PAT GROANS.
PAT SR. (CONT’D)
We got a serious situation on our
hands, you know that.
Pat looks concerned, he could be in trouble.
PAT SR. (CONT’D)
We gotta beat the Giants if we
wanna have a chance of getting into
the division, any chance of playing
in the playoffs. Do you realize
that?
PAT
I didn’t realize that.

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 109.

PAT SR.
Yeah, that’s the bind we’re in. I
mean, I think it would be wise if
we spent father-son time, reading
about the Eagles, talking about
them, just to strengthen the good
luck thing that you’re in.
PAT
Okay.
PAT SR.
Yeah?
PAT
Right.
PAT SR.
Hmm?
PAT SR. LOOKS AWAY.
PAT SR. (CONT’D)
I just wanted to, maybe I didn’t,
spend enough time with you growing
up. I spent too much time with your
brother. It might have made you
feel worse about your behavior, but
I didn’t know anything, I didn’t
know how to handle it. I mean,
that's what all this Eagles stuff
is about. It’s about us, spending
time now. I wanna do everything I
can to help you get back on your
feet. That’s the whole point. Yeah.
I wish you'd watch these games with
me so we could talk, we could get
into things. (inhales) So would
you, would you just come downstairs
and talk to me and Randy now?
PAT SR. TOUCHES PAT’S CHEEK. PAT, MOVED, NODS.

INT. SOLATANO HOUSE/KITCHEN - MORNING

RANDY SITS AT THE TABLE, DRINKING COFFEE.
PAT SR.
Randy, tell him what I'm doing.
RANDY
He's betting everything on the
Giant game. Everything.

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 110.

RANDY (CONT’D)
All the money that he needs for the
restaurant, he’s betting on the
Giant game.
PAT SR.
Tell him why.
RANDY
Because he believes in you.
PAT
Is that true?
PAT SR.
I believe in you, Patty. I believe
in you. I want you to know that. So
I'm gonna bet heavy on this game.
DOLORES STARES INTENSELY AT PAT.
PAT SR. (CONT’D)
You understand?
PAT
Yeah.
PAT SR.
Heavy. I want you to go to the game
with your brother.
PAT
You want me to go to the game with
Jake?
PAT SR.
Of course I do.
JAKE
Does he want me to go?
PAT SR.
Of course he wants you to go.
PAT
He told you that?
PAT SR.
He told me, yes.
PAT
Even with all his friends?
PAT SR.
With all his friends. He trusts
you.

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 111.

PAT
He’s not embarrassed?
PAT SR.
No. I'd love to go to the game,
too, but as you know, I'm banned
from the stadium. ‘Cause I’d love
to see us beat the Giants and take
a lot of money from this asshole.
RANDY
Listen, personally, I think it’s a
stupid bet. As a matter of fact, I
think it’s ridiculous to bet all
that dough for the restaurant on a
game.
PAT SR.
Randy. (to Pat) I just hope you
heard what I said. It’s like a
family business, it’s our family
endeavor. We all stick together on
this. That’s how it works. That’s a
positive, positive vibe.
PAT
I made a commitment to Tiffany
about a project, and we have a very
important part of it that we have
to go over on Sunday, and it’s good
for me, Dad. It’s making me
disciplined and focused, and it’s,
it’s--, I never would’ve thought
this, but it’s a good thing.
PAT SR.
What is this thing you're doing?
DOLORES
Yeah, what is it? What is this
project, hon?
PAT
It's a dance thing, okay? There’s
nothing more to it, Dad. I swear.
DOLORES STEPS TO PAT, KISSES HIS FOREHEAD.

INT. TIFFANY’S GARAGE/DANCE STUDIO - DAY

TIFFANY AND PAT.
PAT
Listen, I need to ask you
something.
(MORE)

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 112.

PAT (CONT'D)
Tomorrow can I spend half the day
with you and half the day at the
Eagles game?
TIFFANY
I'm gonna pretend that you didn't
just ask me that.
PAT
Why?
TIFFANY
These are the two days that you
have promised me and that we have
prepared to nail the big move. It’s
not ready yet. And we don’t have a
move yet.
PAT
I know, but my dad opened up to me
and it was really beautiful and I
wanna be of service to him, okay?
And he’s worried that the juju from
the Eagles is being fucked up and
he’s concerned that it’s because
I’m spending time with you.
TIFFANY
Oh, I messed up the Eagles’ juju?
PAT
No, you’re not messing up the juju,
but the juju is messed up because
I’m not with him during the games.
TIFFANY
Guess what?
PAT
What?
TIFFANY
Nikki replied to your letter.
TIFFANY STEPS TO THE STAIRCASE, LIFTING AN ENVELOPE.
TIFFANY (CONT’D)
(interrupting)
But you can’t read it until after
you nail the big move. Go.
PAT SIGHS AS SHE TURNS SHARPLY, PLACES THE ENVELOPE ON THE
STAIRCASE AGAIN. CUT TO:
PAT BRACES HIMSELF AT FAR SIDE OF STUDIO TO CATCH TIFFANY’S
BIG LEAP -- TIFFANY BRACES HERSELF TO RUN -- SHE RUNS --
LEAPS -- THE FALL. THEY DO IT AGAIN, SAME RESULTS.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 113.

PAT
Tiff, I’m sorry. I can’t do
anything else without reading
Nikki’s letter, okay? It’s just--,
it’s in the back of my head. We
don’t almost have it, all right?
TIFFANY
I just hope you can handle it.
PAT
Thank you.
TIFFANY PICKS UP THE ENVELOPE AND TURNS.
PAT (CONT’D)
What was her energy when she gave
it to you?
TIFFANY
She was intrigued, excited, and a
little scared.
PAT
She was scared? About what? Did she
tell you?
PAT TAKES THE ENVELOPE.
CAMERA TILTS DOWN ONTO HIS HANDS, OPENING THE ENVELOPE.
TIFFANY
Try to stay positive.
PAT’S HANDS UNFOLD THE TYPED LETTER.
PAT
I’m just gonna read it out loud,
okay? Because if she says anything
that’s, you know, is that too much
to ask?
TIFFANY
No.
PAT LOOKS DOWN AT THE LETTER, READING SILENTLY.
TIFFANY (CONT’D)
I thought you were gonna read it
out loud.
PAT
Okay. Sorry.
(reading)
(MORE)

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 114.

PAT (CONT'D)
"Dear Pat, It was very emotional
for me to get your letter, as I'm
sure you can imagine, but I'm glad
you took the risk of discreetly
getting it to me through Tiffany.
This gives us a chance to
communicate while I keep the
restraining order until I feel
safe. I must admit you sound
terrific and I'm happy that you are
feeling so positive and becoming a
more loving and caring man, which I
always knew you were. I was moved
to read about ‘Excelsior’ and your
belief in happy endings. I am also
moved by your act of love to read
the books I have taught at the high
school. I'm sorry you find them so
negative, but I disagree. I think
they are great works of art that
reflect how hard life can be and
they can also help kids prepare
themselves for the hardness of
life. In spite of all these
positive developments, Pat, I have
to say if it's me reading the
signs, I need to see something to
prove you are ready to resume our
marriage. Otherwise I find myself
thinking that we might both be
better off moving on with our lives
separately. Please don't react
quickly to this, but take time to
think about it. I'm glad you're
doing so well. Love, Nikki.”
PAT FOLDS UP THE LETTER AGAIN. He is kind of crying.
PAT (CONT’D)
I think I’m done for today, okay?
TIFFANY
(follows him to door)
She said to show her something,
Pat. This dance can be that
something. You would have never
done something like this in a
million years. It shows all kinds
of skills on so many different
levels: focus, collaboration,
discipline. It's romantic, like I
said it would be. It’s for her.
PAT
(over his shoulder)
Thanks for the letter. I’ll see you
tomorrow, okay?

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 115.

PAT WALKS OUT.

EXT. STADIUM - DAY

MONTAGE OF SCENES SHOWING FOOTBALL FANS ARRIVING.
PEOPLE (indistinct chatter - continues under following scenes
and dialogue)

INT. PAT SR.’S CAR - DAY

PAT AND PAT SR.
PAT
Can I use your phone?
PAT SR.
Is it an emergency?
PAT
Yeah, kind of.
PAT SR.
What kind of emergency?
PAT
Well, I’m just doing this project
with Tiffany and I wanted to tell
her I’m not gonna be on time.
PAT SR.
Just don’t make her an emergency,
that crazy girl, you know?
PAT
She’s not crazy -- I’ll just borrow
Jake’s phone. It’s too bad you
can’t come in to the stadium, but I
know you were kicked out, you know,
for beating everybody up. Guess
we’re not that different, huh, Dad?
PAT SR.
That a bad thing?
PAT
No, I think, it’s a good thing.
PAT SR. SLOWS THE CAR AND PARKS AT THE CURB.
PAT SR.
Don’t drink too much. Don’t hit
anybody. You’ll be fine.

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 116.

PAT
Yeah. I’m solid.

EXT. STADIUM/PARKING LOT - DAY

‘HELLO OPERATOR’ BY WHITE STRIPES plays as PAT WALKS, PASSING
PEOPLE HAVING TAILGATING PARTIES, DRINKING AND EATING.
PEOPLE (indistinct chatter - continues under following scenes
and dialogue)
JAKE INTRODUCES PAT HIS GROUP OF MALE FRIENDS.
JAKE
This is my little brother Pat.
JAKE AND PAT, WHO SHAKES HANDS WITH AN O.S. MAN.
PAT
Hey, how you doing?
GUY #1
So, Pat, what’s this I hear about
you just gettin’ out?
GUY #2
(laughs) Yeah, from the looney bin!
GUY #1 LAUGHS
JAKE
What the fuck?! I talked to you
about that already!
JAKE (CONT’D)
I told you guys--
PAT
(interrupting)
It’s all right.
JAKE
Huh? No.
JAKE AND PAT. GUY #2 ENTERS, EMBRACING PAT.
PAT
It’s alright.
GUY #2
He’s a good dude! He’s a good dude.
THE GROUP GATHERS AROUND PAT, LIFTING CUPS OF BEER.
A HORN HONKS.

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 117.

JAKE
Oh, shit! The Asian invasion!
PAST PEOPLE, TO A LARGE BUS INDIAN PAINTED WITH THE EAGLES
COLORS AND LOGO. IT SLOWLY MOVES R. THROUGH THE CROWD.
JAKE (CONT’D)
They’re here every week!
MONTAGE OF SCENES SHOWING A GROUP OF INDIAN MEN WALKING OFF
THE BUS.
PAT
(can’t believe his eyes)
No!
PAT WALKS, CAMERA MOVING BACK WITH HIM.
GUY #1
Uh, Jake you better get your
brother.
GUY #2
Cuckoo bird’s takin’ off.
PAT
Doctor Patel!
DR. PATEL TURNS, REVEALING THAT HALF OF HIS FACE IS PAINTED
GREEN.
DR. PATEL
Pat!
PAT
Hey! What are you doing here?
DR. PATEL
You know, we must beat the Giants,
my brother.
PAT
I’m not supposed to be seeing you,
right? Outside the office?
DR. PATEL
Pat, Pat.
PAT
That’s illegal!
DR. PATEL
Pat, today I’m your brother in
green, not your therapist. I’m so
happy to see you. How wonderful
that you are here!

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 118.

PAT
Hey, Jake this is Cliff. This is my
doctor, Cliff.
JAKE
Look, two things. We gotta watch
that bubble screen for fuckin’
Manning in the backfield and we
gotta make sure we knock the
receivers on their ass on the line
of scrimmage.
DR. PATEL
You can say that again. Those
cocksuckers!
DR. PATEL, PAT and JAKE LAUGH.
RONNIE, PAT AND THEIR FRIENDS LIFT THEIR CUPS OF BEER INTO
THE AIR TO RARE EARTH’S “HEY, BIG BROTHER”.
RONNIE DANCES IN FRONT OF THE CROWD, HOLDING HIS CUP OF BEER.
THE SONG PLAYS
PAT ENTERS L. AND FACES RONNIE. THEY BEGIN FLAPPING THEIR
ARMS AS IF THEY WERE EAGLES.
RONNIE MOVES IN FRONT OF THE CROWD, SHAKING HIS FIST.
RONNIE
Okay, you know what? I don’t have
her phone number. If you want, if
you really want, you can call
Veronica ‘cause she does, but I
don’t want to talk to Veronica.
PAT
Why don’t you wanna talk to
Veronica?
RONNIE
Because she brings me down, man!
She just brings me down.
PAT
You have to change. You’re not
gonna throw the marriage away.
There’s some kind of love there. I
know, I used to see it.
PAT (CONT’D)
You guys have a beautiful thing
that got broken somewhere along the
line and you gotta fix it like a
chiropractor. You gotta give it a
chiropractic adjustment.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 119.

RONNIE CHUCKLES
PAT (CONT’D)
Enough with awkwardness! I don’t
wanna walk in your house and not be
able to say what I wanna say.
RONNIE
You’re right, man. You’re right,
you’re right, you’re right, you’re
right, man.
A MALE EAGLES FAN WALKS THROUGH THE CROWD, FOLLOWED BY
SEVERAL MALE FRIENDS.
FAN #1
Eagles, baby! Yeah! Let’s go!
THEY LOOK AS THEY WALK TOWARD THE O.S. BUS.
FAN #1 (CONT’D)
What the fuck? What’s that smell?
FAN #1 AND HIS FRIENDS LOOK BG. AT SEVERAL INDIAN MEN IN
FRONT OF THE BUS.
FAN #1 (CONT’D)
Nasty Indian curry! This is
America, baby! Go back to your
country!
RONNIE, PAT AND JAKE. RONNIE LOOKS AT FAN #1 AND HIS FRIENDS,
HARASSING THE INDIANS.
PAT
What, what’s wrong?
AN INDIAN MAN SHOVES FAN #1 AWAY.
INDIAN MAN
Hey!
FAN #1 PUNCHES THE INDIAN MAN IN THE FACE.,
INDIAN MAN GRUNTS AND FALLS.
RONNIE
Whoa, whoa, what’s going on?
JAKE
Stay back, Pat. Stay back.
FAN #1 PUNCHES ANOTHER INDIAN MAN.
JAKE (CONT’D)
Leave the fucking Indians alone.

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 120.

PAT WATCHES. RONNIE ENTERS.

RONNIE
Stay here, stay here!
PAT
I’m not gonna go anywhere.
RONNIE
Don’t get in a fight!
JAKE IS SURROUNDED BY FAN #1 AND HIS FRIENDS.
PAT
I’m not gonna fight. I’m not gonna
fight.
JAKE STRUGGLES AS ONE OF FAN #1’S FRIENDS GRABS HIM. OTHER
FRIENDS AND INDIANS FIGHT.
PAT (CONT’D)
(yelling)
Hey, not my brother! Hey, hey, hey!
CAMERA SWISH PANS ONTO ONE OF THE MEN PUNCHING JAKE.
COP
(over bullhorn)
Break it up or you’ll be arrested!
PAT PUNCHES ONE OF FAN #1’S FRIENDS AND MOVES PAST HIM.
CAMERA SWISH PANS ONTO SEVERAL COPS AS THEY GRAB DR. PATEL.
COPS GRAB PAT.
PAT PUNCHES FAN #1’S FRIEND AS THE SECURITY GUARDS PULL PAT.
PAT YELLS.

INT. TIFFANY’S GARAGE/DANCE STUDIO - DAY

TIFFANY SITS ALONE ON THE FLOOR, WAITING.
TIFFANY GRABS HER COAT AND EXITS.

INT. SOLATANO HOUSE/LIVING ROOM- DAY

PAT SR. STEPS IN.
PAT SR.
What’d you do?
PAT, JAKE, DR. PATEL AND RONNIE WALK INTO THE ROOM.

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 121.

PAT SR. (CONT’D)

What happened?
PAT
Dad--
PAT SR.
(interrupting)
What the fuck happened?
PAT
Dad.
PAT. DR. PATEL, RONNIE AND JAKE STAND BEHIND HIM.
PAT SR.
The birds lose, I lose a fuckin’
fortune, a fortune to Randy! What
the fuck did you do?! You fucking
lost it! I thought you said you had
it together! You were solid!
PAT
I am solid. I was solid at the
game, Dad. I'm solid, I'm solid
now.
PAT SR.
You fell apart! What are you
fucking talking about?!
DR. PATEL
Your son was trying to--
PAT SR.
It's all fucking ruined now. It's
all ruined.
PAT
No, Dad!
PAT SR. TURNS, REMOVING HIS JERSEY. PAT STEPS TOWARD HIM.
PAT SR. AS HE STRUGGLES TO PULL HIS JERSEY OFF.
PAT SR.
(yelling)
It's all fucking ruined now! It's
all fucking ruined!
PAT
No, Dad, Dad, Dad, don’t!
PAT SR.
(yelling)
It's all ruined, you little fucking
shit!

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 122.

PAT
No, Dad! I didn’t do a fucking
thing! Come on, Dad!
PAT SR.
(yelling)
You loser! You loser!
PAT SR. SHOVES PAT.
PAT
(emotional)
I’m not a loser.
PAT SR.
You fucking loser! You ruined
everything!
DR. PATEL
He was defending his brother!
PAT CRIES
PAT SR.
You fucking idiot! You spike the
ball on the one yard line, you
fucking idiot!
THE DOORBELL RINGS.
DOLORES LOOKS AT THE FRONT DOOR.
THE GROUP WATCHES AS TIFFANY WALKS INTO THE ROOM.
PAT SR. (CONT’D)
Who is this?! Who’s this?!
TIFFANY WALKS TO PAT.
TIFFANY
We need to talk right now! When you
make a serious commitment to
somebody, it is not cool to not
show up!
PAT
Wait a second, I tried to call, my
God, what’s happening, I called--,
but I tried to call you, Tiffany,
I--
PAT SR.
Who is this? What is this?
TIFFANY
Oh, really?

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
 123.

PAT
Yes.
PAT (CONT’D)
I told you I was gonna split my
time with my dad and you, and my
dad was pulling me in one
direction. Doctor Patel, Ronnie--
TIFFANY
Well, that sounds great, Pat.
That’s great for all of them, but
all of them didn’t make a
commitment to me in return for my
help. I'm Tiffany, by the way.
PAT SR.
What is this craziness with Tiffany
Maxwell?
PAT
There’s no craziness. I told you
who she was, I was doing this thing
with her. We had a conversation!
PAT SR.
She’s fucking nuts! When you
started spending time with her, it
all fell apart. This is the fucking
reason right here.
TIFFANY
You think I fucked up the Eagles’
juju, don’t you?
PAT SR.
Ever since, ever since he was with
you, ever since--
TIFFANY
(interrupting)
You think that I’m why today’s
happened?
PAT SR.
That’s right, you are why today
happened.
TIFFANY
I’m the reason why today happened?
PAT SR.
I think so.
TIFFANY
Let’s talk about that.

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 124.

PAT SR.
Be my guest.
TIFFANY
The first night that Pat and I met
at my sister's, the Eagles beat the
Forty Niners handily, forty to
twenty-six. The second time we got
together we went for a run and the
Phillies beat the Dodgers seven to
five in the NLCS.
JAKE
She’s right, Dad.
TIFFANY
The next time we went for a run the
Eagles beat the Falcons, twenty-
seven to fourteen.
PAT
Wow.
TIFFANY
The third time we got together we
had Raisin Bran in the diner and
the Phillies dominated Tampa Bay in
the fourth game of the World
Series, ten to two.
PAT
Oh, wow.
PAT SR.
Let me think about that. Wait a
minute.
TIFFANY
Well, why don’t you think about
when the Eagles beat the Seahawks,
fourteen to seven.
PAT SR.
He was with you?
TIFFANY
He was with me. We went for a run.
RONNIE
Really? That’s crazy.

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 125.

TIFFANY
There have been no games since Pat
and I have been rehearsing every
day and if Pat had been with me
like he was supposed to, he
wouldn't have gotten in a fight, he
wouldn't be in trouble, maybe the
Eagles beat the New York Giants.
JAKE
She’s making a lot of sense, Pop.
That’s all right on all counts.
TIFFANY
Does anybody here happen to know
what the official motto of the
state of New York is on the
official seal of the State of New
York? Huh? Anybody? (to Pat Sr.) Do
you? Do you know? “Excelsior.” Look
it up. Yeah, “Excelsior.”
DOLORES
Oh Pat.
TIFFANY
Not that I give a fuck about
football or about your
superstitions, but if it's me
reading the signs, I don't send the
Eagles guy whose personal motto is
“Excelsior,” to a fucking Giants
game, especially when he's already
in a legal situation.
RONNIE
Unbelievable.
PAT
Wow. How did you know all that
stuff?
TIFFANY
I did my research.
SHE SNAPS OFF A BEER BOTTLE CAP AND DRINKS.
PAT SR.
Well, I gotta say, I’m impressed.
TIFFANY
Thank you.
PAT SR.
I gotta rethink this whole thing. I
didn’t trust it before, but I gotta
say, now I do.

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 126.

PAT
Oh, now you like her, Dad?
PAT SR.
I have to say I do. Yup.
RANDY
Patrizio, I feel terrible, you
know? You made the bet, I won a lot
of money, and now look, your whole
family is in turmoil.
TIFFANY
Oh, fuck off, Randy. You love it.
You live for this shit. You've been
betting against my father for
years.
PAT
Is that right?
TIFFANY
You're twisting the knife right
now. You get off on it!
RANDY
That’s bullshit! That’s not true!
Don’t say that!
TIFFANY
You get off on it! If not, then
prove it. Prove it.
PAT SR.
Yeah, prove it, prove it!
RANDY
How do you want me to prove it?
PAT SR.
How’s he gonna prove it?
TIFFANY
By giving them the chance to win
back everything, double or nothing.
PAT
No, no, no, no, no, no, no.
RANDY
Double or nothing on the Bengals,
next week? Is that what you’re
saying?
TIFFANY
No.

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 127.

She pauses, turns dramatically to Randy.

TIFFANY (CONT’D)
Against the Cowboys.
EVERYONE GASPS.
TIFFANY (CONT’D)
That’s your team isn’t it, Randy?
PAT
That’s his team!
TIFFANY
I know who his team is.
RANDY
When is the game?
TIFFANY
December twenty-eight, last game of
the season.
PAT
Oh, my God.
TIFFANY
Same day as the Benjamin Franklin
Pairs Open Freestyle Dance
Competition.
DOLORES
Oh God.
PAT SR.
Randy, I thought they were
America's Team. Don't you believe
in America's Team?
TIFFANY
Yeah, Randy, don't you believe in
America's Team?
RANDY
Yeah, I believe in America's Team
but if I win that bet, I win your
book, you’re out of action, you get
no restaurant, no nothing.
PAT SR.
I like it.
DOLORES
No. No, Patrizio--

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 128.

PAT SR.
I believe in the Eagles, I believe
in my son, I’ll take the action.
I’ll take it.
PAT
Dad!
DOLORES
Patrizio, don’t! It's toxic!
PAT SR.
I have faith, I have faith.
Excelsior belongs in this house--
PAT
Dad--
PAT SR.
--not in the State of New York. In
this house.
PAT
Dad, listen to me. I didn’t know
that “Excelsior” was the state
motto of New York, okay?
PAT SR.
I didn’t know, either, but now I
know.
PAT
I know, but listen to me, this is
toxic. Dad, Dad, Dad, this is
toxic, you shouldn’t be doing this,
you shouldn’t be doing--
PAT SR.
Randy, what do you say-- (to Pat)
Be quiet, shut up. You already did
enough. (to Randy) Randy, what do
you say? My birds, Benjamin
Franklin's team favored by one and
a half points. I'll give you three
more.
DOLORES
Patrizio, stop it! And Randy, don’t
you take the bet!
PAT SR.
In fact, I'll give you ten points.
PAT
No, Dad! Dad!

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 129.

JAKE
Dad!
PAT SR.
You have to take that bet on the
Cowboys.
RANDY
Dolores, would you stop him?
JAKE
Jesus!
PAT SR.
How could you not take that bet?
Even with the ten points I give
you, that's an insane spread to
your advantage. Cowboys are
cowards. And I'll bet you're such a
coward, you won't take the ten.
Plus, are you listening, plus
whatever their score is at the
dance thing. (to Tiffany) What's
that? Tiffany, what's that?
PAT
What? No, no, no, no.
RANDY
You’re crazy to give away that many
points. That’s ridiculous! I won’t
take that! However, wait a second.
I do like the idea of a parlay.
DOLORES
What? No parlay! No!
PAT
No, don’t do it. Don’t do it.
RANDY
Pat, how do they run this dance
competition? I mean, how do they
score it and everything?
PAT
I don’t know, I don’t know how they
fucking score! We’re participating.
We’re not, we’re not a part of it.
There are people, this is a high-
end dance contest. I don’t know. Do
not put it as part of the parlay,
Randy. Don’t--

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 130.

TIFFANY
They go by the Philadelphia rules.
Each dancer is scored on a scale of
one to ten, ten being the highest.
You have to average the four
judges' scores.
RANDY
Okay, score is from one to ten,
right? And you guys are how good?
PAT
We suck.
TIFFANY
We don’t suck. Pat’s a beginner,
I’m okay, we’re happy just to be
going there.
RANDY
And how are the people you’re
competing against?
TIFFANY
They’re good. Some of them are
professionals.
RANDY
They’re good? Better than you?
Pause. Tiffany says nothing.
PAT
A lot better.
RANDY
A lot better. So if I was to say
you only have to score five, I
would be really very generous,
right?
PAT
No, no, that would be amazing if we
got five. Let’s not get away--
TIFFANY
Oh, come on, we can get a five out
of ten! Gimme a break! Gimme me a
break!
PAT
We can’t get five!
PAT SR.
Give ‘em a five. Give ‘em a five.

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 131.

TIFFANY
We can do a five.
PAT
What are you talking about, Dad?
You haven’t even seen us dance!
RANDY
That’s the parlay.
DR. PATEL
Will somebody please explain to me
the parlay? Please?
RONNIE
You gotta win two bets or you lose
the whole thing. For Pat Sr. to
win, the birds gotta beat the
Cowboys plus Pat and Tiffany gotta
get at least a five at the dance.
DR. PATEL
That’s very, very manic indeed.
RONNIE
That’s the parlay.
RANDY
Shake on it.
PAT
You know what? I’m not gonna be a
part of this. (to Randy) Randy,
Randy, you’re a sickness. You’re a
fucking sickness, Randy. I’m out.
TIFFANY
Pat, you can’t quit.
PAT
I’m not doing the dance. I’m out.
TIFFANY
Pat, calm down. Thank about it.
PAT
See you later.
TIFFANY
Pat, no.
PAT SR.
What are you doing?
TIFFANY
Pat.

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 132.

PAT
(walking out)
I’m out.
PAT SR.
(follows him)
Here we are again at the one yard
line. DeSean, snatching defeat from
the jaws of victory. There you go.
PAT
What does that even mean, Dad? I’m
not gonna make that, that, that
connection that you’re making with
DeSean Jackson. It doesn’t matter
anymore okay? Just because I have
the fucking jersey on...I’m not
gonna do it. I’m sorry.
TIFFANY
You are not a stand up guy right
now. If it's me reading the
signs...if it’s me reading the
signs--
PAT
If it's you reading the signs?
You’re reading the signs? Oh, okay.
PAT STEPS THROUGH THE DOORWAY
DOLORES
Pat!
TIFFANY
You are not a stand up guy!
DOLORES
Pat!
PAT SIGHS.

INT. SOLATANO HOUSE/LIVING ROOM - EVENING

TIFFANY AND PAT SR.
PAT SR. GRUMBLES.
DOLORES
I told you not to push it.
PAT SR.
Yeah, but he’s gotta do this thing.
He can’t be a quitter. He cannot be
a quitter.

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 133.

DOLORES
(sighs)
You took that stupid parlay thing,
and now he won’t do the dance and
it was very constructive for him,
and you ruined it.
TIFFANY
There’s only one way to get him to
show.
PAT SR.
What’s that?
DOLORES
Oh, what’s that?
TIFFANY
We have to tell him Nikki’s gonna
be there.
They stare at her.

EXT. SOLATANO HOUSE/FRONT PORCH - EVENING

PAT STANDS. HE GLANCE. OVER HIS SHOULDER, REACTING, AND PULLS
THE LETTER OUT OF HIS POCKET.
PAT’S HANDS AS HE UNFOLDS THE LETTER. CAMERA TILTS UP ONTO
HIS FACE.
CU - THE END OF THE LETTER.
CU - THE BEGINNING OF THE LETTER.
PAT AS HE READS.

INT. SOLATANO HOUSE/KITCHEN - EVENING

DOLORES
She won’t come. She can’t come.
TIFFANY
We have to tell him that she's
coming.
PAT SR.
We have to tell him that she's
going.
DOLORES
But that's a lie!
TIFFANY
It's a white lie.

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 134.

PAT SR.
It's a white lie, what’s that
matter? That’s no big deal. So it’s
a little lie.
TIFFANY
There’s no other way.
PAT SR.
You know, we gotta leave a trail of
bread crumbs so that he can live
his life without ruining it.
DOLORES
No. I don't approve. You can't do
it.
PAT SR.
Well, you know, I didn’t approve
when you called her and you told
her where he was running, so she
could ambush him. I didn’t approve
of that, but you did it anyway, so
I’m doing this anyway. That’s it.
TIFFANY
We’re gonna tell him Nikki’ll be
there.
PAT SR.
(to Dolores)
You gotta be part of it.
TIFFANY
We have to do it.
DOLORES
Aren’t you nervous to be lying?
TIFFANY
Yeah. A little bit. But it’s for
the best.

EXT. SOLATANO HOUSE/FRONT PORCH - EVENING

PAT AS HE READS THE LETTER.
PAT
(reading)
“...but if it was me reading the
signs....”
PAT REACTS. HE LOOKS OVER HIS SHOULDER. HE TURNS, LOOKING AT
THE LETTER. HE JUST FIGURED SOMETHING OUT: Tiffany wrote the
letter, not Nikki.

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 135.

STUNNED, PAT FOLDS THE LETTER AND WALKS BG. DOWN THE STAIRS.
STOPS AND LOOKS BACK AT THE HOUSE then at the sky -- he can’t
believe Tiffany lied to him. Emotions course through him.
MUSIC SCORE PLAYS --

INT. SOLATANO HOUSE/KITCHEN - EVENING

PAT SR.
That’s it.
DOLORES
Okay.
DISSOLVE TO:

EXT. STREET - EVENING

PAT RUNS THROUGH THE RAIN.

INT. TIFFANY’S GARAGE/DANCE STUDIO - DAY

TIFFANY, SITTING ON THE FLOOR AND STRETCHING.
TIFFANY
Hey.
PAT ENTERS, SITS DOWN NEXT TO HER.
PAT
Hey, what’s up? Sorry I’m late.
TIFFANY
It’s fine.
TIFFANY WRAPS DUCT TAPE AROUND PAT’S SNEAKER.
HE WATCHES HER CAREFULLY, stares at her. Thinking.

EXT. SOLATANO HOUSE - EVENING

CAMERA TILTS DOWN OVER THE HOUSE, DECORATED WITH CHRISTMAS
LIGHTS AND NATIVITY FIGURES ON THE LAWN.
FRANK SINATRA’S “HAVE YOURSELF A MERRY LITTLE CHRISTMAS”
PLAYS.

INT. SOLATANO HOUSE/LIVING ROOM - EVENING

SEVERAL HANDS LIFT DRINKS FROM A TRAY.

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 136.

TIFFANY’S MOTHER
Is everything all right?
PAT SR.
Everything is fine. Cheers.
PAT SR. HOLDS UP HIS GLASS.
GROUP CHEERS.

INT. SOLATANO HOUSE/ATTIC - EVENING

PAT STARES AT TIFFANY AS SHE STRUGGLES TO TIE HIS NECKTIE.
SHE FUMBLES. She is agitated as he studies her.
TIFFANY
This isn’t working!
TIFFANY YANKS OFF THE NECKTIE AND STEPS. PAT WATCHES.
TIFFANY (CONT’D)
Stupid!
TIFFANY’S HANDS SORTS THROUGH A BOX OF TIES ON THE BED.
TIFFANY HOLDS ANOTHER TIE. SHE PLACES IT AROUND HIS NECK.
PAT WATCHES HER.
TIFFANY STRUGGLES TO TIE THE TIE.
SHE WORKS. CAMERA TILTS UP ONTO PAT’S FACE.
TIFFANY (CONT’D)
This just isn’t working!
SHE WALKS WITH THE TIE.
PAT UNBUTTONS HIS TOP SHIRT BUTTON. TIFFANY REACHES DOWN INTO
THE BOX OF TIES. PAT PULLS ON HIS JACKET.
PAT LIFTS AN ENVELOPE FROM A TABLE.
PAT
Come on, it’s gonna be great.
Nikki’s gonna be there. You know?
Everything’s gonna come together.
It’s what’s meant to be. You okay?
SHE NODS.
PAT (CONT’D)
Don’t get wobbly on me.

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 137.

TIFFANY
I’m not.
PAT
We have a dance to do. We have a
parlay. You gotta stay focused.
TIFFANY
I’m focused.
PAT
Okay, let’s go.

EXT. HOTEL - EVENING

CAMERA TILTS DOWN OVER THE HOTEL. PAT SR.’S CAR ENTERS AND
PARKS AT THE CURB.

INT. HOTEL/LOBBY - EVENING

PAT AND TIFFANY WALK, LOOKING AROUND. PAT SR. AND DOLORES
FOLLOW.
PAT
Look at the dancers. You see them?
TIFFANY
Shit.
PAT SR. AND DOLORES WALK BG. TO THE LOUNGE AREA, WHICH IS SET
UP WITH TELEVISIONS SHOWING THE FOOTBALL GAME. RANDY AND JAKE
ARE IN BG.
PAT SR.
Hey, Randy, Jake. What do we got?
JAKE
Dallas just tied with another field
goal, three-three. I’m worried
about the bet.
PAT SR.
Don’t worry about the bet.
JAKE
I’m worried about the bet.
PAT SR.
Holy shit.
PAST PAT SR. TO THE DANCERS AS THEY REHEARSE.
PAT SR. (CONT’D)
Is this “Dancing with the Stars”?

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 138.

DOLORES
Well, you knew that. Maybe you
should’ve scouted ‘em.
RANDY
(laughing)
Look at those fucking dancers! You
can give me the money now, you
know?
PAT SR.
(to Pat)
Patty, Patty, all we have to do is
we have to make a five. That’s all.
You stay here and watch the game
with me.
TIFFANY
The birds are better when Pat is
with me. We settled that.
PAT SR.
Stay for the next quarter.
PAT
Relax, we’re gonna do fine, okay?
I’ll see you in a little bit. I’ll
see you up there, okay?
PAT SR.
Okay.
DANNY ENTERS WITH HIS GIRLFRIEND, TANYA.
DANNY
Hey, Pat, Tiffany!
PAT
Hey.
DANNY
What a glorious, beautiful
occasion, man.
PAT
Yeah, yeah. All right, buddy, I’ll
see you. Alright. Wish me luck,
man.
DR. PATEL
Excelsior!
Pat and Tiffany walk to sign in.
PAT
(Notices he and Tiffany are holding
hands) Wait, what’s this?

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 139.

THEY ARE HOLDING HANDS.

TIFFANY
What? I thought you were doing it.
PAT
Oh, I thought you were doing it.
We’re doing a dance thing anyway,
for God’s sake.
CAMERA TILTS DOWN ONTO PAT AND TIFFANY’S CLASPED HANDS AS
THEY WALK.
PAT (CONT’D)
You okay?

INT. HOTEL/UPSTAIRS HALLWAY - EVENING

TIFFANY AND PAT WALK TOGETHER.
TIFFANY
I want you to remember everything.
I want you to remember all of the
good stuff that we have here.
PAT
Of course I do.
TIFFANY
Just check in. I gotta go find
Veronica.
PAT STEPS TO THE REGISTRATION TABLE.
PAT
Hi, good evening.
MALE OFFICIAL
Evening.
PAT
Check in? How many dancers are
there?
TIFFANY LOOKS DOWN OVER THE RAILING AT THE LOBBY BELOW. SHE
SEES: NIKKI WALKING WITH RONNIE AND VERONICA. OH NO.
TIFFANY
(to herself)
What?! Nikki? Nikki. Oh, Jesus.
She seems devastated by Nikki actually being there for Pat.

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 140.

INT. HOTEL/LOBBY - EVENING

TIFFANY WALKS TO VERONICA, STRUGGLING NOT TO CRY.
TIFFANY
(tearfully)
What the fuck?
VERONICA
Sweetie, sweetie. Honey, calm down.
TIFFANY
You’re killing me. You’re killing
me!
VERONICA
Tiffany, please. She’ll see how
well he’s doing, maybe she’ll lift
the restraining order.
TIFFANY
Oh, my God. Oh, my God.
RONNIE
Pat told me. He told me you should
never throw a marriage out the
window.
TIFFANY
(tearfully)
Pat did not say that. He didn’t say
that.
RONNIE
He said it several times, Tiffany,
and this is his chance. You gotta
give him a chance.
TIFFANY BREATHES HEAVILY.
TIFFANY WALKS, PASSING OTHER DANCERS AND SPECTATORS.
SPECTATORS APPLAUD.
SHE STEPS TO THE BAR, SITTING DOWN AT THE COUNTER.
TIFFANY
Bartender! Bartender, can I get a
vodka, please?
SPECTATORS APPLAUD, PAT WALKS, LOOKING AROUND.
SPECTATORS APPLAUD.
TIFFANY SITS AT THE BAR, DRINKING. A MAN IS SEATED NEARBY,
WATCHING HER DRINK. HE IS THE GUY AT BAR.

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 141.

GUY AT BAR
So, you want another one?
TIFFANY
Sure.
THE DANCERS AS THEY PERFORM. CAMERA TILTS UP AND PULLS BACK
TO INCLUDE PAT, WALKING.
PAST THE DANCERS, TO PAT AS HE WALKS, WATCHING THEM. CAMERA
PANS WITH HIM.
PAT STOPS, LOOKING.
RONNIE, NIKKI AND VERONICA SIT AT A TABLE, WATCHING THE O.S.
DANCERS.
SPECTATORS APPLAUD.
CAMERA MOVES PAST THE DANCERS, TO THE TABLE WHERE FOUR JUDGES
SIT. CAMERA MOVES IN ON THE JUDGES. TO RONNIE, NIKKI AND
VERONICA.
THE GUY AT BAR WITH TIFFANY.
TIFFANY (CONT’D)
So what do you do?
GUY AT BAR
I’m a lawyer. Litigator, actually.
TIFFANY
Oh, the arguing kind.
EMCEE (O.S.)
And the scores for Santos and
Aguilar are: seven point six, seven
point three, seven point four, and
six point nine for an average score
of seven point three.
CAMERA PANS ONTO THE DANCERS.

INT. HOTEL/LOBBY - EVENING

CAMERA PANS OVER A CROWD OF PEOPLE, WATCHING AN O.S.
TELEVISION SHOWING THE FOOTBALL GAME.
CAMERA PANS OVER DEPRESSED RANDY AND HOLDS ON CELEBRATING
DANNY, PAT SR. AND JAKE.
SPORTS ANNOUNCER
(over television)
Three, two, one! Philadelphia beats
Dallas! They are on their way to
the playoffs.

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 142.

GROUP CHEERS.
DANNY
Randy, what the fuck is happening,
man?!
PAT SR.
Yeah, Randy, what the fuck is
happening?!

INT. HOTEL/BALLROOM - EVENING

A COUPLE AS THEY DANCE.
PAT WALKS, LOOKING AROUND.
PAT SITS DOWN AT A TABLE WITH DR. PATEL AND HIS WIFE. DOLORES
SITS.
DOLORES
(whispering)
Where’s Tiffany?
PAT
I don’t know, Mom. Have you seen
her?
DOLORES
You gotta find her.
PAT
I know, Mom, I know.
PAT STANDS AND WALKS R., CAMERA MOVING WITH HIM.
THE SONG PLAYS.
PAT TURNS AND WALKS AND LOOKS AT THE BAR AT TIFFANY, STILL
TALKING TO GUY AT BAR.
PAT APPROACHES TIFFANY. ADDRESSES GUY AT BAR.
PAT (CONT’D)
Hey, WHAT are you doing?
GUY AT BAR
She’s fine, buddy, she’s with me.
PAT
She’s fine?
GUY AT BAR
Yeah.
PAT
Why don’t you shut up, okay?

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 143.

PAT TURNS TO TIFFANY.

PAT (CONT’D)
How many drinks have you had?
TIFFANY
I’ve had two vodkas.
PAT
Listen, I don’t know what choices
you’ve made, but you gotta deal
with it right now, okay? We’re in
this.
TIFFANY
We’re in what?
SPECTATORS APPLAUD
EMCEE
Next, Pat Solatano and Tiffany
Maxwell.
TIFFANY
You know, I used to think that you
were the best thing that ever
happened to me, but now I think
that you might maybe be the worst
thing and I’m sorry that I ever met
you.
PAT
Good for you.
He pulls her out of her chair to go to the stage. TIFFANY AND
PAT WALK TOGETHER, CAMERA MOVING BACK WITH THEM.
EMCEE
And the scores for Makarov and
Tretiak are: six point seven, eight
point one, seven point five and six
point five for an average score of
seven point two.
CAMERA DOLLIES L. ONTO THE EMCEE AND THE DANCERS.
INT. HOTEL/UPSTAIRS HALLWAY - EVENING
PAT SR., JAKE, DANNY AND RANDY RUN.
SPECTATORS APPLAUDS.
THEY RUN L. INTO THE BALLROOM.
INT. HOTEL/BALLROOM - EVENING

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 144.

RONNIE
They were great and they only got a
seven point two. This is a tough
room.
PAT TRIES TO HELP TIFFANY REMOVE HER COAT, BUT SHE BRUSHES
HIM OFF.
TIFFANY
Got it.
EMCEE
Up next, ladies and gentlemen
please welcome Pat Solatano, Jr.
and Tiffany Maxwell.
CAMERA RACKS FOCUS ONTO PAT AND TIFFANY, STANDING AT THE EDGE
OF THE STAGE AS THE PREVIOUS DANCERS WALKS BG. OFF THE STAGE.
SPECTATORS APPLAUD AS PAT AND TIFFANY WALK ONTO DANCE FLOOR.
PAT SR., DANNY, RANDY AND JAKE HURRY INTO THE ROOM.
DANNY
Damn.
JAKE
Let’s go, Patty!
DANNY
Come on, Pat!
PAT AND TIFFANY STAND IN THE AWKWARD SILENCE BEFORE THE MUSIC
STARTS, STARE AT EACH OTHER. SHE TILTS HER HEAD TO SAY, ‘Come
on’ to him.
STEVIE WONDER’S ‘DON’T YOU WORRY ‘BOUT A THING’ STARTS.
PAT AND TIFFANY DANCE, as Danny taught them.
PAT SR. WATCHES with Danny.
TIFFANY AND PAT AS THEY DANCE, MOVING DOWN ONTO THE FLOOR.
PAT CRAWLS TOWARD TIFFANY.
RONNIE, NIKKI AND VERONICA WATCH.
TIFFANY CRAWLS., CAMERA MOVING BACK WITH HER. TIFFANY AND PAT
LEAP UP.
WHITE STRIPES ‘FELL IN LOVE WITH A GIRL’ CRASHES ON -- PAT
AND TIFFANY DANCE INTENSELY TO THIS SONG.
DOLORES REACTS TO THE CHANGE IN MUSIC. NIKKI watches with
Ronnie and Veronica. Pat Sr. watches. The Judges watch.
DAVE BRUBECK’S COVER OF‘MARIA’ FROM WEST SIDE STORY STARTS.

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 145.

Pat and Tiffany WALTZ as they waltzed in their rehearsals.

Everyone watches. They come to the big move -- Tiffany
inhales nervously, braces herself to run across floor to leap
into Pat’s arms. Pat braces himself to catch her:
SHE LEAPS UP AND PAT AWKWARDLY CATCHES HER THIGH, her crotch
awkwardly wedged on his neck and head.
SPECTATORS GASP.
TIFFANY STRUGGLES TO PULL HERSELF UP ONTO PAT’S HANDS. HE
HOLDS HER AS SHE AWKWARDLY SITS ON HIS SHOULDER.
PAT TURNS WITH TIFFANY ON HIS SHOULDER, HER GROIN CLOSE TO
HIS FACE SHE LOOKS AROUND LIKE AN OSTRICH ATOP HIS HEAD.
PAT SR. WINCES; DOLORES WATCHES, TEARY.
THE JUDGES MAKE NOTES.
TIFFANY AND PAT AS THEY DANCE.
DOLORES WATCHES, TEARY. CAMERA PULLS BACK.
PAT HOLDS TIFFANY, WHO ARCHES AND LEANS BACK.
TIFFANY STRAIGHTENS AND PAT PULLS HER CLOSE.
THE MUSIC ENDS.
SPECTATORS APPLAUD.
THEY STEP TOWARD THE EDGE OF THE STAGE.
RONNIE
(yelling)
Yeah, Pat! Yeah!
JAKE
(yelling)
We love you, Pat!
CAMERA ONTO THE JUDGES.
EMCEE
Alright, let’s see the scores for
Solatano and Maxwell.
THE JUDGES HOLD UP THEIR SCOREBOARDS.
EMCEE (CONT’D)
We have a four point nine, four
eight, a four nine...
FEMALE DANCER
That’s really too bad, guys. That’s
a lot of fours.

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 146.

EMCEE
...and and a five point four for an
average score of..five point zero.
DOLORES PUTS A HAND TO HER MOUTH.
MALE DANCER
Sorry about that, guys.
PAT AND TIFFANY REALIZE -- YES! A FIVE! THEY SCREAM.
DANNY, PAT SR., JAKE, DOLORES AND DR. PATEL CHEER.
RANDY
(pissed)
What?! Come on!
Pat and Tiffany run to Pat Sr., Dolores, everyone. Pat and
his father embrace.
PAT
Dad, Dad, did the Eagles win?
PAT SR.
The Eagles won, forty-four-six!
They won, forty- four-six!
RANDY
Come on!
THE OTHER DANCING COUPLE LOOKS AT EACH, CONFUSED BY THE
CELEBRATION.
EMCEE
(puzzled)
Why are they so excited about a
five?
SPECTATORS LAUGH
EMCEE (CONT’D)
We’ll take a ten minute break.
PAT EMBRACES DR. PATEL AND DANNY.
TIFFANY EMBRACES HER MOTHER AND VERONICA.
PAT SLAPS HANDS WITH RONNIE, THEY EMBRACE.
PAT AND RONNIE LAUGH
PAT EMBRACES TIFFANY.
TIFFANY
Thank you! You’re amazing!
PAT PULLS AWAY TIFFANY, WATCHES HIM GO TO NIKKI.

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 147.

PAT WALKS TO NIKKI. JOHNNY MATHIS ‘MISTY’ PLAYS.

TIFFANY WATCHES from across the ballroom, emotional as Pat
and Nikki talk. At last.
PAT
(quietly)
Thank you for coming.
NIKKI
Of course.
PAT
How are you? You okay?
NIKKI
Good. How are you?
PAT
I’m really good. Yeah, thanks.
NIKKI
You looked really happy out there.
PAT
Did I?
NIKKI
Yeah.
PAT
Yeah, who’d have thought, dancing?
Tiffany reacts from afar, stung.
NIKKI
You look incredible.
PAT
Thank you.
NIKKI
You lost a lot of weight.
PAT
I’ve been reading your books and, I
have a positive attitude. I’m on
medication, I’m in therapy.
PAT STEPS CLOSER, LEANING TOWARD NIKKI. WHISPERS INTIMATELY
IN NIKKI’S EAR. SHE LISTENS AND NODS INTIMATELY, WARMLY.
TIFFANY WATCHES, GRABBING HER COAT FROM VERONICA, AND WALKS
AWAY.

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 148.

INT. HOTEL/UPSTAIRS HALLWAY - EVENING

TIFFANY HURRIES TO THE STAIRCASE, PUTTING ON HER COAT. SHE
RUNS ACROSS THE LOBBY.

EXT. HOTEL - EVENING

TIFFANY AS SHE HURRIES OUT OF THE HOTEL DOORS. SHE STOPS,
PUTTING ON HER OTHER SHOE, THEN WALKS.

INT. HOTEL/BALLROOM - EVENING

PAT AS HE LEANS BACK. NIKKI AND PAT SMILE AT EACH OTHER.
HE TURNS AND WALKS.
PAT SR. PUSHING PAST RONNIE TO PAT.
PAT
Where’s Tiffany?
PAT SR.
She left.
PAT
What do you mean, she left?
PAT SR.
She left. What do you think!
PAT
Where is she?
PAT SR.
Let me tell you, I know you don’t
wanna listen to your father, I
didn’t listen to mine but I’m
telling you, you gotta pay
attention to the signs. When life
reaches out with a moment like
this, it’s a sin if you don’t reach
back. I’m telling you, it’s a sin
if you don’t reach back, and it’ll
haunt you for the rest of your days
like a curse. You’re facing a big
challenge in your life right now,
at this very moment, right here.
That girl loves you, she really
loves you. And I don't know if
Nikki ever did, but she sure as
hell doesn't love you right now.
I'm telling you, don’t fuck this
up.
PAT EMBRACES PAT SR.

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 149.

PAT
I love you, Dad.
PAT KISSES HIM ON THE CHEEK AND RUNS OUT.

EXT. SIDEWALK - EVENING

TIFFANY WALKS DOWN THE STREET, ALONE.
PAT
(yelling)
Hey!
TIFFANY LOOKS OVER HER SHOULDER, TAKES OFF RUNNING. PAT RUNS
AFTER HER. They turn a corner. He is chasing her, a reverse
of their previous runs together. HE GRABS HER ARM AND SHE
STOPS, TURNING.
TIFFANY
(upset)
Would you just leave me alone?!
PAT
Wait a second!
HE PULLS A LETTER OUT.
PAT (CONT’D)
I have one more letter for you to
read, okay?
TIFFANY
(yelling)
What the fuck is the matter with
you? Give it to her yourself!
PAT
Let me say something. You don’t
ever have to see me again if you
just read it, alright?
TIFFANY
This is so fucked up.
PAT
Yeah, just read it.
TIFFANY UNFOLDS THE LETTER.
TIFFANY
(reading)
“Dear Tiffany...
SHE STOPS, surprised it is addressed to her.

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 150.

TIFFANY (CONT’D)
(reading)
“...I know you wrote the letter.
(long pause) The only way you could
meet my crazy....”
PAT
(reciting)
“...was by doing something crazy
yourself. Thank you. I love you. I
knew it the minute I met you. I'm
sorry it took so long for me to
catch up. I just got stuck. Pat.” I
wrote that a week ago.
TIFFANY
You wrote that a week ago?
PAT
Yes, I did.
TIFFANY
You let me lie to you for a week?
PAT
I was trying to be romantic.
TIFFANY
You love me?
PAT
Yeah, I do.
TIFFANY
Okay.
SHE LEANS FORWARD AND KISSES HIM, they kiss. Camera pulls
away. Score comes in.

EXT. MAXWELL HOUSE/GARAGE - DAY

TIFFANY’S GARAGE.

INT. TIFFANY’S GARAGE/DANCE STUDIO - DAY

THE EMPTY STUDIO. TIFFANY’S DANCE SHOES. HER IPOD AND
SPEAKER.

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 151.

PUSH IN ON: EXT. SOLATANO HOUSE - DAY

PAT
(voice over)
The world will break your heart ten
ways to Sunday, that’s guaranteed.
And I can’t begin to explain that-

INT. SOLATANO HOUSE - DAY

DETAILS OF THE HOUSE: FOOTBALL MEMORABILIA, PAT SR.’S
VIDEOTAPED GAMES, FAMILY PHOTOS ON WALL, THE REMOTE CONTROLS,
CERAMIC ANGEL FIGURINE NEXT TO A FOOTBALL.
PAT
(voice over)
-or the craziness inside myself and
everybody else, but guess what?
Sunday is my favorite day again. I
think of everything everyone did
for me and I feel like --a very
lucky guy.

INT. SOLATANO HOUSE/FOYER - DAY

PAT SR. STRAIGHTENS THE HANGING PHOTO OF PAT ON THE WALL.
PAT SR.
We have to beat the Vikings by
three. I’m givin’ you a six, which
is very generous after the beating
you just took. So what are we
doin’, what are we talkin’ about
here?
PAT SR. TURNS TO RANDY.
RANDY
I’d like to do another parlay if we
make it to the next round, that’s
all.
PAT SR.
But we are gonna make it to the
next round. We’re gonna beat...
PAT SR. LEANS DOWN AND PICKS UP A REMOTE CONTROL.
JAKE AND RONNIE PLAY CARDS IN THE DINING ROOM.
RONNIE
No, that was me that did that.
JAKE
No that was me.

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 152.

RONNIE
That was me. I played the Jack.

INT. SOLATANO HOUSE/KITCHEN - DAY

DOLORES PREPARES BRACIOLE WITH DANNY.
DANNY
So you put the bread crumbs, the
garlic in the steak and you roll it
up with the toothpicks?
DOLORES
Yeah. For, oh, maybe three hours,
plus.
PAT SR.
(into telephone)
Everything’s good, everything’s
good, yeah. I got you, you’re all
down. (pause) No, Randy, he’s
complaining. You know he lost a lot
of money. He’s moaning and
groaning. The restaurant’s
happening because of Randy, so
everything’s good.
TIFFANY SITS DOWN ON PAT’S LAP AND THEY TALK (we cannot hear
them) and KISS.
DOLORES AND DANNY WATCH, SMILING.
END CREDITS ROLL UP.

Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library