JACK GOES BOATING by Bob Glaudini

New Locked White January 28, 2009

Cooper's Town Prods. 212-255-7566 Big Beach Films 212-473-5800

1/28/09 FADE IN: 1 MOVED TO A43

EXT. CLASSIC LIMO SERVICE PARKING LOT - DAY

A cold winter day. Jack and Clyde in separate limos pointed in different directions parked side by side near the exit of the lot. In background, Classic office. Clyde, Jacks friend and coworker, is well groomed, and wears a black limo suit -a little better kept suit than Jacks. Clyde passes a lit joint from out his window to his friend. A reggae song, Rivers of Babylon, is heard playing in Jacks limo on an old style tape portable player. CLYDE You thought about it? JACK (nervous throat clearing) A-hem... CLYDE (after a pause) ...I think you should. JACK What's she do there? CLYDE Shes the assistant to the embalmer. Aw, no... JACK *

CLYDE ...something with the fluids. No, aw.... JACK

CLYDE No, man. Lucy's training her to sell seminars for Dr. Bob. JACK Phone sales?

1/28/09 2 CONTINUED: CLYDE He does seminars for the funeral directors. JACK I thought he was just an undertaker.

2 2

Jack passes the joint back through his car window to Clyde, who takes a final toke and discards the ends. CLYDE She calls the funeral directors. Phone sales. JACK Cool. What's her name? Connie. on. CLYDE So, Ill tell Lucy its

Jack sees a man, his uncle Frank, emerge from the office of Classic and head their way. JACK (indicates Uncle Frank) Heres my Uncle. Don't mention it -Hey. CLYDE

JACK That it's...y'know... because... I won't. CLYDE

JACK He won't let it rest. CLYDE Not a word. JACK It's how he is... Uncle Frank appears outside of Jacks car window. the men a small wave and a knowing look. He gives

1/28/09 2 CONTINUED: (2) Gentlemen. UNCLE FRANK

3 2 * * * * * * * * *

You two talking about me? No. JACK

CLYDE Only about the money we make you. UNCLE FRANK Thats allowed. Your lips to Gods ears. He turns and walks back toward the Classic office. Jack turns up the volume on Rivers of Babylon. Listens with serious appreciation. Jack detects a warble in the tape. JACK The tape's getting stretched. CLYDE You should go CD. Probably. JACK

CLYDE Go high tech. Yeah. JACK

Clyde observes Jack mouthing the words. CLYDE Jack. Turn it down a minute. Jack turns it down. CLYDE (CONT'D) Would you call yourself a rasta man? No. JACK

CLYDE You thinking of becoming one? No. JACK

1/28/09 2 CONTINUED: (3) CLYDE I just wanted to ask. JACK You like the song? positive. Reggae's mainly

4 2 *

CLYDE Some of the words, you know, I don't get, so it's hard to commit. JACK "Over I" is a hard one. "Over I?" CLYDE

JACK "Over I," yeah. CLYDE We'll just order something and hang out. Yeah. No biggie. JACK CLYDE

Clyde drives off. Jack listens to the song a moment, drives away. CUT TO: 3 INT/EXT. JACKS LIMO - DAY 3 * * * *

Jack drives. Italian woman in rear. Boxes and bags of purchases. The Italian woman is on her cell phone, talking in Italian. Her short talk is punctuated by the names of high end clothing stores, Barneys, etc. She hangs up, with kisses. After a moment-ITALIAN WOMAN You drive long time? Yeah. JACK

ITALIAN WOMAN You married?

1/28/09 3 CONTINUED: No. JACK

5 3

ITALIAN WOMAN I practice my English. Sorry. Thats OK. JACK

ITALIAN WOMAN I love New York. People are nice. In Rome. Awful. Rude. CUT TO: 4 EXT. MANHATTAN STREET - DAY Jack stands at the opened door as the Italian woman puts packages into the limo. ITALIAN WOMAN Dressing for success. Thats right? JACK Yes, maam. Dress for success. ITALIAN WOMAN Dress for success. Maybe shoes now. She climbs into the limo. CUT TO: 5 EXT. WALDORF ASTORIA - NIGHT 5 4

A valet drives away the car of a newly arrived couple, who carry gift wrapped packages. Immediately following, another car pulls up, and behind it, Clydes limo is in line, ready to deliver his passengers. CUT TO: 6 INT. CLYDES LIMO - NIGHT 6

Clyde eyes the happy couple in the back seat from the vantage of the rear view mirror. A young daughter of five between them. She has an extravagantly wrapped present on her lap, and is playing with the bow. DADDY Leave the pretty bow alone, sweetie.

* * * * *

1/28/09 6 CONTINUED: MOMMY You heard Daddy, honey, we want it pretty like you. CUT TO: 7 EXT. WALDORF ASTORIA - NIGHT

6 6 * * *

Clyde pulls the car up to the valet station. He gets out and opens the door for the happy family. They exit the car and enter the hotel. CLYDE (to Valet) Can I get a minute, I got to run to the mens room? VALET Pull it out of the way. And dont be all day. Thanks. CLYDE * * *

He hustles into the limo to pull it out of the way. CUT TO: 8 INT. WALDORF ASTORIA MENS ROOM - NIGHT 8

An attendant stands by the opulent wash basins. Clyde finishes at a urinal and moves to wash his hands. The attendant offers Clyde a squeeze of a French hand soap from a fancy looking bottle. Clyde washes his hands. The attendant smiles and readies a towel. Clyde dries his hands. After another moment of the two men looking at one another, more or less expressionless, Clyde takes some change out of his pocket. No coins. ATTENDANT

The attendant steps back. Clyde puts a buck in a tip bowl and exits. CUT TO: 9 OMIT CUT TO: 9 *

1/28/09 10 OMIT CUT TO: 11 SECOND LOBBY, WALDORF ASTORIA - NIGHT

7 10 *

11

* * * * * *

Clyde looks into and enters busy second lobby. He notices busboys/pastry assistants going into Empire Room. Clyde follows them. CUT TO: S 12 INT. SECOND LOBBY/EMPIRE ROOM - (CONTINUOUS) 12

* * * * * * * * * * * * *

Clyde looks in at the room catered for a wedding reception. Gifts. Guests, including the couple and child he drove who are at a table picking up id name tags, (Hi, Im Nonnie Plimpton.) Clyde enters the lobby. A small gathering of the well-dressed arrivals for the event sip cocktails and chat with each other near a pianist playing appropriate music. A trolley of desserts passes Clyde. Guests part to make way for it. A very tall pastry chef in white is revealed giving directions on the placement of the desserts. Clyde observes the man. After a moment, young woman with a guest list approaches Clyde. Her smile hides her obvious opinion that Clyde doesnt belong. EVENT ASSISTANT May I help you? No. No. CLYDE

Clyde heads for the exit. CUT TO: 13 INT. DR. BOBS MORTUARY BASEMENT AREA - DAY 13

Connie is on a phone at a work space studying with nervous intensity a form of instructions titled, Overcoming Objections. CONNIE (CONTD) Hi. Im calling from Dr. Bobs Grief Seminars. Dr. Bobs. Yes. Is this Mr. Pendecker? Did you get Dr. Bobs flyer on the upcoming seminar in Phoenix? Uh-huh. Uh-huh. CUT TO:

1/28/09 14 INT. ANOTHER ANGLE ON BASEMENT - CONTINUOUS

8 14

Lucy, around Connies age, and her immediate boss, walks past two phone sale workers at their separate work stations that are making calls and giving pitches for Dr. Bobs seminar/workshop services to other funeral directors across the nation. She gives one a thumbs up as she takes a confirmation slip from her and moves on by -LUCY Someones getting the bonus. Lucy walks to the open office door to Dr. Bobs office. Dr. Bob dips into view as he gives Lucy a quick congratulatory hug. At the same time, he looks over at Connie, struggling at the phone. DR BOB Whats the verdict? LUCY The jurys still out. Lucy turns and crosses to Connies work area. CONNIE Well, Dr. Bob's not here, right this minute, but I... LUCY (quietly emphatic) Credit Card. CONNIE The new seminar experience offers techniques-- thats right-violent acts... The pain of sudden deaths-- I did? LUCY Credit Card. CONNIE Oh, ah-- Mr. Pendecker? (to Lucy) He said to call back tomorrow. LUCY Remember, its Hello, the opening, gimme the credit card, the pitch, blah blah, gimme the credit card... its a mantra... * * * *

1/28/09 14 CONTINUED: CONNIE (repeats it quietly) Gimme the credit card. LUCY They want you to give them permission to invest in themselves.

9 14

* * * *

Dr. Bob appears, places a hand of reassurance on Connies shoulder. DR BOB Another peek at the website might help with the calls. Get you familiar with what we do. (moving on) Night, night. Dr. Bob heads out and down the hall to leave the mortuary. CUT TO: 15 INT. DR. BOBS OFFICE, BASEMENT AREA DAY 15 * * *

Connie is watching the Dr. Bob website on a computer. The office is decorated with Dr. Bobs prominent memberships in various national councils related to his profession, degrees, certificates, etc. Family pictures on his desk. CUT TO: 16 INT. DR. BOBS MORTUARY BASEMENT AREA 16

Lucys just outside the office tending to some final paperwork. LUCY Jacks a sweetheart. Weve known him a long time. You like Chinese? CUT TO: 17 INT. DR. BOBS OFFICE, BASEMENT AREA Connie is not sure what shes heard. CONNIE Hes Chinese? I think. Ive not known many, but... LUCY Well just order some. 17

1/28/09 17 CONTINUED:

10 17

Website headings: Journey Through Grief-- Life and Loss -appear and dissolve on the screen in a stylish manner, followed by site choices: Estate Planning, Cremation Workshop, Grief Certification... Connie hits one of the headings A message from Dr. Bob, and an image of Dr. Bob comes on in a bucolic setting. DR BOB Hi, Im Bob Thomas. My great grandfather started as a cabinet maker and undertaker in the small town of Pacerville, Oregon in 1885-CUT TO: 18 INT. DR. BOBS MORTUARY BASEMENT AREA - DAY 18

* * * * * * * * * * * * * * * * * * * * * * * *

Lucy is shutting down the area in preparation to leave. From inside Dr Bobs office the A Message from Dr. Bob is heard continuing. DR BOB (V.O.) For three generations Thomas Mortuaries have lovingly cared for the needs of family, and of loved ones, in short-- service -- a tradition for one hundred twentyfive years...offering a supporting hand under lifes final transition. Bob Thomas Mortuary is a humble partner in helping you see to all your needs in affordable and complete funeral service. LUCY Time to get out of here. CUT TO: 19 INT. DR. BOBS OFFICE - DAY Lucy enters. LUCY Tonight will be low-key. I think youll like Jack. Connie signs off. Dr. Bobs screen saver pops on. CUT TO: 19

* *

1/28/09 20 INT. JACKS BASEMENT APT - EVENING

11 20

Jack looks through his mess of a wardrobe for something to wear. CUT TO: 21 EXT. DISCOUNT CLOTHES STORE - EVENING 21

Jack looks at clothes displayed outside the store. Boxes of shoes, socks, underwear, undershirts; racks of pants, shirts, etc. JACK Dress for success. He walks down the block to another, more upgrade mens clothing store. He looks at mens clothes in the window before entering the store. CUT TO: 22 OMIT 22 *

CUT TO: 23 OMIT CUT TO: 24 INT. CONNIES STUDIO APT - EVENING 24 23 *

She sits on the bed. The clothes from cleaners, in a plastic bag, across her lap. She gets up, takes a dress from the wrapped clothes and puts it on. She looks at herself in a tall, skinny, cheap mirror that leans against the wall. 9.99 red sticker still on the frame. CUT TO: 25 INT. SMALL DINING AREA, CLYDE AND LUCYS APT - NIGHT Jack and Connie at the table. Remnants of Chinese food. An uncomfortable silence. Clyde enters from kitchen. JACK I'm sorry, y'know... to see your Dad like that... CLYDE Yeah... In a coma, man. 25

1/28/09 25 CONTINUED: Clyde takes a couple plates into the kitchen. JACK ... after not seeing him for a while... then... CONNIE The coma nurse said when he gasped for air his body did it in a reactive mode. Clyde returns relighting a joint. JACK Aw, that's... (to Clyde) ...right? Yeah... CLYDE

12 25

CONNIE Like a dry pump. That's how he put it. I was glad when he left, and I was alone with my dad. JACK ...ahem...hem...that's good, that he left... because... Yeah. CLYDE

CONNIE I was glad he left. Yeah. JACK

CONNIE He was coming on to me. JACK The coma nurse? CLYDE Right there? Yeah. CONNIE

JACK Right there in the coma room?

1/28/09 25 CONTINUED: (2) CLYDE That's not right. CONNIE He let his hand stay on my arm without saying anything until my dad gasped. Then he left the coma room. My dad was right there. In a coma, but still... CLYDE That's not right. JACK No, in the coma room with your dad right there...? In a coma, yeah, but still... Clyde passes the joint to Connie. Im fine. Jack takes it. CUT TO: 26 INT. DELI #1 - NIGHT Lucy is digging through the ice cream freezer. LUCY No Chunky Monkey? DELI WORKER No. No Chunky Monkey. She exits deli. CUT TO: 27 INT. SMALL DINING AREA, CLYDE AND LUCYS APT - NIGHT CONNIE

13 25

26

27

Clyde offers joint to Connie. She hesitates, takes the joint from Jack, does a small toke. Gives it to Clyde. After a moment-CLYDE Just getting your head around that... Yeah... JACK

1/28/09 27 CONTINUED: CONNIE My dad would gasp and twist his body, y'know, I thought, he wanted to get out of there. So, when I was alone with my dad, I told him it's OK to go, that he didn't have to stick around. I told him I loved him, and that he was a great dad, that he was free to go to heaven. Yeah... JACK

14 27

CONNIE Two days later, he woke up out of the coma. Fuck. CLYDE

JACK That's... wow... woke up? CONNIE ... after three months. Fuck. CLYDE

Clyde passes the joint. Connie takes it, starts to pass it on, does another small hit, passes it to Jack. CUT TO: 28 INT. DELI #2 - NIGHT Lucy digs through the freezer of another deli, finds and lifts a carton of Chunky Monkey up. Yes! Goes to counter. CUT TO: 29 INT. SMALL DINING AREA, CLYDE AND LUCYS APT - NIGHT Connie shakes no to the tiny end of a joint offered by Jack, who puts it down in the ashtray. 29 LUCY 28

1/28/09 29 CONTINUED: CONNIE He talked in a soft voice... like... y'know... I thought he's in like a zombie state. Not like Dawn of the Dead, but a zombie state where you stay around because there's some unfinished business you're responsible for-- like taking care of my mom. JACK Yeah, your mom, of course... CONNIE He went back to be with her at Sunshine Valley Care Facility. JACK God, that's... got up from a coma and went home.

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CONNIE They were married fifty-two years. CLYDE Fifty-two? Unbelievable... I mean, I believe it, but, wow, fifty-two years. JACK ...yeah, to make sure she was... CONNIE Then he fell down in the hallway and hit his head, and then he died. JACK God...oh... after waking up... a kind of... CLYDE Yeah... a miracle coming from a coma, and then... JACK ...cuz he wanted to take care of your mom. * * * *

1/28/09 29 CONTINUED: (2) CONNIE She was blind. She couldn't walk, really. She saw things in the air near the end. She was blind but she'd look in the air like she was seeing them. I don't know what, y'know... I asked if she was afraid to die and she said, no, but that she'd rather not. The bathroom's back there? Yeah. CLYDE

16 29

Connie heads to the bathroom. Jack motions for Clyde to follow him to the front room. CUT TO: 30 INT. BATHROOM - NIGHT 30

Connie breathes as though to stem an oncoming panic attack. CUT TO: 31 INT. FRONT ROOM - NIGHT Jack and Clyde talk so Connie cant hear them. JACK I thought, ask about her parents, yknow, make conversation. CLYDE She needed to talk about it, I guess. Yeah... JACK 31

CLYDE Lucys gone awhile, right? They probably didn't have Chunky Monkey so she's on a search. Buzzer. CLYDE (CONTD) Huh? Huh? How many times you think, "Hey, y'know, they been gone a long time," then, buzz, y'know, theyre there.

1/28/09 31 CONTINUED: Yeah. JACK

17 31

CLYDE It's hard to explain. JACK I don't think you can. CLYDE Good point. Buzzer. CLYDE (into intercom) Yo! Who is it? CUT TO: 32 EXT. APT BUILDING - NIGHT Lucys at the intercom. Yo! Me. LUCY 32

CLYDE (V.O.) Me I never forget my keys me? LUCY No. Buzz me fucking in me. Door buzzes and she pushes in. CUT TO: 33 INT. FRONT ROOM- NIGHT Clydes at the opened apt door. What? Nothing. CLYDE JACK 33

CLYDE Its a game. CUT TO:

1/28/09 34 INT. BATHROOM - NIGHT

18 34 *

Connie stands in the bathroom at the mirror, distraught, near tears. CUT TO: 35 INT. FRONT ROOM- NIGHT Lucy enters the apt and holds up deli bag. LUCY Are you ready for Chunky Monkey?! Sheds her coat and scarf. LUCY Three delis! -- as she heads into the hall to the kitchen LUCY Wheres Connie? CUT TO: 36 INT. HALL - NIGHT 36 35

As Lucy passes the bathroom door, Connie answers from within. Im here. CONNIE (O.S.)

LUCY Time for Chunky Monkey! Lucy keeps moving on into the kitchen. CUT TO: 37 INT. BATHROOM - NIGHT Connie takes a deep breath. Exits the bathroom. CUT TO: 38 EXT. STREET - NIGHT Snow falls. Connie and Jack look for a cab. CONNIE Itll have to be warmer though. 38 37

1/28/09 38 CONTINUED: JACK Yeah. Boating weather. Yeah. CONNIE

19 38

Jack raises his arm to hail an oncoming cab. It passes by without seeing him. They continue on towards the corner intersection. JACK You sure you dont want me to drive you? CONNIE No, really, its... Its alright. This is plenty. I liked tonight. They walk a few moments in silence. Winter. CONNIE JACK Boating. ALT *

Yeah.

They continue in silence. Jack observes Connie with the snow falling on her. She looks at him, and he turns away shyly, searches the street for a cab. He sees a cab and steps out to stop it. The cab pulls over and he opens the door. She gets part way in and then impulsively plants an awkward kiss on his cheek and practically stumbles back into the cab, which takes off. Jack stands in the aftermath of the kiss, a kind of slam-kiss. CUT TO: 39 INT. CLYDE AND LUCYS APT - NIGHT Clyde tastes coffee. CLYDE Hmmm. I'm tempted to say-(interrupts judgment) Jacks been gone a long time. LUCY Come on, five bucks you cant tell. Buzzer. 39

1/28/09 39 CONTINUED: Ha! Yo! CLYDE (into intercom) JACK (O.S.) (from intercom)

20 39

Yo!

CLYDE I thought maybe they ran off. (smells coffee, musing) Is it K...? LUCY You're supposed to taste it, and say what it is. Not stall around. CLYDE My nose has lost its edge. Your nose goes, your taste goes. LUCY Its not the only thing.

CLYDE Whats that mean? Jack enters. Snow on him. JACK It's snowing. LUCY They say, a foot. CLYDE Took you some time. No cabs. JACK

LUCY Clyde thought maybe you went off together. JACK I offered to drive but she said it'd be too much trouble. Queens, but I would have.

1/28/09 39 CONTINUED: (2) LUCY Coffee's ready. JACK Maybe a cup before I go. She caught a cab to the R train. CLYDE You liked Connie? JACK We got along pretty well outside, ahem... She said she'd like... ahem... She'd like to go boating. Boating? CLYDE

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* *

JACK Rowing in a boat. She said, y'know, to go boating...a-hem, a- hem... sometime, when it's, hem, when...

Jack drinks some water. CLYDE So what did you say? What? JACK * * * *

CLYDE When she asked you to go boating. JACK Maybe, when it's warmer. CLYDE You made a date for summer? JACK No, I'm not, y'know... that bad to say let's do something next summer, y'know, like six months from now. LUCY No, no, no, we know. JACK It started to snow, and it came up, y'know, warm weather, and it got to (MORE)

1/28/09 39 CONTINUED: (3) JACK (cont'd) summer, to go rowing in a boat. Going boating when it's warmer. said, yeah, but... CLYDE If you're afraid, it's not a good idea. JACK No, Im not afraid... CLYDE No, I know-JACK I don't know if I want to go out in a boat. I can't swim ... CLYDE I told you I'd teach you. LUCY There's plenty of time before summer. CLYDE Five years ago I said Id teach you. LUCY He taught me. JACK You said it caused problems to teach someone you're close to...so, when you asked, later, I thought, you know, I don't think so. CLYDE I said it was the swimming lessons. JACK It wasn't the lessons? LUCY It was humans make mistakes. CLYDE It was personal. Yeah. JACK

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1/28/09 39 CONTINUED: (4) LUCY He's a good teacher. JACK I should learn, I guess, in case, y'know, I go boating. LUCY While youre learning, do some winter thing, go ice skating... see movies... CLYDE By summer, you'll be going away together for weekends to a lake that rents boats. Boating at night. In the moonlight. Huh? Under the stars. JACK I should learn. CLYDE Well go to the pool uptown. State of the art, ozone filtration. Heated? JACK

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* * * * * *

CLYDE I'm serious. JACK I'm serious. CLYDE It'll get me back going. I used to go three, four times a week. JACK Well. I better go. (to Lucy) I wanted to play this for you. (to Clyde) You liked it, right? Yeah. CLYDE

LUCY He told me you were into reggae.

1/28/09 39 CONTINUED: (5) JACK It manifests a positive vibe. Plays portable player. "On the Rivers of Babylon." LUCY Makes me want to manifest ganja. She exits to the beat of the song. JACK Here comes the "over I" part. (sings along with song) "...over I" The song plays on. Lucy returns with a lit joint. CUT TO: 40 INT. SUBWAY - NIGHT

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40

On the subway back to Queens, Connie looks over Dr. Bobs phone sales information. She studies the Ten Basic Objections to Overcome in Booking Seminars: Too Busy, Cash flow, Talk to Partner, Took the Last One, etc, committing them to memory. A man is sitting across from her. MAN Ill bet youre a model. be a model. (pause) A model or actress? You could

CONNIE You want to know what I do? You know riga mortis? Your face gets distorted. The tongue sticks out like wood. Your arms and legs get contorted. The hands are in knots. Thats where I come in. I massage the dead. I rub dead bodies all day till theyre relaxed. The man gets up to stand by the doors. CUT TO: 41 INT. SWIMMING POOL - DAY Jack and Clyde in the water. A distance away, an ungainly swimmer does a lap to the end, before resting a bit, and heading back. 41

1/28/09 41 CONTINUED: CLYDE Let's go a little deeper. Deeper? JACK

25 41

CLYDE You'll still touch. A little deeper. Come on, a little more. They walk deeper. JACK It's getting deep. CLYDE A little more. JACK It's pretty deep. CLYDE OK. Try it now. Jack ducks in and out. CLYDE (CONT'D) That's good, but...Jack. That's good, but go under. Make the bubbles under the water, then come up, take a breath, and go under, bubbles, come up, and get a rhythm going. Breath, under, bubbles, up. OK. JACK

CLYDE You'll get used to it. We'll do it together. Ready. But, it's good. Ready. Breath. They take a breath. Under. CLYDE (CONT'D)

They go under. Make bubbles. Jack resurfaces first. CLYDE (CONT'D) You can keep your eyes open.

1/28/09 41 CONTINUED: (2) JACK The goggles leak. CLYDE They should suck around your eyes a little bit. How do they feel? OK. JACK

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CLYDE They suck around your eyes? JACK Yeah, I think. Yeah. CLYDE See if they leak. JACK They feel tight. CLYDE Go under and see? Jack dips his head under. Up, quickly. JACK They seem OK. CLYDE You don't have to close your eyes, though. OK. JACK

CLYDE I want you to visualize. Visualize? JACK

CLYDE Its a technique. Close your eyes. JACK Not open them?

1/28/09 41 CONTINUED: (3) CLYDE When you do it yeah. But now-- its something you can do at home, Visualization, when youre not actually in the water. I want you to close your eyes. OK. JACK

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CLYDE See yourself going under, blowing bubbles, coming up. OK. JACK

CLYDE Try it. See yourself do it. OK. He does so. A42 IMAGE: JACK, EYES CLOSED, VISUALIZING HIMSELF. THOUGH IT A42 DOESNT APPEAR THAT HE IS IN WATER, BUBBLES FLOW FROM HIS NOSE. CLYDE Good. Jack. Jack. Jack stops visualizing. JACK * * * *

CLYDE You visualized? Yeah. JACK

CLYDE Your eyes were open? JACK You said close them. CLYDE No, to visualize, yeah, when we do it, but, when you visualized you went under, your eyes were open?

1/28/09 A42 CONTINUED: I think. JACK

28 A42

CLYDE Try it again. He visualizes going under, eyes open, blowing bubbles. IMAGE: JACK CLOSES HIS EYES AND SEES HIMSELF, EYES WIDE OPEN, HUGE, AND BUBBLES FLOWING FROM HIS NOSE. HE STOPS VISUALIZING. JACK Yeah. Open. CLYDE Good. OK. Look at me when we do it. Well do it now. Together. Ready. They do it once. CLYDE (CONT'D) You're doing good. JACK I can do better. CLYDE You're doing good. JACK I can do better. Jack attempts to do so. The wide-stroking, ungainly swimmer crashes by them. CUT TO: 42 INT. MTA BUILDING - EVENING 42 * * * *

Jack hurries to the door of the employment office of the MTA. Its not open. Hes about five minutes late. He taps on the window. A worker inside indicates they are closed. JACK I just need the job application. The worker shakes his head. Closed. WORKER

Points to office hours sign on door.

1/28/09 42 CONTINUED: JACK (CONTD) Just the application.

29 42

The worker shakes his head. Jack stands a moment in frustration, staring at the worker. Knocks to get the guys attention, gives him the bird and walks away. CUT TO: A43 INT. SUBWAY - MORNING A43 * * * * * * * * *

Crowded car. Jack looks across at the MTA EMPLOYMENT poster. His expression turns more critical. He locates the sound of loud chewing and the source of his distraction: a seated subway rider eats potato chips from a bag -- crunching loudly, obliviously-- chips falling on his belly and on to the floor of the car. Jack raises the earphones, presses the button on an older style portable tape player. CUT TO: 43 INT CLYDE AND LUCYS APT - MORNING 43

Lucy in the living room, getting ready for work. She puts the final touches on her makeup, pulls her hair back, talking to Clyde who is in the bathroom. LUCY (to Clyde, off) It's a sales job. That's the bottom line. If you don't close, you don't last. Clyde, cup of coffee in hand, enters in pajamas, robe, and slippers. CLYDE I was on the phone with Jack. LUCY I was talking to you. CLYDE I was listening. LUCY What'd I say? CLYDE You have to fire Connie.

1/28/09 43 CONTINUED: LUCY When do you go in? CLYDE Tonight. Why? LUCY What's with Jack? CLYDE He was upset about a guy at the MTA office. Wouldnt give him an application because he was a minute late. LUCY He needs to hook up. It's time. Shit, Im running late. Lucy exits to the outer hallway. CUT TO: 44 INT. OUTER HALLWAY - (CONTINUOUS) Clyde follows her to the stairs. LUCY (CONTD) Jacks got me and you, and the limo job. That's it. CLYDE That's it for me. I got you. Jack's a friend. I drive a limo. They head down the stairs. CUT TO: 45 INT. STAIRS - (CONTINUOUS) Clyde, coffee in hand, follows her down the stairs.

30 43

* *

44

45

LUCY You take business classes at City. CLYDE He's talking about the MTA.

1/28/09 45 CONTINUED: LUCY I love Jack. But Jack's like, I don't know what to call it. What would you say? CLYDE I don't know what it is you don't know what to call. LUCY It's something. CLYDE Maybe it's nothing.

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She heads down the second landing, Clyde following. She reaches the bottom of the stairs and heads down the hall to the front doors of the apartment building, Clyde after her. CUT TO: 46 EXT. APT BUILDING - DAY Clyde follows Lucy from the building to the stoop. LUCY Connie might be good for him. It would be easier to help it along if she were working there, but... and she needs whatever it is... (she turns to him) Ill call. CLYDE This is what? This is the Sumatra, right? The Kona! LUCY Clyde 46

Lucy continues down the street towards the subway. pulls a joint out of his robe pocket. Lights it.

CLYDE This is Haze, though. (sings) Purple haze all in my brain Lately things don't seem the same Actin funny-(tokes) Am I happy or in misery? (MORE)

1/28/09 46 CONTINUED: CLYDE (cont'd) Whatever it is, that girl put a spell on me... CUT TO: 47 INT CROWDED SUBWAY CAR - MORNING

32 46

47

Connie stands crushed between people in a crowded subway car. She feels a man uncomfortably close, pressing up against her. She squeezes through the crowd. Their eyes meet. She looks away. She looks back to see the man has moved closer in her direction. Hes got a bleary smile on his ruddy mug; drunk? a psycho? He keeps moving closer to her. CONNIE Keep fucking away from me! Other riders strain to see what the commotion is at the end of the crowded car. CUT TO: 48 EXT. BROOKLYN RESIDENTIAL AREA - DAY Lucy walks down a sidewalk towards 4th Avenue. CUT TO: 49 EXT. 4TH AVE, BROOKLYN Lucy turns down 4th Avenue and walks towards the Dr. Bob Thomas Funeral Home. CUT TO: 50 EXT. DR. BOB THOMAS FUNERAL HOME Lucy briskly walks up the steps and enters. CUT TO: 50 49 48

51

INT. DR. BOB THOMAS FUNERAL HOME LOBBY

51

Lucy crosses the lobby, passing the chapel and the family counseling rooms. At the end of the interior of the building, she opens and enters a door to the Grief Seminar offices. CUT TO: 52 INT. DR. BOBS GRIEF SEMINAR OFFICES - DAY 52

1/28/09 52 CONTINUED:

33 52

Lucy hangs her coat, hat, and scarf and proceeds into the offices towards Connie who is at her workstation. Her back is to Lucy. CONNIE If hes there, we can conference. No, Ill hold. She coughs, winces from a sharp pain in her side. LUCY Youre early. I need to talk to you when youre done. Dr. Bob wanted to be here. Connie winces, holds her side. Lucy sees shes in pain, face bruised, eye with a knot on it. LUCY (CONTD) What happened to you? CONNIE I was attacked. No. LUCY *

CONNIE On the subway. Yeah. A man. Ill be alright. Im fine. Connie coughs up blood. LUCY Get off the phone.

CONNIE Im gonna close Curtis-Lopez. LUCY Give me the phone. Connie moves away, holding her side. Please. Get off. CONNIE LUCY

1/28/09 52 CONTINUED: (2) CONNIE Im going to close!

34 52

Lucy digs out her phone to call 911. Connie wipes blood off. CONNIE Mr. Curtis? Hi. Mr Lopez. OK. Lets get your credit card reservation done. Get your American Express, sure. 3715. 333 OK. 992 OK. 5692. Expiration? LUCY I need an ambulance-A woman was attacked. Shes coughing blood. Blood. Coughing. She was attacked on the subway. CUT TO: 53 INT. HOSPITAL WAITING ROOM - DAY Clyde enters the waiting area, sees Lucy, who meets him. CLYDE She's alright? LUCY Thanks for coming. CLYDE Lucky I caught some time. Roads are no picnic. She takes a call. LUCY Hello. Mr. Kendal, thanks for calling back. Sure. I'll wait, no, I'll wait. CLYDE You OK? You sounded pretty worried. LUCY I thought it was internal bleeding but it was blood from her nose that bled backwards. CLYDE Backwards? Weird. LUCY Yeah, backwards into your stomach, like a lot. A ruptured dorsal something. She has a couple fractured ribs. 53

1/28/09 53 CONTINUED: CLYDE But she's OK, I mean...? LUCY We can say hello soon. Clyde answers his phone. CLYDE Classic Limousine Service. Yeah. 54 INT. HOSPITAL PARKING STRUCTURE - DAY

35 53

54

* * * * * * * * * *

Jack, phone to ear, parks the limo, gets out. You there? Yeah. She OK? JACK CLYDE (O.S.) JACK

CLYDE (O.S.) Shes OK. Yeah. Jack hurries on his way to the hospital. CUT TO: 55 INT. HOSPITAL WAITING ROOM - DAY Clyde on phone to Jack. Lucy on hold. 55

CLYDE A rupture of the dorsal something in her nose and it bleeds backwards from there not forward like usual. Basically, a bloody nose. LUCY (phone) No, youre worth waiting for. Clyde shoots a look Lucys way. CUT TO:

1/28/09 56 INT. HOSPITAL GIFT SHOP - DAY

36 56

Jack enters the hospital. Goes in the gift shop. Hes seen through the glass as he looks at the stuffed animals. CUT TO: 57 INT. HOSPITAL ELEVATOR - DAY 57

Jack, holding a stuffed animal, rides up in an elevator with a patient on a gurney and a nurse. CUT TO: 58 INT. HOSPITAL WAITING ROOM - DAY 58

He gets out of the elevator and walks to the waiting area to join Clyde and Lucy. CLYDE What do you have? JACK It's a Koala bear. Hands it to Clyde. CLYDE (reads) Authentic Koala Bear. She's OK? JACK

LUCY Terrible, huh?

JACK She's OK though? LUCY They said she'll be fine. CLYDE He got her a Koala. JACK Think she'll like it?

1/28/09 58 CONTINUED: LUCY Sure, its cute. I'm gonna see if I can learn anything. Lucy exits. Jack answers his phone. JACK Classic Limousine Service. The hospital. CUT TO: A59 EXT. DINER - DAY

37 58

* A59 * * * * * * B59 * * * *

Uncle Frank, on phone to Jack, is exiting the diner with takeout. UNCLE FRANK So, hows the gal, whats her name? CUT TO: B59 INT. HOSPITAL WAITING ROOM - DAY Jack on phone to Uncle Frank. JACK She's OK. A dorsal something broke. No, the nose. Dorsal, something. Makes it bleed backwards a lot. It happens. Yeah. CUT TO: 59 EXT. DINER - DAY 59

* *

Uncle Frank talking on phone to Jack, as he heads to his car. UNCLE FRANK So whatd you get her? You got her something, right? CUT TO: 60 INT. HOSPITAL WAITING ROOM - DAY Jack on phone to Uncle Frank. JACK I got her a Koala bear. A stuffed bear. Koala. They live in Australia. Ko- al-a. (spells it) (MORE) 60

1/28/09 60 CONTINUED: JACK (cont'd) K-o-a-l-a. OK. OK. Roger that. (puts away phone) I told him about Connie, y'know, that I was coming here. Now, he'll be asking all when am I seeing her again. CLYDE Just, y'know.... Yeah... Lucy returns. LUCY We can say hello now. OK. Hang on. Lucy gets a call. LUCY (CONT'D) Hi, Dr. Bob. You got my messages? (moves away to talk) No, before I could tell her. She closed Lopez, broken ribs, blood and all. She walks out of sight. CLYDE We're on for tomorrow? Yeah. JACK CLYDE LUCY JACK

38 60

CLYDE You've been doing the visualizing? Yeah. JACK

Clydes phone rings-CLYDE Classic Limousine Service. Yes, sir. OK. No, I can. I'm on my way. (MORE)

1/28/09 60 CONTINUED: (2) CLYDE (cont'd) (to Jack) ) The Plaza client wants to take his kid to Serendipity for the hot chocolate sundae. JACK I hear they're good there. CLYDE Yeah. Where's Lucy?

39 60

Clyde exits the waiting area. Jack remains. The bear in the next chair. They're alone a moment. Clyde returns. CLYDE (CONT'D) She said to go in. Go in? JACK

CLYDE She's on the phone with her boss. I gotta go. Down the hall. Room 302. Clyde exits. Jack finally rises. Exits clutching the stuffed bear. CUT TO: 61 INT. HOSPITAL HALLWAY - DAY 61

Jack passes hospital rooms, some opened doors, a patient is wheeled by in a wheelchair. CUT TO: 62 INT. HOSPITAL CONNIES ROOM 302 - DAY 62 * * * *

Jacks POV: An open window with a view of the river and city skyline. Momentarily disoriented, he turns from the view to see Connie on the bed, bruised face, heavily opiated feel-nopain expression. CUT TO: 63 INT. HOSPITAL CONNIES ROOM 302 - DAY Jack peeks around the dividing curtain. JACK I brought a friend. 63

1/28/09 63 CONTINUED: CONNIE This is so sweet. JACK A Koala bear. From Australia. CONNIE Oh... Shouldnt you be working? JACK The airports closed. Blizzard conditions, so... CONNIE You gotta be careful driving. Yeah. JACK

40 63

CONNIE I look forward to when winters over. JACK Its not summer for a while. CONNIE It seems forever. JACK We could do something before summer. I mean, when youre better. OK. CONNIE

JACK Maybe, I dont know, dinner, when youre up to it. A big feast. Just have like too much of everything. CONNIE No one has done that for me before. JACK I hope youre a good eater. CONNIE No one has ever cooked for me before -JACK ... cooked?

1/28/09 63 CONTINUED: (2) CONNIE ... no one has before. JACK Well... a... cooking... CONNIE Thatd be so nice. JACK No one has ever cooked for you? CONNIE My mom, yeah. JACK I only have the basement at my uncles...but, yknow... a hot plate... CONNIE No, its OK... JACK No, no, Clyde and Lucy have a kitchen. Im gonna cook for you. CONNIE A dinner party! JACK Well... small... So, you feel OK? CONNIE I think Im on drugs. Probably. JACK

41 63

CONNIE Someone rubbed up against me. I could feel he was, yknow...It was pressing against me... JACK Oh, shit, no.... Thats... CONNIE It wasnt out! I shouldnt have told you. Youll think of it when you look at me.

1/28/09 63 CONTINUED: (3) JACK No, its not your fault. Ahem, hmmm... You think you might want to listen to this song? Its a positive vibe. OK. CONNIE

42 63

He puts the tape player by her side. JACK (CONTD) Some of the words are hard to get, at first, so you have to listen a few times. She plays the song, Rivers of Babylon. Jack looks at her listening to the song. CUT TO: 64 INT. DINER - 1:00 AM 64

Clyde in a window booth, staring at the bottle of beer in his hand. * 65 OMIT 65 * * 66 INT. DINER - 1:00 AM Clyde swigs the beer. A knock at the window. He sees Jack peering in at him. CUT TO: 67 INT. DINER - 1:00 AM 67 66

Jack enters, passing a waitress at the counter, as he heads to Clydes booth. JACK V.O. Cheeseburger deluxe and fries. CUT TO: 68 INT. DINER BOOTH- 1:00 AM. Clydes had a beer or two too many. on the table. 68 A couple empties still * * * *

1/28/09 68 CONTINUED: CLYDE You want to cook for Connie. This is something you want to do. Yeah. JACK

43 68

CLYDE The problem is you don't know how to cook. Yeah. JACK

CLYDE I don't know how to cook. Lucy doesn't cook. Plenty of people don't know. JACK Yeah. And I don't know. CLYDE So what's the solution? (pause) The solution is to have the Cannoli teach you how to cook a meal. Who? JACK *

CLYDE Someone Lucy knows. The head pastry cook at the Waldorf Astoria. Desserts. But he can cook food, too. He can write out the recipe, and teach you how to cook it. JACK He'll do it? CLYDE He'll do it for Lucy. What do you think you want to make? Chicken? JACK

CLYDE OK. Be open though.

1/28/09 68 CONTINUED: (2) JACK Chicken, fish, or beef. Any one of those. CLYDE But be open because the Cannoli might suggest something else, like a... I don't know, a casserole... How much do you want to spend? JACK About a hundred and something? CLYDE Plus wine. It could be one-fifty, to do it right. So say, one-eighty something, counting practice meals. JACK I guess I should practice it. CLYDE Sure, what do you think? When do you have in mind for the dinner party?

44 68

Clyde gets the waitress's attention. Holds up beer bottle. JACK I was thinking in about a month? A month? CLYDE

JACK About a month from now. CLYDE OK. Well, then, that means there's no rush. That's good. JACK Is Cannoli an actual nickname-CLYDE No. Federic. The Cannoli is something I call him. Federic. Waitress puts Clyde's beer down. * * *

1/28/09 68 CONTINUED: (3)

45 68 *

CLYDE (CONTD) I don't like him that much, but he's a good guy, I'm told. JACK Why don't you? What? Like him. CLYDE JACK

* *

Jack. Yeah.

CLYDE JACK

CLYDE Im a little drunk. A little. Waitress approaches with Jacks order. JACK Im gonna drive you. Leave the car here, and well get it in the morning. (to waitress) Can I get this to go? The waitress turns in her tracks. Clyde puts on his coat, etc. CUT TO: 69 EXT. DINER LATER 69 * *

* * * *

Wind blows up snow from the ground. Jack and Clyde walk to Jacks limo. CLYDE Im riding in the back. Be the big shot. Jack opens the rear door for Clyde, who starts to get in, stops.

1/28/09 69 CONTINUED: CLYDE I want to tell you something. Yeah. Fuck. I dont want to but I got to. I dont want you to freak. Freak? JACK

46 69

CLYDE Dont freak. (pause) Lucy and the Cannoli. They had a thing. What? A thing. A thing? JACK CLYDE JACK

CLYDE That's the deal. JACK Oh, no. You mean... CLYDE Yeah. It was when it was the swimming lessons. In that time frame. I should have told you before. Youre my fucking friend. She said it was a one time thing. Then we got honest. It fucking went on for two years. Two years? JACK

CLYDE Off and on. She said. Thats it. Clyde gets in the back seat. Jack looks in at him. JACK I don't know if I want this guy to show me anything. Maybe the dinner thing can just, y'know...ahem... * * * * *

1/28/09 69 CONTINUED: (2) CLYDE Don't go there. I recommended him, didn't I? JACK So that was like five years ago? Yeah. CLYDE

47 69 * * *

JACK But like you said, it's... hem, ahem... I mean she wanted to tell you, to be honest, and come clean... CLYDE Yeah. Get in. Its cold. Jack shuts the door. Gets in the front. Starts the car. Looks at Clyde in the rear view mirror. Clyde sits with a troubled look. A pause. CLYDE (CONTD) She was on the phone with Dr. Bob, and she's telling him about a big Cannoli, she was saying, a big, big Cannoli, and I was listening. I didn't know what it was at first. JACK Aw, man...talking about, y'know, aw... CLYDE ... y'know, about, y'know, a big Cannoli-- big, big... the way she was saying it. Aw... JACK *

CLYDE Never ever mention it to Lucy. Ever. JACK No, no no, of course.

* *

1/28/09 69 CONTINUED: (3)

48 69

,CLYDE This time of year, like its a fucking anniversary, I can get, y'know... I keep it hid, mostly, yknow... (beat) Now Ive told you. Thats the deal. JACK I understand about at the Jets that time. CLYDE I almost told you then, but I didn't, and I just thought fuck the Jets. JACK I had to get up and move. I had to walk away. CLYDE It happened before we were tight. Before I started with your uncle. Oh-What? JACK CLYDE

* * * * *

* *

JACK -- a long time ago. Clyde processes Jacks comment. Jack drives to exit. He waits for a couple of oncoming cars. CLYDE (CONTD) Ive got to piss. * * * *

1/28/09 69 CONTINUED: (4)

49 69 * * * A70 * * *

Clyde starts out of the car, shutting the rear door. Jack, inside, holds the steering wheel, discomfited. CUT TO: A70 EXT. LIMO

Clyde fumbles his jacket open, his fly, talking as he does. CLYDE It was already over, so she said, it's in the past. But I had just found out, so it wasn't in no past for me. He realizes the window is up. Taps on the window. Jack lowers it. CUT TO: B70 INT. LIMO - NIGHT Clyde leans into the window. CLYDE You've never been hooked up with someone long term. You take some fucking shots. Clyde buttons up. He gets in the front seat of the limo. A snow plow passes, a thick cloud of snow blows from the road as it passes and covers the windshield. Jack puts on the wipers. After a moment-JACK I couldn't handle it. CLYDE Fifty percent of couples, someone betrays the other-- and more than once! That's the test. Wait. What? JACK CLYDE B70

* * * * * * * * * * * *

JACK It happened again?

1/28/09 B70 CONTINUED: CLYDE There was this death guy, this grief expert, did seminars with Dr. Bob. Charismatic, she said. JACK Hem...ah-em... A death guy? CLYDE She only kissed him, she said. In the elevator, helping move a body. I only kissed him, she said. Thats what you live with, never knowing for sure. Jack stops at the entrance. CLYDE (CONTD) You've never been through anything like I'm telling you? No. JACK

50 B70 *

* * * * *

CLYDE If it becomes long term with Connie, and if you learn about something, and you stick it out anyway, know that you will have vivid images, and know that they will recur probably forever. JACK Did Lucy tell you something about Connie I should know? CLYDE No. Nothing. You OK? Yeah. JACK

* * *

CLYDE Well, thanks. Yeah. JACK

CLYDE I needed to unload that, I guess, y'know? You OK?

1/28/09 B70 CONTINUED: (2) JACK Yeah. Ahem...hem... CLYDE I wanted to tell you a couple years ago, but... so like with the Jets, it wasn't the Jets, it was me, you know, I love the Jets, you know that. And I love you. You know I love you? Yeah. JACK

51 B70

They sit in silence, snow starts to fall. Jack drives out on to the highway. CUT TO: C70 INT. CLYDE AND LUCYS APT - 2:30 A.M. Clyde enters, looks in bedroom at the sleeping Lucy. CUT TO: D70 INT. CONNIES APARTMENT - 2:30 A.M. D70 C70

* * * * * * * * * *

Connie in bed, lamp on, reading a James Lee Burke paperback, In the Moon of Red Ponies. She looks over at bedside clock. CUT TO: E70 INT. JACKS BASEMENT APT - MORNING E70

* * * *

Phone alarm wakes him. On bed, earphones by his head, still in his hand. Jack rises, checks time on phone, stares at phone in thought.

CUT TO: 70 EXT. RESIDENTIAL STREET, QUEENS - NIGHT 70

Jack and Connie stand outside of Connies apartment building. It is snowing. They are covered. CONNIE I liked the movie. Thanks for taking me. JACK It was intense.

1/28/09 70 CONTINUED: CONNIE I like the scary ones. They stand in the falling snow. JACK It's dark already. CONNIE It seems like only two seconds we've been talking. Yeah. JACK

52 70

CONNIE Now, we're snow people. JACK I like talking to you. CONNIE I should invite you up but my place is a total mess. I'm gonna clean it, and invite you up next time. JACK Mine's worse. CONNIE I'm usually neat, well not neat, but not disgusting. JACK It's not sloppy people that screw things up in the world. CONNIE We couldn't find them to screw up if we wanted to. JACK Im glad youre better. CONNIE Almost. Getting there. Well... JACK *

CONNIE Yeah... guess it's time.

1/28/09 70 CONTINUED: (2) JACK Well... Maybe a little good night kiss. Maybe. CONNIE

53 70

JACK Nothing overwhelming. OK. They kiss. CUT TO: 71 INT. DR. BOB THOMAS GRIEF SEMINAR OFFICES - DAY 71 CONNIE

Connie at her desk, closing a deal. Dr. Bob enters the Grief Seminar area, unbuttons his overcoat as he walks toward his office. CONNIE This is great, Mr. Richter. Dr. Bob will be happy you're on board. She hangs up the phone, and begins to fill out a confirmed card. Dr. Bob passes Connies work station cubicle. DR. BOB You skipped lunch? CONNIE I wanted to reach Richter Brothers at ten out there. DR. BOB Richter flirts but never commits. He continues on. CONNIE I closed him. DR. BOB Youre kidding? She raises the confirmed card as Dr. Bob returns to Connies work station and reaches for it. His hand partially rests on her breast, unconsciously, as he looks at the confirm card.

1/28/09 71 CONTINUED: DR. BOB (CONTD) (quietly, as he reads) So, Ill see his happy face in Seattle. Thatll be a first.

54 71

She is super aware of his hand on her breast. He puts the card back down and gives her shoulder a squeeze. He continues on to his office. DR. BOB (CONTD) (as he moves away) Have Lucy say hello when she gets back. Connie doesnt answer. Dr. Bobs office door shuts. She stares straight ahead at nothing in particular, wondering what just happened. CUT TO: 72 INT. DR. BOB THOMAS GRIEF SEMINAR OFFICES - LATER 72 *

Connie and Lucy are putting on winter coats, scarves and hats to leave work. LUCY Dr. Bob's gay. CONNIE You said women get crushes. LUCY Even when they know he's gay. Shit goes on in funeral homes. Im not saying it doesnt. There was a grief counselor worked here, a total narcissist pig, but really charismatic, hit on women all the time. I know things can happen, but with Dr. Bob it had to be innocent. They leave the Dr. Bob Seminars office area. CUT TO: 73 INT. DR. BOBS FUNERAL HOME HALLWAY - CONTINUOUS 73

They pass an open casket in the hall. A middle-aged man is in it, ready for a viewing. In the chapel a funeral worker is putting flowers next to the viewing area. CUT TO:

1/28/09 74 INT. DR. BOB THOMAS MORTUARY - CONTINUOUS

55 74

Connie and Lucy head to the front exit. They pass quietly by one of the counseling rooms, where Dr. Bob sits with the grieving widow of the deceased middle aged man. DR. BOB I understand, the loss is real. Lets visualize his kindness...celebrate the time you had with him, the gift that was his life, a long life...I know, I know ...so special...lets think of the flowers he loved...the music... He puts a comforting hand on the grieving widow. CUT TO: 75 EXT. DR. BOB THOMAS MORTUARY - CONTINUOUS They exit the funeral home and head to the sidewalk. CONNIE I didn't know how to deal with it. LUCY "Hands off the merchandise." They continue on toward the subway station. CUT TO: 76 INT. CLYDE AND LUCYS APT - NIGHT 76 75 * * * * * * *

Clydes looking at a text book. TV on a basketball game. He mutes TV. Returns to text book. CUT TO: 77 INT. CLYDE AND LUCYS BEDROOM - NIGHT 77

Lucy still in clothes from work is seated on the edge of the bed typing on her laptop. She closes it, puts some papers in a folder next to her. CUT TO: 78 INT. CLYDE AND LUCYS APT - NIGHT Clyde engrossed in homework. Lucy enters with folder and laptop, and puts them in a briefcase. Looks over at Clyde. Picks up an empty water glass and goes to kitchen. 78

1/28/09 78 CONTINUED:

56 78

He turns page of book. Lucy returns to the front room. Picks a joint from an ashtray, lights it. LUCY This is nice stuff. Where'd you get it? CLYDE (eyes on homework) A music type executive. Lucy goes into bedroom. Clyde folds his book. Gets up and crosses to bedroom door. CUT TO: 79 INT. CLYDE AND LUCYS BEDROOM - NIGHT Lucy is looking into mirror, brushing her hair. CLYDE How'd Connie say the breast thing happened? LUCY Dr. Bob reached to look at the confirmation card. She thought he copped a feel. CLYDE She's one of those. Things go on inside the mind. I understand it. He watches her a moment longer, turns away from the door. CUT TO: 80 INT. FRONT ROOM - NIGHT 80 79

Clyde takes up the joint, lights it, takes a hit. Puts it back in the ashtray. He looks at muted ball game. Lucy enters in her panties and bra. Goes to ashtray, lights joint. LUCY She said he let his hand stay on her breast. CLYDE So, she made it up? LUCY No, but, I don't know.

1/28/09 80 CONTINUED: Theres a silence. He takes the joint from her. CLYDE A mystery. So to get at the truth, to recreate the scene to determine the possibilities... Theyre alone... She confirms a deal. Dr. Bob enters. He moves his hand up her body. CLYDE (CONTD) "Let me look at your confirmation card. LUCY Ah, no, it's too weird. CLYDE Do you like it here at the mortuary? He pulls her tightly to him. CLYDE (CONTD) What actually happened? Cant you tell me? LUCY (barely audible) She doesnt even know.

57 80

He releases his hold on her. Abruptly turns and sits on the couch. He looks at the game playing in silence, then at her, then away from both. He hums to himself, stops immediately.

CLYDE I can't get it out of my head. What? Nothing. LUCY CLYDE

She moves and sits on the sofa. Curls her knees up. Hugs them. Looking at him. He stares at the game on TV. CUT TO:

1/28/09 81 INT. MTA OFFICE - DAY

58 81

Jack sits waiting for his number to light up the call board. Most of the folding back chairs are taken by job applicants. Finally his number flashes and he gets up to go to the appropriate window, application forms in hand. He hands in his forms to the worker he flipped off, who looks at him deadpan. The worker scans the forms. WORKER Any felonies? No. JACK

WORKER Drug convictions? No. JACK *

The worker further peruses the forms. Makes a couple notations, stamps them, puts them in a pile. WORKER Youll be notified for an interview. JACK Ahem... how, hm... about when? WORKER Two to four weeks. The worker signals for the next applicant who makes his way. Jack exits. CUT TO: 82 EXT. CARPORT CLASSIC LIMO - DAY 82

Clyde waits in the covered carport as a limo is being cleaned. Jack pulls into the yard and parks. Frank comes from office, yells immediately to Jack. FRANK You put in the application? Yeah. JACK

* *

FRANK Cause I talk to the guy.

1/28/09 82 CONTINUED: JACK Takes two to four weeks for the interview. FRANK I want you to do your thing, but it dont work out, you can always come back.

59 82

He goes back into the office. Clyde gets into the limo. CLYDE It was OK with the Cannoli? JACK Ahem, yeah, OK. Good. CLYDE *

He backs the limo out of the car port. CUT TO: 83 EXT. NEW YORK CITY STREET - DAY 83

Sunny winter day. People enjoying the break in the cold snap. Lucy hurries down the street talking on a cell phone. LUCY Im meeting him now at Food Emporium. CLYDE (V.O.) Food Emporium? Yeah. LUCY * * *

As she hurries toward the store thats on the next block. CUT TO: 84 EXT. ELEVATED WALK, HUNTER COLLEGE - DAY Clyde, a book bag slung across his shoulder, walks through the college to his class room. CLYDE Thats funny. What? LUCY * 84 *

1/28/09 84 CONTINUED: CLYDE Food Emporium and Jack. He turns up a stairway. CUT TO: 85 EXT. STREET, MANHATTAN - DAY Approaches the store. LUCY Hes gonna practice the dessert today. Pears done la some kind of way. She enters the store. CUT TO: 86 INT. FOOD EMPORIUM - DAY

60 84 *

85

86

Jack, by a cart with a few items in it, looks at the variety of pears, overwhelmed by choices. CUT TO: 87 EXT. ELEVATED WALK, HUNTER COLLEGE - DAY Clyde walks the exterior elevated walkway toward the classroom dialing a call. CUT TO: 88 OMIT CUT TO: 89 EXT. ELEVATED WALK, HUNTER COLLEGE (CONTD) - DAY Clyde on the phone as he reaches classroom. CLYDE I hear youre cooking up some pears? He looks in the window at the attractive female teacher taking out student exams from a briefcase. A few adult students at desks. CUT TO: 89 * * 88 * 87 *

1/28/09 90 INT. PRODUCE AISLE - DAY Jack on phone. Lucy joins him. JACK (on phone) Caramel pears with figs and brandy walnut sauce. A dessert thing. CUT TO: 91 INT. OUTSIDE CLASSROOM - DAY More students go into the class. CLYDE Class is starting. See ya, Chef. He heads into the classroom. CUT TO: 92 INT. FOOD EMPORIUM- DAY Lucy and Jack at fruit bins. JACK A lot of different kinds of pears here. LUCY The fat ones look good. CUT TO: 93 INT. CLASSROOM - DAY

61 90 *

* *

91

92

* *

93

The teacher makes the rounds returning corrected exams. She puts Clydes in front of him. TEACHER Good work. You show real aptitude. She moves on. CUT TO: 94 INT. FOOD EMPORIUM - DAY Jack pushes cart, bag of pears, other items. 94 * * *

1/28/09 94 CONTINUED: JACK I'm gonna practice the dessert a couple times, if it's OK. LUCY No arguments here. Let me see the list.

62 94

* *

* She takes the list, looks it over. LUCY (CONTD) It went all right with Federic? JACK (CONTD) Yeah, the Cannoli was cool. Uh-huh. Sifter. LUCY JACK * * * * * *

Jack pushes the cart on, looking for utensils. CUT TO: 95 INT. CLASSROOM - DAY 95

* *

Clyde looks up from his paper at the teacher, appreciative of her and her attractiveness. Shes busy at her desk. After a moment, she notices him doing so, turns back to her work without a thought about it. CUT TO: 96 INT. FOOD EMPORIUM - DAY 96

* * * *

JACK Sifter, ahem, sifter... Jack selects a sifter and moves on. Lucy walks with him. LUCY You got the nervous thing. Mmmm. JACK

1/28/09 96 CONTINUED: LUCY "Ahem...hem..." It's what you do when you're nervous, right? JACK I might not even know I'm nervous, then my throat thing starts. Cooking, I guess. Maybe. Yeah? LUCY

63 96 *

JACK ...ahem... the MTA, maybe, it would be a new thing. The thing with Connie, hoping that goes OK. Ahem. Learning to swim. Thinking about boating. Rowing. So many new things. Ahem... em...hem... That could be part of it. (looks at list) Lets see now...flour. LUCY Whatd Clyde say about the Cannoli? Who? JACK

* * * * * * * * * * * * * * * *

Jack turns corner into another aisle. Lucy on him.

97

INT. FOOD EMPORIUM AISLE - (CONTINUOUS) LUCY You called Federic the Cannoli. JACK Clyde said it was a nickname. LUCY Clyde doesn't like him. JACK He said he was a good guy, though. Jack puts bag of flour in cart. Moves on. Lucy on him. LUCY So what else did Clyde say?

97

* *

1/28/09 97 CONTINUED: JACK Ahem...hem...hem... LUCY Jack? He told you. What? JACK

64 97

LUCY He told you. JACK Ahem...hem...hem LUCY We worked through it. Jack stops. JACK Two years, though, that's what would get me. Pauses while a shopper passes. Jack and Lucy are now close together. JACK Not knowing what was going on, but sensing something, that something wasn't right, and not knowing, thinking it was me, and I was paranoid. Then finding out. I couldn't handle it. LUCY It was five years ago. JACK I just found out. I'm talking about what's up with me about it, and I shouldn't. He pushes cart on. CUT TO:

* *

98

EXT. MANHATTAN STREET - DAY Jack carries box of items, Lucy a bag.

98

1/28/09 98 CONTINUED: JACK Limos right around the corner. Ahem... They turn the corner. CUT TO: 99 EXT. JACKS LIMO, STREET - DAY

65 98

99

Jack takes a ticket from the window. He and Lucy get inside. CUT TO: 100 INT. JACKS LIMO - DAY Jack puts the ticket in the dash compartment with a few others. JACK No problem. He sits in thought. Lucy looking at him. Jack starts limo. Ahem... JACK (CONTD) * CUT TO: A101 EXT. STREET - DAY A101 * * * * * * * * * * * * 100

Pulls away into traffic.

Jack parks on Lucys apartment block. He and Lucy take out groceries and supplies from the limo. Jacks doing his best to busy himself, and ignore an uncomfortable topic. He starts down the sidewalk. Lucy does a half step to catch up. LUCY What is it? Jack. Jack stops, takes a breath. JACK He mentioned a death guy. Some guy you worked with...a death guy. LUCY He told you that too?

1/28/09 A101 CONTINUED: JACK You said, you just kissed the death guy in the elevator, but he didn't know for sure. That's what he said he had to live with. Not knowing for sure. LUCY What else did he tell you? Nothing. JACK

66 A101 * *

LUCY Yeah, well, there are things he has to deal with too, on his side. JACK Ahem. I shouldn't have talked about it. Jack starts toward the apartment stoop of Lucys building. Once again, Lucy catches up. LUCY He didn't mention the woman he drove to Poughkeepsie before the Cannoli? Just once, in the back seat, he said, like that made it OK. I'm sorry. For what? JACK LUCY

* * *

* * *

JACK I don't know. CUT TO: 101 EXT. LUCY AND CLYDES APT BUILDING - DAY Jack and Lucy walk up the stoop. LUCY You've never been in a relationship for any length of time. A lot happens. JACK That's what he said. 101

1/28/09 101 CONTINUED: LUCY A lot of good things. Yeah. JACK

67 101

LUCY A lot of things you wouldn't wish on your enemy. JACK Ahem...em...hem... She opens door. They head inside. CUT TO: 102 INT. STAIRS, LUCY AND CLYDES APT BUILDING Lucy leads the way up. As she unlocks the door-LUCY If it becomes something with Connie, I mean, when you stay together with someone, things come up that you have to live with. They enter the apt. CUT TO: 103 INT. LUCY AND CLYDES APT - DAY Lucy and Jack enter. 103 * 102 * *

* *

JACK Ahem...em... Has she told you anything? I mean, are you saying something? LUCY Don't trip. JACK No, ahem... OK. Well... I better... I'm gonna core the pears. He goes into the kitchen. CUT TO:

* *

1/28/09 104 INT. KITCHEN - DAY

68 104 *

Jack starts taking items from the box. Lucy enters with the bag she carries. Jack visualizes. Subtle gestures. JACK Squeeze lemon. Combine syrup and lemon juice. Perfect. Stir till blended. He repeats gestures. CUT TO: 105 INT. SWIMMING POOL 105

Clyde talks to Jack, who is in the water with a kickboard, from the pool deck. CLYDE You kick like this, the whole leg, not just the feet, not just from the knees. Like this. Not like this. Not like this. Like this. Let's see you. Jack makes an attempt, stops, looks to Clyde. CLYDE (CONTD) Right. Like this. Then, breath, like this, breath, head down, like this, kick, kick, kick, kick, breath out, up, kick -- OK, go for it. Jack makes an attempt. CLYDE (CONTD) Good, kick, kick-Jack stops, look to Clyde. CLYDE (CONTD) Hold it out like this -JACK *

Like this?

CLYDE More out in front. Keep the end up a little like this--

1/28/09 105 CONTINUED: Like this? JACK

69 105

CLYDE Like that and breath in, breath out.... Good. OK, go for it. Jack does better. He kicks furiously. Clyde shouts encouragement. CLYDE (CONTD) Kick... kick for the side... kick, kick, kick, kick... Good, good. Head, head, head. Breath -- kick, kick, kick -- head down, head down, bubbles, bubbles, good, good, good, champion, champion, master kick board champion! Jack reaches the side of the pool. Looks to Clyde for reassurance. Now back. CLYDE (CONTD)

Jack kicks his way toward Clyde. CLYDE (CONTD) Good, good, kick, kick, kick, breath out under, breath in up, kick, kick, kick. Bubbles, bubbles, bubbles. CUT TO: 106 INT. CONNIES STUDIO APARTMENT - NIGHT Connie enters followed by Jack. Theres a small, newly purchased potted plant with a bloom on the ledge over the sink. Jack takes in a small framed portrait of a mountain landscape. The bed has a newly purchase bedspread on it. JACK Youre making it nice. Thanks. CONNIE 106

They stand awkwardly. CUT TO:

1/28/09 107 INT. CONNIES APARTMENT

70 107

Jack and Connie on the bed. It looks as though they are going to go all the way. As Jack becomes more impassioned, Connie has an abrupt change of heart, practically throwing Jack off of her. He is shocked, disturbed, sits on the edge of the bed. I'm sorry. No... CONNIE JACK

His pants are unbuttoned. He fumbles at it, stops to sit disparagingly. CONNIE You're a good kisser. JACK Thanks. Ahem...em...hem... CONNIE I'm not ready, yet, for penis penetration. JACK Well... um... no... CONNIE I want to, but... Physically I'm OK for it. JACK No, it's OK. I'm not, y'know, an expert, so... CONNIE It isn't that. I've even imagined it with you. JACK That's...yeah? CONNIE Thinking about it with you. Oh. JACK *

1/28/09 107 CONTINUED: CONNIE In the bath tub, I imagined I was with you. JACK We took a bath? CONNIE No, I was in the bath tub imagining it was pitch black night. We were in a bed in a space ship flying through super space. JACK That's a long way off. Space travel... for tourists. CONNIE You can touch me again if you want. If you want to, like you were. I'm not ready for total intimate contact, yet. I will be with you, though, I can tell, but not yet, and it's not because I don't think you're sexy. You are. Jack resettles on the bed. CONNIE I couldn't imagine being with you out beyond the milky way if I didn't think you were sexy. I like how you touch me. How you barely touch my skin. JACK Ahem...em...hem. Moves his hand under the cover. CONNIE I listened to your song over and over. I see why you like it. It's sad though. JACK Yeah, but it's positive, though. Positive vibe. CONNIE "How can we be thinking of a song in a strange land" is so sad.

71 107

1/28/09 107 CONTINUED: (2) JACK "...sing King Alpha's song." CONNIE King Alpha's song? JACK "How can we sing King Alpha's song." CONNIE I thought it was "thinking of a song." JACK Sing King Alpha's song. Oh. CONNIE

72 107

JACK It takes a while to understand. CONNIE That feels good. JACK Ahem...em...hem... CONNIE You can stop if you... I like it. JACK

CONNIE When we go boating, I'll lay down with you in the grass. I thought of getting out, walking under some trees, finding green grass with wild flowers, and you taking me in a kind of animal den under branches. I know you haven't said you'd be patient and wait for me to get over my problems. Now that you know I have some. I'll wait. JACK

CONNIE It could be sooner, but I know summer for certain.

1/28/09 107 CONTINUED: (3) OK. JACK

73 107

CONNIE I love your finger tips. Thanks. Jack? Yeah. JACK CONNIE JACK

CONNIE Can I ask something? Yeah. JACK

CONNIE What do you want to see in a woman?

JACK You mean, you...or...? CONNIE Yeah, but, y'know, when you think of in a woman? What do you want to see in her? JACK Someone who likes music... someone positive. Not a dark mood person. CONNIE Those are all nice things. Not too hard. JACK Sorry, I... CONNIE No, I mean, you're being gentle. I mean it's not hard to be a positive person with you. JACK Someone who doesn't need to look around to other men.

1/28/09 107 CONTINUED: (4) CONNIE You mean have sex with other men? JACK ... to feel, y'know, she has to. CONNIE I won't do it ever. JACK What do you want to see? CONNIE A sense of humor. A sense he can tell me the truth. Has a job. Patient, like you. Sexy. JACK I could be some of those. CONNIE You're all of them. I'm sexy. You are. JACK CONNIE

74 107

JACK A sense of humor there... CONNIE Can I ask you something that's probably stupid not to know, but who's King Alpha? JACK King Alpha, he's like a messiah, I guess, to Rasta. A messiah to Almighty God Jah Rastafari. CONNIE Then are you a rasta person? JACK No, not really. I don't believe in anything, I mean, I believe in what's here, I guess. As they enjoy the sensuality of touch-CUT TO:

1/28/09 108 EXT. WEST SIDE OVERPASS - DAY

75 108

Jack walks across the over pass toward Riverbank Park. Traffic below on West Side Highway. He stops, makes swimming motions, visualizes the technique, moves on toward the park. CUT TO: 109 EXT. RIVERBANK PARK - DAY Jack walks along the buildings of the park toward the one housing the swimming pool. The Hudson river below, Jersey across the way. He stops briefly, makes swimming arm movements. He looks out at the river. JACK Saute till clear. Makes move as if stir frying. CUT TO: 110 INT. LOCKER ROOM - DAY 110 * * * 109

Jack changes into his trunks. Near him, at another row of lockers, a special needs adult is getting into his swimwear. An aide worker helps him into the chair. CUT TO: 111 INT. SWIMMING POOL - DAY 111

Jacks in the water watching, in a separate section, the special needs adult is lowered into the water. Clyde enters the pool area. CLYDE Early bird, showing initiative, thats good. Sorry, Im late. Lets see what you got. He gets in the pool. Jacks attempts to swim and stay afloat. Stops, looks to Clyde for advice. CLYDE Good, youre doing good. Look. Try it slow. The stroke. Clyde demonstrates while standing in the pool.

1/28/09 111 CONTINUED: CLYDE This is the line of the body. Arm along the head, arm along side.

76 111 *

Raises elbow of arm along the side as if its pulled up by a string. Jack begins to copy him. CLYDE Elbow up, tease the water with the fingers and stab the water. This arm pulls back, this one thrusts and continues, slow, slow, slow, thrust, slicing in. Jack goes into action. Ugly but dedicated. CLYDE (CONTD) Yeah, yeah, slow, slow, thrust, yeah, yeah, stab and continue-Jack stops, looks to Clyde for encouragement. CLYDE Good. Thats good. Look. Along the body. Arm along the body, twisting, twist, slow, stab... slippery... Jack who has been mimicking, tries again, stopping every few strokes, and plunging on. CUT TO: 112 INT. WALDORF ASTORIA KITCHEN - DAY 112 * *

The kitchen is busy with cooks preparing food. Efficient, active, orderly. At the end of the row of expert workers, over a few pans on the stove is Jack. He is following the Cannolis instruction from notes while water boils, and butter heats in pans. The Cannoli moves into view. Jack is about to cut into an onion. CANNOLI Not like that. Demonstrates. CANNOLI (CONTD) Cut the onion like this. Halves the onion, lays it flat. Demonstrates a couple chops.

* * * * * * * * * *

1/28/09 112 CONTINUED: CANNOLI (CONTD) Breathe through your nose, you save your tears. You chop, set aside, clean area. Always. One stalk of celery. Right?

77 112 * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

Jack refers to his notes. Cannoli places a stalk of celery. CANNOLI (CONTD) Chop. Like this. The Cannoli demonstrates. The thumb pushes the stack forward. The knife rests against the index finger. Try it. Jack does so. CANNOLI (CONTD) Side against the finger. He corrects Jacks celery chopping technique. CANNOLI (CONTD) Or you end up like this. Shows his right hand. A finger appears cut off at the knuckle. CANNOLI (CONTD) You didnt notice? Ahem. JACK CANNOLI (CONTD)

The Cannoli reveals the finger that was folded out of view. A joke. Smiles. His mobile rings. He answers. CANNOLI This is Federic. (more intimate) Hello. Yes. Hold on. (to Jack) Lucy says hello. Stir the saute. Then core apples. The Cannoli swiftly cleans waste off cutting area with a knife.

1/28/09 112 CONTINUED: (2) CANNOLI (CONTD) Clean as you go. (back to phone) Im back.

78 112 * * * * * * *

He moves away to talk privately to Lucy. As he does so-CANNOLI (CONTD) Hes fine, doing fine. Jack continues to chop, stir, wipe area clean, as he casts concerned looks at the Cannoli. CUT TO: 113 INT. DOORWAY, WALDORF ASTORIA KITCHEN - DAY 113

The Cannoli leans against the doorway as he listens to Lucy, and responds with nods of intimate understanding. CUT TO:

114

INT. WALLDORF ASTORIA KITCHEN - DAY Jack casts continuous glances at the Cannoli -JACK Hem...ahem... wipe.. . stir... -- until the Cannoli moves through the doorway and out of sight. CUT TO:

114

115

INT. DR. BOBS OFFICE, BASEMENT AREA- DAY

115 *

Lucy is on her cell, quietly to the Cannoli. In B.G., Connie is seen putting on her coat. LUCY Thanks. Yeah. You, too. Lucy crosses to Dr. Bobs office. Connie calls out. CONNIE OK. Im going. OK. LUCY

1/28/09 115 CONTINUED: CONNIE Have a great trip! DR BOB I will. Take care.

79 115

Connie leaves. Dr. Bob puts material in a briefcase. Suitcase and suit bag in view. Lucy at door. DR BOB (CONTD) Connie proved a keeper. LUCY A little tiger. DR BOB When I return from the trip we will all celebrate. He begins gathering his things. He notices something about Lucys mood. DR BOB Are you OK? Fine. LUCY

* *

DR BOB (focusing on her) Promise? LUCY Yeah. Fine. DR BOB I have a seven PM to Omaha to make. Ill call. LUCY Knock em dead. DR BOB Youre bad. He exits. Lucy sits alone in the office. Gets up, starts turning off lights. Stops at her desk. She reaches for a light switch above a desk photo of her and Clyde in a happy moment. CUT TO:

1/28/09 116 EXT. A TREE-LINED STREET - EVENING

80 116 *

Jack walks looking at notes from his cooking lessons with the Cannoli. He stops, closes his eyes, visualizes. JACK Fold, sprinkle... sift... Slight gesture. core... JACK (CONTD)

Hes motionless a moment, eyes closed, then moves on. CUT TO:

117

EXT. NEW YORK PARK - EVENING

117

Connie walks along a frozen pond. She stands and walks to the edge. Tentatively, she takes a few steps out onto the ice. CUT TO: 118 EXT. NEW YORK STREET - NIGHT Clydes limo is stuck behind a garbage truck or an empty moving truck that is blocking traffic on a midtown crossstreet. He honks. Honks again. Shouts out window. CLYDE Move the fucking truck! (to himself) Fuck. Fuck. Fuck her. Buries his head in his hands. CLYDE (CONTD) Fuck everyone in the world! Horn blares behind him. He looks up to see the truck moving on. CUT TO: 119 INT. JACKS APARTMENT - 2 AM 119 118 * * *

Jack in bed. Cant sleep. Tosses. Lies with his eyes open, staring at the wall. Puts on earphones. Plays portable tape recorder. Pulls a blanket over his face.

1/28/09 119 CONTINUED:

81 119

Rivers of Babylon is faintly heard. He breaks from under the blanket. He gets up to move nowhere in particular. Stops moving. Closes his eyes. Visualizes. JACK Sift flower. Pinch of season salt. Crumbs. Pepper. Combine in brown bag. Crush garlic. Dab chops. Add to bag. Shake. Remove. Set aside. Yeah. Perfect. Wash, chop parsley. Peel, grate leek, set aside. Yeah. Preheat 350. Perfect. Squeeze lemon. Core pears. Combine syrup, lemon juice. Stir till blended. Dip pears. Set aside. Yeah. Peel. Perfect. Slice. Potatoes. Yeah. Perfect. Butter. Thin layer. Spread. Add onions. Stir. Add pepper, milk, cheese. Layer potatoes. Cover with sauce. Perfect. Breath. Head under. Breathe out. Open wine to breathe. Kick like this. Not like this. CUT TO: 120 INT. KITCHEN, CLYDE AND LUCYS APT - DAY 120 *

Jack, earphones in place, stirs the sauce. Checks the potatoes au gratin. Neat hills of garlic, parsley, onions, etc. Clyde enters, pours himself more wine. Lucy enters, picks up silverware. LUCY Jack's happy. I know. CLYDE

LUCY He practiced the chops six times. As they exit kitchen. CLYDE I ate them six times. Six times in two weeks. I can't eat them again. I can't eat the potato thing again. CUT TO:

1/28/09 121 INT. LIVING ROOM - DAY

82 121 *

Lucy busies herself with the table. LUCY You have to. CLYDE I can't eat the dessert thing again, either. LUCY You have to. The chops, the potato thing, it's au gratin, by the way, and the dessert too. It means a lot to him. OK. CLYDE

Lucy goes to the front room. CUT TO: 122 INT. KITCHEN - DAY Jack, into a rhythm, stir fries garlic, onions. CUT TO: 123 INT. LIVING ROOM - DAY 123 * 122

Clyde pours wine into a glass. Drinks a big drink. Lucy enters and places the napkins. LUCY Dont get drunk. I wont. CLYDE

LUCY Dont get weird. No way. CLYDE

LUCY Forget about Federic. CLYDE You brought him up.

1/28/09 123 CONTINUED: LUCY All I said was Jack was a good student. He cooks great. CLYDE I don't have trouble with it in reality. In my head, I have trouble.

83 123

Jack starts to enter from the kitchen, hesitates, unseen by Lucy and Clyde... LUCY I called him about Jack. Like you asked. Once. Thats it. I never talked to him again. Jack steps further out of sight into the kitchen.

Once. Once. Jack enters.

CLYDE LUCY

JACK Connie called from the stop, so... You hungry? CLYDE Yeah. It's... I'm very eager. Jack returns to the kitchen. After a moment of silent tension between Clyde and Lucy, Clyde goes into the small dining area. He looks in at Jack. CLYDE (CONTD) I'm gonna go for a walk around the block to get my appetite going. I'll be right back. JACK Shes almost here. CLYDE Five minutes.

1/28/09 123 CONTINUED: (2) JACK I'd better open another bottle of wine. Federic said to let it breathe. Jack opens a bottle from the table. CLYDE (seeming good nature) Maybe we should invite him, invite the Cannoli? JACK The Cannoli? CLYDE Lucy? Have him over and not let it be a big thing. JACK Have the Cannoli over? CLYDE Just for dessert. (laughs) No, Im messing with you. back.

84 123

Be right

He exits. Lucy returns to setting the table. LUCY Ignore him when he thinks hes cute. JACK Yeah, ahem, well... He goes into kitchen. CUT TO: 124 INT. STAIRS - NIGHT Clyde takes a flight of stairs. CUT TO: 125 EXT. CLYDE AND LUCYS APARTMENT - NIGHT Clyde heads down the street toward the avenue. CUT TO: 125 124

1/28/09 126 EXT. AVENUE - NIGHT

85 126

Clyde turns the corner, stops dead in his tracks at the sight of Connie, dressed up, and looking good. They come together, and he gives her a hug. CUT TO: 127 INT. KITCHEN - NIGHT Jack checks the nearly done potatoes au gratin. The front door bell rings. CUT TO: 128 INT. FRONT ROOM, CLYDE AND LUCYS APT - NIGHT Lucy opens the apartment door. LUCY Jack someone beautiful's here. Connie enters. Jack hustles in. JACK OK. Yeah. You look really good. Thanks. CONNIE 128 127

JACK Wow, you dressed up. CONNIE I shouldn't have, right? LUCY You're perfect. I was just about to go dress my best. She exits. CUT TO: 129 EXT. LIQUOR STORE - NIGHT Clyde exits with a quart bottle in a bag. CUT TO: 129

1/28/09 130 INT. FRONT ROOM, CLYDE AND LUCYS APT - NIGHT CONNIE Am I too early? No, no. JACK

86 130

CONNIE Smells really good. JACK You want some wine? CONNIE That'd be nice. JACK Its French. A French bordeaux. CONNIE I saw Clyde.

JACK He's out working up an appetite. He wants to out eat everyone, I think. CONNIE He's OK, right? JACK Yeah, he's... CONNIE He looked kinda down, but, yeah, he smiled and said "hot to trot." JACK Yeah... He went for a walk, ahem...hem... hot to trot? CONNIE You know, like a compliment, but he looked, I don't know, a little upset first, maybe. JACK He went to get out, I think, y'know, get in a more positive vibe.

1/28/09 130 CONTINUED: CONNIE Yeah, yeah, he gave me a hug, even. JACK .. a regular hug, right? I mean, you're not saying... CONNIE No, yeah, regular. JACK I think he had a little wine, so -CONNIE He just said "nice cha-chas," and hugged me, and he'd see me in minute. JACK Oh. OK. He said nice cha-chas? CONNIE He was trying to, like you said, to find a good vibe. JACK Yeah. He's OK. Wine, coming up. Starts to pour. CUT TO: 131 EXT. SIDE STREET - NIGHT

87 130

131

Clyde, by a stoop, drinks a long pull from the bottle. CUT TO: 132 INT. CLYDE AND LUCYS APT - NIGHT Jack and Connie hold glasses of wine. JACK Um, ahem, he hugged you...I know, but... That's it? CONNIE Yeah. It was just, y'know, hot to trot, and he hugged me, y'know, and he said, "mmmm, soft, nice chachas, see ya later." He's OK, though? 132

1/28/09 132 CONTINUED: JACK Yeah... soft... he doesn't drink usually, so a little, y'know--? CUT TO: 133 EXT. STREET CORNER - NIGHT

88 132

133

Clyde puts the bottle back in the bag. He observes two corner coke dealers make a sale on the opposite corner, and heads in their direction. CUT TO: 134 INT. CLYDE AND LUCYS APT - NIGHT Lucy enters. Sexy dress. She holds a colorful four-person hookah. LUCY See what I have? JACK Yeah, wow. A hookah. CONNIE I've never tried a hookah. LUCY First time for everything, right, Jack? JACK You just got it? LUCY A special night for special people. JACK Thats.. a ... Connie's having wine. You want a glass? Not yet. LUCY 134 *

CONNIE You look really pretty. she Jack? Sexy.

Doesnt

JACK Yeah, well...Time to take a check on things.

1/28/09 134 CONTINUED:

89 134

Jack exits. Lucy takes hash from a jewel box. She massages the hash and loads the hookah. LUCY I used to get high with a bagpipe player from Scotland. He could really take a puff. CUT TO: 135 INT. KITCHEN - NIGHT 135 *

Jack adjusts the heat under a pan of lovely looking sauce. Opens the oven and observes with pleasure the potato au gratin. CUT TO: 136 INT. FRONT ROOM- NIGHT Lucy exhales from a long toke. Jack enters from kitchen. 136

JACK The au gratin is turning the required amber hue. A critical juncture. Clyde enters the apartment with a bottle of brandy. CLYDE Whoa, look at my foxy lady... A special night, hey, Jack? Were both lucky guys, Jack, lucky guys. He displays the bottle. CLYDE (CONTD) As you see, some after dinner brandy that I had a sample to make sure it was worthy of your fine cuisine. Lucy has the hookah going. CLYDE I want to say something upon this occasion. But first, lets smoke a toast. To Jack for being a true friend! They all hit the hose.

1/28/09 136 CONTINUED: CLYDE Lets toast my Foxy Lady for getting this hookah for this special night. They all take serious puffs on the hookah. CLYDE Lets toast Connie for her lovely self. They all toke up. JACK This is so cool, Lucy, to get this, so perfect.

90 136

They smoke. The stoned look of delight settles on them and they float in a hashish revery. They all toke again. A smoke alarm goes off.

CONNIE (contd) Whats that? What? JACK

LUCY Somethings burning? What? Burning? JACK CLYDE

Jack rushes into the kitchen. JACK (O.S.) Oh. Oh... shit. Oh... God. Oh. No. CUT TO: 137 INT. KITCHEN - NIGHT Its filled with smoke. Jack opens the oven and removes a smoldering pan. Fuck! JACK 137

1/28/09 137 CONTINUED: Drops it on the floor. Fuck! JACK (CONTD)

91 137

He takes a pan of destroyed sauce from the stove, stares at its ugly remains. Tosses it violently. Lucy enters. Jack destroys another burned dish. LUCY Clyde! Hurry! Clyde enters. CUT TO: 138 INT. FRONT ROOM - NIGHT Connie is immobilized. Another pan is heard being tossed angrily and hitting the wall. Shit! JACK (O.S.) 138

CLYDE (O.S.) Calm fucking down! CUT TO: 139 INT. KITCHEN - NIGHT Jack and Clyde struggle over a plate of vegetables. It crashes to the floor. CLYDE OK. Fuck it. What about this? Clyde picks up a serving of pears in walnut sauce. Jack grabs Clyde by the throat. JACK What do you care? Do you even give a shit? Lucy bangs a cooking pan loudly to get attention. Stop it! LUCY 139

1/28/09 139 CONTINUED:

92 139

Jack leaves the kitchen in a fury. He bowls by Connie who has appeared at the kitchen entry and goes into the bathroom. Lucy exits the kitchen and goes into the bedroom. CUT TO: 140 INT. BATHROOM -NIGHT 140

Jack leans against the door. He takes huge gulping breaths, fuming. Jack? Not now! CONNIE (O.S.) JACK CUT TO: 141 INT. KITCHEN - NIGHT Clyde beats the alarm silent. CLYDE Shut the fuck up! CUT TO: 142 INT. SMALL DINING AREA - NIGHT Connie is at the bathroom door. CONNIE Id like to talk to you. JACK (O.S.) I just need a minute. CUT TO: 143 INT. BEDROOM - NIGHT 143 * 142 141 *

Lucy sits on the bed trying to recover her mental balance. Clyde looks in on her. CLYDE Hes fucking mad at me? I didnt burn the fucking food. CUT TO:

1/28/09 144 INT. BATHROOM - NIGHT Jack is screaming and moaning his anger into a towel. Jack? CONNIE (O.S.)

93 144

JACK A minute, OK? He douses his face with cold water. CUT TO: 145 INT. SMALL DINING AREA - NIGHT Connie is at the bathroom door. CONNIE Jack! I love you! CUT TO: 146 INT. BATHROOM - NIGHT Jack softens slightly hearing Connie. 146 145

CONNIE (O.S.) You hear me? I love you. CUT TO: 147 INT. BATHROOM HALLWAY - NIGHT Clyde steps up to the bathroom door, moving Connie aside, holding the tape recorder. He raps on the door. Jack? CLYDE 147

JACK (O.S.) This always happens... CLYDE

What?

JACK (O.S.) When theres something good it fucks up!

1/28/09 147 CONTINUED: CLYDE It fucked up, but it fucked up because we forgot... JACK (O.S.) You fucked it up because you made a fucking toast. CLYDE Because I love you. We all love you. CONNIE I love you! CLYDE (to Jack) You forgot the food because you were being loved. Thats the important thing to remember. JACK (O.S.) The meal was important.

94 147

CLYDE We can get by this. Everythings ruined, thats fucked up, but we can get by this. CUT TO: 148 INT. BATHROOM - NIGHT Jack has his head against the door. JACK I visualized perfection. CLYDE (O.S.) I know how you feel. Things are going good just like you pictured it, and out of the blue-JACK It was going to be perfect. CLYDE (O.S.) Positive vibes. Who said that? We had positive vibes going. 148

1/28/09 148 CONTINUED:

95 148

The song on the tape, Rivers of Babylon is heard playing outside the door. CUT TO: 149 INT. SMALL DINING AREA - NIGHT Clyde beckons Lucy to join him. CLYDE (CONTD) Then a negative thing came along. But Babylon right? Youre fucked up on the river! Inside you still have some hope! (sings) The Rivers of Babylon... (to Lucy, whispering) Thats all I know. (to Jack, sings) We sat down there... JACK (O.S.) Where we sat down! CLYDE Come on, Jack, fuck it, forget it. Connie and Lucy join the singing. Jack opens the door. JACK (to Connie) No one ever cooked for you. CONNIE You did, though. Jack emerges. CLYDE Alright! The Man! Man of men. My man! Jack! Clyde holds up a gram of coke as he moves away. Connie goes to Jack. CONNIE You cooked for me. Clyde is already busy chopping lines of coke at the table. * * 149

1/28/09 149 CONTINUED: CLYDE Youre gonna cook, row in a boat, everything-- everything, right Connie? Yeah. CONNIE

96 149

Clyde does a line. Jack looks on at Clyde doing coke. CUT TO: 150 INT. BATHROOM - NIGHT Connie, high on hash, is staring in the mirror, splashing water on her face. Jack looks in on her from doorway. CUT TO: 151 INT. FRONT ROOM - NIGHT 151 150 * *

Lucy and Clyde are doing lines. LUCY Its pure, he said? What? CLYDE * *

Jack enters the front room. Shes OK. JACK

CLYDE Yeah, the guy said, pure. Bolivian. Rare, he said. Whats she doing? JACK Shes looking into the mirror. Pink? LUCY

* *

* * * *

CLYDE Shes been in there a long time. JACK Shes looking in the mirror. Hash.

1/28/09 151 CONTINUED: CLYDE Yeah. Pink flake, he called it. Pure. Wow. LUCY

97 151 * * * *

(doing it) This is mine, too, right? Pink? What? Pink? CLYDE LUCY

* *

CLYDE Bo-liv-ian. Jack? Last chance? JACK Im cool... CLYDE Bo-liv-ian pink. High grade. Thats what the guy said. Who? LUCY

CLYDE The Tip to Toe beauty place guy. Lucy does another line. CUT TO: 152 EXT. STREET - NIGHT A cab pulls up in front of Clyde and Lucys building. The tall frame of Federic emerges from the cab. CUT TO: 153 EXT. APT BUILDING - NIGHT Federic has to bend to read the names on the buzzers. CUT TO: 154 INT. FRONT ROOM - NIGHT 154 * 153 152 *

Lucy is working her jaws. Clydes bending over a line. Jacks looking back toward the bathroom.

1/28/09 154 CONTINUED: CLYDE (snorting the last) Its gone now, anyway, so... all done. JACK Shes OK. Shes looking in the mirror. CLYDE Shes coming out? Jack moves to the hookah. JACK Yeah. Shell come out. Shes OK. LUCY

98 154

The apartment buzzer rings. They are instantly paranoid. LUCY Who could it be? Connie enters. CONNIE The bell rang?

Shhhh.

CLYDE

JACK Theyll go away. Who? CONNIE

CLYDE Wrong buzzer. We wont answer. A cell phone is heard ringing. JACK Whose phone is it? CLYDE Hes calling.

1/28/09 154 CONTINUED: (2) Who? LUCY

99 154

CLYDE I dont know. JACK Whose phone? Clyde looks for his phone. Buzzer rings again. CUT TO: 155 EXT. CLYDE AND LUCYS BUILDING - NIGHT 155

The Cannoli makes room on the stoop for a heavyset man with a dog coming out of the building. THE CANNOLI The buzzers work? HEAVYSET MAN Most the time. Federic stops the door from closing. Enters. CUT TO: 156 INT. CLYDE AND LUCYS APT - NIGHT 156

Clyde finds and looks at his phone, sees its the Cannolis number. Shit. What? CLYDE LUCY

CLYDE Nothing. Nobody. Restricted. Fearing it may be the Cannoli, Clyde hangs out by the door to guard the buzzer. Lucy goes to the hookah. LUCY Fuck. I need to... CLYDE Forget it. Theyll go away. LUCY Fucking paranoid moment.

1/28/09 156 CONTINUED:

100 156

Clyde sneaks a look out the peephole. POV SHOT of the distorted image of the Cannoli entering the hall. Clyde jumps. Shit! What? CLYDE JACK

CLYDE (hushed voice) Put out the lights. Theres somebody. JACK The lights? Who is it? LUCY

CLYDE I dont know. Put them out. A couple lights are put out-- semi dark. Theres a knock at the door. JACK Ahem...hem... Shhhh. CLYDE

The doorbell is rung. Lucy creeps to the peephole. Who is it? Dont. LUCY CLYDE

JACK Ahem... hem... Clyde stops her from looking. LUCY Let me fucking go. She succeeds in grabbing the doorknob. Clyde and Lucys struggle intensifies. CUT TO:

1/28/09 157 INT. CLYDE & LUCYS APARTMENT OUTER HALLWAY - NIGHT

101 157

The door is forced slightly open by Lucy during the struggle. LUCY I want to see... An inch. Two inches. Her face is visible as she sees the Cannoli. Federic? LUCY (CONTD) *

The door is forced shut. CUT TO: 158 INT. CLYDE AND LUCYS APT 158

Jack is mortified as he watches Lucy and Clyde struggle at the door. LUCY You called him? JACK The Cannoli? Who? CONNIE

JACK The cooking guy. LUCY Let him in. CUT TO: 159 INT. HALLWAY The door is opening and closing. LUCY Let him fucking in! JACK Lets try and... CONNIE Let her go. 159

1/28/09 159 CONTINUED:

102 159

The Cannoli reaches for the knob of the opening and closing door. CUT TO: 160 INT. CLYDE AND LUCYS APT - NIGHT 160

Clyde has his arms around Lucy as she kicks and struggles. CLYDE Im sorry... I.... The door is ajar. The Cannoli is seen looking in. Clyde backs forcibly against the door to force it shut while tightly holding the struggling Lucy. LUCY You fucking asshole! Let go of me. CLYDE Let me explain. CONNIE Let her go. JACK Maybe lets, if we... Lucy manages to pull the door opened slightly. THE CANNOLI (O.S.) Is everything OK? JACK Ill talk, hem, to him... CLYDE (shouts) Yes everything is fucking OK. Clyde forces the door shut. UNSEEN BY ALL the Cannolis hand is painfully caught in the door before it disappears from view. Let go. Im sorry. LUCY CLYDE *

Lucy struggles more intensely.

1/28/09 160 CONTINUED: JACK Ahem....stop....ahem... STOP, JUST FUCKING STOP!

103 160

Lucy breaks free and stumbles across the room. Clyde moves, utterly defeated and humiliated, away from the door. JACK Ahem.... hem... stop fighting. CUT TO: 161 INT. HALLWAY - NIGHT The Cannoli is bee-lining it away, nursing his squashed fingers. CUT TO: 162 INT. CLYDE AND LUCYS APT - NIGHT Lucy, clothes totally awry, glares at Clyde. LUCY You called the fucking Cannoli. JACK Ill just... hem.... Jack opens the door. The Cannoli is gone. Lucy swiftly moves to the door and goes into the hall. CUT TO: 163 INT. HALLWAY -NIGHT Lucy moves down the hall to the stairs. Federic?! LUCY 163 162 161

THE CANNOLI (O.S.) Well talk later... call you... Lucy heads back to the apartment. CUT TO: 164 INT. CLYDE AND LUCYS APT - NIGHT Lucy enters, fuming. 164

1/28/09 164 CONTINUED: LUCY You wanted to totally fuck up a perfectly good time with friends. CLYDE I was going to be OK with it. LUCY To totally embarrass me. Asshole. CLYDE No, because, Ive grown. I wanted to show Ive grown. LUCY You are so fucked up. God. OK. OK. Forget it. Lucy leans in to hiss in Clydes ear. LUCY Were done. She turns to Connie and Jack. LUCY Forget it. OK. OK? CONNIE Yeah, uh-huh. JACK Yeah. Ahem...hem. Ahem...hem... LUCY Put on the lights. Put the lights back on. They put the lights on. CLYDE Im sorry... youre right, I fucked up. LUCY This didnt happen. Just forget it. (hisses at Clyde) Asshole. Lucy gulps a big swig of brandy.

104 164

1/28/09 164 CONTINUED: (2) CLYDE I wanted to be normal with the Cannoli. Ill never be normal. Im a little ant opening car doors that has to be extra polite just to be liked by anyone! LUCY Quit feeling sorry for yourself, loser. JACK I like you. CONNIE Jack likes you. CLYDE I know Jack likes me! JACK Dont...hem... yell at her.

105 164

Jack becomes more and more paralyzed by the intensity of the collapse of his friends relationship. CLYDE Im fucked up and youll look for some other life in some other person. Someone brilliant with pastries, or with death, like the death guy! LUCY Dont embarrass yourself! CLYDE You think Im nothing. LUCY Youre fucking nothing! Thats what you want? Youre fucking nothing. JACK You guys, Ahem, hem... hem... CLYDE I fucking try, ok? I fucking try! LUCY You love I fucked someone. Piece of shit. Makes you feel so moral! Your bullshit night school. (MORE)

1/28/09 164 CONTINUED: (3) LUCY (cont'd) Youll be driving a limo when youre a hundred! You love I fucked someone else so you can feel superior! Youre a baby! JACK Its...hem, hem.... CLYDE I never lied to you! LUCY Save it for someone who cares! Its.... JACK

106 164

LUCY WHAT, JACK? What is it you want to say about your asshole friend? CONNIE Dont yell at him. JACK Ahem.... Its... LUCY (in Clydes face) I told you what I did and you couldnt stop wanting to fuck me all night! JACK ...the...ahem... CLYDE I never lied to you! LUCY And I never told you everything! Youre right. Youre nothing. Youll always be nothing! CLYDE Ill be something! LUCY Nothing! (to Connie) What are you staring at? (to Clyde) Youll always be nothing!

1/28/09 164 CONTINUED: (4)

107 164

She exits. Bedroom door is slammed shut. Jacks nervous throat ratchets up. CLYDE Oh, fuck, oh, man. He exits after Lucy. CLYDE (CONTD) (off) Lucy. Lucy! Open the door! Pounding on door. Connie finds the portable tape player and punches it on to play Babylon as she takes it to Clyde. Jack implodes barely able to ahem... CUT TO: 165 INT. HALL - NIGHT 165

Connie puts the portable recorder playing Babylon next to Clyde who is still pounding on the door. Clyde hurls the tape player blindly away. It whizzes past Connie. CUT TO: 166 INT. FRONT ROOM - NIGHT 166

The portable tape player crashes and falls to the floor where it pathetically plays on with severely distorted sound. JACK ...hem... oh, no... Connie enters. CONNIE Were going! CLYDE (O.S.) Let me in. Let me fucking in! CONNIE Were going. Pounding on off screen door. JACK Ahem...hem...hem...ahem... Pounding on off screen door. Connie gets the coats. Sound of the door being kicked in.

1/28/09 166 CONTINUED: Jack. CONNIE

108 166

JACK Ahem...hem...hem...ahem...hem...hem CONNIE Were going. She holds his coat, and he puts it on. JACK Ahem...hem...hem...ahem.. Ahem...hem...hem...ahem... They exit. CUT TO: 167 INT. BATHROOM - NIGHT Lucy stands in the tub. Clyde looks at her from the destruction of the door. He moves to her. CLYDE Im sorry... LUCY I hate you. He steps into the tub. CLYDE Im sorry... 167

LUCY I hate you. He tries to hold her. LUCY (CONTD) Let me go. Let me fucking go! She starts out of the bathroom. Stops. She turns to him, calm, weary. LUCY (CONTD) Its over. You know it. I know it. Over. *

1/28/09 167 CONTINUED:

109 167

She leaves the room. The reality that this was a truth he somehow knew overcomes him, and he stands in the tub, looking after her but seeing nothing. CUT TO: 168 INT. CAB - NIGHT Jack and Connie look battle shocked. He puts his hand on hers, and she holds it without looking at him. CUT TO: 169 INT. CONNIES APT - NIGHT 169 168

Connie enters and goes to the sink and turns on the water, just to have something to do. Jack follows her in. Theres a box from the store that contained her new dress on the bed. Other signs of getting ready for the dinner are about. Make up, scarves, another pair of new shoes, etc. She shuts off the tap. The strain finally works its way to her feelings, and she wipes at her eyes. He steps towards her, stops. JACK Yknow...? I mean... That was... CONNIE My nerves are rattling. JACK Maybe I should go. No. OK. CONNIE JACK

CONNIE You could hold me. OK. JACK

They are holding on tight in silence. CONNIE My hearts pounding. I know. JACK

1/28/09 169 CONTINUED: They hold one another in silence. CONNIE I don't want it ever to be like that. JACK No. Uh-uh... CONNIE That's why I'm standing here with you. JACK This feels good now. Better. Jack? Yeah? CONNIE JACK

110 169

CONNIE If you took me-Huh? Took me. Took you? JACK CONNIE JACK

CONNIE Over power me. Oh. JACK

They remain holding each other in silence. CONNIE Thats your heart. Yeah. Racing. Yeah. JACK CONNIE JACK

1/28/09 169 CONTINUED: (2) They hold each other in silence. CONNIE I pictured the first time by the lake, but maybe it should just be now. I pictured grass by a lake, but it could just be now-- if you overpower me. JACK Overpower you? CONNIE Force me, in a way-Oh. Make me. Make you? JACK CONNIE JACK

111 169

CONNIE Hold me down, and take off my clothes, and dont hurt me, but overcome me. Yeah? JACK

CONNIE You think you can? Yeah. JACK

You can? Yeah. Will you? Yeah.

CONNIE JACK CONNIE JACK

1/28/09 169 CONTINUED: (3) OK. CONNIE

112 169

JACK I really like you. I know. OK. CONNIE JACK

CONNIE Dont hurt me. Overpower me. He suddenly and forcefully backs her up and down on the bed. JACK You alright? CONNIE (breathless) Youre strong. JACK Swimming practice. CONNIE You're good at it, Ill bet. JACK Getting there. Come on... Yeah. CONNIE JACK

CONNIE I want you to...take me. Come on...take me. They start tearing off their clothes. CUT TO: 170 INT. SWIMMING POOL - DAY 170

Jack is swimming in a lane. Clyde encourages Jack from the pool deck.

1/28/09 170 CONTINUED: CLYDE That's it, pull the water to you... let it go.... pull the water and let go. Let everything flow... Good, see, you're swimming. That's right. Good. Good. I'm coming in. Oh, yeah.

113 170

Clyde dives in, surfaces, and swims in the lane alongside Jack. He passes him, turns on his back and swims that way watching Jack. Oh, yeah! CLYDE

He turns and resumes swimming toward the end of the pool, flips and starts back-CUT TO: 171 INT. OFFICE - DAY An office at the end of a row of cubicles. In the office, Clyde sits at work at his desk. CUT TO: 172 INT. SWIMMING POOL - DAY The two men swimming. Faces turning up for air as they stroke, hands sliding forward under water. CUT TO: 173 INT. CLYDE AND LUCYS APT - DAY 173 * * * * 172 171 * *

Lucy approaches the door with suitcases. She pauses at the door to take keys out of her pocket and toss them onto the couch before leaving and shutting the door behind her. CUT TO: 174 INT. SWIMMING POOL - DAY The two men swimming. Clyde passes Jack in the opposite direction-CUT TO: 174

1/28/09 175 INT. MTA BUILDING - DAY Jack being briefed at an MTA orientation. CUT TO: 176 INT. SWIMMING POOL - DAY

114 175

176

Clyde and Jack swimming side by side in separate lanes, same direction. Jacks form smoother, steadier. Maybe even a little competition-CUT TO: 177 EXT. SWIMMING POOL PARKING LOT - DAY 177

Connie walks toward the pool building. Jack and Clyde come out of the building. The three stand talking briefly before Connie and Jack move away toward the parking lot. Clyde starts off, turns and looks back at them. As he watches them we hear in V.O.: OK? Yeah. JACK (V.O.) CONNIE (V.O.)

JACK (V.O.) Don't worry. OK. CONNIE (V.O.)

JACK (V.O.) I'm a good swimmer. CAMERA PANS away from Clyde to the trees exterior of the pool and rises to the blue cloudless sky. CONNIE (V.O.) I knew you would be. When we talked about summer. You'd be good at swimming.

JACK (V.O.) I am for you. CONNIE (V.O.) Good at boating.

1/28/09 177 CONTINUED: JACK (V.O.) I am for you. 178 EXT LAKE - DAY

115 177

178 * *

CAMERA travels above treetops and down over a lake to Connie and Jack in a rowboat. CONNIE That youd be good. JACK I am for you. They kiss. Boat trembles. Laughter. Jack rows them on. Fade out.

THE END.