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Marley & Me Movie Script

Writer(s) : Don Roos

Genres : Comedy, Drama, Family, Romance

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                                MARLEY & ME



                                Written by

                                 Don Roos




                                                      March 7, 2007                         

                         

                         BLACK
          Some microphone feedback followed by:

           SEBASTIAN (V.O.)
           Okay, here we go... everybody watching?
           Our screen goes WHITE as a POWERPOINT PRESENTATION BEGINS...

           SEBASTIAN (V.0.) (CONT'D)
           I'd like to tell you all a little lov e
           story...
          But the images n screen are JOURNALISTIC PHOTOS OF

          PEOPLE RIOTING I STREETS

           SEBASTIAN (V.0.) (CONT'D)
          Whoops... wrong file...
          LAUGHTER O.S. and we begin PULLING BACK TO REVEAL:

          A RECEPTION HALL (BEGIN CREDITS) - DAY
          The lights are dim. We're looking at a blank, pull-down
          movie screen in a darkened ballroom.

          SEBASTIAN (O.S.) (CONT'D)
          Hang on, I got this--
          Someone O.S. starts CLINKING a fork against a wine glass. Is
          joined by others, and then we HEAR calls of "Kiss! Kiss!"

          ON A BRIDE AND GROOM
          sitting at the main table, In silhouette, seen from behind,
          lit only by the votives sprinkled along the table: JOHN
          GROGAN and his bride of two hours, JENNY. In response to the
          crowd, they kiss.
          Standing right by them is SEBASTIAN -- tall, good looking,
          rugged type --John's best man.

                         SEBASTIAN (CONT'D)
          Alright, now I'm ready--
          And now, on THE PORTABLE SCREEN, Sebastian'S MONTAGE BEGINS:
          John with his Mom in front of the college dorm, etc.

          SEBASTIAN (O.S.) (CONT'D)
          Here's John, first week of college.
          Nice hair, right?

                         (MORE)



                         

                         

                         

                         

            2.
            1

                         1 CONTINUED:

           SEBASTIAN (O.S.) (CONT'D)

                         NOT
          You think that feathering 'S easy?
          true. Takes a very well p
          wrist action...
          CHUCKLES from the crowd.

          SEBASTIAN (O.S.) (CONT'D)
          I'm just saying...

          SEVERAL PHOTOS OF JOHN
          Throughout college...

          SEBASTIAN (O.S.) (CONT'D)
          Was John a star athlete?
          A shot of him fumbling a frisbee,

          SEBASTIAN (O.S.) (CONT'D)
          Umm, no. Was he a ladies man?
          With mid-eighties hair, bad glasses.

          SEBASTIAN (O.S.) (CONT'D)
          You tell me.

                         (THEN)

                         HIM
          What he was, was John, and we loved
          for it.

                         2

          2 INT. DORM ROOM - DAY (HOME VIDEO)


                          AN
           Taken r. Sebastian. up l ^a
           n�ghte Sebastian turns the camera on himself, holds
           Sharpie pen, smiles.

           SEBASTIAN (O.S.)
           And he was always looked after by his
           guardian angel and best friend.

                          3

          3 EXT. CAMPUS - DAY (HOME VIDEO)

          John walking down the quad, with "DUMBASS" written on his
          forehead. People passing him are smirking.

                         JOHN
          (to CAMERA, which is

                         SEBASTIAN)
          People are staring at me - is my fly
          down?

                         SEBASTIAN
          No, no, it's cool.



                         

                         

                         

                         

            3. 3
           

                         3 CONTINUED:

                         JOHN
          All right, enough with the -
          (as he gets another giggle)
          - all right, what? What are you
          looking at?

                         SEBASTIAN
          Oh, wait, there's something on your
          forehead.
          John brushes it.

                         SEBASTIAN (CONT'D)
          You got it. Leaf or something.

                         JOHN

                         (DUBIOUS)
          A leaf. On my forehead.

                         SEBASTIAN
          Yeah, it musta had some sap on it.
          They pass a cluster of CO EDS who laugh at John.

          SEBASTIAN (O.S.) (CONT'D)
          And then there's Jenny.

                         4

          4 PHOTOS OF JENNY
           Looking, indeed, very cool, very put together.

           SEBASTIAN (O.S.)
          Studious, hard-working, quiet.

          PHOTOS OF A WILDER JENNY
          In short-shorts, wet T-shirt, throwing water balloons at a
          frat house. Standing on an empty keg of beer, rolling it
          like it's a log.

          SEBASTIAN (O.S.) (CONT'D)
          Well, okay, sometimes not so quiet.

          VIDEO OF JENNY
          Ordering a bunch of guys around, telling who to go where, as
          the camera ZOOMS OUT, we see they're playing touch football -
          except she tackles. Hard. And then does a little victory
          dance over the fallen. Jenny's the captain, in charge...



                         

                         

                         

                         

                           4-
            4

                         4 CONTINUED:

           SEBASTIAN (O.S.) (CONT'D)
          Okay, maybe a little high-spirited,
          maybe voted Miss Kegger once or twice
          too often on Fraternity ROW, but a good
          girl underneath it all. Now could they
          not fall in love?

          TWO PHOTOS JUXTAPOSED
          One of John "flexing" beside a lake, another of Jenny
          screaming at a football game with a beer in her hand.

          SEBASTIAN (O.S.) (CONT'D)
          Now, in any decent love story, you
          gotta have the great first meeting.

                         5

          5 INT. CAR - MOVING - DAY (VIDEO FOOTAGE)

          Sebastian is obviously the passenger shooting John, who's
          driving.

                         SEBASTIAN

                         (ON TAPE)
          All right, I'm zooming in. Whoa. Not
          a flosser.

                         JOHN
          Turn it off.
          And as he REACHES for it - WHAM'. He hits another car! The
          camera goes flying. Fumbles. SCREAMS. YELLS.

                         JOHN (CONT'D)
          Jesus Christ!

                         SEBASTIAN
          They're okay! They're getting out.
          Sebastian manages to right the CAMERA and unsteadily films
          John getting out of the car, heading towards the car he hit.
          The passenger door opens and Jenny comes out. She's covered
          in frosting and the remains of a birthday cake which she was
          carrying in her lap. The damaged car is full of balloons.

                         JENNY
          Are you a complete idiot?!

          SEBASTIAN (O.S.)
          And so one of the truly great love
          affairs of the late eighties began.
          In the home video, Jenny advances on John, hurls the rest of
          the cake at him, starts flailing at him with her hands.



                         

                         

                         

                         
            5.

                         5

                         5 CONTINUED:
           The driver of the car, another co-ed, gets out and yells at
           CAMERA (Sebastian).

           SEBASTIAN (O.S.) (CONT'D)
           Brought together by their love of fast
           cars, spirited Baskin-
           Robbins Dreamy Drizzle Ice Cream cake.

          6 DIFFERENT PHOTOS NOW 6
          John and Jenny both at typewriters.

          SEBASTIAN (O.S.)
          From there, they went on to work
          together at the school newspaper.

          SHOT OF JENNY IN THE NEWSPAPER OFFICE
          Shot of Jenny standing at the head of a table full of
          reporters.

          SEBASTIAN (O.S.) (CONT'D)
          Although, technically, they didn't work
          together so much as John worked for
          Jenny who was the editor of said
          paper...

          SHOT OF JENNY AND JOHN KISSING
          In her office, through the semi-closed Venetian blinds.

          SEBASTIAN (O.S.) (CONT'D)
          Let's just say there were some flagrant
          workplace violations.

          7 EXT. COLLEGE CAMPUS - DAY (HOME VIDEO) 7

          John and Jenny, both in cap and gowns, drinking from plastic
          champagne glasses. John displays the top of his cap to
          CAMERA: the words "NEED JOB" are spelled out in white
          adhesive tape.

          SEBASTIAN (O.S.)
          The point is their love grew, blah blah
          blah... And that love continues
          tonight.

          8 INT. RECEPTION ROOM - DAY 8

          The wedding GUESTS APPLAUD, the lights come up, and Sebastian
          concludes his toast.



                         

                         

                         

                         

            6.
            8

                         8 CONTINUED:

           SEBASTIAN (O.S.)
          And now, please join me in raising a
          glass to my future neighbors down in
          Florida, and to the dawn of both a
          marriage end a brilliant journalistic
          team, the new Woodward and Bernstein,
          this time with sex. Bad sex, probably,
          but - anyway: to John and Jenny
          Grogan.

          AND NOW PUSH IN ON JOHN AND JENNY
           She's had an ffect on
          He's not so much break applause.e
          him. They kiss as

                          DISSOLVE TO:

                         9

                         9 SNOW FALLING
          PULL BACK TO REVEAL we're looking out a window.

          JENNY (O.S.)
          MmzmII[lm. That feels so good.

          CONTINUE PULLING BACK TO REVEAL...

          INT. HOTEL BATHROOM - NIGHT

          The two of them sit on the edge of the bathtub, soaking their
          sore feet. Jenny's still in her wedding dress, bunched up so
          as not to get it wet. John has got the pant legs of his tux
          rolled up.
          Jenny takes a swig from a bottle of champagne, passes it to
          John. He looks at her.

                         JOHN
          How do I get vou?

                         JENNY
          What?

                         JOHN
          I'm serious. In what world does a guy
          like me get someone like you?

                         JENNY
          Are you kidding?
          (leans on him)
          You're part of the plan.

                         JOHN
          The plan.



                         

                         

                         

                         
            7-

                         9

                         9 CONTINUED:

                         JENNY
          Step one. Meet an incredibly sweet,
          smart, sexy guy.

                         JOHN
          Done. Step two?

                         JENNY
          Marry him.

                         JOHN
          Check. Step three?
          She smiles, puts her face right up to his...

                         JENNY
          Now that one's a surprise...
           They kiss and as we push past them, into the snowy window, we
           END CREDITS and...

                          DISSOLVE TO:

          10 EXT. FORT LAUDERDALE STREET - DAY 10

           A HEAT MIRAGE. A battered Toyota Tercel comes over. a rise.
           We follow the car through town, get

                          SUPER: "1990"

          11 INT. CAR - DAY 11

           Jenny driving. John clutching his portfolio on his lap. She
          cuts a look at him.

                         JENNY
          You okay?

                         JOHN
          Oh yeah.

          12 EXT. FORT LAUDERDALE SUN-SENTINEL NEWSPAPER BUILDING - DAY 12

          As jenny pulls up out front of the building.

          INT. CAR - SAME

          She turns to John.

                         JENNY
          You know you got this.



                         

                         

                         

                         
             8.

                         12 CONTINUED: 12

                         JOHN
          I know, I got it.

                         JENNY
          Who are you?

                         JOHN
          I'm John Grogan.

                         JENNY
          Wrong. You're John Friggin Grogan
          who's about to get a job.
          She leans over and gives him a big, long kiss.

                         JOHN
          Um, okay, see now I don't wanna get out
          of the car.

                         JENNY

                         JOHN€�

                         JOHN
          i really just wanna sit here and make
          out with you.

                         JENNY
          --Get out of the car.
          He nods, starts to get out, then pauses.

                         JOHN
          Who am i again?

                         (QUICKLY)
          Kidding.

          13 EXT. FORT LAUDERDALE SUN-SENTINEL NEWSPAPER BUILDING - DAY 13

          As John crosses his fingers, waves and enters the building...

           ARNIE (V.0.)
           Sebastian says you won some award?

          14 INT. EDITOR'S OFFICE - DAY (1990) 14

           ARNIE KLEIN -- fifties, never smiles, flowered shirts -- the
          editor of the Sun-Sentinel of Fort Lauderdale, Florida, is
          flipping through John's portfolio.

                         JOHN
          Yes, sir, I got a Mitchy.
          (off Arnie's look)

                         (MORE)



                         

                         

                         

                         

            9.
           

                          14

                         14 CONTINUED:

                          JOHN (CONT'D)
          Like a Pulitzer, but for western
          Michigan.

                         ARNIE
          A Mitchy. Min-hmm. So, tell me, why
          did you want to leave the estimable -
          (he flips to a story, reads

                         THE HEADING)
          - Kalamazoo Gazette?

                         JOHN
          Well, as you know, Sebastian and I were
          in college together, and he was always
          talking about South Florida... mostly
          about the women of South Florida, but
          anyway, after my wife and I got married
          we thought it might be nice to come

                         DOWN HERE--

                         ARNIE
          For the women?

                         JOHN
          Uh, no-- for the... the... uh...

                         ARNIE
          For the work?

                         JOHN
          Yes. That.

                         ARNIE
          Your wife's Jenny Havens, right?

                         JOHN
          Well, Jenny Grogan now--

                         ARNIE
          She take the job at the Post?

                         JOHN

                         YEAH--

                         ARNIE
          I tried to get her over her

                         JOHN

                         OH--

                         ARNIE
          Damn fine writer.

                         (THEN)

                         (MORE)



                         

                         

                         

                         

            10.
            1

                          4

                         14 CONTINUED: (2)

                          ARNIE (CONT'D)
          What's the matter, the Post didn't want
          Yo m?

                         JOHN
          Well, she does features. I'm more a
          straight news writer. This is a better
          paper for that.

                         ARNIE
          Straight news writer, huh. Meaning you
          think you're a reporter?

                         JOHN
          Meaning I know I am.

                         ARNIE
          And the six other sweaty-palmed college
          grads I'm interviewing today, you think
          you're better than them?

                         JOHN
          No, sir. In fact, I'm pretty sure I'm
          not. But I do know that I always seem
          to surprise myself. Ten years ago, I
          was doing bong hits and playing Donkey
          Kong, never dreamed I'd get into
          college. But I did, and I graduated
          with honors. Two years ago, my buddies
          told me that the most Jenny Havens
          would ever say to me was, You're sweet,
          but I don't like you in that way.. But
          she did like me in that way-- and my
          buddies can suck it because I married
          her. I certainly never thought I'd win
          some award with a dumbass name--

                         ARNIE

                         (POINTING)
          The "Mitchy."

                         JOHN

                         (POINTING BACK)
          Exactly sir. But i surprised myself
          and I won it. And if you give me the
          chance, I'm pretty sure I'll surprise
          you, too.
          Arnie considers him a moment.

                         ARNIE
          That's quite a speech, son. You
          rehearse that, or come up with it on
          the fly?



                         

                         

                         

                         
             11. 14

                         14 CONTINUED: (3)

                         JOHN
          Elevator, on the way up.

                         (THEN)
          How'd I do?
          Arnie just looks back at him.

          15 INT. PARKED CAR - DAY 15

           Jenny is writing in her NOTEBOOK when we see John crossing
           the street through the passenger window. She looks at him.
           Afraid to ask.

                         JENNY
          So?

                         JOHN
          He's got me on a little thing they like
          to call... Desert Storm--

                         JENNY

          YOU GOT THE JOB!
          She gets out of the car and the two embrace right there on
          the street. She takes out her notebook, crosses something
          off on her "list."

                         JENNY (CONT'D)
          okay... "Jobs." Done.

                         JOHN
          So what's next? Lunch?

                         JENNY

                         (KISSES HIM)
          House.

          16 EXT. 345 CHURCHILL ROAD - DAY 16

          A HORN HONKING as a ca g nos by on the Dixie Highway in the
          b.g. We tilt down to a very mixed neighborhood, to a modest
          house, THE SOUND OF A TV BROADCAST OVER...

          17 INT. 345 CHURCHILL - KITCHEN - DAY 17

          News footage of Iraq's invasion of Kuwait on television. John
          and Jenny sit at the table reading a different newspapers. He
          glances at her...

                         JOHN
          You like the quote about the speed
          bumps?



                         

                         

                         

                         

            12. 17
           

                         17 CONTINUED:

                         JENNY

                         (LOOKS)
          "If they save even one life--"

                         JOHN
          -"it would be worth it. And with that,
          Janet Dickerson's mother's eyes filled
          with tears."

                         (THEN)
          That one just felt exactly right,
          y'know?

                         JENNY
          Yeah, no, it's good. What happened to
          the Desert Storm piece?

                         JOHN
          That's it. The injured girl's dad's in
          Kuwait. What, that's not in there?

                         JENNY
          (looks at the article)
          Uhhhh... they must've cut it... And
          they kinda misspelled your name. John
          Egan...

                         JOHN
          What-- you're kidding--
          He reaches for the paper, but she holds it away.

                         JENNY
          Forget it. It's good, John. It's got
          facts, some color. It's a solid piece.

                         JOHN
          Thanks. I'm almost done with yours.
          This idea of voting machines sounds

                         REALLY EFFICIENT--

                         JENNY
          Well, except on the other page I talk
          about what could happen--
          He goes back to reading. She sips her coffee.

                         JOHN
          Oh, it continues...
          An awkward moment as he now searches for the new page, has to
          fold back the paper. No escaping the fact that ie article is
          longer and more important than his. She finally gets up...



                         

                         

                         

                         

           13.
          

                         17

                         17 CONTINUED: (2)

                         JENNY
          You know what? The rest is just okay,
          really pretty boring...

                         JOHN
          No, no, I'm enjoying it...
          He tortures himself and keeps reading. She moves to the sink,
          starts to rinse out her cup...

                         JOHN (CONT'D)
          Wow, they really gave you a lot of
          space, didn't they?
          She sets the cup on the counter, looks at the WILTED PLANT on
          the sill.

                         JENNY
          Damn. I killed another one. How am I
          ever going to take care of a kid, I
          can't even keep a plant alive?
          John looks up from the paper. "Kid?" She comes gives him a
          kiss.

                         JENNY (CONT'D)
           I'll see you later, Mr. Gorgan.
          She headsout, leaving John staring terrified at the plant.

           SEBASTIAN (V.0.)
           A kid, huh...

                          18

          18 EXT. SUN-SENTINEL OFFICE - DAY

           Sebastian and John fill up at the coffee pot, start to move
          through the office throughout...

                         SEBASTIAN
          Well, what'd you expect? You bought a
          house, man. A house with a mare
          room...

                         JOHN
          What's wrong with a spare room?

                         SEBASTIAN
          It's empty, John. That's what's wrong
          with it. And you know what else is
          empty? Her womb.



                         

                         

                         

                         

            14. 18
           

                         18 CONTINUED:

                         JOHN
          I'm starting to worry that we're
          already at Step Six.

                         SEBASTIAN
          What?

                         JOHN
          You know Jenny, she's got her whole
          life organized and planned out...
          Sebastian smiles at a secretary, turns back to John.

                         SEBASTIAN
          You want my advice? Get her a PuPPY•

                         JOHN
          A puppy.

                         SEBASTIAN
          Something other than you she has to
          take care of.
          (points at him)
          You have a kid, you're a dad. You're
          not you anymore. You have a dog,
          you're a master. You're still a guy.
          With a life.

                         JOHN
          And a dog...

                         SEBASTIAN
          Whatever, man. You're still free.
          You've stopped the clock.

                         JOHN
          What clock?

                         SEBASTIAN
          Okay... you know in movies when
          there's, like, a bomb and it's ticking
          down, ten seconds left, and there's
          some guy with a wire cutter going, "red
          wire... blue wire... which one do I
          cut?" And the guy finally just makes a
          wild-assed guess and SNIP. Silence.
          The world is saved.

                         JOHN
          Okay... is the bomb strapped to a
          dog... because I'm not sure I'm

                         FOLLOWING--



                         

                         

                         

                         
             15

                         18 CONTINUED: (2) 18

                         SEBASTIAN
          John, you buy this dog, you're saving
          your world. Because that ticking you
          hear, is not a bomb, it's her
          biological clock.
          John looks back at him.

                         JOHN
          Huh.

          ARNIE .(O.S.)
          Sebastian!
          They both turn as Arnie sticks his head out of his office.

                         ARNIE (CONT'D)
          Your travel's approved. Get outta here.

                         SEBASTIAN
          In motion.

                         JOHN
          Where you going?

                         SEBASTIAN
          Colombia. I got a guy down there, says
          he can put me next to Pablo Escobar--
          I'm doing this piece, I follow a single
          coca leaf from Colombia, to the streets
          of Miami.

                         JOHN
          Yeah, you and I once talked about doing
          something like that. We were gonna call
          it, "From Plant to Pusher." Remember?

                         SEBASTIAN
          Not really.

                         ARNIE

                         HEY-- GORGAN--

                         (JOHN LOOKS)
          --there was another fire at the county
          dump. Some kinda methane leak.

                         JOHN
          Actually, it's Grogan--

                         ARNIE
          I want two paragraphs for the blotter.



                         

                         

                         

                         

           16.
          

                         I8

                         18 CONTINUED: (3)
          John nods, looks off at Sebastian who now sits down at his
          cluttered desk, pulls a DUFFLE BAG from under his desk. John
          watches with envy as Sebastian starts stuffing cameras,
          recorders, a bowie knife, into the duffle...

                         JOHN
          So uh, what kind of puppy?
          Sebastian looks up at him.

                         JOHN (CONT'D)
          To, y'know, cut the wire.

                         SEBASTIAN
          Get her a lab. They're supposed to be
          just like little kids. But easier to
          train.

                         19

          19 EXT. DOG BREEDER'S HOUSE - MORNING

          As John and Jenny get out of the car. She looks at the house.

                         JENNY
          This isn't the ihop...

                         JOHN
          A little surprise first...

                         20

          20 INT. DOG BREEDER'S HOUSE - DAY

          John is leading Jenny, her eyes closed, through a house
          towards the kitchen. LORI, 55, leathery and smoking, is
          going in front.

                         LORI
          Sorry about the smell.

                         JENNY
          When can I look?

                         JOHN
          Just hang on...
          Lori opens a door to a laundry room.

                         JOHN (CONT'D)
          Okay. Now.
          Jenny opens her eyes and sees a utility room. Nine yellow
          yipping Lab puppies tumble out of a cardboard box towards
          John and Jenny.



                         

                         

                         

                         

            17.
           

                          20

                         20 CONTINUED:

                          JOHN (CONT'D)
          Happy Birthday.

                         JENNY
          Oh my God... they're adorable...

                         (THEN)
          Wait a minute, my birthday's a month
          from now.

                         LORI
          That's okay, they can't leave for
          another three weeks anyway.

                         JENNY
          John, we never even talked about this.

                         JOHN
          You're right. Let's go.
          He's kidding. And besides, Jenny's already on the floor,
          letting the puppies climb all over her.

                         JENNY
          Look at you guys...

                         LORI
          I got papers on the mom and the dad, so
          you can register these.

                         JOHN
          Is the father here too?

                         LORI

                         (HESITATING BRIEFLY)
          Oh, yeah, somewhere. Anyway, girls are
          $400, boys are $375. Except this
          little guy here.

                          AND
          She points to one male puppy, who is clearly the goofiest
          most excited.

                         LORI (CONT'D)
          You can have him for $325.

                         JENNY
          How sweet. He's on clearance...

                         LORI
          Well, he's a little too stocky for the
          breed, so he probably won't show.

                         JENNY
          He's so sweet...



                         

                         

                         

                         
          Marley & He Shooting Draft  18.

                         20

                         20 CONTINUED: (2)

                         JOHN
          He likes you.

                         JENNY
          John, I don't know if I'm ready for a

                         PUPPY--

                         LORI
          You have to wait three weeks for the
          litter to get weaned, before you can
          bring 'em home anyway.

                         JOHN
          Plenty of time to get ready.

                         JENNY
          I won't even be here. I'm gonna be with
          my sister then...

                         JOHN
          No problem. I can take him. Be good
          bonding time. Get him all trained in
          time for you to come home.
          A chuckle from Lori.

                         JOHN (CONT'D)
          Let's give 'em all the scare test.

                         LORI

                         (STOPS CHUCKLING)
          The what?

                         JOHN
          I hear the best dog in the litter is
          the one who doesn't spook easily. They
          turn out to be the most people-
          centered.

                         LORI

                         (SLIGHTLY WORRIED)
          Uh, how are you gonna--
          John turns away, and then suddenly turns back with a loud
          step and a "BOO"! All of the puppies scatter. Lily barks.
          But Clearance Puppy just leaps onto his shoes, his tail
          wagging.

                         LORI (CONT'D)
          Well, that's your guy.
          John scoops him up. Clearance Puppy licks his face. John
          hands him to Jenny. She lets him lick her face...



                         

                         

                         

                         
             19.

                         20 CONTINUED: (3) 20

                         JENNY
          I would've picked you anyway--

                         JOHN
          Meant to be.
          He watches her cuddle the puppy and knows he's done the right
          thing.

          21 EXT. LORI'S HOUSE -- DAY 21

          Lori waves goodbye, check in her hand, as John and Jenny walk
          to the car. Jenny carries a Polaroid of Clearance Puppy.

                         JENNY
          You really sure about this? I mean, a
          puppy's a lot of work.

                         JOHN
          How hard could it be?
          We hear A COMMOTION is coming from the woods, something
          crashing through the brush, breathing heavily. They both
          freeze as the sound comes their way.

                         JENNY
          What's that?
          Just then they are nearly knocked off their feet by a huge,
          rampaging Labrador, soaking wet, covered with mud and burrs.
          It circles them, barking WILDLY, a crazed look in its eye. It
          jumps up on John, muddies his shirt, then barrels past Lori
          into the house, knocking over a chair on the porch as it
          goes. A beat.

                         JOHN
          I think we just met the dad.

          22 EXT. AIRPORT - DAY 22

          John kissing Jenny good-bye. They finally part...

                         JENNY
          Call me as soon as you get him home.
          Oh, hey, we need a name.

                         JOHN
          How 'bout I just call him "Clearance
          Puppy" until you get back. I only hope
          he doesn't say his first word without
          you.

                         

                         

                         

                         
            20.

                         23

          23 EXT. LORI'S HOUSE - NIGHT

          John steps out of his car and the puppy, now twice the size
          he was three weeks ago, bounds over to him. A harried Lori
          follows, a rope leash and instruction. sheet in hand.

                         JOHN
          Whoa! He got big... This is the right
          one, right?

                         LORI
          You should see him pack away the puppy
          chow.

                         JOHN
          So, what if I run into any problems?

                         LORI

                         (BACKING AWAY)
          Oh. Sure, call me. All sales are
          final, though. Not just for him. I
          tell that to everyone.

                         (QUICKLY)
          You want help getting him in the car?

                         JOHN
          No, that's okay, I'll just...
          John opens the door, indicates that Marley should jump in.
          Instead, the puppy runs around the car, barking, jumping up
          on the bumpers. John finally catches him, lifts him up, puts
          him on the front passenger seat atop some towels.

                         JOHN (CONT'D)
          There we go.

                         (TURNS)
          Well, anyway, thanks for--
          But Lori's already inside her house, the door closed.

          24 INT. JOHN'S CAR - NIGHT 24

          John and the puppy on the drive home. The puppy atop a pile
          of towels. John looks at him.

                         JOHN
          Hey... guy.
          The dog just stares at him quizzically. Uncomfortable alone
          with the dog, John turns on the radio. BOB MARLEY plays and
          the puppy THUMPS HIS TAIL.



                         

                         

                         

                         
             21.

                          24

                         24 CONTINUED:

                          JOHN (CONT'D)
          You like Bob Marley?
          The dog THUMPS HIS TAIL AGAIN. John turns up the music.
          THUMP. THUMP. THUMP faster this time.

                         JOHN (CONT'D)

                         GOOD BOY--
          (trying it out)
          Bob?
          (nothing, then)
          Marley.

          THUMP THUMP THUMP.

                         JOHN (CONT'D)
          Marley. Okay-- Marley. Cool.
          But now the pup starts wriggling towards John, John tries to
          put him back...

                         JOHN (CONT'D)
          No-- stay boy... stay.
          (the dog crawls into his lap)
          Okay, not really safe, bud--
          Marley gets stuck with half his body draped over the console.
          He remains like this, his tail thumping... John gives up.

                          JOHN (CONT'D)
           Alright, fine, but just this time.

           THUMP. THUMP.

                          25

          25 EXT. 345 CHURCHILL ROAD - NIGHT

           door. The dog
          John pulls up in the driveway and opens the
          jumps out.

                         JOHN
          This is our house...
          The dog immediately pees on the ground.

                          JOHN (CONT'D)
           And now it's yours.

                          26

          26 INT. KITCHEN - NIGHT

          As John crouches down, shows him his bowls...

                         JOHN
          This one's water. This one's food.



                         

                         

                         

                         
             22.

                         26 CONTINUED: 26
          Marley starts pawing the food bag.

                         JOHN (CONT'D)
          C'mon, man, you've already had kibble
          and half a seat belt.
          (moment, relents)
          All right. Special treat. But just
          today...
          He opens the bag and Marley tackles it. Several cupfuls
          spill onto the floor. John goes to the pantry to get the
          dustpan and brush. When he returns, he finds Marley has
          eaten the food in the bowl AND every last scrap of spilled
          food. And now he's squatting to pee again...

                         JOHN (CONT'D)
          No, no, no!
          He picks up the puppy and rushes him outside.

          27 EXT. 345 CHURCHILL - BACKYARD - NIGHT 27

          As John sets him down on the ground, steps back.

                         JOHN
          Okay, now. Pee.
          He motions with his zipper.

                         JOHN (CONT'D)
          C'mon, man, do your thing.
          (Marley just stares)
          Alright, I'm gonna show you this one
          time...
          From behind, we see John peeing.

                         JOHN (CONT'D)
          Except you gotta lift your leg.
          (lifts his leg)
          See, this is how you guys do it...
          Marley looks at him, squats and pees...

                         JOHN (CONT'D)
          Or you could do it like that. Just not
          in front of other guy dogs.

          28 INT. JENNY'S SISTER'S HOUSE - NIGHT 28

          Jenny's on the phone. Her young NIECE and NEPHEW wait for
          her, a board game on the floor between them. She motions
          that she'll just be a second...



                         

                         

                         

                         
             23.

                          28

                         28 CONTINUED:

                          JENNY
           Marley. I like that...

          29 INT. 345 CHURCHILL - NIGHT 29

          John's on the phone, talking to Jenny as he follows Marley
          around the room, trying to keep shoes and socks and cords out
          of his mouth...

                         JOHN
          Are you sure? Because it can be
          temporary...

          INTERCUTTING: JOHN & JENNY

                         JENNY
          No, it's good.

                         (THEN)
          He must be exhausted.

                         JOHN
          Oh, yeah, he's pooped.
          Marley lets out a SQUEAK as he tugs at a couch cushion...

                         JENNY

                         (HEARS IT)
          Oh, he sounds so sweet!

                         JOHN
          Yeah...
          (snapping his fingers at the
          dog, shaking his head "no")
          He's very cute. Just like a little kid
          only furrier.

                         JENNY
          Put the phone by his ear...
          John chases after the dog who burrows under the couch, his
          tail sticking out so that John can't get him...

                         JOHN
          Uh, okay, he's listening.
          John just holds the phone awkwardly as Jenny coos baby talk.

                         JENNY
          (into the phone)
          Hey, Marley! Who's my good boy?!
          Mommy can't wait to meet you...



                         

                         

                         

                         
            24.

                         29

                         29 CONTINUED:

                         JOHN
          Anyway, don't worry, he's doing great.
          Like he's lived here his whole life.
          All eight weeks of it. And you know
          what else? I think he's going to be
          pretty easy to train. I mean, he's
          curious which means he's smart, right?

                         JENNY
          Of course he is. I can't wait to see
          him.

                         JOHN
          Just him?

                         JENNY
          Jealous?

                         JOHN
          I'm not the one sleeping in a box.

                         JENNY
          I love you. I'll see you Friday.

          30 INT. GARAGE - NIGHT 30

          John, dressed to go out, is setting down Marley in his wooden
          box on the garage floor.

                         JOHN
          I'll see you in the morning, okay?
          Marley looks at him with a heartbreaking expression. John
          hesitates.

                         JOHN (CONT'D)
          Aw, come on, don't. You'll be fine,
          alright. And tomorrow, we're gonna
          tear it up. I'm thinking kibble, park,
          chew toy, the whole nine yards. Okay?
          we good?
          Marley doesn't-look so good, looks kind of sad. John turns
          and gets out of there.

          31 EXT. DRIVEWAY - NIGHT 31

          John gets into his car. He can hear WHIMPERING.

                         JOHN
          Big day tomorrow! Rest up, pal!
          He listens a beat; Marley quiets down. He gets in his car.

                         

                         

                         

                         
             25.

          32 INT. BAR - NIGHT 32

          Journalist hang out.'John and Sebastian at the bar. Many know
          Sebastian, he's constantly nodding at people throughout:

                         SEBASTIAN
          So I'm there in this cave, right?
          Blindfolded. And I can feel the
          machine guns, there's like nine of 'em
          around me... and they tie me to a chair
          and then Escobar comes in and says--
          are you ready?

                         (SPANISH ACCENT)
          I read your piece on Kadahfi, And I
          think you captured his narcissism just
          right.

                         (LAUGHS)
          Can you believe that?

                         JOHN
          Some of it.

                         SEBASTIAN
          Man, I wish you could've been there.

                         JOHN
          Yeah, but then I wouldn't have been
          able to do the piece on the water main
          break at the library. That would have
          sucked.

                         SEBASTIAN
          (hand on John's shoulder)
          Your time will come, amigo.

                         JOHN
          I'll drink to that--
          They toast with their beers, Sebastian clocks John looking at
          his watch.

                         SEBASTIAN
          You gotta be somewhere?

                         JOHN
          Oh. No, it's the puppy. It's his first

                         NIGHT ALONE--

                         SEBASTIAN
          You got adoc?



                         

                         

                         

                         
            26.

                         32

                         32 CONTINUED:

                         JOHN
          Marley. A little lab. Like you said.
          Remember? The bomb...

                         SEBASTIAN
          Oh, right. Smart move. You'll see.
          (slaps him on the back)
          You've just preserved your quiet way of
          life for at least another two years.

                         33

          33 EXT. 345 CHURCHILL ROAD -- NIGHT

          John pulls up, gets out of his car. Halfway down the block,
          we see a POLICE CAR, lights flashing, two OFFICERS talking to
          a COUPLE. Another NEIGHBOR, in his robe, stands in the
          street watching...

                         NEIGHBOR
          Millers got robbed again.
          (then, turns to John)
          And that mutt of yours hasn't shut up
          since you left.
          John looks towards the garage where we hear WHIMPERING.

          34 INT. 345 CHURCHILL ROAD - GARAGE - NIGHT 34

          The door opens and the puppy gets excited--

                         JOHN
          No no... I just wanted you to know I'm
          back.
          The puppy whimpers and he goes over to him, reaches into the
          box and pets him...

                         JOHN (CONT'D)
          Buddy, you really gotta chill, okay?
          Yeah, I know, good to see you, too.
          But I'm just inside the house, I'll see
          you in the morning. Big day tomorrow.
          Get some sleep.

          35 INT. 345 CHURCHILL - KITCHEN - NIGHT 35

          John gulps orange juice from the bottle. Leaves a quarter-
          inch, puts it back in the fridge. And now we hear BARKING
          from the Garage.

                         

                         

                         

                         
             27.

          36 INT. 345 CHURCHILL - BATHROOM - NIGHT 36

          Water running. John swallows some preventative aspirin,
          picks some nachos off his shirt. He turns off the water.
          And we hear WAILING and KEENING coming from the garage.

          37 INT. 345 CHURCHILL - BEDROOM - NIGHT 37

          John has his head buried under the pillows AS THE WAILING AND
          KEENING GO ON. AND ON. AND ON. Finally, John can't take it
          anymore. He sits up, pulls earplugs out of his ears.

                         38

          38 INT. GARAGE - NIGHT

          As the light comes on and Marley's head appears over the top
          of the box. John sighs, comes over and scoops him up...

          39 INT. 345 CHURCHILL - BEDROOM - NIGHT 39

          John gets Marley settled in the box, now by the side of the
          bed.

                         JOHN
          Just this one time.
          John climbs into bed, shuts off the light. Marley whimpers
          and John rolls onto his stomach, reaches into the box and
          strokes his back, the puppy lays down, still whimpers...

                         JOHN (CONT'D)
          Oh, come on...

                         (THEN)
          Hey. Remember this?
          (half drunk, sings badly)
          One love, one heart...

                         (MARLEY QUIETS)
          Let's get together and feel alright...
          John nods off, one arm hanging over the side of the bed into
          the box, his hand resting on Marley's back as the puppy now
          snoozes peacefully and we then...

          FADE OUT.

          AN ALARM CLOCK SOUNDS.

          40 FADE IN: CLOSE-UP OF MARLEY'S FACE 40
          Tail rising in the b.g., wagging.

          REVEAL: BEDROOM - MORNING



                         

                         

                         

                         
            28.

                         40

                         40 CONTINUED:
          As John opens his eyes to see Marley snuggled up against his
          face. Marley's eyes looking into his. John reaches over the
          puppy and shuts off the alarm.

                         JOHN
          She comes home today.
          Hung over, he sits up, looks around the messy room, half due
          to John's bachelor housekeeping habits, half due to Marley.
          Not only has everything has been chewed, but some time during
          the night Marley discovered how much fun toilet paper is.

                         JOHN (CONT'D)
          We should probably clean up.

          41 INT. 345 CHURCHILL - DAY 41

          John vacuums, struggles to empty the bag, puts a broken vase
          in the trash, does the dishes, etc. Marley follows him, tail
          wreaking havoc, knocking over everything that isn't nailed
          down. John picks up the HUGE CHEW TOY he'd just bought and
          examines it as Marley runs into the bathroom...

                         JOHN
          Huh.
          It's already completely gnawed up. John looks at Marley who
          emerges dragging a roll of toilet paper, rams right into the
          screen door, bounces back.

                         JOHN (CONT'D)
          Marley, it's a screen, you're not gonna

                         GET THROUGH--
          Meanwhile, Marley backs up a few steps, gets a head of steam,
          then rams into it again, this time goes right through it.

                         JOHN (CONT'D)
          --there.

          42 INT. BATHROOM - LATER 42

          John gets drenched as he gives Marley a bath.

          43 INT. GARAGE - DAY 43

          John drags Marley into the garage.

                         JOHN
          I'll be back in an hour. Be good.

                         

                         

                         

                         
            29.

                         44

          44 EXT. GROCERY STORE - DAY

          A bit of THUNDER as John comes out with a bag of groceries
          and a bunch of flowers. He gets to the car just as the rain
          hits.

                         45

          45 EXT. AIRPORT - DAY

          As John and Jenny kiss outside the terminal. She holds a
          stuffed "Pluto."

                         JENNY
          How's my puppy?

                         JOHN
          I'm okay. A little tired, but

                         OTHERWISE--
          She nudges him. He gives her another kiss.

                         JOHN (CONT'D)
          He's waiting for you.

          46 EXT. 345 CHURCHILL - DRIVEWAY - DAY 46

          John and Jenny get out of the car. We hear WHIMPERING in the
          garage.

                         JENNY
          Marley!
          She takes off for the side door of the garage.

          47 INT. 345 CHURCHILL - GARAGE - DAY 47

          They open the door and freeze.

                         JENNY
          Oh my God.
          It's a mess. It's almost incredible that it's all due to a
          single puppy. The box is in shreds; so are the blankets. A
          puddle of urine on the floor. A large piece of dry wall has
          been chewed off near the big garage door. The garbage cans
          are overturned. Marley is whimpering in the corner.

                         JOHN
          Wow. Okay, this is not how I left it.

                         JENNY
          How long has he been in here?



                         

                         

                         

                         
            3•/06/07 30.

                         47 CONTINUED: 47

                         JOHN
          An hour, at the most.
          (looks around, then)
          Jeez... he Alg drywall. That's just not
          right.

                         JENNY
          (she picks him up)
          Look. He's shaking--
          Another bit of THUNDER and the puppy whimpers louder.

                         JENNY (CONT'D)
          Does thunder scare you, Mister? Hm?
          He licks her face, snuggles into her. She gives him the
          Pluto stuffed animal. She hugs him...

                         JENNY (CONT'D)
          Look at us.
          She looks up at John and smiles. He returns the smile.
          Mission accomplished.

          48 INT. 345 CHURCHILL ROAD - DAY 48

          As Marley bursts out of the back bedroom with one of Jenny's
          bras in his mouth.

                         JENNY
          Marley, no!
          Jenny chases him into the kitchen, past John who holds up the
          newspaper...

                         JOHN
          He gave me an extra paragraph...
          Marley bursts through the back screen door...

          49 EXT. 345 CHURCHILL ROAD - BACKYARD - DAY 49

          A seemingly continuous shot, except that it's now A SIX MONTH
          OLD MARLEY who comes through the screen into the backyard now
          clutching a set of curtains in his mouth, still attached to
          the rod, and it's now JOHN who stumbles through the broken
          wire mesh to chase after him...

                         JOHN
          Marley, no!
          John chases him across the backyard. Marley goes under the
          fence and John starts to go over into...

                         

                         

                         

                         
            31.

                         50

          50 EXT. THE NEIGHBOR'S BACKYARD - DAY

          And now it's a NINE MONTH OLD MARLEY who comes up from under
          the fence clutching a THANKSGIVING TURKEY in his mouth. And
          now it's Jenny AND John who go over the fence chasing him...

                         JOHN
          Marley, no!
          They wave to the NEIGHBOR standing on his patio watching.

                         JOHN (CONT'D)
          Hi, Tom-- Sorry...

                         JENNY
          Happy Thanksgiving...
          Marley goes through a hedge and out onto...

          51 EXT. STREET - DAY 51

          Where Marley emerges into FRAME a FULL GROWN DOG, rapidly
          pulling Jenny by the leash along the intercoastal waterway.
          We track with him until a WOMAN WALKING A POODLE IS NOW IN
          FRAME and Marley gets the two women entangled as he starts
          humping the smaller dog...

                         JENNY
          Marley, no!

                         52

          52 INT. SUN-SENTINEL - ARNIE'S OFFICE - DAY

          John sits across from Arnie. He looks thrown:

                         JOHN
          I don't understand, why me?

                         ARNIE
          I'm in a bind, John.

                         JOHN
          But I'm a reporter, not a columnist.

                         ARNIE
          It's a step up.

                         JOHN
          Yeah, but it's a step away from what I
          wanna do.

                         ARNIE
          It's also better pay, you set your own
          hours, pick your own topics...

                         (MORE)



                         

                         

                         

                         
             32.

                          52

                         52 CONTINUED:

                          ARNIE (CONT'D)
          and it's only temporary, just until I
          find someone permanent.

                         JOHN
          What happened to Jerry?

                         ARNIE
          You may have noticed that in every
          other column, he went on about The Pie
          Palace?

                         JOHN
          I really haven't read his--

                         ARNIE
          Turns out he's been getting free meals
          in exchange for mentioning the joint.
          It's also why he became such a fat ass.
          John nods. Oh.

                         ARNIE (CONT'D)
          Anyway, it's twice a week. And like I
          said, it's only until I can find
          someone else to replace him. Then
          you're back on, uh... whatever beat you
          were on.

          53 EXT. 345 CHURCHILL ROAD - DAY 53


                         17-
          John pulls up, gets out of the car. His neighbors, The
          year-old GIRL -- short blue hair, pierced eyebrow -- and her
          MOM -- in a nurses uniform -- unload groceries from the car.

                         GIRL
          Your dog's funny.

                         JOHN

                         (PAUSES)
          Uh, thanks.

                         GIRL
          He tried to eat one of our tires.

                         JOHN
          Yeah, well, dogs need rubber. Little
          known fact, helps the digestive
          tract...

                         GIRL
          Right. Along with the occasional black
          Converse high top which I'd still love
          to get back by the way.



                         

                         

                         

                         
            33.

                         53

                         53 CONTINUED:

                         JOHN
          I'll do what I can.

                         GIRL
          'Preciate that.

                         54

          54 INT. KITCHEN - DAY

          John sits at the table scribbling on a legal pad. He tears
          off the sheet and crumples it up, throws it across the room.
          Marley bounds into the room, Jenny behind him, sweating.

                         JENNY
          I think he dislocated my shoulder. He
          doesn't heel-- hell, he doesn't even
          walk, he sprints, and I had to pull him
          off three dogs...

                         JOHN
          Poodle?

                         JENNY
          Yeah, among others. There was a
          Yorkie, a Dalmatian and a bichon frise
          that may never be right again.
          (sees the legal pad)
          What're you doing?

                         JOHN
          Arnie gave me a column.

                         JENNY
          You're kidding? Congratulations!

                         JOHN
          Oh, yeah, it's a big honor. I get to
          write about zoning laws and yard sales.

                         JENNY
          I bet you make something out of it.

                         JOHN
          It's only temporary until he finds
          someone else. I'm just trying to get
          something down for Tuesday.
          She gives him a kiss, starts out of the room

                         JENNY
          You'll think of something. And John,
          I'm serious abut Marley. He wreaks
          havoc everywhere he goes. We gotta do
          something...

                         

                         

                         

                         
            34.

                         55

          55 EXT. PARK - DAY

          MS. KORNBLUT, weathered and stern, is studying John. Behind
          John, eight puppies and their owners are chatting before the
          class begins.

          MS. KORNBLUT
          Incorrigible? I don't believe in that.
          All dogs want to learn. But they can't
          when their owners are weak-willed.

                         JOHN
          I'm very strong-willed.

          MS. KORNBLUT
          And where is your animal?

                         JOHN
          He's over there. With my wife. He was
          a little excited. He usually needs a
          little time to calm down.
          Ms. Kornblut looks at Jenny as she struggles up with Marley.

          MS. KORNBLUT
          I see. He calls the shots. Which of
          you will be the trainer?

                         JENNY
          we thought we both would, since we want
          him to listen to both of us at home -

          MS. KORNBLUT
          A dog can only answer to one master.
          Which one of you has the most natural
          authority in your own relationship?

                         JOHN

                         (BEAT)
          I'll watch.

          MS. KORNBLUT
          I thought so. We begin.

          56 EXT. PARK - LATER 56

          As Ms. Kornblut gestures, demonstrates the command:

          MS. KORNBLUT
          Sit!



                         

                         

                         

                         
            35.

                         56

                         56 CONTINUED:
          The students order their dogs to sit, and most of them do.
          The ones that don't require only a little effort to get the
          idea. Whereas:
          Jenny orders Marley to sit; instead Marley jumps up on her
          and puts his paws on her shoulders. She presses his butt to
          the ground, and he rolls over for a belly rub. She tries to
          tug him into place and he grabs the leash in his teeth,
          shaking it playfully.

          MS. KORNBLUT (CONT'D)
          That, class, is an example of a dog
          that has been foolishly allowed to
          believe he is the alpha male of his
          pack. And therefore he cannot be a
          happy animal.

                         JOHN
          (from the sidelines)
          Yeah, he looks really bummed.
          Kornblut hears him, death stares John.

          MS. KORNBLUT
          You. Joker. Rotate in.
          John looks at Jenny who shrugs, holds up the leash for him to
          take.

          57 CUT TO: A HEAVY CHOKE CHAIN 57
          As Ms. Kornblut demonstrates on her wrist.

          MS. KORNBLUT
          The choke chain. When your animal
          walks properly by your side, there'll
          be slack. If he pulls, it tightens
          around his neck like a noose and
          loosens as soon as he stops pulling.

                         JOHN
          Does it hurt them?

          MS. KORNBLUT
          Well, it's not called a hug chain. But
          they learn to like it. Go on, collar
          your dogs.
          Everyone else quickly, easily gets the choke chain around
          their dogs' necks. Of course. Meanwhile:
          John kneels down and struggles to put it. around Marley's
          neck. Marley, liking its shiny jingling, tries to eat it.



                         

                         

                         

                         
             36.

                         57 CONTINUED: 57
          Much tussling, and John finally gets it around Marley's neck -
          but Marley still manages to grab it in his teeth.

                         JOHN
          He likes it.

          MS. KORNBLUT
          That's because he's eating it... Get it
          out of his mouth. Class? Give your
          dogs the sit command.
          All the dogs sit; John forces Marley's butt down.

          MS. KORNBLUT (CONT'D)
          The leash is held in two places. Loop
          around your right hand, left hand at
          waist level. Dog always on your left,
          of course.

                         JOHN
          That means us, pal.
          He rearranges Marley so he's on John's left.

          MS. KORNBLUT
          Now, when you give the heel command,
          step off with your left foot - I don't
          want to see any right foot first
          steppers - and walk. If your dog gets
          ahead, administer a correction by
          forcefully bring your left hand down
          and towards the right, and he'll
          respond. Shall we? One, two, three -
          now!
          Just as the dogs and owners prepare to step off, Marley
          lurches ahead of the pack...

                         JOHN
          Marley, heel!
          Marley takes off like a fighter jet, dragging John behind.

          MS. KORNBLUT
          Correct him!
          John gives a mighty yank on the leash. Marley coughs,
          hesitates. John loosens the leash - and Marley explodes
          forward again. John yanks, Marley stops, John releases,
          Marley explodes forward.



                         

                         

                         

                         
             37.

                         57 CONTINUED: (2) 57

          MS. KORNBLUT (CONT'D)
          Rein in that dog! All right, everyone,
          line up again. Demonstration. Mr.
          Grogan? Pay attention.
          She takes the leash from John and efficiently guides him into
          line with the other dogs.

          MS. KORNBLUT (CONT'D)
          It's a simple question of confidence in
          one's own authority. Shall I
          demonstrate a simple walk?

                         JOHN
          Be my guest.

          MS. KORNBLUT
          Class? Even an unruly dog wants to
          obey his leader. Marley? Heel.
          And she steps off confidently - but Marley is a bit more
          confident than she is. He lunges, she pulls, he falls back
          on his hind legs, then barrels up and lurches forward.
          Ms. Kornblut half-stumbles, half rockets across the park.
          She manages to turn Marley around, and the whole process
          begins again as they make their way back to the line. Her
          face is flushed with embarrassment, anger, and exertion, but
          Marley, jowls frothing, is having a ball. It's like a
          walking tug-of-war.
          With difficulty, Ms. Kornblut manages to return Marley to
          John, but not before, as a coup-de-grace, he starts humping
          her leg enthusiastically. She struggles, he knocks her down,
          and then he buries his face in her crotch and humps her knee.
          John and Jenny rush over. John restrains Marley; Jenny helps
          up Mrs. Kornblut. She's livid.

          MS. KORNBLUT (CONT'D)
          That's it! He's out!

                         JOHN
          He usually just does this with poodles.
          (looking at her bad perm)
          Maybe it's the hair.

          MS. KORNBLUT
          He's a bad influence on the others.
          Leg-humping is a virus. Once it takes
          hold in a group - he has to go!

                         

                         

                         

                         
            38.

                         58

          58 INT. 345 CHURCHILL ROAD - DAY

          As they follow Marley back into the house.

                         JOHN
          Well, that was fun.
          (to the dog)
          Congratulations, Marley. You flunked
          obedience school.

                         JENNY
          You know, John, there is something else
          we can do--

                         JOHN
          (looks at her)
          No, no, I'm not doing that to him.

                         JENNY
          It's painless. And he'll be a lot more
          comfortable. It'll calm him down.

                         JOHN
          Yeah, you know why he'll be calmer?
          Because he'll have nothing to look
          forward to.

                         JENNY
          What're you talking about? There are
          plenty of other things that'll make him

                         HAPPY--

                         JOHN
          That's where you're wrong. Trust me,
          Jen: I know. I'm a guy. And yeah,
          lots of things make us happy, but the
          only thing we really look forward to is
          sex. Runner up: the possibility of
          sex.

                         JENNY
          Oh, Please. Every book says he'll live

                         LONGER--

                         JOHN
          It'll just feel longer.

                         JENNY
          John, he's out of control. It's the
          right thing to do.
          John sighs, looks at Marley who's now humping the stuffed
          "goofy" that Jenny gave him as a puppy.

                         

                         

                         

                         
            39.

                         59

          59 INT. JENNY'S CAR - DAY

          Jenny at the wheel. John in the passenger seat. Marley in the
          back, his front paws balanced on the center console.

                         JOHN
          It won't be so bad, buddy. You'll see.
          Sex is overrated.
          Marley looks-at him.

                         JOHN (CONT'D)
          Okay, I'm lying, and I think you know
          that... so maybe the best thing is to
          just not talk about it.
          Jenny cuts him a look. He lowers his voice.

                         JOHN (CONT'D)
          Poor son-of-a-bitch.
          A guilty John cracks the window just a bit and Marley begins
          listing to starboard, leaning against John to catch a whiff
          of the outdoor smells. Marley crawls onto John's lap...

                         JOHN (CONT'D)
          Oh, okay, you wanna sit up here...
          Marley now jams his nose into the small opening, snorting to
          catch the fresh air

                         JOHN (CONT'D)
          Least I can do.
          John lowers the window and Marley gets his whole snout out.

                         JOHN (CONT'D)
          Here you go...
          John lowers the window again and now Marley sticks his whole
          head out, ears flapping behind him, tongue hanging out like
          he's drunk.

                         JOHN (CONT'D)
          He's so happy. He has no idea what's
          about to happen to him.
          Jenny looks over as Marley hooks his paws over the half open
          window so that his neck and upper shoulders now hang out of
          the car.

                         JENNY
          He's making me nervous.



                         

                         

                         

                         
            40.

                         59

                         59 CONTINUED:

                         JOHN
          He's fine. He just wants a little

                         FRESH--
          Suddenly Marley slides his front legs out the window until
          his front armpits are resting on the glass.

                         JENNY
          John, grab him!
          Before John can do anything, Marley is off his lap and
          scrambling out the window of the moving car.

                         JOHN
          He's onto our evil plan, and he's
          making a break for it!
          But now his butt is up in the air, his hind legs clawing for
          a foothold...

                         60

          60 EXT. INTERCOASTAL WATERWAY BRIDGE - SAME

          As Jenny slows down in heavy traffic, John lunges out the
          window after Marley, grabs the end of his tail with one hand
          so that Marley dangles upside down, outside the car, by his
          tail... He trots along the pavement with his front paws...

                         61

          61 INT. CAR - SANE

          Jenny gets the car stopped, HORNS HONKING BEHIND THEM.

                         JOHN
          Uh, little help here...
          John's stuck. He can't pull the dog back in the window and he
          can't open the door. He can't let go as angry drivers behind
          them are now starting to swerve around them. John hangs on
          for dear life...

                         JENNY
          I got him!

                         62

          62 EXT. BRIDGE - SAME

          As Jenny puts on the flashers and gets out of the car, runs
          around to the passenger side... a group of cars drive slowly
          by in the other direction, all watching and laughing...

                         JOHN

                         (SHOUTING)
          What are you looking at?! He's losing
          his balls today! Cut the guy some
          slack!

                         

                         

                         

                         
            41.

                         63

          63 INT. SUN-SENTINAL OFFICE - DAY

          John sits at his desk, tries to write a column. Sebastian, in
          a flak jacket, pauses at his desk...

                         SEBASTIAN
          Strip mall get approved?

                         JOHN
          Riveting planning commission vote.
          Knuckle-biter. 8 to 1.

                         SEBASTIAN
          You up for a beer?

                         JOHN
          Can't, I gotta finish the column.
          Maybe tomorrow?

                         SEBASTIAN
          Can't, I'll be in L.A. Part of that
          drug piece I'm doing--

                         JOHN
          Right. Another time then.
          John watches him move off, a secretary giving Sebastian a big
          smile as he passes. John sits there another moment, looks at
          his desk. A photo of him and Jenny. One of Marley with a flip
          flop in his mouth.
          John chuckles to himself, then deletes the column, starts
          typing a new one.

          64 INT. ARNIE'S OFFICE - LATER 64

          John sits anxiously across from Arnie who sits at his desk
          reading. The editor's expression is grim as he looks up at
          John.

                         JOHN
          I'm really sorry, I'll go back and do
          the zoning piece--

                         ARNIE
          The hell you sorry for? It's
          hilarious.
          John sits back down, looks at Arnie. See, the thing is,
          Arnie's face doesn't say "hilarious," but...



                         

                         

                         

                         
           Shooting Draft  42.

                          MARLEY & ME 64

                         64 CONTINUED:

                          ARNIE (CONT'D)
          I loved it. Getting kicked out of
          obedience school, the humping, the
          "Great Escape," all of it. Hysterical.
          Again, Arnie's face remains dead serious as he passes the
          paper back to John.

                         ARNIE (CONT'D)
          Run it. As is.

                         JOHN
          Thank you, sir.
          John starts out of the office.

                         ARNIE
          Hey, Gorgan...

                         (THEN)
          Tell him not to feel bad. Sooner or
          later, we all lose our balls.

                         JOHN
           I'll be sure to pass that on.

                          65

          65 EXT. CUBAN RESTAURANT - PATIO - NIGHT

          Live music, a sexy vibe. John and Jenny sit outside in the
          hot Florida night. Dinner over, John raises his glass...

                         JOHN
          To two years.

                         JENNY
          That was fast.

                         JOHN
          Good, though, right?

                         JENNY
          Really good.
          He lifts out of his chair and kisses her, a long one.

                         JOHN
          So. What's next?

                         JENNY
          I was thinking desert.

                         JOHN
          No, I mean on your list.



                         

                         

                         

                         

            43.
            65

                         65 CONTINUED:

                         JENNY
          My list?

                         JOHN
          ed,
          Remember, when we first got marri
          you had this whole checklist, with like
          the game plan.

                         JENNY
          Right...

                         JOHN
          So what came next?

                         JENNY
          Let's see... a new car maybe?

                         JOHN
          afterthat?
          We can do that. What was

                         JENNY

                         (BEAT)
          You sure you wanna know?

                         JOHN
          Yeah.

                         JENNY
          well, it was between a new roof and a
          baby.
          He studies her for a long moment, then...

                         JOHN
          I can probably live with a few leaks.

                         JENNY
          Really? Because a leak can turn into
          something bigger... and that can be a
          big responsibility.

                         JOHN
          I know.

                         JENNY
          I was just thinking that we might want
          everything fixed before we went to the
          next step.

                         JOHN
          Well, we've already fixed Marley.
          Literally.

                         (CONTINU ED)

                         

                         

                         

                         

            44.
           Marley & He Shooting Draft 65

                         65 CONTINUED: (2)

                         JENNY
          You're serious about this?

                         JOHN
          I think so.
          JENNY t an
          And you know we're not talking abou
          actual roof here.

                         JOHN
          Yeah, I got that.
          She looks back at him, finally nods. They are. Then..

                         JENNY
          Okay. Maybe, instead of tying to have
          a baby, we should stop trying to not
          have one.

                         JOHN
          If I'm following you correctly -- and I
          think I am -- this is the part where we
          go home and get it on, right?

                         JENNY
           Bingo.

                          66

          66 INT. BEDROOM - DAY

          him.
          As Jenny pushes John back onto the bed, starts kissing
          Things getting hot and heavy quickly. As they kiss...

                         JENNY
          Honey?

                         JOHN
          Yeah...

                         JENNY
          Did you eat some kibble?

                         JOHN
          What?
          And now they part and we see MARLEY'S HUGE FACE RESTING ON
          THE SIDE OF THE BED, watching, panting up a storm.

                         JOHN (CONT'D)
          Marley-- get out of here!



                         

                         

                         

                         

                           45-

                          SHOOTING DRAFT

                          MARLEY & ME 66

                         66 CONTINUED:

                         JENNY

                         KNOW
          it's fine, he's a dog, he doesn't
          what he's looking at.

                         JOHN

                         RESENTS
          Oh, he knows, and trust me, he
          the hell out of me right now. Go on,
          Marley! Get out!
          But Marley jumps up on the bed, tries to climb on both of

                         THEM--

                         JENNY
          Marley!
          And now they both start laughing as the dog tries to lick
          their faces...

                         67

          67 INT. ARNIE'S OFFICE - DAY

          Silence. Arnie reads John's column, his face dead serious.

                         ARNIE
          This is even funnier than the last one.

                         JOHN
          Thank you, sir.

                         ARNIE
          You're good, Gorgan. And not just the
          dog stuff. The piece on the women of
          Boca last week. What'd you call them?

                         JOHN
          Boccahontis.

                         ARNIE
          Hilarious.
          John nods, starts for the door...

                         ARNIE (CONT'D)
          Is it true what you wrote? You and the
          wife are trying to have a kid?

                         JOHN
          Well, we're not really trying.

                         ARNIE
          How's that work?

                         JOHN
          Excuse me?



                         

                         

                         

                         

            46.

                          SHOOTING DRAFT

                          MARLEY & ME 67

                         67 CONTINUED:

                         ARNIE
          Are you having sex?

                         JOHN
          Yes.

                         ARNIE
          ant?
          With the intention of getting pregn

                         JOHN
          i guess.

                         ARNIE
          Congratulations. You're trying.
          John just stands there. Arnie looks back at him.

                         ARNIE (CONT'D)
          I assume you've thought this through?

                         JOHN
          Yeah, I mean...

                         (THEN)
           .yeah.

                          68

          68 INT. SUN-SENTINAL OFFICE - DAY

          desk.
          John walks out of the office, pensive, sits down at his
          His PHONE RINGS.

                         JOHN
           Grogan.

                          69

          69 INT. 345 CHURCHILL ROAD - SAME

          Jenny on the phone, looking at a dry erase calendar.

                         JENNY
          I just thought I'd let you know that
          I'm ovulating.

          INTERCUTTING: JOHN & JENNY

                         JOHN
          Oh.

                         JENNY
          Just in case you wanted to come home.

                         JOHN

                         QH-



                         

                         

                         

                         
             47.

                         69 CONTINUED: 69

                         JENNY
          Like right now.

          70 INT. ELEVATOR - DAY 70

          In the f.g., stands a harried thirty-something FATHER with a
          screaming INFANT in a Bjorn. John stands just behind the
          father who bounces in place trying unsuccessfully to soothe
          the baby.

                         GIRL'S VOICE
          Daddy!
          And now, another KID, 4-year-old girl, jumps up in and out of
          frame...

                         GIRL
          I wanna push the button!

                         FATHER
          Daddy can't lift you right now--

                         GIRL
          (jumps up again)
          You said I could push the button!

                         FATHER
          Alright, okay, I'll just--
          He tries to pick her up without leaning over...

                         GIRL
          Ow! You're hurting me!

                         FATHER
          Okay, you know what? Never mind, no
          button!
          A very uncomfortable John now steps forward...

                         JOHN
          You want me to give her a hand?

                         FATHER
          Oh-- would you mind?
          John lifts the girl up to the panel. She runs her hands,
          from top to button, down the panel, pressing every single
          button.

                         FATHER (CONT'D)
          Sarah! Goddammit--



                         

                         

                         

                         
            48.

                         70

                         70 CONTINUED:
          And now the little girl starts bawling in concert with the
          baby, while a trapped John backs up into the corner.

                         71

          71 EXT. 345 CHURCHILL ROAD - DAY

          John gets out of the car. The young Girl next door gives him
          a wave as she starts down the sidewalk with her boyfriend.

                         JOHN
          Hi.

                          GIRL
           Hi.
           John watches the young couple go, arms around each other.

                          72

          72 INT. 345 CHURCHILL ROAD - DAY

          John enters and is greeted as usual by Marley who jumps on
          him.

                         JOHN
          Hey, boy.

                         (LOOKS AROUND)
          Jenny?

                         JENNY
          Out in a sec!
          John stands there, Marley looking at him.

                         JOHN
          (to the dog)
          So. This is us not trying.
          The bathroom door opens and Jenny walks out in a tiny, silky
          two-piece thing...

                         JENNY
          Hey, Sailor.
          She walks into the bedroom. John looks back at Marley as he
          follows her into the bedroom.

                         JOHN
          Catch you later, buddy.
          And closes the door on the dog.

          73 INT. BAR - NIGHT 73

          John and Sebastian sit at the bar.



                         

                         

                         

                         
             49.

                         73 CONTINUED: 73

                         SEBASTIAN
          So the puppy wasn't enough?

                         JOHN
          Well, technically, we're not trying.
          But you know Jenny.

                         SEBASTIAN
          But things are good right now, just as
          they are, right?

                         JOHN
          Yeah, things are really good.

                         SEBASTIAN
          So why change it up with a kid? I
          mean, have you already forgotten my
          little cautionary tale...

                         JOHN
          The bomb, right?

                         SEBASTIAN
          Yes. The bomb. And just so we're
          clear, the countdown sequence has been
          reactivated. By you.

                         JOHN
          Well, it's been a few months and
          nothing's happened. Which actually
          makes me wonder if--

                         BARTENDER
          Mr. Grogan?
          The BARTENDER sets a PHONE down in front of John.

                         BARTENDER (CONT'D)
          Phone call. I loved that thing you did
          on your dog watching you and your wife
          have sex? Really funny stuff...

                         JOHN

                         (EMBARRASSED)
          Thanks...

                         BARTENDER
          Seriously, man, your stuff is classic.

                         JOHN
          Well, it's just temporary, but thanks.
          John cuts a look at Sebastian, picks up the phone.



                         

                         

                         

                         

            50.
           

                         73 CONTINUED: (2) 73

                          JOHN (CONT'D)
          Hello.

                         JENNY (PHONE)
          I just wanted to let you know that
          there's a naked blonde in your bed.

                         JOHN
          Oh. Why don't you two get started and
          I'll be there as soon as I can.

                         JENNY
          Very funny. Can you come home? I'll
          make it worth your while.

                         JOHN
          Oh. Alright then. I'll see what I can
          do.
          He hangs up. Looks at Sebastian.

                         JOHN (CONT'D)
          Uh, I'm sorry, man, but I gotta jam. I
          forgot, I had this thing, I gotta deal

                         WITH--

                         SEBASTIAN
          She's calling you home, isn't she?

                         JOHN
          Yeah. See you later.
          John starts out of the bar. Sebastian calls after him.

                         SEBASTIAN
          Tick tick tick!

                         74

          74 INT. 345 CHURCHILL - NIGHT

          Romantic Music on the stereo. John comes in, wearily,
          absently pets Marley. He goes into the bedroom. The
          bathroom door is open. John sits down on the bed.

                         JOHN
          You know, this baby thing. I been
          thinking maybe we should take a break.
          You know? Obviously, it's not
          happening. Maybe that's nature's way
          of saying it's not good timing.
          No sound from Jenny. He struggles on.



                         

                         

                         

                         
             51.

                          74

                         74 CONTINUED:

                          JOHN (CONT'D)
          Maybe this is a sign that we're not
          ready for this. I mean, have we really
          thought this through? Because--

                         BEHIND
          He looks up to see Jenny at the bathroom door. From
          her back she brings out a home pregnancy test strip.

                         JENNY
          I'm pregnant.

                         JOHN
          (PAUSE, then)
          Great. Wow, that's... great.

                         JENNY
          But you just said

                         JOHN
          Yeah, no, I mean-- okay, this is
          definitely awkward now, but...

                         JENNY
          You wanna start over?

                         JOHN
          Can I?

                         JENNY
          By all means.

                         JOHN
          Thank you. Okay, well... I gotta be
          honest, I'm a little panicked.

                         JENNY
          Are you panicking because I'm
          pregnant... or because you're afraid
          I'm going to hit you?

                         JOHN
          Both. It's a twofer thing.

                         JENNY
          Are you scared?

                         JOHN
          No. No. Not at all.
          (then, looks at her)
          Yeah, yeah I'm pretty scared.



                         

                         

                         

                         

            52.
          

                         74

                         74 CONTINUED: (2)

                         JENNY
          (sits down next to him)
          Me, too. But we're gonna be okay.

                         (THEN)
          Look at me...
          He looks at her. She smiles at him.

                         JENNY (CONT'D)
          We're gonna be okay.

                         JOHN

                         (BEAT)
          I believe you.
          He looks at her stomach, kisses her there...

                         75

          75 INT. ARNIE'S OFFICE - DAY

          As John hands Arnie his latest column...

                         JOHN
          That's probably the last one about
          Marley for a while. But in about nine
          months, I'm gonna have a new subject,
          might be just as fun. Jenny's
          pregnant.

                         ARNIE

                         (FLAT)
          I'm very happy for you. Have you
          bought her a present?

                         JOHN
          What?

                         ARNIE
          A gift, John. She's carrying a child.
          Your child. Don't you think that's
          worth something?

                         JOHN
          Uhhh...

                         ARNIE
          You don't wanna make the mistake I did.
          Listen to me. There's gonna come a
          time, she's fat, she's nauseous, her
          ankles are swollen, and she's gonna
          look at you, and this is what that look
          will mean: "You bastard. You did this
          to me. You dick, you ruined me." But
          then...

                         (MORE)



                         

                         

                         

                         
           Shooting Draft  53.

                          MARLEY & ME

                          75

                         75 CONTINUED:

                          ARNIE (CONT'D)
          she's gonna remember that little ring,
          bracelet, anklet, whatever, that you
          bought her, and she's gonna feel
          better. Understand?

                         JOHN
          Yeah.
          (indicates the door)
          Can I just--

                         ARNIE
          Go ahead. There's a jeweler on the
          corner. Mention my name.

                         76

          76 INT. 345 CHURCHILL ROAD - NIGHT

          Lit with candles. Jenny and John on the couch. She removes
          a beautiful gold necklace from a box and holds it up...

                         JENNY
          Oh, John, it's beautiful...
          She sets it down on the coffee table, then moves close to
          him.

                         JENNY (CONT'D)
          Thank you...
          She kisses him.

                         JOHN
          I was just thinking about you when I
          walked by the store and saw it in the
          window...

                         JENNY
          That is so sweet.

                         JOHN
          Put it on...
          She turns back to the coffee table and looks around...

                         JENNY
          Where'd it go? It was right here.

                         JOHN
          You just put it down. It can't have

                         JUST DISAPPEARED--
          And then he stops. Looks off. So does Jenny...



                         

                         

                         

                         

           54.
          

                         76

                         76 CONTINUED:

                         JENNY
          Oh God...
          Marley stands a few feet away, looking strangely gleeful. A
          glint of Gold in the moonlight dangles from his mouth. They
          both get up, start to move towards him...

                         JENNY (CONT'D)
          Hey, boy. Come here. Look what I got
          for you.

                         JOHN
          We don't want any trouble...

                         JENNY
          Yeah, here's a little something--
          (imaginary) treat. Marley
          She reaches into her pocket for an moves
          looks at her. Is this a trick? He considers. Then he
          closer. John tiptoes up behind him, ever so slowly.

                         JENNY (CONT'D)
          I just want to give you a treat and a
          big kiss. That's a boy...
          Inch by inch, Marley approaches her. But then, behind
          Marley, John knocks against a table. Marley freezes.

                         JOHN
          He made me! Go!
          Jenny lurches for Marley, going for his collar, and John
          leaps at him from behind. Marley skitters away. Ah, a game!
          He wags his tail, prances, sticks his rear in the air and his
          puts his head to the ground. John feints, tries to maneuver
          Marley back into Jenny.
          Jenny finally grabs him from behind. John pries open his
          mouth. Nothing. He reaches inside, looks up at Jenny.

                          JOHN (CONT'D)
           Uh-oh.


          77 EXT. 345 CHURCHILL ROAD - BACKYARD - MORNING

          John grimaces in the morning sun as he watches Marley poop.
          He takes a hose and squirts at the deposit until it runs into
          the lawn. Nothing.

          JENNY (O.S.)
          Dr. Jay's sending over a laxative.


                          JOHN
           Yay.




          78 EXT. 345 CHURCHILL - BACKYARD - DAY

          John hoses through Marley's huge orange iridescent poops.

                         JOHN
          Man, you gotta lay off the mangoes.

                         (A SIGH)
          You know, years ago, when I pictured my
          life, somehow standing in my backyard
          hosing down dog crap in search of my
          bride's swallowed and recycled ass-
          kissing gift just didn't spring to
          mind.

                          (SUDDENLY EXCITED)
           Aha! Jackpot!

                          79

          79 INT. KITCHEN - DAY

          Carefully, Jenny lifts the shiny necklace out of a glass
          filled with bleach.

                         JENNY
          I think it's shinier than before.
          Amazing.

                         JOHN
          Yeah. He did us a favor. And I only
          threw up eight times.

                         JENNY
          My hero.

                         80

          80 INT. OB/GYN OFFICE - EXAMINING ROOM - DAY

          The NURSE arranges the gown on Jenny.

                         NURSE
          How's that crazy dog of yours?
          (smiles at John)
          I'm a big fan.

                         JOHN
          Thank you.

                         NURSE
          The heartbeat'll be very fast, like a
          little train. That's normal.



                         

                         

                         

                         
          Shooting Draft  56.

                         MARLEY & ME

                         80

                         80 CONTINUED:

                         JOHN
          Is it too soon to tell the sex? Not
          that I care. He can be any sex he
          wants. Male, female, we don't care.
          Unambiguous genitalia, if we had our
          druthers, but whatever...

                         NURSE
          Shhhhh... hang on...
          She listens for a moment with a little microphone hooked up
          to a speaker. Nothing.

                         NURSE (CONT'D)
          Sometimes you,can't hear it, depending
          on how the baby is lying.- You're ten
          weeks, right?

                         JENNY
          Next Monday, yes.

                         NURSE
          Might be a little early for that.
          Let's go right to the sonogram. Did
          you bring your blank tape?

                         JOHN
          (waving it, smiling)
          Ready to roll.

                         NURSE
          Let's get a good picture first. It'll
          be on the monitor there.
          The Nurse begins running the instrument around Jenny's
          stomach. John and Jenny peer at the computer screen.

                         NURSE (CONT'D)

                         (NEUTRAL)
          Hmmm. This one doesn't seem to be
          picking up anything. Excuse me, I'll
          be just a minute...
          She leaves. Jenny and John smile at each other, but inside
          each of them, a small pinpoint of fear starts to expand. We
          wait for a few moments. A pressured silence. And then...
          smiles down at
          DR. SHERMAN comes in, followed by the nurse,
          Jenny.

          DR. SHERMAN
          Hi, guys. Let's have a look at your
          baby, shall we?

                         (MORE)



                         

                         

                         

                         
           Shooting Draft  57.

                          MARLEY & HE

                          80

                         80 CONTINUED: (2)

           DR. SHERMAN (CONT'D)
          (he takes the instrument)
          All right, there we go. Good. Now,
          look over there. Much better
          resolution, right?
          Jenny and John, holding hands, look at the computer screen.
          They see a sac, which, with a click of the mouse, Dr. Sherman
          expands and expands. But it's empty. Jenny tries to smile.

                         JENNY
          Is there anything in there?

          DR. SHERMAN
          Not what you'd expect to see at ten
          weeks.

                         JENNY
          Not quite ten weeks.
          Dr. Sherman looks at them directly. Kindly:

          DR. SHERMAN
          Jenny, I'm sorry, but there's no
          heartbeat.
          John and Jenny are still, silent.

          DR. SHERMAN (CONT'D)
          One in six pregnancies ends this way.
          it just happens sometimes, that's all.
          I'm very sorry. But you're young and
          healthy and in a couple of months, you
          can try again.

                         (THEN)
          Why don't you come by my office on your
          way out and we can talk some more.
          He exits. John is still holding the blank videotape. He
          tries to hide it from Jenny. He leaves. Jenny and John look
          at each other.

                         JENNY
          How could this happen? What'd I do
          wrong?

                         JOHN
          You didn't do anything--

                         JENNY
          I must have. Otherwise, how could I
          lose it?



                         

                         

                         

                         

           58.
          

                         80

                         80 CONTINUED: (3)

                         JOHN
          Jenny, it's not something you have any
          control over. It's like the doctor
          said, it just happens--

                         JENNY
          Not to me... I did something wrong. I
          know it... I did something wrong. I'm
          sorry, John...

                         JOHN
          Don't say that--

                         JENNY
          But I am-- I'm sorry--

                         JOHN
          I don't need sorry. You didn't do
          anything!
          She turns away and begins to cry. John just sits there,
          staring at the videotape in his hands.
          Outside in the hall, the door to another examining room opens
          and they hear a couple laughing, talking excitedly.
          Jenny and John look away from each other, their pain made
          even worse.

                         81

          81 INT. CAR - DAY (MOVING)

          John is driving Jenny home.

                         JOHN
          In a couple of months, we can try
          again. Okay?
           Jenny just looks out the window.

                          82

          82 EXT. 345 CHURCHILL - KITCHEN - DAY

          John helps Jenny through the kitchen door. Marley follows
          them, circles them wildly, then stops, puzzled, as he looks
          at them. Jenny goes into the living room; Marley follows
          her.

                         JOHN
          You want some tea?

                         (NO ANSWER)
          Hey, you know what I was thinking? We
          still have those tickets from your
          parents for the honeymoon in Ireland.
          We can finally do that.

                         (MORE)



                         

                         

                         

                         
             59.

                         82 CONTINUED: 82

                          JOHN (CONT'D)
          Take some time off. It'll be fun,
          clear our heads, right?

                         (NO RESPONSE)
          Jenny?
          No answer. He goes into the living room and stops cold:

          JOHN'S POV - JENNY & MARLEY
          Jenny sits on the couch. Marley stands at her feet, with his
          shoulders between her knees, his big head resting in her lap.
          His tail hangs flat between his legs. His eyes are turned up
          at her, and he whimpers softly.
          Jenny strokes his head a few times and then, with no warning,
          buries her face in the thick fur of his neck and begins
          sobbing. They stay like that for a moment, Marley statue-
          still, Jenny clutching him to her like an oversized doll.
          John stands there, watching Marley take care of her. No
          words, just being there. A lesson here. Her head down,
          Jenny raises one arm up towards John and John goes to the
          couch and wraps his arms around both of them. We then...

          FADE OUT.

          DEBBY (V.O.)
          Oh. He's... big.

          83 INT. 345 CHURCHILL ROAD - LIVING ROOM - DAY 83

          With difficulty, John holds back Marley to protect DEBBY ---
          19, glasses, bookish, the house sitter -- from his affection.

                         JOHN
          Yeah. Close to a hundred pounds.
          (re: the leash struggle)
          He just wants to say hi. He won't hurt
          you. Just stand still and be calm.
          You're a dog person, right?

                         DEBBY
          well, actually -

                         JOHN
          - Ready?

                         DEBBY
          okay?
          John releases Marley who springs on Debby, knocking her back.



                         

                         

                         

                         
           Shooting Draft 3106/07 60.

                          MARLEY & ME

                          83

                         83 CONTINUED:

                          DEBBY (CONT'D)
          I'm okay! I'm okay!

                         JOHN
          He's not supposed to do that. You have
          to knee him. Anyway, it won't happen
          the whole time. Just maybe when you
          come home.
          (handing her a binder)
           This is everything you need to know.

                          84

          84 EXT. 345 CHURCHILL - DAY

          John and Jenny lug their suitcases across the front lawn to
          the car, Marley running around them. Debby's glancing
          through the binder.

                         JENNY'S VOICE
          Debby. Welcome to our home! Marley is
          a spirited dog who loves interaction.
          We've never left him before but we're
          sure he'll behave just as he does when
          we're at home.
          They kiss him goodbye. Get in the cab and go. Debby runs to
          Marley, grabs his leash and struggles with all her might to
          hold on to Marley.

                         85

          85 INT. AIRPLANE - DAY

           Coach. But this is 1991, and the planes fly half-full. John

                          N
          reads about Ireland in the guide book. Jenny sees a woma
          with a child. She smiles. No tears.

                         JENNY'S VOICE
          There are just a few things about
          Marley you need to know. He eats three
          times a day. If he looks starved, feed
          him again. Of course all this food has
          to go somewhere.

                         86

          86 EXT. 345 CHURCHILL - BACKYARD - DAY

          Debby looks at the piles of orange poop everywhere.

                         JENNY'S VOICE
          Use the red shovel and the blue bucket.
          Watch your step. Don't worry about the
          color. He likes mangoes.

                         

                         

                         

                         
          Marley & He Shooting Draft  61.

                         87

          87 EXT. IRISH COUNTRYSIDE - DAY

          John and Jenny enjoy the scenery. Sheep in the road surround
          their car. Jenny leans out, laughing, and takes a picture.

                         JENNY'S VOICE
          Marley's ears get a lot of wax buildup.
          Once or twice while we're gone, please
          use cotton balls and the blue ear-
          cleaning stuff to clean them out. Wear
          old clothes and try not to breathe.

                         88

          88 INT. 345 CHURCHILL - KITCHEN - NIGHT

          Debby is throwing up in her mouth a little as she cleans
          Marley's ears. Marley loves it.

                         JENNY'S VOICE
          Marley is an excellent watchdog. And
          in this neighborhood, that's a good
          thing. You can rest easy at night,
          knowing he's on the job.

                         89

          89 INT. 345 CHURCHILL - BEDROOM - NIGHT

          Debby, ears plugged, shades over her eyes, weeps in
          frustration as Marley HOWLS at the moon.

                         90

          90 EXT. IRISH TOWN - NIGHT

          John and Jenny stop at a bed-and-breakfast for the night.
          It's raining softly.

                         JENNY'S VOICE
          Thunderstorms are his weak point.
          Well, one of his weak points. You can
          give him sedatives if you think a storm
          is arriving. He doesn't like them, so
          push them down into his throat as far
          as they go.

                         91

          91 INT. 345 CHURCHILL - NIGHT


                         DEBBY IS
          Marley is tearing through the house, terrified.
          chasing him with a bottle of tranquilizers.

                         92

          92 INT. IRISH B & B - NIGHT

          An Irish widow, MRS. BUTTERLY, leads them to their room.



                         

                         

                         

                         
           Marley & He Shooting Draft  62.

                         92 CONTINUED: 92

                         JOHN'S VOICE
          We do not allow Marley to get up on any
          piece of furniture, chew on anything
          except his toys, drink out of the
          toilet - keep the lid closed and the
          brick on the lid -

                         93

          93 INT. 345 CHURCHILL - BATHROOM - NIGHT

          Debby is showering - and then starts SCREAMING. Marley has
          stuck his head through the shower curtain and is licking the
          water. Debby splashes water at him to make him go away.
          Marley, thinking she's playing, scrambles into the tub with
          her. She grabs the curtain, and it pops off the curtain
          rings one by one as in ",Psycho."

                         JOHN'S VOICE
          - actually, you might want to keep the
          bathroom door closed in general.

                         94

          94 INT. 345 CHURCHILL - NIGHT

          Debby has run out of the bathroom, a towel hastily wrapped
          around her. Marley chases her. He leaps - and returns to
          earth with the towel in his mouth. Debby SCREAMS.

                         95

          95 INT. 345 CHURCHILL - NIGHT

          Debby is standing on a coffee table, nude, swatting at an
          unseen Marley with a bunch of tall artificial flowers.

                         JOHN'S VOICE
          Other than that, enjoy him! Thanks so
          much. Love, Jenny and John.

                         96

          96 INT. IRISH BEDROOM - NIGHT

          Four walls, four different floral wallpapers. Twin beds.
          Above one, the Sacred Heart of Jesus. Above the other, the
          Sacred Heart of Mary. Crucifixes everywhere you look, and a
          HUGE framed picture of Pope John XXIII.

          MRS. BUTTERLY
          And if you need anything during the
          night, I'm right next door. The
          blankets are wool. Good heat in them.

                         JENNY
          Oh, they're electric?

          MRS. BUTTERLY
          No, not in this house. My brother died
          in a fire, God rest him.

                         (MORE)



                         

                         

                         

                         
             63.

                          96

                         96 CONTINUED:

           MRS. BUTTERLY (CONT'D)
          In this room, actually. It's been re-
          papered. Good night. God bless.
          Jenny sits on the bed. The CREAKING is terrible.

                         JENNY
          Look, I know we haven't had sex
          since... you know. But there's no way
          we're breaking the streak tonight.

                         JOHN
          No kidding. 'Cause it's not just God
          watching. God, his mother...
          (indicating next door)
          .and apparently his best friend.

                         97

          97 INT. IRISH BEDROOM - LATER

          They are in separate beds, staring at the crucifix.

                         JOHN
          It's July, but I think I can see my
          breath.

                         JENNY
          I can't feel my toes.
          John gets out of his bed and into Jenny's. Much SQUEAKING.

                         JENNY (CONT'D)
          My God. Shhh.

                         JOHN
          It's not the mattress. It's the
          shrieks of over-sexed souls in hell.

                         JENNY
          You wanna join them?
          He looks at her.

                         JOHN
          Are you sure, because we don't have
          to...

                         JENNY
          I can't help myself. Knowing it hasn't
          happened in this house in 50 years is a
          turn-on.
          They roll into each others' arms, the bed squeaking.



                         

                         

                         

                         
             64.

                         97 CONTINUED: 97

                         JOHN
          Maybe she's deaf...

          98 INT. IRISH B & B - DAY 98

          The next morning. John and Jenny, looking flushed and
          relaxed, and slightly abashed, come downstairs. Mrs.
          Butterly looks at them sourly. So do the other guests.

                         JENNY

                         (TO JOHN)
          They heard us.

                         JOHN
          No...
          He jumps as Mrs. Butterly slams the teapot on the table.

          MRS. BUTTERLY
          Tea?
          (looks him in the eye)
          I'm off to Mass.
          Mrs. Butterly leaves. John and Jenny look at the other
          guests. They smile bravely.

                         JOHN
          Wow. Any of you hear her bed squeaking
          last night? I hope she hits confession
          before Mass, that's all I can say.

          99 INT. ANOTHER B & B - DAY 99

          Another widow, another room, another collection of religious
          artifacts. John smiles.

          100 INT. A THIRD B & B - NIGHT 100

          Jenny sits on the bed, smiles at the NOISE, starts taking off
          her shoes. John ushers the Owner out of the room.

          101 EXT. CHURCHILL ROAD - DAY 101

          John and Jenny pull into the driveway. They see Debby, the
          house sitter, on the front steps with her bag packed. She's
          tired-looking, beat. She reaches for a pair of crutches.
          John gets out of his car, a smile on his face.

                         JOHN
          Hey, Debby. So how was--
          -Debby hurls the binder of instructions at him.



                         

                         

                         

                         
            65.

                         101

                         101 CONTINUED:

                         DEBBY
          There were eleven thunderstorms while
          you were away. Eleven! And you were
          right. He doesn't like thunderstorms!

                         JENNY
          Okay, yeah, wow. Eleven, huh? That is
          a lot.

                         DEBBY
          And those goddamned dog tranquilizers
          don't work!

                         JOHN
          Did you give him four at a time?

                         DEBBY
          I mean on humans!
          She hobbles to the car, tries to get in with her crutches.
          They frustrate her and she ends up beating the ground with
          them until she throws them down. She's losing it.

                         DEBBY (CONT'D)
          (as she gets in the car)
          And just so you know, I am a dog
          person. But that's not a dog! That's
          evil with a dog face! That's also
          humping your leg! Lose my number!!
          And she gets into her car and guns it, splintering the
          crutches as she peels out. John and Jenny, watch her go,
          turn and look at the front door. Marley's face in the little
          square window at the top, peeking out at them.

          102 INT. 345 CHURCHILL ROAD - DAY 102

          A THUNDERSTORM outside. John sits at his desk, tries to work
          while Marley walks in circles. John looks at him...

                         JOHN
          It's only thunder...
          John goes back to work. We hear more THUNDER, and Marley
          starts howling, knocks over a floor lamp... John looks off
          towards the bedroom...

                         JOHN (CONT'D)
          Jenny?! Can you help me out here? I
          got twenty minutes to file this column!
          We follow John as he gets up from his desk, heads towards the
          back bedroom...



                         

                         

                         

                         
             66.

                          102

                         102 CONTINUED:

                          JOHN (CONT'D)
          Jenny?
          We follow him into the room, an anxious Marley close at his
          heels. She's not here, he turns around just as she steps out
          of the bathroom, smiling...

                         JENNY
          Luck of the Irish...
          She holds up a pregnancy test with a clear BLUE line, her
          exuberant face lit up by a FLASH OF LIGHTNING. John goes to
          hug her, as Marley HOWLS in the b.g., we then...

          FADE OUT.
          SUPER: "Nine Months Later."

          103 INT. 345 CHURCHILL - BEDROOM - NIGHT 103

          John and Jenny are asleep. Marley goes through his nighttime

                         ROUTINE:
          He chews through a sock. He drinks out of the toilet. He
          works on chewing through the plastic dog food tub. Another
          night and he'll be in. He chases a fly.
          Finally he goes to his bed on the floor of the bedroom. He
          settles himself down to sleep. He yawns, he scratches, he
          closes his eyes. He snores. And then -
          He wakes up, suddenly alert. He looks over at Jenny. He
          gets up, sits by her side of the bed, and waits.
          Suddenly Jenny sits up, rests a hand on her stomach.

                         JENNY

                         WHOA--
          She catches her breath, leans over to John.

                         JENNY (CONT'D)
          John. John, wake up.

                         JOHN
          What?

                         JENNY
          I think it's time.

                         

                         

                         

                         
            67.

                         104

          104 INT. BEDROOM - NIGHT

          Jenny has finished dressing. Suddenly she yelps in pain,
          doubles over. John takes her in his arms.

                         JOHN
          It's okay.

                         JENNY
          Ow!
          Suddenly, A GROWL. They turn to see Marley glaring at John.

                         JOHN
          It's okay. I'm not hurting her.
          Jenny MOANS again and now Marley's eyes narrow. He takes a
          step towards John.

                         JOHN (CONT'D)
          Please don't scream, honey. He'll kill
          me.

                         JENNY
          You put the car seat in this weekend,
          right? They won't let us take the baby
          home without the car seat installed.

                         JOHN
          Like I'd forget that.

          105 INT. LIVING ROOM - NIGHT 105

          Panicking, John is struggling to get the car seat he forgot
          out of the box. He starts beating at the Styrofoam. Marley
          barks excitedly. John gets an idea, hands him one end of the
          box.

                         JOHN
          Come on, Marley. Help me out here. Do
          what you do best...
          Unsure, Marley licks the box.

                         JOHN (CONT'D)
          No, don't lick it, eat it! Destroy it!
          You can chew through drywall, man! I
          know you can do this!
          Marley catches on. He starts shredding the box.

                         

                         

                         

                         
             68.

          106 INT. GARAGE - NIGHT 106

          John hurls a suitcase and the partially-assembled, partially-
          destroyed car seat into the back seat. He yells:

                         JOHN
          Car seat's in!

          107 EXT. 345 CHURCHILL ROAD - NIGHT 107

          Jenny is tottering down the walk as John pulls out of the
          garage, gets her into the passenger seat.

          108 INT. CAR - NIGHT (STATIONARY) 108


                         JOHN
          Ready?

                         JENNY
          Yeah. You?
          Marley barks from the back seat. They both turn and look at
          him. What's he doing here?

          109 INT. 345 CHURCHILL ROAD - NIGHT 109

          John opens the front door, drags Marley in. John gives him a

          GIANT BONE-SHAPED CHEW TOY...

                         JOHN
          Okay. Here... Stay. Be good. Please,
          God. No storms. Stay.

          110 INT. 345 CHURCHILL ROAD - MORNING 110

          The chew toy now almost completely gone. Marley sleeps
          beside it as we hear A KEY IN THE LOCK and he gets to his
          feet, greets John as he comes through the door.

                         JOHN
          Hey, boy.

          111 EXT. BACKYARD - MORNING 111

          As John let's Marley out.

          112 INT. KITCHEN - MORNING 112

          As John sets down a bowl of food, crouches down as Marley
          starts to eat.



                         

                         

                         

                         
           Marley & Me Blue Revisions 3/07/07 69.

                         112 CONTINUED: 112

                         JOHN
          Here's the thing: in a couple of hours,
          we're gonna bring the baby home. And
          you'd be doing me a really big favor if
          you didn't freak out.
          (stands, sighs)
          I'm gonna try and do the same thing.

                         113 OMITTED 113- 

          114 INT. 345 CHURCHILL ROAD - MORNING 114 


                          
          As the sun now streams in through the front windows down onto 
          Marley, who is sound asleep. We hear A CAR DOOR CLOSE and he
          raises his head...
          A moment later, THE FRONT DOOR OPENS and John comes in and
          Marley greets him, jumps up on his chest.

                         JOHN
          Hey, boy... let's go outside...

          115 EXT. BACKYARD - MORNING 115

          As Marley relieves himself, John yawning in the b.g.

          116 INT. BEDROOM - MORNING 116

          As Jenny unpacks her suitcase. Marley bounds into the room
          and greets her.

                         JENNY
          Hello, Marley...
          She crouches down, gives him a kiss, rubs his back. And
          that's when we hear a small, birdlike chirp and the dog
          freezes. Where'd that come from?
          We hear the coo again and this time Marley lifts one paw in
          the air like a bird dog, and points in the direction of the
          car seat that we now see sitting on the bed...

                         JOHN
          You know what I think would be a
          bummer? If he ate the baby...



                         

                         

                         

                         
          .Harley & Me Shooting Draft  70.

                         116

                         116 CONTINUED:
          She moves to the car seat and turns it around so that now we
          see the baby for the first time. She smiles at Marley...

                         JENNY
          This is Patrick, Marley.
          Jenny unbuckles Patrick from the car seat and crouches down
          beside Marley and lets the dog sniff the baby's toes, then up
          his legs, finally his diaper which puts Marley into a Pampers
          stupor, the Holy Grail of aromas and Marley's eyes glaze...

                         JENNY (CONT'D)
          See, he's not gonna hurt him.

                         JOHN
          No, but I'm gonna have to put a lock on
          the diaper pail.

          117 EXT. 345 CHURCHILL - DAY 117

          Garbage day, and the trash piled outside the Grogan house
          testifies to the change inside. Empty cartons of diapers,
          the packaging from a crib, a stroller, the car seats, the
          Pack'n'Play...

          118 INT. 345 CHURCHILL - DAY 118

          Jenny tries to watch the baby, now crawling around on the
          floor and file her column over the phone at the same time.

                         JENNY
          I have the quote right here--
          Patrick crawls over Marley, who's supremely patient as
          Patrick takes a fistful of his eye.

                         JENNY (CONT'D)
          Well, have legal call them again and
          get a release for it. They told me it
          was on the record-- Marley-- Patrick,
          that's his eye-- No, not you, Karla,
          just get the release. I'll call you
          back.

                         (HANGS UP)
          Be gentle, Patrick!
          Jenny leans back in her chair, rubs her face. Then...

                         JENNY (CONT'D)

                         (GETS UP)
          Laundry.

                         

                         

                         

                         
            71.

                         119

          119 EXT. PARK - DAY

          John sits on a bench, Marley at his feet reading "What to
          Expect in the First Year." He takes a breath, looks up,
          watches a COUPLE make out on a blanket.

                         120

          120 INT. KITCHEN - MORNING

          The baby in his high chair. Jenny sets a few cheerios on the
          tray. Patrick picks them up and drops them, we follow them
          down...

                         THE FLOOR
          To where Marley waits, eagerly vacuuming up the cereal. It
          continues to RAIN CHEERIOS and we then BOOM BACK UP and see
          that Patrick is now eight months old, laughing as he throws
          the cereal onto the floor...

          121 EXT. BACKYARD - NIGHT 121

          John stands there letting Marley out. He looks back at the
          house, watches Jenny through the window as she sets Patrick
          down in his crib, shuts the light out.

          122 INT. 345 CHURCHILL - NIGHT 122

          They're both working at their desks. Jenny looks up from her
          computer.

                         JENNY
          I need to go in tomorrow for a few
          hours, see my editor. Think you can
          watch the baby for me?

                         JOHN
          Sure.
          John looks around the room. The place is a disaster area.

                         JOHN (CONT'D)
          Remember us?

                         JENNY
          You mean, those younger, skinnier
          better looking people? Yeah, I think I
          remember them. Vaguely.

                         JOHN
          Well, I miss them.
          He turns back to his work. She looks at him, sets her pad
          aside, comes up behind him, puts her arms around him.



                         

                         

                         

                         
             72.

                         122 CONTINUED: 122

                         JENNY
          They're still here.
          He looks up at their reflection in the window, not so sure.

          123 INT. BEDROOM - NIGHT 123

          John and Jenny now asleep on opposite sides of the bed. On
          the floor beside John, Marley lifts his head and GROWLS. We
          then hear a piercing SCREAM coming from outside. The dog is
          already out of the room.
          John sits up, immediately starts to get out of bed...

                         JOHN

                         MARLEY-

                         JENNY
          Honey, don't go out there.

                         JOHN
          Stay here. Call the police.

          124 INT. LIVING ROOM - SAME 124

          Marley's at the door growling as John, in his boxer shorts,
          grabs the dog by the choke chain and opens the door. We hear
          another SCREAM coming from a couple houses down and Marley
          breaks through the screen, pulling John with him...

          125 EXT. 345 CHURCHILL ROAD - SPA 125

          As other lights come on, NEIGHBORS start to come out onto the
          street. John runs to where we see THE TEENAGE GIRL NEXT DOOR
          bent over, sobbing, in her driveway beside her car, driver's
          door still open. John lets go of Marley and hurries to her.

                         GIRL
          He said not to scream or he'd stab me,
          but I screamed...
          And John sees the blood on her shirt. He takes hold of her.

                         JOHN
          Okay okay okay, I've got you...

                         (THEN)
          Where's your mom?

                         GIRL
          At work...

                         JOHN
          Jenny'll call her...



                         

                         

                         

                         
            73.

                         125

                         125 CONTINUED:
          Marley sniffs at the ground, growling more and more
          intensely. We hear SHOUTING, "He went that way" as several
          neighbors take off running. Marley lifts his head and he,
          too, bolts into the night---

                         JOHN (CONT'D)
          Marley! NO!
          But he's gone and John has to stay with the girl. We hear
          SIRENS as she slides down the car and sits down on the
          ground. John sits down beside her, holding onto her...

                         JOHN (CONT'D)
          All this time we've been living here, I
          never got your name.

                         GIRL
          Lisa.

                         JOHN
          Well, you're gonna be alright, Lisa,
          the police are on the way...
          John looks off, wondering where Marley is...

          126 EXT. 345 CHURCHILL ROAD - LATER 126

          A crime scene. Jenny, clutching the baby, stands on the porch
          watching as an AMBULANCE pulls away. John, now in shorts and
          a T-shirt, comes jogging up the walk.

                         JOHN
          I can't find him anywhere.

                         JENNY
          Maybe we should get in the car, drive
          around.

                         JOHN
          I'll get the keys...
          John's coming into the house when a police cruiser pulls to
          the curb in front of the house. A POLICEMAN gets out of the
          driver's side, then opens the back and leads Marley out. He
          bounds up the walk to the two of them who greet him...

                         JENNY
          Marley!

                         JOHN
          Where were you?



                         

                         

                         

                         
             74.

                         126 CONTINUED: 126

                         OFFICER
          We found him outside the 76 station on
          Radford. He had the guy cornered in the
          men's room.

                         JENNY
          So you caught the guy?

                         OFFICER

                         NO--

                         (INDICATES MARLEY)
          jig caught the guy. He also gnawed the
          barrel of my shotgun, and ate half my
          radio mic.
          They look at Marley wagging his tail, panting.

                         OFFICER (CONT'D)
          Anyway, the neighbors all said he
          belonged here, but none of them wanted
          to drive him, so...

                         JOHN
          Thanks for bringing him home.

                         OFFICER
          Helluva dog.
          John nods as The Officer heads back to his car. Jenny
          crouches down and gives Marley a big hug and a back rub...

                         JENNY
          My hero.

          127 EXT. BOCA RATON HOUSE - DAY 127

          An upscale, newer money neighborhood. An OPEN HOUSE sign out
          front. John pulls up. He opens the door, holds up a hand to
          Marley who sits in the back--

                         JOHN
          Stay.
          --and starts to unhook Patrick from his car seat. Marley
          bolts out of the car and heads straight for the house...

                         JOHN (CONT'D)
          Marley!

                         

                         

                         

                         
             75.

          128 INT. BOCA RATON HOUSE - DAY 128

          A REALTOR is showing a COUPLE around the large, empty, new
          house. She points out the designer kitchen that looks out
          onto the patio and pool, a huge yellow lab now leaping in.
          A moment later, we see John, clutching Patrick, enter the
          backyard, try to haul Marley out of the pool. He gives up,
          heads for the house, opens the back door and peers inside.

                         JOHN
          Hi.
          The Realtor smiles awkwardly at him.

                         JOHN (CONT'D)
          Can I see a set-up, please?

                         REALTOR
          Certainly.
          (looks at the baby)
          First home?

                         JOHN
          No, we live up in West Palm, over on
          Churchill?

                         REALTOR
          Ooooh. Well, I think you'd find this
          neighborhood to be quite a pleasant
          change.
          And now Marley bolts past him into the house, tracking wet
          footprints all over the floor, jumps up onto the REALTOR.

                         REALTOR (CONT'D)
          Oh... my... hello...

                         JOHN
          Hey, who's dog is that?

          129 INT. 345 CHURCHILL ROAD - DAY 129

          John enters, carrying Patrick, supplies to fix the screen.

                         JOHN
          Jenny?
          A wet Marley bounds into the house, heads for the back. John
          follows.

                         

                         

                         

                         
            76.

                         130

          130 INT. BATHROOM - SAME


                         THE
          Jenny is crouched on the floor when John appears in
          doorway.

                         JOHN
          Hey. You alright?
          She stands up, smiles the best she can.

                         JENNY
          I'm fine. Where you guys been?

                         JOHN
          I wanna show you something.

                         JENNY
          What?

                         JOHN
          (hands her the set up)
          A house.
          (before she can react)
          It's a little pricey, but I think we
          can do it.

                         JENNY
          John, I know we've talked about it, but
          I'm not sure this is the right time.

                         JOHN
          And when would the right time be, Jen?
          After one of us gets stabbed in the
          driveway?

                         JENNY

                         JOHN--

                         JOHN
          C'mon, honey, we're cramped in here.
          This was supposed to be our three-year
          house, remember?

                         JENNY
          I know, but we can't afford to buy a
          new one.

                         JOHN
          Sure, we can. With both our salaries--

                         JENNY
          Yeah, about that... I don't think I'm
          gonna be able to keep working.

                         (MORE)



                         

                         

                         

                         
             77.

                          130

                         130 CONTINUED:

                          JENNY (CONT'D)

                         (THEN)
          I'm pregnant.

                         JOHN
          What? Are you sure?
          She steps away, revealing the counter where FOUR PREGNANCY
          TESTS are lined up, all with the same result: Positive.

                         JENNY
          Very.

          131 INT. SUN-SENTINAL OFFICE - DAY 131

          John sits with Sebastian at his desk.

                         SEBASTIAN
          Already? I mean, how old's the one you
          got?

                         JOHN
          About eight months.

                         SEBASTIAN
          Jesus. Haven't you heard of birth
          control?

                         JOHN
          Yeah, well, sometimes it doesn't work.
          You know what else doesn't work? The
          one about how "A dog will stop your
          wife's biological clock."

                         SEBASTIAN
          Hey, I'm not the one, keeps getting her
          pregnant.
          John gives him a look, sees Arnie heading into his office,
          takes a breath and gets to his feet.

                         JOHN
          Wish me luck.

                         SEBASTIAN
          I'm sure he'll give you the raise.

                         JOHN
          How do you know?

                         SEBASTIAN
          He always gives me one.
          John just shakes his head, starts for Arnie's office.

                         

                         

                         

                         
            78.

                         132

          132 INT. ARNIE'S OFFICE - DAY

          John sits across from Arnie.

                         ARNIE
          Why should I do this, why are you worth
          it?

                         JOHN
          Because I'm doing a good job?

                         ARNIE
          Are you asking me?

                         JOHN
          Well, since I took over, the column has
          doubled in readership...

                         ARNIE
          So you are doing a good job.

                         JOHN
          Yes, sir.

                         ARNIE
          So why not make it permanent?

                         JOHN
          You mean, like forever?

                         ARNIE
          That's what the word "forever" means.
          Yes.

                         (THEN)
          John, you know how many yo yo's in the
          other room would kill to have their own
          column? You took a piece of crap About
          Towner and turned it into something
          fresh.

                         (SITS BACK)
          I hate to break it to you, son, but
          you're a good columnist.

                         JOHN
          I just had this idea about myself, you
          know, that I was a reporter.

                         ARNIE
          Yeah, well sometimes life comes up with
          a better idea. Tell you what. You
          make it a daily column and I'll double
          your salary. How's that?

                         

                         

                         

                         
             79.

          133 EXT. 345 CHURCHILL ROAD - DAY 133

          A MOVING VAN is parked out front. Marley runs back and forth
          as the MOVERS load up the truck, John and and a very pregnant
          Jenny supervising. John sees LISA, the girl next door, as she
          comes out of her house. She walks over to him.

                         JOHN
          Hey, Lisa.

                         LISA
          Hi.

                         (THEN)
          You're leaving.

                         JOHN
          Yeah.

                         LISA
          well, I don't blame you. I just
          thought I'd come over and say--
          But Marley comes running over and she crouches down to greet
          him. She hugs him a while...

                         LISA (CONT'D)
          I'm gonna miss you.
          John watches as she holds on to him a bit longer, thanking
          him as well. John turns away, starts back for the van to
          give her a moment. She stands up.

                         LISA (CONT'D)
          Where you moving to?

                         JOHN
          Boca.

                         LISA
          Huh.

                         JOHN
          Huh... what?

                         LISA
          Nothing. I just... never pictured, you
          know, a guy like you moving to Boca.

                         JOHN
          A guy like me?

                         LISA
          Yeah, you know, young, cool, whatever.



                         

                         

                         

                         
             80.

                         133 CONTINUED: 133

                         JOHN
          So you think I'm young and cool. And
          you're not just saying that because I
          saved your life?

                         LISA
          Actually, a paramedic named Josh saved
          my life.

                         JOHN
          Right. Well, take care, Lisa. Oh,

                         WAIT--
          He reaches into a moving box, pulls out a chewed-up black
          Converse.

                         JOHN (CONT'D)
          I believe this belongs to you.

                         LISA
          Thanks. I'll have to chew up the other
          one to make it match.
          (extends her hand)
          Have fun down there.

                         JOHN
          Yeah. It's gonna be great.

          134 EXT. BOCA RATON HOUSE - NIGHT 134

           Still beautiful, but now we hear the sound of a BABY WAILING

          OVER...

          135 INT. BOCA RATON HOUSE - NIGHT 135

           This is the elegant kitchen we saw, bare and uninhabited,
           several scenes ago. Now it's full of the clutter of the
           Grogans' life. The new baby, CONOR is screaming. We follow
          Jenny through the new house asshetries to soothe him.

                         JENNY
          Shhh, honey. Come on.
          John follows now...

                         JOHN
          Is he wet?

                         JENNY
          No. And I can't get a burp out of him.
          I think it's colic.



                         

                         

                         

                         
             81.

                         135 CONTINUED: 135

                         JOHN
          Want me to drive him?

                         JENNY
          We can't do that every night.
          From the other room, we HEAR Patrick CRYING, "Mommy!"

                         JENNY (CONT'D)
          Oh, Jesus.

                         JOHN
          I'll do the washer.

          136 INT. LAUNDRY ROOM - NIGHT 136

          John sitting on the washer with his WAILING BABY. Not fun.
          John looks to where Marley lies in the corner, watching.

                         JOHN
          Any ideas?

          137 INT. KITCHEN - DAY 137

          John is opening the cupboards, getting cereal and yogurt into
          a bowl for Patrick. Jenny enters with a fussing Conor on her
          shoulder...

                         JENNY
          Can you take him? I just need a minute
          to myself.
          John takes the baby and instantly Conor starts crying louder.

                         JOHN
          Happens every time.

                         JENNY
          You just need to spend more time with
          him.

          138 INT. CONOR'S BEDROOM - DAY 138

          John puts Conor on the changing table, unbuttons his onesie,
          checks his diaper. It's wet; he starts changing him. Conor
          cries throughout. Jenny enters.

                         JENNY
          It's okay, I'll do it.



                         

                         

                         

                         
            82.

                         138

                         138 CONTINUED:

                         JOHN
          I'm doing it! It's fine! You tell me
          to spend more time with him, I do it,
          and then you take over because I'm not
          doing it right.

                         JENNY
          I don't want you changing him when
          you're mad.

                         JOHN
          I'm not mad!
          He hears himself, lets her change the baby. She takes him,
          sits down with him in a rocking chair, tries to nurse him...

                         JENNY
          Conor, come on... Conor, please...
          She finally stops trying, rocks the chair, looks helplessly
          at John.

                         JENNY (CONT'D)
          I don't know what's wrong with me.
          Mothers are supposed to be able to give
          their baby everything.

                         JOHN
          He's just colicky, Jen. He'll grow out
          of it.

                         JENNY
          Okay, here's an idea, you stay here and
          I'll go to work while he grows out of
          it.
          He holds up his hands, what does he say to that. She looks
          up at him a moment.

                         JENNY (CONT'D)
          I'm just tired, alright? Go on.
          She then resumes trying to nurse the baby. He walks out of
          the room. She rocks back and forth, looks up with a dark
          expression as she hears his CAR START.

          ARNIE (V.0.)
          It's post partum depression...

                         

                         

                         

                         
             83.

          139 INT. SUN-SENTINAL OFFICE - DAY 139

          John sits on a stool in front of'a portable SCREEN while a
          pretty female PHOTOGRAPHER adjusts her lights. Arnie sits
          nearby on a desk watching the portrait...

                         ARNIE
          Her hormones are all on tilt and she's
          depressed. It happens. After my
          fourth kid was born, I'd wake up, find
          my wife just staring at me with a
          mallet in her hand. I thought she was
          gonna kill me in my sleep. I still
          do...

                         (THEN)
          Did you get her the gift?

                         JOHN
          Yeah.

                         ARNIE
          Huh. That usually works.
          Arnie gets off the desk, says to the Photographer:

                         ARNIE (CONT'D)
          Alright, Janice, make him look pretty.
          The man's an official columnist now.
          Arnie moves off and the photographer looks up from her camera
          and smiles at John. He smiles back. She keeps smiling... so
          does he... she finally indicates his hair...

                         PHOTOGRAPHER
          You have a Barney sticker in your--

                         JOHN
          Oh-- thanks.
          He rakes his fingers through his hair, grabs the offending
          sticker, looks at her...

                         JOHN (CONT'D)
          I must look like hell... I don't think
          I've had a full night sleep in two
          months.

                         PHOTOGRAPHER
          Stress?



                         

                         

                         

                         
             84.

                         139 CONTINUED: 139

                         JOHN
          Kids. I got one with colic, and
          another, can't make it through the
          night without coming into my room every
          two hours.

                         PHOTOGRAPHER
          Well, I think you're holding up great.
          You look cute.

                         JOHN
          Really?

                         PHOTOGRAPHER
          Yeah, like a cute, exhausted Dad. It's
          adorable.
          John just nods stupidly, the dagger so deep in his heart,
          he'll never reach it. She smiles at him.

                         PHOTOGRAPHER (CONT'D)
          You certainly look a lot better than
          Jerry ever looked. I tried to get him
          to take a new picture, but he liked the
          one they took the day he started the
          column, nineteen years ago.

                         JOHN
          Nineteen years, huh...
          And just when he thought one dagger was brutal enough, his
          expression goes really pensive. And on that look, we see a
          FLASH as she takes his picture and go right to:

          140 EXT. BOCA RATON HOUSE - NIGHT 140

          John pulls into his driveway, turns off the car and just sits
          there.

          141 INT. JOHN'S CAR - SAME 141

          As John looks at the house... the windows all lit up. Inside
          Jenny moves about with the baby over her shoulder as Patrick
          chases Marley around the room. John sits in the car, unable
          to move, just watching the chaos in the window.
          Marley jumps up against the glass, stands on his hind legs,
          paws to the window and looks out. He barks and now Jenny
          comes up behind him, hauls him off the window and now sees
          John sitting in the car. She gives him a look that says
          "What're you doing? Get in here!"
          John quickly gets out of the car...

                         

                         

                         

                         
             85.

          142 INT. KITCHEN - NIGHT 142

          John and Jenny eat dinner in exhausted silence. Patrick
          throws his food on the floor where a happy Marley waits.
          Conor starts crying O.S. and Jenny gets up like a robot.

                         JOHN
          I'll get him.
          John leaves the room. Jenny sits there.

          143 INT. JOHN & JENNY'S BEDROOM - NIGHT 143

          John and Jenny are in bed asleep. Patrick comes into their
          room.

                         PATRICK
          Mommy?
          Jenny wakes up on autopilot.

                         JENNY
          Okay, honey, let's go back to bed.
          She leads him out of the room. And a second later Conor
          starts crying. John lies there a moment, then gets up.

          144 INT. CONOR'S ROOM - NIGHT 144

          Through the doorway, Jenny, her back to us, gently bounces
          Conor on her shoulder. John moves into FRAME...

                         JOHN
          Jen, you okay?

          REVERSE - ON JENNY
          She's crying, her back to John who's now in the b.g. A
          moment, then...

                         JENNY
          I'm fine.

          145 INT. KITCHEN - MORNING 145

          John comes into the kitchen just as Jenny takes a chewed copy
          of "Good-night, Moon" from Marley's mouth...

                         JENNY
          You ruined it! Bad dog!
          She leaves the room and John looks at the dog.



                         

                         

                         

                         
            86.

                         145

                         145 CONTINUED:

                         JOHN
          You just had to eat the book? What,
          have you got some kind of death wish?
          I'm telling you, you better chill, or
          she'll kill you. Right after she kills
          me.

                         146

          146 EXT. GROCERY STORE - DAY

          As Jenny loads up the back of the car with bags of groceries.
          Patrick, sitting in the cart, looks off and points--

                         PATRICK
          Look!
          Jenny turns and sees A BUS, with John's picture on the side,
          an advertisement for his column. She watches it pass.

                         PATRICK (CONT'D)
          Daddy!

                         JENNY
          Uh-huh. I see him.
          And she goes back to loading the car.

                         147

          147 INT. BOCA RATON HOUSE - CONOR'S ROOM - DAY

           As Jenny gently sets a sleeping Conor in his crib. She
          quietly backs out of the room and shuts the door.

          148 INT. HALLWAY - SAME 148

          As she peers in on Patrick, also napping in his room.

          149 INT. JOHN & JENNY'S BEDROOM - DAY 149

          As Jenny comes in, Marley following and sits down heavily on
          the bed. She looks at Marley as he lays down beside the bed.

                         JENNY
          Stay.
          She now lays down and closes her eyes. A moment of peace.
          And then, somewhere in the distance we hear a faint BEEP BEEP
          BEEP as some truck backs up. Marley lifts his head, perks up
          his ears and listens. Please don't bark, dog. Please don't
          bark. BEEP BEEP- And Marley BARKS, bolts out of the room...
          Jenny opens her eyes with a start as Marley runs barking
          through the house, we hear something CRASH and break O.S.



                         

                         

                         

                         
             87.

                          149

                         149 CONTINUED:
           And now Conor's crying.

                          150

          150 INT. LIVING ROOM - DAY

          As Marley jumps up against the window and peers out. Jenny
          comes into the room, sees a lamp on its side, a cushion torn
          open where Marley now stands. she grabs him by the collar--

                         JENNY
          Why do you do this?! Why do you wreck
          everything! Why?!!
          She hauls her hand back to hit him, but hesitates, and just
          shoves him away from her and storms into the other room for
          Conor.

                         151

          151 EXT. BOCA RATON HOUSE - EVENING

          As John pulls up, gets out of his car. We hear Marley
          barking in the garage.

                         152

          152 INT. LIVING ROOM - EVENING

          As John comes in, sees Jenny sitting there on the couch.

                         JOHN
          Why's Marley out in the--

                         JENNY
          I want that dog out of here.

                         JOHN
          Okay. I'll take him out.
          She looks up at him.

                         JENNY
          I want you to get him out of here and
          keep him out of here.

                         JOHN
          What'd he do--

                         JENNY
          I mean it, John. I want him gone. I
          want him gone for good.

                         153

          153 INT. SUN-SENTINEL OFFICES - DAY


                         SEES THE
          A sad John posts a "DOG FOR SALE" sign. A CO-WORKER
          sign and smiles.



                         

                         

                         

                         
            88.

                         153

                         153 CONTINUED:

                         CO-WORKER
          That the dog in your column? Obed ience
          school? Necklace in the poop? Good
          luck.

                         PUTS
          John watches the guy walk off, scribbles a new
          it up. This one reads "E F D TO GOOD HOME."
          comes up to John.

                         SEBASTIAN
          You giving up the dog? i thought yo u
          loved that thing.

                         JOHN
          Jenny wants him out.

                         SEBASTIAN
          That's harsh, man.

                         JOHN
          I don't know what else to do. She's
          really unhappy. Maybe the dog is just
          one too many things.

                         SEBASTIAN
          They're all unhappy. Trust me.
          Well... who knows? Maybe you'll get
          lucky and nobody'll want him.
          John just nods, thinks about that. Sebastian glances around,
          then takes John aside.

                         SEBASTIAN (CONT'D)
          Listen, there's something I gotta tell
          you.

                         (THEN)
          I'm leaving the paper.

                         JOHN
          What?

                         SEBASTIAN
          I just gave Arnie my notice.
          John looks over at Arnie's office, the door's closed.

                         SEBASTIAN (CONT'D)
          He's not too happy about it. He called
          me an ungrateful quizzling and threw a
          stapler at me.

                         JOHN
          You going over to the Post?



                         

                         

                         

                         

            89.
          

                         153

                         153 CONTINUED: (2)

                         SEBASTIAN
          I'm going to New York.
          Sebastian smiles. John doesn't move.

                         SEBASTIAN (CONT'D)
          The Gray Lady came courting last week.

                         (THEN)
          Times,
          I'm talking about the New York

                         BUDDY--

                         JOHN
          I know who you're talking about.

                         SEBASTIAN
          You don't seem happy for me.

                         JOHN
          I am. I'm just in shock. I mean, I'm
          in Florida because of you. Woodward
          and Bernstein. Remember? That was the
          idea.

                         SEBASTIAN
          Yeah, that was the idea before you
          decided to be the Andy Rooney of South
          Florida.

                         JOHN
          I didn't decide to be anything--

                         SEBASTIAN
          Exactly.
          Boom. That hurts John. They stand there a moment,
          considering each other, then.

                         SEBASTIAN (CONT'D)
          Look, man, you're happy doing your
          thing and I'm not trying to piss on
          that. I mean it, you're good at it. I
          just wanted you to be the first to
          know. That's all.

                         154

          154 EXT. LORI'S HOUSE - DAY

          The house where John and Jenny bought Marley. Lori, the
          breeder, looks at Marley, sitting in the front seat, shakes
          her head sadly.

                         

                         

                         

                         

            90.
          Marley & He Shooting Draft

                         155

          155 EXT. PARK - DAY

          As John posts some more flyers around the park. He drops a
          flyer and Marley, walking beside him, starts to eat it...

                         JOHN
          Smart boy.

                         156

          156 EXT. FARM - DAY

          "BROWARD COUNTY DOG RESCUE." A refuge for dogs. John fills
          out a form...

                         JOHN

                         THE
          Yeah, uh... Monday, then. Give us
          weekend.

                         EMPLOYEE
          Up to you.
          John looks at the dogs in the back, all of them trying to get
          his attention.

                         157

          157 INT. SUN-SENTINAL OFFICE - DAY

          John is working at his desk when Arnie drops a few stacks of
          letters down.

                         ARNIE
          These are all responses to the column
          you wrote last week.
          John thinks a moment...

                         ARNIE (CONT'D)
          One where you said you may have to give
          the dog away.

                         JOHN
          (looks at the letters)
          Oh. I assume they all want me to keep
          him.

                         ARNIE
          No. They're all saying they'd take
          him.
          Arnie moves on and John stares at the letters.

                         158

          158 EXT. BACKYARD - DUSK

          John walks around the yard picking up Marley's various toys,
          putting them into a box.



                         

                         

                         

                         
             91.

                         158 CONTINUED: 158
           Marley follows, jumping up, trying to get the toys back out
           of the box. John grabs a frisbee, looks at the dog.

                          JOHN 
           You can't lo any more of these, ok ay?
           Because they s e 're not gonna keep getting
           you more, and I won't be there to look
           for them...
          He looks at Marley standing there wagging his tail.

                         JOHN (CONT'D)
          You're gonna be fine, alright. I'll
          just be different. Maybe e
          it'll, b better, nobody poking your
          yanking your tail. Who knows? Could
          be better.

          159 INT. KITCHEN - SAME 159

          Jenny's been watching. She stands there thoughtfully as John
          puts the frisbee in the box and resumes the hunt for the rest
          of Marley's stuff, the dog following him.

          160 INT. BEDROOM - NIGHT 1 60

          Jenny's sitting on the bed waiting as John comes in.

                         JOHN
          He's all packed up. Patrick will want
          to say good-bye, but Conor's too young

                         TO--

                         JENNY
          You can't do this.

                         JOHN
          What do you mean? Three days ago, you
          were pretty clear--

                         JENNY
          I know, but you can't do it. I won't
          let you. You can't give away Marley.

                         JOHN
          Okay, wait. I'm lost. You told me you
          didn't want him around. What's
          happened?

                         JENNY
          The fact that you would have done
          something like that, for me, that you
          love me that much...

                         (MORE)



                         

                         

                         

                         

            92.
           

                          160

                         160 CONTINUED:

                          JENNY (CONT'D)
          well, that blows me away. And we're
          not doing this. It was wrong of me to
          ask.
          He comes over and sits down beside her.

                         JOHN

                         G
          Maybe not, maybe Marley is one thin
          too many.

                         JENNY
          I got overwhelmed, John. I mean, be.
          one tells you how hard it's gonna

                         JOHN
          Which part?

                         JENNY
          All of it. Marriage. Being a parent.
          It's the hardest thing in the world and
          no one prepares you for that. No one
          tells you how much you have to give up.

                         (THEN)
          me.
          I gave up so much of what makes me
          But I'm not allowed to say that.
          People think you're a bad person if you
          say that. But it's how I feel
          sometimes, and I need you to know that.

                         JOHN

                         I'M SORRY--

                         JENNY
          It's not your fault. It's just
          something I have to figure out. But
          Marley going, that won't fix anything.

                         JOHN
          (nods, then)
          Okay.

                         JENNY

                         (BEAT)
          Okay.
          She kisses him on the cheek, then gets up and goes into the
          bathroom. He sits on the edge of the bed, staring down the
          hall...

          HIS POV -MARLEY
          to how they've
          At the end of the hall, panting, oblivious
          both just been spared.

                         

                         

                         

                         
             93.

          161 EXT. MIZNER PLAZA - DAY 161

          John and Jenny and Marley and the two boys stroll. Feels
          good to be out as a family again. Marley wants to greet all
          the Boca mini-dogs as they are being walked or carried by
          their owners. Jenny leans up against John.

                         JOHN
          I made reservations at Sunny's.
          Thought we could all sit outside.

                         JENNY
          Sounds perfect.
          (takes his arm)
          Thank you.

          162 EXT. SIDEWALK CAPE - DAY 162

          They are seated at an outside table, shaded by a large round
          umbrella. John hooks Marley's leash to two of the table legs
          as a waiter brings drinks. Jenny holds up her beer.

                         JENNY
          To a perfect day with my boys.

                         BEHIND THEM
          A blonde Boca Trophy wife, with a poodle on a jeweled leash,
          shrieks excitedly as she meets up with another woman, same
          type, with another small fluffy'dog. The little dogs yip.
          CAMERA BOOMS DOWN to underneath the table to Marley who has
          spotted the poodles and is now locked and loaded.

          ON JOHN AND JENNY
          As suddenly their table suddenly leaps away from them and
          starts moving down the sidewalk, crashing into other tables,
          banging-into waiters with trays, making a terrible NOISE as
          it scrapes over the faux Italian paving stones.
          The four Grogans sit facing each other across, their drinks
          suddenly in their laps.
          Marley is pulling the table, like a dog with a sled, towards
          the now-terrified small dogs. He is chugging forward with
          every ounce of rippling muscle he has.

                         JENNY (CONT'D)
          Marley!
          John hurries after the dog; Jenny stays with the boys.



                         

                         

                         

                         
           Marley & He Shooting Draft  94.

                         162 CONTINUED: 162
          As Marley-with-table approaches the small dogs, they break
          free of their leashes and run. Several innocent bystanders
          are knocked off their feet.
          There's a florist kiosk in the center of the plaza; Marley-
          and-table take out most of the merchandise.
          Security guards look around wildly. It's pandemonium, but
          Marley is in heaven. He makes a circuit of the entire plaz a,
          one poor poodle runs for her life.
          Finally, back where Marley started, the terrified toy poodle
          leaps into Jenny's arms. Marley tries to brake -

                         JOHN
          Marley, no!
          - and suddenly, he is jerked back. John has tackled the
          table Marley's dragging. Marley YELPS and lands on his bac k,
          then quickly rights himself, tail wagging, the happiest dog
          in the world.
          Everyone surrounding them on the plaza has frozen silent.
          They all stare at Marley and the Grogans. The poodle jumps
          out of her arms and runs to its distraught owner. Jenny's
          head is in her hands, her shoulders heaving...

                         JOHN (CONT'D)
          Jen, you okay?

                         (NO ANSWER)
          Jenny?
          And she slowly looks up, LAUGHING UNCONTROLLABLY, her whole
          body racking, tears in her eyes. Her LAUGHTER BECOMES--
          --A BABY CRYING and we now go to...

          163 INT. DELIVERY ROOM - DAY 163

          As a NEWBORN BABY is placed on Jenny's chest...

                         JENNY
          Boys, say hello to Colleen...
          We PULL BACK TO REVEAL: Patrick, now six and Conor four,
          standing beside the bed with John. They all crowd around
          "mom" as the NURSE now takes a picture. On the FLASH, we...

                         

                         

                         

                         

            95.
          

                         164

          164 EXT. BOCA RATON HOUSE - DAY

          John and the boys plant flowers in front of the house whilehead up like a
          Marley, chained to a post, lies in the shade,
          Sphynx, the baby, colleen in a portable bassinet beside him.
          Jenny comes outside with some sodas for the boys...

                         JENNY
          John, telephone.

                         CONOR
           Mom, look what we did!

                          165

          165 INT. BOCA RATON HOUSE - KITCHEN - SANE

           As John comes inside and picks up the phone.

                          JOHN
           Hello?

                          166

          166 EXT. BOCA RATON HOUSE - DAY

          As John comes back out of the house, looking stunned.

                         JENNY
          Who was on the phone?

                         JOHN
          Philadelphia Inquirer.
          She looks at him.

                         JOHN (CONT'D)
          They're offering me a job.

                         (THEN)
          As a reporter. I guess the editor was
          down here on vacation, read my stuff.

                         JENNY
          What'd you say?

                         JOHN
          I said thank you very much, but I'm
          happy where I am. I mean, it's a big
          change, Florida to Pennsylvania.

                         JENNY
          Yes, it is.

                         JOHN
          Anyway.
          John smiles at her, then goes to his sons...



                         

                         

                         

                         

            96.
          

                         166

                         166 CONTINUED:

                         JOHN (CONT'D)
          C'mon, guys, back to work...
          She watches as he kneels down beside the boys, resumes
          digging alongside them.

                         167

          167 INT. ARNIE'S OFFICE - DAY

          John reads through a stack of letters...

                         JOHN
          Well, that's part of the job. To get
          reader response.

                         ARNIE
          re?
          You notice any recurring themes the

                         JOHN
          Yeah. We've got a lot of cranks in
          Broward County.

                         ARNIE
          Yeah. Including y�gu the last couple
          months.
          (he flips through some)
          ".. .if he doesn't like it here, he

                          FROM YOUR
          should move"... "more whining
          resident malcontent"... "is there
          anything good about Florida according
          to Mr. Grogan?"

                         JOHN
          Arnie, I'm a commentator. We've got
          issues here. Over-crowding, crime,
          immigration tensions, runaway

                         DEVELOPMENT -

                         ARNIE
          Florida hasn't soured, John. You have.

                         (THEN)
          What's wrong?

                         JOHN
          I don't know. Maybe it's turning 40
          next week, or maybe...

                         ARNIE
          Maybe what?

                         JOHN
          Maybe I'm sick of my column. I don't
          really think I'm all that interesting.



                         

                         

                         

                         

            97.
          

                         167

                         167 CONTINUED:

                         ARNIE
          Are you kidding? You're the comic
          voice of South Florida's middle class.
          You're a national treasure. Well, a
          regional treasure. Municipal treasure,
          for sure. You're just a little burned
          out. Why don't you take a coupweeks
          off? Consider it my birthday present.

                         168

          168 EXT. BOCA HOUSE - NIGHT

           John pulls into the driveway, gets out.

                          169

          169 INT. BOCA HOUSE - NIGHT

          John opens the door. He flicks on the lights and 100 people
          shout "Surprise!" There are banners hung from the ceiling,
          reading "HAPPY 40TH."
          Jenny is standing there, holding Colleen. Conor, aged 5 and
          Patrick age 7 run to their father.

                         JENNY
          Happy birthday, honey!
           And he kisses Jenny. Hugs the kids. Jenny watches him as he i en t e d , distracted.
           shakes hands, hugs their friends, disor

                          170

          170 INT. LAUNDRY ROOM - NIGHT

           here.
           John , closes
           John petsdthe dog, rta es
           up , g greets John. k

                         JOHN
          Forty. Jesus Christ...
          He looks at Marley a moment, then...

                         JOHN (CONT'D)
          Hey, buddy, you and me are the same
          age.
          (looks at Marley's face)
          You got more grey hair than me,
          though...

                         (THEN)
          Mind if I just hang here for a minute?
           And sits on the floor, his back against the washing machine.

                          171

          171 INT. BOLA RATON HOUSE - LATER

          As Jenny brings in a cake with 40 candles on it. John tries
          not to be too taken aback by the blaze.



                         

                         

                         

                         
            98.

                         171

                         171 CONTINUED:

                         JOHN
          Okay, who wants to help me here? Kids?
          Marley, you too.
          Jenny squats down with the cake, and John and his kids start
          to blow out the candles.

                          JOHN (CONT'D)
           One, two -
           And then Marley jumps the gun, takes a huge bite of the cake,
           lit candles and all.

                          JOHN (CONT'D)
           - three.

                          172

          172 EXT. BOCA HOUSE - POOL - NIGHT

          The guests have gone. John sits in a lounge chair, holding
          out a fork so that Marley can lick the cake off of it. Most
          of the floating lights have gone out. Jenny comes out.

                         JENNY
          Okay, tell the truth, were you really
          surprised?

                         JOHN
          Yeah. Thanks, Jen.
          She sits down on his lap...

                         JENNY
          You want your present?

                         JOHN
          Is it what you gave me last year?
          Because that was real nice--
          She hands him an envelope.

                         JENNY
          Happy Birthday.
          He opens it, pulls out an AIRLINE TICKET.

                         JOHN
          A plane ticket?

                         JENNY
          To Philadelphia. So you can talk to
          the editor of the inquirer.



                         

                         

                         

                         

           99.
          

                         172

                         172 CONTINUED:

                         JOHN
          That was months ago--

                         JENNY
          I called the editor last week. They'd
          still like to meet you.

                         JOHN
          Jenny, I couldn't do that, uproot us.
          We've got our friends, the schools...

                         JENNY
          First of all, you don't even have the
          job yet, it's just an interview.
          Second of all, you don't have that many
          friends.

                         JOHN
          Thank you. What I was trying to say,
          is that our life is here.

                         JENNY
          Baby, I got news for you, our life is
          wherever we are. And you're not happy
          here anymore, doing that column.
          You're restless, John. I feel it. I
          feel it when you read Sebastian's
          articles every day. And I feel it when
          you sit out in the driveway an extra
          five minutes before you come in.

                         (THEN)
          Maybe it's time for a change.

                         JOHN
          I'm forty, Jen. Seems kinda late for
          that.

                         JENNY
          Not so late.
          She stands up in the dark, lifts her dress over her head.

                         JOHN
          What're you doing?

                         JENNY
          We're not old, John. We can still
          surprise ourselves.
          He sits there stunned as she now dives into the pool. She
          surfaces and smiles at him.



                         

                         

                         

                         
             100.

                          172

                         172 CONTINUED: (2)

                          JENNY (CONT'D)
          Hey. You want your other birthday
          present or not?

                         INTO
          John can't get out of his clothes fast enough. He leaps
          the pool and swims over to her, kisses her.

                         JENNY (CONT'D)
          We're not old.
          And then we hear ANOTHER splash.

                         JOHN
          Uh-oh...
          And a moment later Marley's head goes bobbing by.

                         173

          173 INT. SUN-SENTINAL OFFICE - DAY

           out of his
          As John packs up his desk. Arnie sticks his head
          office.

                         ARNIE
          Hey, Gorgan.
          John smiles to himself, walks over.

                         ARNIE (CONT'D)
          I just wanted to say good luck up
          there.

                         JOHN
          Thank you, sir.

                         ARNIE
          Also, there's a good chance that every
          piece of advice I ever gave you, may in
          fact be total crap.

                         JOHN
          I appreciate it just the same.
          They stand there a moment, awkward. Then...

                         ARNIE
          This would be where a mushier guy would
          tell you he's proud of you, give you a
          hug, and send you on your way.

                         JOHN
          Really glad you're not that guy, sir.
          Arnie nods, goes back into his office and shuts the door.

                         

                         

                         

                         
           Shooting Draft  101.

                          MARLEY & ME

                          174

          174 IN. AIRPLANE - DAY (ON THE TARMAC)
          The Grogans are in the back of the plane.

                         JOHN
          Look. There's Marley!
          THROUGH THE WINDOW they can see Marley's crate arriving at
          the plane on a luggage truck. Marley is asleep, heavily
          drugged. Conor starts banging on the window.

                         CONOR
          Hey, Marley! We're up here!

                         PATRICK
          He can't hear you with the engine
          going.

                         JOHN
          (aside to Jenny)
          Not to mention the tranquilizers. I
          think he's already reached his cruising
          altitude.

                         175

          175 INT. PLANE - LATER

          The engines ROAR up and the stewardess begins her pre-flight
          safety demonstration. John watches her, smiling, relieved
          they made it this far, when he freezes.
          A MUFFLED MOAN is coming from beneath his feet. Clearly it's
          Marley. Passengers near them frown.

                         PASSENGER
          is that a dog?

                         JOHN
          Maybe, I don't know.

                         PATRICK
          Marley's Sad. Marley's our dog. He's
          with the suitcases.
          John smiles weakly at the Passenger.

                         JOHN
          What an imagination, huh?

                         (MOUTHING IT:)
          We don't have a dog.
          He makes the crazy sign with his finger, gesturing at
          Patrick. The MOANING gets worse. John just smiles tightly.

                         

                         

                         

                         
             102.

          176 EXT. PENNSYLVANIA COUNTRY ROAD - DAY 176

          Fall foliage. Beautiful, picture-perfect countryside. The
          Grogan family car winds along the roads. Marley has his head
          out the window, tongue wagging...

          177 EXT. PENNSYLVANIA HOUSE - DAY 177

          A two-story country house, no neighbors visible. Trees,
          land, woodpile, the whole country living thing. The Grogans
          pile out of the car, look at the house. Marley takes off
          running...

                         JOHN
          Marley!
          Marley jumps into a pile of leaves, scatters them everywhere,
          rolls over onto his back and knocks over a rake, which falls
          and breaks a basement window.

                         JOHN (CONT'D)
          And... we're home.

          178 INT. PHILADELPHIA INQUIRER - DAY 178

          As John is introduced to fellow staff and reporters, most of
          them at least ten years younger than he is. He's shown his
          desk. John sits down at his cubicle, stares out the window
          at the city. His EDITOR, black, John's age, approaches with
          a much younger REPORTER...

                         EDITOR
          Hey, John. Settling in okay?

                         JOHN
          I'm fine, thanks.

                         EDITOR
          Good. I want you to meet Billy...
          He indicates the twenty-something guy beside him. John and
          Billy shake hands.

                         EDITOR (CONT'D)
          Billy's gonna show you the ropes.

                         BILLY
          You're the Florida guy, right? The dog
          columns...

                         JOHN
          Well, some of them were, but--



                         

                         

                         

                         
            103.

                         178

                         178 CONTINUED:

                         BILLY
          Cute stuff. C'mon, I'll show you
          around.

                         179

          179 EXT. PENNSYLVANIA HOUSE - BEDROOM - DAY

          January. John wakes up. Marley is whimpering at him.

                         JOHN
          What?
          And then Conor and Patrick burst into the room.

                         PATRICK
           It's here!

                          180

          180 EXT. PENNSYLVANIA HOUSE - DAY

          White everywhere. The family and Marley trudge into the
          snow, unused to their boots and snowsuits. Marley jumps
          around, barks like he's a puppy again.

                         181

          181 EXT. HILL - DAY

          The kids slide down the hill in a toboggan. John is at the
          bottom to catch them. Up at the house, Jenny calls...

                         JENNY
          Okay, time for lunch!

                         JOHN
          I'll bring this in. Go on up.
          The kids and Marley head up to the house. John drags the
          toboggan up the hill. He pauses at the top and looks down at
          the toboggan run. He gets on the toboggan.

                         JENNY
          Honey, what're you doing?

                         JOHN
          I can't remember the last time I rode
          on a toboggan..

                         JENNY
          Exactly.
          He starts sliding down the hill. Marley runs for him as he
          builds up speed...

                         JOHN
          Marley, no!



                         

                         

                         

                         
             104.

                         181 CONTINUED: 181
          But Marley jumps onto John's lap as they get going...

          ON THE TOBOGGAN
          Flying down the hill. Marley is much heavier than the kids,
          and they sail past the place where the kids stopped, through
          the woods, barely missing trees and low-hanging branches,

                         TOWARDS:

                         JENNY
          John! The creek!
          The toboggan bumps over the crest of a small hill and sails
          through the air, landing with a crash on the iced-over creek.
          John and Marley tumble into a snow bank on the opposite side.
          A moment. But then Marley jumps up and wriggles in delight.
          John painfully unfolds himself, checks for injuries. Marley
          comes up and romps with him.

                         JOHN
          Hey... wanna do it again?

                         JENNY
          John!

          182 INT. PENNSYLVANIA HOUSE - NIGHT 182

          John shuts off all of the lights, heads upstairs. We follow
          him up the stairs. He stops near the top, peers through the
          bannister into...

          183 PATRICK'S BEDROOM - NIGHT 183
          From the low angle of the stairs, Patrick lies on his side,
          sleeping. And then we see Marley's head rise and reveal
          itself as Marley lifts it to look at John standing there.
          He'd been laying there on the bed behind Patrick. He looks
          at John, knows he's not supposed to be there, but...

                         JOHN
          That's alright, pal. I won't tell.

                         (THEN)
          We kicked ass down that hill, didn't
          we?
          John smiles at him and continues up to bed.

          184 EXT. COUNTRY ROAD - AFTERNOON 184

          Early Spring. The snow has melted. Marley, still as a
          statue, sits at the side of the road, waiting. Suddenly, he
          stands up and starts to wag his tail.



                         

                         

                         

                         
            105.

                         184

                         184 CONTINUED:
          A moment later, a yellow dot appears on the horizon. As it
          gets closer, Marley gets more and more excited as we now see
          that the dot is a SCHOOL BUS. It pulls to a stop beside
          Marley. Conor and Patrick get off and are greeted by Marley.

                         PATRICK
          Hey, boy.
          We HOLD WIDE ON THEIR BACKS as the boys start up the road
          towards home, Marley bounding between them, nipping at
          Patrick's backpack.

                         185

          185 EXT. PENNSYLVANIA HOUSE - DUSK

          John pulls up as the boys now throw a football back and forth
          while Marley leaps into the air, trying to intercept it. John
          gets out of the car, claps his hands, holds them up...

                         JOHN
          Hit me, I'm open!
          Patrick throws the ball to John who catches it, mocks stiff-
          arms his way to the front steps with the boys now hanging off
          him as he gives the play-by-play...

                         JOHN (CONT'D)
          My God, look at Grogan-- two three-
          hundred pound linemen literally hanging
          off him, but he won't be denied!
          And now Marley jumps on them.

                         JOHN (CONT'D)
          Ohhh, out of nowhere, a brutal hit from
          the Strong Safety and the unthinkable
          happens... GROGAN GOES DOWN...
          And he collapses with the boys at the foot of the. steps,
          Marley all over them, licking whatever faces he can get.
          Colleen comes out the front door, stands at the top of the
          steps...

                         COLLEEN
          Mommy says dinner and take off your
          shoes.

                         JOHN
          Alright... c'mon guys...
          They all get up, start up the steps. Marley follows, takes
          one step when his hind legs buckle. John looks back at him.



                         

                         

                         

                         
             106.

                          185

                         185 CONTINUED:

                          JOHN (CONT'D)
          You okay, boy? C'mon...
          Marley tries the second step and again his legs give out. He
          looks up at them...

                         CONOR
          What's wrong with him, Daddy?

                         PATRICK

                         (QUICKLY)
          Nothing's wrong. He's just tired.
          Right, Dad?
          John sees the way Patrick is looking at him, knows he's
          protecting his little brother.

                         JOHN
          That's right. Football just took it
          out of him. C'mon, let's give him a
          hand.
          And now the three of them go to Marley, help him up the
          stairs.

                         186

          186 INT. PHILADELPHIA INQUIRER - EDITOR'S OFFICE - DAY

          John sits across from the editor.

                         JOHN
          Too much color.

                         EDITOR
          Yeah, I mean, don't get me wrong, it's
          a good piece, but... you're reporting
          now, John. I want you to tell the
          story, I don't want you to be in the

                         STORY--

                         JOHN
          I'm pretty sure I don't mention myself--

                         EDITOR
          The point is, I still feel you in
          there.
          John sits there, thinking about that.

                         EDITOR (CONT'D)
          All I'm saying is: less you, more
          facts.

                         

                         

                         

                         
            107.

                         187

          187 INT. PENNSYLVANIA HOUSE - NIGHT

          Marley snores on the floor while John, Jenny and the kids all
          watch a movie together. Suddenly, they all take a whiff, then
          wince at once...

                         CONOR
          Marley!
          They all begin waving their hands in front of their faces.

                         JENNY
          I think someone needs to go out.

                         JOHN

                         (GETS UP)
          Come on, boy...
          Marley gets to his feet, follows John to the front door.

                         188

          188 EXT. PENNSYLVANIA HOUSE - NIGHT

          Rain falls as John opens the door and Marley trots outside.

                         189

          189 INT. PENNSYLVANIA HOUSE - SAME

           As John comes back into the room a moment...

                          JOHN
           It's pouring out there...
           He grabs his slicker and heads back out...

                          190

          190 EXT. PENNSYLVANIA HOUSE - SAME

          As John returns, steps outside, but Marley is nowhere to be
          seen. John, claps his hand and whistles...

                         JOHN
          Marley!
          Now Jenny appears in the front door.

                         JENNY
          What's wrong?

                         JOHN
          He's not coming.

                         JENNY
          Marley!
          John starts off into the dark...



                         

                         

                         

                         
            108.

                         190

                         190 CONTINUED:

                          JOHN
           He can't be too far...

                          191

          191 EXT. DIRT ROAD - NIGHT

           As John trudges through the rain looking for the dog.

                          192

          192 EXT. BARNS - NIGHT

           Jenny looks in the barn, the garage...

                          193

          193 EXT. PENNSYLVANIA HOUSE - KITCHEN - NIGHT

           She looks at
          John comes into the kitchen - without Marley.
          him with concern... he start out of the room.

                         JOHN
          He'll show up.

                         194

          194 INT. UPSTAIRS - BOYS BEDROOM - NIGHT

          John is tucking the boys in.

                         JOHN
          He's just out exploring. You know how
          much he likes the woods.

                         PATRICK
          Bobby says dogs, when they're going to
          die, they go away to do it. That's
          what his beagle did.

                         JOHN
          And that's true... for beagles. But
          not labs like Marley. He's just out
          there making trouble somewhere. Don't
          worry...

                         195

          195 INT. BEDROOM - NIGHT

          John's on the phone to neighbors...

                         JOHN
          Okay. Well, if you see him... thanks.
          He hangs up, goes to the window.

                         JOHN (CONT'D)
          I'm gonna get in the car, maybe drive

                         OVER TO--
          (he sees something)
          Jenny.

                         

                         

                         

                         
          Shooting Draft  109.

                         MARLEY & ME

                         196

          196 EXT. FRONT LAWN - NIGHT

          John and Jenny run to'a tree at the edge of the property.
          Marley lies on the ground, in a hollow, hidden from view from
          the hill above. His belly is swollen, his face drawn. It's
          clear he's very ill.

                         JOHN
          It's okay, boy, it's okay...

                         197

          197 INT. VETERINARY TREATMENT ROOM - NIGHT

          John stands with DR. PLATT, a female vet. Marley lies on the
          floor in a dog bed, an IV is going into his paw.

          DR. PLATT
          He's on an IV for fluids and a
          sedative.

                         JOHN
          So what happened?

          DR. PLATT
          His stomach twisted. He ate or drank
          something quickly, took in a lot of air
          and his stomach flipped. I got a tube
          down which let out some of the gas. I
          think i untwisted it.

                         JOHN
          So he's okay...

          DR. PLATT
          For now. But once this happens, it
          almost always happens again. And if it
          does, there's not gonna be anything I
          can do. He's too old for that kind of
          surgery.

                         JOHN
          What if it doesn't happen again?

          DR. PLATT
          More than likely, it will.

                         JOHN
          But what if it doesn't?

          DR. PLATT
          I just think you should prepare
          yourself that he might not make it
          through the night.

                         (MORE)



                         

                         

                         

                         
             110.

                          197

                         197 CONTINUED:

           DR. PLATT (CONT'D)

                         (THEN)
          Maybe one percent of dogs ever survive

                         THIS--

                         JOHN
          One percent? What's that number based
          on?

          DR. PLATT
          Mr. Grogan--

                         JOHN
          I'll tell you what it's based on:
          regular dogs.
          (getting worked up)
          Lady, we are so far from 'regular", you
          have no idea.

                         (INDICATES MARLEY)
          My guy here... He once ate an entire
          answering machine, and digested it.
          Then went back and ate the phone for
          dessert. So don't give me numbers like
          "one percent," because you don't know
          him. But I do, and I'll see him in the
          morning.
          We TRACK WITH JOHN as he storms out of the exam room, walks
          down the hall, goes through waiting room, then he PASSES US
          as he goes out into the dark parking lot, walks to his car
          and stops.
          We stay BEHIND HIM as he leans with one hand on his car, and
          doesn't move.

                         198

          198 INT. KITCHEN - NIGHT

          Jenny's sitting at the table looking through a thick album
          when John comes in. She looks up at him expectantly.

                         JOHN
          We're just gonna have to wait and see.
          If he makes it through the night, I
          think we'll be alright.
          He notices the album.

                         JOHN (CONT'D)
          What're you looking at?

                         JENNY
          Your old columns. He's in a lot of
          'em.



                         

                         

                         

                         
            111.

                         198

                         198 CONTINUED:
          John rotates the album for a better look.

                         JOHN
          You saved these?

                         JENNY
          Every one.
          He looks up at her.

                         JENNY (CONT'D)
          Even on the crappiest day, when the
          boys were driving me nuts and the
          laundry wasn't done and a hundred other
          things were hard, I knew I had this.
          (taps the book)
          Five minutes of you. Sometimes they
          were funny and sometimes they were sad,
          or silly or whatever, but they were all
          you. And for those five minutes, you
          made me feel better.
          She gets up, comes over to him, leans down and kisses his
          head. Then, as she starts out...

                          JENNY (CONT'D)
           You should read them. They're pretty
           great.

                          199

          199 EXT. PENNSYLVANIA HOUSE - DAWN

           The sun just coming up. We hear A PHONE RING OVER.

                          200

          200 INT. KITCHEN - SANE

          As John, his head on the table, asleep, pops up at the sound
          of the ring and grabs the phone.

                         JOHN
          Hello?
          (listens, then)
          Alright. Thank you.
          He hangs up, sees Jenny now standing in the doorway, tying
          her robe, looking at him anxiously.

                          JOHN (CONT'D)
           He's coming home.

                          201

          201 EXT. PENNSYLVANIA HOUSE - EVENING

          As John pulls up. He gets out of the SUV, walks around and
          opens the back window and now Marley sits up into view.



                         

                         

                         

                         
             112.

                          201

                         201 CONTINUED:

           COLLEEN (O.S.)
          Marley's back!
          John opens the tail gate just as the kids come rushing onto
          the porch, Marley's tail wagging as he's lifted out of the
          car and set on the ground, the kids now surrounding him...

                         202

          202 INT. SEBASTIAN'S APARTMENT - NEW YORK CITY - DAY

          Loft. Downtown. Full of unpacked boxes. A mattress on the
          floor. Expensive electronics sit atop their cartons. John
          follows Sebastian on a "tour."

                         JOHN
          Nice place. How long you been here?

                         SEBASTIAN
          Two years, little more.
          Sebastian sees John looking at all of the unpacked boxes.

                         SEBASTIAN (CONT'D)
          I'm in and out of town so much I really
          haven't had a chance to settle in. I
          hired a decorator, but she and I got
          into a thing and it got messy--

                         JOHN
          Right.

                         SEBASTIAN
          Beer?

                         JOHN
          I can't, I still got one more interview
          to do.

                         A
          Sebastian opens the fridge revealing nothing but beer and
          hunk of Parmesan.

                         SEBASTIAN
          What's the piece again?

                         JOHN

          U.N.

                         SEBASTIAN
          Right, you told me that. So you're
          down in Philly now, huh?

                         JOHN
          Just outside. More space for the kids.



                         

                         

                         

                         
            113.

                         202

                         202 CONTINUED:

                         SEBASTIAN
          Whatta you got, five now?

                         JOHN
          Three. Here's a picture of
          everybody...
          John pulls a photo from his wallet, hands it to Sebastian.

                         SEBASTIAN

                         (NODS)
          Jenny's holding up.

                         JOHN
          (ignores the callowness)
          Yeah, she's great. And that's Colleen
          our youngest...

                         SEBASTIAN
          What's with the ladybug get-up?

                         JOHN
          (smiling at the memory)
          Oh, yeah, that's a funny story. She
          had done this pageant at her preschool
          two weeks before, but she didn't wanna
          take off the costume, plus Marley went
          ballistic for the antenna which is why
          it looks like he's trying to eat her
          head.

                         SEBASTIAN

                         (FLAT)
          Yeah, that is funny.
          (returns the photo)
          So I was thinking later on maybe Thai?
          There's this new place in the meat
          Packing District. How's that sound? Be
          just like old times.
          John stands there a moment, feeling the distance between
          them.

                         JOHN
          Uh, well, actually I'm headed back home
          later today.

                         SEBASTIAN
          Oh.

                         JOHN
          In fact, I should probably get going...



                         

                         

                         

                         
             114.

                          202

                         202 CONTINUED: (2)

                          SEBASTIAN
           Alright.
          (awkward Man-pat hug)
          Good seeing you, man.

                         JOHN
          For sure.

                         SEBASTIAN
          (walking him out)
          Oh, hey, be sure to check out the
          Delegates Lounge at the U.N... Great
          Mojitos, really hot interpreters.

                         JOHN
          Thanks for the tip.
          And John goes out the door. Sebastian takes out his
          blackberry, dials...

                         SEBASTIAN
          Hey, it's Sea-bass. What're you up to
          tonight?

                         (THEN)
          Oh. No, that's cool. Another time
          then.
          He hangs up, stands there in the middle of his big, empty
          apartment a moment. He then dials another number.

                         SEBASTIAN (CONT'D)
          Hey, it's Sea-bass. What's going on?

                         203

          203 EXT. PENNSYLVANIA HOUSE - DAY

          As a cab pulls away and John carries his suitcase up onto the
          porch.

                         204

          204 INT. PENNSYLVANIA HOUSE - DAY

           John enters the house, sets down his suitcase.

                          JOHN
           Hello? Anybody home?
          He sees a note ("PICKING UP THE KIDS. J"), and peers into:

                         THE KITCHEN
          Where Marley is up on his hind legs, eating something off the
          counter. John puts his keys down, but Marley doesn't react.
          John sneaks up behind him. Marley keeps eating the grilled
          cheese sandwich off the plate...



                         

                         

                         

                         
             115.

                          204

                         204 CONTINUED:

                          JOHN (CONT'D)
          Marley? Hey, boy.
          Marley looks up briefly as if he heard something, but then
          returns to eating. John is right behind him. John reaches
          out and touches Marley, and Marley jumps, totally guilty.
          Then he turns and greets John.

                         JOHN (CONT'D)
          What's the matter, boy? You didn't
          hear me? Huh?
          He looks at the dog a moment, thoughtful, then...

                         JOHN (CONT'D)
          Let's go for a walk.

                         205

          205 EXT. HILL - DAY

          As John walks Marley off leash up a hill. At one point, John
          has to stop and wait for Marley to catch up.

                         JOHN
          Come on, boy, just a little further to
          the top...
          Marley comes up, panting, eyes wet and happy. John looks at
          him, can see how tired he is.

                         JOHN (CONT'D)
          You know what, this is a good spot
          right here.
          John looks out at the valley below, settles down onto the
          damp earth beside Marley.

                         JOHN (CONT'D)
          Let's just sit for a while.
          The two of them sit there, looking out at the beautiful
          countryside below. John strokes Marley for a moment. Looks
          at the grey hair, the tired eyes that now look back at him.

                         JOHN (CONT'D)
          Hey. So... you're gonna tell me,
          right? When it's time? Because I
          don't wanna make that decision on my
          own. So you just let me know when
          you're ready, okay?
          Marley rests his chin on John's arm.



                         

                         

                         

                         
            116.

                         205

                         205 CONTINUED:

                         JOHN (CONT'D)
          Okay.

                         206

          206 INT. UPPER HALLWAY - NIGHT

          Jenny is at the top of the stairs.

                         JENNY
          Marley?
          (turns to John)
          Have you seen him?

                         JOHN
           He's not up here.

                          207

          207 INT. LIVING ROOM - NIGHT


                         A
          John and Jenny find Marley lying peacefully in front of the
          dying fire.

                         JOHN
          I guess I could move his bed down here.
          John sits down beside Marley.

                         JOHN (CONT'D)
          Man. He's always slept with us. Now
          he can't even make it upstairs.

                         JENNY
          He looks pretty comfortable to me.

                         (THEN)
          I'll go get his bed.

                         JOHN
          Hey Jen? why don't you grab a blanket
          for me, too.
          She nods, starts back up the stairs. John grabs a pillow
          from the couch and lays down beside Marley.

                         JOHN (CONT'D)
          This is a good spot. I may never sleep
          upstairs again.

          JENNY (O.S.)
          Hey. Scooch over.
          He looks up and see that Jenny's brought a blanket. She lies
          down with them. John puts his arm around them both.
          Marley's tail begins gently pounding the floor.



                         

                         

                         

                         
             117.

                          207

                         207 CONTINUED:

                          JENNY (CONT'D)
          Just like old times.

          THUMP. THUMP.

                         208

          208 INT. PHILADELPHIA INQUIRER - DAY

          John sits across from his editor.

                         JOHN
          It'd be twice a week. Six hundred
          words.

                         EDITOR
          And what's the subject?

                         JOHN
          Everyday stuff. The stuff we all go
          through. But funnier.

                         EDITOR
          I don't get it. I thought you came
          here to be a reporter.

                         JOHN
          I did, but I think we both know that
          isn't me. I'm a columnist. A good
          one.
          A SECRETARY sticks her head in the office...

                         SECRETARY
          John-- your wife's on the phone. She
          says it's important...

                         JOHN
          I'll be right there.
          (to the editor)
           Think about it.

                          209

          209 INT. PENNSYLVANIA HOUSE - DAY

          Jenny on the phone, looking out into the backyard.

                         JENNY
          I can't get him back inside. He's
          lying out there in cold... and he won't
          move...

                         210

          210 EXT. PENNSYLVANIA HOUSE - DAY

          Late afternoon. John's car pulls up.

                         

                         

                         

                         
             118.

          211 INT. PENNSYLVANIA HOUSE - DINING ROOM - DAY 211

          Jenny and Patrick are sitting on the floor. Marley is lying
          on the dining room floor, breathing heavily.

                         JENNY
          Patrick came home and we got him here.
          Dr. Platt said if he's comfortable,
          leave him here for a while and see.
          But he's no better.
          John kneels down by Marley, who looks at him but doesn't wag
          his tail or lick his hand. He runs his hand over his coat -
          then over his stomach, the dog flinches.

                         JOHN
          I'm taking him in.
          The kids all come into the room, Colleen carrying a stuffed
          sheep.

                         COLLEEN
          Is he sick again?

                         JOHN
          Yeah, he is, honey. But I'm going to
          take him to the hospital and they'll
          try to make him better.
          Conor bends down, nuzzles Marley's face.

                         CONOR
          Get better, Mar.

                         COLLEEN
          You can take Lamby, okay?
          (she puts the stuffed animal
          next to him)
          But don't chew her other ear off.
          Patrick leans down, hugs Marley tightly and whispers right in

                         HIS EAR:

                         PATRICK
          Goodbye.
          When he looks up at his father, John can see that Patrick's
          crying, that he knows what the other two don't.

          212 EXT. VET'S - NIGHT 212

          John lifts Marley out of the car. Marley seems a little more
          alert.



                         

                         

                         

                         

            119.
           

                          212

                         212 CONTINUED:

                         JOHN
          You wanna walk?
          He sets him down gingerly. Hesitantly, Marley walks over to
          the tree that countless dogs have peed on, sniffs it, then
          looks around. John looks around, too. It's a crisp spring
          night in Pennsylvania. Takes a breath...

                         JOHN (CONT'D)
          Nice night, huh?
          Marley looks around, then looks at John. There's something
          in his expression. John nods, knows what he's saying.

                         JOHN (CONT'D)
          Okay, boy.
          (as Marley moves close)
          Okay.
          John, his heart breaking, bends down to carry Marley up the
          front steps of the clinic.

                         213

          213 INT. VET WAITING ROOM - LATER

          John stands as Dr. Platt comes out...

          DR. PLATT
          I did everything that worked before.
          But no luck. There's still surgery,

                         BUT HE'S--

                         JOHN
          --not strong enough.

          DR. PLATT
          There's blood in his stomach. The
          lining might be compromised. I don't
          know what we'll find if we go in there
          anyway.

                         JOHN
          Can you give me a minute? I need to...
          I need to call my wife.

                         214

          214 EXT. PARKING LOT - NIGHT

          John's on his cell phone...

                         JOHN

                         (INTO PHONE)
          It's me. It's the stomach thing again.
          Nothing's working. They could do
          surgery, but...

                         

                         

                         

                         
            120.

                         215

          215 INT. PENNSYLVANIA HOUSE - KITCHEN - NIGHT

          Jenny listens to John on the phone.

                         JENNY
          I know.
          Jenny nods as tears come. They stay on the phone, quiet,
          just being with each other. Finally:

                         JENNY (CONT'D)
          I love you, John.

                         216

          216 EXT. PARKING LOT - NIGHT


                         JOHN

                         (INTO PHONE)
          I love you.

                         217

          217 INT. EXAMINING ROOM - NIGHT

          John enters. Marley is on the table, zonked out. Dr. Platt
          has put a blanket on the cold metal table so Marley is warm.

          DR. PLATT
          I'll give you some time.
          She goes. John stares down at Marley. Takes the stuffed
          lamb out of his pocket, places it under a paw. When John
          puts a hand on his flank, Marley's eyes flutter open. His
          tail THUMPS gently.

                         JOHN
          Hey, buddy.
          He pets Marley's head, runs his hands all over Marley's body.
          His coat, still shedding. His tail. He takes up each paw,
          each ear, remembering and memorizing at the same time. He
          leans down, puts his nose on Marley's neck and breathes him
          in. Then he goes around, squats down so he's on Marley's
          level. He looks into Marley's eyes.

                         JOHN (CONT'D)
          Listen, you know all that stuff we
          always said about you? What a total
          pain you are? The world's worst dog?
          Well, don't you believe it. Don't
          believe it for a minute. You loved us,
          every day, no matter what. And that's
          a pretty amazing thing.
          (he leans in)

                         (MORE)



                         

                         

                         

                         
             121.

                         217 CONTINUED: 217

                          JOHN (CONT'D)
          Look, I don't know where you're going
          from here, but you remember this:
          You're a great dog, Marley. You are a
          great dog.

          218 INT. PENNSYLVANIA HOUSE - BEDROOM - NIGHT 218

          In the BEDROOM, Jenny sits on the bed, the phone in her hand,
          waiting, we BEGIN PULLING AWAY DOWN THE HALLWAY.

          219 INT. CLINIC - NIGHT 219

          Dr. Platt is in the room now. John, his hand on one of
          Marley's paws, kneels on the ground, looking at Marley,
          Marley lays on the table, looking right back at him.

          DR. PLATT
          He won't feel a thing. He'll just slip
          away. Are you ready?

                         JOHN
          (looking at Marley)
          We're ready.
          Dr. Platt inserts the needle into the I.V. and presses the
          plunger.

          220 INT. PENNSYLVANIA HOUSE - NIGHT 220

          As a pajama-clad Patrick slips a tape into the VCR...

          221 INT. CLINIC - NIGHT 221

          As we now HOLD ON MARLEY'S EYES, slowly beginning to close.

          222 INT. PENNSYLVANIA HOUSE - BEDROOM - NIGHT 222

          As Jenny sits vigil by the phone, we CONTINUE PULLING BACK.

          223 INT. PENNSYLVANIA HOUSE - NIGHT 223

          As Patrick sits alone in the dark living room, his face
          illuminated by the TV, as he watches SILENT IMAGES from
          Grogan family home videos:
          TWO-YEAR-OLD PATRICK rides on Marley's back through the house
          at 345 Churchill, young Marley's tail knocking over
          everything within range, toddler and dog both joyous.

                         

                         

                         

                         
            122.

                         224

          224 INT. CLINIC - NIGHT

          As Marley's eyes finally close. The CAMERA drifts to John's
          hand, stroking Marley's side. Dr. Platt listens to Marley's
          heart and says:

          DR. PLATT
          He's gone.
          FROM ABOVE, the dog on the table, the doctor discreetly going
          to the side, and John laying his head next to Marley and
          putting his arms around him as we now...

                         225

          225 EXT. PENNSYLVANIA HOUSE - DAY

          As the five Grogans walk across the-property. Colleen sits
          on John's shoulders. They reach a clearing where we see a
          small grave has been dug. John sets Colleen down...

                         COLLEEN
          He's wrapped in his blanket...

                         JOHN
          So he'll be warm.

                         JENNY
          You guys want to read your letters?

                         COLLEEN
          Mine is a picture. Of me and Marley.
          And grasshoppers. And ice cream.
          Mommy wrote what I said. "Dear Marley.
          I will never forget you, forever." And
          those are kisses.

                         JOHN
          It's beautiful, honey. He'll like it.
          Drop it in. Conor?
          Conor reads his piece of paper.

                         CONOR
          "Dear Marley. I loved you all my life.
          I hope you like heaven and that there's
          lots to chew on. Your brother, Conor
          Richard Grogan."
          John puts his hand on Conor's shoulder as Conor drops in the
          letter into the grave.

                         JENNY
          Patrick? Do you want to say anything?



                         

                         

                         

                         


                          225

                         225 CONTINUED:

                         PATRICK
          He knows.

                         JENNY
          I'd like to give him something.
          Jenny reaches behind her neck and unclasps the gold necklace
          John gave Jenny when she first got pregnant.

                         JENNY (CONT'D)
          This little necklace has been on quite
          a journey.
          John smiles at her, remembering. So much shared history.

                         JOHN
          Your dad gave this to me to celebrate
          the beginning of our family. But you
          know what? Our family had already
          begun.
          She looks into the grave, gently sets the necklace atop the
          blanket, lets her hand rest there a moment, then stands up.

                         JENNY
          Good-bye, Clearance Puppy.

                         DISSOLVE TO:

          226 EXT. GRAVE SITE - LATER 226

          John puts few big stones on top of the tamped-down earth. He
          sits on his haunches beside the grave, looks up at the house
          across the yard.

          JOHN'S POV - THE HOUSE
          All lit up. We see the kids sitting by the fire while Jenny
          moves about the kitchen getting dinner ready.
          John sits there watching them. watching his family. The
          family that both he and Marley grew up in.
          He gives the fresh dirt a final, loving pat and then, as the
          last bit of sun goes down, he stands up, and heads for home.

                         FADE OUT