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Sexual Life Movie Script

Writer(s) : Ken Kwapis

Genres : Comedy, Drama

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                                     SEXUAL LIFE

                                     Written by
 
                                     Ken Kwapis

   

                                                                   Draft: 08/03

                                
               FADE IN:

               EXT. CITY SKYLINE - DAY


               From an AERIAL VIEW we see the outline of a city.  Any city will 
               do.  Mirrored high rises.  Sprawling apartment complexes.  A 
               lot of people live here...whoever they are.
 
               As we move closer we discover that this is not a real city at 
               all, but a scale model of one.
 
               Everything is in miniature -- the buildings, parks, and freeways. 
                GLIDING over this tabletop metropolis, we find that none of 
               the buildings have roofs, allowing us to peak inside.
 
                                     VARIOUS CLOSE ANGLES
               We FLOAT through miniature coffee shops, offices, and bedrooms, 
               where toy figures are arranged in tableau of everyday life
 
               
               A man dines alone.  A woman walks her dog.  Two kiss on the street. 
                One waits for a bus.
 
               Over this we HEAR Marianne Faithful's smoky-voiced cover of the 
               standard "When We're Alone"
 
               Just picture a penthouse Way up in the sky, With hinges on chimney 
               For stars to go by, A sweet slice of heaven For just you and 
               I, When we're alone.
 
               From all of society We'll stay aloof, And live in propriety There 
               on the roof, Two heavenly hermits We'll be in true, When we're 
               alone.
 
               As the song ends we find a miniature girl who lies on a miniature 
               bed.
 
                                     CUT TO:

               INT. LORNA'S APARTMENT BEDROOM - DAY


               A cramped one-room studio.  Asleep on a futon is a slender girl 
               of nineteen -- LORNA.  Her blood red toenails give the place 
               its only color. An alarm clock rings it's twelve noon.  Lorna 
               uses her foot to turn it off.
 
                                     LORNA
               Terri.  Why did you let me sleep so late?

               Lorna looks over to an empty pull-out sofa, its only occupant 
               a skinny kitten.
 
               LORNA (CONT'D) (cont'd)

               Terri?

               (to the cat)

               She must already be at work, huh?

               The cat meows -- very non-committal.

                                     CUT TO:

               INT. LORNA'S KITCHEN - DAY


               Still in her T-shirt and panties, Lorna opens a can of cat food 
               as the kitten looks on.
 
                                     LORNA
               She probably forgot what day it is, right Arthur?  Some friend 
               she turned out to be.  Not like you.  You remember what day it 
               is, don't you?
 
               (off the cat's blank stare)

               I'm not giving you any food until you tell me.

               Arthur the cat responds with a pitiful meow.  Lorna smiles and 
               sets down the food.
 
               LORNA (CONT'D) (cont'd)

               That's right.  I knew you'd remember.

                                     CUT TO
                                     OMITTED

               EXT. STREET - DAY


               Lorna, dressed casually, walks to the bus stop.  Reading the 
               crossword puzzle in the paper, she doesn't see the curb and trips, 
               spilling her purse.  
 
               Embarrassed, she gathers her things, then takes a seat next to 
               a Latino Woman.  Lorna smiles and resumes work on the puzzle. 
                
 
               Stumped by a clue, she turns to the Woman.

                                     LORNA
               Hmm.  Simon and Garfunkel hit.  Eight letters.  Any thoughts?
 
               
               The Woman shrugs and looks off.

               Suddenly, Lorna's phone rings.  She reaches into her purse but 
               it's not there.  Then, she spots it...in the street.  But the 
               moment she goes to get it, a truck roars past and smashes it 
               to smithereens.
 
               LORNA (CONT'D) (cont'd)

               Oh my god.

               But as she scoops up the pieces in her hand a smile creeps across 
               her face.
 
               LORNA (CONT'D) (cont'd)

               No, this is right.  This is exactly right.

                                     CUT TO

               INT. COFFEE SHOP - DAY


               A few notches up from a greasy spoon.  Lorna sits at the counter, 
               stirring her coffee.  A WAITRESS approaches.
 
                                     LORNA
               Excuse me, whatever happened to that sign, the one that used 
               to hang next to the pies?
 
               The Waitress looks over her shoulder.

                                     WAITRESS
               What sign?

                                     LORNA
               The one that said, "Today is the first day of the rest of your 
               life."
 
                                     WAITRESS
               That thing?  We got rid of it.

                                     LORNA
               Oh.

                                     WAITRESS
               Have you decided?

               Before Lorna can speak, we hear--

                                     WOMAN
               She'll have the steak and egg special.

               Lorna turns as TERRI, her roommate, joins her at the counter. 
                A little older than Lorna, Terri is cute but a little dangerous.
 
               
                                     TERRI
               Look at her, she needs protein.  Lots of protein.

                                     LORNA
               (to the Waitress)

               White toast.  Dry.

               The Waitress leaves.

                                     LORNA
               Working early today, huh?

                                     TERRI
               No, I had something important to do...

               Terri opens her bag and pulls out a small, gift-wrapped box.
 
               
                                     TERRI
               ...Miss nineteen.

                                     LORNA
               I knew you'd remember.

               Terri gives Lorna a kiss on the lips.

                                     TERRI
               Of course I remembered.  Go on, open it.

                                     LORNA
               No, no.  I wasn't born until ten minutes before midnight.  And 
               that's when I'll open it.
 
                                     TERRI
               You better like it.  I don't want to tell what I had to do to 
               pay for it.
 
                                     LORNA
               Ooh.  It must be good.

                                     TERRI
               So what's the plan, Stan?  Something special today?  Other than 
               splurging on toast.
 
                                     LORNA
               Yes.  There is something.

                                     TERRI
               Good.  Count me in.

                                     LORNA
               No.  Something big.  Something I've been thinking about for a 
               long time.
 
               Terri sighs -- she knows exactly where this is going.

                                     LORNA
               I can't do this forever, Terri.  Look...

               Lorna points to the corner of her eye.

                                     LORNA
               Crow's feet!  I'm nineteen!  Crow's feet!  I know I keep talking 
               about it, but this time I'm going to do it.  In fact, I did it. 
                This is my last day.
 
                                     TERRI
               Okay...

                                     LORNA
               I called them.  I told them I was out.

                                     TERRI
               You did not.

                                     LORNA
               Uh-huh.  I have one more appointment.  Then, I'm...free.

                                     TERRI
               Give me your cell phone.  I'm calling them back right now.

               Lorna smiles and pours the shattered remnants of her phone on 
               the counter.
 
                                     LORNA
               A bus ran over it.  Isn't that perfect?  It's a perfect sign.
 
               
               Terri pops a cigarette in her mouth as the Waitress delivers 
               the toast.
 
                                     WAITRESS
               (to Terri)

               Can't do that here, Miss.

                                     TERRI
               I know, I know.  I'm not going to light the damn thing.

               (beat)

               Fuck me.

                                     LORNA
               Look, I'm good for next month's rent.

               This takes Terri by surprise.

                                     TERRI
               What, you're leaving too?

                                     LORNA
               Maybe.  Get out of town for a while.  I really feel good about 
               this.
 
               (beat)

               I appreciate everything you've done for me this year, Terri.
 
               
                                     TERRI
               I wish you'd talked to me first.

                                     LORNA
               I didn't because...I knew you'd try to talk me out of it.

                                     TERRI
               That's because I'm looking out for you.  It's because there is 
               so much opportunity here.
 
               (beat)

               And it's because I'm your friend.

               Lorna fiddles with her toast.

                                     LORNA
               I know.

               (beat)

               Listen, I'm late.

               Lorna leaves some change on the counter, picks up her gift and 
               gives Terri a hug.
 
                                     LORNA
               Thanks.

                                     TERRI
               Well...Happy Birthday.

               As Lorna goes, the Waitress reappears.

                                     WAITRESS
               Your friend comin' back?

                                     TERRI
               Hard to say.

                                     CUT TO

               INT. TODD'S APARTMENT - DAY


               Someone is flipping through a stack of wedding photos.  Festive 
               shots of various couples.  At the altar.  Cutting the cake.  
               Posing with relatives.
 
                                     CUT TO
               We're in --

               A living room, Lorna sits on the couch browsing the wedding photos. 
                She has a quizzical look, as if the photos were of some incomprehensible 
               alien culture. The apartment is cluttered but not dirty.  The 
               decor suggests an occupant of modest means and bohemian taste.
 
               
               The occupant is TODD, who ENTERS counting a wad of money.  Late 
               twenties.  Unshaven.  By turns, cocky and nervous.
 
               He sets the money in front of Lorna.

                                     TODD
               Seventy-five, right?  For the half-hour.

                                     LORNA
               Not including tip.

               She smiles.  Todd paces uneasily.

                                     TODD
               And, typically, the size of the tip is...

                                     LORNA
               Depends on how generous you feel.

                                     TODD
               Of course.

                                     LORNA
               Is...this your first appointment?

                                     TODD
               No.  I've done this before.

               Lorna thinks otherwise.  She pats the seat next to her.

                                     LORNA
               Come over here, you're making me nervous.

               He plops down next to her.

                                     LORNA
               So, how much extra do you feel like spending?

                                     TODD
               I don't know.  Another fifty dollars?

                                     LORNA
               Uh-huh.

               She thumbs through the wedding photos.

                                     LORNA
               So, this is what you do.  Weddings.

                                     TODD
               It pays the rent.

                                     LORNA
               These are good.  You're really a good photographer.

                                     TODD
               Well, somebody thinks so.  I get a lot of work.

                                     LORNA
               And you can only spend another fifty on me?

               Todd walked right into that one.

               LORNA (CONT'D) (cont'd)

               Maybe you'll feel more generous once you get to know me.

               Lorna smiles.  Her face has an open, unguarded beauty.

                                     TODD
               You have a great smile, do you know that?

                                     LORNA
               Yeah, I've heard.

                                     TODD
               And I like your name.  Lorna.  Like the cookie.

                                     LORNA
               Gee, I've never hear that one before.

               She laughs at him.  But it's not unkind.

               LORNA (CONT'D) (cont'd)

               I have a friend who makes photos.  She's had some stuff in magazines. 
                Really dirty stuff, though.  Worse than dirty.  Sick, really. 
                You probably wouldn't like it.
 
                                     TODD
               Hey, I'm not afraid of sick images.  In fact, it's what I aspire 
               to do, create pictures that are edgy, that really assault you, 
               that reach out and slap you in the face.
 
               Lorna considers this.

                                     LORNA
               Why?

                                     TODD
               Well...I don't know.  Shake people out of their...complacency. 
                Your friend would understand.  What's her work like?
 
                                     LORNA
               She photographs people pissing on each other.

                                     TODD
               Uh-huh.

                                     LORNA
               Yeah...disgusting.

                                     TODD
               Maybe that's the point.

                                     LORNA
               But who would want to look at that?  I mean, bathrooms have doors 
               for a reason.
 
                                     TODD
               What do you like?

                                     LORNA
               I like things that make me happy.  Like this.

               Lorna holds up a photo of a beautiful, smiling bride.

                                     LORNA
               I bet she's going to have a very happy life.

               She lingers over the photo.

                                     LORNA
               I don't think I'm the marrying kind, though.

                                     TODD
               Me, neither.  Marriage, it's so...medieval.  Sometimes when I'm 
               doing a wedding I look at the bride and groom and think, "What 
               a couple of lemmings."
 
                                     LORNA
               I'm not sure people can be true, that's all.

                                     TODD
               Right.  That, too.

               Lorna puts down the photos.

                                     LORNA
               Well...Now that we've gotten to know each better, maybe we should 
               get started.
 
                                     CUT TO

               INT. TODD'S BATHROOM - DAY


               Alone, Lorna prepares.  She tears open a condom wrapper, stares 
               into the mirror and runs her lines.
 
                                     LORNA
               Oh, you really have a big cock...My, you really have a big cock...God, 
               what a big cock you have.
 
                                     CUT TO

               INT. TODD'S BEDROOM - DAY


               Lorna and Todd are having sex.  She's on top, her movements slow 
               and hypnotic.  Occasionally, Lorna offers a moan, some are more 
               convincing than others.
 
               NOTE: Throughout the scene, our ANGLES generally exclude Todd 
               from view.  We may HEAR him, but our focus is on --
 
                                     LORNA
               As she goes about her work, Lorna wears a vaguely puzzled expressions. 
                In fact, puzzles are on her mind.
 
                                     LORNA
               Forty-two across...Simon & Garfunkel hit...eight letters...begins 
               with 'I'...I...I'm A Loser...Did they sing that?...Susie used 
               to play Mom's Simon & Garfunkel records all the time...I scratched 
               one once and she pulled my hair...I haven't spoken to her for 
               almost a year...Her little kid must be walking by now...Maybe 
               I should give Susie a call...Nah, fuck that!  She's perfectly 
               capable of calling me...I mean, I'm listed...I'm...I am a rock...that's 
               it!...I Am A Rock, that's the answer...I am a--
 
               Suddenly, Lorna remembers the job at hand.

                                     LORNA
               (flatly)

               God, you really have a big cock.

               Like Pavlov's proverbial dog, Todd MOANS and the whole thing 
               is quickly over.
 
               Lorna gives Todd a look -- it's an astonishing impersonation 
               of tenderness.
 
                                     LORNA
               Wow.  That was something.

                                     TODD
               Yeah...was it?

                                     LORNA
               Let me tell you...that was something.

                                     TODD
               Really.

                                     LORNA
               Cut the modesty.  You really know what you're doing.

                                     CUT TO

               INT. TODD'S KITCHEN - DAY


               Lorna, dressed, is dialing the kitchen phone.  From the kitchen 
               window she can see a school playground across the way.  It's 
               recess.  Girls in uniforms perform a jump rope cadence.
 
                                     LORNA
               (into phone)

               Hey, it's Lorna...I'm clocking out for the last time...No, I'm 
               not done for the day, I'm done...Wait, I don't think you heard 
               me...Well, just give it to one of the other girls.  Give it to 
               Terri...I don't care if he's an important client, I told you 
               I'm...Well, you'll just have to cancel it, won't you?...I don't 
               care what it pays, it's not my fuckin'--
 
               She turns to find Todd in the doorway, listening.

                                     LORNA
               (into phone)

               Hold on...

               (to Todd)

               What?

                                     TODD
               Nothing.  Are you alright?

                                     LORNA
               I'm fine.  The cab fare will be another twenty.

                                     TODD
               You never said anything about cab fare.

                                     LORNA
               Of course I did.  Are you calling me a liar?

                                     TODD
               No.  I swear, you didn't say a word about it.

               Lorna slowly brings the phone to her ear.

                                     LORNA
               (into phone)

               Alright.  Where is it?

                                     CUT TO

               INT. TODD'S CAR - MOVING - DAY


               Todd is at the wheel of his vintage Buick.  Lorna sits on the 
               passenger side.  She looks off, distracted.  On the seat between 
               them is the gift from Terri, still unopened.
 
                                     TODD
               You haven't told me where we're going yet.

                                     LORNA
               Make a right at the light.

               He does.

                                     TODD
               Can I ask you a question?

               (without a beat)

               No, forget it...it's stupid.

                                     LORNA
               Go on, ask.

                                     TODD
               Well, after we...after we did it, you didn't really mean what 
               you said, did you?  About me being so good.
 
               Lorna looks at him like he's the biggest fool in the world.  
               This is not lost on him.
 
                                     TODD
               (back-peddling)

               I'm only asking because I'm fascinated by this whole scene you're 
               in.  So, don't worry about sparing my feelings or anything.  
               I'm just curious.
 
                                     LORNA
               Pull over.

                                     TODD
               What?

                                     LORNA
               Pull over here.

               He does.  Up the block is a high-rise, luxury hotel.  Limos and 
               cabs line the driveway.  Uniformed doormen guard the entrance.
 
               
                                     LORNA
               You see that hotel?  In one of those rooms, there's a man waiting...he's 
               waiting for me.  I don't know what his name is or what he looks 
               like.  He may have bad skin.  He may be really ugly.  But no 
               matter how he looks, or how bad he smells, or whether he makes 
               weird wheezing sounds when he comes, I tell him the same thing...the 
               same thing I told you.
 
                                     TODD
               Right...Well, that's what I thought.  I mean, a guy would have 
               to be pretty lame to think that...
 
               Todd knows better than to even finish.

                                     LORNA
               To think what?

                                     TODD
               Nothing.

               Quite out of the blue, she leans over and kisses him on the cheek.
 
               
                                     LORNA
               It's Todd, right.

                                     TODD
               Yeah.

                                     LORNA
               Well, Todd, you're alright.

               (beat)

               And that I don't say that to everyone.

               She opens the door, starts out--

                                     TODD
               If I wanted to see you again--

                                     LORNA
               No. You can't.  You can't see me again.

               (beat)

               But thanks for asking.

                                     OMITTED

               INT. TODD'S CAR - DAY


               Lorna closes the door and starts for the hotel.  Todd drives 
               past, watching her recede in the rear-view mirror.
 
               The moment she disappears, Todd looks down and sees the gift 
               box from Terri -- Lorna left it on the seat.
 
               Without missing a beat, Todd slams on the brakes, jumps out and 
               races back to where he left her.  Looking everywhere--
 
                                     TODD
               Lorna!  Lorna!

               But Lorna is gone.

                                     CUT TO
                                     OMITTED
                                     CUT TO

               INT. PHOTOGRAPHY STUDIO - DAY


               A business that specializes in sentimental portraits -- weddings, 
               graduations, anniversaries...even beloved pets.
 
               A photo shoot in progress.  Todd and his colleague PHIL -- mid-30s, 
               are doing an engagement portrait.  
 
               The couple -- very straight and suburban -- are just of out Todd 
               and Phil's earshot.
 
                                     PHIL
               (to the couple)

               Beautiful, just beautiful.

               (to Todd)

               You used a rubber, I hope.

                                     TODD
               Of course.

                                     PHIL
               And how much did this afternoon delight set you back?

                                     TODD
               Oh.  About a buck and a quarter.

               (to the couple)

               We just need to reload.

               As they do--

                                     PHIL
               Since when do you have a hundred and twenty-five dollars to throw 
               away?
 
                                     TODD
               I'm sure you spend just as much on porn rentals.

                                     PHIL
               There's no comparison.  Here, I'll do the math for you.

               Phil pulls a calculator out of his camera bag.

               PHIL (CONT'D) (cont'd)

               (punching in numbers)

               A video rents for $2.65.  That's a two-day rental.  That means 
               you can get off at least a couple times before it's due.  $125 
               divided by $2.65 equals approximately 47.  47 X 2 = 94.  I can 
               get off ninety-four times for the same amount you paid to get 
               off once.  Now tell me who gets the better deal.
 
                                     TODD
               You're right.  I can't argue with that.

                                     PHIL
               Anyway, I stopped watching porno.

                                     TODD
               You did?  Why?

                                     PHIL
               They kinda depress me.

               (beat)

               When I want to get off now, you know what I use?

                                     TODD
               What?

               Phil taps his forehead.

                                     PHIL
               My imagination.

               (to the couple)

               Okay, folks.  It's magic time.

                                     LATER.
               The couple is gone.  Phil and Todd wrap some equipment.

               Phil (cont'd)

               What I don't understand is, aren't you getting enough action 
               from that Sarah?
 
                                     TODD
               What's Sarah got to do with it?

                                     PHIL
               You're seeing her, aren't you?

                                     TODD
               Sarah...that's a whole different situation.

                                     PHIL
               But you're doing it with her, right?

                                     TODD
               I like Sarah a lot.  And I don't want to blow it by pushing too 
               hard.
 
               Phil stares.

                                     PHIL
               You mean, you haven't...

                                     TODD
               Technically?  No.

                                     PHIL
               She won't put out?

                                     TODD
               No, no, no.  You don't get it.  You can't equate the two.  What 
               I did with Lorna--
 
                                     PHIL
               Lorna?

                                     TODD
               That's her name.  Lorna.  I mean, that's the name she gave me. 
                What I did with her...that was like going to some exotic place. 
                For a visit.    Haven't you ever wondered what that kind of 
               person is like?  What that world is like?  I was just...doing 
               research.  The lower depths...
 
               (beat)

               You think I'm full of shit, don't you?

                                     PHIL
               I didn't say anything.

                                     CUT TO:
                                     OMITTED
                                     CUT TO

               EXT. MOVIE THEATER - NIGHT


               A revival house in a college neighborhood.  The ticket seller 
               hangs a "Sold Out" sign in the box office window, just as Todd 
               and SARAH come running down the sidewalk.
 
                                     SARAH
               Shit!  Sold out!

               Sarah, at twenty-five, is cute, brainy, articulate, and hopelessly 
               insecure.
 
               They lean against the wall and catch their breath.

                                     SARAH
               I am so sorry.

                                     TODD
               That's alright.  I hear it's really overrated.  And long.

                                     SARAH
               I could just kill him!  This is not the first time he's done 
               this, either.
 
                                     TODD
               Done what?

                                     SARAH
               Cooked up some phony emergency, right as I'm getting on the elevator.
 
               
                                     TODD
               He's your boss.  Being an asshole is part of the job description.
 
               
                                     SARAH
               We're talking about the most self-centered man I have ever met. 
                God forbid I should have a life, right?
 
               (beat)

               But I'm not going to let him do it.

                                     TODD
               Do what?

                                     SARAH
               Ruin my evening.  Our evening.

               (without a beat)

               You know, he also thinks he's God's gift to women.  I'm surprised 
               he hasn't been sued by now...Okay, okay.  Stop me.
 
               He takes her by the shoulders.

                                     TODD
               Sarah.  Take a breath.

                                     SARAH
               Okay.  I'm taking a breath.

               And she does.

                                     TODD
               Now, take another one.

                                     SARAH
               I like you.  Have I told you that?

                                     TODD
               Not today.

                                     SARAH
               You know what I want to do?  I want to go shopping.

                                     TODD
               Shopping?  For what?

                                     SARAH
               For a house.

                                     TODD
               (completely thrown)

               Just what I was thinking.

                                     CUT TO

               INT. TODD'S CAR - MOVING - NIGHT


               Todd drives Sarah through a neighborhood full of beautifully-maintained 
               old homes.  She is a kid in a candy store--
 
                                     SARAH
               Look at the detail on that one.  Wow.  Every one of these is 
               a gem.  Makes the stuff I work on look pretty shabby by comparison.
 
               
               She shifts to get a better look.  In doing so, her foot hits 
               an object on the floor.
 
                                     SARAH
               What's this?

               She lifts up Lorna's birthday gift -- still unwrapped.Todd reacts 
               -- he forgot to get rid of it -- and Sarah reacts to Todd.
 
               
                                     SARAH
               Obviously, not for me.

                                     TODD
               Something...somebody left in front the studio.  I just picked 
               it up.
 
               Sarah nods -- she seems to buy it -- and promptly opens the box.
 
               
                                     TODD
               What are you doing?

                                     SARAH
               Maybe we can find out whose it is.

               Inside is a silver bracelet, and a hand-written note.

                                     SARAH
               (reading)

               "Lorna.  Remember, I'm in your corner.  Love, Terri."  Pretty 
               cool bracelet.  You just found this.
 
                                     TODD
               Stupid of me...I should've left it.

                                     SARAH
               Lorna.  That's a name you don't hear very much.  Lorna.  Like 
               the cookie.
 
               (off Todd's look)

               What?  You've never had a Lorna Doone?

                                     TODD
               No.

                                     SARAH
               Terri and Lorna.  Sisters, maybe?  Lovers, more like it.  Or...witches. 
                And this bracelet is some sort of talisman.
 
                                     TODD
               You have a perverse mind.

               (beat)

               ...which I like, by the way.

                                     SARAH
               Or...perhaps Terri killed Lorna, and this "gift" provides her 
               with an alibi.
 
                                     TODD
               Maybe you should put it back.

                                     SARAH
               What, aren't you a little curious?

               Todd pulls over and stops.

                                     TODD
               Sarah...I don't know how to put this.  This is our fourth night 
               out, and I feel a lot of pressure...for this to work.
 
                                     SARAH
               I want it to work, too.

               (off his look)

               Oh.  Is this about sex?

                                     TODD
               Don't you think we're being a little...methodical about the whole 
               thing?  Maybe we should just...
 
                                     SARAH
               What?  Get it over with?

                                     TODD
               Not exactly.

                                     SARAH
               Don't you think it's better to be sure of each other first?  
               To have a little bit of trust?
 
               Sarah absently fingers the bracelet that's not hers.

                                     TODD
               You can trust me.

                                     SARAH
               I know, I know.

               (beat)

               But you're not sleeping with anyone else, right?

                                     TODD
               Of course not.

                                     SARAH
               It's not such a strange thing to ask.  Sometimes relationships...overlap. 
                I just need to feel--
 
                                     TODD
               I told you.  I'm not.

               Beat.

                                     SARAH
               You haven't asked me if I'm seeing anyone.

                                     TODD
               Is that bad?

                                     SARAH
               It's silly, I know, but it makes me feel like you couldn't imagine 
               anyone being interested in me.
 
                                     TODD
               What?  You should be flattered I don't ask.  I respect you enough 
               to assume you'd tell me if you're involved with someone.
 
               Sarah considers this.

                                     SARAH
               Hmm.  Ask me, anyway.

                                     TODD
               Are you serious?

               (off her look)

               Alright.  Are you seeing anyone?

                                     SARAH
               Absolutely not.

               Todd takes the bracelet, puts it on the dash, then leans to kiss 
               Sarah.
 
                                     SARAH
               I do want to make love tonight.

                                     TODD
               I'm just worried that all this talk is going to kill the spontaneity--
 
               
               She presses her finger to his lips--

                                     SARAH
               I think spontaneity is overrated.

                                     CUT TO

               INT. SARAH'S APARTMENT BEDROOM - NIGHT


               Todd and Sarah are making out in her bedroom.  To expedite matters, 
               they're also trying to undress.  It's not very practical.  Todd 
               can't quite kick off his shoes.  Sarah can't quite get her blouse 
               unbuttoned.
 
               Finally--

                                     SARAH
               Todd, the light.

               He switches it off.  They sit side by side and undress down to 
               their underwear.   They look at each other.
 
                                     SARAH
               Wait.  Don't say anything.

                                     TODD
               Okay.

               Beat.

                                     SARAH
               What were you going to say?

                                     TODD
               I wasn't going to say anything.

                                     SARAH
               Oh.

                                     TODD
               You look beautiful--

                                     SARAH
               No, don't say that.  Let's get under the covers.

               They climb into bed and move into each other's arms.

                                     SARAH
               Let's go slowly.

               They kiss, caress, shedding their inhibitions. Then--

                                     SARAH
               Oh.  Oww!

                                     TODD
               What happened?

                                     SARAH
               Dammit...my foot.  I've got one of those...what's the word?
 
               
                                     TODD
               A bunion

                                     SARAH
               Not a bunion.  A spasm.

                                     TODD
               Oh, a foot spasm.  Here let me--

               He throws back the covers and massages her foot.

                                     SARAH
               Oww!  No, stop!  It hurts!  I hate this!

                                     TODD
               What can we do?

                                     SARAH
               Nothing, it's fine, it's fine.  Lemme just walk it off.

               She gets out of bed and hobbles into--


               INT. SARAH'S HALLWAY - NIGHT


               Dressed in bra and panties, Sarah hops up and down the hall, 
               desperate to relieve her pain.
 
               Todd appears in the doorway and watches her mad little dance.
 
               
               His thoughts--

                                     TODD
               She has a better-looking body than I imagined...Breasts are definitely 
               bigger than I thought.  You can just never tell with breasts, 
               can you?...I don't know what to make of this foot problem...Maybe 
               she gets a spasm every time she has sex...I've heard of people 
               with problems like that...People who can't have sex without laughing, 
               or burping...Oh, God, what if she's one of them...
 
               Sarah looks up from her hopping.

                                     SARAH
               I am so embarrassed.  Trust me, this doesn't happen all the time.
 
               
                                     TODD
               The thought never crossed my mind.

                                     CUT TO

               INT. SARAH'S BEDROOM - NIGHT


               Sarah and Todd, back under the covers, making love.  Todd is 
               on top, moving slowly.  Sarah bites her lip and closes her eyes.
 
               
               Todd looks at her and wonders --

                                     TODD
               She won't look at me.  Why won't she look at me?..I'll bet she's 
               preoccupied with her foot.  She's praying she won't get another 
               spasm, another foot freak-out...She's being awfully quiet, too...Why 
               is she so quiet?...Maybe she needs to concentrate...Some women 
               need to concentrate...I read that in a magazine at the grocery 
               store...That blonde check-out girl who works there is really 
               cute...I love the way she says, "Paper or plastic?"...
 
               Todd lets out an excited gasp.  Sarah opens her eyes with alarm.
 
               
                                     SARAH
               Todd!  Shhh...

               Todd stops.  Everything stops.

                                     TODD
               What's the matter?

                                     SARAH
               These walls, they're paper-thin.  This building is so poorly 
               built.  Everyone can hear you.
 
               Todd rolls off of her.

                                     TODD
               Is that why you're so quiet?

                                     SARAH
               Yes, the walls are...What are you saying?

                                     TODD
               It's hard for me to tell if you're enjoying this.

                                     SARAH
               Of course, I am.  I'm sorry if I'm not vocal enough for you.
 
               
                                     TODD
               That's not what I...Sarah, I just want to make sure I'm doing 
               something right here.
 
                                     SARAH
               There's no right or wrong way to do this.

                                     TODD
               I know.  I just want to make sure I'm...you know, in the ballpark.
 
               
               Sarah stares at him.

                                     SARAH
               Todd, I don't expect you to do everything right the first time...Sorry, 
               that didn't come out the way I meant it...
 
               They roll away from each other and stare at the ceiling.  We 
               hear a distant siren -- a fire engine, maybe.  Somewhere there's 
               a five-alarm fire blazing.  Not here.
 
                                     TODD
               You didn't like it.

                                     SARAH
               No, I didn't say that.  I was just...Let's be still for a while. 
                Alright?
 
                                     FADE OUT:
                                     FADE IN:

               INT. SARAH'S BEDROOM - LATER - NIGHT


               Sarah and Todd haven't moved.  It's not clear how much time has 
               elapsed.
 
                                     SARAH
               Everyone expects fireworks the first time you do it.  But that's 
               just a myth.
 
                                     TODD
               A myth.  You're right.

                                     SARAH
               Let's not be too hard on ourselves.

                                     TODD
               I agree.

                                     SARAH
               Our expectations were a little high, that's all.

               Todd nods his agreement.

                                     TODD
               And at the end of the day, sex is only one part of the picture.
 
               
                                     SARAH
               True.  What do you mean?

                                     TODD
               I know this couple. They had nothing in common but good sex. 
                They went at it like a pair of rabbits.  And guess how long 
               it lasted?  A month.  They were hot for each other...but there 
               was nothing else.
 
                                     SARAH
               Right.

               (beat)

               There's got to be something else.

               And they stare at the ceiling.

                                     FADE OUT:
                                     FADE IN:

               INT. SARAH'S BEDROOM - STILL LATER - NIGHT


               They still haven't moved, but unbeknownst to Sarah, Todd has 
               fallen asleep.
 
               She looks at him.  She caresses his face.  Then, her hand slides 
               down under the sheets.  She tries to arouse him, but after a 
               while she stops.  He's very much asleep.
 
               Sarah lies back.  She slides her hand between her legs and begins 
               to touch herself.
 
               Quietly.

                                     FADE OUT:
                                     FADE IN:

               EXT. STREET - DAY


               Early morning.  The air is cool and crisp as Sarah, wearing sweats 
               and a T-shirt, jogs through the neighborhood.
 
               She turns down a side street, heading for--


               EXT. SARAH'S GRANDPARENTS HOUSE - DAY


               A nondescript house with a faded American flag hanging off the 
               front porch.  Sarah climbs the steps where an elderly man -- 
               her GRANDFATHER, sits with the morning paper in his lap, unread.
 
               
               Sarah gives him a kiss.

                                     SARAH
               Morning, Pappy.  How's she doing today?

                                     GRANDFATHER
               Don't pay her any mind, Sarah.  The things she says, they get 
               stranger by the day.
 
               Sarah pays him no mind and heads into the house.

                                     CUT TO

               EXT. BACK PORCH - DAY


               Sarah and her GRANDMOTHER sit on the back porch, which offers 
               a splendid view of...other people's back porches.
 
               Sarah's Grandmother has a sense of mischief that's quite at odds 
               with her deteriorating frame.
 
               The two drink coffee.

                                     GRANDMOTHER
               They keep telling me I'm doing fine, that I'm even improving. 
                Why do they have to lie?  At my age?  What are they trying to 
               protect me from?
 
                                     SARAH
               Maybe they know something you don't.

                                     GRANDMOTHER
               Like hell.

               She pulls out a pack of American Spirit cigarettes and lights 
               one.  Sarah reacts.
 
                                     SARAH
               Nan.

                                     GRANDMOTHER
               What?  One in the morning with coffee.  One at night with cocktails. 
                Where was I?
 
               (beat)

               Oh, yes.  My story is coming to an end, Sarah--

                                     SARAH
               Oh, please.

                                     GRANDMOTHER
               Your story, that's the one I want to hear.

                                     SARAH
               I wish I had a story to tell.

                                     GRANDMOTHER
               Hmm.  The last time there was talk of an admirer.

                                     SARAH
               All you want is dirt, Nan.  Admit it.

                                     GRANDMOTHER
               The world is made of dirt, Sarah.  So, please, dish.  No detail 
               is too small.
 
                                     SARAH
               I...I'm sleeping with two different men.

                                     GRANDMOTHER
               Hmm.  Continue.

                                     SARAH
               One of them is a good man.  He's good for me.

                                     GRANDMOTHER
               Like vitamins.

                                     SARAH
               Sort of.  The other one, he can be a complete ass.  A total jerk.
 
               
                                     GRANDMOTHER
               In other words...he excites you.

                                     SARAH
               He does.  And I hate it.  I hate him.  And, on top of that, I 
               can't have him.
 
                                     GRANDMOTHER
               Can you see your Pappy?

               Sarah looks back over her shoulder.  She catches a glimpse of 
               her Grandfather.  He's still on the front porch.
 
                                     SARAH
               He hasn't moved.

                                     GRANDMOTHER
               Good.  Keep an eye on him.

                                     SARAH
               Why?

                                     GRANDMOTHER
               Because I'm going to tell you something he shouldn't hear.  Something 
               no one knows.  Once, I had two lovers.  One was your grandfather. 
                He had prospects, then.  He had a car and we drove everywhere 
               and people would look at us and say, "Now, there goes a couple." 
                He never pushed me.  He told me he respected my virginity.  
               And I liked that.
 
               They hear a loud creak.

                                     SARAH
               Don't worry.  He's not moving.

                                     GRANDMOTHER
               The other man -- he was a boy, really -- he had no prospects. 
                And he had no car.  And he had no respect...for anything.  He 
               certainly had no respect for my virginity.  And I liked that, 
               too.
 
               She takes a long, luxurious drag.

                                     GRANDMOTHER
               But I had to make a choice.  I chose your grandfather.  The day 
               before the wedding, I went to let the other boy down.  Met him 
               by a river where we used to swim.  Well, one thing led to another, 
               and when I returned home that night, I'd left my virginity back 
               in the tall grass by that river.
 
               Sarah sits on the edge of her chair.

                                     GRANDMOTHER
               But I did bring something back.  A bite mark.  That sonuvabitch 
               left on my neck, the size of a peach pit.
 
                                     SARAH
               Did Pappy see it?

                                     GRANDMOTHER
               He did and he didn't.  On the wedding night -- in this house 
               -- I managed to squeak by.  It was dark.  We were shy.  He took 
               me in his arms and said, "I'm glad you waited for me."  In other 
               words, I lost my virginity twice in the same week.
 
               They both laugh.

                                     SARAH
               No small feat.

                                     GRANDMOTHER
               It's an accomplishment.  But the next morning, your Pappy saw 
               it.  He demanded an explanation.  And, Sarah, do you know how 
               I got out of that pickle?
 
                                     SARAH
               You lied.

                                     GRANDMOTHER
               Damn right.  I said, "What, you don't remember giving me this?" 
               He said, "No."  And I said, "Well, you were so fired up last 
               night, it's a wonder you can remember anything."
 
               (beat)

               And the beast was tamed.

               Sarah considers the story.

                                     SARAH
               And you've never been tempted to...

                                     GRANDMOTHER
               What?  Come clean with your Pappy?  Why should I tell him?  He 
               had nothing to do with it.
 
                                     SARAH
               Right.

                                     GRANDMOTHER
               It's mine.  Not his.

                                     SARAH
               I wonder what became of that boy.

                                     GRANDMOTHER
               Never saw him again.  I don't regret a thing, if that's what 
               you're wondering.
 
                                     SARAH
               I was, in fact.

                                     GRANDMOTHER
               Look what I have.  I have you.

               (beat)

               And you know what else?  I have the tall grass by that river. 
                And those clouds.  From where I was laying the clouds looked 
               really beautiful that day.
 
                                     CUT TO

               INT. THE MODEL CITY/OFFICE - DAY


               The same model we saw at the start of our story.  We glide toward 
               a miniature suburban development.  Row upon row of houses, each 
               no different than the next.
 
               Over this --

                                     SARAH
               I don't believe it.  You're actually asking my opinion.  You 
               really want to know what I think?
 
               We TILT UP to reveal that we're in--

               The well-appointed office of the well-heeled JOSH, an architect 
               in his early 40s.  Josh studies the model like a boy with a train 
               set.  Sarah stands beside him.
 
                                     JOSH
               To tell you the truth, no.  I just wanted to hear your voice. 
                You've barely said "boo" to me all morning.
 
                                     SARAH
               (shrugs)

               Boo.

                                     JOSH
               Alright, what do you think of it?

                                     SARAH
               You'd have to pay me to live in that neighborhood.

               (off his look)

               Hey, what do I know?  I'm just the assistant.

                                     JOSH
               What are they going to think?  That's all that matters.

                                     SARAH
               To paraphrase you, this is going to give them a major hard-on. 
                Not the women, of course.
 
                                     JOSH
               You haven't met these women.

               Sarah laughs, catches herself and stops.

                                     CUT TO

               INT. OFFICE CORRIDOR - DAY


               Sarah and Josh move down a hall toward the elevators.  Josh is 
               in micro-management mode --
 
                                     JOSH
               The champagne order?

                                     SARAH
               Done.  Dom Perignon.  Fifteen cases.

                                     JOSH
               Invitations?

                                     SARAH
               A messenger is meeting us at the site with the proofs.

                                     JOSH
               Good.

               He reaches behind her and pats her butt.

                                     SARAH
               Stop it.

                                     JOSH
               I can't.

                                     SARAH
               Have you never heard of the phrase "impulse control"?

               They reach the elevators.

                                     JOSH
               I love it when you're full of contempt.

               She just glares.

                                     SARAH
               People are starting to notice, Josh.  I work very hard to act 
               completely indifferent toward you.  The least you could do is 
               to keep your hands to yourself.
 
                                     JOSH
               I've got a better idea.

                                     SARAH
               What?

                                     JOSH
               Why don't I distribute a memo, informing everyone that you and 
               I are not sleeping together?
 
                                     SARAH
               Josh, just for the sake of variety, could you take me seriously 
               for a moment?
 
                                     JOSH
               Alright, alright.  I have another idea.

                                     SARAH
               Please, don't...

                                     JOSH
               Let's just end it.

               Beat.

                                     SARAH
               Yes.  I think we should.

               Josh didn't expect this.  The elevator arrives.  He steps aboard 
               and holds the door for her.
 
                                     JOSH
               Coming?

                                     SARAH
               I'm going to take the stairs.

               Josh shrugs and lets the doors close.

               A beat.  Sarah considers the stairs, then hits the down button 
               again.
 
                                     CUT TO

               EXT. OFFICE BUILDING - DAY


               Sarah and Todd eat lunch on a bench in a busy promenade.  Deli 
               sandwiches in wax paper rest on their laps.
 
                                     SARAH
               I can't put my finger on it...I just don't feel it's happening 
               with us.
 
                                     TODD
               You don't want it work out, that's what you're saying.

                                     SARAH
               I do.  I mean, I did.  It's no one's fault.  It's chemistry.
 
               
               Beat.

                                     TODD
               You want your pickle?

                                     SARAH
               Do you want your pickle?!

                                     TODD
               You know what the problem is?  The first night we went out, we 
               should've just fucked.  Right away.  Without thinking.  Two dumb 
               bunnies.  Without any history,  any baggage.  A pair of blank 
               slates.  Fucking.  It could've been perfectly meaningless.  You 
               want chemistry?  The less you think, the better the chemistry. 
                Less talk, more action.
 
                                     SARAH
               I'm sorry.  It's just not happening for me.

                                     TODD
               The least you can do is give me your goddam pickle.

               They look away from each other.  Todd eats in silence.  The pickle 
               sits between them.
 
                                     CUT TO

               EXT. SUBURBAN DEVELOPMENT - DAY


               Josh's model come to life.  A fallow stretch of land lined with 
               unfinished houses, some more skeletal than others.
 
               At one site we find two parked cars.  A gold Lincoln Navigator 
               and an old BMW convertible.
 
                                     CUT TO

               INT. HOUSE - DAY


               A house-in-progress.  The walls are in place, but little else. 
                Stray two-by-fours, saw horses, electrical cable.  And...no 
               roof.
 
               In an upstairs room -- what will soon be the master bedroom, 
               Josh confers with a construction supervisor.  Nearby, Sarah talks 
               on her cell phone.
 
                                     SARAH
               (into phone)

               I don't care if it costs the same, if it's not Dom Perignon tell 
               them we don't want it, alright?...Good.  Anybody else call?  
               Nobody, huh...Okay.
 
               As she hangs up the construction supervisor exits.  Sarah and 
               Josh are alone.
 
                                     SARAH
               Guess I'll be heading back...

                                     JOSH
               Wait.

               (beat)

               About the other day...Are you having any second thoughts?

                                     SARAH
               (shrugs)

               No.  None.

                                     JOSH
               You're angry I called it quits, aren't you?  You can admit it.
 
               
                                     SARAH
               No.  In fact, I want to thank you.

                                     JOSH
               For what?

                                     SARAH
               For sparing me from the most unhealthy relationship I've ever 
               had in my life.  For that, I thank you.
 
               Josh raises his hands in surrender.

                                     JOSH
               Touch�.

                                     SARAH
               Are you having seconds thoughts?

                                     JOSH
               No.  I say, let's make a clean break.  Let's just walk away from 
               it.
 
               Sarah smiles.  She extends her hand.

                                     JOSH
               What are you doing?

                                     SARAH
               Let's seal the deal.  Shake.

               It's a little awkward, but they do.

                                     JOSH
               Alright.  Now that we've put that behind us, there's one problem 
               left.
 
                                     SARAH
               What?

                                     JOSH
               Where do we put the bed?

               Josh gestures to the empty room.  Sarah smiles -- it's a familiar 
               game.
 
                                     SARAH
               Oh, the bed.  Let's put it against this wall.  Away from the 
               morning sun.
 
                                     JOSH
               Wrong.  It's got to go here.  So you can see the hallway.

               They head out.

               As Josh and Sarah leave the house, they "decorate" several rooms.
 
               

               INT. ANOTHER BEDROOM -- DAY


                                     SARAH
               Not enough height for bunk beds.

                                     JOSH
               Why do you assume there will be two children?

                                     SARAH
               There has to be.  They need to keep each other company.


               INT. THE KITCHEN -- DAY


                                     SARAH
               Definitely not enough space for two people to cook.

                                     JOSH
               I prefer to eat out.


               INT. THE LIVING ROOM -- DAY


               They size up the space, enjoying their play.  Sara walks around 
               imaginary furniture.
 
                                     SARAH
               Oh, no.  I wouldn't put the ottoman there.

                                     JOSH
               Where would you put it?

                                     SARAH
               It needs to go over...

               She waves her hand, accidentally brushing against Josh's chest. 
                She lets her hand linger...
 
                                     SARAH
               Hmmm.

                                     JOSH
               What?

               ...and linger.  They both know what's happening.

                                     SARAH
               We have another problem.

                                     JOSH
               And that would be...?

                                     SARAH
               What do we do with the elephant in the room?

                                     JOSH
               You're very clever.

               She rubs his chest.

                                     SARAH
               We shouldn't be rude to an elephant.

               She lets her hand drop to his crotch.

                                     SARAH
               They can get very annoyed...if you ignore them.

               She pulls Josh to her and kisses him.  Josh fairly attacks her, 
               his hands all over her body.
 
               After a few lustful beats, he lifts her and she wraps her legs 
               around him.
 
                                     SARAH
               Josh.  The door.

               It's an absurd request -- the room is completely exposed, but 
               Josh carries her to the front door and kicks it closed.
 
               --as the door slams, obscuring our view.

                                     ON JOSH AND SARAH
               With Sarah's back against the door, Josh enters her.

                                     CLOSE ON SARAH
               She looks up.  With no roof above them, she has a brilliant view 
               of...the clouds.  They float past as she thinks--
 
               SARAH (V.O.) (cont'd)

               ...Let's not put a roof on this house today...let's leave the 
               walls unfinished...it's okay not to know where the sofa goes...The 
               colors?  We can choose them another day...I like it the way it 
               is... undone... undecided...a work in progress...
 
               She moans -- there's nothing quiet about her at all.

               Fade out.

                                     FADE IN:

               INT. THE LIVING ROOM - LATER - DAY


               Josh and Sarah have finished.  He tucks in his shirt.  She puts 
               on a shoe.
 
                                     JOSH
               I have to tell you, that was the best "break-up" sex I've ever 
               had.
 
               Sarah considers this.  Nods.

                                     SARAH
               It was, wasn't it?

               (beat)

               Closure is important.

               jOSH

               Now you can move on.  You can meet someone who...

               sarah

               What?  Someone who's not a prick like you.

               Josh reacts -- slightly offended.

               joSH

               No.  Someone who's...free.

               sarah

               Oh.  Right.

               (beat)

               As if that would have made any difference in this...what is this 
               thing called again?  A relationship?
 
               She's fishing -- she hates herself for it.

               sarah (cont'd)

               It wouldn't have made any difference, right?

               jOSH

               I'm surprised you have to ask.

               sarah

               I'm not asking.

               He'll answer, anyway.

               joSH

               If my hands weren't tied...it might have made all the difference.
 
               
               Beat.

               sarah

               I said I wasn't asking.  And that's the worst answer you could've 
               given.
 
               cUT TO


               EXT. HOUSE - DAY


               Josh and Sarah get into their respective cars -- her BMW, his 
               Navigator.
 
               Josh looks at himself in the rear-view mirror.  He reacts--
 
               
               JoSH

               What the hell is this?

               Sarah looks over.

               joSH (cont'd)

               You bit me on the neck!  I've got a goddam hickey!

               Sure enough, there is a bright red mark on his neck.

               Sarah comes over.  She reacts with shock, embarrassment, then...laughter.
 
               
               joSH (cont'd)

               What's so goddam funny?  You did this on purpose, didn't you?
 
               
               sarah

               I did not.  I was just...I didn't mean to...I was caught up in 
               the moment.
 
               And she laughs again.

               jOSH

               What the hell are we going to do about this?

               sARAH

               Josh, you are a big boy.  You can take care of this on your own.
 
               
               Josh glares at her, starts his engine, and leaves her in the 
               dust.
 
               cUT TO:


               INT. TODD'S APARTMENT - DAY


               Todd is on the kitchen phone.  Lorna's bracelet sits on the counter.
 
               
                                     TODD
               (into phone)

               No, no, no.  You don't understand.  I don't want an appointment, 
               I just need to get in touch with her...She left a package here 
               by mistake, a gift...No, I'd rather give it to her myself...Lorna, 
               but I assume none of you use your real names...What?  But she 
               was working last week?...And you don't have a forwarding number? 
                ...Look, it's really important that I get this back to her, 
               so--
 
               The line goes dead.

                                     TODD
               Dammit.

               He dials again.  Then, a knock at the door.  Todd reacts -- he's 
               not expecting anyone.
 
               He opens the door and finds--

                                     SARAH
               Still dressed in the clothes she wore earlier.  She holds a small 
               paper bag.
 
                                     TODD
               Sarah...

                                     SARAH
               I brought you something.

               She hands him the bag.  He looks inside.

                                     TODD
               Pickles.  Huh.

               (beat)

               What's in your hair?

               She touches her hair.

                                     SARAH
               Oh.  Sawdust.  Lots of sawdust at the job site.

               (beat)

               Can I come in?

               Todd puts the bag of pickles on the kitchen counter.  He sees 
               Lorna's bracelet...and slides it into a trash can.
 
                                     CUT TO

               INT. PHARMACY - NIGHT


               Josh, still sporting his hickey, approaches the humorless teenage 
               GIRL behind the counter.
 
                                     GIRL
               Need some help?

                                     JOSH
               Yes, I have a problem.  I need some...something to cover up a...Hell, 
               just take a look.
 
               Josh shows the Girl his hickey.

                                     GIRL
               Yeah.  You're fucked.

                                     JOSH
               I can do without the attitude, thank-you.

                                     GIRL
               Try concealer.  Aisle three.

                                     JOSH
               (impatient)

               But what do I do with it?

                                     GIRL
               Just put it on.  And call your lawyer.

               She smiles.

                                     CUT TO

               EXT. JOSH'S HOUSE - NIGHT


               In the driveway of his fashionable home are two parked cars. 
                Josh's Mercedes S430 and his wife's Lexus RX300.
 
               In the Mercedes, Josh finishes applying the concealer to his 
               neck.  He checks himself in the mirror -- the hickey is completely 
               gone.
 
               His hands, however, have concealer all over them.

                                     CUT TO

               INT. JOSH'S BATHROOM - NIGHT


               Josh washes his hands in the master bathroom.  He double-checks 
               his neck in the mirror.  From the adjoining bedroom, we hear 
               -- but do not see -- his wife GWEN.
 
                                     GWEN
               Unbelievable.

                                     JOSH
               What?

                                     GWEN
               I'm reading a stupid article in a stupid magazine.

                                     JOSH
               If it's stupid, why read it?

                                     GWEN
               (ignores this)

               The whole issue is devoted to famous couples who are breaking 
               up.  Listen to this...Remember the blonde doctor on that show 
               you hate?
 
                                     JOSH
               Yeah.  She's a bore.

                                     GWEN
               She's breaking up with her husband of twenty years.  Said a friend, 
               "Her show's in syndication, she's thin, she's rich and she wants 
               to play." Josh dries his hands.
 
                                     JOSH
               Some poor tree gave its life so we could know that.

                                     GWEN
               It's comforting, reading about these broken marriages.

               Josh opens the door into the--


               INT. JOSH'S BEDROOM - NIGHT


               Gwen sits under the covers with her magazine.  In her late 30s, 
               she is a refined, patrician beauty.  As Josh undresses for bed--
 
               
                                     JOSH
               Why?

                                     GWEN
               It's not enough for our marriage to succeed.  Everyone else's 
               must fail.
 
                                     JOSH
               Is this going to be one of those nights?

                                     GWEN
               What?

                                     JOSH
               One of those nights we talk.

                                     GWEN
               No.  There's no need to talk, because there's no problem.

               He gets into bed next to her.

                                     JOSH
               I've been under a lot of stress.

                                     GWEN
               You don't have to apologize.  There's nothing wrong with the 
               slump we're going through.  In fact, it's a good thing.
 
                                     JOSH
               How's that?

               He turns off the side light.  We can't see them -- the room is 
               completely dark.
 
                                     GWEN
               Too much passion can ruin a marriage.  Look at Eric and Sylvia. 
                At the beginning, you couldn't pry them apart.  They were joined 
               at the genitals.  And, then...total burn-out.  A marriage cannot 
               sustain that kind of intensity.  It's good for people to grow 
               bored with each other.  That way, they can meet and fall in love 
               again.
 
               She snuggles up to him, strokes his back.

                                     GWEN
               In case you hadn't noticed...I'm trying to seduce you.

                                     JOSH
               I can feel that.

                                     GWEN
               You're welcome to reciprocate.

               Josh turns on the light and sits up.

                                     JOSH
               I can't.

                                     GWEN
               It's alright.

                                     JOSH
               To seduce...to be seduced, there needs to be an element of surprise. 
                I know all your moves.  You know mine.  How can there be any 
               surprise?
 
               Gwen sits up, throws back the sheet.

                                     GWEN
               Rub my feet.

               He does.

                                     GWEN
               I think we should have an affair.

                                     JOSH
               What?

                                     GWEN
               With each other.

                                     JOSH
               That makes no sense.

                                     GWEN
               You pick me up at a bar...

                                     JOSH
               And, what?  Pretend I don't know you?

                                     GWEN
               (ignores him)

               Or we could meet at a hotel.  I'll register under my maiden name. 
                Just like THE GRADUATE.
 
                                     JOSH
               THE GRADUATE is about a married woman having an affair with a 
               college boy.
 
                                     GWEN
               When I met you, you were a college boy.

                                     JOSH
               Gwen, THE GRADUATE is a story about a very unhappy woman who 
               has an affair out of wedlock.  As I recall, it turns out rather 
               badly for her.
 
                                     GWEN
               Alright.  Bad example.

               (rethe foot rub)

               You can stop.

                                     JOSH
               Actors pretend.  That's what they do.  I'm not an actor.  And 
               I love you the way you are.
 
                                     GWEN
               I love you, too.

               And he turns out the light again.

                                     JOSH
               Pretending to be strangers is not going to solve the problem.
 
               
               Beat.

                                     GWEN
               Who said there was a problem?

                                     CUT TO

               INT. OFFICE BUILDING - NIGHT


               A cocktail party at Josh's firm.  Josh is the center of attention, 
               greeting investors, fielding compliments.  Gwen stands beside 
               him, drinking champagne -- Dom Perignon, after all.
 
                                     JOSH'S POV
               Through the crowd he spots Sarah, entering with her date -- Todd.
 
               
                                     GWEN
               Your lovely assistant is here.

               (reTodd)

               You didn't tell me she had a new boyfriend.

                                     JOSH
               I don't ask her about her personal life.

               Sarah and Todd arrive.

                                     SARAH
               Hey, you two.  Todd, this is my boss Josh, and his wife Gwen.
 
               
               Todd and Josh shake hands.

                                     TODD
               Sarah's told me a lot about you.

               Josh is not sure how to take that.

                                     GWEN
               Sarah, you look great.  You've been keeping my boy on his best 
               behavior?
 
                                     SARAH
               It's a dirty job, but somebody's got to do it.

                                     GWEN
               I know he asks to go above and beyond the call of duty.

                                     SARAH
               He can be tough.

                                     JOSH
               But fair.

                                     GWEN
               Josh, I'm trying to thank Sarah for all the extra attention she 
               gives you.
 
                                     SARAH
               You're welcome.

                                     GWEN
               We should really have you over for dinner, Sarah.  It's been 
               too long.  You can bring...
 
                                     TODD
               Todd.

                                     GWEN
               Sorry.  I'm hopeless when it comes to names.

                                     JOSH
               Especially after two glasses of champagne.

                                     GWEN
               Hey, I'm still working on the first, thank you.

               (to Todd)

               So, are you two living together?

                                     TODD
               Living together?  No.

               Sarah and Todd both laugh.

                                     SARAH
               We've only known each other a few weeks.

               Josh reacts -- he knew nothing of this.

                                     GWEN
               You two seem to fit.  It only took me a few days to know with 
               Josh.  In fact, I knew after the first date.
 
                                     SARAH
               You knew what?

                                     GWEN
               That he was the one for me.

                                     JOSH
               (to Sarah)

               She loves to embarrass me.

                                     SARAH
               (to Gwen)

               Don't stop.  I want to hear about this first date.

                                     GWEN
               Well, it was the cheapest date I've ever been on.

                                     JOSH
               I was broke.

                                     GWEN
               Do you know the Chinese place on Third?  That little hole-in-the-wall?
 
               
                                     TODD
               I know it.  Used to be a cool dive.  Now it's ultra-hip and overpriced.
 
               
               This news gives Gwen pause.

                                     GWEN
               Really?  I think our first dinner cost a grand total of ten dollars.
 
               
                                     JOSH
               Gwen loves to dissect our first date.

                                     GWEN
               It was a momentous night.  Babe, we should really go back there.
 
               
               Josh gestures to the bar.

                                     JOSH
               Gwen, why don't you continue your stroll down memory lane while 
               I drink?  Todd, you up for it?
 
                                     TODD
               Sure.

               They move away toward--


               INT. OFFICE BUILDING - THE BAR - NIGHT


               As Josh and Todd sidle up--.

                                     JOSH
               (to bartender)

               Gin.  Straight up.  Olives.

               (Todd)

               What are you having?

                                     TODD
               I'm fine, thanks.

                                     JOSH
               So...Sarah's an attractive girl.

                                     TODD
               Very.

                                     JOSH
               You two serious?

                                     TODD
               (shrugs)

               Hard to say.

                                     JOSH
               She wants to play the field, right?

                                     TODD
               No, that's not it.

                                     JOSH
               I see.  You want to fuck around.

               Todd reacts.

                                     JOSH
               C'mon, we're guys.  I know the drill.

               Todd considers his audience, then decides to open up--

                                     TODD
               We dated a few times, and to be honest, I was on the fence about 
               Sarah.  I liked her, but I didn't think we were in a good groove. 
                Then, a couple weeks ago, her grandmother died.  Things changed.
 
               
                                     JOSH
               I didn't know.

               (beat)

               She didn't say a thing about it.

                                     TODD
               It wasn't unexpected, but Sarah took it really hard.  So where 
               did that leave me?  I was ambivalent about things, right?  But 
               then my ambivalence had to take a back seat.  I had to be there 
               for her.  Completely.  And, ready or not, our relationship became...a 
               real relationship.
 
               Josh simply listens.

                                     TODD
               You know, I wasn't ready to be that involved with anybody.  I 
               don't know...Death has a funny way of making you get outside 
               yourself.
 
               Josh looks past Todd--

                                     JOSH'S POV
               Gwen is still chatting with Sarah.  Gwen makes eye contact with 
               Josh and sends him a warm smile.
 
                                     CUT TO

               INT. JOSH'S CAR - MOVING - NIGHT


               Josh and Gwen drive home in silence.  Gwen notices something 
               out the window.
 
                                     GWEN
               You missed the on-ramp.

                                     JOSH
               I know.

                                     GWEN
               Why?

                                     JOSH
               Somewhere we need to go first.

                                     CUT TO

               EXT. CHINESE RESTAURANT - NIGHT


               The Mercedes pulls up to the "Happiness Chinese Restaurant." 
                Josh and Gwen get out and take in the sight--
 
                                     GWEN
               We don't have to do this tonight.

                                     JOSH
               Yes, we do.

               She peers in the window.

                                     GWEN
               We can't go in here.  Everything's different.

               He opens the door for her.

                                     JOSH
               That's okay.  We're different, too.

                                     CUT TO

               INT. CHINESE RESTAURANT - NIGHT


               Upscale lighting.  Modern, non-Chinese decor.  Anything but a 
               hole-in-the-wall.
 
               Josh and Gwen are in a booth--

                                     GWEN
               Sarah's a very interesting girl.  Did you know she's training 
               for the marathon?
 
                                     JOSH
               I don't want to talk about Sarah.

                                     GWEN
               What do you want to talk about, then?

                                     JOSH
               I want to talk about me...

               A beat.

                                     JOSH
               ...and what a fool I've been.

               Gwen is not prepared for this.

                                     JOSH
               I thought if we came here tonight we could...start again.

                                     GWEN
               (flustered)

               But I thought you were over this place.  And, look...There's 
               nothing left.  Not one remnant of our first date...anywhere.
 
               
               Josh sees a plate of fortune cookies on the next table -- somebody 
               left without eating them.
 
                                     JOSH
               (brightens)

               The fortune cookies haven't changed.

               He brings over the plate.

                                     GWEN
               You're supposed to wait--

                                     JOSH
               I can't wait.  I have to know.

               He opens the first.

                                     JOSH
               (reading)

               "You are on the verge of success"...in bed.

               Gwen laughs, opens one herself.

                                     GWEN
               (reading)

               "You will have a change of plans"...in bed.

               Josh reacts, opens a third.

                                     JOSH
               (reading)

               "You are very creative"...in bed.

                                     GWEN
               Hmm.  That's what I've heard.

                                     JOSH
               The last cookie.  Go ahead.

                                     GWEN
               No.  You open it.

               He slowly cracks in open.

                                     JOSH
               It's blank.

               (checks both sides)

               I got a blank.

                                     GWEN
               Blank...in bed.  That's disappointing.

                                     JOSH
               No, it's perfect.  Blank...no problems, no history, nothing...in 
               bed.
 
               He takes her hand.

                                     CUT TO

               EXT. CHINESE RESTAURANT - NIGHT


               Josh and Gwen approach their car.  It's late.  Behind them, the 
               restaurant is closing.
 
                                     JOSH
               By the way, I didn't get your name.

                                     GWEN
               What?

               (off his smile)

               Oh, my name.

               She glances across the street.  A shop window sign reads, "Bail 
               Bonds."
 
                                     GWEN
               My name is Gail.  Gail Bonds.

                                     JOSH
               Well, Gail, I'm not usually this forward on a first date, may 
               I take you to my car and ravish you?
 
                                     GWEN
               Hmm.  On one condition.

                                     JOSH
               What's that?

                                     GWEN
               That you tell me your name.

                                     JOSH
               Oh, I thought everyone knew my name.  I'm Bill Gates.  Billionaire.
 
               
               She laughs.


               INT. JOSH'S CAR -- NIGHT


               They get into the back seat and begin to kiss.

                                     GWEN
               Is it true what they say, Bill, about billionaires?  That all 
               the wealth is just a way to compensate...for size?
 
                                     JOSH
               People are jealous.

                                     GWEN
               I can imagine.  It must be so lonely at the top.

               He reaches between her knees.

                                     GWEN
               What are you doing?

                                     JOSH
               What do you think I'm doing?

               (beat)

               The fortune cookie said you're on the verge of success...in bed.
 
               
                                     GWEN
               We're not in a bed.

                                     JOSH
               You shouldn't read fortune cookies too literally.

               Josh swings Gwen onto his lap.  They go at each other like...a 
               couple of college kids.
 
                                     CLOSE ON JOSH
               As he makes love to his wife, he thinks--

                                     JOSH
               ...Can anyone see us?...Is anyone looking?...Why should it bother 
               you?  You're alone...with your wife...That's the way it's supposed 
               to be...You know every inch of her...every smell...every sigh...every 
               freckle...the shape of her ass...the mole under her nipple...the 
               whole history of her body...And, you know that if you really 
               concentrate, you can succeed...in imagining...she's someone you 
               don't know...
 
               He puts his mind to it--

                                     FADE OUT:
                                     FADE IN:

               INT. GWEN'S HOUSE - DAY


               Gwen and her mother JOANNE are in the living room looking at 
               samples of fabric.  At sixty, Joanne is robust and shrewd.
 
               
                                     GWEN
               Color.  That's the problem with this room, it needs color.  Think 
               of...the vibrant colors of Haiti.
 
                                     JOANNE
               Personally, Haiti does nothing for me.  When your father and 
               I were there -- this was before you were born, I almost died 
               from a piece of lettuce, and I wouldn't want anything to remind 
               me of that trip.
 
               (beat)

               Anyway, quit changing the subject.

               Gwen puts down the swatches.

                                     GWEN
               Alright.  I didn't say anything.

                                     JOANNE
               Because you're not sure?

                                     GWEN
               No, I'm sure.  I'm sure he's sleeping with her.

               (beat)

               And I may have to kill him.

                                     JOANNE
               Hmm.

                                     GWEN
               What?  You think I should just forget about it?

                                     JOANNE
               Yes, I do.

                                     GWEN
               Mother, don't you think honesty is essential in a marriage?
 
               
                                     JOANNE
               It depends.  It can be quite detrimental.

               Gwen begins to pace in exasperation.

                                     JOANNE
               Alright.  Confront him.  You know where it will get you.  Your 
               whole marriage will unravel, and you'll have nothing.  All the 
               things you take for granted -- month-long vacations in St. Lucia 
               -- they'll disappear.  You'll be a divorced woman in her late 
               30s.  Lonely.
 
                                     GWEN
               Why did I invite you over?  You make me feel like shit.

                                     JOANNE
               That's my job.

               The phone rings.

                                     GWEN
               The machine can get it.

                                     JOANNE
               I don't monitor calls.  It makes me feel like I'm hiding in my 
               own home.
 
               BEEP.  From the answering machine--

                                     VOICE
               Gwen, this is David Warren.  Hopefully, a welcome voice from 
               your past.  My show's on hiatus and I'm in town for the weekend. 
                I'd love to catch up.  Are you free for coffee...or something?
 
               
                                     JOANNE
               Pick up the phone.

               Gwen just stares at the machine.

                                     VOICE
               I have no idea what you're up to...I hope life is treating you 
               well.  I heard through a friend of a friend of a friend that 
               you're still married.  Congratulations.  If you want, give me 
               a call.  I'm crashing at my sister's.  The number is -- hold 
               on-- the number is 235-4511.  Hope to hear from you.
 
                                     CLICK.
                                     GWEN
               Wow.

                                     JOANNE
               How long has it been?

                                     GWEN
               College.

                                     JOANNE
               Have you ever seen his show?  It's absolutely dreadful.  I never 
               miss it.
 
                                     GWEN
               If Josh isn't home, I'll watch it.

                                     JOANNE
               Hmm.  It's Kismet, then.

                                     GWEN
               What?

                                     JOANNE
               A brief liaison with an old flame.  The perfect way to deal with 
               your anger.
 
                                     GWEN
               You're insane.  You're an insane mother.

                                     JOANNE
               It'll be good for your self-esteem.

                                     GWEN
               Did it occur to you that maybe he just wants to have coffee?
 
               
               Joanne crosses to the answering machine.  Rewinds the tape.  
               Hits play.
 
                                     DAVID'S VOICE
               ...on hiatus and I'm in town for the weekend.  Are you free for 
               coffee...or something?
 
               She hits stop.

                                     JOANNE
               "Coffee...or something."  He's flirting, admit it.  Coffee...or 
               something.
 
                                     GWEN
               He's stammering.  He's nervous.  He's calling out of the blue!
 
               
               Joanne gathers her purse.

                                     JOANNE
               You're wrong.  I'm right, and I'm going.  But take a tip from 
               someone who's been there.  Opportunity is knocking, Gwen.  You 
               have a chance to level the playing field.
 
               (beat)

               You have a chance to do something good for your marriage.

               Joanne exits.

                                     CUT TO

               INT. GWEN'S BATHROOM - DAY


               Morning.  Gwen, fresh from the shower, studies her face in the 
               mirror as Josh -- unseen, in the bedroom -- dresses for work.
 
               
                                     JOSH
               You're right.  We could use some more color in the living room.
 
               
               (beat)

               Gwen?

                                     GWEN
               Yes?

                                     JOSH
               I said you're right.

                                     GWEN
               About what?

                                     JOSH
               About more color in the living room.

                                     GWEN
               Oh.  I'm glad you think so.

               She leans closer to inspect a new wrinkle.

                                     CUT TO

               INT. HOTEL LOBBY - DAY


               An upscale hotel.  Gwen, in a sheer blouse and a slim leather 
               skirt, fills out the registration card at the front desk.  The 
               DESK CLERK looks up from his computer.
 
                                     DESK CLERK
               And how many nights will you be staying with us?

                                     GWEN
               One.

                                     DESK CLERK
               We do have a two-night minimum.

                                     GWEN
               Then...two.

               She hands him the card.

                                     GWEN
               I'd like to pay in cash.

                                     DESK CLERK
               That won't be a problem.  We just need a credit card imprint 
               for your incidentals...
 
               Gwen reacts.  The Desk Clerk puts her at ease.

                                     DESK CLERK
               ...which we tear up when you check out.

               Gwen smiles.

                                     DESK CLERK
               Will you be needing more than one key?

                                     GWEN
               Two, please.

                                     CUT TO

               INT. HOTEL RESTAURANT - DAY


               Gwen and DAVID lunch in the hotel's elegant dining room.  David 
               is quite the draw, turning heads across the room.  And, it's 
               no wonder.  He has real magnetism.
 
                                     DAVID WARREN
               I'm still reeling.  It was the most humbling experience of my 
               life.  Getting raked over the coals by a bunch of sixteen-year 
               old drama students!  At my own alma mater!
 
                                     GWEN
               I'm surprised they weren't all over you.

                                     DAVID WARREN
               They were, with knives drawn.

                                     GWEN
               What did they say?

                                     DAVID WARREN
               Basically, why am I working on a piece of shit like MALIBU NIGHTS 
               when I should be doing Shakespeare or Chekhov?
 
               (beat)

               It was brutal.

               A WAITER delivers a bottle of champagne to David.

                                     WAITER
               Compliments from the table in the corner.

               The Waiter gestures.  David and Gwen turn.  In the corner three 
               middle-aged women are smiling.
 
               David mouths a gracious "thank you" their way.

                                     GWEN
               See?  Those women are happy you're not doing Shakespeare.

               Beat.

                                     DAVID WARREN
               Gwen.  You look great.  You haven't changed a bit.

                                     GWEN
               I don't think I'm MALIBU NIGHTS material.

                                     DAVID WARREN
               Those women!  Walking boob jobs.  They're appalling.

                                     GWEN
               You look like you enjoy kissing them.

                                     DAVID WARREN
               It's very simple.  I close my eyes and imagine I'm kissing someone 
               else.
 
                                     GWEN
               Hmm.  Someone else in particular?

                                     DAVID WARREN
               Yes.

                                     GWEN
               If she's as tan as you, I don't want to hear about it.

               David reaches for his wallet.

                                     DAVID WARREN
               Here, take a look...

               He hands her a photo.  In it, we see David standing with a distinguished 
               man in his mid-40s.  With them is a smiling boy, about eleven.
 
               
               Gwen is nonplussed.

                                     DAVID WARREN
               What's wrong with this picture, huh?

               She smiles.

                                     GWEN
               Well...Let's start with the man, upper left.

                                     DAVID WARREN
               Andy.  My partner.  And the best thing that's ever happened to 
               me.
 
                                     GWEN
               Okay.  And the boy?

                                     DAVID WARREN
               Eric.  He's Andy's son from a marriage that -- needless to say 
               -- didn't work.  Andy came out when Eric was just five.  Great 
               kid.
 
                                     GWEN
               And when did you...?

                                     DAVID WARREN
               Come out?  About fifteen years ago.

               (off Gwen's look)

               Is this too much information?

                                     GWEN
               No.  But fifteen years ago...That was right after--

                                     DAVID WARREN
               You and me.

                                     GWEN
               Was I the last woman?

               David nods.

                                     GWEN
               Was I that bad?

               David laughs.

                                     DAVID WARREN
               No, you were fantastic.  I was completely confused.

               Gwen quickly gulps down some champagne.

                                     DAVID WARREN
               What's the matter?

                                     GWEN
               Nothing.  I'm very happy for you.  And, I have to confess, I'm 
               relieved.
 
                                     DAVID WARREN
               Why?

               Beat.

                                     GWEN
               Oh -- what the hell -- we're friends, right?

                                     DAVID WARREN
               I'm listening.

                                     GWEN
               I had this ridiculous idea that you wanted to get together to 
               have a...
 
                                     DAVID WARREN
               Oh.

                                     GWEN
               You know...for old time's sake.

                                     DAVID WARREN
               Uh-huh.

                                     GWEN
               And, frankly, I wasn't looking forward to turning you down.  
               Which I would have, of course.  Had you...asked.  Which you're 
               not, because you're...you're...
 
                                     DAVID WARREN
               Married.

                                     GWEN
               Right.

                                     DAVID WARREN
               Happily.

                                     GWEN
               Right.

               She slides her empty glass toward him.

                                     GWEN
               Would you pour me a little more, David?

                                     CUT TO

               INT. HOTEL LOBBY -DAY


               Gwen leans against the front desk.  Tipsy.  The Desk Clerk approaches.
 
               
                                     DESK CLERK
               Can I help you, ma'am?

               Gwen looks lost.

                                     DESK CLERK
               Are you okay?

                                     GWEN
               I'd like to check out.

                                     DESK CLERK
               Was there a problem?

                                     GWEN
               Yes.  I was stood up...by the past.

               Beat.

                                     DESK CLERK
               I'm sorry.  We won't charge you for the room.

                                     GWEN
               No, you don't understand.

                                     DESK CLERK
               Yes.  I do.

               (beat)

               More than you might think.

               Gwen stares at him.

                                     DESK CLERK
               Shall I close out the account?

                                     GWEN
               No.  I need the room after all.

               (beat)

               Will you show me the way there?

               The Desk Clerk looks at her with no apparent interest.

                                     DESK CLERK
               You're in luck.  I was just about to take my break.

                                     CUT TO

               INT. ELEVATOR - DAY


               The Desk Clerk and Gwen ride in the elevator.  Silently.  There 
               is no discernible connection between them.
 
                                     CUT TO

               INT. HOTEL HALLWAY - DAY


               The Desk Clerk leads Gwen to the room.  It couldn't look more 
               business-like.
 
                                     CUT TO

               INT. HOTEL ROOM - DAY


               They enter.  He locks the door.  She surveys the room.

                                     DESK CLERK
               Something from the mini-bar?

                                     GWEN
               No.

                                     DESK CLERK
               How's the air conditioning?

                                     GWEN
               Fine.

                                     DESK CLERK
               Shall I pull down the covers?

                                     GWEN
               I suppose.

                                     DESK CLERK
               Do you want to know my name?

                                     GWEN
               No.

               He takes her in his arms.

                                     DESK CLERK
               You're shaking.

                                     GWEN
               I'll be fine.

               (beat)

               This could get you in trouble.  You could lose your job, right?
 
               
                                     DESK CLERK
               I don't care.

                                     GWEN
               You don't even know me.

                                     DESK CLERK
               You're right.

                                     GWEN
               We have nothing in common.

               Beat.

                                     DESK CLERK
               That's where you're wrong.

               He begins to unbutton her blouse.  Without touching.  Without 
               affection.  After a beat, she begins to unbutton his shirt.
 
               
                                     CUT TO

               INT. HOTEL HALLWAY - DAY


               A little later.  A maid vacuums the carpet as the Desk Clerk 
               emerges, followed by Gwen.  They cross to the elevator, as business-like 
               as before.
 
                                     DESK CLERK
               (to the Maid)

               Buenas tardes, se�ora.

                                     CUT TO

               INT. ELEVATOR - CONTINUOUS


               Gwen and the Desk Clerk board the elevator.  He presses "L" for 
               lobby.  She presses "P" for parking.
 
                                     GWEN
               Thank you for taking care of the room.

                                     DESK CLERK
               Your welcome.

               And they ride in silence.

               In Gwen's mind--

                                     GWEN
               ...And now the score is tied...Oh my God, what will I tell my 
               mother?  I did it with a desk clerk.  Hardly the affair to remember...Of 
               course, she will disapprove.  "Is English even his first language? 
                This is your idea of a liaison?  Your idea of leveling the playing 
               field?  You don't even know the boy's name--" 
 
               Gwen touches the Desk Clerk's arm.

                                     GWEN
               What's your name?

                                     DESK CLERK
               David.

                                     GWEN
               What?  You're kidding me.

               Gwen laughs -- she can't help it.

                                     DAVID
               No.  What's so funny?

                                     GWEN
               Nothing, it's just--

               She laughs even harder.  The elevator door opens.  David gets 
               out and looks at her oddly.
 
                                     GWEN
               Sorry, I just...I didn't think you'd be named David.


               INT. HOTEL LOBBY - DAY


               The door closes on Gwen, leaving David in the lobby.  A bit befuddled.
 
               

               INT. HOTEL FRONT DESK - DAY


               David resumes his post.  DESK CLERK #2 works beside him.  He 
               leans to David--
 
                                     DESK CLERK #2
               There's a woman waiting to see you.  She's been here for half 
               an hour.
 
               He points to a lobby chair, where we find ROSALIE -- 22, spunky, 
               mercurial.  In short...trouble.
 
               She and David made eye contact.  She springs up and advances 
               toward him.
 
                                     DAVID
               Why are you here?

                                     ROSALIE
               You weren't going to return my calls.

                                     DAVID
               Don't you have more important things to do?  Picking flowers, 
               honeymoon reservations...
 
                                     ROSALIE
               Is there somewhere we can talk?

               The desk phone rings.  David picks it up.

                                     DAVID
               (into phone)

               Front desk, David speaking...No, sir.  Tap water is very drinkable 
               in this city...Of course, sir.  We'll send up some bottled water 
               right away.
 
               He hangs up.

                                     ROSALIE
               Is there somewhere we can talk?

                                     DAVID
               What's wrong with here?

                                     ROSALIE
               Privately.

                                     DAVID
               But here, I won't be tempted to raise my voice or do something 
               rash.  That's the first lesson of hotel management.  Never lose 
               your cool, no matter how annoying the guest is.  Not that I plan 
               to go into hotel management.  I don't have ambitions in that 
               direction.  Or any direction, if I recall you correctly.
 
               The desk phone rings again.  Exasperated, David grabs it.

                                     DAVID
               (into phone)

               Front desk, David speaking...Yes, ma'am, the restaurant has a 
               smoking section...Well, I didn't make the policy...If it's any 
               consolation, the smokers are seated in a little corner of the 
               patio, and they feel very bad about themselves.
 
               He hangs up.  And gives Rosalie a very deliberate look.

                                     DAVID
               Rosie, you'd better leave.  Before I get myself fired.

               She starts to protest.  Thinks better of it, and exits.

                                     CUT TO

               INT. EMPLOYEE BREAK ROOM - DAY


               David hangs his uniform shirt in his locker.  He gathers his 
               personal things.  A jacket, a knapsack, and...a violin case.
 
               
               The HOTEL MANAGER approaches.

                                     HOTEL MANAGER
               Yo, fiddler on the roof.

               David reacts -- this is the last person he wants to deal with.
 
               
                                     HOTEL MANAGER
               (regards the violin)

               Wish I could play an instrument.  Chicks really dig that stuff. 
                Tried the guitar in high school.  What can I say?  No discipline.
 
               
                                     DAVID
               Discipline.  Always a struggle.

                                     HOTEL MANAGER
               I hear you.  For instance, it takes a certain discipline to know 
               that when you're working at the hotel, when you're on the clock...
 
               
               (shrugs)

               ...you shouldn't fuck the guests.

               David was not expecting this.

               HOTEL MANAGER (cont'd)

               You want to bring your girlfriend here on your day off?  That's 
               a different story.  I'll even give you the corporate rate on 
               a room.
 
               (beat)

               Just don't do it while you're on the clock.  You hear me?

                                     DAVID
               It won't happen again.

                                     HOTEL MANAGER
               Good.

               David marches away.

                                     CUT TO

               INT. MUSIC CONSERVATORY - DAY


               In a sun-lit practice room, a string quartet rehearses.  Four 
               men -- David included, perform an energetic movement from a Beethoven 
               quartet.
 
               NOTE: Throughout the film, we've heard this string quartet as 
               underscore.  Now...we meet the soundtrack.
 
               David plays with emotion and a physicality we haven't seen in 
               him -- truly, this is where he lives.
 
                                     CUT TO

               INT. CONSERVATORY HALLWAY - DAY


               After the rehearsal.  Violin at his side, David trudges through 
               the exit.  Music emanates from every room.  He turns a corner, 
               runs smack into--
 
                                     ROSALIE.
               She's been waiting.

                                     DAVID
               Jesus!

               She simply picks up where they left off--

                                     ROSALIE
               I want you to be there on Sunday.

                                     DAVID
               No.

                                     ROSALIE
               You told me we'd always be friends.

                                     DAVID
               I lied.

                                     ROSALIE
               You're an important part of my life, David.  There's so much 
               history between us.  I don't want to trash it simply because--
 
               
                                     DAVID
               Because what?  Because you're getting married?

               Beat.

                                     DAVID
               Rosie, I want you to be happy.  I do.  And someday, we'll be 
               friends.  Someday, we'll all go out to dinner.  The four of us.
 
               
                                     ROSALIE
               The four of us?

                                     DAVID
               Sure.  Me, you, Jerry, and whatever pale imitation of you I can 
               dig up to be my date.
 
                                     ROSALIE
               Stop it.

               But he's on a roll--

                                     DAVID
               And the check will come and Jerry will pick up the tab and I'll 
               protest, but not too much.  Then, you'll give me a kiss on the 
               cheek, and some dim memory will stir in me, but not for too long. 
                And we'll say, "It was great to see you."  And it will be great 
               to see you...
 
               (beat)

               ...then.  But, until then....good-bye.

               David exits, leaving Rosalie alone in the cacophonous hall.
 
               
                                     CUT TO

               INT. APARTMENT - DAY


               A clean, modern apartment that Rosalie shares with JERRY -- late 
               20s, upstanding, sturdy good looks.
 
               Rosalie and Jerry sit in the living room, meeting with their 
               WEDDING PLANNER -- a highly efficient woman in her mid-50s.
 
               
                                     WEDDING PLANNER
               We've  got a few more things to cover.  The photos.  There's 
               a courtyard behind the church.  It's a popular backdrop.  Our 
               photographer says the light is gorgeous.  We need twenty minutes 
               before the ceremony for singles.
 
               (beat)

               Oh.  Jerry, your father's press secretary insists on sending 
               someone from the papers.  I told him you want to keep this as 
               private as possible, but...What could I do?
 
                                     JERRY
               I know.  It is an election year.

                                     WEDDING PLANNER
               Exactly what he said.

                                     ROSALIE
               It's okay.

                                     WEDDING PLANNER
               Right.  The guest list.  We have a few more no-show's.

               She consults a list.

                                     WEDDING PLANNER
               Mr. and Mrs. Bennett send their regrets.  Also, Ms. Rothman will 
               no be attending.
 
                                     ROSALIE
               Oh.  David Freeman.  He's not coming.

               Jerry reacts.

                                     JERRY
               He's not?

                                     ROSALIE
               No.  He's not.

                                     JERRY
               After all that shit you put me through, now he's not even coming.
 
               
               The Wedding Planner smiles politely.

                                     WEDDING PLANNER
               So, if there are any last-minute--

                                     JERRY
               (ignores her)

               I guess that means you've been talking with him.

                                     ROSALIE
               Yes, I talked to him.  And I...

               (to Wedding Planner)

               Would you excuse us for a minute?

                                     WEDDING PLANNER
               Take your time.

               Rosalie gets up and leads Jerry into--


               INT. APARTMENT KITCHEN -- DAY


               Once they are out of earshot--

                                     ROSALIE
               I talked to David.  And...I uninvited him.

                                     JERRY
               What?

                                     ROSALIE
               I told him it wasn't right.  I told him he shouldn't be at our 
               wedding.
 
                                     JERRY
               When did you decide this?

                                     ROSALIE
               I don't know...I just realized I don't want our wedding to be 
               about where I've been.  I want it to be about where you and I 
               are going.
 
                                     JERRY
               What did he say?

                                     ROSALIE
               Jerry...

                                     JERRY
               I want to know.

                                     ROSALIE
               He was disappointed--

                                     JERRY
               Of course he was.  He's still in love with you.

                                     ROSALIE
               But he understands.  I drew the line, honey.

                                     JERRY
               Thank-you.

                                     ROSALIE
               I did it for us.

               Rosalie gives him a kiss.

                                     CUT TO

               INT. DAVID'S APARTMENT - NIGHT


               Amidst a clutter of unpaid bills, take-out cartons, and laundry, 
               David practices the violin.  He plays a Bach Partita -- not for 
               the easily intimidated.
 
               The phone rings.  He lets it ring a while before picking up.
 
               
                                     DAVID
               (into phone)

               What do you want, Rose?

                                     ROSALIE
               Were you sleeping?

                                     DAVID
               Yes.  I was.

                                     ROSALIE
               Liar.  You're practicing.  I can hear you.

               He moves to the window.

                                     DAVID'S POV
               Rosalie -- on her cell -- waves to him from the sidewalk, three 
               stories below.
 
                                     ROSALIE
               It's so sad.  Why do you always play sad songs?

                                     DAVID
               I don't write 'em, Rose.

               (beat)

               Is our conversation over now?

                                     ROSALIE
               Please let me in.

                                     DAVID
               No.

               She laughs mischievously.

                                     ROSALIE
               You don't trust me?

                                     DAVID
               No.

               (beat)

               Stay there.  I'll be right...Wait a minute.  This is insane. 
                I'm not coming down.  Go home, Rose.  I mean it.
 
                                     ROSALIE
               I'm going to wait here for one minute.  Sixty seconds.

                                     DAVID
               You do that.

                                     ROSALIE
               Then, I'm gone.  You won't see me again.

               She hangs up.  He hangs up.

                                     DAVID'S POV
               Rosalie sits on the front steps.  Stubborn.

                                     DAVID
               (to himself)

               Be my guest.  Sit there all night.

               David turns from the window.  He accidentally knocks his metronome 
               to the floor, setting it off.  Click...click...click...
 
               David shuts it off, goes to the door.

               His hand on the knob--

                                     DAVID
               If I go down those stairs...it will only lead to one place...right 
               back here...the two of us...a short, brilliant moment...one more 
               to add to the gallery...then, empty-handed again, with nothing 
               to show for it but an emotional hangover...I'm not going to open 
               this door... Discipline... Like the man said, don't fuck the 
               guests...
 
                                     CUT TO

               EXT. DAVID'S APARTMENT - NIGHT


               Rosalie is on the front steps.  She smiles as she hears the door 
               open -- it's David.
 
               He joins her.

                                     DAVID
               I've got nothing to say to you.

                                     ROSALIE
               Fine.  I'll talk...

               A beat.

                                     ROSALIE
               The reason I won't just leave you alone is not because I'm "confused." 
                My feelings are perfectly clear.  I know you find it incomprehensible 
               that I can love Jerry and love you.  And that one love has nothing 
               to do with the other.  But it's true.
 
                                     DAVID
               Rose...

                                     ROSALIE
               What?

                                     DAVID
               This is bullshit.  I can't spell it out any more plainly.  It's 
               impossible!
 
                                     ROSALIE
               Why?

                                     DAVID
               Because I can't be this close to you...and not want to touch 
               you.
 
                                     ROSALIE
               That's it?

                                     DAVID
               That's...it.

               And he does touch her.  He puts his hand on her leg.

                                     DAVID
               And if I can't do that, I don't want to be your friend.  Not 
               now.  Not ever.
 
                                     ROSALIE
               Don't be so mean.

               David flashes an angry look.  Then, he pulls Rosalie close to 
               him.
 
                                     DAVID
               The bottom line is...If I'm with you, I have to touch you, to 
               kiss you.  That doesn't work for friends, does it?
 
               She doesn't answer -- she lets him stroke her leg.

                                     DAVID
               When I'm not with you -- this is more than you need to know...If 
               I touch myself, I can only think about one person. You.  No one 
               else.  Just you.
 
               (beat)

               Friends...that's bullshit.

                                     ROSALIE
               What do we do?

                                     DAVID
               What do you mean "we"?  This is your problem.

               (beat)

               My only problem is how to get you out of my mind.  How to erase 
               you...Delete every bit of you...
 
               (presses an imaginary key)

               Into the ether...

                                     ROSALIE
               Stop...

               She kisses him.  He engulfs her in his arms.

                                     DAVID
               You have to say good-bye.

                                     ROSALIE
               I don't know how...

                                     CUT TO

               INT. DAVID'S BEDROOM - NIGHT


               David and Rosalie have sex on the single bed in his spartan room. 
                She's on top of him -- they face each other.
 
               The lovemaking is both fierce and tender -- longing and leaving, 
               rolled into one.
 
               As Rosalie grows more aroused, she begins to cry.  Tears quietly 
               stream down her cheeks.
 
               David reacts--

                                     DAVID
               Should we stop?

               Rosalie is too choked up to answer -- she shakes her head "no." 
                And they continue -- tears and sex.
 
                                     CUT TO

               INT. DAVID'S BEDROOM - LATER - NIGHT


               David sits in bed alone, while Rosalie showers in the adjoining 
               bathroom.
 
                                     ROSALIE
               David, will you hand me my shampoo?  It's in my purse.

               David opens Rosalie's purse and finds a travel-size bottle of 
               shampoo.
 
               He just shakes his head.

                                     CUT TO

               INT. ROSALIE'S CAR - MOVING - NIGHT


               Rosalie drives home.  Checks herself in the mirror -- her hair 
               is still damp.  She rolls down the window to "blow dry" it.
 
               
               She turns on the radio, finds a rock-and-roll station.  Noisy, 
               mindless, perfect.
 
               In her mind--

                                     ROSALIE
               Hail Mary, full of Grace, blessed be the  fruit of thy womb Jesus...Holy 
               Mary, Mother of God, pray for us sinners, now and at the hour 
               of our death, Amen...Hail Mary, full of Grace, blessed be the 
               fruit of...
 
                                     CUT TO

               INT. ROSALIE'S APARTMENT - NIGHT


               After midnight.  Rosalie slips inside the door.  No sign of Jerry. 
                She removes her shoes and tiptoes into--
 

               INT. ROSALIE'S BEDROOM - NIGHT


               The television is on -- the sound is muted.  An infomercial is 
               playing.  Jerry is sleeping.
 
                                     ON ROSALIE
               She nudges him.  He doesn't stir.  Rosalie sits at the foot of 
               the bed.  She grabs the remote and "un-mutes" the sound.
 

               INT. ROSALIE'S BEDROOM - ON TV - NIGHT


               A physical fitness EXPERT is talking.

                                     EXPERT
               ...And the change is not just physical.  You'll be amazed how 
               quickly your whole outlook will--
 

               INT. ROSALIE'S BEDROOM - NIGHT


               She flicks off the TV.

               Rosalie undresses and climbs into bed.  She starts to kiss Jerry. 
                Slowly, he wakes.
 
                                     JERRY
               Hey...

                                     ROSALIE
               Hey...

                                     JERRY
               What time is it?

                                     ROSALIE
               Late.

               He looks at the time.

                                     JERRY
               It is late.  What happened?

                                     ROSALIE
               Oh.  The girls.  Wedding talk.  We could've gone on all night.
 
               
               She rubs his chest.

                                     ROSALIE
               Jerry...

                                     JERRY
               What?

                                     ROSALIE
               We need to make love now.

                                     JERRY
               Okay...why now?

                                     ROSALIE
               I can't explain it.  We just need to make love now.

               He nods.  He kisses her neck, her breasts.

               Suddenly she stops him, taking his face in her hands.

                                     JERRY
               What's the matter?

                                     ROSALIE
               I just need to fix this moment in my mind.

               A long beat.  She studies his face.

                                     ROSALIE
               I love you.  Totally.  Completely.  I don't want to spend another 
               minute of my life without you.
 
               (off his reaction)

               You don't have to say anything.

               She climbs on top of him.

                                     JERRY
               You're forgetting something.

                                     ROSALIE
               No, I'm not.

               He laughs uncomfortably.

                                     JERRY
               Don't you think...

                                     ROSALIE
               No, I don't.  Let's not use it tonight.

               (beat)

               I'm ready.

               A beat.

                                     JERRY
               If you're ready, so am I.

               She straddles him, rocking back and forth.  With grim determination.
 
               
                                     ROSALIE
               Jerry?

                                     JERRY
               What?

                                     ROSALIE
               Talk to me...

                                     FADE OUT:
                                     FADE IN:
                                     OMITTED

               INT. PHOTOGRAPHY STUDIO - DAY


               Jerry and Rosalie -- dressed informally -- pose for a publicity 
               photo.
 
               The photographer is Todd.

               Each click of his camera brings a blinding FLASH.

               todd

               Very good...you both look great...perfect shot for the paper.
 
               
               rOSALIE

               (to Jerry, sotto voce)

               I didn't mean to put pressure on you.

               jeRRY

               Babe, you're making too much out of this.

               (beat)

               It's not like I didn't enjoy making love.

                                     FLASH!
               rOSALIE

               I know.

               (beat)

               But I also know you would've enjoyed it more if I hadn't...
 
               
               jeRRY

               Raised the stakes?

               roSALIE

               I wasn't going to put it that way.

               (beat)

               But it's true.

               jeRRY

               Maybe it is.  But, please don't read too much into it.

                                     FLASH...FLASH!
               rOSALIE

               I won't.  I promise.

               cUT TO:


               INT. CHURCH - NIGHT


               High ceiling.  Stained glass windows.  Dark mahogany pews.

               At the altar, Jerry and Rosalie confer with their PRIEST -- late 
               60s, doctrinaire.  They're rehearsing.
 
                                     PRIEST
               A lot of young couples prefer "husband and wife" to the traditional 
               "man and wife."  Personally, I don't feel the phrase "man and 
               wife" gives the woman a diminutive status.  But I leave the choice 
               in your hands.  Do you have a--
 
                                     ROSALIE
               Husband and wife.  Definitely.

               Jerry simply nods.

                                     PRIEST
               Good.

               (to Jerry)

               After the blessing, I'll instruct you to kiss the bride.  Keep 
               it simple.  No slobbering.
 
                                     ROSALIE
               That could be tough.  For him.

               The Priest feigns amusement.

                                     PRIEST
               Remember, this is God's house.  And there will be prominent people 
               here as well.  Not to mention the press.  So, let's keep things 
               on the up-and-up.
 
               JerRY

               Right.

                                     CUT TO:

               INT. TOBACCO SHOP - DAY


               Jerry accompanies his FATHER -- late 50s, on a cigar-buying expedition. 
                Tobacco enthusiasts relax in leather chairs.  Wafts of smoke 
               hang in the air -- expensive smoke.
 
               Jerry's Father finds a brand he likes.

                                     FATHER
               Here we are.  Bahia Gold.  Two hundred a box.

                                     JERRY
               You don't have to do this, Dad.

                                     FATHER
               If I can't come to the bachelor party, I want to be there in 
               spirit.
 
               (beat)

               The boys will like these.  Classic.

                                     JERRY
               Thank-you.

                                     FATHER
               I remember my bachelor night.  Frankly, I wish I didn't.  Not 
               a night I'm particularly proud of...I'll leave it at that.
 
               
                                     JERRY
               Why are you sharing this?

                                     FATHER
               Reminiscing.  That's all.

                                     JERRY
               Or warning me.

                                     FATHER
               Nonsense.  I know you.  You won't make an ass out of yourself.
 
               
               (beat)

               Oh...A little something from your mother and me.

               He reaches into his pocket, hands Jerry a key.

                                     JERRY
               What's this?

                                     FATHER
               It's a key.

               (smiles)

               There's a new housing development, just west of here.  I've been 
               giving the developer a lot of breaks, and...now he's giving me 
               one in return.  I'm almost embarrassed to say how little this 
               cost me.
 
                                     JERRY
               I can't accept this.

                                     FATHER
               Yes, you can.

               (beat)

               C'mon.  Make your old man happy.

               Jerry says nothing.

                                     FATHER
               Uh-huh.  I get it.  This is Rosalie's domain.  She should have 
               a say in where you two settle down.  But don't worry, you won't 
               be forcing her hand.  Know why?  Because she's going to love 
               it.
 
               Jerry just nods.

                                     FATHER
               Let's ring these babies up.

                                     CUT TO

               INT. TOWNHOUSE - NIGHT


               Bachelor party in progress.  In the living room, a dozen guys 
               smoke Cuban-rolled cigars, drink shots of Tequila, and watch 
               a Stripper perform.
 
               The least boisterous of the group is Jerry, who watches the action 
               with a drunken glow.
 
               The party's host, Jerry's BEST FRIEND, enters and summons Jerry 
               into--
 

               INT. TOWNHOUSE FOYER -- NIGHT


               The Best Friend aims Jerry toward the stairs.

                                     BEST FRIEND
               Alright, my man.  You ready?

                                     JERRY
               Do I have a choice?

                                     BEST FRIEND
               No.

                                     JERRY
               Then, I'm ready.

                                     BEST FRIEND
               The guys pitched in for this...

               He pats Jerry on the back.

                                     BEST FRIEND
               So go up there and get our money's worth.

               Jerry starts up--

                                     CUT TO

               INT. TOWNHOUSE HALLWAY - NIGHT


               Jerry approaches the bedroom door with a fateful air.  He touches 
               the door knob.
 
               In his mind--

                                     JERRY
               Why am I stopping?...There's a hot girl waiting on the other 
               side of the door...Why worry?  Everyone cuts you slack for this 
               kind of thing...This is supposed to happen...It's a tradition, 
               a time-honored ritual...Losing your tooth, losing your virginity, 
               losing the championship...If I walk through this door, what am 
               I losing?  Nothing...My father was here, and his father was here, 
               and his father's father was here, hand on the door...What am 
               I waiting for...
 
               He pushes it open.

                                     CUT TO

               INT. TOWNHOUSE BEDROOM - NIGHT


               Jerry enters.  The room is dark, except for a shaft of moonlight 
               that silhouettes a girl on the bed.
 
               Her foot dangles off the side, the toenails painted blood red. 
                Jerry turns on a lamp to meet --
 
                                     LORNA
               Sitting on the bed in a tank-top and a short skirt.  As fetching 
               as ever.
 
                                     LORNA
               You must be the groom.

               Jerry laughs.

                                     LORNA
               The guys were right.  You're a looker.

                                     JERRY
               Did they also tell you I don't usually do this kind of thing.
 
               
               She pulls off the tank-top, revealing a black brassiere.

                                     LORNA
               All the better.  I like challenges.

               She crosses to face him.

                                     LORNA
               Getting married tomorrow, huh?

                                     JERRY
               Yes, I am.

                                     LORNA
               Love, honor, and obey.  That's the drill, isn't it?

                                     JERRY
               Yes.  Tomorrow, I take the vows.

               Without much ceremony, she starts massaging his crotch.

                                     LORNA
               Tomorrow...So, technically, this doesn't count.

                                     JERRY
               How's that?

                                     LORNA
               You can't break a vow you haven't taken, can you?

                                     JERRY
               You sound like my lawyer.

               Lorna kneels down before him.  She unzips his pants.

                                     LORNA
               I've done my share of lawyers.  They spend most of the hour negotiating 
               the tip.
 
               (beat)

               That's a joke.

                                     JERRY
               I got it.

               She pulls down his pants, looks up at him.

                                     LORNA
               Something bothering you?

                                     JERRY
               I don't know if I should be doing this.

               She starts to stroke him.

                                     LORNA
               Want my philosophy?  If we don't make mistakes now and then, 
               how are we ever going to learn from them?
 
                                     JERRY
               Now you sound like my priest.

                                     LORNA
               I've done a few of them, too.

                                     JERRY
               Priests?

                                     LORNA
               Lousy tippers.  They spend most of the hour feeling bad about 
               what they're doing.  But they do it anyway.  Then, they shortchange 
               you on the tip.  One of them absolved me once, before he left. 
                That's something, I guess.
 
                                     JERRY
               Who are the best tippers?

                                     LORNA
               The guys who can least afford it.  Guys with families.

                                     JERRY
               And the worst?

                                     LORNA
               Hands-down.  Politicians.

               Jerry reacts.

                                     JERRY
               Politicians?

                                     LORNA
               Sure.  Both parties.  I don't discriminate.  Besides, a penis 
               doesn't know from politics.  A penis is the most politically 
               incorrect part of the body.  It has a simple agenda.
 
               (rehis erection)

               He knows what he wants.

               And she proceeds to give him a blow-job.  Jerry guides her with 
               his hands.  He tries to relax.  He tries...
 
               But he can't.  He yanks her away from him.

                                     JERRY
               Stop it.  I can't do it.

                                     LORNA
               Don't worry about it.

                                     JERRY
               I can't...I'm sorry.

               Lorna instinctively puts a little distance between herself and 
               Jerry.
 
                                     LORNA
               Hey, it's no sweat.  I get paid either way.

                                     JERRY
               No, you don't understand.  I can't fucking go through with it!
 
               
               (off Lorna's non-reaction)

               I can't get married!

               All at once, his face fills with rage.  Jerry swings his fist 
               into the wall, punching a hole in it.
 
                                     JERRY
               Jesus!

               Adrenaline pumping, he doesn't even notice the blood on his hand.
 
               
                                     ON LORNA
               She shakes her head --  she's completely nonplussed.

                                     LORNA
               That was smart.   Now, you're bleeding.  Here...

               She takes him by the arm into--


               INT. TOWNHOUSE BATHROOM -- NIGHT


               She runs cold water over his hand -- it's really banged up.  
               Then, she wraps a towel around it.
 
                                     LORNA
               Better?

                                     JERRY
               Yeah...

                                     LORNA
               Do you love her?

                                     JERRY
               I don't know.

                                     LORNA
               C'mon.  Let's sit down.

               They return to--


               INT. TOWNHOUSE BEDROOM -- NIGHT


               Lorna and Jerry sit on the floor, their backs resting against 
               the bed.
 
               Now the mood is intimate.

                                     JERRY
               She wants to have a baby.  That's the way it's supposed to be, 
               right?
 
                                     LORNA
               I wouldn't know.

                                     JERRY
               My parents approve of her.  Her parents approve of me.  Everybody 
               approves...
 
                                     LORNA
               What's wrong with a little approval?

               Jerry gives her a hard look.

                                     JERRY
               That's my whole life.  My whole goddam carrot-and-stick-life. 
                Ever since I can remember, I've been chasing after this person 
               or that person's approval.  Playing one role, then another.  
               Then another!  The good student.  The good son.  The industrious 
               boy.  Good grades.  High ambitions.  Pats on the back.  Handshakes 
               from people who matter!  The good boyfriend, getting on his knees 
               and proposing to the good girlfriend.  The dutiful bachelor, 
               receiving the traditional blow-job from a...
 
               Jerry stops himself.

                                     LORNA
               (lets him off the hook)

               Professional.

                                     JERRY
               I've lost count of all the roles, there's so many of them.

               (beat)

               I have no idea who I'm playing now.

                                     LORNA
               Huh.

               A beat.

                                     LORNA
               I don't see what the big deal is.  I play roles all the time.
 
               
                                     JERRY
               And you want to do that your entire life?  You can't...you...
 
               
               (beat)

               I don't even know your name.

                                     LORNA
               Lorna.  And I'll do whatever the hell I want.

                                     JERRY
               Well, I can't live somebody else's version of my life anymore. 
                Do you understand?
 
                                     LORNA
               Sure.  I do.

               She gets up and crosses to the window.  Lifts it up.

                                     LORNA
               Here's your chance.

                                     JERRY
               What?

                                     LORNA
               It's not too far a drop to the lawn.  You have gas in your car? 
                Then, go.  It's the first day of the rest of your life...Go. 
                I promise you, this opportunity will not come around twice.
 
               
               (beat)

               Go.

               Jerry stands.  He looks out the window--

                                     HIS POV
               The suburbs at night.  Cozy, warm-lit.

                                     JERRY
               I'm going to do it.

               He smiles at Lorna.  Then, he climbs out the window.

                                     LORNA'S POV
               She watches him hit the ground, hobble across the lawn, and get 
               into his car.  And he's gone.
 

               INT. TOWNHOUSE BEDROOM -- NIGHT


                                     LORNA
               See?  Easy.

               She sits on the bed, takes in the room.  It seems ordinary and 
               strange, all at once.
 
               Lorna spots the bloody towel -- Jerry left it on the floor.  
               She folds it neatly, concealing the blood.
 
                                     CUT TO
                                     OMITTED

               INT. COFFEE SHOP - NIGHT


               Later.  The wee hours.  The only person at the counter is Lorna. 
                She pours cream in her coffee, watches it swirl.  Clouds.
 
               
               Something else catches her eye.

                                     LORNA'S POV
               Behind the counter lies a crumpled newspaper.

                                     LORNA
               (to Waitress)

               Mind if I have that?

                                     WAITRESS
               It's yesterday's.  Morning paper should be here any minute.
 
               
                                     LORNA
               I just want the crossword puzzle.

               The Waitress puts the paper in front of her.  It falls open to 
               the Metro section, where Lorna sees a photo of Jerry and Rosalie 
               -- the one Todd shot.
 
               The accompanying headline"Deputy Mayor's Son to Wed Tomorrow."
 
               
                                     LORNA
               Oh my...

               The Waitress cranes her neck to see.

                                     WAITRESS
               There's a catch, alright.

                                     CUT TO

               INT. LORNA'S APARTMENT - DAY


               Morning.  Terri -- still under the covers -- studies the torn 
               clipping from the paper.  Lorna brushes her teeth.
 
                                     TERRI
               Hello...It's the oldest condition known to man.  Cold feet.
 
               
                                     LORNA
               You're wrong.  I'm telling you he's two states away by now.
 
               
               (beat)

               He made a clean break.  I know it.

               Terri shakes her head.

                                     TERRI
               If you're wrong, you're paying for drinks tonight.

                                     CUT TO

               EXT. STREET - DAY


               Lorna and Terri walk briskly down the sidewalk.  They round a 
               corner to see--
 

               EXT. CATHEDRAL -- DAY


               A magnificent Catholic church. A white limousine -- decorated 
               with streamers -- sits in front, surrounded by expensive cars.
 
               
                                     TERRI
               Well, what do you know...

               Lorna can't believe it -- she almost feels betrayed.

                                     TERRI
               Told you we should've dressed up.

                                     LORNA
               C'mon...we're going inside.

                                     TERRI
               What for?  Wait...

               But Lorna is bounding toward the cathedral.

                                     CUT TO

               INT. CATHEDRAL VESTIBULE - DAY


               Lorna and Terri enter.  The vestibule looks empty.  Suddenly, 
               they are startled by a FLASH.
 
               They turn to find a photographer checking a bulb -- it's Todd.
 
               
                                     TERRI
               Lorna, we shouldn't be here.

               Hearing her name Todd looks up.  Then, he gathers his gear and 
               starts inside.
 
               But Lorna intercepts him.

                                     LORNA
               Excuse me, could you tell me who's getting married in...

               (beat)

               Hey, I know you.  The wedding guy.

                                     TODD
               I'm sorry. Have we met?

                                     LORNA
               Yeah.  You don't remember me?

                                     TODD
               You must be thinking of somebody else.

               Lorna reacts.  Stops herself.

                                     LORNA
               Right.  I must be thinking of someone else.  Sorry.

                                     TODD
               Excuse me...

               And he disappears into the church.

                                     TERRI
               What was that all about?

                                     LORNA
               Nothing.

                                     TERRI
               Nothing, my ass.

                                     LORNA
               Alright, alright.  I slipped.

                                     TERRI
               Slipped?  You broke the cardinal rule of the trade.

               (pedantic)

               Never acknowledge a client in public.

                                     LORNA
               What is this?  Hooking For Dummies?  C'mon...

               Lorna grabs Terri by the wrist and slips into--


               INT. CATHEDERAL -- DAY


               They take a seat in the last pew.

                                     LORNA'S POV
               The front pews are packed, all eyes focussed on the wedding party 
               at the altar.  Jerry and Rosalie face the priest, who blesses 
               the ring.
 
                                     PRIEST
               The wedding ring is a powerful symbol.  It is a circle, with 
               no beginning and no end.  It is also the circle that encloses 
               your love for each other--
 
                                     TERRI
               I'll bet that dress is Vera Wang.

                                     LORNA
               Shhh...

               Jerry and Rosalie turn to face each other.

                                     PRIEST
               Do you, Rosalie, take this man, to have and to hold, in sickness 
               and in health, till death do you part?
 
                                     ROSALIE
               I do.

                                     PRIEST
               And do you, Jerry, take this woman, to have and to hold, in sickness 
               and in health, till death do you part?
 
               A beat.

               Lorna studies Jerry's face for any sign, any hint of his real 
               feelings.
 
                                     JERRY
               I do.

                                     PRIEST
               Then, by the power invested in me by Christ, Our Lord, I now 
               pronounce you husband and wife.
 
               (to Jerry)

               You may kiss the bride.

               They kiss.  Lorna leans forward.  She's moved, despite herself.
 
               
               Terri looks over.

                                     TERRI
               You're crying, I can't believe it.

                                     LORNA
               No, I'm not.

               (beat)

               Weddings make me cry.

               The congregation applauds.  Jerry shakes hands with the best 
               man -- his Father.  He gives his son an approving pat on the 
               back.
 
               Suddenly, a SECURITY GUARD appears in Lorna's face.

                                     SECURITY GUARD
               Ladies, this event is strictly for invited guests.

                                     TERRI
               We're with the groom's party.

                                     SECURITY GUARD
               Ma'am...Let's not do this.  You're not with the groom.

               Terri points to Lorna.

                                     TERRI
               She had his cock in her mouth last night.  Doesn't that count?
 
               
               Lorna bursts out laughing.  Laughing through her tears.  The 
               Guard is not amused.
 
                                     CUT TO

               EXT. CATHEDERAL - DAY


               Lorna and Terri race down the church steps, giggling like school 
               girls.
 

               EXT. STREET - DAY


               They turn a corner, lean against a wall.  Catching her breath, 
               Terri lights a cigarette.
 
                                     LORNA
               I don't know why he came back.

               (beat)

               It wasn't love.

                                     TERRI
               Guess you'll never know for sure.

               They start down the sidewalk--

                                     TERRI
               Remember the guy I told you about -- the writer?

                                     LORNA
               Yeah.  He said he wanted to immortalize you.  What a line.

                                     TERRI
               He's been steady work.  Every Tuesday for the past month.  Well, 
               get this.  Yesterday, he called and asked me out.
 
                                     LORNA
               On a date?

                                     TERRI
               Yeah.  A date.

                                     LORNA
               A non-paying date.

                                     TERRI
               No money will be exchanged.  You want to hear the weird part? 
                I said yes.
 
                                     LORNA
               You're right.  That is weird.

                                     TERRI
               You gotta keep an open mind, Lorna.

               (beat)

               You never know with people.

               They wait at the crosswalk.  Lorna idly glances at the window 
               of a brownstone apartment.
 
                                     WHAT LORNA SEES
               A Man finishing a cigarette.  He catches Lorna looking his way. 
                A Woman comes up behind the Man and casually embraces him.  
               The Man gives Lorna a last look before pulling the curtains closed.
 
               
               The light has changed.  Terri starts walking.

                                     TERRI
               C'mon, what are you waiting for?

                                     ON LORNA
               She lingers at the curb for a moment, pondering her next move.
 
               
               FADE OUT:
               THE END