The Anniversary Party (2001)

FADE IN:

TIGHT CLOSE - JOE THERRIAN - MORNING

He's in his mid-thirties, his face relaxed in sleep,
childlike.  Nestled soundly a tangle in the arms of his wife.

THE CAMERA STAYS CLOSE.  SLIGHTLY BLURRED, SOFT, SLOWLY
SWINGS ROUND

TIGHT CLOSE - SALLY THERRIAN

She's in her mid-thirties, with large deep eyes.  She watches
her husband unguarded in sleep.  Her pretty face, alert,
she's barely breathing.  Traces the just visible lines around
his eyes, and mouth.  Brushes fingertips against his
eyelashes.

TIGHT CLOSE - SALLY'S HAND PULLS THE BEDROOM SHADE.

It retracts with a loud WHACK, sun, sky, trees.

		STEVEN (O.S.)
	And breath...and chataronga...

EXT. POOL AREA - DAY

We're in the middle of a yoga lesson.  Joe and Sally stand on
their mats.  Steven, their instructor, wanders around the
couple issuing soft-spoken instructions.

A large room with hard wood floors, dominated by a huge
fireplace.  The dining room on one side, living room on the
other.  Floor to ceiling windows overlook the back porch
garden pool... The house is classic Neutra.  All GLASS and
SMOOTH LINES.

The calm is broken by the telephone.  Joe and Sally ignore it
until the answering machine picks up.  They break their yoga
poses and listen.

The CAMERA hovers over the answering machine.

		LUCY (O.S.)
		(over answering machine; sweet,
		 British, slightly desperate)
	Joe, it's Lucy.  Remember me?  It's the
	black sheep here.  Bah...not funny.
	Haven't heard from you, need you, call
	me.  Love you madly.  Hi, Sally.  Joe,
	I'd love to talk to you before I go...

		JOE
	Go where?

		LUCY (O.S.)
		(over answering machine)
	It's a damn nuisance you aren't here, big
	brother.  Sorry I drone on.  I miss you.
	I lo--

The machine cuts her off.

NEW ANGLE

Joe and Sally have resumed their positions.  This wasn't the
call they were waiting for.

WIDE SHOT

AMERICA, forty-one, and ROSA, fifty, struggle up the steps of
the back porch carrying grocery bags and packages, come
through the sliding glass door...

THE CAMERA FOLLOWS THEM

Through the dining room and into the kitchen, watches the two
unpack groceries, flowers, etc., and start to dress the
dining room table.  They speak quietly to each other in
Spanish.

		JOE
	America, could you just...

America closes the sliding doors between the kitchen and the
dining room, giving the couple their privacy.

		JOE (CONT'D)
		(calls out)
	Thank you, America!

		STEVEN
	Okay, let's just take a deep breath, let
	your ribs expand and relax.  And reach up
	and into downward dog.

Otis, the Bisenji/Sheperd mix, sleeping on his leopard
pillow, stirs, stretches and groans.

		JOE AND SALLY
	Good boy, Otis.

The phone RINGS again.

		VOICE (O.S.)
		(over answering machine)
	Hello, I have Dr. Harmon calling for
	Sally Therrian.

Sally jumps out of the down dog position and runs to the
phone, all angles.

		SALLY
	Hello, hi, hi...and?  Thank God.

Sally stands with the phone to her ear, her back to Joe.

EXT. POOL AREA - CONTINUOUS

Joe watches her from his position, not concentrating on the
teacher waiting a sign.  Sally returns to the lesson.  They
do their handstands against the wall, on either side of the
front door.

		SALLY
	No luck.

		JOE
	Oh, well, we'll just have to try again.
	Sound like a plan?

Sally nods, she and Joe, at Steven's instructions, come out
of their handstands and lie on the floor in a stretched
relax, facing one another.

		SALLY
	Happy anniversary, baby.

		JOE
	Happy anniversary.

They smile.

		STEVEN
	And change sides...

America slides open the dining room doors.  The dining table
is covered with bundles of freshly cut flowers.  Rosa is
singing in Spanish.

		AMERICA
		(with the authority of long
		 years of service)
	Mr. Joe, we have to have the house.  If
	you please now...

		JOE
	It's yours.

The CAMERA glances off photos of the couple: portraits and
candids, their wedding day, with friends, on vacation,
tumbling on the lawn, and the like.
Some framed and hung, some taped to the fridge or simply
leaning on a shelf.  It's clear that at least a handful are
by the same photographer, black and whites, grainy and
beautiful.

There are lots of photos of Joe and his sister Lucy,
documenting their relationship from childhood.  There's an
ANNIE LEIBOWITZ photo-shoot of Sally carelessly displayed
somewhere.

INT. BEDROOM - LATER

Joe stands behind Sally in front of the full length mirror,
his arms around her, stroking her belly.

		JOE
	I love you.  Most beautiful woman in the
	world.

		SALLY
	Hardly...

		JOE
	Accept a compliment.

		SALLY
	I think you're the most beautiful woman
	in the world.

They move toward the bed.

		JOE
	What did you get me?

		SALLY
	In the morning, after everyone's gone and
	there's just us.

She pushes him on the bed.

		JOE
	Kiss my eyes.

She does.

		SALLY
	My wrists.

He does.

		JOE
	Kiss the back of my knees.

		SALLY
	Through the sweats or not?

		JOE
	Not.

She pulls down his sweats.  She kisses the back of his knees.
He turns, stares up at her.

		SALLY
	What?

		JOE
	You didn't kiss anyone else's knees, did
	you?

Sally shakes her head.

		SALLY
	No.  Did you?

		JOE
		(after a beat)
	No.  I missed that.

		SALLY
	I missed all of you.  We're okay, aren't
	we?

		JOE
	We're great.

		SALLY
	I mean, you're really back.

		JOE
	For good.

They begin to make love...the phone RINGS.

		JOE (CONT'D)
	Don't get it.

		SALLY
	Well, it might be Clair.  They're
	threatening not to come...

		JOE
	What?

		SALLY
	They can't find a sitter...
		(into the receiver)
	Hello?  Excuse me?  Yes, uh, hold on.
		(she looks at Joe)
	Just a moment.
		(puts the call on hold)
	It's Skye Davidson.  She needs directions
	to the house.  You invited Skye fucking
	Davidson to our anniversary party?

		JOE
	Okay.  I'm sorry, look, I meant to tell
	you.  It was the only chance I had to
	meet her.

		SALLY
	You invited her to our anniversary party?
	I didn't even invite my mother.

		JOE
	She goes on location tomorrow.  Sally,
	I'm sorry.  Look, I can't keep her on
	hold.

		SALLY
		(pissed)
	No, no of course not.  It's Skye fucking
	Davidson, for fuck's sake.

		JOE
		(regards her)
	You want me to uninvite her?

		SALLY
	No, no of course not.  How old is she?
	Twenty-fucking-two?

She gets out of bed, starts into the bathroom.  The CAMERA is
with her.

		SALLY (CONT'D)
		(into the bathroom mirror)
	And she's a stinking fucking actress, for
	fuck's sake.

		JOE
		(into the receiver)
	Skye!
		(his face lights)
	I'm so glad you're able to make it...it's
	our sixth, actually.
		(flattered)
	You read the book again?  Well, no, the
	ending to chapter six...it's just that
	it's not filmic.
	We tried it in an earlier draft, but, it
	just wasn't filmic... Well, sure, we can
	absolutely look at that again.  If you're
	coming from Laurel, you want to take
	Sunset west, we're just past Will Rogers
	State Park.  Three blocks west of that,
	you want to hang right.  It's about three
	quarters of a mile up a big white thing
	on the left.

Sally's started the bath, and is watching him from the
doorway.  He meets her eyes mid-sentence.

		JOE (CONT'D)
	Oh?  I don't think tonight.  I'm sure
	they're well behaved.  All our friends
	have dogs, and they always want to bring
	them.  We'd be outnumbered, you see?  So
	we sort of put a ban on it.  Sorry.

He rolls his eyes.  Sally walks back into the bathroom, she
isn't buying it.

		JOE (O.S.) (CONT'D)
	I'm looking forward to meeting you, too.
	And Skye, I'm thrilled that you're
	willing to take this leap with me.
	Eternally grateful, really.

		SALLY
		(into the bathroom mirror)
	I'm going to throw up.

		JOE (O.S.)
	I can't imagine anyone else playing
	Genna.

		SALLY
		(sanguine)
	Really?

INT. BEDROOM - LATER

The doorbell rings.  There are two closed doors on either
side of the room.  The bed shows no sign of consummated sex.
Joe comes through the left hand door, nearly dressed.

		JOE
	Who the fuck can be here at this time?
	It's not even seven!

Sally comes through the other door, one shoe off, one on.

		SALLY
	Oh Jesus, who else is always early for
	Christ's sake?

NEW ANGLE

Sally kisses his cheek on her way to the door.

		SALLY (CONT'D)
	Promise you'll be nice to the neighbors.

		JOE
	I'll say as little as possible.

Sally exits the bedroom.

HOLD ON JOE

For a moment, then Sally re-enters, kisses him deeply.

		SALLY
	I love you.

INT. FOYER - EARLY EVENING

The house is filled with exquisite flower arrangements,
candles everywhere.

JERRY and JUDY ADAMS are on the porch, just beyond the glass
of the front door.  Their argument is inaudible.  They're in
their mid-thirties, conservatively dressed.  She's stunning,
genetically nervous.  Jerry carries a briefcase.  She's got
the gift.

Sally opens the door.  Hugs and buses them, hello.

		JUDY
	I know we're early, we're so early.
	Sorry.

		JERRY
	You have to sign your taxes anyway.

		SALLY
		(a grin)
	Of course we do.
		(to Judy)
	We have to sign our taxes.

		JOE
		(kisses Judy; all charm)
	You can never be too early or too thin.

		JERRY
	Happy anniversary, buddy!  Six months
	ago, who would have thunk it?

Jerry hugs Joe.

		JOE
		(sotto)
	Well, not me, to be honest.

		JERRY
		(sotto)
	Don't fuck up again.  It's got a ripple
	effect.  Sally suffers, we all suffer.

		JUDY
		(offers)
	We have a gift?

		JOE
	Thanks, I'll take that.  Champagne?

		JUDY
	Lovely.

Joe moves toward the kitchen.

		JERRY
		(a moment, to Sally)
	We closed.

		SALLY
	Fantastic.
		(takes his hand)
	Out here.

They step out onto the porch.  Judy's left alone, unsure
whether to follow or not.

		JUDY
		(finally, to no one, and to no
		 response)
	The house looks beautiful, are those
	hydrangeas?

She stands awkwardly in the middle of the foyer.

EXT. PORCH - CONTINUOUS

		JERRY
	Joe officially owns No. 4, Cheyenne Walk,
	Chelsea, London, England.  No small
	doing.

		SALLY
	I love you, you're a genius.

Behind them, in the foyer, Judy wanders aimlessly.

		JERRY
	I suppose.  Sally, that's quite a gift.
	I'm not sure it's in your best interest.

		SALLY
	I adore him.

		JERRY
	The realtor'll be here tomorrow in the
	morning.  The house had to go on the
	market to insure the loan on the London
	flat.

		SALLY
	I know.  I know that.  Don't spoil it.

		JERRY
	What you earn has to double in order to
	cover expenses in London, it's an
	outrageously expensive city.

		SALLY
	We've only been over this how many times?

		JERRY
	You only made half your quote this year.

		SALLY
	Well, you're a tower of support.

		JERRY
	I worry because you don't.  It's my job.
	I'm feeling guilty.  I would've liked it
	if you waited until the two of you were
	on more solid ground.

		SALLY
		(direct, simple)
	We couldn't be on more solid ground.

		JERRY
	Whatever you say.  Listen, I love you.

Otis is barking.

		JOE (O.S.)
	Otis!  No barking!

		SALLY
		(touched)
	And Joe's huge in Europe.  He's like a
	rock star in London.  His novels sell
	millions.

		JERRY
	Not millions.

		SALLY
	He's directing now.

		JERRY
	They're paying him scale.

The CAMERA catches sight of Joe behind them.  He moves
through the foyer and into the living room with a tray of
glasses and Judy in tow.

		SALLY
	He gets huge advances on his novels.
	He's going back to that.  You know how he
	hates it here.

		JERRY
	There's still time to undo this.

		SALLY
		(kisses his cheek)
	We'll be fine.

		JERRY
		(re: barking dog)
	Did you invite them?

		SALLY
	The Roses?  And of course they said yes.

		JERRY
	That was the plan.  And you're thrilled
	to have them.

		SALLY
	Whatever you say.

		JERRY
	Did you tell Joe to behave?

		SALLY
	Yes.

		JERRY
	Did he promise?

		SALLY
	Scout's honor.

		JERRY
	Before I forget.
		(pulls a novel from his
		 briefcase)
	Put it on the bookshelf.

She flips the book -- on the back is a full page picture of
RYAN ROSE.

		SALLY
	You're out of your mind.

		JERRY
	Just do what I say, alright?

		SALLY
	How much bowing and scraping do you want
	us to do?

		JERRY
	Beats a lawsuit.

INT. LIVING ROOM - CONTINUOUS

Joe and Judy sit on opposite sides of the sofa -- slightly
uncomfortable with each other.

		JOE
		(to fill the silence,
		 conspiratorial grin)
	I love gifts.  What did you guys get us?

		JUDY
		(chokes on the champagne)
	Nothing that can't be exchanged.

		JOE
	Oh.  Well.  Good.

		JUDY
	Congratulations on the deal.  How
	exciting.  Is Sally doing Sally?  I mean
	it's Sally.  The character that's based
	on Sally.  The character that's based on
	Sally in the book.

		JOE
	The novel.  No, Skye Davidson is playing
	the lead.

		JUDY
	Oh my God, I'm a huge Skye Davidson fan.
	She's very beautiful.

		JOE
	Yes, she is.

		JUDY
		(trying harder)
	But I am right, yes?  She's based on
	Sally.

		JOE
	It's a novel.

		JUDY
	Still.  Well.  Let's drop it.

		JOE
	Yes.

		JUDY
	I'm not much of a reader, but I do love
	autobiographies, even biographies
	sometimes.  Mostly non-fiction.  Did you
	read the new Styron?

		JOE
	No.

		JUDY
	It's very good.
		(a moment)
	I understand you won the Booker Prize.

		JOE
	Yes I did.

		JUDY
		(another moment)
	Is your script much like the novel?
	Jerry says it's very good.  But you know,
	you read the novel, and then you see the
	movie - and most of the time you say,
	"what's this?" You know?  I sometimes
	think we're better off not reading the
	novel at all.  Because, we come with
	expectations... and of course, we know
	where we're going.  Don't you find?

		JOE
	Don't I find what?

		JUDY
	I don't know why Joe, we've known each
	other how long...

		JOE
	Not long.

		JUDY
		(benign)
	Don't be silly.

		JOE
	Joking.

		JUDY
	Yes I know.  I started to say... I
	started to say Joe that --

		JOE
	Do I put you off?

		JUDY
	You manage to throw me off balance.  I
	adore you.

		JOE
	And I you.

		JUDY
	But I'm always afraid I'll say something
	stupid.

		JOE
	Ah.

		JUDY
	And so I always manage to, do you see?
	Like the book/script thing, do you see?

		JOE
	Mmm hmmm.

INT. FOYER

CAL and SOPHIA GOLD are there with their children - JACK and
EVIE - eight and six respectively.  Carrying gifts and totes
with toys and changes.  Jerry and Sally have gathered them up
and ushered them in.

		SALLY
	You know Jerry.

		CAL
	Yes, of course.

		SOPHIA
	I'm the wife.  We've met.

		JERRY
		(hugs her)
	You, I know.

		SALLY
		(to Evie)
	Hey, beautiful girl.

She picks up the four-year-old, swings her around.  Jack
hides behind his father's legs.

		SOPHIA
		(a grin)
	Jack?  Jack, you promised.

The little boy comes out from behind his father's legs,
covers his eyes with his hands.

		JACK
		(sings)
	Happy anniversary to you.  We're glad Joe
	came home.  Don't split up again.  Cause
	we like the food.

Much laughter and clapping.

		JOE
		(in the archway)
	Jack.  Did you compose that yourself?

		CAL
	Absolutely.

		JOE
	Had a little help?

		CAL
	Absolutely not.

		JOE
	It has your ring.

		CAL
	I'm not that good.

		JERRY
	Cal, my wife Judy.

		JUDY
	Nice to meet you.

		CAL
	I think we've met, actually.  No?  At
	another one of these things?

		JUDY
	No, I don't think so.

		JERRY
		(to Cal)
	Congratulations on the Academy Award.
	Great performance.  Really warranted.

		SOPHIA
	He thought so.

		JERRY
	Sally always manages to get robbed.

		SALLY
		(a mortified grin)
	Enough about me.

		SOPHIA
	Evie has a little something for you.

Evie shakes her head.

		SOPHIA (CONT'D)
	You do.

		EVIE
		(even)
	I don't think so.

		SALLY
	Since when are you so shy?

		EVIE
		(her mother's daughter)
	Never.

		SOPHIA
		(bright smile)
	Honey, we have gifts for you and all
	sorts of surprises.  Where is America?  I
	know she's here somewhere.

Joe reaches for the gifts.

		JOE
	I'll take them.

		SOPHIA
	No, I have a little talking to do with
	America.  Privately.  I'll find her.

		SALLY
		(to Sophia)
	In the kitchen.

		JOE
	Who'd like to go and find Otis?

		EVIE
	Me!

		JACK
	I guess.

		JUDY
	The infamous dog?

		JOE
	He's the best dog in the world.
		(to Judy)
	They're both coming tonight.  Not my
	idea.

		JUDY
	Ours.

		JOE
	It's Jerry's worst idea.

		CAL
	What's that?

		JOE
	The neighbors from hell.  The kind that
	lay in wait.  I'd rather move actually.
	Wouldn't I?
		(to Sally)
	Wouldn't I?

		SALLY
		(small smile)
	Yes.

		JOE
		(to the kids)
	Okay.  Last one to find Otis is a smelly
	old bum.

Joe goes off with the children to find Otis.  Cal sits at the
piano, plays.

   INT. FOYER - FRONT DOOR - CONTINUOUS

Joe holds Evie in one arm.  Jack stands beside him, holds his
hand.  MONICA and RYAN ROSE face him across the threshold --
the NEXT DOOR NEIGHBORS.  She's in her late twenties - and
beautiful, eyes everywhere - star struck and house struck.
Ryan is somewhat older, a little awkward in company,
swallowing resentment and a little self righteous.

		JOE
	Well, hello you two.
		(putting Evie down; to Jack)
	These are the people who live next door.
	Say hello.

Jack does.

		JOE (CONT'D)
	And close the door, Jack.  Because if we
	leave it open, Otis will run out and you
	know what will happen then?

		JACK
	Uh, uh.

		JOE
	He'll run next door into their backyard
	and he'll bark and bark and bark and eat
	their pitbull for his dinner.  Is it a
	pitbull?

		RYAN
		(not amused)
	No, actually.

		JOE
		(to Jack)
	Oh whatever.  We don't want that to
	happen, do we?

		JACK
	No?

		RYAN
	It's a rottweiler, actually.
		(to Jack)
	I don't think our rottweiler is in any
	danger, Jack.

		JOE
	Well, Jack and I are very relieved.

		RYAN
	I thought this was a party.  Are we going
	to talk about the dog thing?

		MONICA
	Please, Ryan.

		JOE
		(kisses her cheek and shakes
		 his hand)
	No, he's absolutely right.  You're
	absolutely right, Ryan.  Dog talk must be
	banned.  Canine conversations are
	completely discouraged... it's really
	good of you to join us.  Can I get you a
	drink?

		RYAN
	Not for me, thanks.

An awkward moment.

		MONICA
		(checks with Ryan)
	Something soft.

		JOE
	Right away.  Are you sure you wouldn't
	like something soft, Ryan?

		RYAN
	I'm sure, yes.

Sally has watched some of this from the archway, joins them
super-friendly.

		SALLY
	Hi.  Monica and Ryan?

		MONICA
	Sally?

		SALLY
	Yes.  And you've met Joe.

		RYAN
	Yes.

		SALLY
		(a deep breath)
	Well, so glad you decided to come.

		MONICA
	We could hardly say no.

		SALLY
	Oh?

Joe slips the coke into Monica's hand.

		SALLY (CONT'D)
		(takes the gift)
	Thank you.  This was so unnecessary.  I
	hope you've noticed that Otis isn't
	barking as much.  We keep him in at
	night.

		RYAN
	At 4:30 today he barked for a solid
	fifteen minutes.  I have it on tape.

		SALLY
	You're keeping a record, are you?

		RYAN
	It's just very distracting when you're
	trying to work.

		MONICA
	Ryan.

		RYAN
		(to Joe)
	I'm sure you understand.

		SALLY
	Well the neighborhood is full of dogs,
	and it's not always Otis.

		RYAN
	Well today it was Otis.  And you should
	keep him away from our yard.  Because
	Sheila will defend herself.

		MONICA
	Ryan!

		SALLY
		(cuts off response from Joe; to
		 Ryan)
	Are you working on a new book?

		RYAN
		(caught short; flattered)
	Well, yes, actually.

		MONICA
	He always has two or three going...

		SALLY
	Really?  Joe can't manage more than one
	at a time.  With huge gaps in between.

NEW ANGLE

MAC and CLAIR FORSYTHE wave from the door.  Clair's arms are
full of presents.  Mac carries three video cameras under his
arm.  He's got Otis by the collar.

		MAC
	You lose this?

		JOE
		(re: Otis)
	Ah there's our snookums now.

		RYAN
	Yes, well, but I haven't won a Booker
	either.  Or the Whitebread.

		MAC
	The gate was open.

		SALLY
	Well, not yet.
		(she reacts to Mac)
	The gate was open?

		JOE
	It's taken care of.

		MONICA
	I think Ryan needs a new publisher.  I
	think he's outgrown him.  They're just
	not doing their job.

A silence.  Awkward smiles go all around.

		SALLY
	Hors d'oeuvres or something?

		MONICA
	Yes, great!  It's a beautiful house.

		SALLY
	Thank you.  I understand you're an
	interior decorator.

		MONICA
	Yes.

		SALLY
	I so wish I'd known.

		MONICA
	Well, whoever did this is amazing.

		SALLY
	I did it.

		JOE
		(comes on them with the
		 Forsythes in tow)
	She rarely cops to it.
		(kisses Sally's cheek)
	Otis is home.

		CLAIR
		(re: the gifts)
	Where can I put these?

Sally takes the gifts from her.

		CLAIR (CONT'D)
	What a fucking day!  We only just got a
	sitter.  I don't know her from fucking
	Adam.  She could be a serial killer.  I'm
	going to have to call every ten minutes.
	You have to let me give out the number.

		SALLY
	Of course.

		MAC
	She already has.

		CLAIR
	It's alright, isn't it?

		SALLY
	Of course it's alright.

		MAC
	Clair is a hovering mother.

		CLAIR
	I'm not.

		SALLY
	This is Monica and Ryan.  Mac and Clair.

Clair takes a glass of champagne off the tray as they make
their way down the hall.

		CLAIR
		(a wide professionally
		 ingratiating smile)
	So nice...

		MONICA
	And for us... Truly.

		CLAIR
	Well...

		MONICA
	You will never know.

		CLAIR
		(pleased)
	Oh.
		(to Sally)
	I have a four-thirty call.  AM.  So we
	may have to leave early.

		SALLY
	Why didn't you bring him?

		CLAIR
	What?

		SALLY
	Why didn't you bring him?

		CLAIR
		(searches)
	He's allergic.

		SALLY
	Oh.

		CLAIR
	To dander.  Otis.

		SALLY
	Oh.

		CLAIR
	Didn't I say?

		SALLY
	Well, probably.

		CLAIR
	They can tell from the eyelashes, you
	know?  He's got eyelashes yay long.  They
	must be a foot long.  The older you are
	when you have a baby, the more likely
	this stuff is to crop up.

		SALLY
		(muted)
	Oh.

The Roses are happy to stand there on the fringe.  Next to
someone they've only seen on screen and magazine covers.

Clair's not in the least put off by them.  She manages to
smile at them inclusively from time to time.

		CLAIR
	So they tell me.  Not soon enough, of
	course.
		(kisses her cheek)
	How are you, Sal?  You look fantastic.
	It changes your life, you know.  A baby.
	It puts everything in perspective,
	doesn't it.  Doesn't it, Mac?  You can't
	be the center of your own world, anymore.

		MAC
		(as grounded as Clair isn't)
	It's an object lesson in grace.
		(on seeing Cal Gold on the back
		 porch)
	Wow!  Look who's here before me!  My
	leading man is on time for once.

		CAL
		(at the piano)
	Those who can't direct.

		MAC
	Fuck you.

EXT. POOL AREA

Mac and Cal sit on the porch sharing a joint.  Cal is maybe
the only living complete works of Shakespeare and pulls out
his most arcane quotes on occasion.

		CAL
	Are those our dailies?  You're totally
	outrageous.  It's their anniversary.  Is
	nothing sacred!  Well...so...how am I?

		MAC
		(laughing)
	Oh man, you are so fucking funny in the
	kitchen scene.

		CAL
	I liked the third take, the accidental
	disaster with the silverware.

		MAC
	Nothing you do is accidental...

MEDIUM FULL SHOT

The CAMERA spots GINA TAYLOR through moving bodies.  Tall,
beautiful, centered grace.  She's got a Leica around her
neck... drops her two large camera bags on the floor.

Several of the other guests greet her, Mac among them.

TIGHT CLOSE

Joe sweeps her up to his arms.  It's an intimate,
appreciative embrace.  Theirs was a mid-30s relationship,
certainly pre-Sally.  Maybe his first important love.

		GINA
		(re: the cameras)
	I'm the hired help.

		JOE
		(affectionate)
	Fuck you.

		GINA
	I never put myself in harm's way.

		JOE
	Anymore.

		GINA
	No, not anymore.  Happy anniversary,
	scout.

NEW ANGLE

Sophia bursts from the kitchen.

		SOPHIA
	Oh my God!  America told me your
	neighbors are coming?

		SALLY
	And here they are!

		SOPHIA
	And she was saying how happy you were to
	finally have them over.  Because you're
	both, so, what - introspective?  And you
	should have done it ages ago.  I'm Sophia
	Gold.
		(rescuing Sally)
	Come meet my husband, Cal.

		MONICA
	Cal Gold?

		SOPHIA
	The very one.  And you are...

		SALLY
	Monica and Ryan.

		RYAN
	Rose.

		SOPHIA
	Sorry?

		RYAN
	Ryan Rose.

		SOPHIA
	Yes.

She shakes his hand.  He's amazed at the solid grip.

		SALLY
	He's a novelist.

		SOPHIA
	Ah.

		SALLY
	Like Joe.

		SOPHIA
	Hmm.
		(to Sally)
	Where are my kids?

		SALLY
	In the guest room.  I've laid out a paint
	table for them.

		SOPHIA
	I hope they're watercolors!

		SALLY
	Nevermind.

		SOPHIA
		(to Monica)
	Would you like to meet my husband?

It's all Monica can do to keep from putting her hand to her
chest.

		MONICA
	I'd be thrilled.

		SOPHIA
	Then he'll be thrilled.

She ushers them toward the living room.

		JOE
		(re: Sophia, appreciative)
	She's such pure evil.

Sally approaches, gives Gina a warm kiss on the chest.

		SALLY
	Thanks for coming.

		GINA
	Happy anniversary.  You're a good match,
	you two.
		(to Joe)
	Can you help me with this stuff?

		JOE
		(re: one of her bags)
	That for us?

		GINA
	What a nose.  You missed your calling.

		JOE
	Can I open it?

		GINA
		(defers)
	Sally?

		JOE
	Please?

		SALLY
	He's impossible.  Go on then.

Joe rips open the gift.  It's a framed black and white of
Joe, Sally and Otis lying on the couch.  It's clear which
photos in the house are Gina's.  It's a breathtaking print,
an amazing caught moment.  All light and shadow.  A touching
study.

		SALLY (CONT'D)
		(respectful of the talent)
	It's beautiful, thank you so much.

Joe, moved somehow, hugs Gina to him.  Kisses her.

		JOE
	I love you,  Gina Taylor.

Sally's uncomfortable, a little jealous... feels intrusive.
Aware that Gina got there first.  Knew him when.  And always
captures something naked and vulnerable in his face.

						CUT TO:

INT. GUEST ROOM - CONTINUOUS

In the center of the room a low table with paints and crayons
and glue and baubles.  Two child size chairs either side.
Empty, the table hasn't been touched.

Evie stands against the far wall.  She wears a helmet and is
surrounded by toy suction arrows.  The arrows make a perfect
outline of her head and body.  Jack stands three feet away,
bow in hand -- the archer prepares his next shot.

INT. LIVING ROOM

Cal is at the piano, charming the neighbors.  Judy chats with
Mac.  Jerry is on his cellphone, holding his Palm Pilot, his
hand pressed against his ear to block out the chatter.  Sally
joins Cal on the piano stool.  Sophia moves to Clair on the
couch, kisses her cheek.

		SOPHIA
	You look so well, Clair.  A wraith.

		CLAIR
		(pleased)
	You think so!?  I've been working out a
	lot since the baby.
	And I've been working.  And that takes
	it's toll, you know.

		SOPHIA
	I'm glad that's all over for me.

		CLAIR
	Don't you miss it?

		SOPHIA
	Never.

		CLAIR
	Really.

		SOPHIA
	Not for a second.  Cal can have all that.

		CLAIR
	Really?

		SOPHIA
	So where is young Jonah?

		CLAIR
	With a sitter.  We have a sensational
	sitter.  Jonah's really comfortable with
	her.  You know, a second mom sort of.
	Like part of the family.  Amazing with
	kids.

She inadvertently touches the beeper on her belt, and it
beeps.  She jumps.

		SOPHIA
	What is that thing?

		CLAIR
	So this sitter can always reach me.  I'm
	still not used to leaving him.

		SOPHIA
	You should have brought him.

		CLAIR
		(shrugs)
	Dander.  He's allergic.  Otis.

		SOPHIA
	Oh.  Do you have any pictures?

		CLAIR
	Pictures.  They're always in my tote.  I
	left my tote in the damn trailer.  But!
	He's Mac all over again.  Imagine Mac
	shrunk to two-and-a-half feet.  The fact
	is they probably didn't even need me for
	this birth.

		SOPHIA
	Are you the funniest person I know, or
	what?

		CLAIR
	I can't think how you gave it all up,
	Soph.

Sophia sends her a soft, content smile.  Otis comes over and
nuzzles Clair's knee.

		CLAIR (CONT'D)
		(freeks)
	Oh my God, the dog!

INT. KITCHEN/HALLWAY - CONTINUOUS

Clair leads Sally towards the bedroom.

		CLAIR
	It sounds hysterical, but Otis just
	rubbed up against me and I'd kind of like
	to change into something of yours.  You
	know it could be disaster.  He's so
	allergic.  It's terrifying.

		SALLY
	Borrow whatever you like.

		CLAIR
	I'll change back before we leave.

		SALLY
		(pointed)
	Whatever you like.  I'm afraid it'll all
	be too big for you.
		(a moment)
	Are you alright, Clair?

		CLAIR
	I'm fine.  I'm fine.  Well, I'm a little
	stressed.  And I've been taking pills to
	get my weight down since the baby.

		SALLY
	I'd say it was down.

		CLAIR
	And the doctor said they might make me a
	little jumpy.  I've got a ghastly
	headache, actually.

		SALLY
	You want a Tylenol, or something?

		CLAIR
	I'd love a Xanex.
		(a moment)
	Sally, please don't tell Sophia that I'm
	not breast feeding.

		SALLY
	Why would she care?

		CLAIR
	You know Sophia.  She's so damned
	judgemental.  And she's so damned...
	perfect.  And so fucking... serene.  Just
	fucking don't tell her.  Because you know
	Mac thinks she's God.  And I can feel him
	comparing.

		SALLY
	You need to knock off the pills, Clair.

		CLAIR
	Just don't fucking tell her.

		SALLY
	It's not going to come up.

INT. FOYER - LEVI PANES THROUGH THE GLASS DOOR - DAY

A Peter Sellers look-a-like holding a violin case.

		JOE
		(opens the door)
	Panes!  How are you?

		PANES
	Oh, you know, I am.

		JOE
	Has she called?

		PANES
	She'll never call again.  She called last
	week to tell me she'll never call again.
	Where's Sally?

		SALLY (O.S.)
	Here I am.  Panes, my love!

Sally starts down the hallway.

		SALLY (CONT'D)
		(for Panes; a long supportive
		 hug; a kiss)
	Good, you brought your violin.  I want
	you to play.

		PANES
	It's a machine gun.  I thought I'd kill
	myself.

		SALLY
	Are you lovesick?

		PANES
	Suicidal.  It's much less codependent.

		SALLY
	Will champagne help?

		PANES
	Not enough.

Sally takes Panes into the living room where everyone chats,
drinks, smokes.  They all like each other out of habit, if
nothing else.  Ryan and Monica are on the fringe, stand at
the edges of conversation.  There's always someone at the
piano, and they can all pretty much play.

		SALLY
	Panes is here!

		PANES
		(gives everyone a shy, pained
		 little wave)
	Oh great.

Everyone stops, turns, toasts.

		EVERYONE
	Panes!

		MONICA/RYAN
		(a little late; into silence)
	Panes.

Panes gives them another little wave.  Doorbell rings.

TIGHT CLOSE - SKYE DAVIDSON

		SKYE
	Hi.

She's the young, beautiful actress who'll play the lead in
Joe's film.

		JOE
		(his face lights up)
	Skye!

She's in jeans, but somehow looks dressed to the 9s.

		SKYE
	You're Joe, aren't you?
		(nods knowingly)
	I recognized you from the book jacket.

Joe grins from ear to ear.  Uncharacteristically star struck
in front of this beauty.

		JOE
	How do you do, Skye?

		SKYE
	Oh, I love that.
		(throws arms around him)
	I'm just great.  I'm so happy to be here.
	And I apologize for invading you.  And
	I'm so happy you asked me to.  I'm so
	touched.  I know how private you and
	Sally are.

		JOE
		(uncomfortable)
	Yeah, well, it's just us and a few
	hundred of our closest friends.

		SKYE
		(genuine)
	When I read your work I felt that you
	knew me.  Women must tell you that.  And
	this one in particular speaks to me, do
	you know?  I am Genna.  How many women
	must tell you that.  And the script is
	wonderful.  Wonderful and lean and
	visual...

		JOE
	I'm so happy you like it.  I'm so
	relieved you said yes, and I'm really,
	um, what, thrilled, yes actually, to
	finally meet you.

		SKYE
	You're going to be a remarkable director,
	a brilliant director.

There's a long moment.

		JOE
		(finally)
	I think you're my first Goddess.

Sally and Panes have been watching from the living room.

		PANES
	She's even better looking in the flesh.

		SALLY
	Really?  I need a drink.  Come hide with
	me.

INT. KITCHEN - MOMENTS LATER

America and Rosa are working at the counter, Panes and Sally
come through.

		SALLY
	Oh, Jesus, Panes.  I can't, I can't
	believe that bitch is in my house.

		PANES
	You don't know she's a bitch.

		SALLY
	She's all over him, are you blind?

		PANES
	It could be worse.

		SALLY
	How?

		PANES
	She could be playing the role in Joe's
	movie that should be yours.

		SALLY
	Fuck you, Panes.

		PANES
	You see, that's worse.

		SALLY
	I just wanted tonight to be with the
	people we love.

		PANES
	Like your business managers?

		SALLY
	They're not just our business managers,
	Panes.

		PANES
	Oh, okay, forgive me.  Your neighbors are
	here, for fuck's sake.

		SALLY
	Exactly what I mean.  It's all ruined.

		PANES
	It's not ruined, for fuck's sake.  It's
	one of your parties.

		SALLY
	I don't want it to be just one of our
	parties.

		PANES
	"How are you really doing, Panes?"
	"Lousy, thank you, I'm falling apart."

		SALLY
	Like the last time.

		PANES
	No.  No, not like the last time.  She was
	the rest of my life.

		SALLY
	Like the last time.

		PANES
	I wasn't finished.

		SALLY
	Okay.

		PANES
	"We can't stand seeing you like this,
	Panes.  I hate you being alone.  Why
	don't you stay with us for a while?"
	"I'd love to, thanks."

		SALLY
	It's our anniversary, Panes.

		PANES
	I didn't hear me say tonight.

		SALLY
	We're just feeling our way back.

		PANES
	"Otherwise, we'd insist on your being
	here."

		SALLY
	You know it's true.

Skye bursts into the kitchen, Sally and Panes freeze.

		SKYE
		(stuck)
	Oh my God, sorry.  I'm interrupting.

		SALLY
	I'll be right out.

		PANES
		(over Sally)
	Come on in.

		SKYE
	I'm in the same room with Sally Nash.  Oh
	my God.  You're my icon.  I've been
	watching your films since I was a little
	girl.  Like, four years ago I followed
	you all around the Beverly Center - at
	least half a day, working up the courage
	to introduce myself.

Joe enters the kitchen, watches.

		SALLY
	I don't think I ever spent half a day in
	the Beverly Center.

		SKYE
	Whatever, do you remember?  I've seen all
	your movies.  When I was in rehab, the
	second time, they wouldn't even let us
	see your drug addict movie.  They said
	you were too real.  I worship you.  And I
	couldn't be more flattered, because I
	know the part I'm playing in Joe's movie
	is based on you as a young woman.

Joe winces, uncomfortable, picks up the bottle of wine and
leaves.

		SKYE (CONT'D)
	And I'm overwhelmed.  And I want to do it
	justice.  And I hope we can spend time
	together.  And I'm gushing.  It's my
	worst quality.

		PANES
	Not at all.

		SKYE
	Oh my god.  I've been so rude.  I'm Skye
	Davidson.  Has anyone ever told you, you
	look like Peter Sellers?

		PANES
	No, never.

		SALLY
		(overlapping Panes)
	Everyday.

		PANES
	I'm Levi Panes.  Will you excuse us,
	Skye?  It's time for Sally's meds.

Panes steers Sally out of the kitchen.

		SALLY
	It's nice to meet you... again.

They go.  Skye is left in the kitchen alone.

		SKYE
		(to America)
	Oh my God, she remembers me!

INT. FOYER - MEDIUM CLOSE

Sally and Panes start down the hall in search of privacy.

		SALLY
		(under her breath)
	Thank you, thank you, thank you.

		CLAIR
		(on the way down; a dream in
		 white)
	My God, your wardrobe is incredible.  It
	took me forever to decide.  Oh, and I
	found Dr. X, thank you.  You saved my
	life.

She moves past them.

		SALLY
		(a moment; sotto)
	Shit!

		PANES
		(re: the dress)
	I'd cut off her red wine if I were you.

		SALLY
	Shit.  It's my Galiano.

		PANES
	What does that mean?

		SALLY
	About five thousand dollars.  With my
	discount.

The CAMERA follows them into the bedroom.  They flop down
onto the bed and into FRAME.

INT. LIVING ROOM - CONTINUOUS

More guests have arrived.  Sophia and her children play with
Otis.  America and Rosa pass round hot hors d'oeuvres.

Joe places Gina's photo on the mantelpiece.

		GINA
		(regards him)
	Directing suits you.

		JOE
	I'm not so sure.  Look again in three
	months.

		GINA
	It must be nice having so many strangers
	kiss your ass all of a sudden.

		JOE
	Ow!  Gina, you obviously need to get
	fucked.

		GINA
	Just did.  Jealous?

		JOE
	When does he graduate high school?

		GINA
		(laughing)
	Oh, very jealous.

Joe laughs.

		GINA (CONT'D)
	I saw Lucy when I was in London, she
	seems okay.  It's hard to tell with her.

		JOE
	Shit, I forgot to call her back.  She's
	off on a trip somewhere.  Oh God, my
	grandad's flat in London's been sold.

		GINA
	In Cheyene Walk?  Lucy's going to have a
	meltdown.  Oh, I'm so sorry.

		JOE
	I should have damn well bought it.  Well,
	we can't afford it.  The movie's going to
	eat up a year of my life and I'm getting
	paid next to nothing.  Do you know how
	much Skye Davidson's getting?  Four
	million.

		GINA
	Yeah, but I hear she gives a mean blow
	job.

		JOE
	You really need to be fucked.

INT. BEDROOM - CONTINUOUS

		SALLY
	So how are you really doing, Panes?

		PANES
	Why don't you go fuck yourself?

		SALLY
		(laughs)
	No.  Really.  For real.  Really.

		PANES
	I'm worried about your Galiano.

		SALLY
		(slaps him)
	You're a shit.

		PANES
	No, really, five thousand with your
	discount.

He rolls out from under her swat, she misses him.

		PANES (CONT'D)
	You hurt, you know.  You're stronger than
	you think.

They lie prone across the bed, about a foot apart.
Contemplating the floor.

		PANES (CONT'D)
		(finally)
	How's the movie going?  Your movie.  You
	are making a movie, aren't you?

		SALLY
	Yes.  Fine.

		PANES
	That's it?  Yes.  Fine?

		SALLY
	I don't want to talk about it.

		PANES
	Why not?

		SALLY
	I never like to talk about my work.

		PANES
	Alright.  Well, that's something new.

		SALLY
	No.  Not something new.

		PANES
	Well, something's wrong.

		SALLY
	Nothing's wrong.  It's great, okay?
	Having the time of my life.  Mac's a
	fantastic director.  And what can anyone
	say about Cal that hasn't been said.  And
	it's great working with friends, blah
	blah blah.

		PANES
		(a moment; little smile)
	Um.  Happy for you.

		SALLY
	Thanks.

		PANES
	So tell me, how's it going?

		SALLY
	Oh you know.  No doubts.  No second
	thoughts.  Am I a monster?

		PANES
	You're my best friend.

		SALLY
	That's not an answer, is it?

		PANES
	Yes, you're a monster.

She takes his hand.  Sounds of the party come from below.

		SALLY
		(a moment)
	Thank you, Panes.

		PANES
	You don't need to thank me.

		SALLY
		(another moment)
	We're going to have to go back out there.

		PANES
	I guess.

But neither of them moves.

INT. LIVING ROOM - CONTINUOUS

SANFORD JEWISON is at the piano playing his own stuff,
oblivious to the din.  The CAMERA gets a glimpse of Ryan
through the French doors at the pool, alone, a glass of
Perrier in his hand.

MEDIUM CLOSE

Monica alone, uneasy, starts to pour herself a glass of
champagne.  Jeffrey gets to the bottle first.

		JEFFREY
	Let me.
		(pours for her)
	I'm Jeffrey.

		MONICA
	Monica.

		JEFFREY
	And you know our friends, how?

		MONICA
	We live next door.

		JEFFREY
	Oh.  You're them.

		MONICA
	Excuse me?

		JEFFREY
	We've heard lots about you.

		MONICA
		(lost)
	You have?

EXT. POOL - CONTINUOUS

Judy Adams lost herself a little, steps outside, sits
alone...

		JUDY
		(smiles over at Ryan)
	Hi.

		RYAN
	Hi.  A little close in there.

		JUDY
	Yup.

INT. MUSIC LIBRARY - CONTINUOUS

A small, narrow room.  Not much more than an alcove.  With
space for a desk, stereo equipment, and shelves packed with
CDs.  The topmost shelf is a line of record albums.

Joe's picking through the CDs.  Monica wanders in from the
living room, toting a glass of champagne... watches him for a
moment.

		MONICA
	Your Eames table is incredible.  And the
	B&B.  I just put that in a client's home,
	actually, but in red.

		JOE
	You're an interior decorator, right?

		MONICA
		(nods)
	Sally did all this herself?

		JOE
	In fits and starts -- and then, later, of
	course, she had to accommodate me.  So
	things shifted a little bit then, became
	more eclectic.  And it keeps changing.

		MONICA
		(somehow at a loss)
	Mmm.  It says something about the two of
	you maybe.

		JOE
	Yeah, we're in a constant state of flux.
		(re: champagne)
	I see you've moved up from the soft
	stuff.

		MONICA
	Oh, yes.  You know Ryan's been sober
	eight years.  And it's difficult if I...
	you know.  It's better if I don't.

		JOE
	Uh-huh.

		MONICA
	I'm a little nervous, so...

		JOE
	Oh.

		MONICA
	A little out of my element.

		JOE
	No you're not.

		MONICA
	Well, yes.  Yes, in fact.  A little on
	the outside, yes.  And there's been all
	this friction.

		JOE
	Hm.

		MONICA
	I don't know why, but these
	misunderstandings have a way of
	escalating.

		JOE
	Very well put.

		MONICA
	I think a lot of this could have been
	avoided if Sally made more of an effort.

		JOE
	What?

		MONICA
	But you're very private people.  You
	know, there's a kind of elitism...

		JOE
		(pissed)
	Elitism?

		MONICA
	The wrong word, maybe.  Delete that.
	And, you know, the dog barks incessantly.

		JOE
	And you know, he really does not.

		MONICA
	And Ryan works at home.

		JOE
	And your phone calls are nasty and
	abusive.  And I've come this close to
	suing you for harassment.  And you're
	only here because we're supposed to be
	sucking up to you.

Her eyes well with tears.

		JOE (CONT'D)
	Oh shit.  I'm sorry.

		MONICA
	Well, that's what Ryan thought.  I was
	more generous, actually.

		JOE
	Oh shit.  I'm sorry.  I'm a total fucking
	maniac.  Delete all that, okay?  I spoke
	for myself, this needn't rub off on my
	wife.  Oh shit.  I get pissy sometimes.
	Much worse than Otis.  Otis doesn't bite.
	It's just, I really love my dog and he
	doesn't really bark a lot.
	We live in a canyon.  We hear dogs
	barking at night, too.  And it's not
	Otis.

Monica starts to laugh.

		MONICA
	Alright.

It appears she's consumed more than one glass of champagne.

		JOE
	Easy tiger.

		MONICA
	Alright.  Please don't tell Ryan I'm
	drinking.

		JOE
	Scout's honor.

		MONICA
		(grins)
	I'll be your best friend.

She feels they've bonded.  She pulls a well-thumbed copy of
Joe's novel from her purse.

		MONICA (CONT'D)
	Would you sign it for me.
		(digs for a pen)
	I'm sure this is inappropriate.

		JOE
	We're way past inappropriate.

Monica giggles, presses back the bubble rising in her chest
and moving toward her throat.  Manages not to burp.

		MONICA
		(as he signs it)
	I'll treasure this.

He moves towards the doorway, Monica at his heals.

		JOE
	I need to leave you now.

		MONICA
	I will treasure this.

		JOE
		(shouting down the hall)
	Sally!!!!

INT. DAILIES ROOM - LATER - DAY

Sally's team prepares clues for charades.  Sally writes them
down, throws them in a bowler hat.  Her teammates are Panes,
Sophia, Mac, Ryan, Sanford and Jeffrey.

		SALLY
	Panes?

		PANES
	From Jewish Folk Poetry, a song cycle...

		MAC
	What?

		SALLY
	Trust him.

		PANES
	It's Shostakovich.

Ryan spots his book on the shelf and pulls it out, delighted.

		SALLY
	Sandy...

		SANFORD
	The Wind Up Bird Chronicle.

		SALLY
		(turns to him)
	Ryan?

		RYAN
		(pleased)
	I didn't know you had this.

		SALLY
	Oh.  Well, yes.  It's extraordinary.  You
	think you could sign it for us?

		RYAN
	Absolutely.  You always wonder where your
	books end up.  Why don't we use it?

		JUDY
	Good idea.

		RYAN
	There's not a chance in hell anyone will
	get it...

		MAC
	Down by Law.

		SOPHIA
	Who's not going to get that in fifteen
	seconds.

INT. LIVING ROOM - CONTINUOUS

Joe's team works on it's clues.  Teammates: Gina, Cal, Clair,
Skye, Monica, Jerry and Mary-Lynn.  Everyone is talking over
each other and fighting for attention.  There are a lot of
strong personalities here.

		JOE
	Can we... one at a time?  Hold it down,
	and one at a time.  You're last, Cal.

		CAL
	Why last?

		MONICA
	The Katzenjammer Kids.

There's a hush.

		MONICA (CONT'D)
	You know.  It's the Funnies.  The
	Katzenjammer Kids.  It's my mother's
	favorite charade's clue.  No one ever
	gets it.

Pause.

		JOE
	Alright.  Good.  Fine, I vote for that.

He writes it down.

		MONICA
	With a "Z."  K. A. T. Z.

		GINA
	When the Pawn Hits the Conflicts He
	Thinks Like a King What He Knows...

People hoot, throw their cocktail napkins.

		GINA (CONT'D)
	What?

		SKYE
	Utopia Parkway...

They all start talking on top of each other again.

INT. LIVING ROOM - LATER

The teams have come together.

		JOE
	Who's keeping time?

Mac raises his hand on Sally's side, Jerry on Joe's.

		JOE (CONT'D)
	Two minutes.

		SALLY
		(deferring first turn to Joe)
	It's alright.  Be our guests.

She offers the hat.

		JOE
		(offers the hat)
	You darling.

Panes reaches into the hat.

		PANES
		(reads clue; to Joe)
	What is it?

Joe whispers to him.

		PANES (CONT'D)
	What's a sign for that?

		JOE
	Come on, Panes...

		JERRY
	Go!

Panes mimes a belly laugh.

		JEFFREY
	What the hell is that?

		SALLY
	What is it Panes?

Panes sighs.

		SOPHIA
	Two words.

He belly laughs.

		JUDY
	Funny.

A finger to his nose - elongate the word.

		SANFORD
	Funnies?

Panes does an "ON THE NOSE."  Gets on all fours.  Licks his
paws.

		RYAN
	The Katzenjammer Kids.

The team applauds delight.  Panes preens.  Joe's team looks
over at Monica.

		JERRY
		(already pissed)
	It's only just started.  Great.  The
	husband's on the other fucking team.

Jerry reaches into the hat.  Looks at the clue.

		MAC
	Go.

		JERRY
	Hey!  Would you?

		MAC
	It was fifteen seconds.

		JERRY
	I don't think so.

		MAC
	Are you always this much fun?

		SALLY
		(a grin)
	Take your time, Jer.

		JERRY
	I'm ready.

He gives the clue "a song."

		CAL
	Song.

He gives "cycle."

		GINA
	Cycle.

		CAL
	Two words.  Second word.

Jerry goes to work on "sounds like" for the word Jewish.
Strokes beard, thinks, tries "sounds like" again.

		TEAM
	Think.  Pain.

		CAL
		(among others)
	Ponder.

		JERRY
	Come on, folks.

		CAL
	First word.

Jerry does the sign for the "short word."

		TEAM
	To, the, but, or...

Jerry shakes his head.  Goes to the third word.

		TEAM (CONT'D)
	Third word.  One syllable.

Jerry pulls his ear, "sounds like".  Slides his finger
through the O created by his thumb and forefinger.

		TEAM (CONT'D)
	Fuck...sounds like... Fork.  Flock...

he does the finger sign again.

		TEAM (CONT'D)
	Fuck.  Folk.

Jerry gives them "on the nose."

		TEAM (CONT'D)
	Second word.

		MAC
	Thirty seconds.

Jerry turns, gives them a dirty look.

		JOE
	Jer.  Over here.  Over here.

		TEAM
	Second word.

He strokes his beard again.

		SKYE
		(blurts out)
	From Jewish Folk Poetry.

Jerry looks at her, amazed.  She stands, throws hands up in
triumph, does a little victory circle.

The CAMERA CUTS through the rest of the game, aggressive,
competitive, verging on hostile.  Sally is often aching from
laughter, tears streaming down her face.

		JERRY
	Time.  Hey!  Time.  Judy!  Time you guys.
	Hey!!

		JUDY
		(she's up; turns to him, zeig
		 heil's him)
	Ya Vhol.  What are you, a fucking Nazi?

		JERRY
	Well it's fucking time.

					TIME CUT TO:

CLOSE SHOT

		JERRY (CONT'D)
		(shouting guesses)
	Walk.  Cripple.  Limp.  Ankle.  Second
	syllable.  Second syllable.  Move on to
	the fucking second syllable.

Gina giving clues starts to laugh.

		JERRY (CONT'D)
		(sings out)
	The clock is ticking!

Gina loses it, cracks up.

		MAC
	Time.

					TIME CUT TO:

Jeffrey's on his feet, giving the clue.

		SALLY'S TEAM
		(unison)
	Quote.  Play.

		SOPHIA
	Oh shit.  It's one of Cal's.  Obscure
	Shakespeare, folks.

Cal gives her a little wave from the other side.

		SOPHIA (CONT'D)
		(calls over to him)
	Maybe something original for a change.

Cal blows her a kiss.

		SALLY'S TEAM
		(in unison)
	Ten...twenty...thirty...seven, eight.
	Thirty-eighth word...thirty-seventh word.

Gina's been taking shots through the course of the game, and
the FRAME will freeze black and white on one of another
delicious moment.  There's a spectacular shot of Sally,
unaware, laughing, sad soft eyes on Joe.

MEDIUM CLOSE - AMERICA

She watches the game from the archway, waits for a break.
Sky's up.  Joe's team yells frantic guesses.  Jerry's
suicidal.

Sally's team watches, self-satisfied, throw barbed asides.

		SALLY
		(to Joe's look; innocence)
	I didn't say a word.

		MAC
	Time!

		JERRY
	What was it?  What the fuck was it?

		SALLY
		(small grin)
	Ryan's novel.

		JERRY
	Ryan's novel?

		JUDY
	Ryan's novel, Jerry.

		AMERICA
		(sings out)
	Dinner!

		SALLY
	Still champions.

		JOE
	Panes is not on your team anymore.

		PANES
	What did I do?

		SALLY
	Panes is not on my team anymore.  I'll
	have Panes if I like.

		AMERICA
	Dinner.

		SALLY
	Dinner.

		JOE
	It's an unfair advantage.

		SALLY
	You've got Cal.  You've got Gina.  You've
	got Skye?  We're the leftovers.

		JOE
	Okay, knock it off.

		SALLY
	Truce?

		JOE
	Truce.

		SALLY
	Dinner.
		(on the move)
	Don't be angry.

		JOE
		(pissed)
	I'm not fucking angry, for God's sake.

EXT. POOL AREA - MAGIC HOUR

Evie and Jake run along the side of the house.  Behind the
glass walls the CAMERA catches adults moving through the
living room and into the dining room.

INT. DINING ROOM - MAGIC HOUR

Most everyone's moved through to the dining room.  The table
is filled with platters of beautifully prepared food.
Candles, flowers.

ASTRID, newly arrived, carrying a miniature furball, of
questionable breed, is first in line and halfway around the
table.  She feeds "Anouk" bits from the table enroute.

		ASTRID
		(barely looks up as Sally comes
		 into the room)
	So who won?

		SALLY
		(raises her hand)
	A triumph.  When did you get here?

		ASTRID
	Ten, fifteen minutes ago.

		SALLY
	Why didn't you come in?

		ASTRID
	I hate the sight of blood.  You guys
	don't take prisoners.

		SKYE
		(charmed by the bundle in
		 Astrid's arm)
	Oh how sweet.

The furball bares teeth and growls.

		ASTRID
	She's insanely jealous.

INT. LIVING ROOM - MEDIUM CLOSE ASTRID - NIGHT

She slips another morsel into Anouk's mouth, murmurs baby
talk, allows the dog to take a bit of chicken from between
her teeth.

		CLAIR
	That's revolting, Astrid.

People sit in small groups, eating dinner, catching up.
Latecomers, bunch around Joe.  Sam Feckman, an actor also in
Mac's film, holds forth.

Panes finds room next to Skye.

		PANES
	Is there space here?

		SKYE
	Yes.

		PANES
	Do you need anything else?

		SKYE
	No, no thanks.

He sits on the floor along side her.  They eat in silence for
a moment.

		PANES
		(finally)
	I was impressed.

		SKYE
	Oh?

		PANES
	The charades.

		SKYE
	Thank you.

		PANES
	That was my clue.

		SKYE
	Oh?

		PANES
	The Shostakovich.

		SKYE
	Really??

		PANES
		(does Seller's Indian)
	Oh yes, indeed.  That was my clue, you
	see.

Skye giggles appreciative response.

		PANES (CONT'D)
		(still Indian)
	So you are well acquainted with this
	Shostackovich, as am I.

Other arrivals pick their way through bodies and plates.
Walk over to Sally and kiss her cheek.  Joe and Gina and
Jeffrey sit off to the side.

		JOE
	I hate the idea of some one else living
	in it.

Joe pulls Sally to him and wraps his arms around her.

		JOE (CONT'D)
	Sally's never even seen it.  I thought
	we'd raise our kids there.

Sally held in Joe's arms, smiles.  The cat who ate the
canary.

		JOE (CONT'D)
	Have I ever told you how Lucy and I
	nearly squashed each other getting into
	the dumb waiter.

		GINA/JEFFREY/SALLY
	Yes./Often./I stopped counting.

		JOE
	The dumb waiter was our...

		GINA
	Escape hatch.

		JOE
		(eyes her)
	Escape hatch.  And Dad was having a go
	about the garden.  Something was
	misplanted...

		SALLY
	Not properly watered.

		JOE
	Whatever!
		(to Gina)
	You know how he gets.  Well, he went
	absolutely bonkers.  Lucy and I were
	frantically trying to scramble into the
	dumb waiter and I didn't fit any more.
	It was almost fatal.  And that, my dear
	friends, is the day...

		SALLY/JEFFREY
	I realized I had become a man.  Ta da!

		GINA
	You're not a man, Joe.  You're a boy.

		JOE
		(childishly)
	So?

		GINA
		(laughs)
	I love you, Joe Therrian.

		SALLY
		(at a loss, small)
	Me too.

Sophia watches from across the living room.

NEW ANGLE

INT. LIVING ROOM - NIGHT

Astrid squeezes in next to Sally, on her second portion of
everything.  She allows Anouk to nibble from her plate.

		ASTRID
	You're not upset that I brought the dog?

		SALLY
	Would it make a difference?

		ASTRID
	Anouk isn't like a dog, really.  More
	like a small person.  So is there anyone
	here for me?  No one looks new.
		(fixes on Ryan)
	Who's that?

		SALLY
	You don't want that.  It's married and
	it's the neighbor.

		ASTRID
	Oh I think he's cute.  How's the marriage
	part working out?

		SALLY
	You're fucking desperate.

		ASTRID
	Like you didn't know.
		(re: Skye)
	Who invited the bimbo?

		SALLY
	One guess.

INT. LIVING ROOM

The CAMERA stays close on the cake as America wheels the cart
into the living room.  The top of it sports Sally and Joe's
faces on either side of Otis, a detailed edible photograph.
There are three sixes across the top.

There's a freed up pathway.  Cal taps the side of his
champagne glass with a fork.

		SOPHIA
		(re: the cake as it comes in)
	Part of our gift.  Honey!!

		CAL
		(clinks his glass)
	Here, here.

Clair picks up discarded dinner plates.  Otis takes care of
those behind couches, under tables.

The gifts are stacked high, near the fireplace.  Sally is on
the floor, nestled between Joe's knees, leaning back against
him.  His arms are wrapped around her, face pressed against
hers.

There's a SERIES OF CUTS through speeches, gifts,
entertainment.  Sophia and Cal do a well rehearsed, very
funny, impromptu something with their kids.

Panes and Mac do an interpretive dance symbolizing the
marriage.

Cal and Sophia carry sleeping children down the hall.

There are speeches about Sally and Joe, outrageously dirty,
funny, sometimes touching - that cover their recent
separation, the custody of Otis, their trying to have a
baby...

Panes plays a piece on the violin.  Someone else sings.  And
finally...

MEDIUM CLOSE - SKYE

She looks out at the guests...

NEW ANGLE

They look back at her.

		SKYE
	I wasn't prepared to say anything.  I'm
	honored to be a part of tonight.  To be
	in the same room, with my favorite living
	actress...

The CAMERA barely catches the grimace on Mac's face; Clair
elbows him.

		SAM
		(sings out)
	Still living.

		SKYE
	And my favorite novelist.  And all their
	amazing --

		SAM
		(sings out)
	And talented.

		SKYE
	Friends.  And talented friends.  This
	room is so filled with love..

		ASTRID
		(sings out)
	And the winner is...

		PANES
	Let the woman speak.

		SKYE
	And I brought a gift of love.  A gift
	that is love.

She pulls an envelope from behind her back, which she's
decorated in flower-child fashion; it harkens back to the
sixties, puts it into Sally's hand, kisses her cheek.

		SKYE (CONT'D)
		(tears up)
	Happy anniversary.  Thank you for making
	me a part of it.

		SALLY
		(pours the pills into her hand)
	What are they?

		JOE
		(pleased, surprised)
	Dolphins.  Great.

		SALLY
	It's ecstasy, Sal.

		SKYE
	I think there are sixteen there.

		JOE
		(kisses Skye)
	This is an amazing present.  What a
	sweetheart you are.

Skye's pleased she's made him happy.

		SALLY
		(regards Joe; to Skye)
	What a sweetheart you are.

A pall descends on the party.  There's a FULL SHOT of the
group.  Nobody quite knows what to do.  There's torn wrapping
paper all over the room.

		ASTRID
		(Anouk still in her lap)
	It's late.
		(kisses Anouk)
	You sleepy baby?

There are awkward excuses.  Some of the guests leave.

INT. LIVING ROOM - MOMENTS LATER

The core group remains.

		JOE
	I think we should all take it tonight.
	Everyone's staying, stays.  No driving.
	That's the rule.  I love you Sally-Mae.
	You're going to have a fabulous time.

		SALLY
	I'm worried about my spine.  I'm very
	worried about my brain and my spine.

		SOPHIA
		(laughs)
	Oh honey, you're gonna love it.

		JOE
		(to her Look)
	Sophia's going to do it, Panes is going
	to do it, trust me.

INT. KITCHEN - CONTINUOUS

Cal carries the envelope into the room.

		CAL
		(on seeing America, bursts
		 into)
	America, America God shed his light on
	me.

He dances her around the kitchen, he picks up the sterling
dish, arranges the pills, carries them back to the living
room.

INT. LIVING ROOM - CONTINUOUS

Ecstasy is passed from guest to guest.  Ryan expects Monica
to abstain.

		MONICA
		(his glare; simply)
	I want to try it, Ryan.

EXT. POOL - LATER

The drug has begun to take effect.  The party is now in full
swing.  Music is playing, and Sophia and Clair are dancing.

People are swimming, some naked, some in swimsuits.  Judy
floats around the pool on an inflatable dog.

Sally and Skye cuddle together on one of the benches round
the pool, chatting; a friendly, feely touchy conversation.
Joe passes around bottles of water and chewing gum to
everyone, emceeing the event.

Everyone is relaxed and open, except Ryan, who sits beside
Monica at the edge of the garden, separated from the others.

		MONICA
	I love it here.  Don't you love it here,
	Ryan?  I love it here.  And I love
	tonight.  And I love these people.  And
	this feels utterly fantastic, Ryan.
		(touches her own cheek, ever so
		 lightly; shivers against the
		 sensation)
	Utterly fantastic.

		RYAN
	You know what Sally Therrian was saying
	about your spine and your brain?  She
	didn't pull that out of thin air.  It
	causes brain damage.  You'd better drink
	a lot of water.

		MONICA
	Do you want to go home, Ryan?

		RYAN
	Yes.

		MONICA
	I think you should then.  You should look
	in on Sheila.

		RYAN
	I'm not going to leave you alone.

		MONICA
	They're really nice people, Ryan.
	They're like us...

		RYAN
	They're nothing like us.

		MONICA
	I think you need to speak for yourself,
	Ryan.  But I think you're really nice
	people...

She puts arms around him, kisses his cheek.  He stiffens.

		RYAN
	Are you making an ass of yourself?

		MONICA
	There's only you, Ryan.  You know what,
	Ryan?  You're beautiful.  I love you so
	much... You need...

		RYAN
	I don't need a drug.

		MONICA
	You need a good review and you'll be
	fine.  The whole color of the world will
	change, mark my words.

She gets up.

		RYAN
	Ready to go?

		MONICA
	I'm going to go get my swimsuit.  I do
	know, Ryan, this is non addictive so you
	mustn't worry.
		(turns back)
	Ryan, you're a great man.

The CAMERA follows Monica along the side of the pool.  She
passes Sophia and a very exuberant Clair.

The CAMERA stays at the pool.  Clair tears off Sally's
Galiano, flings it to the ground and dives topless into the
pool.

		CLAIR
	This water is great!

		JERRY
		(swimming past her)
	Wanna dive for a baton?

MEDIUM CLOSE UP - JUDY

She stands at the side of the pool.

		JUDY
	Okay, I'm about to throw five colored
	batons in the water.  Then I'm going to
	count to three, and then you may start
	diving.  I'm playing too.  The red one is
	ten extra points.  Ready?
		(she throws batons in)
	One, two, three, go!!

There is a melee of diving and screaming.

						CUT TO:

EXT. BACKYARD LANDING

It's at the end of a bridge, overlooking the pool.  Voices
drift up from below.  Mac and Joe walk in circles pacing
around one another.

		MAC
	You got your DP?

		JOE
	What?  Oh yeah, the camera man?  They
	gave me a list.

		MAC
	And you got Skye Davidson.  Pretty big
	leagues for a first timer.  Do you even
	like movies?

		JOE
	Not particularly.  Weird, isn't it?  God
	I'm rally up.  Do you feel anything yet,
	Mac?

		MAC
	Kind of.  Hey, look - John Seale, Oliver
	Stapelton, Darius Khonji - they're
	friends.  And great DP's I could give
	them a call for you.

		JOE
	Thanks, Mac.
		(regards him)
	And thanks for being so supportive about
	all this.
		(throws arm around him, hugs
		 him close)
	I really love you, you know.

		MAC
	Hey, I'm happy for you, buddy.  Anything
	I can do.

		JOE
		(lets go of Mac)
	God, I really need to jump about a bit.
		(begins jumping)
	How's your film going?

		CAL
	It's going.  It's going.

		JOE
	And how's the diva doing?

		MAC
	Well, you know...good days, bad days.

		JOE
	I meant Sally.

		MAC
	I meant Sally.

		JOE
		(stops jumping, studies him)
	Oh.  You're serious.

		MAC
		(throws and arm around him)
	No.  No.
		(a beat)
	Let me tell you something.  Directing's
	the best preparation possible for
	fatherhood.  The sleep depravation alone.

		JOE
	Oh don't.  Everyone says that.

INT. MUSIC LIBRARY

Sally's taken Gina's photograph of them from the mantelpiece
in the living room, and looks for a spot for it on the CD
shelves.  Sophia is studying the CDs very intently.  They are
both bopping to the music.

		SALLY
		(re: the photograph)
	Isn't this a fabulous picture?

		SOPHIA
	Yes.

		SALLY
	She's such a great photographer.

		SOPHIA
	Hm.

		SALLY
	So where should I put it?

		SOPHIA
	I thought it was okay where it was.

		SALLY
	It's much more personal in here.

		SOPHIA
	A notch above the storage room.

		SALLY
	We're always in here.
		(regards the photo)
	She really gets him, doesn't she?

		SOPHIA
	The both of you.

		SALLY
	But she really gets to the heart of Joe,
	doesn't she?  She's a genius.

		SOPHIA
	So how much do you hate her?

		SALLY
	Big time.

They both laugh, then...

		SOPHIA
	Well, I don't trust her.  I never have.

		SALLY
	She took our wedding photos, for
	chrissakes.  You don't trust anyone.

		SOPHIA
		(a moment simply)
	I trust you.

		SALLY
	Oh Soph...

		SOPHIA
	You'll hate it in London.  It's wet and
	miserable.  A medical hellhole Sally.
	It's socialized.  Beds in the corridors.
	Terrible plumbing.

		SALLY
	And the food sucks, I know.

		SOPHIA
	You are not having your baby in London.
	You're going to have your baby at Cedars
	in Beverly Hills, America, delivered by
	Dr. Milton Cohen.  Period.
	And you're getting that epidural right
	away, don't let anyone talk you into any
	of that Lamase bullshit.  There's no
	excuse for pain like that.

		SALLY
	Sophia!  I'm not even pregnant!

		SOPHIA
	Well good.  Thank God.

		SALLY
	Let's go in the kitchen and spy on
	everyone.

		SOPHIA
	Oh honey, let's.

They've started to walk through the house.

		SALLY
		(stops short; turns to her)
	What do you mean, thank God?

		SOPHIA
	Well, are you sure about this baby thing?
	It's not the ticking clock shit, is it?

		SALLY
	No, no, not at all... I mean I've still
	got plenty of time.  Don't I?  I mean I
	still have a good six years, whatever.
	We could have three kids yet, if we
	wanted.  And I know I've always said I
	never wanted kids, and I didn't... but
	this year, I really, truly, feel ready...

		SOPHIA
	Honey, I'm not worried about you.  You
	are going to be a fantastic mom.  Not an
	issue.  I pressed you, remember?  Joe, on
	the other hand, is a different story.

		SALLY
		(laughs)
	Oh Soph, Joe loves kids.  Joe wants kids.
	Joe thinks he needs kids.

		SOPHIA
	He wants playmates.  Oh he's a
	sweetheart, Sal, you know I love him.
	But he's not going to be a good father.
	He's just not parenting material.

		SALLY
	Hey, let's sit down.  I bet the rug feels
	really nice against your skin.

Sally drops out of frame.

		SOPHIA
	Don't try and change the subject.
		(sitting, joining Sally)
	Oh God, it feels great!  He's just a
	little narcissistic, irresponsible and
	unreliable.

		SALLY
	And Cal's this massive adult?

		SOPHIA
	Cal knows who he is.  Did you notice how
	happy Joe was when the drugs came out
	tonight?

		SALLY
	You weren't exactly horrified.

		SOPHIA
		(laughing)
	I don't have a drug problem.

		SALLY
	Neither does Joe.

		SOPHIA
	His sister does.  Big time.  And the New
	York Times says addiction is genetic --
	I'll e-mail you the article.

Sally stares at her friend suddenly mute, eyes wide.

		SOPHIA (CONT'D)
	You don't have kids to keep a marriage
	together, Sally.  It's only five months
	since Joe came back.

		SALLY
		(getting up)
	We're fine.  We're great.  We're having a
	baby and we're moving to London.

		SOPHIA
		(following her)
	Well, you weren't fine last summer when
	you went Sylvia Plath on me in
	Connecticut.

		SALLY
	Not nice.  Not kind.

		SOPHIA
	Ha!  Not half so not kind as your husband
	was in his portrayal of you in his novel.

		SALLY
	Why are you doing this?

		SOPHIA
	His image of you is a possessive, fragile
	neurotic.

		SALLY
		(tearing up)
	But I am a possessive, fragile neurotic.

		SOPHIA
		(also tearing up)
	No you are not.  You're Sally Nash.
	Listen to me, you're Sally Nash.  You're
	my best friend and I love you more than
	anyone, and you're not going to move to
	London to have the offspring of a
	sexually ambivalent man-child.  "Oh now
	I'm a novelist, oh now I'm a director..."
	English prick bastard Joe Therrian who's
	probably going to leave you for Skye
	Davidson anyway.

They hug a bit weepy.

		SOPHIA (CONT'D)
	He's always one step removed, always
	looking over his shoulder always looking
	for something else, something more
	intoxicating, and I don't mean drugs.  I
	love him, Sal, but he's a child.  He's
	not ready.
		(a choked sob, tears well and
		 fall)
	Oh God, you're so lucky you don't have
	kids.  You can't stick your head in the
	oven.  You can't take a handful of
	Percoden if you want to, or slit your
	wrists.  You can't do yourself in.  Kids
	rob you of that option.  Trust me.
		(a beat)
	Oh my God, this ecstacy must be really
	good.

EXT. POOL SIDE - CONTINUOUS

Joe and Cal sit by the edge of the pool watching Skye dance
by herself at the far end.  Joe has his hand on Cal's chest.
Cal is stroking Joe's hair.

		JOE
	Isn't Skye amazing?

		CAL
	She's got great tits.

		JOE
	She's a constant surprise.

		CAL
	And you've only just met.

		JOE
	Yeah, I know... But she's only twenty
	seven and...
		(taps his head)
	The wisdom.  She's an old soul.  She knew
	that Shostakovich thing.  Did you notice?

		CAL
	Absolutely.  And she's got great tits.

		JOE
	Yeah, God she really does have great
	tits, great tits.  i can't wait to work
	with her.

		CAL
	The camera loves her.  A great actress.

		JOE
	With great tits.  I'm going to ask her if
	I can touch them.

He gets up to go towards Skye, is stopped by...

EXT. MEDIUM SHOT - CLAIR

Clair is climbing up the pool steps.

		CLAIR
	Has anyone seen Mac?

		JOE
		(pointing further up the
		 property)
	I saw him wandering over there, I think.
	How're you feeling, Clair?

		CLAIR
	I'm so good.

She kisses Joe and Cal, and goes off to find her husband.

		CAL
	Poor Mac.  It's been a bit of a struggle.
	I'm sure Sally's told you.

		JOE
	No, what?

		CAL
	The movie.

		JOE
	Oh, she's really enjoying it.  I think.
	Is Mac okay?

		CAL
	I don't know what's going on.  I don't
	care to guess.  Mac's really unhappy.
	She isn't there, that's all.  She's no
	idea what she's playing, not a clue.

		JOE
	Who, Sally?

		CAL
	And, you know it isn't rocket science,
	this script.  She can barely get the
	lines out.  There was a scene last week -
	she sobbed, through every take.  I know
	crying's easy for her but it's a fucking
	comedy, Joe.  Something's gone.  You
	know, that thing that was Sally - that
	always surprised you.  It's gone.  I
	think she's scared.  And that's death.

		JOE
	I still think she sails above the rest.
	I mean not like her early films.  But
	those were all such great directors.

		CAL
	Mac's a pretty great director, Joe.  He's
	a woman's director.  And nothing's
	happening.  Course he won't fire her,
	because of the friendship... But it was
	discussed.  He had to battle his studio
	to get her in the first place.

		JOE
	What?

		CAL
	Hey, listen, I love her.  She's Sophia's
	best friend.
		(to Joe's stare)
	I never said any of this, alright.  I'll
	deny it on the stand...
		(into the silence)
	You guys are gonna have kids.  That is so
	great.  Maybe that's what this is all
	about.  Maybe she doesn't want to do this
	anymore.  You know adults don't do this
	for a living.  You guys are gonna have
	your kids, you'll be directing -- one
	asshole in the family is enough.  Sophia
	knew that intuitively.  Look at Clair.
	Clair's a mess.
		(throws an arm around him)
	Make sure she gets the epidural.  Forget
	that natural childbirth shit.
	Everything's going to be what it's
	supposed to be.  "Life is but a walking
	shadow.  A poor player who struts and
	frets his hour upon the stage and then is
	heard no more..." And speaking of me, the
	role of Leo in your film?

		JOE
		(stares at him)
	Leo?

		CAL
	Any thoughts on casting yet?

		JOE
		(regards him)
	Leo?  It was out to Jude Law.  Jude
	passed.

		CAL
	Well, I can't make any promises, and of
	course I haven't read the script but I
	loved the novel...when are you shooting?

		JOE
	October-ish.

		CAL
	I have a small window of time.

		JOE
	Leo.  Leo's twenty-eight, Cal.

		CAL
	Scratch the two, write in a four.

		JOE
	Scratch the two, write in a four.

		CAL
	You've got a lot of fucking gall.  Thirty
	nine.

		JOE
	Five years ago, I was at the party,
	remember?

Joe looks up and sees Sally standing in the sun room.  He
blows her a kiss.  She kisses her finger tips and puts her
hand flat against the window pane.

INT. BEDROOM CLOSET - TIGHT CLOSE - SALLY

She's in her wardrobe pacing back and forth a bit frantic.
Trying on clothing, tossing garments to the ground.  The
floor is a heap of discarded ideas.  She pulls on jeans and a
t-shirt.  Very similar to what Skye is wearing.  She sits a
moment on the floor.  The sounds of the party below are
muted.

		SALLY (O.S.)
	Oh Warren, that was awful, I can't sing.

The CAMERA stays with Sally as she gets to her feet, walks
along the corridor, toward the sound of her voice.

INT. DAILIES ROOM - NIGHT

Mac is on the edge of the couch, elbows on knees, staring at
the television screen - watching his dailies.  At some point
he drops his head.  Stops watching...

INT. MOVIE SET

		CAL'S VOICE FROM THE T.V. (O.S.)
	You sing like a bird.

		SALLY'S VOICE FROM THE T.V. (O.S.)
	A bird with dropsy.  A caged bird.  That
	hasn't long to live.

		CAL'S VOICE FROM THE T.V. (O.S)
	You seem so alive up there.

Sally stands at the open door.  Stunned.  Watches Mac watch
her.  Watches herself, with a professional, acute eye.  More
critical than Mac's could ever be.

		SALLY (ON TV)
	I was faking it.  I've been feeling caged
	for sometime.  Funny, huh?

		MAC
		(moans)
	No, it's not... Fuck fuck fuck fuck.

INT. CORRIDOR - CLOSE SHOT - SALLY

She backs up into the corridor mortified.  Leans against the
wall.

		CAL'S VOICE FROM THE T.V. (O.S.)
	It's preposterous.  You're free to do
	whatever you like.

		SALLY'S VOICE FROM THE T.V.
	Yes, well, we'll see won't we?

		MAC (O.S.)
	Jesus Christ.

		SALLY
		(a deep breath)
	Well...wow...

INT. HALLWAY - CONTINUOUS

Clair's started down the hallway, reaches the landing.  Sally
rushes into the guest bedroom to avoid her.  Clair, just
missing Sally, wanders into the dailies room.

INT. DAILIES ROOM - CONTINUOUS

		CLAIR
	Mac?  Oh there you are.  What are you
	doing, honey?  No more work.  Don't you
	feel breezy.

		MAC
	I'm in mourning.

		CLAIR
	You can cut around it, whatever it is.
	You always do.

		MAC
	Not this time.

		CLAIR
	It's always not this time.  If you can do
	it around me, you can do it around
	anyone.

She walks in front of the television set, blocks it with her
body, switches it off.

		MAC
		(an observation)
	You don't have any clothes on.

		CLAIR
	How nice for everybody.  Come swimming.
	The water's glorious.
		(re: the film)
	You'll fix it.  You'll come up with one
	of your brilliant ideas.

		MAC
	Or I won't.  I can't help her.  I'm out
	of my depth.

		CLAIR
	Things always look much worse in the
	morning.

		MAC
	I don't know how to make her funny.

		CLAIR
	You're coming swimming in the pool, and
	in a few minutes you won't even remember
	what it's about.  You won't care who's in
	your damn movie.

		MAC
		(really stoned)
	What what's about?

		CLAIR
	I...wait, what are you talking about?

INT. GUEST ROOM

MEDIUM CLOSE

Jack and Evie are asleep across the bed.

NEW ANGLE

Sally sits at the edge of the bed, regards the sleeping
children.  Reaches over and smoothens the tangled, tousled
hair.  Studies their faces.

EXT. POOLSIDE - JOE'S POV

Monica sits on the steps of the pool.  She looks frightened,
uncomfortable.

		JOE
	Are you okay?

		MONICA
	I don't think so.  I feel.  I feel a bit
	funny.

		JOE
	Let's go for a walk.

He puts his arm around her and leads her away from the pool.

EXT. BACKYARD LANDING - NIGHT

		MONICA
	I've never done this before.

		JOE
	Oh?  It's easy.  You just put one foot in
	front of the other... That's a good girl.

		MONICA
	I'm a little in the puke zone.

		JOE
		(giving her some water)
	Here, drink this.  Drink lots of water.
		(puts the bottle in her hand)
	Hold on to this.  Take deep breaths.
	Nice and slow.
		(sits her down; produces a
		 lollipop)
	Would you like a lolly?

		MONICA
	What am I, five?

		JOE
	You're never too old for a lolly.  I'm
	having one.

		MONICA
		(a grin)
	Okay.

He pulls out another one.

		JOE
	Lemon or raspberry?

		MONICA
	Lemon.

		JOE
	Lemon it is.

The two suck on their lollipops for a moment.

		MONICA
		(finally)
	Ryan's really angry with me.

		JOE
	I think he's really angry with me too.

		MONICA
		(laughs)
	It's really not the same thing.
		(a moment)
	He was really nicer when he drank.

		JOE
	I'm sorry.

		MONICA
	Eight years, though.  That's quite an
	accomplishment.

		JOE
	That's a lot of those.

		MONICA
	Medallions.

		JOE
	A lot of cakes.

		MONICA
	Yes.

		JOE
	And he doesn't smoke?

		MONICA
	He has to find non-smoker's meetings that
	used to be almost impossible, you know?
	It's gotten much better.

		JOE
	How long have you been married?

		MONICA
	Nine...nine, yes?  Nine years, just
	about.

		JOE
	You must have been a baby.

		MONICA
	Oh yes.  Nineteen...just.
		(a moment)
	I'm cold.

		JOE
	Come here.

Joe holds Monica.

		MONICA
		(a moment)
	That's very nice.

		JOE
	I like you.

		MONICA
	I'm so glad.  You know, I recognize that
	passage in your book.  The bit about us
	running into each other in the movie
	theatre.

		JOE
	Sorry?

		MONICA
	I know you changed it to a bookstore.
	And the color of my hair.  But the moment
	was exactly the same.  The same, you
	know, dynamic.  And almost verbatim,
	wasn't it?

		JOE
		(humors her)
	Yeah, it was.  For a writer nothing's
	sacred.
		(thinks a moment)
	No, nothing at all.

		MONICA
	I think it's great that I made an
	impression at all, you know.

Joe regards the open trusting face, is touched by it.  Leans
in, kisses her lips very lightly... and again.  Her arms
can't make up her mind, whether to come up around him or not.
Finally do.

		SALLY (O.S.)
	Otis!!  Otis, come!  Oh fuck!

She appears beside them.

		SALLY (CONT'D)
	Someone left the goddamn gate open.  Otis
	got out.  Skye and I, well the... I came
	out of the house and the fucking gate was
	wide open.

		JOE
	Oh for fuck's sake.  Nobody uses that
	gate.

		MONICA
		(horrified)
	I'm sorry.

		SALLY
		(raging)
	There's a goddamn sign on the gate.

		MONICA
	I'm so sorry.

		SALLY
	You fucking cow, can't you read?!

		MONICA
		(at a loss)
	I...

		SALLY
	How long ago was it?

		JOE
	Stop being such a bitch, Sal.

		MONICA
	I'm so sorry.

		JOE
	It was a mistake.  This isn't a plot to
	do in Otis.

		SALLY
	Don't be so sure.

		JOE
	Listen to yourself...
		(to Monica)
	Don't worry, it's alright.  We'll find
	him.
		(to Sally)
	What's wrong with you?

		SALLY
		(re: Monica)
	She left the fucking gate open.

		JOE
	Well he can't have gone far.

		SALLY
	Can't have gone far?  He's like a
	greyhound.  He could be miles away.

		JOE
	He'll find his way back.

		SALLY
	There are fucking coyotes out there.

		JOE
		(calming)
	Sally, calm down.  We're not going to
	find him any quicker by you being
	hysterical.

Monica retreats, backs off a step or two.

		SALLY
	Fuck you.

		JOE
	Or shitty!!  Otis!!

						CUT TO:

INT. KITCHEN - CONTINUOUS

America and Rosa are cleaning up.  Ryan hangs around
chatting.

		RYAN
	How long have you worked for the
	Therrians?

		AMERICA
		(shrugs, polite but annoyed)
	A long time.

		RYAN
	So you were here when they were doing the
	work on the boundary fence?

		AMERICA
	Oh yes.

		RYAN
	Did you know the contractor?

		AMERICA
	Very well.

		RYAN
	Was it a contractor?

		AMERICA
	It's the way they do things.

		RYAN
	To code?

Her back is to him.  She exchanges a glance with Rosa, and
the Spanish equivalent of "who is this wanker?"

		RYAN (CONT'D)
	Did you see permits?  Did he have a
	license?

		AMERICA
	You should talk to Mr. Joe.

Monica bursts into the room.

		MONICA
	Ryan, you've got to come!  You've got to
	help me find the dog!  I let their dog
	out.  We need to find the dog.

		RYAN
	You're not serious.

		MONICA
	I left the gate open and Otis got out!
	He could get hit by a car!

		RYAN
	God willing.

		MONICA
	We have to find the dog, Ryan.

		RYAN
	Why?

		MONICA
		(regards him)
	Because we're nice people, and because
	what goes around comes around.
		(desperate)
	Because, God help you if something
	happens to that dog?

		RYAN
	Excuse me?

		MONICA
	All the ugly phone calls?  We're not the
	only people with a tape recorder, Ryan.
		(a beat)
	They've gone to the canyon, we should go
	towards the PCH.

EXT. CANYON - MOMENTS LATER

Panes and Skye search the canyon for Otis.  They both carry
lanterns.

		PANES
	Otis!!  Shostakovich identified with the
	Jew.  He felt persecuted, hunted, crushed
	under the thumb of Stalinist imperialism.

		SKYE
	Not to mention Andrew Zhdanov... Otis,
	come!!

		PANES
	Andre Zhdanov?  How the hell do you know
	about Andre Zhdanov?

		SKYE
	Who doesn't know about the infamous
	composer's conference of 1948 where
	Zhdanov persecuted the leaders of Soviet
	Music - Shostakovich, Prokofieve, and
	Myaskovsky.

		PANES
	I'll tell you who doesn't know, cute
	girls don't know.

		SKYE
	Do Peter Sellers again.

		PANES
		(a la Sellers)
	Otis you crazy dog!  Otis are you in this
	God forsaken Canyon?  My people are very
	hungry.

		SKYE
	I just did a movie about Bob Yar, I
	played Gittle, the Jewish milkmaid who
	gets shot in the head, and they used
	Shostakovich's 13th Symphony.

		PANES
	Set to the poem of Yetveshenko!

		SKYE
	Exactly!  So I dug it, and I did a lot of
	research.

		PANES
	Do you really, you really, like
	Shostakovich?

		SKYE
	Yeah.

		PANES
	Would you, like, marry him?

		SKYE
	If he were still alive, maybe.

		PANES
	How about someone who really really liked
	Shostakovich?

		SKYE
		(smiling)
	Are you asking me to marry you?

		PANES
	No, I'm just testing to see how deeply
	perverted and impulsive you are.

		SKYE
		(laughing)
	Very.

		PANES
	Oh good, I'm worse... Are you really
	twenty-two?

		SKYE
	Who told you that?  No.  I'm twenty...
		(lops off two years)
	Five.

EXT. CANYON - CONTINUOUS

Sally and Joe have lanterns.  Panes and Skye are up ahead.
We hear them calling for Otis.

		SALLY
	Otis!!!!

		JOE
		(on her heels)
	Otis!!!!

		SALLY
	Otis, good boy, come here.  Oh my god, oh
	my god, oh my god.

		JOE
	This is a nightmare.  We should have kept
	him upstairs.

		SALLY
	It was done.  When Sophia put the kids to
	bed, America brought Otis in the room and
	closed the door.  It was done.

		JOE
	Well someone clearly let him out before
	Monica opened the gate.

		SALLY
	Oh fuck you, and fuck Monica while you're
	at it.  But I guess that's what I
	interrupted.

		JOE
	Jesus, Sally.  You are a medical miracle.
	The only person who's ever taken ecstacy
	and become angrier.

		SALLY
	Yeah, let's talk about that.  You seem to
	be rather an expert.  I don't remember in
	the last five months of counselling your
	ever mentioning ecstacy or going to rage
	parties.

		JOE
	Rave parties?!  That's so typical - you
	would think it was called rage.  Perfect!

		SALLY
	What else don't I know about, Joe?  Let's
	get really clear here.

		JOE
	Sally, so I took a few pills.  I went out
	dancing.  I tried to forget how upset I
	was about splitting up with you.  I
	haven't lied to you.  I told you about
	the people I've slept with.  I just
	didn't mention the few occasions I took
	drugs because you're so fucking
	judgmental I knew I'd never hear the end
	of it, and you have so little faith and
	so little trust in me.  Sally, we're
	back, I love you.  Trust that.  Please
	let's not do this.

		SALLY
	Otis!  Come!  Good boy!  Come!

		JOE
	Otis!

		SALLY
	I'm not sure we understand that word in
	the same way.

		JOE
	Love?

		SALLY
	You walked out on a five year marriage.

		JOE
	That hasn't the first fucking thing to do
	with love.  It's whether we can live
	together... like this!  All the time.

		SALLY
	It's not like this all the time.

		JOE
	DO I want anyone else?  No.  Do I want to
	be with you for the rest of my natural
	life?  I'm trying.

		SALLY
	And how hard it hit?

		JOE
	Just stop right there, Sally.  We've been
	through this.

		SALLY
	You've been through it.  That's how you
	love people.  When it's easy for you,
	when it's convenient for you.

		JOE
	Sally, first of all, you're talking
	bullshit.  And second...

		SALLY
	You want to talk about bullshit?  Lucy
	called you three times this week.  She's
	a fucking mess, Joe.  Your sister is a
	fucking mess.  She needs you.  I talk to
	her more than you do.

		JOE
	That is not true.

		SALLY
	It is true.  You know how you love, Joe?
	You dedicate a book to someone.

		JOE
	Every novel I've had published in every
	language I've dedicated to Lucy.

		SALLY
	Right.  And when was the last time you
	spoke to her?

Joe is silent.

		SALLY (CONT'D)
	And how fucking dare you cast Skye
	Davidson in that part?  Have you any idea
	how humiliating that is for me?  I'm an
	actress!  It's about our marriage for
	fuck's sake.  Everybody knows that...

		JOE
	It's a novel.

		SALLY
	About me!

		JOE
	Who the fuck do you think you are?  The
	part of Genna is not just about you.
	It's about every woman I've ever loved in
	my entire life.  Including my mother.
	The character is also clearly in her
	early twenties, Sally.

		SALLY
	What are you saying?

		JOE
	Hello?  Last birthday was?

		SALLY
	I don't look my age, Joe.

		JOE
	Sally, I have never considered you for
	this part because you are too old to play
	it.  And you are out of touch with
	reality if you think differently.

		SALLY
	It's a shit novel anyway.

		JOE
	Well there you go.  I let you off the
	hook.  You're one goddamn lucky actress.

		SALLY
	Not really.  I mean your books have
	always been pop, but this is the
	shallowest of the bunch.  That's what all
	our friends think, anyway.

		JOE
	Okay.  If we could've, by some miracle,
	stripped ten years off your face, still
	couldn't have got the thing made.
	Because I don't mean anything as a
	director, and your name doesn't mean fuck
	all anymore.  And the people that can
	hire you are afraid to, because they
	think you're phoning it in.  That you
	don't have... Oh Christ, Sally.

		SALLY
	Who?  Who?  Who thinks that?

		JOE
	Your director and your co-star of your
	current movie.  Don't dish if you can't
	take it, Sally.

		SALLY
	Mac?  Mac says it?  Cal?

Joe doesn't respond.

		SALLY (CONT'D)
	Cal, too?

		JOE
	Sally, for Christ's sake.

		SALLY
	Anyone else?

		JOE
	This is insanity.
		(moves toward her)
	Sally...

		SALLY
	Don't.

		JOE
	Don't push me away.

		SALLY
	I had an abortion two weeks ago.

		JOE
	Don't do this.

		SALLY
	I found out I was pregnant and it scared
	the shit out of me.

		JOE
		(threatens)
	Don't do this!

		SALLY
	I told you when we met I never wanted
	children.  I don't want kids in my life.
	We talked about it.  You weren't
	listening.

		JOE
	You changed your mind.

		SALLY
	I wanted you back.

Joe slaps her hard across the face.

		SALLY (CONT'D)
	You think this was to hurt you?!  My God,
	Joe.  It isn't about you.

		JOE
	What?!  You aborted our child?!

		SALLY
	I'm a monster.  Exactly.

		JOE
	You're not ready.

		SALLY
	Don't make allowances.  I'll never be
	ready.  Some people just shouldn't have
	children.  I'd be a terrible fucking
	mother, Joe.  I did want it for us.  But
	I couldn't do it.  I don't really think I
	can do it.

		JOE
	I wasn't part of that picture at all, was
	I?  I wasn't part of that decision.  Did
	I occur to you at all?  It's a fucking
	farce.  It's a fucking farce.  How long
	did you think you could keep it going.
	You're amazing.  Do you have any idea
	what you've done to us?

		SALLY
	Yes.

		JOE
	I'll never forgive you.

		SALLY
	I know.

		JOE
	I have no idea who you are.

They stand their in silence.  Joe is devastated.  We hear
Skye and Panes up ahead calling for Otis.

INT. POOL - CONTINUOUS

SILENT UNDERWATER SHOTS

Of Mac, Judy and Clair.  Mac directs an underwater ballet, a
la Esther Williams.

There's a sequence of TIGHT OVERLAPPING SHOTS of Mac,
smiling, swimming underwater.  His image of himself... SLO-MO
compounded by water-weight.

The drug has clearly taken effect.  Mac opens his mouth to
direct his actors, forgets where he is, begins to choke, and
cough, is clearly in trouble.

Oblivious, Judy and Clair turn somersaults.

Mac begins to panic.  He is drowning.

He begins to sink.  Panic gives way to acceptance.

Jerry's body flies past FRAME, splashes hard into the pool.
The LENS is water-splattered.

MEDIUM-CLOSE SHOT UNDERWATER

Jerry's body sweeps past the lens, smooth and sleek as a
Dolphin.  He grabs Mac...

EXT. POOL - CONTINUOUS

Jerry pulls Mac to the surface.  Clair and Judy are out of
the pool.  Jerry drags the limp body from the pool, pumps
Mac's chest - it's clear he knows what he's doing.  Mac
coughs up a load of water.

		CLAIR
	Oh my God.  Honey???

There's a moment.  Mac begins to sob.

		JERRY
	He's okay, Clair.  You wanna give him a
	little room?

		MAC
		(his face against concrete)
	Man, I must really be stoned.
		(wipes tears from his face with
		 his hand)
	Thanks, buddy.

		CLAIR
	Honey?

Mac raises his hand, arrests her from coming nearer.

		MAC
	I'm fine, babe.

		JERRY
	Give him a minute, Clair.

		MAC
		(humiliated)
	Hey.
		(looks over at Jerry)
	Thanks, buddy.

		JERRY
	Anytime, sport.

		MAC
		(wants to say "don't call me
		 sport")
	Yeah, thanks pal.

		CLAIR
		(helpless)
	Honey?

They all stand around watching him.  Mac gets up.

		MAC
	I'm fine, babe.  I'm gonna take a little
	walk.  I need a minute.  Let's forget it.
	My life didn't pass in front of my eyes.
	So, it probably wasn't that close.

		JERRY
	Probably not.

		MAC
		(to Jerry)
	So, you've got lifeguard papers, or what?

		JUDY
	There's a test, you know.

		JERRY
		(embarrassed)
	Forget it, Judy.

		CLAIR
		(still scared)
	Honey?

		MAC
	I'll be fine.  Really babe.  Give me a
	minute.

The CAMERA stays on Mac as he walks around the side of the
house, down the steps through the basement.

INT. BASEMENT - MEDIUM FULL SHOT

Mac begins to tremble, sob convulsively.  He bites down on
his lip, clinches his first, tries to pull himself together.

		MAC
		(paces; at himself)
	You're okay.  Buck up.  Come on, be a
	man.  It could happen to anybody.
		(tears start again)
	If you don't stop, I'm going to punch
	your face in.
		(another moment)

He pulls a towel off a stack and they all fall on the floor.

		MAC (CONT'D)
	Oh shit.  I can't fucking do anything
	right.  Come on, come on.  Oh thank you
	God for giving me this chance.  Thank you
	for having Jerry here to save me.  I
	promise I will never cheat on my wife
	again.  I will never take drugs again,
	and I will be a great fucking husband and
	a loving father.  I am a great father!  I
	have terrific friends.  I am a brilliant
	director.  Well-respected.  I won a
	Golden Globe, how 'bout that?  Yeah, man,
	it's alright, it's alright, it's alright.
	And God, I will be humble.

INT. MUSIC LIBRARY - MEDIUM FULL SHOT

Gina regards the photographs she brought for Joe and Sally.
She lifts it from the shelf, the phone rings, the machine
picks up.

		MAN'S VOICE
	Joe, Joe!  It's your Dad!  Pick up,
	Joe...

Gina sets the photo on the desk, leans it up against the
wall.  Joe and Sally's faces stare out of it.

		GINA
		(picks up receiver)
	Harry, hi, it's Gina!  Gina.  Is
	everything alright?
		(a deep intake of breath)
	Oh my God.  When?  He's not here.
	They're out looking for Otis.  The dog,
	Harry.
		(tears start down her face)
	I love you so much.  Lucy's a fighter,
	she'll make it.  Whether she wants to or
	not.  Harry.  I'm so sorry.  I will.
		(writes down the number)
	Yes I will.  Take care, Harry.  Bye.

She puts down the phone.  Stares into Joe's face, looks up at
a photo on the wall that she took of Joe and Lucy.

EXT. BACKYARD LANDING

Jerry and Judy are making out.

		JUDY
	Are you my big brave boy?  Are you my
	brave hero?

		JERRY
	You're crazy baby.  I love you.

		JUDY
	Are you my big hard hero?

		JERRY
	Do you want me to save you?  Do you want
	me to save you?

		JUDY
	Oh yeah...

		JERRY
	Oh yeah... I'm gonna save you.

		JUDY
	Oh yeah?

		JERRY
	Let me heal you, baby.

		JUDY
		(mantra)
	Oh Jesus oh Jesus oh Jesus.

Grunts, groans, a scream, a peel of giggles.

		JERRY
	Oh yeah.

INT. MASTER BEDROOM - CONTINUOUS

Gina pulls Joe's clothes out of the closet, out of the
drawers.  There's an overnight bag on the bed.

EXT. POOL AREA

Cal and Sophia lie cuddled on a lounge chair, blissed out,
counting the windows of the house.

		SOPHIA
	...no, no, start again.

		CAL AND SOPHIA
	One, two, three, four...

Clair wanders up.  She's changed into her own clothes.

		CLAIR
	I've lost my husband and my beeper.  Have
	either of you seen either of them?

INT. LIVING ROOM - LATER

Clair, Mac, Sophia, Cal and Gina are waiting.  The overnight
bag rests near the coffee table.  No one speaks.

There are sounds of the search party approaching.

NEW ANGLE

Panes, Skye, Sally and Joe come into the room dogless.

		JOE
	What is it?

		GINA
	Let's go upstairs, okay?

Joe looks from Gina to the others.

		GINA (CONT'D)
	Let's go upstairs.

They move out of the room.

		SALLY
		(on the way upstairs)
	Is it Otis?

Skye and Panes look at the other guests.

		SKYE
	What happened?

INT. MASTER BEDROOM

Gina closes the door.

		JOE
	The suspense is killing me.

		GINA
	Harry called.

		JOE
		(growing dread)
	And?

		GINA
		(there's now way to say it)
	Lucy overdosed.

		JOE
		(a long moment)
	But she's alright.

		GINA
	She's in ICU.

Joe's legs give way.  He sort of sits on the floor.

		JOE
		(laughs; shakes his head)
	Stupid tart.

		GINA
	She left a note.

		JOE
		(realizes the import; to Gina)
	Fuck you.

Tears start down Sally's face.

		GINA
	You need to call your dad.

		JOE
	Leave us alone right now.

		GINA
	I've booked you a flight and packed you a
	bag.  You just need to get into a car and
	go.

		SALLY
	Would you leave us alone right now?

		GINA
	I love her too, Joe.

		JOE
	Alright, good.  Thanks for your trouble.
	So will you leave Sally and me alone
	right now?

		SALLY
		(a shrug; simply)
	Everybody hates the messenger.

Gina exits.

		SALLY (CONT'D)
		(to Joe)
	I'm coming with you.

Joe starts to cry.  Sally holds him, kisses him, strokes him,
rocks him.

		JOE
		(inconsolable)
	I don't want you to go.

He wipes tears away that start afresh; his nose is running,
he wipes that too.

		JOE (CONT'D)
	I can't got tonight.  I don't want to be
	on a plane on my own tonight.

		SALLY
	I'll be with you.

		JOE
	I don't want to go tonight.

		SALLY
	You don't have to.

They sit on the floor.  Sally soothing, rocking Joe like a
baby.

		JOE
		(bereft)
	Stupid tart.

INT. KITCHEN - LATER

Gina's put up some coffee.  Sophia, Cal, Mac and Clair stand
around awkwardly.  Sally comes into the room.

		MAC
	How's he doing?

		SALLY
	Not good.

		GINA
	He's gonna miss his flight.

		SALLY
	Yeah.

Al the guests are a little stunned.

		GINA
	Is he not going?  I booked a flight.

		SALLY
	He's not going tonight.

		GINA
	I told his father he'd be on that flight.

		SALLY
	Well you could tell him otherwise.  It
	was good of you to be all this help.  But
	he doesn't want to go tonight.

		GINA
	Jesus, Sally.  I'm not the enemy.

		SALLY
	And you're not the wife.

		GINA
	It's not a contest.

		SALLY
	Damn straight.

		CAL
	Should I go up?

		SALLY
	I don't think so.

		CAL
	You want us to stay?

		SALLY
	Maybe not.

		MAC
	So much for ecstacy, right?

They all laugh a little.

		SOPHIA
	Let's get the kids.

		CLAIR
	Oh my God, the sitter.

		SALLY
		(laughs)
	Oh Clair, you're so... You know.  You
	just put things in perspective.

INT. MUSIC LIBRARY - CONTINUOUS

Joe listens to the answering machine message Lucy left that
morning.  He plays it again and again.

HE fast forwards to his father's voice.  Presses the STOP
button.  Sits there, stunned.

		JOE
		(dials phone, a moment)
	Hey, Dad...

INT. GUEST BEDROOM - CONTINUOUS

Cal and Sophia bundle up their sleeping kids.  The CAMERA
follows them to the landing as they head downstairs, pass
Sally who is coming up.

		SOPHIA
	I'm going to be home all weekend, call if
	you need anything.

Sally kisses Cal's cheek.

		CAL
	Hang in.

INT. MASTER BEDROOM - CONTINUOUS

Panes and Skye are fucking on Joe and Sally's bed.  Sally
walks in on them searching for Panes' ear, her best buddy.

		SALLY
		(resigned)
	Oh perfect!

EXT. BACKYARD LANDING - MEDIUM FULL SHOT

Jerry and Judy lie alongside each other, hands propping
heads.  They aren't privy to anything that's happened.

		JERRY
	I call that a perfect day.

		JUDY
	A perfect night.

		JERRY
	Damn near.
		(long moment)
	And a damn near perfect drug.

		JUDY
	Hm.  We should do it again.

		JERRY
	Just every once in a blue moon, you know.

		JUDY
	Hm.
		(a long moment)
	You think we should ask them for their
	landscaper?

		JERRY
	Hm.  Do you like fucking out of doors?

		JUDY
	Not as a rule.

		JERRY
		(a long moment)
	They didn't sign their goddamn tax
	returns!

EXT. HOUSE - CONTINUOUS

Sally stands at the threshold, watches Cal and Sophia load
their kids into the car.

INT. FOYER - CONTINUOUS

Clair and Mac and Gina hug and say their goodbyes to Sally.

		GINA
		(kisses Sally; whispers)
	Take good care of it.

		SALLY
	Count on it.

EXT. HOUSE - CONTINUOUS

Monica and Ryan return from their unsuccessful search.  They
come through the gate with it's sight: KEEP GATE CLOSED.
Monica and Ryan start for the kitchen entrance.

INT. KITCHEN - FROM MONICA AND RYAN'S POV

Sally and Joe are alone in the room.  They hold each other,
weep...

		RYAN
		(appalled)
	Jesus Christ, it's a fucking dog!

		MONICA
		(regards them)
	Don't go in, Ryan.

		RYAN
	What?

		MONICA
	Let's just go home, okay?

INT. KITCHEN - CONTINUOUS

A much embarrassed Panes and Skye enter.

		PANES
	Coffee?

		JOE
	Sure.

		PANES
	I'll do it.

Panes starts to make some; Skye starts to clean up glasses
and ashtrays.

		SALLY
	You don't need to do that.

		SKYE
	I don't mind...

		SALLY
	Relax.  You've done enough.

EXT. KITCHEN - CONTINUOUS

We see Judy and Jerry bounding around the side of the house.
Jerry has his briefcase in his hand.  They are laughing.
They enter the kitchen.  The camera stays outside.  We see
them brought up short by the gloom, but hear nothing.

INT. KITCHEN - CONTINUOUS

Sally and Joe are at the table, signing their tax returns.
Jerry supervising.  All is quiet.  Judy's sunk into a chair.

INT. FOYER - CONTINUOUS

Morning's finally come.  Light fills the room, empty except
for party debris.

INT. LIVING ROOM - CONTINUOUS

It's empty but for glasses, wrapping paper, abandoned dishes
of leftover cake.

INT. EMPTY KITCHEN - CONTINUOUS

INT. GUEST BEDROOM - CONTINUOUS

The bed is rumpled and indented from the sleeping children.
Their drawings and paints strewn all over the floor...and
Walls.

INT. EMPTY DEN - CONTINUOUS

INT. MASTER BEDROOM - CONTINUOUS

The bed still shows the remains of Panes and Skye's love
making.

The CAMERA moves through the suite into the bathroom.
Sally's in the tub.  Joe comes into the room in the buff.

		JOE
	Can I come in?

Sally looks up at the nakedness.

		SALLY
	Sure.

HE slips into the tub with her.  They lie there facing each
other.

		OE
	My plane leaves in a few hours.

		SALLY
	Okay.  Do you want me to come with you?

		JOE
		(simply)
	No.

		SALLY
	Okay.

		JOE
		(a moment)
	Pretty much a disaster, tonight, wasn't
	it?

		SALLY
	I guess.

		JOE
	Life gets messy.  Ugly messy.  But I
	don't understand you.  And I don't think
	I ever understood Lucy.  I don't
	understand throwing it away.  How do you
	throw all that away?  Any of it.  I want
	it all.  You guys want guarantees?  I
	want the possibilities.  And all kinds of
	crap comes with that.  A lot of bad shit.
	And I think that's okay with me because,
	because of the rest of the stuff.  All
	the good shit.  All the surprises.  It's
	a fucking miracle when you come down to
	it.
		(a moment)
	We'd have had amazing children, you and
	me.  We'd have had a ride.  You'd have
	surprised yourself.
		(regards her)
	I'll never love anybody else, you know.

		SALLY
		(a little choked laugh)
	Me too.

		JOE
	That's under lock and key.

		SALLY
	Me too.

Joe reaches out of the tub for gift-wrapped box.  He hands it
to sally.  It's their ritual gift-giving site.

Sally opens the gift.  Takes out a Calder mobile.

		JOE
	Happy anniversary.

		SALLY
	It's a Calder.

		JOE
	I know.

		SALLY
	He's my favorite.

		JOE
	I know.  It's for the baby's crib.

		SALLY
	Ah...

She hands him a small wooden box.  He opens it, takes out a
set of keys.

		SALLY (CONT'D)
	They're the keys to your grandad's flat.
	Happy anniversary, baby.

		JOE
	Oh, Sally Mae...

He can't say anymore.

		SALLY
	I know.

		JOE
	Will you make love with me?

		SALLY
	Sure.

She reaches out with both arms.

INT. BATHROOM - TIGHT CLOSE

Joe and Sally tenderly make love.  It's the dissolution of
their marriage.

INT. FOYER - NINE A.M.

America and Rosa begins to clean up the debris from the
party.

EXT. HOUSE - CONTINUOUS

A taxi pulls up.  Joe gets in with his bags.  The cab backs
out...

INT. MASTER BEDROOM - MEDIUM CLOSE

The two wedding rings rest on the nightstand, hers nestled in
his.  Sally's hand opens the drawer, sweeps the rings into
it.

EXT. HOUSE - LATE MORNING

The "FOR SALE" sign is hammered into the ground.

					DISSOLVE TO:

EXT. HIGH SHOT - CONTINUOUS

Otis wanders along the street, up the driveway and disappears
through the flap in the kitchen door.

					   FADE OUT.