"VALENTINE'S DAY"

Warner Bros. a division of Time Warner Entertainment Company, L.P.

Combined Continuity & Master English Spotting/Subtitle List

"VALENTINE'S DAY"

Exhibition Footage

Reel 1AB 1468-7 Reel 2AB 1962-13Reel 3AB 1346-1 Reel 4AB 1742-3Reel 5AB 1693-14 Reel 6AB 1654-9

Reel 7AB 1333-3

Total Number of Reels: 7 (2,000 Ft.)Total Exhibition Reel Footage: 11201 Feet 2 Frames.

Total Running Time: 2 Hour 4 Minutes 27.42 Seconds.

Flat

Prepared By:SDI Media Group10950 Washington Blvd., Studio BCulver City, CA 90232 February 22, 2010

TITLE COMBINED CONTINUITY & DIALOGUE NO. START END TOTAL TITLE

TITLE & REEL SPOTTING LIST FOOTAGES & TITLESVALENTINE'S DAY 1AB P/1

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LABORATORY: START MEASURING 0.00 LABORATORY: 0.00 AT START MARKAT START MARK

11-15 79.01 = 1ST SCENE END

SCENE 1 - BLACK FRAMES.12-02 111.06 = 3RD SCENE END

FADE IN:

SCENE 2 - ANIMATED NEW LINE LOGO.

(logo)NEW LINE CINEMA

---------------------A Time-Warner Company

34-04

FADE TO:

SCENE 3 - BLACK FRAMES.34-14

FADE IN:

SCENE 4 - EXT. BEACH - DAY - LS -AERIAL SEQUENCE - THE BEACH ATSUNRISE, AS CAMERA TRAVELS BG.

MT #1 FADES IN: (over above bg.)

New Line CinemaPresents

MT #1 FADES OUT.MT #2 FADES IN: (over above bg.)

AWayne Rice/Karz Entertainment

Production

MT #2 FADES OUT.

AERIAL SEQUENCE ENDS.51-00

DISSOLVE TO:

90.15 = 2ND SCENE END

118.02 = 4TH SCENE END

(flat)



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SCENE 5 - EXT. FREEWAY - DAY - LS -HIGH ANGLE - THE FREEWAY, CROWDEDWITH MORNING RUSH HOUR TRAFFIC,AS SEVERAL PEOPLE WALK R. ACROSSAN OVERPASS.


A Garry Marshall Film

ROMEO 1-1 54.04 58.03 3.15 ROMEO TO GROUP) (voice over)(voice over) Hey there, all you sleepy ITAL Hey there, all you sleepy Angelenos.

Angelenos... (Angelenos : natives or residents of

MT #3 FADES OUT.58-08

DISSOLVE TO:

SCENE 6 - EXT. JOGGING PATH - DAY - FS- SEVERAL MOTHERS JOG R., PUSHINGSTROLLERS WITH CHILDREN IN THEM.

ROMEO *1-1A 58.07 61.06 2.15 ROMEO TO GROUP) (voice over)(voice over) ...a good, good morning to you. ITAL A good, good morning to you.


Valentine's Day MAIN

ROMEO(voice over) It's your buddy Romeo (February 14th, the Christian feast day

Midnight. I know, I know... for sending a romantic card or gift to


DISSOLVE TO: (buddy : idiomatic for 'friend')

SCENE 7 - EXT. BEACH - DAY - LS - THE nighttime disc jockey - noteBEACH, AS A VEHICLE MOVES L. ACROSS implication that his show mainlyTHE SAND AND CAMERA TRACKS WITH features love songs as well as songIT. dedications - also note that a Romeo

ROMEO lovemaking or the pursuit of love, after(voice over) ...I'm the voice you normally the titular character of William

listen to...

MT #5 FADES IN: (over above bg.) 1-4 66.08 72.03 5.11 ROMEO TO GROUP) (voice over)

Jessica Alba listen to in the middle of the night.

ROMEO (cont'd) (in the middle of the night : i.e., 'in the(voice over) ...in the middle of the night, but late-night hours' - implying that this is

today is special...

MT #5 FADES OUT. 1-5 72.07 76.04 3.13 ROMEO TO GROUP) (voice over)

(Hey there : Idiomatic greeting)

Los Angeles)

1-2 61.10 63.11 2.01 NARRATIVE TITLE)

TITLE Valentine's Day

of St. Valentine and the traditional day

somebody you love)

1-3 63.15 66.04 2.05 ROMEO TO GROUP) (voice over)ITAL It's your buddy Romeo Midnight.

(Romeo Midnight : name of made-up

is a man who is devoted to

Shakespeare's Romeo and Juliet)

ITAL I know, I know, I'm the voice you normally

(voice : i.e., 'person' - 'disc jockey')

when his show is usually on)

ITAL But today is special, Los Angeles.



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SCENE 7 - (CONTINUED)


Kathy Bates

ROMEO (cont'd) *1-6 76.08 80.09 4.01 ROMEO TO GROUP) (voice over)(voice over) ...Los Angeles. It's my favorite ITAL (over scene end) It's my favorite day of the year.

day...


SCENE 8 - EXT. BEVERLY HILLS STREET -DAY - FS - LOW ANGLE - PALM TREES, ASCAMERA TILTS DOWN TO REVEAL THESTREET. SEVERAL GARDENING TRUCKSDRIVE FG. DOWN THE STREET.

ROMEO(voice over) ...of the year.


Jessica Biel

ROMEO (cont'd) *1-6A 80.13 85.05 4.08 ROMEO TO GROUP) (voice over)(voice over) Today is Valentine's Day. ITAL Today is Valentine's Day.


Bradley Cooper

ROMEO (cont'd) 1-7 85.09 90.13/ 5.04 ROMEO TO GROUP) (voice over)(voice over) And that's why I'll be here all ITAL And that's why I'll be here all day and all

day and all night.

MT #8 FADES OUT.

ROMEO (cont'd) 1-8 /91.01 98.05 7.04 ROMEO TO GROUP) (voice over)(voice over) Playin'... ITAL Playin' the songs you love and the songs you

90-15 love to love to.

SCENE 9 - FS - HIGH ANGLE - THE are being sexually intimate withTRUCKS, DRIVING R.BG. someone')

ROMEO (voice over) ...the songs you love...


Eric Dane

CAMERA TILTS AND CRANES UP TOREVEAL A SIGN THAT READS:

BEVERLYHILLS

night.

(love to love to : i.e., 'like to listen toduring a romantic date or when you



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ROMEO(voice over) ...and the songs you love to

love to.


Patrick Dempsey

MICHAEL FRANTI AND SPEARHEAD(voice over) (sings "Say Hey (I Love You)" -

continues under following scenes)

MT #10 FADES OUT.

THE BEVY OF TRUCKS PULL INTODRIVEWAYS ON EITHER SIDE OF THEPALM TREE-LINED STREET.


Hector Elizondo


SCENE 10 - EXT. LOS ANGELES STREET -DAY - FS - TWO CONSTRUCTIONWORKERS, WALKING FG.

MT # 12 FADES IN: (over above bg.)

Jamie Foxx

MT #12 FADES OUT. '118-02

SCENE 11 - EXT. FIRE STATION - DAY - MS- A FEMALE JOGGER, TALKING TO A MALEFIREFIGHTER. SHE HANDS HIM ACOFFEE AND WALKS R., EXITING, ASCAMERA PANS WITH HER TO INCLUDESEVERAL OTHER FIREFIGHTERS,WASHING THEIR TRUCK. THE MALEFIREFIGHTER STEPS R. AND GESTURESFOR THE JOGGER TO CALL HIM.


Jennifer Garner


Topher Grace




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SCENE 12 - EXT. LOS ANGELES - DAY - LS- AERIAL SEQUENCE - DODGERSTADIUM, AS CAMERA TRAVELS BG.OVER IT TOWARD THE LOS ANGELESSKYLINE.


Anne Hathaway

PEOPLE AT DODGER'S GAME(voice over) (overlapping cheers)


Carter Jenkins


SCENE 13 - LS - HIGH ANGLE - LOOKINGDOWN AT AN AFFLUENT LOS ANGELESNEIGHBORHOOD RIFE WITH HOUSESAND POOLS AS CAMERA TRAVELS BG.


Ashton Kutcher


Queen Latifah


SCENE 14 - EXT. VENICE CANALS - DAY -LS - HIGH ANGLE - AERIAL SEQUENCE -HOUSES ALONG THE VENICE CANALS,AS CAMERA TRAVELS R.BG.


Taylor Lautner

MT #19 FADES OUT.AERIAL SEQUENCE ENDS.

160-05



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SCENE 15 - FS - A MAN IN A CANOE,ROWING R. DOWN THE VENICE CANALSAS CAMERA PANS WITH HIM TO REVEAL AFOOT BRIDGE SPANNING THE CANAL.


George Lopez


Shirley MacLaine


SCENE 16 - INT. REED'S BEDROOM - DAY- MFS - FRENCH DOORS LOOKING OUTONTO A PATIO, AS CAMERA PANS R. TOREVEAL REED AND MORLEY, ANATTRACTIVE COUPLE LYING ASLEEP INBED. CARMINE, A DOG, LIES ASLEEPATOP THE COVERS OF THE BED.


Emma Roberts

MT #22 FADES OUT.

A FRAMED SIGN ABOVE THE BED READS:

Frolic Room

189-00

SCENE 17 - MCS - REED, AWAKENINGAND HOLDING UP AN ENGAGEMENTRING.

195-11

SCENE 18 - MCS - MORLEY, LYINGASLEEP.

199-13



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SCENE 19 - MS - REED AND MORLEY, ASCARMINE MOVES FG. OFF THE BED,EXITING FRAME.


Julia Roberts

MT #23 FADES OUT.

REED RISES AND STEPS L. OUT OF BEDAS CAMERA TILTS UP AND PANS L. WITHHIM.


Bryce Robinson

MT #24 FADES OUT.

REED WALKS R. AROUND THE BED ANDLEANS DOWN BESIDE MORLEY.


Taylor Swift


SCENE 20 - MCS - PAST REED (TORSO),R.FG., TO MORLEY. REED PULLSMORLEY'S HAND OUT FROM UNDER HERPILLOW, REVEALING THAT SHE IS STILLCLUTCHING HER BLACKBERRY.

MORLEY(groans)

REED REMOVES THE BLACKBERRYFROM MORLEY'S HAND.

247-09

SCENE 21 - MCS - CARMINE, LYING ONTHE FLOOR.

249-05

SCENE 22 - MS - PAST REED (TORSO),R.FG., TO MORLEY, WAKING UP ANDREACTING.

MORLEY(gasps) (exhaling) (grunts) (in normal

voice) (inhales sharply)

REED 1-9 258.05 259.13/ 1.08 REED TO MORLEY)(face off) (whispering) Hi. Hi.

MORLEY(chuckles) Hi. (chuckles)

259-14



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SCENE 23 - MS - OVER MORLEY, FG., TOREED, KNEELING BEFORE HER.

REED 1-10 261.13 263.09 1.12 REED TO MORLEY)Okay, uh... Okay.

MORLEY(exhales - continues under following

dialogue)

REED 1-11 265.13 272.05 6.08 REED TO MORLEY)...when I was a kid, uh, most of the advice When I was a kid, most of the advice that my

that my dad gave me was crap. Uh-um.... (kid : i.e., 'child')

(inhales sharply) But there's one thing that 'worthless')

he said that was--was pure genius.280-00 1-12 275.01 279.15/ 4.14 REED TO MORLEY)

SCENE 24 - MCS - PAST REED, R.FG., TO (pure genius : i.e., 'inspired' - 'veryMORLEY. astute')

MORLEYHm.

REED 1-13 281.13 287.01/ 5.04 REED TO MORLEY)He said "If you ever (inhales sharply) are He said "If you ever are with a girl...

with a girl... relationship with a woman')287-02

SCENE 25 - MCS - PAST MORLEY, L.FG.,TO REED.

REED 1-14 289.05 291.12 2.07 REED TO MORLEY)...that's too good for you...marry her." ...that's too good for you...

296-00 (too good for you : idiomatic phrase

SCENE 26 - MS - MORLEY AND REED AS way, due to such aspects as: higherCAMERA SLIGHTLY MOVES BG. social standing, more affluent

REED attractive appearance, better morals,(chuckles softly) So, um.... greater popularity, etc. - note that this

MORLEY compliment)(overlapping) (gasps)

303-03

dad gave me was crap.

(crap : idiomatic for 'nonsense' - i.e.,

But there's one thing that he said that waspure genius.

(with a girl : i.e., 'in a romantic

used to describe a romantic partnerwho is considered superior in some

financial status, exceptionally

is this would be considered a

1-15 293.13 295.15/ 2.02 REED TO MORLEY)...marry her."

1-16 300.12 302.08 1.12 REED TO MORLEY)So....



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SCENE 27 - MCS - PAST REED, R.FG., TOMORLEY, REACTING.

MORLEY 1-17 305.08 307.03 1.11 MORLEY TO REED) (OPTIONAL)(whispering) Wow. Wow.

REED amazement - Here said as a reaction(smacks lips) to the fact that Reed has just

MORLEY engagement ring)(chuckles - continues under following

scene) 318-14

SCENE 28 - CS - REED (HANDS),PLACING THE ENGAGEMENT RING ONMORLEY (HAND).

MORLEY 1-18 321.05 322.05/ 1.00 MORLEY TO REED)(face off) Really? Really?

322-06 (i.e., 'Are you really proposing to me?'


REED 1-19 324.01 326.07 2.06 REED TO MORLEY)Happy Valentine's Day. Happy Valentine's Day.

MORLEY(chuckles - continues under following

scene and dialogue)326-15

SCENE 30 - MCS - PAST REED, R.FG., TOMORLEY, LAUGHING.

REED(chuckles - continues under following

dialogue)

MORLEY 1-20 /327.01 329.15 2.14 MORLEY TO REED)(chuckling) Happy (in normal voice) Happy Valentine's Day.

Valentine's Day.

MORLEY AND REED KISS PASSIONATELY.

REED AND MORLEY(kiss and moan - continues under following

scene) 331-09

SCENE 31 - MS - MORLEY AND REED, ASTHEY FALL BG. ONTO THE BED, KISSING.

336-07

(Interjection used to express

presented Morley with a beautiful

- 'Are we really engaged?' - Here saidto express astonishment)



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SCENE 32 - MCS - CARMINE, ROLLINGEXCITEDLY ONTO HIS SIDE.

340-00

SCENE 33 - EXT. REED'S HOUSE - DAY -MS - THE FRENCH DOORS, OPENING ASREED STEPS FG., THROWING HIS ARMSINTO THE AIR.

REED 1-21 341.06 343.11/ 2.05 REED TO GROUP) (exclaiming)She said yes! She said yes!

343-12 (i.e., 'Morley has agreed to marry me!')

SCENE 34 - EXT. CENTURY CITY while dialing a number on his cellFOUNTAIN - DAY - LS - THE CENTURY phone)CITY SKYLINE, AS A FOUNTAIN SHOOTSWATER INTO THE AIR.

STEVIE WONDER(voice over) (sings "For Once In My Life" -

continues under following scenes and

dialogue) 346-12

SCENE 35 - EXT. BEVERLY HILLSFOUNTAIN - DAY - FS - A BEVERLY HILLSFOUNTAIN.

348-10

SCENE 36 - EXT. ECHO PARK - DAY - LS -ECHO PARK, AS SEVERAL JETS OFWATER SHOOT INTO THE AIR.

351-14

SCENE 37 - EXT. REED'S HOUSE - DAY -MS - ALPHONSO, TURNING FG. ANDSMILING.

REED(off) Ha, ha! Ha, ha, ha, ha!

357-06

SCENE 38 - FS - PAST ALPHONSO, R.FG.,TO REED WALKING FG., TALKING ON HISCELL PHONE.

REED 1-22 362.05 367.01 4.12 REED INTO PHONE TO JULIA)(into telephone) Julia, call me as soon as Julia, call me as soon as you get this. I got

you get this. I got big news. (grunting) (as soon as you get this : i.e.,

(emphasizing) Big news. voice mail message')

REED LOWERS HIS CELL PHONE AND momentous to tell you')WALKS FG. IN A MS. WITH ALPHONSO ASCAMERA DOLLIES BACK WITH THEM.

(Note that Reed is happilyapproaching his employee, Alphonso,

big news.

'immediately when you receive my

(got big news : i.e., 'have something

1-23 367.05 369.05 2.00 REED INTO PHONE TO JULIA)Big news.



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REED (cont'd) 1-24 369.09 371.05 1.12 REED TO ALPHONSO)(in normal voice) She said yes. (chuckles - She said yes.

continues under following dialogue)

REED EMBRACES ALPHONSO.

ALPHONSO 1-25 371.09 373.05 1.12 ALPHONSO TO REED)(in normal voice) You're kidding. You're kidding.

REED depending on a person's tone when(chuckling) What? using this phrase - [1] i.e., 'You're

ALPHONSO Idiomatic phrase of disbelief - NoteI mean, you're kidding! that this would be considered a

ALPHONSO EMBRACES REED. phrase of excitement)

REED(chuckles) Oh, you thought she'd say no. 1-26 373.09 374.12 1.03 REED TO ALPHONSO)

380-02 What?

SCENE 39 - FS - THE FLOWER DELIVERYVAN, AS REED ENTERS R.FG. ANDALPHONSO ENTERS L.FG., WALKING BG. 1-27 375.00 377.08 2.08 ALPHONSO TO REED)AS CAMERA DOLLIES IN BEHIND THEM. I mean, you're kidding!

ALPHONSO (you're kidding : note humor of(off) Oh, man, (face off) come on. (on) You Alphonso changing his tone to one of

know me, always preparin' for the worst.

REED 1-28 377.13 380.01/ 2.04 REED TO ALPHONSO)(overlapping) (chuckles - continues under Oh, you thought she'd say no.

following dialogue)

ALPHONSO Oh, man, come on. You know me, alwaysImmigrant mentality, all right? preparin' for the worst. Immigrant mentality,

(Note double meaning, often

joking.' - 'You can't be serious.' -

negative response, and [2] Idiomatic

(Implying that Reed is confused byAlphonso's response)

(I mean : i.e., 'I meant')

excitement)

*1-29 /380.05 385.08 5.03 ALPHONSO TO REED)

all right?(man : slang term of address)(come on : idiomatic expression ofpleading, here used to mean 'don't beoffended by my assumptions')(know me : i.e., 'are aware of mypersonality' - 'know my charactertraits')(always preparin' for the worst : i.e., 'Ihave a pessimistic outlook on life')(Immigrant mentality : i.e., 'Ideveloped my cynical view of lifebecause of my immigrant status' -Note implication that Alphonso, whois originally from El Salvador, has hada difficult transition as an immigrant inthe United States - Also note that thephrase "immigrant mentality" can referto either positive or negative traits ofimmigrants, such as hard work,sacrifice, a quest for excellence,distrust of authority figures,deep-seated religious beliefs, etc.)



(12)


ALPHONSO (cont'd) 1-30 385.12 388.05 2.09 ALPHONSO TO REED)Forget it. She said yes. Forget it. She said yes. This is good news!

REED RAISES HIS ARMS TRIUMPHANTLY. skepticism')

REEDYes!

ALPHONSO(overlapping) This is good news!

REED LEAPS BG. PAST THE VAN ANDOPENS THE DRIVER'S SIDE DOOR ASALPHONSO OPENS THE PASSENGERDOOR OF THE VAN AND GETS INSIDE.

REED 1-31 388.09 390.05 1.12 REED TO ALPHONSO)(overlapping) Yeah, and get this: (grunts) I Yeah, and get this:

don't even have to play it cool today.

REED GETS INTO THE DRIVER'S SEAT AS LABORATORY: THE FOLLOWING TITLES #1-32 AND #1-33 MAY DOUBLE-CAMERA DOLLIES IN TO A MS. THROUGH PRINT OVER EXISTING TYPEFACE. PLEASE CHECK PRINT FOR PROPERTHE PASSENGER WINDOW AND PAST POSITIONING TO AVOID DOUBLE-PRINTING.ALPHONSO, L.FG., TO REED. ALPHONSOAND REED FASTEN THEIR SEAT BELTS.

REED (cont'd) I don't even have to play it cool today.I can be a sappy cheeseball (chuckles) all (play it cool : i.e., 'act nonchalant

day mooning about love to total strangers,

and no one'll think I'm a moron. 'Cause it's 1-33 393.09 398.09 5.00 REED TO ALPHONSO)

Valentine's Day, huh? And everyone is (sappy cheeseball : idiomatic for

romantic on Valentine's Day.

REED STARTS THE ENGINE AND PUTS 1-34 398.13 402.00 3.03 REED TO ALPHONSO)THE VAN IN DRIVE. ...mooning about love to total strangers...

414-06 (mooning : i.e., 'gushing' -

SCENE 40 - EXT. RESIDENTIAL STREET -DAY - FS - THROUGH THE FLORIST VAN 1-35 402.04 404.13 2.09 REED TO ALPHONSO)WINDOW TO ALPHONSO AND REED, ...and no one'll think I'm a moron.DRIVING R.FG., AS A ROAD RAGE GUY (moron : i.e., 'idiot')DRIVING A CONVERTIBLE ACCELERATESFG., NEARLY COLLIDING WITH THE VAN.BOTH VEHICLES SKID TO A STOP. 1-36 405.01 409.05 4.04 REED TO ALPHONSO)

416-04 'Cause it's Valentine's Day, huh?

(Forget it : i.e., 'Disregard my

(good : i.e., 'welcome' - 'pleasant')

(get : i.e., 'listen to' - 'realize')

1-32 390.09 393.05 2.12 REED TO ALPHONSO)

about my engagement')

I can be a sappy cheeseball all day...

'silly, sentimental person')

'rhapsodizing')

1-37 409.09 414.05/ 4.12 REED TO ALPHONSO)And everyone is romantic on Valentine's Day.



(13)

SCENE 41 - MCS - ROAD RAGE GUY,STANDING UP IN HIS CONVERTIBLE ASCAMERA TILTS UP SLIGHTLY.

ROAD RAGE GUY 1-38 /417.03 422.13/ 5.10 ROAD RAGE GUY TO REED)Get your head outta your ass... (over scene end) Get your head outta your ass and use your

420-06 damn turn signal...

SCENE 42 - MCS - THROUGH THE 'buttocks' - Also note that the RoadDRIVER'S SIDE OF THE VAN TO REED, Rage Guy, who was driving down theREACTING. road, has just narrowly avoided

ROAD RAGE GUY van out into the road without(off) ...and use your damn turn signal... signaling)

422-14 (damn : mildly vulgar intensive)

SCENE 43 - MCS - ROAD RAGE GUY. by using your left turn signal')

ROAD RAGE GUY...ya freakin' moron! 1-39 /423.01 426.01 3.00 ROAD RAGE GUY TO REED)

ROAD RAGE GUY SITS BACK DOWN IN (ya : variation of 'you')HIS CONVERTIBLE AS CAMERA TILTS (freakin' : freaking - milder variationDOWN WITH HIM. of 'fucking')

426-14 (moron : note humor of the Road

SCENE 44 - MS - PAST ROAD RAGE GUY, describe him today - see Title #1-35)SEATED IN HIS CONVERTIBLE, R.FG., TOREED IN THE VAN. ROAD RAGE GUYDRIVES L., EXITING FRAME, AS CAMERAPANS SLIGHTLY WITH HIM.

431-03

SCENE 45 - MCS - REED, REACTING ANDCAREFULLY DRIVING L., EXITING, AS THELOGO ON THE SIDE OF THE VAN ISREVEALED, READING:

SIENA EXISTING TYPEFACE. PLEASE CHECK PRINT FOR PROPER POSITIONINGBOUQUET TO AVOID DOUBLE-PRINTING.

www.sienabouquet.com

ANCHOR SHERRY DONALDSON 1-40 429.13 432.05 2.08 ANCHOR SHERRY DONALDSON(voice over) Good morning, Los Angeles. ITAL TO GROUP) (voice over)

I'm Sherry Donaldson with the KVLA news (Los Angeles : i.e., 'people of Los

team. And now...440-04

WIPE TO: I'm Sherry Donaldson with the KVLA news

(Get...ass : Vulgar insult for 'Stayalert' - Note that 'ass' is vulgar for

colliding with Reed, who pulled his

(use...signal : i.e., 'indicate that youare about to pull your van into the road

...ya freakin' moron!

Rage Guy using the exact insult thatReed said no one would use to

LABORATORY: THE FOLLOWING TITLE #1-40 MAY DOUBLE-PRINT OVER

Good morning, Los Angeles.

Angeles' - 'Los Angeles viewers')

1-41 432.09 438.09 6.00 ANCHOR SHERRY DONALDSONITAL TO GROUP) (voice over)

team.(KVLA : made-up call letters for atelevision station)



(14)

SCENE 46 - INT. KVLA NEWS SET - DAY -MFS - PAST THE TV CAMERA, L.FG., TO AMALE NEWS ANCHOR AND ANCHORSHERRY DONALDSON, SEATED BEHINDA NEWS DESK.

ANCHOR SHERRY DONALDSON 1-42 438.13 441.15 3.02 ANCHOR SHERRY DONALDSON...let's check the weather. TO GROUP)

MT #26 FADES IN: (over above bg.) (check the weather : i.e., 'see what

Casting by current weather conditions in LosDeborah Aquila, CSA Angeles')

andTricia Wood, CSA

WEATHER GIRL PRINT OVER EXISTING TYPEFACE. PLEASE CHECK PRINT FOR PROPER(off) Good morning. Sun shines... POSITIONING TO AVOID DOUBLE-PRINTING.

MT #26 FADES OUT.

CAMERA PANS R., OFF THE ANCHORS, Good morning.TO REVEAL A FS. OF KELVIN, ANAFRICAN-AMERICAN SPORTS ANCHOR,WALKING FG. DOWN A HALL INTO A MS. *1-44 445.08 448.14 3.06 WEATHER GIRL TO GROUP)CAMERA DOLLIES BACK WITH HIM AS HE Sun shines on late morning...PASSES SEVERAL PEOPLE IN THE HALL. (i.e., 'The weather will be sunny later

WEATHER GIRL (cont'd)(off) ...on late morning, and look at these

numbers! ...and look at these numbers!

KELVIN WALKS L. AS CAMERA TRACKS temperature readings)WITH HIM, PASSING THE CAMERAMANAND THE NEWS ANCHORS, TO REVEALTHE WEATHER GIRL, TAPDANCING ON AGREEN SCREEN SET.


Costumes Designed byGary Jones

WEATHER GIRL (cont'd) 1-45 452.12 456.01 3.05 WEATHER GIRL TO GROUP)(off) Highs in the upper valleys in the Highs in the upper valleys in the 60s...

sixties... temperature will reach above 60

MT #27 FADES OUT.

WEATHER GIRL (cont'd) *1-46 456.05 461.13 5.08 WEATHER GIRL TO GROUP)...and a bit cloudy by the coast until mid- ...and a bit cloudy by the coast until

morning...

KELVIN WALKS BG. AS CAMERA DOLLIESIN BEHIND HIM.

WEATHER GIRL (cont'd) 1-47 462.01 464.14/ 2.13 WEATHER GIRL TO GROUP)...when the marine layer burns off. ...when the marine layer burns off.

464-15 (marine layer : a foggy air mass that

And now let's check the weather.

our weather girl has to report about

LABORATORY: THE FOLLOWING TITLES #1-43 AND #1-44 MAY DOUBLE-

1-43 442.08 444.09 2.01 WEATHER GIRL TO GROUP)

this morning...')

*1-44A 449.02 452.08 3.06 WEATHER GIRL TO GROUP)

(these numbers : referring to

(i.e., 'In the upper valley region, the

degrees Fahrenheit...')

mid-morning...

develops over a large body of waterand is typically propelled inland)(burns off : i.e., 'evaporates from theheat of the sun')



(15)

SCENE 47 - MFS - PAST SUSAN, ANOLDER WOMAN AND KELVIN'S SEGMENTPRODUCER, R.FG., TO KELVIN, WALKINGFG. INTO A MS. AND SHAKING A PIECE OFPAPER.

KELVIN 1-48 /465.02 468.03/ 3.01 KELVIN TO SUSAN)Susan, what the hell is this? Susan, what the hell is this?

468-05 (the hell : mildly vulgar slang

SCENE 48 - MCS - PAST KELVIN, L.FG., TO meaning - [1] i.e., 'why is the weatherSUSAN, TURNING FG. AND REACTING. girl tap dancing as she reports on the

SUSAN assignment for today - note that(whispering) Oh, uh, the-the boss thinks it's Kelvin, a sports journalist, is holding

gonna up the ratings. seemingly designates his472-09 assignment for that day)

SCENE 49 - CS - A MONITOR, DISPLAYING *1-49 /468.07 472.09/ 4.02 SUSAN TO KELVIN)THE WEATHER GIRL, TAPDANCING Oh, the boss thinks it's gonna up the ratings.BEFORE A GRAPHIC OF THE WEST (the boss : referring to the head ofCOAST. the television station)

STAGE MANAGER weather girl')(off) And we're clear. (up the ratings : i.e., 'improve our

PEOPLE IN TELEVISION STUDIO(off) (overlapping, low and indistinct chatter

- continues under following scenes and And we're clear.

dialogue) broadcasting.' - Here indicating to the477-08 Weather Girl that she may stop tap

SCENE 50 - MS - PAST SUSAN, R.FG., TOKELVIN, GESTURING.

KELVIN 1-50 /477.09 481.13 4.04 KELVIN TO SUSAN)I'm not talkin' about Pippi Longstockin', I'm I'm not talkin' about Pippi Longstockin', I'm

talkin' about (emphasizing) this. (in normal (talkin' about : talking about - i.e.,

voice) I'm a sports journalist, I don't do (Pippi Longstockin' : Pippi

lifestyle pieces. unconventional nine-year-old girl485-12 featured in a series of children's

intensive)(what the hell is this : note double

weather' and [2] referring to his

up a folded piece of paper that

(it's : i.e., 'having a tap dancing

viewership')

1-49A 474.01 476.13 2.12 STAGE MANAGER TO WEATHER GIRL)

(i.e., 'And we have ceased

dancing)

talkin' about this.

'referring to')

Longstocking - a fictional, spirited and

books by Swedish author AstridLindgren - here used to describe theWeather Girl's childish and quirkybehavior)(this : i.e., 'this assignment')

1-51 482.01 485.09/ 3.08 KELVIN TO SUSAN)I'm a sports journalist, I don't do lifestylepieces.

(do lifestyle pieces : i.e., 'report onstories about people's daily lives andinterests' - note that a 'lifestyle piece'could include such topics as health,travel, gardening, celebrations,entertainment events, etc.)



(16)

SCENE 51 - MS - PAST KELVIN, L.FG., TOSUSAN, GESTURING.

SUSAN 1-52 /485.13 489.02/ 3.05 SUSAN TO KELVIN)You're my number two sports journalist, You're my number two sports journalist,

Kelvin... (number two : i.e., 'secondary' - note489-03 implication that there is another

SCENE 52 - MS - PAST SUSAN, R.FG., TO that Susan is Kelvin's boss)KELVIN, REACTING.

SUSAN 1-53 /489.06 495.09 6.03 SUSAN TO KELVIN)...which means that on slow sports days (over scene end) ...which means that on slow sports days you

you do the... (slow sports days : i.e., 'days when493-09 there are not enough sports events to

SCENE 53 - MCS - PAST KELVIN, L.FG., TOSUSAN STEPPING BG.

SUSAN 1-54 495.13 498.14 3.01 SUSAN TO KELVIN)...pieces I want you to do. The station wants The station wants more fluff.

more fluff. KVLA executives)

KELVIN(inhales)

499-07

SCENE 54 - MCS - KELVIN, GESTURING.

KELVIN 1-55 /499.09 504.07 4.14 KELVIN TO SUSAN)Look, I'll do some follow-up stories, do Look, I'll do some follow-up stories, do

some investigative reporting, bring it back (Look : i.e., 'Listen')

to you? news stories that act as a current506-08 update on a previously reported story

Kelvin...

sports reporter or anchor who issenior to Kelvin - also note implication

do the pieces I want you to do.

report on')

(The station : Here referring to the

(fluff : i.e., 'frivolous, cheerful stories')

some investigative reporting...

(follow-up stories : in journalism,

or subject - here referring to follow-upstories that are related to sportsnews)(investigative reporting : a form ofjournalism in which reporters deeplyinvestigate a single topic of interest,often involving crime, politicalcorruption, or a scandal)

1-56 504.11 506.07/ 1.12 KELVIN TO SUSAN)...bring it back to you?

(bring it back to you : i.e., 'andpresent the videotaped results to you'- 'and provide you with the sourceinformation to create the newssegments')

1-57 (OUT)



(17)

SCENE 55 - MCS - PAST KELVIN, L.FG., TOSUSAN.

SUSAN 1-58 /506.11 511.09 4.14 SUSAN TO KELVIN)There's only one story today, Kelvin. It's all There's only one story today, Kelvin. It's all

yours. It's not complicated. It's your basic (It's all yours : i.e., 'You are the only

man on the street. 516-07

SCENE 56 - MS - PAST SUSAN, the street.GESTURING IN R.FG., TO KELVIN. (It's your basic man on the street :

SUSAN approach members of the general(as if Kelvin) "Tell me, John Q, Jane Q, public and ask them the question:')

(stammers) what does Valentine's Day

mean to you?" "Tell me, John Q, Jane Q, what does

KELVIN GESTURES. (John Q : Generic name for a male

KELVIN version of John Q Public)It gives me acid reflux. That's what it means (Jane Q : Generic name for a female

to me. I mean, we spend a lotta money. version of Jane Q Public)

Nobody cares. It's not even a real holiday.

We don't take the day off. Come on, Susan. It gives me acid reflux. That's what it means

MALE CREW MEMBER (It : i.e., 'Valentine's Day')(off) (overlapping) We're ready to go. (gives me acid reflux : i.e., 'is

536-09 extremely unpleasant for me' - note

yours.

reporter assigned to this story')

1-59 511.13 516.06/ 4.09 SUSAN TO KELVIN)It's not complicated. It's your basic man on

i.e., 'The assignment requires you to

1-60 517.02 524.11 7.09 SUSAN TO KELVIN)

Valentine's Day mean to you?"

member of the public - a shortened

member of the public - a shortened

1-61 524.15 528.09 3.10 KELVIN TO SUSAN)

to me.

that acid reflux is as upward ejectionof acid from the stomach into thegullet, causing pain known as'heartburn' - note humoroushyperbole)

1-62 (OUT)

1-63 528.13 531.12 2.15 KELVIN TO SUSAN)I mean, we spend a lotta money. Nobodycares.

(we : referring to people in general)(lotta : lot of - i.e., 'large amount of')(money : i.e., 'money on Valentine'sDay cards, flowers, meals and gifts')

1-64 532.00 536.09/ 4.09 KELVIN TO SUSAN)It's not even a real holiday. We don't take theday off. Come on, Susan.

(It's...off : i.e., 'February 14th is noteven a holiday recognized by thefederal government. If it was, wewouldn't work that day')(Come on : Idiomatic expression ofexasperation)



(18)

SCENE 57 - MCS - A FEMALE STAGEMANAGER, LIFTING HER HAND.

STAGE MANAGER 1-65 /536.13 541.15/ 5.02 STAGE MANAGER TO GROUP)And we're coming back in five... (over scene end) And we're coming back in five, four, three....

539-02 (we're coming back : i.e., 'ready to

SCENE 58 - MCS - ANCHOR SHERRY Manager is counting down inDONALDSON. seconds)

STAGE MANAGER(off) ...four, three....

ANCHOR SHERRY DONALDSON(overlapping) (warbles lips)

542-00

SCENE 59 - MCS - THE STAGE MANAGER,GESTURING.

543-02

SCENE 60 - MCS - KELVIN, GLANCING FG.AND GESTURING.

ANCHOR SHERRY DONALDSON(off) Happy Valentine's Day. I'm Sherry

Donaldson with KVLA. (continues low and

indistinct under following scenes and

dialogue)

KELVIN 1-66 543.15 547.07 3.08 KELVIN TO SUSAN)(overlapping) (whispering) Listen, I'm a Listen, I'm a player...

player, but I shut down my (in low tones) affairs with women, but will not marry

player-ness from New Year's to Saint

Paddy's Day just so I can avoid this day. 1-67 547.11 552.01 4.06 KELVIN TO SUSAN)557-15 ...but I shut down my player-ness...

resume broadcasting')(five, four, three : note that the Stage

(player : slang for 'man who has love

or commit to a relationship')

(shut down my player-ness : i.e.,'desist from dating' - 'stop romancingvarious women')

1-68 552.05 557.14/ 5.09 KELVIN TO SUSAN)...from New Year's to Saint Paddy's Day justso I can avoid this day.

(New Year's : i.e., 'New Year's Eve')(Saint Paddy's Day : i.e., 'St Patrick'sDay' - March 17th, the Christian feastday of St. Patrick, the patron saint ofIreland - celebrated in the UnitedStates with parades and drunkenfestivities, whether one is of Irishheritage or not)



(19)

SCENE 61 - MCS - PAST KELVIN, L.FG., TOSUSAN, STEPPING FG.

SUSAN 1-69 559.07 565.03 5.12 SUSAN TO KELVIN)I need happy, I need romantic, I need love, I need happy, I need romantic, I need love...

and I need it from you. elements of happiness, romance and567-12 love...')

SCENE 62 - MCS - PAST SUSAN, R.FG., 1-70 565.07 567.11/ 2.04 SUSAN TO KELVIN)TO KELVIN. ...and I need it from you.

KELVIN me.')(whispering) You need Jesus.

571-03

SCENE 63 - MS - PAST KELVIN, L.FG., TO (i.e., 'You should embraceSUSAN. Christianity.' - 'You need spiritual

SUSAN [above])(whispering) Go.

573-15

SCENE 64 - MS - PAST SUSAN, R.FG., TO (Go : i.e., 'Leave to work on yourKELVIN. SUSAN STEPS R.FG. AS KELVIN assignment')TURNS BG.

SUSAN(whispering) Go away now.

578-15

SCENE 65 - EXT. FLOWER MART - DAY -MCS - PAST A MALE FLORIST (TORSO),R.FG., TO THE GATE OF A TRUCK, AS THEFLORIST OPENS THE GATE TO REVEALTHE TRUCK IS FULL OF FLOWERS INBUCKETS. CAMERA DOLLIES BACK TO AMS. TO INCLUDE THE FLORIST'S FACEAND ANOTHER FLORIST, R.FG., AS THEYBEGIN TO UNLOAD THE TRUCK.


Music SupervisorJulianne Jordan

MT #28 FADES OUT.

CAMERA PANS R., OFF THE TRUCK ANDTHE FLORISTS, TO REVEAL TWO MENPUSHING A CART LOADED WITHFLOWERS R.BG. THROUGH FRAME.

PEOPLE AT FLOWER MART(overlapping, low and indistinct chatter -


dialogue)

(i.e., 'I need a report that features the

(i.e., '...and I need you to provide it for

1-71 568.12 571.03/ 2.07 KELVIN TO SUSAN)You need Jesus.

help.' - Note humorous play on 'need'

1-72 572.15 575.11 2.12 SUSAN TO KELVIN)(over scene end) Go. Go away now.



(20)



Music byJohn Debney

MALE SINGER(voice over) (sings "I'm In The Mood For

Love" - continues under following scenes

and dialogue)

CAMERA DOLLIES BG. THROUGH THECROWDED FLOWER MART AS VARIOUSVENDORS MOVE ABOUT CARRYINGBUCKETS OF FLOWERS.

MT #29 FADES OUT.

WOMAN #1 AT FLOWER MART(off) (low and indistinct under following

scene) 595-13

SCENE 66 - CS - A BOUQUET OFSUNFLOWERS, WHICH ARE PUSHED L.OUT OF FRAME TO REVEAL SEVERALVENDORS MOVING BUCKETS OFFLOWERS IN A MS. SEVERAL PEOPLECROSS L. THROUGH FRAME.

WOMAN #1 AT FLOWER MART *1-72A 596.12 599.13 3.01 WOMAN #1 AT FLOWER MART (off) Sunflowers! Beautiful! (continues low TO GROUP) (OPTIONAL)

and indistinct under following scenes and

dialogue)


Edited byBruce Green, A.C.E.


Sunflowers! Beautiful!



(21)

SCENE 67 - MS - A CHINESE VENDOR,NODDING AND REACHING R.BG. FOR AFLOWER IN A BUCKET. VARIOUS PEOPLEMOVE L. AND R. THROUGH FRAME.

CHINESE VENDOR(in Cantonese - continues under following

scenes)


Production DesignerAlbert Brenner


SCENE 68 - CS - A CLUSTER OF FLOWERSTEMS, AS THEY ARE CUT OFF BY AFEMALE VENDOR (HAND).

609-14

SCENE 69 - MCS - HIGH ANGLE - AFEMALE VENDOR (TORSO), SETTING THEBUNCH OF FLOWERS ON A SHEET OFNEWSPAPER AND WRAPPING THEM UP.

613-11

SCENE 70 - FS - HIGH ANGLE - VENDORSPUSHING CARTS OF FLOWERS BG., ASCAMERA TILTS UP, OFF THE VENDORS.


Director of PhotographyCharles Minsky, ASC

MT #32 FADES OUT.

THE SIGN OVER THE MART READS: 1-73 621.00 624.08/ 3.08 NARRATIVE TITLE) (of sign)

The Original Los Angeles The Original Los AngelesFLOWER MARKET FLOWER MARKET

624-09 (A six-block floral marketplace,consisting of nearly 200 wholesaleflower dealers, located in downtownlocation Los Angeles)



(22)

SCENE 71 - INT. FLOWER MART - DAY -CS - HIGH ANGLE - AN ASSORTMENT OFFLOWERS, AS CAMERA TILTS UP OVERTHEM.

PEOPLE AT FLOWER MART(overlapping, low and indistinct chatter -


dialogue)


Executive ProducersToby Emmerich

Samuel J. BrownMichael Disco


SCENE 72 - MS - A MALE VENDOR,CARRYING A BUCKET OF FLOWERS R.AS CAMERA PANS WITH HIM TO REVEALREED IN A FS., PUSHING A CART FG.THROUGH THE CROWDED MART INTO AMFS. CAMERA DOLLIES BACK WITH HIM.


Executive ProducersDiana PokornyJosie Rosen

REED *1-74 637.07 640.08 3.01 REED TO GROUP)(in singsong voice) Good morning! (in Good morning!

Italian) Buongiorno!

(Buongiorno : Italian for 'Good morning')


SCENE 73 - INT. FLOWER MART - LATER -DAY - MS - REED, PUSHING THE CART R.AS CAMERA DOLLIES WITH HIM TOINCLUDE CHINESE VENDOR.

CHINESE VENDOR(off) (in Cantonese)


Produced byMike Karz

Wayne Rice



(23)


CHINESE VENDOR (cont'd) LABORATORY: THE FOLLOWING TITLES #1-75 THROUGH #1-76B MAY(in Cantonese) (continues low and DOUBLE-PRINT OVER EXISTING TYPEFACE. PLEASE CHECK PRINT FOR

indistinct under following dialogue)

REED *1-75 645.09 648.06 2.13 REED TO CHINESE VENDOR,Hello, good morning. Hello, good morning. THEN CHINESE VENDOR TO REED)

CHINESE VENDOR -Hello, hello.(overlapping) Hello, hello.

REED GESTURES TO SEVERALBOUQUETS OF FLOWERS AS A MANCROSSES L. WITH A BUCKET OFFLOWERS.

REED *1-76 648.10 652.11/ 4.01 REED TO CHINESE VENDOR)(overlapping) I need--I need my lucky I need my lucky bamboo. Actually, I needbamboo. both flats, and--

MT #35 FADES OUT. bamboo plants' - note that bamboo is

CHINESE VENDOR protective element against evil inYes, I have yours. some Asian cultures)

REED seedlings are started)(overlapping) Actually, I need both flats,

and--652-13

SCENE 74 - INT. FLOWER MART - LATER -DAY - MS - PAST SEVERAL FEMALEVENDORS, R.FG., TO REED,CONFERRING WITH A SPANISH VENDOR.CAMERA DOLLIES R. AS REED WALKSFG. INTO A MCS. AND TURNS BG.

REED *1-76A /652.15 657.05 4.06 REED TO SPANISH VENDOR, Do you have-- (stammers) I need the THEN SPANISH VENDOR TO REED)

whole-- I actually need the whole lot. -All of them?

MT #36 FADES IN: (over above bg.) 'all of the flowers of this type that you

Story byKatherine Fugate

andAbby Kohn & Marc Silverstein

SPANISH VENDORAll of them?

REED(indistinct to:) Y-Yeah, but--

PROPER POSITIONING TO AVOID DOUBLE-PRINTING.

-Hello, good morning. Hello, good morning.

(my lucky bamboo : i.e., 'some

considered a symbol of longevity or a

(flats : shallow boxes in which

-I actually need the whole lot.

(the whole lot : an entire batch - i.e.,

have')



(24)


SPANISH VENDOR *1-76B 657.09 661.08/ 3.15 SPANISH VENDOR TO REED,(overlapping) (interrupting) Want my THEN REED TO SPANISH VENDOR)

Gerbera daisies too? -No, no, no. No-- Yes.

REED ornamental plants from the sunflowerNo, no, no. No-- Uh, yes. family)


SCENE 75 - INT. FLOWER MART - LATER -DAY - MS - PAST REED, R.FG., TO A LABORATORY: THE FOLLOWING TITLE #1-76C MAY DOUBLE-PRINTFEMALE JAPANESE VENDOR AS OVER EXISTING TYPEFACE. PLEASE CHECK PRINT FOR PROPERCROWDS OF PEOPLE MOVE ABOUT IN POSITIONING TO AVOID DOUBLE-PRINTING.BG.

REED *1-76C /661.12 665.02 3.06 REED TO JAPANESE VENDOR)Alphonso's gonna come and pick Alphonso's gonna come and pick everything

everything up later. (everything : referring to several


Screenplay byKatherine Fugate

JAPANESE VENDOR 1-77 665.06 667.14 2.08 JAPANESE VENDOR TO REED)(overlapping) (in Japanese) Hai. Mr. Reed, Mr. Reed, why are you always happy?

why are you always happy?

(Hai : Japanese for 'Yes')

MT #37 FADES OUT.

REED STEPS R.FG. AS CAMERA PANSWITH HIM.

REED 1-78 668.02 670.09 2.07 REED TO JAPANESE VENDOR)Why not be always happy? (chuckles softly) Why not be always happy?

(in Japanese) Arigato.

(Arigato : Japanese for 'Thank you')

JAPANESE VENDOR(in Japanese) Arigato.

672-00

-Want my Gerbera daisies too?

(Gerbera daisies : genus of

up later.

flowers that Reed has selected)



(25)

SCENE 76 - INT. FLOWER MART - LATER -DAY - CS - A BOUQUET OF FLOWERS ASCAMERA CRANES UP.

MT #38 FADES IN: (over above bg.) LABORATORY: THE FOLLOWING TITLE #1-79 MAY DOUBLE-PRINT OVER

Directed by TO AVOID DOUBLE-PRINTING.Garry Marshall

SIMON *1-79 673.05 675.09 2.04 SIMON TO REED, THEN REED TO SIMON)(off) Reed? -Reed?

REED(off) (chuckles) (chuckling) Simon.

SIMON(off) (chuckles - continues under following

dialogue)

REED *1-80 675.13 677.07/ 1.10 REED TO SIMON)(off) What's up, man? What's up, man?

SIMON(off) (overlapping) (chuckling) Hey-Hey.

MT #38 FADES OUT. THROUGH (OUT)677-08 1-83.

SCENE 77 - MS - SIMON, A FLOWERVENDOR, AND REED, STEPPINGTOWARD EACH OTHER AND BUMPINGKNUCKLES.

REED 1-84 677.11 679.08 1.13 REED TO SIMON, THEN SIMON TO REED)How are you? -How are you?

SIMON(chuckling) All right.

REED 1-85 679.12 683.09 3.13 REED TO SIMON, THEN SIMON TO REED)(overlapping) What's goin' on? -What's goin' on?

SIMON (goin' on : going on - i.e.,(chuckling) Uh, hey, (in normal voice) I'm 'happening')

gonna be on TV. Interviewer over there.

CAMERA DOLLIES IN AND PANS -Interviewer over there.SLIGHTLY L. AS SIMON POINTS L.BG. TO -Really?A CAMERA CREW. (Interviewer over there : Note that

REED cameraman, who is setting upReally? nearby)

SIMON(chuckling) Yeah.

REED 1-87 687.05 691.01/ 3.12 REED TO SIMON)(overlapping) Nice! Listen, I need to talk to Nice! Listen, I need to talk to you.

you. 'That's great')691-02

EXISTING TYPEFACE. PLEASE CHECK PRINT FOR PROPER POSITIONING

-Simon.

(What's up : Slang greeting)

1-81.

-All right.

-Hey, I'm gonna be on TV.

1-86 683.13 687.01 3.04 SIMON TO REED, THEN REED TO SIMON)

Simon points to Greg, the KVLA

(Nice : Interjection of approval - i.e.,



(26)

SCENE 78 - MCS - PAST SIMON, L.FG., TOREED.

REED 1-88 691.09 693.09 2.00 REED TO SIMON)Morley said yes. Morley said yes.

693-10

SCENE 79 - MCS - PAST REED, R.FG., TOSIMON, REACTING.

SIMON 1-89 694.10 696.08/ 1.14 SIMON TO REED)She said yes? She said yes?

696-10 (Note surprised tone)

SCENE 80 - MS - SIMON AND REED, ASSIMON STEPS R. AND HANDS ABOUQUET OF FLOWERS TO A MALECUSTOMER, BG.

REED 1-90 /696.12 701.02 4.06 REED TO SIMON)What? What is with everybody? What is with everybody? Yeah, she said yes.

SIMON (What is with everybody : i.e., 'Why is(overlapping) Here. everyone so surprised that Morley

REED(overlapping) Yeah, she said yes. I'm gettin'

married.

SIMON GESTURES.

SIMON 1-91 701.06 702.15/ 1.09 SIMON TO REED)(chuckles) Hey, (in normal voice) it's great It's great news, huh?

news...703-00

SCENE 81 - MCS - PAST SIMON, L.FG., TOREED.

SIMON...huh? (laughs - continues under following

scene and dialogue)

THEY CLASP HANDS AND EMBRACE.705-05

SCENE 82 - MCS - PAST REED, R.FG., TOSIMON, STEPPING L.BG.

REED 1-92 706.01 710.15 4.14 REED TO SIMON)Listen... (over scene end) Listen, I need to get her somethin', like,

706-15 really nice, though, like--

I'm gettin' married.

would agree to marry me')

(somethin' : something - i.e., 'someflowers that are')



(27)

SCENE 83 - MS - SIMON AND REED,STEPPING FG. INTO A MCS. TO ABOUQUET OF FLOWERS AS CAMERADOLLIES BACK WITH THEM.

REED 1-93 711.03 716.03 5.00 REED TO SIMON)...I need to get her somethin', like, really Not roses, somethin' outta the ordinary, you

nice, though, like-- (stammers) Not-Not (outta the ordinary : out of the

roses, somethin' (stammers) outta the

ordinary, you know? 1-94.

SIMON 1-95.Ah, um....

SIMON SNAPS HIS FINGERS.718-08

SCENE 84 - INT. FLOWER MART - LATER -DAY - MCS - HIGH ANGLE - PAST REED(TORSO), L.FG., TO SIMON (TORSO),HANDING REED A FLOWER BOX.CAMERA DOLLIES BACK SLIGHTLY ANDTILTS UP TO INCLUDE REED ANDSIMON'S FACE, WHO IS NOW IN A MS.

REED 1-96 720.09 722.01 1.08 REED TO SIMON)(face off) (exhales sharply) Wow, what is it? Wow, what is it?

SIMON GESTURES AND STEPS FG. used to speculate as to what is inside

SIMON given him - Note that Reed starts toNo, no, no, no, no, no. Do not open until open the box, but Simons stops him)

perfect moment.730-14 1-97 722.05 724.12 2.07 SIMON TO REED)

SCENE 85 - MCS - PAST SIMON, R.FG., TOREED AND GREG, THE TV CAMERA MAN, 1-98 725.00 730.13/ 5.13 SIMON TO REED)IN L.BG. Do not open until perfect moment.

GREG appropriately romantic moment' - noteReady for the interview. implication that Reed should wait until

REED GLANCES L.BG. OVER HISSHOULDER.

735-08 1-99 731.06 734.00 2.10 GREG TO SIMON)

know?

ordinary - i.e., 'very unusual')

THROUGH (OUT)

(Wow : Interjection of wonder - Here

the flower box that Simon has just

No, no, no, no, no, no.

(perfect moment : i.e., 'an

he is with Morley to open the box)

Ready for the interview.(Note that Greg begins filming Kelvinand Simon)



(28)

SCENE 86 - INT. FLOWER MART - LATER -DAY - MS - PAST KELVIN, R.FG., TO GREG,OPERATING THE CAMERA.

KELVIN 1-100 /735.09 739.07 3.14 KELVIN TO GROUP)(into microphone) Kelvin Moore here, KVLA Kelvin Moore here, KVLA Channel 13...

channel thirteen, right here at the

downtown flower mart with Mr. Simon ...right here at the downtown flower mart with

Pham, that's P-H-A-M, not with an F.

CAMERA DOLLIES L. AROUND KELVIN, 1-102 746.01 749.01 3.00 KELVIN TO GROUP)MOMENTARILY OFF GREG, TO REVEAL ...that's P-H-A-M, not with an F.SIMON. REED LOOKS ON IN BG. (that's : i.e., 'that's spelled' - note that

KELVIN (cont'd) identically)(into microphone) Mr. Pham, how many red

roses do you sell on Valentine's Day? 1-103 749.05 755.05 6.00 KELVIN TO SIMON)

KELVIN HOLDS THE MICROPHONE TO on Valentine's Day?SIMON'S MOUTH AS CAMERA DOLLIESBACK SLIGHTLY.

SIMON 1-104 755.09 759.04 3.11 SIMON TO KELVIN)(into microphone) The Captain and The Captain and Tennille were married on

Tennille were married on Valentine's Day. (Note humorous and nonsensical

KELVIN Dragon and Toni Tennille are U.S.(into microphone) What's that you said? pop music recording artists who

SIMON through 1980 with a repertoire of pop(into microphone) The Captain and songs - Also note that they were

Tennille were married on Valentine's Day. Veterans' Day, not Valentine's Day as

KELVIN(overlapping) What's he talkin' about?

What's he talkin' about? What's that you said?

REED STEPS FG. TO SIMON'S SIDE AND 1-106 761.05 765.04 3.15 SIMON TO KELVIN)SPEAKS INTO THE MICROPHONE. The Captain and Tennille were married on

REED (Note that Reed walks over to Simon(into microphone) (overlapping) Oh, a to help him with the interview and

hundred--a hundred and ten million red

roses are sold in America every Valentine's *1-107 765.08 771.12/ 6.04 REED TO KELVIN)

Day. America every Valentine's Day.771-14

1-101 739.11 745.13 6.02 KELVIN TO GROUP)

Mr. Simon Pham...

in English, 'ph' and 'f' are pronounced

Mr. Pham, how many red roses do you sell

Valentine's Day.

reply - Also note that "Captain" Daryl

achieved chart success from 1975

married on November 11th on

is sometimes reported)

1-105 759.08 761.01 1.09 KELVIN TO SIMON)

Valentine's Day.

Kelvin switches his attention to Reed)

Oh, 110 million red roses are sold in



(29)

SCENE 87 - MCS - PAST KELVIN, R.FG.,TO GREG, HOLDING THE CAMERA.

REED 1-107A /772.00 775.03 3.03 REED TO KELVIN)(off) (into microphone) Sixty percent of 60% of those are produced here in

those are produced here in California.

KELVIN GESTURES.

KELVIN 1-107B 775.07 778.01/ 2.10 KELVIN TO SIMON)Uh, does he work for you? I mean.... Does he work for you? I mean....

REED(off) (into microphone) Uh, I'm...

778-03

SCENE 88 - MCS - KELVIN (HAND),HOLDING A MICROPHONE, AND REED.

REED 1-107C /778.05 779.15 1.10 REED TO KELVIN)(into microphone) ...a florist. I own Siena I'm a florist.

Bouquet. Uh, twenty-one-seventy-three

Rosewood. I own Siena Bouquet. 2173 Rosewood.785-01 (2173 Rosewood : i.e., 'The address

SCENE 89 - MCS - PAST KELVIN, R.FG., opportunity to promote his business)TO GREG.

KELVIN 1-108 /785.03 787.05/ 2.02 KELVIN TO REED, THEN REED TO KELVIN)(into microphone) And what's your name, -And what's your name, sir?

sir?

REED(off) (into microphone) Reed...

787-06

SCENE 90 - MS - PAST GREG, L.FG., TOKELVIN AND REED.

REED(into microphone) ...Bennett.

KELVINReed Bennett.

REED 1-109 788.03 792.10/ 4.07 KELVIN TO REED, THEN REED TO KELVIN)(overlapping) (into microphone) Hi. How -Hi. How are you? Sports guy.

are you? (Sports guy : i.e., 'You're the sports

KELVIN television')Pretty good. (Note that Reed and Kelvin shake

REED(overlapping) (into microphone) Sports guy.

California.

*1-107D 780.03 784.15/ 4.12 REED TO KELVIN)

is 2173 Rosewood Avenue')(Note humor of Reed using this

-Reed Bennett.

-Yeah, sports.

guy' - 'You're the sports reporter on

hands)

1-110.THROUGH (OUT)1-113.



(30)


KELVINYeah.

REED(into microphone) Sports.

KELVINYeah, sports.

792-11

SCENE 91 - MCS - PAST KELVIN, R.FG.,TO GREG, AS KELVIN TURNS BG. TOFACE THE CAMERA.

KELVIN *1-114 795.07 798.03 2.12 KELVIN TO REED, THEN REED TO KELVIN)(into microphone) Okay, from Santa... -Okay, from Santa Montica--

795-05 -Siena Bouquet.

SCENE 92 - MS - PAST GREG AND Angeles County - note that KelvinKELVIN, L.FG., TO REED AND SEVERAL misheard Reed, thinking that he wasPEOPLE IN BG. A MAN WAVING A saying 'Santa Monica' rather thanDODGER'S FOAM HAND STANDS BESIDE 'Siena Bouquet')SIMON, WHO HOLDS HIS HAT IN THE AIR, (Siena Bouquet : Name of the flowerWAVING. store that Reed owns - Note that

KELVIN that it is later revealed that Reed's(into microphone) ...Montica-- grandfather originally started the

REED Siena, Italy - Also note that a 'Bouquet'(overlapping) (interrupting) Siena-Siena is a bunch of cut flowers that have

Bouquet.

KELVIN 1-115 (OUT)(into microphone) (overlapping) Santa--

What is it? 1-116 798.07 801.09/ 3.02 KELVIN TO REED)

REED (it : i.e., 'the name of your business')(into microphone) Siena Bouquet.

KELVIN(into microphone) (overlapping) Siena

Bouquet.

REED(stammers)

801-11

(Santa Montica : mispronunciation of'Santa Monica,' a city in western Los

'Siena' is a city in Tuscany, Italy - Note

family floral business, seemingly in

been specially chosen or arranged)

What is it? Siena Bouquet.



(31)

SCENE 93 - MS - THE MALE DODGERFAN, WAVING THE FOAM HAND, ANDSIMON, GESTURING. THE FOAM HANDREADS:

#1 FANDodgers LABORATORY: THE FOLLOWING TITLE #1-117 MAY DOUBLE-PRINT

DODGE POSITIONING TO AVOID DOUBLE-PRINTING.LA

REED *1-117 /801.13 805.05/ 3.08 REED TO KELVIN)(off) (into microphone) In the Val-- O-Off of In the Val-- Off of Ventura.

Ventura. Fernando Valley, off Ventura805-07 Boulevard.')

SCENE 94 - EXT. DOWNTOWN LOS 1-118.ANGELES STREET - DAY - LS - THE SIENA THROUGH (OUT)BOUQUET VAN, DRIVING R.FG. 1-119.THROUGH FRAME, PAST ACONDOMINIUM. THE SIDE OF THE VANREADS:

SIENABOUQUET

CAMERA TILTS UP TO A LOW ANGLE LS.OF THE CONDOMINIUM.

812-14

SCENE 95 - INT. HARRISON'S CONDO -DAY - MFS - PAST HARRISON'S BED,R.FG., TO HARRISON, A HANDSOMEMIDDLE-AGED DOCTOR, STEPPING FG.THROUGH THE BATHROOM DOORWAYAND TYING A TIE AROUND HIS NECK.JULIA FITZPATRICK (LEG), ANATTRACTIVE YOUNG SCHOOL TEACHER,ENTERS BOTTOM FRAME, LYING ON THEBED.

HARRISONHmm.

HARRISON STEPS L.FG. TO THEDRESSER AND BEGINS JUGGLINGAPPLES.

JULIA 1-120 820.04 824.05/ 4.01 JULIA TO HARRISON)(face off) (exhales sharply) Well, you do Well, you do have a flaw after all.

have a flaw after all. (after all : phrase used to emphasize

HARRISON STEPS R. TOWARD THE BED consideration in spite of expectationsAND BITES INTO ONE OF THE APPLES. to the contrary)

HARRISON(overlapping) (bites)

HARRISON TOSSES AN APPLE R.824-08

OVER EXISTING TYPEFACE. PLEASE CHECK PRINT FOR PROPER

(i.e., 'My flower shop is in the San

(flaw : shortcoming')

that something should be taken into



(32)

SCENE 96 - MCS - JULIA, LYING IN BED,CATCHING AN APPLE.

HARRISON 1-121 /824.09 826.11 2.02 HARRISON TO JULIA)(off) Oh, yeah? What's that? Oh, yeah? What's that?

JULIAYour job. 1-122 826.15 828.09/ 1.10 JULIA TO HARRISON)

JULIA BITES INTO THE APPLE.

JULIA (cont'd)(bites - continues under following scene

and dialogue) 828-10

SCENE 97 - MCS - HARRISON, TYING HISTIE AND STEPPING R.BG. TO A MIRRORAS CAMERA PANS WITH HIM.

HARRISON 1-123 /828.13 830.15/ 2.02 HARRISON TO JULIA)I thought women liked doctors. I thought women liked doctors.

831-00

SCENE 98 - MFS - JULIA, LYING IN BED.

JULIA 1-124 833.03 840.00/ 6.13 JULIA TO HARRISON)(with mouth full) Mm. (stammers) (chews) We do like lab coats, but the flying around

We do like lab coats, but (swallows) (in (lab coats : short for 'laboratory coats'

normal voice) the flying around everywhere that doctors wear)

is not so good. 'excessive amount that doctors have840-02 to travel')

SCENE 99 - MS - HARRISON, TYING HISTIE IN THE MIRROR. HE GLANCES R.FG.

HARRISON 1-125 /840.04 843.09/ 3.05 HARRISON TO JULIA)I'm only going to San Francisco for one I'm only going to San Francisco for one night.

night.843-10

SCENE 100 - MCS - JULIA, SITTING UP INBED AS CAMERA PANS SLIGHTLY R.WITH HER.

JULIA 1-126 846.08 849.13/ 3.05 JULIA TO HARRISON)(with mouth full) (chuckles) (chews) Couldn't somebody else do it, just tonight?

Couldn't somebody else do it, just tonight? doctor fly to San Francisco and849-14 perform heart surgery instead of you')

Your job.

everywhere is not so good.

- referring to the white medical jackets

(flying around everywhere : i.e.,

(good : i.e., 'beneficial to a romanticrelationship')

(somebody else do it : i.e., 'another



(33)

SCENE 101 - MFS - PAST JULIA (LEGS),R.FG., TO HARRISON, STEPPING FG. ANDTYING HIS TIE.

HARRISON 1-127 /850.01 851.13/ 1.12 HARRISON TO JULIA)No, I'm the best. No, I'm the best.

851-14

SCENE 102 - MCS - JULIA, SMILING, ASHARRISON CROSSES R. THROUGHFRAME.

JULIA(chuckles)

HARRISON 1-128 853.13 859.10 5.13 HARRISON TO JULIA)(off) If it's any consolation... (over scene end) If it's any consolation, when I'm fixing his

855-00 heart...

SCENE 103 - MS - PAST JULIA (FEET), (fixing his : i.e., 'performing correctiveR.FG., TO HARRISON, REMOVING A BOX surgery on my male patient's')FROM HIS DRAWER AND WALKING R. ASCAMERA PANS WITH HIM TO INCLUDEJULIA, SITTING UP IN BED.

HARRISON 1-129 859.14 864.05 4.07 HARRISON TO JULIA)...when I'm fixing (emphasizing) his (in ...you can hold mine.

normal voice) heart, you... be confident in the knowledge that I

JULIA this plastic toy heart.' - Referring to aMmm. wind up toy that Harrison has just

HARRISON(overlapping) ...can hold (straining) mine.

HARRISON SITS ON THE BED BESIDEHER, REMOVING A WIND-UP TOY HEARTFROM THE BOX.

JULIA(overlapping) Whoa-ho.

HARRISON(overlapping) (nonsensical sounds)

JULIA 1-130 866.00 867.15 1.15 JULIA TO HARRISON)(chuckling) Thank (in normal voice) you. Thank you.

HARRISON SETS THE TOY HEART ONTHE BEDSIDE TABLE AS JULIA KISSESHER.

HARRISON(overlapping) (moaning) (kisses)

JULIAThank you.

869-09

(it's any consolation : i.e., 'it makesyou feel better')

(Note double meaning - [1] i.e., '...can

love you.' and [2] i.e., '...can play with

produced from a box)



(34)

SCENE 104 - CS - THE TOY HEART,MOVING FG. ON THE BEDSIDE TABLE.TEXT ON THE HEART READS: 1-131 /869.11 871.04 1.09 NARRATIVE TITLE) (of toy heart)

Be My Be My Valentine Valentine

HARRISON (Note that this is caption on the plastic(off) (moaning) (kisses - continues under wind-up toy heart)

following dialogue)

JULIA(off) (kisses)

HARRISON 1-132 871.08 874.02/ 2.10 HARRISON TO JULIA)(off) Hey, what are you doing? No. Hey, what are you doing? No.

JULIA kissing him passionately, thus(off) (overlapping) (chuckles) encouraging him to linger)

874-03

SCENE 105 - MS - HARRISON, KISSINGJULIA, WHO LIES BACK ON THE BED.

HARRISON 1-133 /874.06 876.10 2.04 HARRISON TO JULIA)I can't miss my plane. No. I can't miss my plane. No.

HARRISON RISES AND EXITS L. AS JULIASITS UP IN BED AND CAMERA PANS WITHHER, INCLUDING HARRISON AS HEENTERS L.BG. AND STEPS INTO THEBATHROOM DOORWAY.

JULIA 1-134 883.01 887.06 4.05 JULIA TO HARRISON)Hmm. (exhales sharply) I can't believe I can't believe you're leaving me on

you're leaving me on Valentine's Day.

HARRISON 1-135 887.10 889.13 2.03 HARRISON TO JULIA)You said you had somethin' to do. You said you had somethin' to do.

JULIA take part in')I do have something to do, I do have

something to do. (stammers) I just don't 1-136 890.01 893.12 3.11 JULIA TO HARRISON)

know that I want to do it. something to do.

HARRISON STEPS FG. INTO A MS. ANDPUTS HIS JACKET ON. 1-137 894.00 897.05 3.05 JULIA TO HARRISON)

HARRISON (i.e., 'I just am not sure that I want to(clears throat) participate in the activity.')

JULIA(stammers) You know my friend Kara? 1-138 897.09 900.13/ 3.04 JULIA TO HARRISON,

HARRISON -You know my friend Kara?Kara? Which one's Kara? -Kara? Which one's Kara?

900-14 (You know : i.e., 'Are you familiar

(Referring to the fact that Julia is

Valentine's Day.

(something to do : i.e., 'an activity to

I do have something to do, I do have

I just don't know that I want to do it.

THEN HARRISON TO JULIA)

with')



(35)

SCENE 106 - MCS - JULIA, GESTURINGAND WINDING THE TOY HEART.

JULIA 1-139 /901.01 903.04 2.03 JULIA TO HARRISON)(overlapping) (stammering) Neurotic, hot Neurotic, hot mess.

mess. She throws this annual "I Hate unstable')

Valentine's Day" dinner. It's, um, it's a bit of

a downer, actually. (chuckles) She throws this annual "I Hate Valentine's

HARRISON (throws this : i.e., 'organizes and(off) What's there to hate? hosts an')

JULIANothing, if you're a handsome, divorced... 1-141 910.03 913.03 3.00 JULIA TO HARRISON)

921-04 It's a bit of a downer, actually.

SCENE 107 - MFS - PAST JULIA, R.FG., TOHARRISON, AS JULIA RISES FROM BEDAND WALKS BG. TOWARD THE 1-142 913.14 916.03 2.05 HARRISON TO JULIA)BATHROOM. CAMERA DOLLIES SLIGHTLY What's there to hate?L. (i.e., 'Why would a person dislike

JULIA...doctor. But for the rest of us single

women, it's kind of a giant cosmic (over scene end) Nothing, if you're a handsome, divorced

bitchslap. It's just-- It's the universe saying, (handsome, divorced doctor :

"Look... Harrison is in fact a married man,

HARRISON yet)(sighs - continues under following

dialogue) 1-144 922.06 928.02 5.12 JULIA TO HARRISON)

JULIA of a giant cosmic bitchslap....remember when you were fourteen and (single : i.e., 'unmarried')

you had... 'colossal universal rebuke' - note that933-04 a 'bitchslap' is an open-handed slap -

(hot mess : i.e., 'she's extremely

1-140 903.08 909.03 5.11 JULIA TO HARRISON)

Day" dinner.

(a bit of a downer : i.e., 'ratherdepressing')

Valentine's Day?')

1-143 917.09 922.02 4.09 JULIA TO HARRISON)

doctor.

referring to Harrison - note that

although this has not been revealed

But for the rest of us single women, it's kind

(giant cosmic bitchslap : i.e.,

and that 'bitch' is vulgar slang for'disagreeable, mean woman')

1-145 928.06 933.01/ 4.11 JULIA TO HARRISON)It's the universe saying, "Look. Rememberwhen you were 14...

(saying : i.e., 'reminding you' - notepersonification of the universe)(Look : i.e., 'Listen')(14 : i.e., '14 years old')(when...formal : i.e., 'that unattractive,awkward, unpopular girl you used tobe')



(36)

SCENE 108 - MCS - PAST HARRISON,L.FG., TO JULIA.

JULIA 1-146 /933.05 939.00 5.11 JULIA TO HARRISON)...cystic acne and braces and you played ...and you had cystic acne and braces and

the saxophone in the marching band and band...

no one would invite you to the winter wherein acne develops into small

formal?" (braces : i.e., 'dental braces' - a

HARRISON teeth and their position with regard to(overlapping) (chuckling) (scoffs) a person's bite)

JULIA"Well, nothing's changed." 1-147 939.04 942.13 3.09 JULIA TO HARRISON)

944-15 ...and no one would invite you to the winter

SCENE 109 - MCS - PAST JULIA, R.FG., TOHARRISON, GESTURING AND LEANINGR.FG. TO KISS HER. 1-148 943.01 944.14/ 1.13 JULIA TO HARRISON)

HARRISON (i.e., 'Well, you are still that sameAw. I would crawl over cut glass to take you unattractive, awkward, unpopular girl.')

to the winter formal. (kisses - continues

under following dialogue) I would crawl over cut glass to take you to the

JULIA (crawl over cut glass : hyperbolic for(chuckling) (kisses - continues under 'go to extreme lengths')

following dialogue)

HARRISON 1-150 952.09 955.15/ 3.06 HARRISON TO JULIA)And then I would prescribe Retin-A for your And then I would prescribe Retin-A for your

skin. (Retin-A : brand name for 'Tretinoin' -

JULIA commonly used to treat acne)(chuckles)

956-00

SCENE 110 - MCS - PAST HARRISON,L.FG., TO JULIA, AS HARRISON TURNSAND EXITS L.FG.

HARRISON AND JULIA(kiss)

JULIA 1-151 959.04 962.00 2.12 JULIA TO HARRISON)That's why you're my valentine. That's why you're my valentine.

KELVIN why I love you.')(over television) So we have a...

JULIA TURNS AND WALKS BG. 1-152 963.03 965.08 2.05 KELVIN ON TV TO REED)964-10 ITAL (over scene end) So we have a professional here.

you played the saxophone in the marching

(cystic acne : a severe form of acne

cysts)

device used in orthodontics to align

formal?(formal : i.e., 'prom' - 'student dance')

Well, nothing's changed."

1-149 947.02 952.00 4.14 HARRISON TO JULIA)

winter formal.

skin.

the acid form of vitamin A, a drug

(i.e., 'Your kindness is indicative of

(professional : note double meaning- [1] i.e., 'professional florist' and [2]'person who is knowledgeable aboutValentine's Day')



(37)

SCENE 111 - MFS - PAST HARRISON,L.FG., TO JULIA, WALKING BG. INTO THEBATHROOM AND CLOSING THE DOORBEHIND HER. HARRISON STEPS FG.

KELVIN 1-153 965.12 969.13 4.01 KELVIN ON TV TO REED)(over television) ...professional here. I'm ITAL I'm sure you've heard a lotta stories on

sure you've heard a lotta stories on

Valentine's Day. Do you still believe in love? 1-154 970.01 972.03/ 2.02 KELVIN ON TV TO REED)972-04 ITAL Do you still believe in love?

SCENE 112 - MCS - A PLASMA SCREEN,DISPLAYING KELVIN AND REED AS HE ISINTERVIEWED. A GRAPHIC ON THESCREEN READS:

KVLA REED BENNETT • OWNER • SIENA OVER EXISTING TYPEFACE. PLEASE CHECK PRINT FOR PROPERBOUQUET POSITIONING TO AVOID DOUBLE-PRINTING.

2173 ROSEWOOD AVE LOS ANGELES

REED 1-155 /972.07 978.09/ 6.02 REED ON TV TO KELVIN)(on television) (into microphone) Oh, hell, ITAL Oh, hell, yes. Love is the only shocking act

yes. Love is the only shocking act left on the (hell : mildly vulgar emphatic)

planet. (left on the planet : i.e., 'that human978-09 beings can still undertake')

SCENE 113 - MS - HARRISON, GAZINGL.FG. AT THE TV. HARRISON TYPES APHONE NUMBER INTO HIS CELL PHONE.

KELVIN *1-155A 979.00 985.05 6.05 KELVIN ON TV TO GROUP)(over television) Well, if he said it, folks, it ITAL Well, if he said it, folks, it must be true,

must be true, because he is a florist. (folks : idiomatic for 'people')985-12 (Note that Harrison enters the

SCENE 114 - EXT. HOLLYWOODBOULEVARD - DAY - FS - A SHOPKEEPER,OPENING A STOREFRONT GATE ONHOLLYWOOD BOULEVARD. THE GATEDEPICTS LUCILLE BALL, WITH TEXTTHAT READS:

LucilleBall

989-03

Valentine's Day.

(believe in : i.e., 'have faith in')

LABORATORY: THE FOLLOWING TITLE #1-155 MAY DOUBLE-PRINT

left on the planet.

(shocking : i.e., 'exceptionally daring')

because he is a florist.

address of Reed's shop into hisBlackBerry)



(38)

SCENE 115 - FS - ANOTHERSHOPKEEPER OPENS A STOREFRONTGATE DEPICTING ORSON WELLES.CAMERA TILTS UP TO A LOW ANGLEREVEALING A SIGN THAT READS:

ST. PIERRE'SHollywoodMAGIC inc

Professional Magic - Fun Items - Games

995-10

SCENE 116 - INT. JASON'S APARTMENT -DAY - MCS - JASON (ARM), A HANDSOMEYOUNG MAN, LYING ASLEEP IN BED.CAMERA TILTS UP TO REVEAL HIS FACEAND LIZ (LEGS), STANDING OVER HIM.

1003-06

SCENE 117 - FS - LIZ, WEARING ONLY AMEN'S SHIRT, JOLTING JASON AWAKE.

JASON 1-156 1004.12 1006.07 1.11 JASON TO LIZ) (OPTIONAL)(in muffled voice) (grunts) What? (sniffs - What?


LIZ(giggles)

JASON 1-157 1007.09 1009.08 1.15 JASON TO LIZ)What is it? What is it?

JASON ROLLS OVER ONTO HIS BACK ASLIZ TAKES A PHOTO OF HIM WITH APOLAROID CAMERA.

JASON *1-158 1010.03 1011.15/ 1.12 JASON TO LIZ)Oh. (exhales sharply) Oh, you're up. Oh, you're up.

LIZ(giggles - continues under following scene

and dialogue)1012-00

SCENE 118 - MS - PAST LIZ (LEGS), R.FG.,TO JASON.

JASON Did ya get my good side?Did ya get my good side? (i.e., 'Did you take a picture of the

LIZ Referring to the belief that everyone's(face off) I don't know. Roll over. profile looks better on one side than

JASONOh.

JASON GRABS HOLD OF LIZ'S LEGS AND I don't know. Roll over.PULLS HER DOWN. (Roll over : i.e., 'Roll over so you are

1017-09 face-down' - Humorously implying

(you're up : i.e., 'you're awake')

*1-159 1012.15 1014.13 1.14 JASON TO LIZ)

photogenic side of my face?' -

the other)

1-160 1015.01 1017.05 2.04 LIZ TO JASON)

Jason's 'good side' is his buttocks)



(39)

SCENE 119 - MCS - LIZ, TAKING APOLAROID AS SHE DROPS OUT OFFRAME.

LIZ(laughs - continues under following scene)

1018-09

SCENE 120 - MCS - PAST JASON, L.FG.,TO LIZ (TORSO), AS SHE DROPS ATOPHIM TO INCLUDE HER FACE. THEY KISS.

LIZ(moaning) (kisses - continues under

following dialogue)

JASON(kisses)

LIZ 1-161 1026.10 1028.05/ 1.11 LIZ TO JASON)(whispering) Last night.... Last night....

1028-05

SCENE 121 - MS - HIGH ANGLE - PASTLIZ, R.FG., TO JASON, AS LIZ SITS UP,R.FG.

LIZ(grunts)

JASON *1-162 1031.12 1033.11/ 1.15 JASON TO LIZ)Was...? Was...?

1033-13

SCENE 122 - MCS - LIZ.

LIZ 1-163 /1033.15 1036.01/ 2.02 LIZ TO JASON, THEN JASON TO LIZ)Amazing. (chuckles - continues under -Amazing.

following dialogue)

JASON(off) Okay, thank you.

1036-02

SCENE 123 - MS - HIGH ANGLE - PASTLIZ, R.FG., TO JASON, PLACING HIS ARMUNDER HIS HEAD.

JASONYeah.

LIZ(overlapping) Wow.

1037-09

-Okay, thank you.



(40)

SCENE 124 - MCS - LIZ, BRUSHING ASIDEHER HAIR.

LIZ 1-164 /1037.11 1039.14/ 2.03 LIZ TO JASON)Well, you know, I used to be a gymnast. Well, you know, I used to be a gymnast.

1039-14

SCENE 125 - MS - HIGH ANGLE - PASTLIZ, R.FG., TO JASON.

JASON 1-165 /1040.02 1042.02/ 2.00 JASON TO LIZ)Oh, well that explains a lot. Oh, well, that explains a lot.

LIZ(overlapping) (chuckles)

1042-04

SCENE 126 - MCS - LIZ.

JASON(off) (indistinct - continues under following

dialogue)

LIZ 1-166 /1042.06 1044.09/ 2.03 LIZ TO JASON)Yeah. I didn't hurt you, right? Yeah. I didn't hurt you, right?

1044-09

SCENE 127 - MS - HIGH ANGLE - PASTLIZ, R.FG., TO JASON, SMILING.

JASON(chuckles)

1046-05

SCENE 128 - MCS - LIZ, TAKINGANOTHER POLAROID.

LIZ 1-167 /1046.07 1048.08 2.01 LIZ TO JASON)(in low tones) You're so cute. (chuckles You're so cute.

softly - continues under following scene


SCENE 129 - MS - HIGH ANGLE - PASTLIZ, R.FG., TO JASON, AS SHE HANDS HIMA POLAROID.

JASON 1-168 /1049.09 1053.01/ 3.08 JASON TO LIZ)I thought you wanted to be a-a poet, not a I thought you wanted to be a poet, not a

photographer.

LIZ(overlapping) (chuckles)

1053-03

(Implying Liz is extremely limber)

photographer.



(41)

SCENE 130 - MCS - LIZ, WAVING APOLAROID.

LIZ 1-169 /1053.05 1057.15 4.10 LIZ TO JASON)Well, a girl can change her mind, Jason. Well, a girl can change her mind, Jason.

That's how last night happened. (That's how last night happened :

SHE LEANS DOWN AND CAMERA TILTS Liz and Jason had sex, and thatDOWN WITH HER TO INCLUDE JASON AS initially Liz had decided not to haveTHEY KISS. sex with Jason)

JASON AND LIZ(kiss)

LIZ PULLS AWAY FROM HIM ANDGESTURES AS CAMERA TILTS UPSLIGHTLY, OFF JASON.

LIZ 1-170 1059.06 1063.03/ 3.13 LIZ TO JASON)Anyway, I could not write that photo. Anyway, I could not write that photo.

1063-05 (I...photo : i.e., 'I could not write a

SCENE 131 - MCS - HIGH ANGLE - JASON,REGARDING THE POLAROID, AND LIZ.

JASON 1-171 /1063.07 1065.01 1.10 JASON TO LIZ)Okay, yeah, um.... (exhales through nose) Okay, yeah....

LIZ(laughs - continues under following

dialogue)

JASON *1-172 1067.06 1071.07/ 4.01 JASON TO LIZ)Is my nose, like, kinda--? (stammers) It Is my nose, like, kinda--? It looks kinda big

looks kinda big for my face.1071-08

SCENE 132 - MS - JASON AND LIZ,REGARDING THE POLAROID.

LIZ 1-173 /1071.11 1076.04 4.09 LIZ TO JASON)I think that's L.A. talkin'. I think you have a I think that's L.A. talkin'. I think you have a

great nose. (I think that's L.A. talkin' : Implying1077-08 people who live in Los Angeles are

SCENE 133 - FS - JASON AND LIZ, AS SHETOSSES THE POLAROID IN THE AIR ANDLEANS DOWN TO KISS JASON.

1084-08

That's how last night happened.

Implying last night was the first time

poem that would capture the essenceof your face in this photograph')

for my face.

great nose.

often overly-critical of theirappearance)



(42)

SCENE 134 - MCS - JASON AND LIZ,KISSING.

JASON AND LIZ(kiss)

LIZ GLANCES FG. AT AN O.S. CLOCK ANDREACTS.

LIZ 1-174 1088.10 1090.10/ 2.00 LIZ TO JASON)(in low tones) Oh, my God. (in normal Oh, my God. Is that the time?

voice) Is that the time? of surprise)1090-11

SCENE 135 - MS - HIGH ANGLE - PASTLIZ, FG., TO JASON (PARTIALLYOBSCURED). LIZ RISES FROM BED ANDEXITS R.FG. AS JASON SITS UP IN BED,REACTING.

JASON 1-175 /1090.14 1096.08/ 5.10 JASON TO LIZ)What? What? Uh, no, it's three minutes What? What? No, it's 3 minutes fast. I don't

fast. I just-- I don't like being late. (it's 3 minutes fast : i.e., 'my clock is

LIZ time')(off) Uh...

1096-10

SCENE 136 - MS - LIZ, FRANTICALLYPUTTING ON HER BOOTS.

LIZ 1-176 /1096.12 1098.13 2.01 LIZ TO JASON)...I have to go. I just-- I have to go. I just--

JASON(off) Just like that? 1-177 1099.01 1100.12 1.11 JASON TO LIZ)

LIZ (i.e., 'So suddenly?')Yeah, I'm sorry. I j-- (exhales)

1103-05

SCENE 137 - MCS - JASON, POINTING R.

LIZ 1-179 1103.12 1106.15/ 3.03 LIZ TO HERSELF)(off) Skirt? (to herself) (in low tones) Skirt, Skirt? Skirt, skirt, skirt, skirt....

skirt, skirt, skirt....

JASON(overlapping) (whistles)

1107-01

(Oh, my God : Idiomatic expression

like being late.

set 3 minutes ahead of the actual

Just like that?

1-178 1101.00 1103.04/ 2.04 LIZ TO JASON)Yeah, I'm sorry.



(43)

SCENE 138 - MS - LIZ, GLANCING L. ASCAMERA PANS L. TO REVEAL HER SKIRT,HANGING FROM A BOXING BAG BAR. LIZSTEPS L. TO RETRIEVE THE SKIRT ASCAMERA PANS WITH HER. SHE DASHESL. BEHIND A CABINET, OBSCURINGHERSELF, AS CAMERA PANS WITH HER.

LIZ 1-180 /1107.03 1108.11 1.08 LIZ TO JASON)Wha--? Oh, right. (chuckles) I think I half Wha--?

remember that. Uh, three minutes? Why skirt hanging from the punching

not five minutes...1115-05

SCENE 139 - MCS - JASON, REACTING. POSITIONING OR USE DROP SHADOW FOR READABILITY.

LIZ(off) ...ahead? *1-181 1108.15 1112.06 3.07 LIZ TO JASON)

JASON (half : i.e., 'vaguely')I don't wanna seem eager. (that : i.e., 'when that happened' -

1117-10 'how my skirt got there')

SCENE 140 - MS - LIZ, OBSCURED *1-182 1112.10 1115.05/ 2.11 LIZ TO JASON)BEHIND THE DRESSER AS SHE Three minutes? Why not 5 minutes ahead?CHANGES.

JASON 1-183 /1115.09 1117.09/ 2.00 JASON TO LIZ)(off) But, yeah, you know what? (stammers) I don't wanna seem eager.

Uh, stay. at any given destination an entire 51120-07 minutes early' - note humor as the

SCENE 141 - MS - JASON, RISING FROMBED INTO A MCS. AS CAMERA TILTS UPWITH HIM. 1-184 1118.01 1120.06/ 2.05 JASON TO LIZ)

JASONHang out for a little bit. You can grab

breakfast. Hang out for a little bit. You can grab1125-03 breakfast.

SCENE 142 - MS - LIZ, FASTENING HER (a little bit : i.e., 'awhile')SKIRT AS JASON ENTERS L.FG. AND (grab breakfast : i.e., 'eat breakfast')STEPS R. LIZ REACTS AS HER CELLPHONE RINGS, SHAKING HER HANDSAND STEPPING L. OVER THE BED.

LIZ(whispering) (stammers - continues under

following scene) 1128-10

(Implying, 'What?' - i.e., 'Why is my

bag?')

LABORATORY: THE FOLLOWING TITLES #1-181 AND #1-182 APPEARAGAINST A LIGHT BACKGROUND. CHECK PRINT FOR PROPER

Oh, right. I think I half remember that.

(eager : i.e., 'overly eager by arriving

difference between 3 minutes and 5is negligible)

But, yeah, you know what? Stay.

*1-184A /1120.10 1125.02/ 4.08 JASON TO LIZ)

(Hang out : Idiomatic for 'Idly spendtime with me')



(44)

SCENE 143 - MFS - PAST JASON, R.FG.,TO LIZ, QUICKLY MOVING L. OVER THEBED AND GRABBING HER CELL PHONE.

LIZ 1-185 /1128.12 1131.01 2.05 LIZ TO HERSELF)Oh, I knew it. I knew it. Oh, I knew it.

JASON calls now.' - Note that Liz has aWhat is that, techno? second job as a phone sex operator,

LIZ STEPS FG. AND GRABS HER BELT or the audience)OFF THE FLOOR, FASTENING IT.

LIZ 1-186 1131.05 1133.00 1.11 LIZ TO HERSELF)(pants) What? (pants - continues under I knew it.

following dialogue)

JASON What is that, techno?The ring. (techno : a type of electronic dance

LIZ PICKS UP HER SCARF AND WRAPS IT tempo and use of digitally synthesizedAROUND HER NECK. instruments)

LIZ which actually sounds rather like theOh, uh, no, I think it's like a little more retro. soundtrack of a pornographic movie)

It's kinda (pants) seventies. (pants)

LIZ GRABS HER SCOOTER HELMET AND -What?RUNS L. TO A TABLE, PICKING UP HER -The ring.JACKET AND PUTTING IT ON AS CAMERADOLLIES L. WITH HER AND PUSHES INSLIGHTLY. 1-189 1138.00 1142.03 4.03 LIZ TO JASON)

LIZ (cont'd) (retro : modeled on something fromUm, thank you so much for last night. I had the past)

a blast. And there is fresh coffee for you in

the kitchen. It's kinda '70s.

JASON 1970s')W-- I think I'm outta coffee.

(i.e., 'Oh, I knew I would start getting

though this is not known yet by Jason

1-187 1133.04 1135.07 2.03 JASON TO LIZ)

music characterized by its quick

(Referring to Liz's cell phone ringtone,

1-188 1135.15 1137.12 1.13 LIZ TO JASON, THEN JASON TO LIZ)

Oh, no, I think it's like a little more retro.

1-190 1142.07 1146.02 3.11 LIZ TO JASON)

('70s : i.e., 'evocative of music of the

1-191 1146.11 1151.10 4.15 LIZ TO JASON)Thank you so much for last night. I had ablast.

(I had a blast : Idiomatic for 'I had agreat time')

1-192 1151.14 1155.09 3.11 LIZ TO JASON)And there is fresh coffee for you in thekitchen.

(fresh : recently-made)

1-193 1155.13 1157.09 1.12 JASON TO LIZ)I think I'm outta coffee.



(45)


LIZ PICKS UP HER PURSE AND HELMETAND STEPS L. TO THE FRONT DOOR,OPENING IT AS CAMERA DOLLIES WITHHER. JASON FOLLOWS HER.

LIZ 1-194 1157.13 1160.12 2.15 LIZ TO JASON)(panting) Yeah, you were, but I borrowed Yeah, you were, but I borrowed some from

some from your neighbor. By the way, she

was very surprised that you had female 1-195 1161.00 1166.03/ 5.03 LIZ TO JASON)

company. She thought that you were gay. had female company. She thought that you1166-04 were gay.

SCENE 144 - MCS - LIZ, OPENING THEDOOR AND TURNING FG. AS JASONENTERS R.FG.

LIZ 1-196 /1166.07 1169.01/ 2.10 LIZ TO JASON)Don't worry, I set her straight. Don't worry, I set her straight.

LIZ STEPS R.FG. TOWARD JASON. certain she understood the truth of the1169-01 matter' - note play on 'gay' in Title

SCENE 145 - MS - LIZ AND JASON,KISSING, AS CAMERA DOLLIES INSLIGHTLY.

JASON AND LIZ(kiss)

LIZ DASHES R.FG. OUT THE DOOR,EXITING, AS JASON SHUTS THE DOORAND TURNS FG.

JASON 1-197 1176.15 1178.11 1.12 JASON TO LIZ)Bye. Bye.

JASON STEPS R. AND PICKS UP A DIRTYSHIRT AS CAMERA DOLLIES WITH HIM.HE TURNS AND SHOOTS THE SHIRT LIKEA BASKETBALL, AS CAMERA PANS L., OFFJASON, TO REVEAL A BASKETBALL HOOPAS THE SHIRT GOES THROUGH THENET.

1184-10

SCENE 146 - EXT. IVAR THEATER - DAY -FS - HIGH ANGLE - LOOKING DOWN TOLIZ, RIDING HER SCOOTER R.BG. ASCAMERA TILTS AND PANS WITH HER.

1191-03

SCENE 147 - FS - LIZ, DRIVING HERSCOOTER R.FG. TO THE CURB ASCAMERA PANS WITH HER. HER CELLPHONE RINGS.

1198-11

your neighbor.

By the way, she was very surprised that you

(set her straight : idiomatic for 'made

#1-195, as 'straight' is also idiomaticfor 'heterosexual')



(46)

SCENE 148 - MS - LIZ, REMOVING HERHELMET AND ANSWERING HER CELLPHONE.

LIZ 1-198 1207.03 1209.07 2.04 LIZ INTO PHONE TO MALE CALLER)(pants) (panting) (into telephone) (with Hi.

Southern accent) Uh, hi. Oh, I was thinkin'

about you all night long. (chuckles) (inhales Oh, I was thinkin' about you all night long.

sharply) Oh, I'm sorry I didn't answer on the Note sexual innuendo)

first ring.

LIZ ACCIDENTALLY KNOCKS HER Oh, I'm sorry I didn't answer on the first ring.HELMET OFF THE SCOOTER.

LIZ (cont'd) 1-201 1224.09 1226.15/ 2.06 LIZ INTO PHONE TO MALE CALLER)(grunts) (into telephone) It's not my fault. It's not my fault.

1227-01

SCENE 149 - FS - LIZ, RISING FROM HER OVER EXISTING TYPEFACE. PLEASE CHECK PRINT FOR PROPERSCOOTER AND STEPPING R. TO PICK UP POSITIONING TO AVOID DOUBLE-PRINTING.HER HELMET.

LIZ 1-202 /1227.03 1231.13/ 4.10 LIZ INTO PHONE TO MALE CALLER)(into telephone) I was thinkin' about what I was thinkin' about what you were gonna do

you were gonna do to me and I... 1231-13

SCENE 150 - FS - A LADY WITH DOG,WEARING A ROBE, GLANCING FG. ANDREACTING. LABORATORY: THE FOLLOWING TITLE #1-204 THROUGH #1-207 MAY

LIZ PROPER POSITIONING TO AVOID DOUBLE-PRINTING.(off) (into telephone) ...just couldn't wait. I

didn't... 1-204 /1235.07 1238.04 2.13 LIZ INTO PHONE TO MALE CALLER)1235-05 I didn't have a free hand.

SCENE 151 - FS - LIZ, SETTING HERHELMET ON THE HANDLEBAR OF HERSCOOTER, THEN STEPPING L. AROUNDHER SCOOTER.

LIZ 1-205 1238.10 1241.06 2.12 LIZ INTO PHONE TO MALE CALLER)(into telephone) ...have a free hand. Ooh, baby.

(inhales sharply) Ooh, baby, (pants) you

know just how Katia likes it. (inhales 1-206 1241.10 1246.05 4.11 LIZ INTO PHONE TO MALE CALLER)

sharply) Mm. (pants) Well, it's... (Katia : note that Liz uses an alias)

SHE GESTURES AND STEPS R. i.e., 'likes to be talked to,' and [2] i.e.,1250-15 'likes to have sex')

1-199 1209.11 1215.15 6.04 LIZ INTO PHONE TO MALE CALLER)

(For this Title through Title #1-209 :



to me...

1-203 /1232.01 1235.03/ 3.02 LIZ INTO PHONE TO MALE CALLER)...and I just couldn't wait.

DOUBLE-PRINT OVER EXISTING TYPEFACE. PLEASE CHECK PRINT FOR

(Implying Liz was masturbating)

(baby : slang term of endearment)

You know just how Katia likes it.

(likes it : note double meaning - [1]

1-207 1250.03 1254.02 3.15 LIZ INTO PHONE TO MALE CALLER)(over scene end) Well, it's Valentine's Day, sugar.

(sugar : term of endearment)



(47)

SCENE 152 - MS - HIGH ANGLE - LADYWITH DOG, BENT OVER. SHE PICKS UPHER DOG AND STANDS UP INTO A MCS.,REACTING.

LIZ 1-208 1254.06 1257.12/ 3.06 LIZ INTO PHONE TO MALE CALLER)(off) (into telephone) ...Valentine's Day, How 'bout something special?

sugar. (pants) How 'bout something unique or special sexual scenario

special? (inhales sharply) 1257-13

SCENE 153 - MCS - LIZ, AS LADY WITHDOG ENTERS R.

LIZ 1-209 /1258.01 1263.13/ 5.12 LIZ INTO PHONE TO MALE CALLER)(into telephone) Ooh, my roommate just got My roommate just got home. Do you wanna

home. Do you wanna have a threesome? (threesome : a sexual act involving1264-00 three people)

SCENE 154 - MCS - PAST LIZ, L.FG., TOLADY WITH DOG.

LADY WITH DOG 1-210 /1264.01 1267.14/ 3.13 LADY WITH DOG TO LIZ)If he says yes, it'll take me a minute to If he says yes, it'll take me a minute to

change. (minute : moment)1267-15 (change : i.e., 'change my clothes')

SCENE 155 - FS - THE SCOOTER, LIZAND LADY WITH DOG. LABORATORY: THE FOLLOWING TITLE #1-211 MAY DOUBLE-PRINT

LIZ POSITIONING TO AVOID DOUBLE-PRINTING.(into telephone) Ooh, (pants) I think that's a

very good idea. 1-211 1273.05 1277.09/ 4.04 LIZ INTO PHONE TO MALE CALLER)

LADY WITH DOG WALKS L., EXITING.1277-11

SCENE 156 - EXT. EDGAR'S ANDESTELLE'S HOUSE - DAY - MS - EDGAR, AKIND OLD MAN, CLIPPING SEVERALROSES FROM A BUSH.

EDGAR(in low tones) There you go. (in normal

voice) (chuckles)

EDGAR SMELLS THE FLOWERS ANDSLAPS A BUG FLYING NEAR HIS NECK.

EDGAR (cont'd)(sniffs) Mm. (stammers)

(i.e., 'How would you like have a

today?')

have a threesome?

change.

(Note humor)


I think that's a very good idea.



(48)


WILLIE NELSON(voice over) (sings "On The Street Where

You Live" - continues under following

scenes and dialogue)

EDGARAh. (stammers) (whistles)

EDGAR TURNS AND MOVES L.BG.,EXITING.

1294-10

SCENE 157 - INT. EDGAR AND ESTELLE'SHOUSE/BEDROOM - DAY - MCS - PAST ALAMP ON A NIGHTSTAND, L.FG., TOESTELLE, EDGAR'S WIFE, LYING ASLEEPIN BED. EDGAR ENTERS L.FG.,CARRYING A TRAY WITH FLOWERS ON ITAND A GIFT. ESTELLE OPENS HER EYESAND REACTS, REACHING FG. ANDPICKING UP THE GIFT BOX.

1309-04

SCENE 158 - MCS - ESTELLE, REACTINGAND SITTING UP IN BED AS EDGARENTERS R.FG.

ESTELLE 1-212 1312.08 1317.12/ 5.04 ESTELLE TO EDGAR)(gasps) Edgar, we said we were not gonna Edgar, we said we were not gonna give each

give each other presents this year.

EDGAR(overlapping) I...

1317-14

SCENE 159 - MCS - PAST ESTELLE, L.FG.,TO EDGAR.

EDGAR 1-213 /1318.00 1320.12 2.12 EDGAR TO ESTELLE)...know, I lied. I know, I lied.

ESTELLE(overlapping) (groaning) Ohh.

1321-14

other presents this year.



(49)

SCENE 160 - MCS - PAST EDGAR, R.FG.,TO ESTELLE, REMOVING A BOOK FROMUNDER HER PILLOW AND HOLDING IT LABORATORY: THE FOLLOWING TITLE #1-214 MAY DOUBLE-PRINTUP. TEXT ON THE BOOK COVER READS: OVER EXISTING TYPEFACE. PLEASE CHECK PRINT FOR PROPER

Dodgers

ESTELLE 1-214 1324.08 1326.07 1.15 ESTELLE TO EDGAR)So did I. (chuckles - continues under So did I.

following dialogue)

EDGARWow.

1327-08

SCENE 161 - INT. EDGAR AND ESTELLE'SHOUSE/KITCHEN - DAY - MS - PASTEDISON, A YOUNG BOY, SEATED AT THEKITCHEN TABLE MAKING A HANDMADEVALENTINE'S CARD IN R.FG., TO ATELEVISION DISPLAYING A MAN IN ACUPID COSTUME AND KELVIN.

CUPID 1-215 /1327.09 1330.06/ 2.13 CUPID ON TV TO KELVIN)(on television) (into microphone) Today's ITAL Today's the day I make most of my dough.

the day I make most of my dough. 1330-07

SCENE 162 - CS - THE TV SCREEN,DISPLAYING CUPID AND KELVIN.

CUPID 1-216 /1330.10 1333.14 3.04 CUPID ON TV TO KELVIN)(on television) (into microphone) I deliver ITAL I deliver love-grams to businesses and

love-grams to businesses and such. I even (love-grams : a variation on a singing

delivered a breakup-gram today. deliver a romantic message)

KELVIN(on television) (into microphone) Folks... 1-217 1334.02 1337.07/ 3.05 CUPID ON TV TO KELVIN)

1337-09 ITAL I even delivered a breakup-gram today.

SCENE 163 - FS - ESTELLE, WALKING intention is deliver the news that aR.FG. INTO A MS. AS CAMERA PANS WITH romantic relationship has ended -HER TO INCLUDE THE TV AND EDISON, note that 'breakup' is idiomatic for theR.FG. breaking off or discontinuation of a

KELVIN(over television) ...from the chubby

messenger of love himself, that Valentine's ITAL Folks, from the chubby messenger of love

Day is about (on television) (into (Folks : Idiomatic term for a group of

microphone) love. It's about romance. It's (messenger of love : i.e., 'Cupid')

about commercialism that--

ESTELLE ITAL It's about romance. It's about(overlapping) No. commercialism that--

POSITIONING TO AVOID DOUBLE-PRINTING.

(dough : slang for 'money')

such.

telegram, in which the intention is to

(breakup-gram : a variation on asinging telegram, in which the

personal relationship)

1-218 /1337.11 1343.06 5.11 KELVIN ON TV TO GROUP)

himself, that Valentine's Day is about love.

people)

1-219 1343.10 1347.00 3.06 KELVIN ON TV TO GROUP)



(50)


ESTELLE TURNS OFF THE TV.

EDISON 1-220 1347.04 1349.01/ 1.13 EDISON TO ESTELLE)(overlapping) I found the glue, Grandma. Found the glue, Grandma.

EDISON HOLDS UP A BOTTLE OF GLUE. 'Grandmother')

ESTELLEWell... *1-220A /1349.05 1351.00 1.11 ESTELLE TO EDISON)

1349-02 Well, good.

SCENE 164 - MCS - EDGAR, SEATED ATTHE KITCHEN TABLE. ESTELLE ENTERSR.FG. AND PLACES HER HANDS ONEDGAR'S SHOULDERS. CAMERA TILTSUP SLIGHTLY.

ESTELLE 1-221 1352.09 1355.13 3.04 ESTELLE TO EDGAR)(off) ...good. (to Edgar) This is (face off) This is really a hard day for him...

really (on) a hard day for him...

EDGAR(overlapping) Mm-hm.

ESTELLE 1-222 1356.01 1361.11/ 5.10 ESTELLE TO EDGAR)...because they used to make hand-crafted ...because they used to make hand-crafted

cards together. (they : i.e., 'Edison and his mother')

EDGARWell... 1-223 /1361.15 1365.13 3.14 EDGAR TO ESTELLE)

1361-13 Well, maybe we should've offered to do that

SCENE 165 - MS - EDISON.

EDGAR(off) ...maybe we should've offered to do

that with him.

ESTELLE 1-224 1366.01 1367.09/ 1.08 ESTELLE TO EDGAR)(off) I did... I did.

1367-09

SCENE 166 - MCS - EDGAR ANDESTELLE.

ESTELLE 1-225 /1367.14 1372.02/ 4.04 ESTELLE TO EDGAR)...but he said it was only fun when it was But he said it was only fun when it was with

with his mother.1372-03

(Grandma : Idiomatic for

(hard : i.e., 'emotionally difficult')

cards together.

with him.

his mother.



(51)

SCENE 167 - MCS - EDISON.

EDGAR *1-225A 1373.11 1376.09 2.14 EDGAR TO EDISON)(off) So, Edison... So, Edison...

EDGAR ENTERS L., SITTING DOWN IN ACHAIR BESIDE EDISON.

EDGAR (cont'd) *1-226 1378.05 1381.11 3.06 EDGAR TO EDISON)...what are we doing for breakfast today, ...what are we doing for breakfast today, hm?

hm?

EDISON 1-227 1381.15 1384.05 2.06 EDISON TO EDGAR)I can't eat, Grandpa. I can't eat, Grandpa.

EDGAR(stammers) Who said that? 1-228 1384.12 1388.12 4.00 EDGAR TO EDISON)

1385-13 (over scene end) Who said that? So you can't eat?

SCENE 168 - MS - ESTELLE, STEPPING enthusiastic about eating, so his lackR.FG. AND SITTING DOWN AT THE TABLE of appetite is so uncharacteristicAS CAMERA PANS AND TILTS DOWN Edgar is unsure it is actually EdisonWITH HER. speaking)

EDGAR(off) (stammers) So you can't eat? 1-229 1389.00 1393.02/ 4.02 EDGAR TO EDISON)

(stammers) Uh, what's the matter? What's sick?

the matter, you sick? Hm?1393-04

SCENE 169 - MCS - EDGAR AND EDISON.

EDISON 1-230 1393.14 1397.01 3.03 EDISON TO EDGAR)Yeah. Lovesick. Yeah. Lovesick.

1401-01 (Lovesick : Listless or distracted

SCENE 170 - INT. HARRISON'S CONDO -DAY - MS - JULIA, STEPPING L. ANDHOLDING HER CELL PHONE TO HEREAR AS CAMERA PANS WITH HER.

REED *1-231 1402.02 1407.06 5.04 REED OVER PHONE TO JULIA)(over telephone) Julia, it's Reed. I've been ITAL Julia, it's Reed. I've been trying to reach you.

trying to reach you. Call me back, please. (reach you : i.e., 'contact you via1407-11 telephone')

(Who said that : Teasingly implyingthat Edison is always hungry or

What's the matter? What's the matter, you

because of love)

Call me back, please.



(52)

SCENE 171 - INT. HARRISON'SCONDO/ELEVATOR - DAY - MS - JULIA,TEXTING ON HER CELL PHONE AS THEELEVATOR DOORS OPEN TO REVEALFELICIA, A TEENAGE GIRL, PARTIALLYOBSCURED BEHIND A MASSIVE WHITEBEAR SHE HOLDS. A RED HEARTSTITCHED TO THE BEAR READS: 1-232 1409.15 1411.15 2.00 NARRATIVE TITLE) (of heart) (OPTIONAL)

I Love You I Love You

FELICIA STEPS FG. ONTO THE ELEVATOR (Note that the above message isAS JULIA REACTS. written on a heart attached to a

JULIAOh, boy. Oh.

1415-09 1-233 1413.13 1415.09/ 1.12 JULIA) (exclaiming)

SCENE 172 - MCS - THE BEAR, AS astonishment)FELICIA LOWERS IT TO REVEAL HERFACE.

FELICIA LIGHT BACKGROUND. CHECK PRINT FOR PROPER POSITIONING ORHi. USE DROP SHADOW FOR READABILITY.

1418-06

SCENE 173 - MCS - JULIA. Hi.

JULIAHi. *1-234 /1418.08 1420.01 1.09 JULIA TO FELICIA )

THE ELEVATOR DOORS CLOSE,OBSCURING JULIA.

FELICIA 1-235 1422.03 1426.01 3.14 FELICIA TO JULIA)(off) So my boyfriend texted... (over scene end) So my boyfriend texted me this morning.

1423-12 (texted me : i.e., 'sent me a text

SCENE 174 - INT. HARRISON'S messages between mobile phonesCONDO/ELEVATOR - DAY - MS - FELICIA, over cellular networks)GESTURING, AND JULIA.

FELICIA 1-236 1426.08 1430.11 4.03 FELICIA TO JULIA)...me this morning. And he was like, "Look And he was like, "Look outside your door."

outside your door." text message]' - 'said')

JULIAOh. (chuckles - continues under following

dialogue)

FELICIA 1-237 1434.04 1440.14 6.10 FELICIA TO JULIA)(chuckles) And-- (stammers) But, you But, you know, I look outside my door, and

know, I look outside my door, and my (look : i.e., 'looked' - note that Felicia

boyfriend's nowhere to be found. tense to give a sense of immediacy)

gigantic teddy bear)

Oh, boy.(Interjection used to express mild

LABORATORY: THE FOLLOWING TITLE #1-233A APPEARS AGAINST A

*1-233A 1416.10 1418.04/ 1.10 FELICIA TO JULIA)

Hi.

message' - note that a text messageis the exchange of brief written

(was like : slang for 'told me [in his

my boyfriend's nowhere to be found.

is recounting the story in present

(nowhere to be found : i.e., 'notthere')



(53)

SCENE 174 - (CONTINUED) LABORATORY: THE FOLLOWING TITLE #1-238 APPEARS AGAINST A

JULIA USE DROP SHADOW FOR READABILITY.Mm, right.

FELICIA 1-238 1441.02 1442.10 1.08 JULIA TO FELICIA)But there's, like, this giant white bear. Right.

(chuckles - continues under following

dialogue) -But there's, like, this giant white bear.

JULIA (like : used in speech, often(overlapping) Bear. (chuckling) Yeah, (in habitually, to fill a certain pause)

normal voice) the bear's there.

FELICIA *1-240 1447.02 1449.13/ 2.11 FELICIA TO JULIA, THEN JULIA TO FELICIA)(overlapping) On the ground. -On the ground. The floor.

JULIA (ground : i.e., 'floor' - note that(overlapping) (faux chuckling) (stammers) I 'ground' connotes dirt, grass or other

get it, yeah. (The floor : Note that Felicia corrects

FELICIA (get it : i.e., 'understand')(overlapping) The floor.

1449-15

SCENE 175 - MCS - FELICIA.

FELICIA Yeah. Isn't that, like, the sweetest thing ever?Yeah. Isn't that, like, the sweetest thing (sweetest : i.e., 'nicest' - 'most

ever? (thing : i.e., 'gesture')1453-01

SCENE 176 - MCS - JULIA.

JULIA 1-242 /1453.05 1455.01/ 1.12 JULIA TO FELICIA)Ever and ever. Ever and ever.

1455-01 (i.e., 'It is the sweetest thing that has


FELICIA 1-243 1455.10 1461.05/ 5.11 FELICIA TO JULIA)Do you live here in this building? 'Cause I Do you live here in this building? 'Cause I

see you in the lobby all the time. 1461-07

LIGHT BACKGROUND. CHECK PRINT FOR PROPER POSITIONING OR

1-239 1442.14 1446.14 4.00 FELICIA TO JULIA, THEN JULIA TO FELICIA)

-Bear. Yeah, the bear's there.

-I get it, yeah.

outdoor medium)

herself)

1-241 /1450.01 1453.01/ 3.00 FELICIA TO JULIA)

thoughtful')

ever been done and ever will bedone.')

see you in the lobby all the time.



(54)

SCENE 178 - MCS - JULIA, GESTURING.

FELICIA 1-244 /1461.09 1463.05 1.12 FELICIA TO JULIA)(off) 'Cause I live here. 'Cause I live here.

JULIA statement)No, I'm-- (stammers) I just visit. Just

visiting. 1-245 1463.09 1467.13 4.04 JULIA TO FELICIA)

FELICIA(off) (overlapping) S--

1468-04


FELICIA All right, well, I'm gonna go to school now.(smacks lips) All right, well, I'm gonna go to

school now. (chuckles) Gonna take my 1-247 1473.09 1475.13/ 2.04 FELICIA TO JULIA)

bear with me.

JULIA(off) (overlapping) (in low tones) Okay.

1475-14

SCENE 180 - MCS - JULIA, NODDING ANDSMILING.

FELICIA 1-248 1476.05 1479.01 2.12 FELICIA TO JULIA)(off) (chuckles) Well, I hope you get a lot of (over scene end) Well, I hope you get a lot of valentines today.

valentines... cards')1478-03

SCENE 181 - MCS - FELICIA (TORSO),THE BEAR AND JULIA (TORSO). FELICIA(TORSO) PICKS UP THE BEAR. LABORATORY: THE FOLLOWING TITLE #1-249 MAY DOUBLE-PRINT

FELICIA POSITIONING TO AVOID DOUBLE-PRINTING.(face off) ...today.

JULIA *1-249 1479.05 1480.05/ 1.00 JULIA TO FELICIA)(face off) (chuckling) Thanks. Thanks.

1480-06

EXHIBITION REEL FOOTAGE: 1468-07

END OF REEL 1AB END OF REEL 1AB

(Note humorously redundant

No, I just visit. Just visiting.

1-246 1469.07 1472.10 3.03 FELICIA TO JULIA)

Gonna take my bear with me.

(valentines : i.e., 'Valentine's Day


LAST FRAME OF PICTURE IS 1480.06



(1)

START MEASURING 0.00 AT START MARK LABORATORY: 0.00 AT START MARKIN ACADEMY LEADER.

11-15 16.00 = 1ST SCENE END

SCENE 1 - INT. AIRPLANE - DAY - MCS - AFRAME OBSCURED IN DARKNESS AS ACURTAIN IS PULLED L., REVEALING A 2-1.FLIGHT ATTENDANT (TORSO). THROUGH (OUT)

PEOPLE ON AIRPLANE(overlapping, low and indistinct chatter -


dialogue)

THE FLIGHT ATTENDANT WEARS ANILLUMINATED PIN WITH TEXT THATREADS: 2-76 13.06 15.14/ 2.08 NARRATIVE TITLE) (of pin)

Be My Be My Valentine Valentine

MAN #1 ON AIRPLANE (Valentine : here used to mean(off) Lucky you. Yeah, I think so. 'object of affection' - Note that this is a

16-00 pin the Flight Attendant is wearing)

SCENE 2 - MCS - THE FLIGHTATTENDANT WALKS FG. AS CAMERADOLLIES BACK WITH HER.

PILOT 2-77 16.09 19.13 3.04 PILOT OVER SPEAKER TO GROUP)(over speaker) Hello, everyone. This is your ITAL Hello, everyone. This is your captain

captain speaking, and on behalf of myself

and the flight deck, we wanted to wish 2-78 20.01 26.15 6.14 PILOT OVER SPEAKER TO GROUP)

everyone a Happy Valentine's Day. we wanted to wish everyone a Happy

THE FLIGHT ATTENDANT STOPS (flight deck : i.e., 'members of theWALKING AND GLANCES ABOUT AS crew')CAMERA DOLLIES BACK INTO A MS.,THEN PANS R., OFF HER, TO A MCS. OFHOLDEN AND KATE, SEATED ANDASLEEP. THE FLIGHT ATTENDANTREENTERS L.FG. AND LEANS R.BG. ASSHE COVERS HOLDEN AND KATE WITH ASMALL BLANKET, BRIEFLY OBSCURINGTHEM.

PILOT (cont'd) 2-79 27.03 30.10 3.07 PILOT OVER SPEAKER TO GROUP)(over speaker) Hope you had an ITAL Hope you had an opportunity to get a little

opportunity to get a little rest. But according

to my digital readout here, we've still got 2-80 30.14 36.09 5.11 PILOT OVER SPEAKER TO GROUP)

another six hours before we reach our final we've still got another six hours ...

destination of Los Angeles...

2-75.

speaking.

ITAL And on behalf of myself and the flight deck,

Valentine's Day.

rest.

ITAL But according to my digital readout here,

2-81 36.13 41.03 4.06 PILOT OVER SPEAKER TO GROUP)ITAL ...before we reach our final destination of

Los Angeles...



(2)


PILOT (cont'd) 2-82 41.07 48.06/ 6.15 PILOT OVER SPEAKER TO GROUP)(over speaker) ...where the weather is ITAL ...where the weather is expected to be warm

expected to be warm and sunny after three

days of rain. 2-83.

THE FLIGHT ATTENDANT STANDS 2-85.UPRIGHT, FACE OFF.

48-08

SCENE 3 - EXT. SIENA BOUQUET - DAY -LS - PAST A GARBAGE TRUCK, FG., TO AFLOWER SHOP, REVEALED AS THETRUCK DRIVES L., EXITING. THEFLOWER SHOP HAS A LARGE SIGN THATREADS: 2-86 49.15 53.00/ 3.01 NARRATIVE TITLE) (of sign)

SIENA BOUQUET SIENA BOUQUET

53-01

SCENE 4 - MS - THE REAR ENTRANCE OFTHE FLOWER SHOP, WHICH HAS A SIGNPAINTED ON THE DOOR THAT READS:

SIENABOUQUET

JULIA ENTERS L. AND OPENS THEDOOR, REVEALING MALE FLORIST #1 ASHE STEPS L.FG. CARRYING A BOUQUET,STARTLING JULIA.

JULIAOh!

MALE FLORIST #1(overlapping) Oh!

JULIA STEPS R.

JULIA *2-87 56.00 57.14 1.14 JULIA TO MALE FLORIST #1, Oh, (chuckling) hello. THEN MALE FLORIST #1 TO JULIA)

MALE FLORIST #1 -Hey.(overlapping) (chuckling) Hey. (chuckles)

MALE FLORIST #1 STEPS L.FG., EXITING,AS JULIA WALKS BG. INTO THEBUSTLING BACK ROOM OF THE FLOWERSHOP AND GLANCES ABOUT AS CAMERADOLLIES IN WITH HER.

JULIA *2-88 58.02 62.08 4.06 JULIA TO MALE FLORIST #1, Hey, is Reed here or is he on a run? THEN MALE FLORIST #1 TO JULIA)

MALE FLORIST #1 -Yeah, he's in there.(off) Yeah, he's in there. (run : i.e., 'delivery')

JULIAOkay.

and sunny after three days of rain.

THROUGH (OUT)

-Oh, hello.

-Hey, is Reed here, or is he on a run?



(3)


PEOPLE IN SIENA BOUQUET(overlapping, low and indistinct chatter -


dialogue)

FEMALE FLORIST #1 2-89 62.12 65.05 2.09 FEMALE FLORIST #1 TO JULIA,Hi, Julia. THEN JULIA TO GROUP)

JULIA WALKS L.BG. PAST FEMALE -Hey, guys.FLORIST #2 AS SHE PREPARES ABOUQUET, BG.

JULIAHey, guys.

FEMALE FLORIST #2Hi.

JULIA 2-90 65.09 70.03 4.10 JULIA TO GROUP)How was last night, brutal? How was last night, brutal? Have you been

FEMALE FLORIST #2 (brutal : i.e., 'extremely busy [as youOh, yeah. needed to prepare for Valentine's

JULIA(overlapping) Have you been up all night?

JULIA WALKS BG. INTO A HALLWAY ASCAMERA DOLLIES IN WITH HER, OFFFEMALE FLORIST #2.

MALE FLORIST #2(off) Hey, Julia.

JULIA 2-91 70.07 72.14 2.07 JULIA TO GROUP)(overlapping) Whoo! Wow, everybody's here Wow, everybody's here today.

today.

FEMALE SINGER(over speaker) (sings "Everyday" -


dialogue)

NIKKI 2-92 73.02 76.13 3.11 NIKKI TO GROUP)(off) Oh, whose child is this? Hello? Oh, whose child is this? Hello?

MICHAEL(off) (overlapping) (into telephone) Hello,

Siena Bouquet.

JULIA WALKS BG. INTO THE BUSY FRONTSHOP AREA AS CAMERA DOLLIES INWITH HER TO INCLUDE NIKKI, L.BG., ASSHE MOVES A SMALL CHILD DOWNFROM A TABLE TO THE FLOOR.

-Hi, Julia.

up all night?

Day]')



(4)


NIKKI 2-93 77.01 79.03 2.02 NIKKI TO YOUNG BOY)Oh, there's your mother. Oh, there's your mother.

MICHAEL(off) (into telephone) Please hold. *2-94 79.07 80.15 1.08 MICHAEL INTO PHONE TO PERSON)

NIKKI WALKS L.FG. AROUND THECASHIER COUNTER AS CAMERACONTINUES PANS WITH HER TOINCLUDE MICHAEL, L.BG.

JULIA 2-95 81.03 83.08 2.05 JULIA TO NIKKI, THEN NIKKI TO JULIA)Hey, Nikki. -Hey, Nikki.

NIKKI(overlapping) (chuckles) Good (chuckling)

morning.

CAMERA DOLLIES IN AND PANS L., PASTJULIA, L.FG., TO NIKKI, GESTURING, ANDMICHAEL.

JULIA *2-96 83.12 86.11 2.15 JULIA TO NIKKI)No, these are yellow. Where's Reed? No, these are yellow. Where's Reed?

NIKKIYour pal's in the cafe. The pastries were 2-97 86.15 90.15 4.00 NIKKI TO JULIA)

late. (pal : idiomatic for 'friend')

CAMERA PANS L., OFF MICHAEL, ANDDOLLIES BACK WITH JULIA AS SHEWALKS FG., GLANCING ABOUT.

JULIA *2-98 91.03 95.07 4.04 JULIA TO NIKKI)Oh, yeah. I think he might be having a Oh, yeah. I think he might be having a rough

rough morning. (rough : i.e., 'difficult, hectic')

MICHAEL(off) (into telephone) Hello, Siena (on) (into 2-99 95.11 97.06 1.11 MICHAEL INTO PHONE TO PERSON)

telephone) Bouquet.

JULIA WALKS R.FG. INTO A MCS., THENWALKS R. AS CAMERA PANS WITH HERTO INCLUDE REED, L.BG., IN A FS.

JULIA Hey. Reed.Hey. Reed.

REED 2-101 99.11 102.01 2.06 REED TO COFFEE BARISTA)(off) (overlapping) Just need-- (on) We We need the morning glories.

need the morning glories. Oh, there they widely cultivated for its trumpet

are. Perfect. Great. flowers that close toward evening)

Please hold.

-Good morning.

Your pal's in the cafe. The pastries were late.

morning.

Hello, Siena Bouquet.

2-100 97.10 99.07 1.13 JULIA TO REED)

(morning glories : climbing plants

shaped blue, purple, pink, or white

2-102 102.05 104.15 2.10 REED TO COFFEE BARISTA)Oh, there they are. Perfect. Great.

(Perfect : Idiomatic term ofaffirmation)



(5)


JULIA WALKS BG. TO THE CAFECOUNTER AS CAMERA DOLLIES IN WITHHER TO A MS. AND PANS L., PAST JULIA,R.FG., TO REED. REED USES A PAIR OFTONGS TO MOVE PASTRIES FROM ATRAY TO A COUNTERTOP DISPLAY CASE.

JULIA 2-103 105.03 108.14 3.11 JULIA TO REED)Hey, I got your message. You okay? Hey, I got your message. You okay?

REEDYeah. 2-104 109.02 110.05/ 1.03 REED TO JULIA)

110-05 Yeah.

SCENE 5 - INT. SIENA BOUQUET - DAY -MCS - PAST REED, L.FG., TO JULIA.

REED 2-105 /110.09 112.01 1.08 REED TO JULIA)(face off) What (on) happened? What happened?

JULIA concerned?')Well, you just sounded like-- (inhales) You

sounded like maybe she sss-- she said-- 2-106 112.05 114.13 2.08 JULIA TO REED)119-05 Well, you just sounded like--

SCENE 6 - MS - PAST JULIA, R.FG., TO 2-107 116.05 119.03/ 2.14 JULIA TO REED)REED. You sounded like maybe she said--

REED"Yes." 2-108 /119.07 120.11/ 1.04 REED TO JULIA)

120-12 "Yes."

SCENE 7 - MCS - PAST REED, L.FG., TOJULIA.

REED *2-109 122.13 127.01/ 4.04 REED TO JULIA)She said yes. Why doesn't anybody have She said yes. Why doesn't anybody have any

any confidence in--?

JULIA(overlapping) No. Yes!?

127-01

SCENE 8 - MS - PAST JULIA, GESTURING, R.FG., TO REED.

REEDWhat is this?

JULIA 2-110 /127.05 129.14 2.09 JULIA TO REED, THEN REED TO JULIA)(overlapping) She said yes?! -She said yes?!

REEDYes!

(Implying, 'Why do you look so

confidence in--?

-Yes!



(6)


REED WALKS R.BG., THEN R.FG.AROUND THE COUNTER AS CAMERAPANS WITH HIM, OFF JULIA.

JULIA 2-111 130.02 132.12 2.10 JULIA TO REED)(overlapping) Oh! My goodness! Okay. I Oh! My goodness! Okay.

didn't-- (inhales) I didn't get it, but-- of surprise)

Congratulations!

REED I didn't get it, but congratulations!(overlapping) (chuckles) Call me Mr. (get it : i.e., 'get that impression from

Engaged. the message')

JULIA (HAND) REENTERS L.FG.

JULIA Call me Mr. Engaged.(face off) You're getting...

142-09

SCENE 9 - MCS - PAST REED, R.FG., TOJULIA AS SHE STEPS R.FG. ANDEMBRACES HIM.

JULIA(emphasizing) ...married! (chuckling)

(indistinct)

REED(overlapping) (grunts)

147-10

SCENE 10 - MS - HIGH ANGLE - PASTNIKKI, L.FG., TO A BABY GIRL IN THEARMS OF A WOMAN WITH BABY.STANDING IN LINE BEHIND THE WOMANWITH BABY IS NUN #2 AND NUN #1, R.BG.WOMAN WITH BABY STEPS L.FG. ANDPLACES THE BABY GIRL ON THECOUNTER AS CAMERA PANS L.SLIGHTLY.

WOMAN WITH BABY 2-115 148.02 151.09 3.07 WOMAN WITH BABY TO NIKKI)Hi, um, I ordered some tulips. Hi, I ordered some tulips.

NIKKI TURNS R.BG. AND REACTS AS SHESEES THE BABY GIRL ON THE COUNTER.NIKKI HANDS THE BABY R.BG. TOWOMAN WITH BABY AS CAMERA PANSWITH HER SLIGHTLY.

NIKKI *2-116 151.13 155.13 4.00 NIKKI TO WOMAN WITH BABY)(overlapping) (indistinct to:) Yes. Oh! Miss, Yes. Oh! Miss, you can't put the baby on the

uh, you can't put the baby on the counter, (Miss : Polite term of address toward

it's very dangerous.

(My goodness : Idiomatic expression

2-112 133.00 138.07 5.07 JULIA TO REED)

listening to the tone of your voice on

2-113 138.11 141.04 2.09 REED TO JULIA)

2-114 141.08 145.07 3.15 JULIA TO REED)(over scene end) You're getting married!

counter, it's very dangerous.

a young woman)



(7)


BABY GIRL(overlapping) (makes baby noises)

WOMAN WITH BABY 2-117 156.01 158.01/ 2.00 WOMAN WITH BABY TO NIKKI)(overlapping) Oh, but I can't get my money Oh, but I can't get my money out.

out. get my money out of my wallet.')

NIKKIShe should... *2-118 /158.05 160.15 2.10 NIKKI TO WOMAN WITH BABY)

WOMAN WITH BABY(overlapping) Oh, no.

158-02

SCENE 11 - MFS - PAST NUN #1 ANDNUN #2, R.FG., TO NIKKI, BABY GIRL, ANDWOMAN WITH BABY AS SHE TURNS FG.WITH THE BABY IN HER ARMS.

NIKKI...be off the (chuckling) counter. Thanks.

WOMAN WITH BABY(overlapping) But I can't-- (chuckles) (to

Nun #1) Um.... (chuckles - continues under

following dialogue)

NUN #1 2-118A 161.03 163.01 1.14 NUN #1 TO WOMAN WITH BABY)(overlapping) Here, let me hold her. Here, let me hold her.

WOMAN WITH BABY HANDS BABY GIRLFG. TO NUN #1.

WOMAN WITH BABY 2-119 163.05 165.01 1.12 WOMAN WITH BABY TO NUN #1)Thank you. You should know we're (in sing- Thank you.

song voice) Jewish. (chuckles - continues

under following dialogue) You should know we're Jewish.

NUN #1God loves us all.

WOMAN WITH BABY God loves us all.Thank you.

170-08

SCENE 12 - MCS - NUN #2, BABY GIRL,CLAPPING, AND NUN #1.

MICHAEL *2-120B /170.09 172.05/ 1.12 MICHAEL INTO PHONE TO PERSON)(off) (into telephone) Hello, Siena Bouquet. Hello, Siena Bouquet.

BABY GIRL(overlapping) (chuckles)

172-05

(i.e., 'I need to set her there or I cannot

She should be off the counter. Thanks.

*2-120 165.05 167.14 2.09 WOMAN WITH BABY TO NUN #1)

(Note humor)

2-120A 168.02 170.05/ 2.03 NUN #1 TO WOMAN WITH BABY)



(8)

SCENE 13 - MCS - HIGH ANGLE - REED(HANDS) AS HE CUTS THE STEM OF AFLOWER AND PLACES IT L. INTO ANARRANGEMENT.

174-02

SCENE 14 - MFS - PAST REED, R.FG., TOJULIA.

JULIA 2-121 175.00 178.09/ 3.09 JULIA TO REED)(inhales) He's just the first decent guy I've He's just the first decent guy I've dated in a

dated in a long time. (He's : i.e., 'Harrison is')178-10

SCENE 15 - MS - PAST JULIA, L.FG., TOREED.

REED 2-122 179.09 181.07/ 1.14 REED TO JULIA)Ah, it's going that well, uh? It's going that well, uh?

181-08 (It's : i.e., 'You and Harrison's

SCENE 16 - MS - PAST REED, R.FG., TOJULIA.

MALE SINGER(over speaker) (sings "The Way You Look

Tonight" - continues under following


JULIA 2-122A /181.11 185.11 4.00 JULIA TO REED)I am so sick of dating. I'm so jealous of you I am so sick of dating. I'm so jealous of you

guys. (sick of : i.e., 'tired of' - 'jaded with')185-13 (of you guys : i.e., 'that you and Morley


REED 2-123 185.15 189.13 3.14 REED TO JULIA)When do I get to meet the phantom... (over scene end) When do I get to meet the phantom

188-10 physician?

SCENE 18 - MS - PAST REED, R.FG., TO socialize with Julia's friends)JULIA.

REED...physician?

JULIA 2-124 190.01 191.11/ 1.10 JULIA TO REED)I think soon. I think soon.

191-13

long time.

relationship is')

guys.

are engaged')

(phantom physician : note alliteration- implying that Harrison does not



(9)


REED 2-125 /191.15 193.13/ 1.14 REED TO JULIA)You guys got plans tonight? You guys got plans tonight?

JULIANo... *2-126 /194.01 199.05/ 5.04 JULIA TO REED)

194-00 No, nothing. He has to go to San Francisco,


JULIA...nothing. Just-- He has to go to San

Francisco, so we're gonna talk on the

phone.199-06


REED 2-127 200.03 205.05/ 5.02 REED TO JULIA)You know what you should do? (in low You know what you should do? You should

tones) You should (in normal voice) fly up

and surprise him.205-05


JULIA 2-128 206.13 209.11 2.14 JULIA TO REED, THEN REED TO JULIA)You think so? -You think so?

REED(chuckling) Yeah. Why not?

JULIA 2-129 209.15 211.13 1.14 JULIA TO REED, THEN REED TO JULIA)(overlapping) (chuckling) (inhales) (in -No.

normal voice) (emphasizing) No. (Come on : Idiomatic expression of

REED(overlapping) Come on.

JULIA 2-130 212.01 214.10 2.09 JULIA TO REED)Well, I don't know where he's staying, and I Well, I don't know where he's staying--

don't know....

REED 2-131 214.14 218.09 3.11 REED TO JULIA)(overlapping) You make a call, you find out. You make a call, you find out. What's the big

What's the big deal? (big deal : slang for something of219-01 great importance or consequence)

so we're gonna talk on the phone.

fly up and surprise him.

-Yeah. Why not?

-Come on.

urging, here meaning 'Do it')

deal?



(10)

SCENE 23 - MS - PAST JULIA, L.FG., TOREED AS HE SHRUGS.

JULIA 2-132 /219.05 222.12 3.07 JULIA TO REED)(chuckling) God, you really think I should God, you really think I should go?

go? indicate intense feeling)

REEDWhy not? Come on, it's Valentine's Day. 2-133 223.00 224.13 1.13 REED TO JULIA)

You don't think. You just do.230-10

SCENE 24 - MS - PAST REED, R.FG., TO think. You just do.JULIA AS SHE REACTS, UNCERTAIN. (You don't...do : i.e., 'Valentine's DayREED STEPS R. WITH HIS NEW is a time to fearlessly act on yourBOUQUET, BRIEFLY EXITING, R.FG. emotions without considering all the

JULIA(emphasizing) Ha....

REED(chuckles) (in low tones) Go.

JULIA(overlapping) (chuckles) (inhales)

237-02

SCENE 25 - MS - PAST JULIA, FG., TOREED, L.BG. REED WALKS R.FG. ASCAMERA DOLLIES L. AND PANS R. WITHHIM.

REED 2-135 /237.05 239.01 1.12 REED TO JULIA)Go! Go!

239-09

SCENE 26 - MS - A BABY BOY AND BABYGIRL #2 AS BABY BOY GRIPS HER FACEAND KISSES HER.

MALE SINGER(over speaker) (sings "Amor" - continues

under following scenes and dialogue)

BABY BOY(kisses)

BABY BOY AND BABY GIRL #2AWKWARDLY REACT.

244-07

(God : Used as an expletive to

Why not?

2-134 225.11 230.09/ 4.14 REED TO JULIA)Come on, it's Valentine's Day. You don't

consequences')



(11)

SCENE 27 - MS - JULIA AND REED KISSEACH OTHER ON THE CHEEK.

REED *2-135AA /244.09 246.01 1.08 REED TO JULIA)(in low tones) Get outta here. Get outta here.

REED AND JULIA(kiss)

JULIA 2-135A 246.05 248.01 1.12 JULIA TO REED)Congratulations. Congratulations.

JULIA EXITS L.FG. AS REED REACTS,SMILING.

REED(chuckles)

250-11

SCENE 28 - EXT. SKATEBOARD RAMP -DAY - FS - A SKATER GIRL SEATED ONTOP OF A RAMP AS BMX RIDERS ANDSKATEBOARDERS RIDE ON THE RAMP. ASKATER BOY ENTERS LOWER R.FG. ANDSKATEBOARDS L., THEN LEAPS OFF HISO.S. SKATEBOARD AND SITS DOWN NEXTTO HER, L.FG. SKATER BOY HANDS HERA ROSE, AND SKATER GIRL LEANS L.FG.AND KISSES HIM.

PEOPLE AT SKATEBOARD RAMP(overlapping, low and indistinct chatter -


dialogue)

SKATER GIRL(kisses)

SKATER BOY LEANS R., TRYING TO KISSTHE GIRL AGAIN. SHE PUSHES HIM ANDHE FALLS ONTO THE RAMP, EXITINGLOWER FG.

SKATER BOY #1Whoa!

SKATER BOY #2, RIDING THE RAMP,REACTS, R.BG.

SKATER BOY #2Hey!

SKATER BOY #2 EXITS LOWER R.BG.263-03



(12)

SCENE 29 - EXT. LOS ANGELES STREET -DAY - LS - THE SIENA BOUQUET VANDRIVES R.FG., THEN R.BG. AS CAMERAPANS AROUND WITH IT. A SIGN PAINTEDON THE SIDE OF THE VAN READS:

SIENABOUQUET

269-12

SCENE 30 - EXT. BEVERLY HILLS - DAY - TRANSLATE IT FOR YOUR TERRITORY.LS - PAST A SIGN, L.FG., TO HARRISONDRIVING A CONVERTIBLE R.FG. THESIGN READS: 2-136 /269.13 271.13 2.00 NARRATIVE TITLE) (of sign) (OPTIONAL)

BEVERLY BEVERLY HILLS HILLS

HARRISON DRIVES R., THEN R.BG. AS (An affluent city in the western part ofCAMERA PANS AROUND WITH HIM, OFF Los Angeles County, California, USA)THE SIGN TO REVEAL A NEW SIGN, R.FG.,AND A SEATED MAN SELLING MAPS,L.BG. THE NEW SIGN READS: LABORATORY: THE FOLLOWING TITLE #2-137 MAY DOUBLE-PRINT

MAPS POSITIONING TO AVOID DOUBLE-PRINTING.TO THE STARSHOMES 2-137 274.04 275.14/ 1.10 NARRATIVE TITLE) (of sign) (OPTIONAL)

275-15 MAPS TO THE STARS HOMES

SCENE 31 - EXT. SIENA BOUQUET - DAY - 'CELEBRITIES'')MS - PAST JULIA (TORSO), L.FG., TO ACHALKBOARD SIGN.

PEOPLE OUTSIDE SIENA BOUQUET(overlapping, low and indistinct chatter -


dialogue)

THE CHALKBOARD SIGN READS:

COME INFOR OUR

VALENTINESDAY

SPECIALS...GET YOUR HEART ON HERE

JULIA WALKS R.BG, DIALING HER CELLPHONE, AS CAMERA PANS WITH HER,OFF THE CHALKBOARD SIGN, AND TILTSUP, FACE ON. JULIA STOPS ANDGLANCES ABOUT.

HARRISON *2-139 281.00 283.02/ 2.02 HARRISON OVER PHONE TO JULIE,(over telephone) Hello there. THE JULIA INTO PHONE TO HARRISON)

JULIA -Hi.(into telephone) Hi. (-Hello there. : to appear in ITALICS)

283-03

TRANSLATORS: YOU MAY OMIT TITLE #2-136 IF YOU DO NOT NEED TO


(STARS : STARS' - slang for

2-138 (OUT)

-Hello there.



(13)

SCENE 32 - EXT. COPELANDHOUSE/STREET - DAY - LS - HARRISONDRIVES R.FG. AS CAMERA PANS R.SLIGHTLY INTO A FS.

HARRISON *2-140 283.13 288.01/ 4.04 HARRISON INTO PHONE TO JULIA)(into telephone) Hey, honey, I'm just pulling Hey, honey. I'm just pulling into the airport.

into the airport. (pulling into : i.e., 'arriving at')288-02

SCENE 33 - EXT. SIENA BOUQUET - DAY -MS - JULIA.

HARRISON 2-141 /288.07 290.13 2.06 HARRISON OVER PHONE TO JULIA)(over telephone) I'll call you when I land, ITAL I'll call you when I land, okay?

okay?

JULIA *2-142 291.01 296.00/ 4.15 JULIA INTO PHONE TO HARRISON)(into telephone) Ok-- I get it. Okay, have a I get it. Okay, have a safe flight. I'll talk to you

safe flight. I'll talk to you later. Bye. (get it : i.e., 'understand')296-01

SCENE 34 - EXT. COPELANDHOUSE/STREET - DAY - LS - HIGH ANGLE- HARRISON DRIVES HIS CAR R.FG. ASCAMERA PANS WITH HIM. HARRISONTURNS AND DRIVES L.BG. INTO ADRIVEWAY AS CAMERA TILTS UP WITHHIM TO REVEAL HIS LARGE HOUSE, BG.HARRISON TURNS AND DRIVES R.ALONG THE DRIVEWAY, BECOMINGOBSCURED BEHIND A HEDGE, ASCAMERA PANS WITH HIM SLIGHTLY.

HARRISON *2-142A /296.04 298.03 1.15 HARRISON INTO PHONE TO JULIA)(into telephone) Thanks. Bye-bye. Thanks. Bye-bye.

309-01

SCENE 35 - EXT. COPELANDHOUSE/BACK YARD - DAY - FS -THROUGH A WROUGHT IRON FENCE,FG., TO HARRISON AS HE DRIVES HISCAR R. AND PARKS AS CAMERA PANSWITH HIM SLIGHTLY.

HARRISON(whispering) Wow.

314-09

SCENE 36 - FS - HARRISON STEPS R.OUT OF HIS CAR AND CLOSES THEDOOR, THEN WALKS R.FG. TOWARD THEHOUSE AS CAMERA DOLLIES BACK ANDPANS R. WITH HIM, OFF THE CAR, INTO AMS. HARRISON TAKES HIS WEDDINGBAND OUT OF HIS POCKET.

329-04

(honey : term of endearment)

later. Bye.



(14)

SCENE 37 - MCS - HARRISON (HANDSAND TORSO) WALKS R.FG. AND SLIPSON HIS WEDDING BAND AS CAMERADOLLIES AND PANS R. WITH HIM.

331-08

SCENE 38 - MS - PAMELA STEPS L. OUTOF A HOT TUB, THEN WALKS R. ASCAMERA PANS WITH HER.

HARRISON *2-143 333.05 336.05/ 3.00 HARRISON TO PAMELA & OLIVIA)(off) Hello? Good morning! I'm... Hello! Good morning. I'm home!

336-06

SCENE 39 - FS - PAST OLIVIA, SEATEDR.FG. ON A PATIO, TO HARRISON AS HEWALKS R. AND CAMERA DOLLIES IN ANDPANS R. SLIGHTLY.

HARRISON...home!

OLIVIA *2-144 337.00 339.03/ 2.03 OLIVIA TO HARRISON,Hi, Daddy. THEN HARRISON TO OLIVIA)

HARRISON -Hey, peanut.Hey, peanut. (peanut : term of endearment,

339-04 especially for someone small)

SCENE 40 - LS - HIGH ANGLE - OVER THELAWN, LOWER FG., TO PAMELA AS SHESTEPS FG. AND PUTS ON A BATHROBE.

HARRISON *2-144A 340.05 342.05 2.00 HARRISON TO PAMELA)(off) Hi, sweetie. Hi, sweetie.

OLIVIA(off) Did you...

343-01 *2-145 343.03 346.10 3.07 OLIVIA TO HARRISON,

SCENE 41 - FS - LOW ANGLE - PAST -I did.OLIVIA, SEATED R.FG., TO HARRISON AS (Did you fix all the broken hearts : HE WALKS R. AND KISSES OLIVIA ON THE Note double meaning - [1] i.e., 'DidTOP OF HER HEAD. CAMERA DOLLIES IN, you perform successful heartCRANES UP, AND PANS R. INTO A MFS. surgeries' and [2] i.e., 'Did you aid

OLIVIA despair')...fix all the broken hearts?

HARRISONI did. (kisses)

347-00

-Hi, Daddy.

(sweetie : term of endearment)

THEN HARRISON TO OLIVIA)-Did you fix all the broken hearts?

those suffering from sorrow or



(15)

SCENE 42 - MCS - PAST OLIVIA, R.FG., TOHARRISON AS HE FINISHES KISSINGHER AND STEPS R., REVEALING PAMELA,L.BG.

HARRISON *2-146 /347.01 348.13 1.12 HARRISON TO OLIVIA)I (face off) did. I did.

HARRISON STEPS R., EXITING, ASPAMELA WALKS L.FG. ONTO THE PATIOAND CAMERA CRANES UP, OFF OLIVIA,DOLLIES R. AND PANS L.

PAMELA 2-147 349.01 350.12 1.11 PAMELA TO HARRISON)Happy Valentine's Day. Happy Valentine's Day.

HARRISON REENTERS R.FG. ANDKISSES PAMELA, CONTINUED UNDERFOLLOWING SCENE.

HARRISON 2-148 351.00 353.05/ 2.05 HARRISON TO PAMELA)(off) Happy Valentine's (on) Day to you. Mm. Happy Valentine's Day to you.

353-09

SCENE 43 - MS - PAST PAMELA, L.FG., TOHARRISON AS HE BACKS AWAY R.BG.AND BEGINS JUGGLING THREE LEMONS,CONTINUED UNDER FOLLOWINGSCENES.

HARRISON(kissing) Mwah.

PAMELA(overlapping) (kisses)

HARRISON 2-149 354.11 357.12 3.01 HARRISON TO PAMELA)Surgery went late. I stayed at the condo. Surgery went late. I stayed at the condo.

PAMELAI figured.

360-00 2-150 358.00 359.14/ 1.14 PAMELA TO HARRISON)

SCENE 44 - MCS - PAMELA REACTS, happened.')SMILING.

PAMELA 2-151.Hm, doesn't Daddy juggle well? THROUGH (OUT)

363-15 2-157.

SCENE 45 - MCS - PAST PAMELA, L.FG., 2-158 361.10 363.14/ 2.04 PAMELA TO OLIVIA)TO HARRISON AS HE REACTS AND Doesn't Daddy juggle well?CAMERA PANS L. SLIGHTLY. (Note double meaning - [1] Literally,

OLIVIA skills.' and [2] Metaphorically implying(off) Yeah. Harrison is skilled at juggling his life

PAMELA affair with Julia - Note that Pamela(chuckling) Mm-hm. and Olivia are unaware of Harrison's

366-06 affair)

(condo : i.e., 'condominium')

I figured.(i.e., 'I assumed that is what

'Your daddy has excellent juggling

as a father and husband, and his



(16)

SCENE 46 - INT. AIRPLANE - DAY - LS -AERIAL SHOT - THROUGH WINDOW ANDPAST THE EXTERIOR OF THE AIRPLANE,LOWER FG., TO CLOUDS AND THE SUNAS THE PLANE TRAVELS R. AND CAMERATRAVELS WITH IT.

369-11

SCENE 47 - MCS - PAST KATE, SEATEDAND ASLEEP, R.FG., TO HOLDEN,SEATED NEXT TO HER, AS HE REACTSTO THE SUNSHINE ON HIS FACE,SQUINTING AND GRIMACING. HOLDENREACHES L.FG. TOWARD THE O.S.WINDOW SHADE BUT CANNOT REACH IT,AS KATE IS ASLEEP ON HIS SHOULDER.

379-00

SCENE 48 - MCS - THE PARTIALLY OPENWINDOW SHADE.

382-10

SCENE 49 - MCS - PAST HOLDEN, L.FG.,TO KATE, AS HOLDEN LIFTS HIS R. FOOTINTO FRAME R.FG. AND CAREFULLYMOVES IT R. TOWARD THE O.S. WINDOW.

387-05

SCENE 50 - MCS - PAST HOLDEN'S FOOT,L.FG., TO HOLDEN AND KATE ASHOLDEN STRUGGLES TO REACH THEO.S. WINDOW SHADE WITH HIS FOOT.

389-07

SCENE 51 - MCS - PAST HOLDEN'S LEG,FG., TO THE WINDOW AS HE MOVES HISFOOT BG. TOWARD IT.

391-10

SCENE 52 - MCS - PAST HOLDEN'S FOOT,L.FG., TO HOLDEN AND KATE ASHOLDEN STRUGGLES TO REACH THEO.S. WINDOW SHADE WITH HIS FOOT.

393-11

SCENE 53 - MCS - PAST HOLDEN'S LEG,FG., TO THE WINDOW AS HE MOVES HISFOOT LOWER R.BG. TOWARD IT, BUTFAILS TO CLOSE THE SHADE.

394-15



(17)

SCENE 54 - MCS - PAST HOLDEN, L.FG.,TO KATE AS SHE SUDDENLY WAKES UPAND REACTS, STARTLED. KATE SITSUPRIGHT. HOLDEN GESTURES AND SITSUPRIGHT, THEN LEANS R. TOWARD THEO.S. WINDOW.

KATE 2-159 /395.01 396.13 1.12 KATE TO HOLDEN)What are you doing? What are you doing?

HOLDEN(overlapping) Sorry, I was just-- Excuse me, *2-160 397.01 402.11 5.10 HOLDEN TO KATE)

I was just tryin' to, uh, (straining) close the... window.401-04 (window : i.e., 'window blind')

SCENE 55 - MCS - PAST HOLDEN, L.FG.,TO KATE AS HOLDEN CLOSES THE O.S.WINDOW, THEN LEANS R.BG. IN HISSEAT. HOLDEN READJUSTS HIS SITTINGPOSITION AND GLANCES ABOUT.

HOLDEN...window.

KATE(overlapping) (clears throat)

HOLDEN(exhales) (exhaling) (grunts - continues

under following dialogue)

KATE 2-161 406.02 408.00 1.14 KATE TO HOLDEN)I'm sorry. (smacks lips) I'm sorry.

HOLDEN your shoulder.')(overlapping) (breathes heavily) No, uh....

For leaning on my shoulder? Come on, it's *2-162 409.13 416.06 6.09 HOLDEN TO KATE)

the least I could do. A fourteen-hour flight. it's the least I could do. A 14-hour flight.


HOLDEN 2-163 419.09 421.10 2.01 HOLDEN TO KATE)(inhales) (exhaling) Hoo. (in low tones) Oh, Oh, God, that's better.

God, that's better. (in normal voice) You on relief - Referring to the fact that the

active duty?424-07

(over scene end) Excuse me, I was just tryin' to close the

(i.e., 'I apologize for falling asleep on

No. For leaning on my shoulder? Come on,

(Oh, God : Idiomatic expression of

sun is now not shining in his eyes)

2-164 422.11 424.06/ 1.11 HOLDEN TO KATE)You on active duty?

(active duty : full-time occupation aspart of a military force)



(18)

SCENE 56 - MCS - HOLDEN, GLANCINGABOUT, AND KATE.

KATE 2-165 /424.10 426.06 1.12 KATE TO HOLDEN)Yes, sir. Yes, sir.

HOLDEN to a superior officer in the military)(inhales) Two bars. Is that lieutenant?

(exhales - continues under following 2-166 427.03 430.00 2.13 HOLDEN TO KATE)

dialogue) (Two bars : Referring to the insignia

KATE (Is that : i.e., 'Does that signify theTwo bars is a captain. (clears throat) rank of')

HOLDEN(swallows) (smacks lips)

KATE Two bars is a captain.(inhales) (captain : a military officer rank

HOLDEN command of a company of soldiers)You have a loved one in L.A.? (inhales

through nose) Well, I'm sure he'll be happy 2-168 437.10 440.08 2.14 HOLDEN TO KATE)

to see you. Has, uh.... (inhales) How long,

uh, how long has it been since you've been 2-169 444.12 448.01 3.05 HOLDEN TO KATE)

home?

KATE 2-170 451.14 456.12 4.14 HOLDEN TO KATE)Eleven months. How long has it been since you've been

HOLDENAnd how long do you get to stay?

KATE Eleven months.Just till tomorrow.

466-13

SCENE 57 - MCS - PAST KATE, R.FG., TOHOLDEN AS HE REACTS, GLANCINGABOUT. 2-173 464.14 466.13/ 1.15 KATE TO HOLDEN)

HOLDEN(whispering) Wow. (in normal voice)

Fourteen-hour flight both ways just for one Wow. Fourteen-hour flight both ways just for

night. Wow, that's romantic. (stammers)

That's-- You're a romantic. I mean, that's- 2-175 475.10 478.00 2.06 HOLDEN TO KATE)

that's quite a gesture. 482-15

(Note humor of Kate answering as if

Two bars. Is that lieutenant?

on Kate's uniform)

(lieutenant : a rank in the military)

2-167 430.04 432.09 2.05 KATE TO HOLDEN)

historically corresponding to

You have a loved one in L.A.?

Well, I'm sure he'll be happy to see you.

home?

2-171 458.01 460.02 2.01 KATE TO HOLDEN)

2-172 461.04 464.01 2.13 HOLDEN TO KATE)And how long do you get to stay?

Just till tomorrow.

2-174 468.14 475.01 6.03 HOLDEN TO KATE)

one night.

Wow, that's romantic.

2-176 478.09 482.14/ 4.05 HOLDEN TO KATE)You're a romantic. I mean, that's quite agesture.

(gesture : an action intended tocommunicate feelings or intentions)



(19)

SCENE 58 - MS - PAST HOLDEN,GLANCING ABOUT, L.FG., TO KATE.

HOLDEN 2-177 486.01 488.01 2.00 HOLDEN TO KATE)That's.... (inhales) That's commitment. That's commitment.

A MALE PASSENGER (TORSO) CROSSESR., FG., BRIEFLY OBSCURING HOLDENAND KATE.

HOLDEN (cont'd) 2-178 497.08 499.09 2.01 HOLDEN TO KATE)You on Facebook? You on Facebook?

503-01 (You on : i.e., 'Do you have a profile

SCENE 59 - EXT. SIENA BOUQUET - DAY - networking website that is operatedFS - PAST A MALE PEDESTRIAN, R.FG., TO and privately owned by Facebook,A FEMALE CUSTOMER AND TWO Inc.)CHILDREN BY THE ENTRANCE OF SIENABOUQUET. THE MALE PEDESTRIANWALKS R.BG. AS THE FEMALECUSTOMER WALKS BG. INTO SIENABOUQUET, AND THE TWO CHILDRENWALK L.

FEMALE SINGER(over speaker) (sings "I'm Into Something

Good" - continues under following scenes

and dialogue)

BULGARIAN GIRL ITAL I need some chrysanthemums.(voice over) I need some chrysanthemums. (chrysanthemums : plants with

508-01 brightly colored globe-shaped flowers

SCENE 60 - INT. SIENA BOUQUET - DAY - syllables)MS - PAST BULGARIAN GIRL, R.FG., TOFEMALE EMPLOYEE #1, MICHAEL ANDNIKKI, STANDING ON THE OTHER SIDEOF THE CASHIER'S COUNTER. REEDENTERS R.FG. AND WALKS L.BG. TOFEMALE EMPLOYEE #1, WHO ISINSPECTING A BOUQUET.

MICHAEL 2-180 /508.05 512.11/ 4.06 MICHAEL TO BULGARIAN GIRL)What? You should speak English. I had to What? You should speak English. I had to

learn when I came. (I...came : Referring to the fact that512-13 Michael is not a native English

SCENE 61 - MS - PAST NIKKI ANDMICHAEL, L.FG., TO BULGARIAN GIRL. 2-181 (OUT)

BULGARIAN GIRLChrysanthemums and calli... 2-182 /512.15 515.03/ 2.04 BULGARIAN GIRL TO MICHAEL)

515-05 Chrysanthemums and calli lilies.

on')(Facebook : a global social

2-179 505.01 508.01/ 3.00 BULGARIAN GIRL TO MICHAEL) (voice over)

- note that the Bulgarian Girl says thisputting the accent on the wrong

learn when I came.

speaker)

(calli lilies : mispronunciation of'calla lilies')



(20)

SCENE 62 - MCS - PAST BULGARIANGIRL, R.FG., TO MICHAEL AND REED ASREED STEPS L.FG. AND PUTS HIS ARMAROUND MICHAEL. CAMERA PANS L.WITH REED, OFF BULGARIAN GIRL.

BULGARIAN GIRL...lilies.

REED(overlapping) Okay.

MICHAEL *2-183 /515.07 517.01 1.10 MICHAEL TO BULGARIAN GIRL)(overlapping) I don't know what it-- I don't know what it--

REED saying.')(overlapping) (interrupting) Michael, calm

down. (to Bulgarian Girl) What--? *2-184 517.05 519.00 1.11 REED TO MICHAEL)

(stammers) What language are you

speaking? 2-185 519.04 521.05/ 2.01 REED TO BULGARIAN GIRL)521-05 What language are you speaking?

SCENE 63 - MCS - PAST REED, L.FG., TOBULGARIAN GIRL.

BULGARIAN GIRL 2-186 /521.09 526.02/ 4.09 BULGARIAN GIRL TO REED)I used to speak Bulgarian, but I'm an I used to speak Bulgarian, but I'm an

American citizen now.526-03

SCENE 64 - MS - PAST BULGARIAN GIRL,R.FG., TO REED AND MICHAEL. REEDGLANCES ABOUT AND GESTURES.

REED *2-187 527.03 531.09 4.06 REED TO GROUP)Uh, does anybody here speak English with Does anybody here speak English with a

a Bulgarian accent? (Note humor)

BULGARIAN MAN(off) Over here. I do. *2-187A 531.13 533.08 1.11 BULGARIAN MAN TO REED)

REED(overlapping) (smacks lips) Any--? (to

Michael and Bulgarian Girl) Ah, there he is. There he is.

(to Bulgarian Man and Bulgarian Girl)

(stammers) "Bulgarize" away. Here we go. 2-189 535.12 539.00 3.04 REED TO BULGARIAN GIRL

(i.e., 'I don't understand what you are

Michael, calm down.

American citizen now.

Bulgarian accent?

Over here. I do.

*2-188 533.12 535.08 1.12 REED TO MICHAEL & BULGARIAN GIRL)

(i.e., 'There is a man who can help.')

& BULGARIAN MAN)"Bulgarize" away. Here we go.

("Bulgarize" away : Made-up slang for'Freely speak in a Bulgarian accent' -'Confer with this fellow Bulgarian,[who will resolve the problem]')(Here we go : Idiomatic introductionto a new activity or new part of anactivity - Used here to acknowledgethe arrival of the Bulgarian Man)



(21)


BULGARIAN MAN ENTERS R.FG. REEDREACTS AS HE SEES O.S. MORLEY.

REED (cont'd) *2-190 539.04 543.07 4.03 REED TO GROUP)There she is! (over scene end) There she is! The future Mrs. Reed Bennett!

540-10 (There she is : Referring to Morley)

SCENE 65 - MFS - MORLEY REACTS, by their husband's full namesSMILING, AS REED ENTERS L.FG. AND modified by a feminine title)WALKS R.BG. TOWARD HER. MORLEYSTEPS L.FG. AS REED EMBRACES HER,LIFTING HER UP IN HIS ARMS, ANDSPINS AROUND WITH HER BEFORELOWERING HER BACK TO THE GROUNDAND KISSING HER.

REED(off) The future Mrs. Reed Bennett!

MICHAEL 2-191 543.11 546.02 2.07 MICHAEL TO BULGARIAN GIRL)(off) (overlapping) Oh, chrysanthemums! Oh, chrysanthemums!

MORLEY assistance of the Bulgarian Man,(overlapping) Hi, babe. Michael now understands the

REEDHi, baby.

MORLEY THEN MORLEY TO REED)(muffled) Hi. (grunts) -Hi, babe.

REED (babe/baby : slang terms of affection)(overlapping) (emphasizing) (grunts) (in

French accent) Hello, fiancée! 2-193 550.01 552.05 2.04 REED TO MORLEY)

REED AND MORLEY(kiss)

REED *2-193A 553.02 556.00 2.14 REED TO MORLEY)It sounds weird. Have you... (over scene end) It sounds weird. Have you said it yet?

554-11 (It sounds weird : i.e., 'Saying

SCENE 66 - MCS - REED AND MORLEY ASREED GLANCES ABOUT, THEN WALKS L.WITH MORLEY. CAMERA PANS L.SLIGHTLY WITH THEM.

REED...said it yet?

MORLEYMm-mm.

REED 2-193B 556.04 558.05 2.01 REED TO NIKKI)Nikki, take over for a minute. (to Morley) Nikki, take over for a minute.

Come this way. 'supervise the store temporarily')

NIKKI(off) (into telephone) Can I-- 2-193C 558.09 560.02/ 1.09 REED TO MORLEY)

560-03 Come this way.

(The future Mrs. Reed Bennett : Notethat wives are sometimes referred to

(Note implication that with the

Bulgarian Girl's request)

*2-192 546.06 548.09 2.03 REED TO MORLEY,

-Hi, baby.

Hello, fiancée!

"fiancée" is unfamiliar')

(take over for a minute : i.e.,



(22)

SCENE 67 - MCS - PAST MALECUSTOMER, R.FG., TO NIKKI, CRADLINGTHE PHONE WITH HER SHOULDER ANDHOLDING INVOICES IN HER HANDS.NIKKI HANDS THE MALE CUSTOMER ABOUQUET, THEN STEPS R.

NIKKI *2-194 /560.06 565.02/ 4.12 NIKKI TO MALE CUSTOMER)Oh! Oh! Wait, these are for you. I knew they Oh! Wait, these are for you. I knew they were

were (chuckling) for somebody. (these : i.e., 'these flowers')565-03

SCENE 68 - MS - PAST MORLEY, R.FG., TOREED, GESTURING AS HE AND MORLEYWALK L. AND CAMERA PANS SLIGHTLYWITH THEM.

REED 2-195 /565.06 568.01/ 2.11 REED TO COFFEE BARISTA)Sarah, have you met my fiancée? Sarah, have you met my fiancée?

568-03

SCENE 69 - MS - PAST A FEMALECUSTOMER, L.FG., TO COFFEE BARISTAAS SHE SMILES AND WAVES.

COFFEE BARISTA 2-196 /568.05 569.13/ 1.08 COFFEE BARISTA TO MORLEY)Hi, Morley. Hi, Morley.

569-14

SCENE 70 - MS - MORLEY AND REED SITDOWN AT A CAFE TABLE BY A WINDOW.MORLEY SEARCHES THROUGH HERPURSE AS REED PUTS A PURCHASEORDER IN HIS COAT POCKET.

MORLEYHi.

REED 2-197 570.10 573.09 2.15 REED TO MORLEY)(overlapping) (chuckles) (chuckling) I just I just like sayin' it.

like (in normal voice) sayin' it. I feel so fiancée')

grown-up. (chuckles)

MICHAEL I feel so grown-up.(off) Next, please! (so grown-up : idiomatic for 'so

MORLEY TAKES REED'S WALLET OUT OFHER PURSE AND GESTURES WITH IT,LEANING R. ONTO THE TABLE. REED *2-198A 576.14 579.02 2.04 MICHAEL TO GROUP) (OPTIONAL)REACTS, GESTURING. Next, please!

MORLEYLook what you forgot. 2-199 579.06 581.13 2.07 MORLEY TO REED)

REED (Look what : Colloquial for 'Look atSee... what' - 'Look at the item' - Referring to

583-05 Reed's wallet, which Morley hands to

for somebody.

(sayin' it : i.e., 'referring to you as my

2-198 573.13 576.06 2.09 REED TO MORLEY)

mature' - 'like such an adult')

Look what you forgot.

him)



(23)

SCENE 71 - MCS - PAST REED, R.FG., TOMORLEY AS REED GRASPS THE WALLETTHEN REACTS AS HE NOTICES THATMORLEY IS NOT WEARING HERENGAGEMENT RING.

REED *2-200 582.03 584.14 2.11 REED TO MORLEY)...that is... (over scene end) See, that is...

586-03 (See : Interjection used here to

SCENE 72 - MCS - PAST MORLEY, L.FG., (that is : implying that Reed hadTO REED AS HE TAKES HIS WALLET AND intended to say 'that is why I want toCONTINUES TO REACT. marry you' [i.e., 'because you are so

REED you'], but then notices Morley is not...is one empty hand. wearing her engagement ring and

591-06 changes his sentence)

SCENE 73 - MS - PAST REED, R.FG., TO 2-201 586.13 591.05/ 4.08 REED TO MORLEY)MORLEY AS SHE REACTS. A FEMALE ...is one empty hand.CUSTOMER CROSSES L., FG., BRIEFLY (one empty hand : idiomatic for 'aOBSCURING THEM. very empty hand' - i.e., 'a strikingly

MORLEYOh. Yeah. (inhales) Don't be mad.

598-03 2-202 596.05 598.02/ 1.13 MORLEY TO REED)

SCENE 74 - MS - PAST MORLEY, L.FG., TOREED.

REED 2-203 598.12 601.09/ 2.13 REED TO MORLEY)Mad? Why would I be mad? I'm concerned. Mad? Why would I be mad? I'm concerned.

JEWEL(overlapping) (over speaker) (sings "Stay

Here Forever" - continues under following

scenes and dialogue)601-09

SCENE 75 - MCS - PAST REED, R.FG., TOMORLEY.

MORLEY 2-204 605.14 611.05 5.07 MORLEY TO REED)I just-- (chuckling) (exhales) Do you have Do you have any idea what it would be like at

any idea what it would be like at work today (Do you have any idea : Idiomatic for

if I wore that thing? I mean, people will be recognize even minimally')

asking me-- ring')614-01

indicate a salient example hasarisen)

attentive is one of the reasons I love

ringless hand')

Don't be mad.

work today if I wore that thing?

'Do you realize at all' - 'Do you

(that thing : i.e., 'this engagement

2-205 611.09 614.01/ 2.08 MORLEY TO REED)I mean, people will be asking me--



(24)


REED 2-206 /614.05 616.14 2.09 REED TO MORLEY)(interrupting) "Where'd you get the big "Where'd you get the big ring?!"

ring?!" diamond')

MORLEY(chuckles)

REED(chuckles)

MORLEY 2-207 617.02 622.07 5.05 MORLEY TO REED)You know... (over scene end) You know, "How many bridesmaids?" And,

618-03 "How did he do it?"

SCENE 77 - MCS - PAST REED, R.FG., TO your wedding')MORLEY. (How did he do it : i.e., 'How exactly

MORLEY he convince you to get married')..."How many bridesmaids?" And,

(stammers) "How did he do it?" (chuckles) *2-208 623.05 625.14/ 2.09 MORLEY TO REED)

"Gonna have kids? How many?" (chuckles (kids : i.e., 'children')

- continues under following scene)625-15


REED 2-209 626.06 628.01 1.11 REED TO MORLEY)Three. Three.

628-12

SCENE 79 - MS - MORLEY AND REED ASMORLEY REACTS.

MORLEY 2-210 /628.13 630.02 1.05 MORLEY TO REED)(chuckling) What?! (chuckles - continues What?!

under following dialogue) alarm)

REEDTwo dogs, and maybe some chickens. 2-211 630.06 634.03 3.13 REED TO MORLEY)

MORLEY (Two dogs : i.e., 'And two dogs')(overlapping) (inhales through nose) (Note implication that Reed has

REED life)Uh-- (stammers) We can talk about it. We

don't have the, I think.... 2-212 634.07 636.05 1.14 REED TO MORLEY)

(big ring : i.e., 'ring with the large

(How many bridesmaids : i.e., 'Howmany bridesmaids will you have at

did Reed propose to you' - 'How did

"Gonna have kids? How many?"

(Used here as an interjection of mild

Two dogs, and maybe some chickens.

specific expectations of his married

We can talk about it.(talk about it : i.e., 'discuss it andcollaboratively decide the specificdetails later')



(25)


MORLEY STANDS UP AND STEPS R.TOWARD REED AND LEANS IN CLOSE TOHIM AS CAMERA PANS WITH HER.

MORLEY 2-213 636.09 639.13 3.04 MORLEY TO REED)(overlapping) (exhales sharply) Sweetheart, I just think right now...

(whispering) Sweetheart, (in normal voice) I endearment)

just think right now it would be better if

maybe we could just keep it a secret. ...it would be better if maybe we could just

BULGARIAN MAN (it a secret : i.e., 'held off telling(off) (overlapping) (indistinct to:) Where are others about our engagement')

you from?

BULGARIAN GIRL THEN BULGARIAN GIRL (off) I am from Ruse. TO BULGARIAN MAN)

REED -I am from Ruse.(overlapping) (in low tones) Okay. (Ruse : city in Ruse Province,

REED AND MORLEY KISS, CONTINUEDUNDER FOLLOWING SCENE.

REED AND MORLEY(overlapping) (kiss - continues under

following scene and dialogue) 650-07

SCENE 80 - MFS - PAST REED ANDMORLEY, L.FG., TO BULGARIAN GIRL ANDBULGARIAN MAN AS THEY WALK FG.,FOLLOWED BY MICHAEL.

MICHAEL 2-215 /650.10 655.11 5.01 MICHAEL All right, you guys can start a... TO BULGARIAN GIRL & BULGARIAN MAN)

BULGARIAN MAN village together! All right!(overlapping) Perfect. (you guys : term of group address for

BULGARIAN GIRL AND BULGARIAN MAN to the Bulgarian Girl and the BulgarianEXIT R.FG. MICHAEL SEES MORLEY AND Man)REACTS, VERY EXCITED, AND (Note humor)GESTURES, CONTINUED UNDERFOLLOWING SCENES.

MICHAEL 2-216 655.15 659.04 3.05 MICHAEL TO MORLEY)...Bulgarian village together! All right! (to Oh, my God! Look, there's the bride! Hi!

group) Oh, my God! Look, there's the bride! of excitement)

(to Morley) Hi! (kissing) Mwah, mwah. (in

normal voice) Listen, I called my BFF... (over scene end) Listen, I called my BFF, Tony. He is already662-06 on the dress.

(Sweetheart : Idiomatic term of

2-214 640.01 646.05 6.04 MORLEY TO REED)

keep it a secret.

*2-214A 647.10 650.06/ 2.12 BULGARIAN MAN TO BULGARIAN GIRL,

-Where are you from?

northern Bulgaria)

All right, you guys can start a Bulgarian

members of either gender - referring


2-217 660.02 664.05 4.03 MICHAEL TO MORLEY)

(BFF : Slang abbreviation for 'BestFriend Forever,' i.e., 'best friend')(on the dress : i.e., 'designing yourwedding dress')



(26)

SCENE 81 - MS - PAST MICHAEL, R.FG.,TO MORLEY AND REED AS THEY REACT.REED STANDS UP.

MICHAEL 2-218 664.09 668.13/ 4.04 MICHAEL TO MORLEY)...Tony. He is already on the dress. He He does all the gowns in Vegas: Cher,

does all the gowns in Vegas: Cher, Celine, (Vegas : Las Vegas, Nevada, a city

Carrot Top. lavish entertainment)669-00 (Cher : American pop

SCENE 82 - MS - PAST MORLEY AND extravagant and sometimesREED, L.FG., TO MICHAEL AS REED outlandish outfits)PLACES HIS HAND ON MICHAEL'S (Celine : Celine Dion, a CanadianSHOULDER. MICHAEL BACKS AWAY pop singer)R.BG., GESTURING. (Carrot Top : an American comedian

MICHAEL comedy and often self-deprecating(chuckling) This is going to be so much humor - note humorous contrast with

fun! Oh, my God, it's-- (wheezes - continues

under following dialogue) 2-219 /669.01 672.09 3.08 MICHAEL TO MORLEY)

REED God, it's--Breathe, breathe. (Oh, my God : Idiomatic expression

MICHAEL(chuckling) I have to breathe.

REED Breathe, breathe.(in low tones) Okay. (i.e., 'Breathe slowly and deeply to

MICHAEL(overlapping) (pants) (chuckling) Okay.

(chuckles) I have to breathe.678-11

SCENE 83 - MCS - PAST REED, R.FG., TO Okay.MORLEY AS REED TURNS L.BG. TOWARDHER.

MORLEY 2-223 680.09 683.14 3.05 MORLEY TO REED,(smacks lips) See what I mean? THEN REED TO MORLEY)

REED -Yep, I get it.Yep, I get it. (chuckles) (See what I mean : i.e., 'Do you now

685-01 understand my reluctance to wear the

Celine, Carrot Top.

known for its gambling casinos and

singer-songwriter and film actresswho is also known for wearing

known for his bright red hair, prop

the female celebrities listed)

This is going to be so much fun! Oh, my

of excitement)

*2-220 672.13 674.09 1.12 REED TO MICHAEL)

calm down.')

2-221 674.13 676.12 1.15 MICHAEL TO REED & MORLEY)

2-222 677.02 678.10/ 1.08 REED TO MICHAEL)

-See what I mean?

engagement ring' - 'Do you nowunderstand what I was saying aboutthe overbearing reactions of otherpeople regarding a new marriageengagement')(Yep : Idiomatic assent)(get it : idiomatic for 'understand')



(27)

SCENE 84 - INT. EDGAR'S CADILLAC -DAY - MCS - HIGH ANGLE - EDISON'SVALENTINE RESTS INSIDE A CLEARPROTECTIVE PLASTIC ENVELOPEBETWEEN THE FRONT TWO SEATS OFTHE CAR. EDGAR (LEG), BG., SITS IN THEDRIVER'S SEAT DRIVING THE CAR R. ASCAMERA TRAVELS WITH IT, CONTINUEDUNDER FOLLOWING SCENES. EDGAR(ARM) ENTERS UPPER FRAME ANDPICKS UP THE VALENTINE.

EDGAR 2-224 686.05 688.02/ 1.13 EDGAR TO EDISON)(face off) So... So...

688-04

SCENE 85 - EXT. EDGAR'S CADILLAC -DAY - MS - THROUGH THE WINDSHIELDTO EDISON AND EDGAR AS EDGARRAISES THE VALENTINE INTO FRAMEAND GESTURES WITH IT.

EDGAR 2-225 689.06 692.13 3.07 EDGAR TO EDISON)(inhales) ...love is the problem, hm? ...love is the problem, hm?

EDISON GRABS THE VALENTINE FROM unable to eat because you are inHIM. love')

EDISONDid you ever have it? 2-226 694.05 696.09 2.04 EDISON TO EDGAR)

EDGAR (i.e., 'Were you ever in love?' - NoteOh, yeah. humor of Edison referring to being in

698-02 love as being similar to having the

SCENE 86 - EXT. STREET - DAY - FS - ACAR DRIVES R.FG., THEN R. AND R. BG. 2-227 696.13 698.01/ 1.04 EDGAR TO EDISON)AS CAMERA PANS AROUND WITH IT AND Oh, yeah.TILTS UP TO REVEAL A SIGN.

EDISON 2-228 698.12 701.10 2.14 EDISON TO EDGAR)(voice over) How old were you when you got How old were you when you got it?

it?

THE SIGN OVER THE STREET READS:

NO HO

EDGAR 2-229 701.14 708.09 6.11 EDGAR TO EDISON)(voice over) Let's see. I'd just started (over scene end) Let's see. I'd just started working at an

working at...705-00

(love is the problem : i.e., 'you are

Did you ever have it?

symptoms of an illness or disease)

architectural firm...



(28)

SCENE 87 - INT. EDGAR'S CADILLAC -DAY - MCS - PAST EDISON, L.FG., TOEDGAR.

EDGAR 2-230 709.05 716.09/ 7.04 EDGAR TO EDISON)...an architectural firm and there was this ...and there was this beautiful young girl and

beautiful young girl and she was studying (this : i.e., 'a')

to be an actress. 716-10

SCENE 88 - EXT. EDGAR'S CADILLAC -DAY - MS - THROUGH THE WINDSHIELDTO EDISON AND EDGAR.

EDISON 2-231 717.12 720.01/ 2.05 EDISON TO EDGAR)Was your heart kind of going: Was your heart kind of going:

720-02 (kind of going : i.e., 'beating like this' -

SCENE 89 - INT. EDGAR'S CADILLAC - beating quickly and strongly)DAY - MCS - PAST EDGAR, R.FG., TOEDISON AS HE PATS HIS OWN CHEST,IMITATING A STRONGLY AND QUICKLYBEATING HEART. EDGAR GLANCES L.BG.AT EDISON.

722-11

SCENE 90 - MCS - PAST EDISON, L.FG.,TO EDGAR.

EDGAR 2-232 723.05 727.13 4.08 EDGAR TO EDISON)Yeah. Yeah, just that way. It went: boomba- Yeah. Yeah, just that way. It went:

da-boomba-da-boomba-da-boom. You (just that way : i.e., 'exactly like that')

betcha. Just like that, so.... (inhales) One quickly and strongly and sounded

day I got up the courage to introduce (boomba-da-boomba-da-boomba-da-

myself. representation of a rapidly beating

she was studying to be an actress.

note that Edison rhythmically pats hischest, implying his heart has been

boomba-da-boomba-da-boom.

(It went : i.e., 'My heart pounded

like')

boom : used here as a verbal

heart)

2-233 728.01 730.12 2.11 EDGAR TO EDISON)You betcha. Just like that.

(You betcha : Idiomatic emphaticassent, alteration of 'You bet' - i.e.,'That's exactly what it was like' - 'Iassure you that is what happened')

2-234 731.00 734.13 3.13 EDGAR TO EDISON)One day I got up the courage to introducemyself.

(got up : i.e., 'summoned' - 'foundwithin me')



(29)


EDGAR (cont'd) *2-235 735.01 741.05 6.04 EDGAR TO EDISON)I walk out, (in low tones) then (in normal I walk out, then walked right up to her and

voice) walked right up to her and opened (walk out : colloquial for 'walked out' -

my mouth and nothing comes out. present tense to describe past743-09 events)

SCENE 91 - EXT. EDGAR'S CADILLAC -DAY - MS - THROUGH THE WINDSHIELD 2-236 741.09 743.09/ 2.00 EDGAR TO EDISON)TO EDISON AND EDGAR. ...nothing comes out.

EDISON '...suddenly I was speechless.')Nothing?!

EDGAR 2-237 /743.13 745.05 1.08 EDISON TO EDGAR)Nothing. Not a peep. But she's just waiting Nothing?!

for me to say something, I-I'm like a statue.

(chuckles) Nothing. Not a peep.753-15 (Not a peep : Idiomatic for 'No sound

SCENE 92 - INT. EDGAR'S CADILLAC -DAY - MCS - EDISON REACTS. *2-239 747.11 752.14 5.03 EDGAR TO EDISON)

EDGAR (I'm like a statue : i.e., 'I stood there(off) So finally she says, "All right, I'll meet... motionless, like a statue')

758-00

SCENE 93 - EXT. EDGAR'S CADILLAC - (over scene end) So finally she says, "All right, I'll meet youDAY - MS - THROUGH THE WINDSHIELD here at 6:30."TO EDISON AND EDGAR.

EDGAR...you here at six-thirty."

760-00

SCENE 94 - INT. EDGAR'S CADILLAC -DAY - MCS - PAST EDGAR, R.FG., TOEDISON.

EDISON 2-241 /760.03 763.02/ 2.15 EDISON TO EDGAR)She knew what you were going to say. She knew what you were going to say.

763-03

SCENE 95 - MCS - PAST EDISON, L.FG.,TO EDGAR.

EDGAR 2-242 /763.06 771.00/ 7.10 EDGAR TO EDISON)Yep. Yeah. She's been reading my mind Yep. Yeah. She's been reading my mind like

like that for fifty-one years. (reading my mind : idiomatic for771-01 'knowing what I was thinking' -

opened my mouth and...

note that Edgar intermittently uses the

(right up : i.e., 'directly')

(colloquial for 'nothing came out' - i.e.,

2-238 745.09 747.07 1.14 EDGAR TO EDISON)

whatsoever')

But she's just waiting for me to saysomething, I'm like a statue.

2-240 /754.01 759.15/ 5.14 EDGAR TO EDISON)

that for 51 years.

'anticipating my unspoken intentions')



(30)

SCENE 96 - MCS - PAST EDGAR, R.FG.,TO EDISON.

EDISON 2-243 772.06 775.13/ 3.07 EDISON TO EDGAR)The pretty girl was Grandma, right? The pretty girl was Grandma, right?

775-14 (Grandma : Idiomatic for

SCENE 97 - EXT. EDGAR'S CADILLAC -DAY - MCS - THROUGH THE WINDSHIELDTO EDGAR.

EDGAR 2-244 776.14 781.04 4.06 EDGAR TO EDISON)The pretty girl is Grandma, right? The pretty girl is Grandma, right?

781-07 (Implying Estelle is still pretty - Note

SCENE 98 - MS - THROUGH THEWINDSHIELD TO EDISON AND EDGAR.

EDISON 2-245 782.08 785.10 3.02 EDISON TO EDGAR)When are we gonna get there, Grandpa? When are we gonna get there, Grandpa?

EDGAR Bouquet, but this is not yet known by(stammers) Coming up to Moorpark, the audience)

making a left turn right here. What's

Moorpark... Coming up to Moorpark, making a left turn791-14 right here.

SCENE 99 - INT. EDGAR'S CADILLAC - approaching')DAY - FS - LOW ANGLE - THROUGH THE (Moorpark : Moorpark Street, a streetWINDSHIELD TO A TRAFFIC SIGNAL AND in the San Fernando Valley, a suburbSTREET SIGN AS CAMERA TRAVELS IN of Los Angeles)AND TILTS UP. (right here : i.e., 'here' - 'here, now')

EDGAR(off) ...spelled backwards? (inhales) 2-247 790.03 794.00 3.13 EDGAR TO EDISON)

THE STREET SIGN READS:

Moorpark St

EDISON 2-248 794.15 796.11/ 1.12 EDISON TO EDGAR)(off) I don't know. I don't know.

793-13

SCENE 100 - EXT. EDGAR'S CADILLAC -DAY - MS - THROUGH THE WINDSHIELDTO EDISON AND EDGAR.

EDGAR Kraproom.Kraproom. (Homonym of 'Crap room,' made-up

798-05 vulgar slang for 'Bathroom' - Note that

'Grandmother')

humorous play on 'The pretty girl wasGrandma, right?')

(get there : referring to Siena

2-246 785.14 789.15 4.01 EDGAR TO EDISON)

(Coming up to : i.e., 'We're nowcoming up to' - 'We're now

(over scene end) What's Moorpark spelled backwards?

2-249 /796.15 798.05/ 1.06 EDGAR TO EDISON)

'crap' is vulgar slang for 'feces')



(31)

SCENE 101 - INT. EDGAR'S CADILLAC -DAY - MCS - EDISON REACTS.

EDISON 2-250 /798.09 800.01 1.08 EDISON TO EDGAR)Grandpa! Grandpa!

EDGAR said in delight at Edgar's mildly vulgar(off) And don't say that in school. joke)

802-15

SCENE 102 - INT. SIENA BOUQUET - DAY And don't say that in school.- MCS - HIGH ANGLE - EDISON TAKES A (say that : i.e., 'repeat what I said')MUSICAL VALENTINE'S DAY CARD FROMA RACK AND OPENS IT. A SONG PLAYSFROM A TINY SPEAKER WITHIN THECARD.

PERCY SLEDGE(over speaker) (sings "When a Man Loves

a Woman") When a man loves a woman

NIKKI *2-251A 804.08 806.10 2.02 MICHAEL INTO PHONE TO PERSON)(off) (overlapping) (into telephone) Hello, Hello, Siena Bouquet.

Siena Bouquet.

REED *2-252 806.14 810.01 3.03 REED TO ALPHONSO, (off) I'll come with you on the afternoon THEN ALPHONSO TO REED)

runs. -You got it.

ALPHONSO (You got it : Idiomatic phrase of(off) (overlapping) You got it. affirmation)

ALPHONSO ENTERS R.BG. AND STEPSL., WHERE HE PICKS UP A BOUQUET ASCAMERA DOLLIES IN AND TILTS UP, OFFEDISON.

REED *2-252A 810.05 813.01 2.12 REED TO ALPHONSO)(off) (overlapping) But we gotta hustle. But we gotta hustle. 'Cause they're flyin' in

'Cause they're flyin' in right now. (hustle : i.e., 'hurry')

ALPHONSO receiving many, many orders forI'm always hustling, baby. flowers')

REED(off) No, no, no. But I'm tellin'-- I'm, like, 2-252B 813.05 815.02 1.13 ALPHONSO TO REED)

"hustle" hustle. Like, don't-- I don't want (baby : used here as a slang term of

any-- Don't dilly-dally, (on) okay?

ALPHONSO STEPS R.BG. AS CAMERA 2-253 815.06 820.09 5.03 REED TO ALPHONSO)PANS WITH HIM TO INCLUDE REED, No, no, no. Like, "hustle" hustle. Like, no,R.FG., IN A MS. don't dilly-dally, okay?

MALE SINGER AND FEMALE SINGER (dilly-dally : idiomatic for 'waste time(overlapping) (over speaker) (sing low and with other distractions' - 'do it slowly


dialogue)

(Idiomatic for 'Grandfather!' - Here

*2-251 800.05 802.13/ 2.08 EDGAR TO EDISON)

-I'll come with you on the afternoon runs.

(runs : i.e., 'deliveries')

right now.

(They're flyin' in : i.e., 'We are

I'm always hustling, baby.

address)

("hustle" hustle : i.e., 'really hurry')

and inefficiently')



(32)


ALPHONSO 2-254 820.13 824.03 3.06 ALPHONSO TO REED)Let me tell you something. I don't dilly-dally, Let me tell you something. I don't dilly-dally,

all right? I only upsy-daisy.

ALPHONSO WALKS BG. *2-255 824.07 826.13/ 2.06 ALPHONSO TO REED,

PERCY SLEDGE -I only upsy-daisy.(over speaker) (sings "When a Man Loves -All right.

a Woman") When a... expression usually addressed to a

REED stumbled - note nonsensical use of(overlapping) (chuckling) All right. this expression, here used to mean

826-13 'move quickly and efficiently')

SCENE 103 - MCS - EDISON CONTINUESSTARING AT THE MUSICAL CARD.

PERCY SLEDGE 2-256 /827.01 831.13/ 4.12 PERCY SLEDGE OVER SPEAKER)(over speaker) (sings "When a Man Loves ITAL (singing) (OPTIONAL)

a Woman") ...man loves a woman (Note that this song plays when831-14 Edison opens a musical Valentine's

SCENE 104 - MS - REED STEPS R.FG. TO himself as a man [rather than a boy])THE CASHIER COUNTER AS CAMERAPANS WITH HIM TO INCLUDE A FEMALECUSTOMER, R.FG., AND NIKKI, R.BG. THEFEMALE CUSTOMER CARRIES ABOUQUET L.FG., EXITING, AS CAMERACONTINUES TO PAN R. TO INCLUDEEDISON AND A MALE CUSTOMER, R.FG.EDISON DROPS SOME CHANGE ONTOTHE O.S. FLOOR. HE SETS THE MUSICALCARD DOWN ON THE COUNTER, LOWERFG., THEN CROUCHES DOWN, EXITINGLOWER R.FG., TO PICK UP THE CHANGE.

REED 2-257 835.05 837.06 2.01 REED TO NIKKI)(softly chuckles) Crazy business, man. This Crazy business, man.

guy, like, he wants to give a family discount to add emphasis)

to his thirty cousins.

NIKKI This guy, like, he wants to give a family(overlapping) (chuckles) (gasps) discount to his 30 cousins.

REED NOTICES THE CARD ON THE employee)COUNTER AS NIKKI REACTS AND POINTS (family discount : a discount onLOWER R.FG. TO O.S. EDISON. items purchased in Siena Bouquet by

all right?

THEN REED TO ALPHONSO)

(upsy-daisy : a reassuring

child being lifted or who has fallen or

When a man loves a woman

Day card - Also note humor of Edison,in considering the card, viewing

(man : slang interjection used here

2-258 837.10 843.09 5.15 REED TO NIKKI)

(This guy : Referring to a particular

members of an employee's family)



(33)


REED 2-259 845.01 848.05 3.04 REED TO NIKKI)What is this? What have you got goin'? What is this? What have you got goin'?

NIKKI Valentine's Day card and some cash(overlapping) (stammers) Uh, um.... on the counter - Note that Edison has

REED LEANS LOWER R.FG. OVER THE crouched down out of view to pick upCOUNTER, CONTINUED UNDER some coins that he dropped)FOLLOWING SCENES. (What have you got goin' : i.e., 'What

850-04 customer are you helping with this' -

SCENE 105 - MCS - HIGH ANGLE - COINSON THE FLOOR AS EDISON (HANDS)ENTERS R.FG. AND PICKS THEM UP.

852-14

SCENE 106 - MS - PAST MALECUSTOMER, R.FG., TO REED AND NIKKIAS SHE HANDS MALE CUSTOMER ABOUQUET.

REED 2-260 /853.00 854.06/ 1.06 REED TO EDISON)'Scuse me. (clears throat - continues under 'Scuse me.

following scene and dialogue) Edison's attention)

NIKKI(whispering) Okay.

854-07

SCENE 107 - MCS - PAST REED, L.FG., TOEDISON AS HE STANDS UP AND CAMERATILTS UP WITH HIM.

REED 2-261 854.14 856.06/ 1.08 REED TO EDISON)Can I help you? Can I help you?

856-07

SCENE 108 - MS - PAST EDISON ANDMALE CUSTOMER, R.FG., TO REED ANDNIKKI. MALE CUSTOMER EXITS R.FG. ASNIKKI EXITS L.BG.

NIKKI(in low tones) Just take that.

EDISON POINTS R.FG. TO A ROSESDISPLAY.

EDISON 2-262 858.03 862.15 4.12 EDISON TO REED)I'd like to send a dozen of those to the best I'd like to send a dozen of those to the best

girl at my school. And this musical card. (those : referring to red roses)

A SIGN BY THE ROSES DISPLAY READS:

Roses And this musical card.$55 doz (musical card : card that plays a

(What is this : Referring to a

placed the items on the counter, then

'What is the status of this transaction')

(i.e., 'Excuse me.' - Used here to get

girl at my school.

2-263 863.03 865.06 2.03 EDISON TO REED)

short musical passage when opened- referring to the Percy Sledge card)



(34)


REED GESTURES, PICKS UP THE CASHTHAT EDISON HAS PLACED ON THECOUNTER, AND REACTS, AS IT IS NOTNEARLY ENOUGH MONEY.

REED *2-263A 865.10 868.05 2.11 REED TO EDISON)A dozen of those with thi--? You-- (exhales A dozen of those with thi--?

sharply) 872-05

SCENE 109 - MCS - PAST REED, L.FG., TOEDISON AS HE REACTS.

REED 2-263B 872.14 874.12/ 1.14 REED TO EDISON)This-- It's, uh-- This-- It's--

874-13 (Implying, 'This isn't enough money

SCENE 110 - MS - PAST EDISON AND A even though he hasn't given himFEMALE CUSTOMER, R.FG., TO REED AS enough money)HE REACTS, GLANCING ABOUT.

REED 2-263C 876.07 878.01 1.10 REED TO EDISON)(chuckling) Okay. (in normal voice) All right. Okay.

881-02

SCENE 111 - MCS - PAST REED, L.FG., TOEDISON.

REED 2-264 /881.04 884.09 3.05 REED TO EDISON)Where am I sendin' these to? Where am I sending these to?

EDISONUm, Falcon Crest Elementary. 2-265 884.13 887.00/ 2.03 EDISON TO REED)

887-02 Falcon Crest Elementary.

SCENE 112 - MCS - PAST EDISON, R.FG., a popular soap opera from the 1980s)TO REED AND NIKKI AS SHE ANSWERSTHE PHONE.

EDISON 2-265A /887.04 889.01 1.13 EDISON TO REED)You can MapQuest it. You can MapQuest it.

REED on MapQuest' - note that 'MapQuest' isAll right. I actually know where it's at. I got a a free online mapping service)

friend that goes there.

NIKKI All right. I actually know where it's at. I got a(overlapping) (into telephone) Hello, Siena friend that goes there.

Bouquet. Can I help you? (got : colloquial for 'have')

EDISON referring to Julia)Cool.

894-12

for those roses' - Note that Reeddecides to sell Edison the flowers

(Made-up elementary school - Notethat 'Falcon Crest' is also the name of

(MapQuest it : i.e., 'find its address

2-265B 889.05 893.07 4.02 REED TO EDISON)

(it's at : colloquial for 'that is')

(goes there : i.e., 'works there' -

2-265C 893.11 894.11/ 1.00 EDISON TO REED)Cool.

(Slang for 'That's great')



(35)

SCENE 113 - MCS - PAST REED(SHOULDER), L.FG., TO EDISON.

EDISON 2-265D /894.15 898.13 3.14 EDISON TO REED)During recess would be the best... (over scene end) During recess would be the best time.

897-12 (recess : an official break from

SCENE 114 - MS - PAST EDISON, flowers')GESTURING, R.FG., TO REED, GLANCINGABOUT, AND NIKKI.

EDISON 2-265E 899.01 904.09/ 5.08 EDISON TO REED)...time. Um, when you get there, just hand When you get there, just hand me the

me the flowers and I'll do the rest. 904-10

SCENE 115 - MCS - HIGH ANGLE - PASTREED, L.FG., TO EDISON.

EDISON 2-265F /904.13 906.05/ 1.08 EDISON TO REED)Okay? Okay?

NIKKI(off) (into telephone) By five o'...

906-06

SCENE 116 - MS - LOW ANGLE - PASTEDISON, R.FG., TO REED AND NIKKI ASEDISON TURNS AND WALKS R.FG.,EXITING.

NIKKI(into telephone) ...clock. Okay.

NIKKI HANGS UP THE TELEPHONE.

REED 2-265G /906.09 909.06 2.13 REED TO EDISON)(overlapping) I'll be there. Thank you, sir. (to I'll be there. Thank you, sir.

Nikki) What's up with the cutest kid... Edison so formally - note that Edison912-06 leaves)

SCENE 117 - MFS - PAST REED, L.FG., TO 2-265H 910.04 914.09 4.05 REED TO NIKKI)NIKKI AS A MALE CUSTOMER ENTERS, (over scene end) What's up with the cutest kid in the worldR.FG. coming in here and ordering flo--?

REED used to express incredulity - Implying,...in the world coming in here and ordering 'That was really adorable to see')

flo-- hyperbolic for 'such a cute kid')

NIKKI(overlapping) (chuckles - continues under

following dialogue)

classes)(time : i.e., 'time for you to deliver the

flowers and I'll do the rest.

(sir : note humor of Reed addressing

(What's up with : Idiomatic phrase

(the cutest kid in the world :

(flo-- : implying, 'flowers')



(36)


REED 2-265I 914.13 916.10 1.13 REED TO NIKKI)And he shorted me. He's given me like And he shorted me.

fifteen bucks for a fifty-five dollar (chuckling) - 'did not give me the correct amount

arrangement. (chuckles - continues under

following scene and dialogue) *2-265J 916.14 921.08/ 4.10 REED TO NIKKI)

EDISON ENTERS R.FG. AND STEPS L.BG. arrangement.TOWARD THE COUNTER. (bucks : slang for 'dollars')

921-10

SCENE 118 - MCS - HIGH ANGLE - PASTREED, L.FG., TO EDISON.

EDISON 2-266 /921.12 924.05/ 2.09 EDISON TO REED)Could I please have my receipt? Could I please have my receipt?

924-08 (Could : Colloquial for 'Can' - 'May')

SCENE 119 - MFS - PAST EDISON ANDMALE CUSTOMER, R.FG., TO REED ANDNIKKI.

REED 2-267 /924.09 927.04 2.11 REED TO EDISON)(stammers) What, did you get audited last What, did you get audited last year?

year? I did. They always get the good guys, records examined for accuracy by the

I'm telling ya. Here. humorously referring to the fact that

REED TEARS A RECEIPT FROM A BOOK purposes)AND HANDS IT TO EDISON. (Note humor)

EDISONThanks. 2-268 927.08 929.00 1.08 REED TO EDISON)

EDISON TURNS AND WALKS R.FG.

REED 2-269 929.04 932.09 3.05 REED TO EDISON)(softly chuckles) They always get the good guys, I'm telling ya.

938-11 (get the good guys : i.e., 'audit the

SCENE 120 - EXT. ACM OFFICE BUILDING Idiomatic emphatic expression)- DAY - FS - PAST A FOUNTAIN, FG., TOTHE ACM BUILDING AS CAMERA TILTSUP, OFF THE FOUNTAIN. 2-270 932.13 934.07 1.10 REED TO EDISON)

944-14 Here.

(shorted me : i.e., 'shortchanged me'

of money')

He's given me like 15 bucks for a $55

(audited : i.e., 'have your financial

Internal Revenue Service' -

Edison wants a receipt, as if for tax

I did.

innocent people')(I'm telling ya : I'm telling you -

(Idiomatic term of presentation - Notethat Reed hands Edison the receipt)

2-271 935.13 937.09 1.12 EDISON TO REED)Thanks.



(37)

SCENE 121 - INT. ACM/MAILROOM - DAY -MS - PAST MAILROOM DANNY, L.FG., TO ABOX FLYING THROUGH THE AIR ASMAILROOM DANNY CATCHES THE BOX,THEN WALKS L., EXITING. JASONENTERS R. AS HE STEPS L. OUT FROMBEHIND A TALL SHELF, R.FG. CAMERAPANS L. AND R. SLIGHTLY.

JASON 2-272 /945.00 947.12 2.12 JASON TO MAILROOM DANNY)(off) So, like, last night, (face off) amazing. So, like, last night, amazing.

(on) This morning, (stammers) she habitually, to preface a sentence, to fill

couldn't get away fast enough. uncertainty or neutralize a following951-14 adjective)

SCENE 122 - FS - PAST MAILROOM amazing')DANNY, R.FG., TO JASON AS HE FILESMAIL IN THE TALL SHELVING UNIT.JASON WALKS BG. TO THE R. SIDE OF 2-273 948.00 951.13/ 3.13 JASON TO MAILROOM DANNY)THE SHELVING UNIT AS CAMERA This morning, she couldn't get away fastDOLLIES IN SLIGHTLY. enough.

MAILROOM DANNY 'left as soon as she could')Any chance there was a little, shall we say,

disappointment on her part? 2-274 /952.01 957.15/ 5.14 MAILROOM DANNY TO JASON)958-00 Any chance there was a little, shall we say,

SCENE 123 - MCS - PAST THE SHELVING (shall we say : idiomatic phraseUNIT, R.FG., TO JASON AS HE STEPS L. used here to imply the following termFROM BEHIND IT AND REACTS. is intentionally vague, but its specific

JASON (disappointment on her part : i.e.,No. What? No. None. At all. 'disappointment from Liz's

JASON STEPS R. sexually dissatisfied, either by965-05 Jason's physique or because she did

SCENE 124 - MCS - PAST THE SHELVINGUNIT, L.FG., TO MAILROOM DANNY AS HE 2-275 958.08 962.01 3.09 JASON TO MAILROOM DANNY)REACTS, GESTURING, THEN STEPS L. No. What? No. None.

967-01 (What : Used here as an interjection

SCENE 125 - MS - PAST MAILROOMDANNY, R.FG., TO JASON AS HE STEPS 2-276 963.08 965.04/ 1.12 JASON TO MAILROOM DANNY)L., GESTURING. At all.

JASONWell, it-- No. No, no, no, no. (stammers) It 2-277 /967.05 970.12/ 3.07 JASON TO MAILROOM DANNY)

was fine.970-14

(like : used in speech, often

a certain pause, to express

(amazing : i.e., 'my date with Liz wasamazing' - 'having sex with Liz was

(couldn't get away fast enough : i.e.,

disappointment on her part?(a little : i.e., 'some')

meaning should still be clear)

perspective' - implying Liz was

not have an orgasm)

of surprise)

Well.... No. No, no, no, no. It was fine.



(38)

SCENE 126 - MCS - THROUGH THESHELVING UNIT TO MAILROOM DANNY ASHE PLACES A LETTER ON ONE OF THESHELVES, L.FG.

MAILROOM DANNY 2-278 /971.00 973.05/ 2.05 MAILROOM DANNY TO JASON)Fine's not good enough, dude. Fine's not good enough, dude.

973-05 (dude : slang term of address)

SCENE 127 - MS - PAST MAILROOMDANNY, R.FG., TO JASON AS HE STEPS L.AROUND THE END OF THE SHELVINGUNIT AND GESTURES.

JASON *2-279 /973.09 977.05/ 3.12 JASON TO MAILROOM DANNY)It was better than fine. It was a solid A.... It was better than fine. It was a solid A...

977-05 (It was a solid A : i.e., 'Our date was

SCENE 128 - MCS - PAST THE SHELVING 'unquestionably an' - Also note that anUNIT, R.FG., TO JASON, GESTURING. 'A' is used as part of a scholastic

JASON work is 'excellent').(stammering) ...minus. B plus, A-A minus.

(face off) A minus. 2-280 978.00 979.08 1.08 JASON TO MAILROOM DANNY)

JASON STEPS R. BEHIND THE SHELVING (Implying that the sex was not actuallyUNIT, EXITING. 'a solid A,' but rather the equivalent of

982-00 the grade beneath 'A', which equates

SCENE 129 - MS - HIGH ANGLE - A MAIL modifies his sentence as he speaks,CART FULL OF VALENTINE'S DAY and continues to do so)PRESENTS ROLLS L.FG. THROUGH THEDOORWAY, FOLLOWED BY MAILROOMTED, PUSHING THE CART L.FG., THEN L. 2-281 979.12 981.15/ 2.03 JASON TO MAILROOM DANNY)AS CAMERA TILTS UP AND DOLLIES WITH B plus, A minus. A minus.HIM. (B plus : the grade beneath 'A

MAILROOM TED great, but not quite excellent' - NoteI hate Valentine's Day. Why can't... humor of 'grading' sex in such highly

986-07 specific terms)

SCENE 130 - MFS - PAST MAILROOM TED 2-282 982.08 985.05 2.13 MAILROOM TEDAS HE ENTERS, L.FG., TO JASON AND TO MAILROOM DANNY & JASON)MAILROOM DANNY AS THEY REACT. I hate Valentine's Day.MAILROOM TED PUSHES THE CARTR.BG. AS CAMERA PANS WITH HIM.

MAILROOM TED (over scene end) TO MAILROOM DANNY & JASON)(off) ...these (on) guys deliver their flowers Why can't these guys deliver their flowers to

to their girlfriends themselves? (these guys : referring to the

MAILROOM TED UNLOADS THE CART,R.FG., AS JASON REACTS, STUNNED,AND WALKS L.FG. 2-284 992.06 993.14 1.08 JASON TO MAILROOM TED)

JASON (Used here as a request forWait, what? explanation)

excellent' - 'The sex was excellent' -Note that 'a solid' is idiomatic for

grading system to indicate a student's

...minus.

to 'excellent but with one or moreminor mistakes' - note that Jason

minus,' which equates to 'better than

2-283 985.09 991.04 5.11 MAILROOM TED

their girlfriends themselves?

boyfriends of ACM employees)

Wait, what?



(39)


MAILROOM TED 2-285 994.02 996.08 2.06 MAILROOM TED TO JASON)Yeah, they just dump them in the mailroom. Yeah, they just dump them in the mailroom.

I mean, if they don't wanna take the time to- 'unceremoniously leave')

-

JASON I mean, if they don't wanna take the time to--(overlapping) Whoa, whoa, whoa.

(stammers) (scoffs) It's Valentine's Day 2-287 1001.12 1004.11 2.15 JASON TO MAILROOM DANNY

today? It's Valentine's Day today?

MAILROOM DANNY STEPS FG., PICKS UPONE OF THE BOUQUETS FROM THECENTER TABLE, AND GESTURES L.TOWARD JASON WITH IT.

MAILROOM DANNY 2-288 1004.15 1006.07 1.08 MAILROOM DANNY TO JASON)Hello? Hello?

MAILROOM TED DUMPS A TRAY FULL OF information should be obvious toVALENTINE'S DAY MAIL ONTO THE another party, but isn't)CENTER TABLE.

MAILROOM TED 2-289 1006.11 1009.05 2.10 MAILROOM TED TO JASON)Happy Valentine's Day. Happy Valentine's Day.

MAILROOM DANNY WALKS R.FG., PASTMAILROOM TED, THEN STEPS L. AS HEPUSHES THE MAIL CART OUT OF HISWAY, FG. CAMERA PANS L. SLIGHTLYWITH MAILROOM DANNY.

JASON 2-290 1009.09 1014.04 4.11 JASON TO MAILROOM DANNYWai-- (stammers) No, it's a Monday. & MAILROOM TED)

Valentine's Day always falls on a Thursday. falls on a Thursday.

MAILROOM DANNY (falls : i.e., 'occurs')That's Thanksgiving, Hoosier Head.

MAILROOM DANNY WALKS R.BG., PAST 2-291 1014.08 1017.15 3.07 MAILROOM DANNY TO JASON)JASON, AND PLACES THE BOUQUET ON That's Thanksgiving, Hoosier Head.A SHELF AS CAMERA DOLLIES R. (Thanksgiving : a U.S. holidaySLIGHTLY. celebrated with family gatherings and

JASON November)Really? (Hoosier Head : Mailroom Danny's

MAILROOM DANNY WALKS L.FG., PAST 'Hoosier' is slang for a person fromJASON, AND PATS HIM ON THE BACK AS the U.S. state of Indiana - also noteJASON WALKS BG. AND RESUMES FILING alliteration)MAIL ON THE SHELVING UNIT.

(dump : idiomatic for

*2-286 996.12 999.15 3.03 MAILROOM TED TO JASON)

& MAILROOM TED)

(Used in a situation where certain

No, it's a Monday. Valentine's Day always

(it's : i.e., 'today is')

a large meal on the fourth Thursday of

nickname for Jason - Note that

2-292 1019.07 1020.15 1.08 JASON TO MAILROOM DANNY)Really?



(40)


MAILROOM DANNY 2-293 1021.03 1025.07 4.04 MAILROOM DANNY TO JASON)You're twenty-five! You thought that for You're 25! You thought that for 25 years?

twenty-five years? believed that')

MAILROOM DANNY PICKS UP A PIECE OFMAIL, L.FG., THEN WALKS R. AROUNDTHE END OF THE CENTER TABLE.MAILROOM DANNY STEPS BG., WALKINGPAST MAILROOM TED, R.FG., AS CAMERADOLLIES L. AND PANS R. SLIGHTLY.

MAILROOM TED 2-294 1025.11 1030.09/ 4.14 MAILROOM TED TO MAILROOM DANNY)Dude, he's from Indiana. They only Dude, he's from Indiana. They only celebrate

celebrate Love Your Cousin Day. (They...Day : Humorously implying1030-10 that Indiana is largely rural and that

SCENE 131 - MS - PAST MAILROOM TEDAND MAILROOM DANNY, FG., TO JASON,INITIALLY OBSCURED, STANDING ONTHE OTHER SIDE OF THE CENTERTABLE. MAILROOM DANNY STEPS R. ASJASON STEPS L., GESTURING, ANDCAMERA PANS WITH JASON, OFFMAILROOM DANNY.

JASON 2-295 /1030.13 1033.02 2.05 JASON TO MAILROOM DANNYUh, no, you're thinking of Kentucky. But-- & MAILROOM TED)

Wow! Of course Liz was acting weird this (Kentucky : a state located in the

morning.1036-14

SCENE 132 - MS - MAILROOM DANNY, Wow! Of course Liz was acting weird thisGESTURING, AND MAILROOM TED, morning.FILING INVOICES. MAILROOM DANNY (Wow : Used here as an interjectionREACHES ACROSS THE TABLE AND of realization)PICKS UP A PACKAGE, LOWER FG. (Of...morning : Implying it is because

MAILROOM DANNY propose a date that evening or giveYou do have something planned for tonight, her a gift, Liz felt insecure and abruptly

right?1040-11

SCENE 133 - MCS - JASON. right?

JASONHow could I have something planned for 2-298 /1040.14 1047.02 6.04 JASON TO MAILROOM DANNY)

tonight? I didn't even know until right now. tonight? I didn't even know until right now.1047-11 (know : i.e., 'know it was Valentine's

(thought that : i.e., 'mistakenly

Love Your Cousin Day.

incest is common there)

No, you're thinking of Kentucky.

east-central U.S.)

2-296 1033.06 1036.13/ 3.07 JASON TO MAILROOM DANNY& MAILROOM TED)

it is Valentine's Day and Jason didn't

left)

2-297 1037.07 1040.10/ 3.03 MAILROOM DANNY TO JASON)You do have something planned for tonight,

How could I have something planned for

Day')



(41)

SCENE 134 - INT. ACM - DAY - MFS - AFRAME OBSCURED IN DARKNESS ASCAMERA CRANES UP OFF THE SIDE OFLIZ'S OFFICE CUBICLE TO REVEAL LIZ,SEATED, LEANING L. OVER HER DESK,TALKING ON THE PHONE, R.FG. LIZSTRAIGHTENS UP, LEANING R., ASPAULA, OUT OF FOCUS, ENTERS L.BG.AND WALKS FG.

LIZ 2-299 1048.09 1054.13 6.04 LIZ INTO PHONE TO PERSON)(off) (into telephone) Um, I can (face off) do I can do my lunch break, and I can do after

(on) my lunch break, and I can do after five? (do my lunch break : i.e., 'schedule

Okay, great. Wh--? No, no, no, no, no. I don't phone sex during my usual lunch

mind... (do after 5 : i.e., 'be available after 51060-01 p.m.')

SCENE 135 - MFS - PAULA WALKS L.FG. 2-300 1055.01 1057.06 2.05 LIZ INTO PHONE TO PERSON)

LIZ(off) (into telephone) ...people with fetishes.

No, no, no, very... (over scene end) No, no, no, no. I don't mind people with1063-03 fetishes.

SCENE 136 - FS - PAST LIZ, R.FG., TO (fetishes : things, for example,PAULA AS SHE WALKS L.FG. LIZ inanimate objects or nonsexual partsGLANCES ABOUT AND REACTS, of the body, that arouse sexualPANICKED, WHEN SHE SEES PAULA. LIZ excitement in some people)STANDS UP, STEPS L., AND PUTS THECALL ON HOLD.

LIZ (over scene end) No, no, no, very creative people. I gotta put(into telephone) ...creative people. I gotta you on hold, sorry.

put you on hold, sorry. (to Paula) Ah, good (put you on hold : i.e., 'temporarily

morning. the connection [while I perform

PAULA WALKS L.FG. INTO A MFS., THENTURNS AND STEPS L.BG. INTO HEROFFICE AS CAMERA PANS L. WITH HER, 2-303 1067.12 1069.08 1.12 LIZ TO PAULA)OFF LIZ. A MALE OFFICE WORKER Good morning.ENTERS R.FG. AND WALKS R.BG.AROUND LIZ'S CUBICLE AT THE SAMETIME.

1071-07

SCENE 137 - MS - LIZ REACTS ANDWALKS R. AS CAMERA PANS SLIGHTLYWITH HER.

LIZ *2-304 /1072.09 1075.09/ 3.00 LIZ TO HERSELF)(exhales sharply) (in low tones) You're a You're a strong, confident person.

strong, confident person. as she meets with Paula)1075-09

5?

time during my lunch break' - 'provide

time')

Okay, great.

*2-301 1058.06 1062.00 3.10 LIZ INTO PHONE TO PERSON)

(mind : implying, 'object to providingphone sex to')

2-302 1062.04 1067.08 5.04 LIZ INTO PHONE TO PERSON)

(very : i.e., 'I consider fetishists very')

mute the telephone without severing

another task]')

(Said here to bolster Liz's confidence



(42)

SCENE 138 - MFS - THROUGH THEDOORWAY OF PAULA'S OFFICE TO PAULAAS SHE WALKS R. INTO THE HALLWAYAND OVER TO LIZ'S CUBICLE AS CAMERAPANS WITH HER. LIZ ENTERS R.FG. ANDSTEPS L., THEN L.BG. AROUND THECORNER OF THE CUBICLE AND STOPS,L.FG. PAULA LOOKS THROUGH A STACKOF MAIL.

PAULA 2-305 /1075.13 1078.07 2.10 PAULA TO LIZ)Good morning. (exhales) Who are you? Good morning. Who are you?

LIZ(off) (overlapping) (exhales) Um, I am Liz. I 2-306 1078.11 1083.03 4.08 LIZ TO PAULA)

am one of the receptionists. I'm subbing for subbing for Monica.

Monica. (inhales) (stammers) for' - i.e., 'temporarily performing the

PAULA (Monica : i.e., 'Monica, your(overlapping) Oh, yeah, Monica. (chuckling) secretary')

'Cause (in normal voice) she wanted today

off. Shit, she has a life. Oh, yeah, Monica, 'cause she wanted today

PAULA LEANS LOWER FG., REACHING (today off : i.e., 'to not work today' - 'toFOR AN O.S. LETTER OPENER IN LIZ'S take a vacation day today')CUBICLE.

LIZ 2-308 1087.13 1090.03/ 2.06 PAULA TO LIZ)(overlapping) Oh. Shit, she has a life.

1090-04 (Shit : Vulgar slang expression of

SCENE 139 - MS - PAST PAULA, L.FG., TO social life' - 'has personal interestsLIZ, BRIEFLY OBSCURED. PAULA STEPS unrelated to work')R.FG. AS SHE STANDS UPRIGHT AGAINAND GLANCES ABOUT AS SHE USES THELETTER OPENER TO OPEN MAIL,CONTINUED UNDER FOLLOWINGSCENES.

LIZ 2-309 1090.14 1094.13 3.15 LIZ TO PAULA)Oh, uh-- She had a funeral, which is a life, I She had a funeral, which is a life, I guess.

guess. funeral today')

PAULA viewed as a social obligation')Well, Liz, I'm Paula. (Note humor)

LIZ(overlapping) (clears throat) Yes. 2-310 1095.01 1097.08 2.07 PAULA TO LIZ)

I am Liz. I am one of the receptionists. I'm

(subbing for : slang for 'substituting

work duties usually performed by')

2-307 1083.07 1087.09 4.02 PAULA TO LIZ)

off.

annoyance)(has a life : slang for 'has a busy

(had a funeral : i.e., 'had to attend a

(which is a life : i.e., 'which could be

Well, Liz, I'm Paula.



(43)


PAULA 2-311 1097.12 1101.14 4.02 PAULA TO LIZ)(overlapping) I know they call me... (over scene end) I know they call me Bipolar Paula. Don't.

1099-03 (they : used to refer to people in

SCENE 140 - MS - PAST LIZ, L.FG., TO (Bipolar Paula : a derogatoryPAULA, GESTURING. nickname for Paula, implying she has

PAULA 'bipolar' refers to bipolar disorder, a...Bipolar Paula. Don't. But you should know category of mood disorders usually

I'm in crisis. moods [mania or hypomania]1104-11 alternating with depressive episodes

SCENE 141 - MS - PAST PAULA, R.FG., TOLIZ. 2-312 1102.02 1104.10/ 2.08 PAULA TO LIZ)

LIZ (in crisis : i.e., 'experiencing anOkay. ongoing crisis' - 'in an ongoing state

PAULA a crisis occurring')I don't wanna talk about it.

LIZ 2-313 1105.14 1106.14 1.00 LIZ TO PAULA)Okay. Okay.

1109-13

SCENE 142 - MS - PAST LIZ, L.FG., TO -I don't wanna talk about it.PAULA, GLANCING ABOUT. -Okay.

PAULAIt has nothin' to do with being alone on 2-315 /1109.15 1113.15 4.00 PAULA TO LIZ)

Valentine's Day. Valentine's Day.

LIZ - 'single')Of course not.

PAULA 2-316 1114.03 1115.13 1.10 LIZ TO PAULA)And everything to do with... Of course not.

1117-12

SCENE 143 - MS - PAST PAULA, (over scene end) And everything to do with my client in crisis.GESTURING, R.FG., TO LIZ AS SHE (And everything to do with : i.e., 'AndREACTS WITH UNCERTAINTY. is completely attributable to')

PAULA predicament facing one of my clients')...my client in crisis.

LIZ 2-318 (OUT)(stammers) Uh, w-- That sounds

challenging. 2-319 1122.11 1125.09 2.14 LIZ TO PAULA)

PAULA TURNS AND STEPS R.BG.

PAULA 2-320 1125.13 1127.06/ 1.09 PAULA TO LIZ)(chuckling) (scoffs) "Challenging"? "Challenging"?

1127-07

general - i.e., 'some people in theoffice')

volatile mood swings - note that

characterized by abnormally elevated

or symptoms)

But you should know I'm in crisis.

of emotional tension, as if there were

2-314 1107.02 1109.11/ 2.09 PAULA TO LIZ, THEN LIZ TO PAULA)

It has nothing to do with being alone on

(alone : i.e., 'romantically unattached'

*2-317 1116.01 1120.13 4.12 PAULA TO LIZ)

(my client in crisis : i.e., 'the current

That sounds challenging.



(44)

SCENE 144 - MS - PAST PAULA, R.FG.,THROUGH THE DOORWAY TO HEROFFICE AS PAULA WALKS BG. INTO IT. LIZENTERS R.FG. AND STEPS L.BG. INTOTHE DOORWAY, BUT REMAINS IN THEHALLWAY, R.FG.

PAULA 2-321 1128.01 1131.12 3.11 PAULA TO LIZ)Gotta figure out... (over scene end) Gotta figure out if he still has an athletic

1129-10 career.

SCENE 145 - INT. ACM/PAULA'S OFFICE - professionally.')DAY - MFS - PAULA STEPS L. BEHIND HERDESK AND PLACES THE MAIL ON IT,LOWER FG.

PAULA 2-322 1132.00 1133.09/ 1.09 PAULA TO LIZ)...if he still has an athletic career. If he If he doesn't...

doesn't...1133-09

SCENE 146 - INT. ACM - DAY - MFS - PASTLIZ, FG., AND THROUGH THE DOORWAYTO PAULA IN HER OFFICE, L.BG. PAULAWALKS FG. OUT OF HER OFFICE, THENSTEPS R. TO LIZ'S CUBICLE AS LIZ ALSOSTEPS R. TO THE CUBICLE AND CAMERAPANS WITH THEM. LIZ HANDS PAULAANOTHER STACK OF MAIL.

PAULA 2-323 1134.03 1136.05 2.02 PAULA TO LIZ)...big fat problemo. (chuckles) ...big fat problemo.

LIZ problem.')(overlapping) Well, (chuckles) I'm (in

normal voice) here to help you solve that 2-324 1136.09 1140.01/ 3.08 LIZ TO PAULA)

problem.1140-02

SCENE 147 - MCS - PAST LIZ, R.FG., TOPAULA, GLANCING ABOUT.

PAULA 2-325 1141.05 1142.13 1.08 PAULA TO LIZ)Who's on hold? Who's on hold?

1142-14

SCENE 148 - MCS - PAST PAULA, L.FG.,TO LIZ AS SHE REACTS.

LIZ 2-326 1145.03 1146.11/ 1.08 LIZ TO PAULA)My mother. My mother.

1146-12

(i.e., 'It must be ascertained whetherhe can continue playing sports

(slang for '...that is a significant

Well, I'm here to help you solve that problem.



(45)

SCENE 149 - MCS - PAST LIZ, R.FG., TOPAULA AS SHE REACTS AND LIZ LEANSL.

LIZ(scoffs)

1149-02

SCENE 150 - MS - PAST PAULA, L.FG., TOLIZ AS SHE REACHES LOWER R. INTOHER CUBICLE AND RAISES ANDLOWERS THE PHONE RECEIVER,DISCONNECTING THE CALL, THENSTANDS UPRIGHT AGAIN.

LIZ *2-327 /1149.04 1151.01 1.13 LIZ TO PAULA)I'm sorry. (clicks tongue) (chuckles) I'm sorry.

1154-04 (Note that Liz hangs up the phone

SCENE 151 - MCS - PAST LIZ, R.FG., TOPAULA AS SHE REACTS, RAISING HERSUNGLASSES UPWARD AND PROPPING THEM UP ON THE TOP OF HER HEAD.

PAULA 2-328 /1154.06 1157.13 3.07 PAULA TO LIZ)Hangs up on her own mother. That's cold. Hangs up on her own mother.

LIZ third person)(in low tones) Well....

PAULA 2-329 1158.04 1160.04 2.00 PAULA TO LIZ)We might just get along. That's cold.

1162-11 (cold : idiomatic for 'ruthless')

SCENE 152 - MCS - PAST PAULA, L.FG., 2-330 1160.13 1162.10/ 1.13 PAULA TO LIZ)TO LIZ AS PAULA EXITS L. AND LIZ We might just get along.REACTS. (get along : idiomatic for 'have an

LIZ rapport with each other')(blows) (smacks lips) (blows) (Note humor)

1167-15

SCENE 153 - EXT. MALIBU BEACH - DAY -FS - A MAN STANDS ON THE BEACHUSING A METAL DETECTOR, SEARCHINGTHE SAND FOR VALUABLES, CONTINUEDUNDER FOLLOWING SCENE.

WILL I AM(voice over) (sings "Heartbreaker" over

following scenes and dialogue)1170-07

receiver, ending the call with herphone sex scheduler)

(Note that Paula addresses Liz in the

amicable relationship' - 'have an easy



(46)

SCENE 154 - FS - PAST SEAN, L.FG., TOTHE METAL DETECTOR MAN AS SEANJOGS FG. AND CAMERA DOLLIES BACKWITH HIM INTO A MS. SEAN WALKS R.ACROSS THE SAND, THEN WALKS R.BG.UP A SET OF STAIRS AS CAMERA PANSAROUND WITH HIM TO INCLUDE HISMODERN MALIBU BEACH HOUSE, BG., INA LOW ANGLE FS.

1187-08

SCENE 155 - INT. MALIBU BEACH HOUSE- DAY - FS - PAST A BED, LOWER R.FG.,TO A FLAT SCREEN TV SHOWING ASPORTS NEWS PROGRAM, CONTINUEDUNDER FOLLOWING SCENES. THEPROGRAM SHOWS A SUPERIMPOSEDSTILL IMAGE OF SEAN, PLAYINGFOOTBALL, NEXT TO HANNAH STORM, ASPORTS NEWS ANCHOR, SEATED AT ANEWS DESK.

ESPN HANNAH STORM 2-331 1187.13 1190.01/ 2.04 ESPN HANNAH STORM ON TV TO GROUP)(on television) Hello, I'm Hannah Storm. ITAL Hello, I'm Hannah Storm.

1190-01 (Hannah Storm : American television

SCENE 156 - MCS - THE TELEVISIONSHOWS THE STILL IMAGE OF SEAN NEXTTO HANNAH STORM. TEXT IN THELOWER R. OF THE SCREEN READS:

HANNAH STORM

ESPN HANNAH STORM 2-332 /1190.05 1193.08/ 3.03 ESPN HANNAH STORM ON TV TO GROUP)(on television) And with football season ITAL And with football season officially over...

officially over, the only lingering... 1193-09 2-333 /1193.12 1198.15 5.03 ESPN HANNAH STORM ON TV TO GROUP)

SCENE 157 - MFS - SEAN, WEARING ATOWEL, WALKS R. TO A SINK AS CAMERAPANS WITH HIM.

ESPN HANNAH STORM 2-334 1199.03 1206.01 6.14 ESPN HANNAH STORM ON TV TO GROUP)(over television) ...question is, what will ITAL (over scene end) A devastating loss in the championship

Sean Jackson do? A devastating loss in question.

the... 1201-09

sports journalist, and anchor ofESPN's SportsCenter)

ITAL ...the only lingering question is: what willSean Jackson do?

game last week leaves his future in



(47)

SCENE 158 - MCS - SEAN GLANCESLOWER R.FG. AS HE BRUSHES HISTEETH BEFORE A MIRROR. CAMERATILTS DOWN AND PANS R. TO REVEAL ATOOTHBRUSH IN A CUP ON THE SINKCOUNTER.

ESPN HANNAH STORM(over television) ...championship game...

SEAN(overlapping) (brushes teeth - continues


ESPN HANNAH STORM 2-335 1206.05 1208.15/ 2.10 ESPN HANNAH STORM ON TV TO GROUP)(over television) ...last week leaves his ITAL His contract is up...

future in question. His contract is up, and at has expired')

age...1209-01 2-336 /1209.03 1214.09/ 5.06 ESPN HANNAH STORM ON TV TO GROUP)

SCENE 159 - MS - PAST THE (league : referring to the NationalTOOTHBRUSH IN THE CUP, R.FG., TO Football League, the largestSEAN AS HE REACTS AND LEANS R.FG., professional American football leagueREACHING FOR THE TOOTHBRUSH. in the world)

ESPN HANNAH STORM(over television) ...thirty-five he's one of the

oldest...1211-08

SCENE 160 - MCS - HIGH ANGLE - PASTSEAN (SHOULDER), L.FG., TO HIS HANDAS HE PICKS UP THE TOOTHBRUSH ANDTOSSES IT LOWER R.BG. INTO A SMALLWASTE BASKET. CAMERA PANS R. ANDTILTS DOWN, OFF SEAN, RACKINGFOCUS TO THE WASTE BASKET.

ESPN HANNAH STORM(over television) ...quarterbacks in the

league. 1214-11

SCENE 161 - MFS - SEAN WATCHES THEO.S. TELEVISION AS HE PUTS ON A PAIROF PANTS.

ESPN HANNAH STORM 2-337 /1214.13 1217.00 2.03 ESPN HANNAH STORM ON TV TO GROUP)(over television) Does his team want him ITAL Does his team want him back?

back? his contract and continue to play with

(is up : i.e., 'has been fulfilled and

ITAL (over scene end) ...and at age 35 he's one of the oldestquarterbacks in the league.

(back : i.e., 'to be re-hired' - 'to renew

them next football season')



(48)


FOOTBALL COACH 2-338 1217.04 1221.13 4.09 FOOTBALL COACH ON TV TO GROUP)(over television) Of course I want Sean ITAL Of course I want Sean Jackson back. But it's

Jackson back. But it's not my decision.

ESPN HANNAH STORM 2-339 1222.01 1226.08 4.07 ESPN HANNAH STORM ON TV TO GROUP)(over television) If not... ITAL (over scene end) If not, will he test the waters of free agency?

1223-04 (test...agency : idiomatic for

SCENE 162 - MS - LOW ANGLE - PAST professional sports, a free agent is aSEAN, R.FG., TO THE TELEVISION WHICH player whose contract with a teamSHOWS SEAN THROWING A PASS, THEN has expired, and who's eligible toSIGNING AUTOGRAPHS FOR A GROUP sign with another franchise)OF FANS.

ESPN HANNAH STORM(over television) ...will he test the waters of

free agency?

SEAN'S FANS(on television) (overlapping, low and

indistinct chatter - continues under

following scenes and dialogue)

SEAN'S FEMALE FAN #2(over television) (overlapping) No, over

here.

SEAN'S FEMALE FAN #1(on television) (overlapping) Can you give

me your autograph, Sean?

SEAN'S FEMALE FAN #3(on television) (overlapping) Sean!

1227-14

SCENE 163 - MS - LOW ANGLE - SEANWALKS FG. AND REACTS AS CAMERATILTS UP WITH HIM INTO A MCS.

SEAN'S FEMALE FAN #3(over television) Sean.

ESPN HANNAH STORM 2-340 /1228.00 1231.09/ 3.09 ESPN HANNAH STORM ON TV TO GROUP)(over television) (overlapping) Or will he ITAL Or will he make this easier on everyone...

make this easier on everyone... (For this Title and Title #2-341 : 1231-10 Implying no one wants to see Sean

not my decision.

'tentatively investigate opportunitiesas a free agent' - note that in

(on : i.e., 'for')

continue to play if he's going to playpoorly, but it may also be awkward forhis team to refuse to renew hiscontract)



(49)

SCENE 164 - MCS - THE TELEVISION,SHOWING THE STILL IMAGE OF SEANNEXT TO HANNAH STORM.

ESPN HANNAH STORM *2-341 1232.00 1234.05/ 2.05 ESPN HANNAH STORM ON TV TO GROUP)(on television) ...and just retire? ITAL ...and just retire?

1234-05

SCENE 165 - MCS - LOW ANGLE - SEANREACTS AND USES AN O.S. REMOTECONTROL TO TURN OFF THE O.S.TELEVISION.

SEAN 2-342 /1234.09 1238.07 3.14 SEAN AS IF TO ESPN HANNAH STORM)Come on, Hannah. Lighten up. Come on, Hannah. Lighten up.

SEAN TURNS AND STEPS L.BG. AS protest, here used to mean 'BeCAMERA TILTS DOWN SLIGHTLY WITH reasonable')HIM. (Lighten up : Slang for 'Don't be so

1241-02 serious' - 'Stop being so harsh')

SCENE 166 - MCS - HIGH ANGLE - A 2-343 (OUT)CHAIR AS THE REMOTE CONTROLENTERS UPPER L. AND FALLS ONTO THESEAT OF THE CHAIR, THEN TUMBLESLOWER L.FG.

1243-00

SCENE 167 - EXT. MALIBU BEACH HOUSE- DAY - MCS - SEAN WALKS L.BG. ON ADECK AS CAMERA PANS AND DOLLIES INWITH HIM, THEN TILTS DOWN ANDRACKS FOCUS PAST SEAN, L.FG., TOBULGARIAN GIRL, CANDY AND A THIRDWOMAN ON THE BEACH IN A HIGHANGLE LS. CANDY WAVES TO SEAN ASBULGARIAN GIRL AND THE THIRDWOMAN PRACTICE YOGA, CONTINUEDUNDER FOLLOWING SCENES.

CANDY 2-344 1246.13 1249.00/ 2.03 CANDY TO SEAN)Hi, neighbor! Hi, neighbor!

BULGARIAN GIRLHey... 2-344A /1249.04 1251.05 2.01 BULGARIAN GIRL TO SEAN,

1249-02 THEN SEAN TO WOMEN)

SCENE 168 - MS - LOW ANGLE - SEANLEANS FG. ON A CONGA DRUM.

BULGARIAN GIRL(off) ...Sean!

SEANHey, girls!

CANDY 2-345 1251.09 1255.01/ 3.08 CANDY TO SEAN)(off) Hey, when are you... (over scene end) Hey, when are you gonna come over for a

1252-09 swim?

(Come on : Idiomatic expression of

-Hey, Sean.-Hey, girls.



(50)

SCENE 169 - FS - HIGH ANGLE - PASTBULGARIAN GIRL, L.FG., AND THE THIRDWOMAN, R.FG., TO CANDY, GESTURING.

CANDY...gonna come over for a swim?

1255-02

SCENE 170 - MS - LOW ANGLE - SEAN.

SEAN 2-346 /1255.05 1259.12/ 4.07 SEAN TO CANDY)Oh, sorry, sweetie. I got lots goin' on today. Oh, sorry, sweetie. I got lots goin' on today.

1259-14 (sweetie : a term of affection,

SCENE 171 - MCS - HIGH ANGLE - a lot of other obligations')CANDY.

CANDY 2-347 /1260.00 1262.10/ 2.10 CANDY TO SEAN)I'm running out of patience. I'm running out of patience.

1262-12 (i.e., 'I'm becoming very impatient.')

SCENE 172 - MS - LOW ANGLE - SEAN.

SEAN 2-348 /1262.14 1265.07/ 2.09 SEAN TO CANDY)And I'm running outta willpower. And I'm running outta willpower.

1265-09 (Implying 'And I'm slowly becoming

SCENE 173 - FS - HIGH ANGLE - PAST Also note flirtatious tone)BULGARIAN GIRL, L.FG., AND THE THIRDWOMAN, R.FG., TO CANDY AS SHEREACTS.

SEAN 2-349 /1265.11 1269.03 3.08 SEAN TO CANDY)(off) But right now I gotta make a call. But right now I gotta make a call.

1269-13

SCENE 174 - LS - HIGH ANGLE - PAST THROUGH (OUT)SEAN, HOLDING A CELL PHONE, OUT OF 2-351.FOCUS, L.FG., TO A POOL BOY AS HECLEANS SEAN'S SWIMMING POOL WITH ASKIMMER. SEAN DIALS HIS CELL PHONEAND TURNS FG. AS THE POOL BOY SETSDOWN THE SKIMMER AND WALKS L.BG.

1274-02

SCENE 175 - INT. GLARE P.R. OFFICE -DAY - FS - PAST AN EMPTY DESK, FG., TOA CLOSED OFFICE DOOR AND A WALLRACK OF MAGAZINES ANDPROMOTIONAL LITERATURE.

1275-12

diminutive of 'sweetheart')(got lots goin' on : colloquial for 'have

(Note flirtatious tone)

unable to resist your overtures.' - Noteplay on 'I'm running out of patience' -

2-350



(51)

SCENE 176 - MFS - PAST A WALL SIGN,L.FG., TO THE CLOSED OFFICE DOOR.THE SIGN READS: 2-352 /1275.14 1277.13/ 1.15 NARRATIVE TITLE) (of sign)

G GLARE P.R. G GLARE P.R.

1277-14 (P.R. : abbreviation for 'public

SCENE 177 - MCS - PAST THE CLOSED improving a favorable relationshipOFFICE DOOR, L.FG., TO A NAME PLAQUE between an institution or person andTHAT READS: the public)

KARA MONAHAN

AN O.S. PHONE RINGS, CONTINUED TRANSLATE IT FOR YOUR TERRITORY.UNDER FOLLOWING SCENES.

1280-01

SCENE 178 - INT. KARA'S OFFICE - DAY - KARA MONAHANMS - HIGH ANGLE - PAST THE RINGINGPHONE ON KARA'S DESK, LOWER FG., TOKARA (LEGS) AS SHE WALKS ON ATREADMILL. KARA, FACE ON, ISREVEALED TO ALSO BE READING AMAGAZINE AS CAMERA DOLLIES BACKAND TILTS UP INTO A MFS. KARA REACTSTO THE RINGING PHONE, GLANCINGABOUT, THEN PRESSES A FEW BUTTONSON THE TREADMILL, WHICHINADVERTENTLY INCREASES THETREADMILL'S SPEED. KARA REACTS,THROWING THE MAGAZINE ONTO THEO.S. FLOOR, LOWER FG., AS SHE RUNSON THE TREADMILL.

KARA 2-354 1302.02 1303.12 1.10 KARA) (calling)(chews) No. Uh-oh. Help! (to Heather) Help!

Heather! (to telephone) Um, I'm coming, I'm treadmill going faster than she can

coming!

KARA LEANS L.FG. AND PICKS UP THE 2-355 1304.04 1306.01 1.13 KARA TO HEATHER)TELEPHONE RECEIVER Heather!

KARA(into telephone) (to person) Yeah, hello? 2-356 1307.10 1310.01 2.07 KARA TO PHONE)

SEAN(over telephone) Kara, it's Sean.

KARA PRESSES MORE BUTTONS ON THE Yeah, hello?TREADMILL, THEN AWKWARDLY STEPSL.FG. OFF THE TREADMILL TOWARD HERDESK AS CAMERA DOLLIES IN AND PANS 2-358 1312.04 1313.13 1.09 SEAN OVER PHONE TO KARA)R. WITH HER INTO A MS. ITAL Kara, it's Sean.

KARA(into telephone) Hi, hi. (grunts) What's 2-359 1314.01 1318.04 4.03 KARA INTO PHONE TO SEAN)

going on? What's going on?

relations' - the practice or professionof establishing, maintaining, or

TRANSLATORS: YOU MAY OMIT TITLE #2-353 IF YOU DO NOT NEED TO

2-353 /1278.01 1280.00/ 1.15 NARRATIVE TITLE) (OPTIONAL)

(Here said in response to Kara's

keep up with)

I'm coming, I'm coming!

*2-357 1310.05 1312.00 1.11 KARA INTO PHONE TO PERSON)

Hi, hi. What's going on? What's going on?



(52)


SEAN 2-360 1318.08 1321.12 3.04 SEAN OVER PHONE TO KARA)(over telephone) Media blitz on my career ITAL Media blitz on my career has begun.

has begun. considerable media attention')

KARA STEPS R.BG. BEHIND HER DESKAND PRESSES A FEW KEYBOARDCOMMANDS ON HER LAPTOP AS CAMERACONTINUES TO PAN AROUND WITH HER.

KARA 2-361 1322.00 1324.08/ 2.08 KARA INTO PHONE TO SEAN)(into telephone) Yes, I know. Are you okay? Yes, I know. Are you okay?

1324-09

SCENE 179 - EXT. MALIBU BEACH HOUSE- DAY - MS - HIGH ANGLE - SEAN, SEATEDON A RAILING OF HIS DECK.

SEAN 2-362 /1324.12 1328.05 3.09 SEAN INTO PHONE TO KARA)(into telephone) Of course I'm okay. It Of course I'm okay. It comes with the territory.

comes with the territory. What I'd love is for for 'It is an unavoidable aspect of my

my highly-paid publicist to take care of it. unavoidable aspect of being a1333-07 professional athlete')

SCENE 180 - INT. KARA'S OFFICE - DAY - 2-363 1328.09 1333.06/ 4.13 SEAN INTO PHONE TO KARA)MS - KARA CHEWS A SNACK AND What I'd love is for my highly-paid publicist toPRESSES A BUTTON ON HER LAPTOP. take care of it.

KARA Sean refers to Kara in the third(into telephone) (with mouth full) I'm on it. person)

I've got my people standing by and a press media attention')

release ready to go. What else do you

need? I'm on it.1340-15 (Slang for 'I have already begun to

SCENE 181 - EXT. MALIBU HOUSE - DAY -MCS - SEAN. *2-365 1335.12 1340.14/ 5.02 KARA INTO PHONE TO SEAN)

SEAN release ready to go. What else do you need?(into telephone) I got a meeting with my... (my people standing by : i.e.,

1343-00 'assistants and professional contacts

(Media blitz : i.e., 'Sudden

(It comes with the territory : Idiomatic

chosen career' - i.e., 'It is an

(my highly-paid publicist : note that

(take care of it : i.e., 'respond to the

2-364 1333.14 1335.08 1.10 KARA INTO PHONE TO SEAN)

work on this.')

I've got my people standing by and a press

awaiting my instructions')(press release : a written or recordedcommunication directed at membersof the news media for the purpose ofannouncing something claimed ashaving news value)

2-366 /1341.02 1342.15/ 1.13 SEAN INTO PHONE TO KARA)I got a meeting with my agent today.



(53)

SCENE 182 - INT. KARA'S OFFICE - DAY -MS - KARA PRESSES A BUTTON ON HERLAPTOP AND AWAITS A RESPONSE,BECOMING DISTRACTED FROM HERCONVERSATION WITH SEAN,CONTINUED UNDER FOLLOWINGSCENES.

SEAN 2-367 /1343.03 1348.00 4.13 SEAN OVER PHONE TO KARA)(over telephone) ...agent today. I want you to ITAL I want you to meet me there in about an

meet me there in about an hour. You'll be

there?1350-01

SCENE 183 - CS - THE LAPTOP SCREENSHOWS KARA'S ONLINE INVITATION FORHER PARTY, WHICH READS: 2-368 /1350.02 1352.06 2.04 NARRATIVE TITLE) (of computer)

evite KARA'S ANNUAL I Hate Valentine's DayKARA'S ANNUAL DINNER

I Hate Valentine's Day DINNER (Note that Kara is looking at her

SEAN(over telephone) Hello?

AN ANIMATED CUPID FIGURE HOVERSAND FIRES AN ARROW FROM HIS BOWINTO A LARGE HEART, PUSHING IT R.AND REVEALING THE GUEST COUNTER,WHICH READS: 2-369 1352.10 1354.02/ 1.08 NARRATIVE TITLE) (of computer)

TOTAL TOTAL GUESTS 0GUESTS 0

1354-02 they will come: 0)

SCENE 184 - MCS - KARA REACTS,STUNNED.

SEAN *2-370 1354.11 1357.07/ 2.12 SEAN OVER PHONE TO KARA)(over telephone) Hello? Did I lose you? ITAL Hello? Did I lose you?

1357-09 (Did I lose you : Idiomatic for 'Has

SCENE 185 - CS - THE COMPUTER intermittent signal' - 'Can you noSHOWS THE GUEST COUNTER, WHICH longer hear me' - Note that Kara isREADS: briefly speechless as she looks at her

TOTAL confirmed they will attend her dinnerGUESTS 0 party that evening)

SEAN(over telephone) Malibu. 2-371 1358.06 1359.06/ 1.00 SEAN OVER PHONE TO KARA)

1359-07 ITAL Malibu.

hour. You'll be there?

electronic invitation to her party)

(i.e., 'Total number of invitees who say

our phone call been inadvertentlyterminated [or interrupted] by

computer and sees that no one has

(i.e., 'It's probably because I'm callingfrom Malibu.' - Note that Malibu is awealthy beach community in LosAngeles County)



(54)

SCENE 186 - CS - THE COMPUTERSHOWS KARA'S INVITATION, WHICHREADS:

eviteKARA'S ANNUAL

I Hate Valentine's Day DINNER

SEAN 2-372 /1359.10 1364.05 4.11 SEAN OVER PHONE TO KARA)(over telephone) You pay a fortune to be ITAL (over scene end) You pay a fortune to be here to get crappy

here... (You pay : i.e., 'One pays')1361-14 (be here : i.e., 'live here')

SCENE 187 - MCS - KARA REACTS. (crappy : vulgar slang for 'terrible' -

SEAN(over telephone) ...to get crappy cell phone

reception.

KARA 2-373 1364.09 1368.09 4.00 KARA INTO PHONE TO SEAN)(into telephone) No, n-- No, no. I'm-I'm No, no. I'm here. I'm here. I'll be at the

here. I'm here. I'll b-- I'll (stammers) I'll be at (I'm here : i.e., 'I'm still on the phone'

the meeting.

SEAN 2-374 (OUT)(over telephone) Outstanding.

KARA LEANS L.FG. AND HANGS UP THE 2-375 1368.13 1370.12 1.15 SEAN OVER PHONE TO KARA)PHONE O.S. AS CAMERA TILTS DOWN ITAL Outstanding.WITH HER. (Idiomatic emphatic approval - i.e.,

KARA(into telephone) (in low tones) Da-- (sighs)

1373-01

SCENE 188 - EXT. HENDERSON HIGH -BLEACHERS - DAY - FS - SEVERALMEMBERS OF A MARCHING BANDPRACTICING ON THE FIELD TURN FG.,HOLDING THEIR RESPECTIVEINSTRUMENTS.

MARCHING BAND INSTRUCTOR *2-375A /1373.03 1375.14 2.11 MARCHING BAND INSTRUCTOR (off) Drumline, keep your eyes on Scotty. TO GROUP)

1376-00 Drumline, keep your eyes on Scotty.

cell phone reception.

(to get : i.e., 'and then you'resubjected to')

'poor')

meeting.

- 'I can still hear you')

'Excellent.' - 'Wonderful.')

(Drumline : Section of percussioninstruments usually played as part ofa musical marching ensemble)(keep your eyes on : i.e., 'watch' - 'getyour cues from')(Scotty : diminutive nickname for'Scott')



(55)

SCENE 189 - FS - PAST GRACE, R.FG.,AND SEVERAL SEATED STUDENTS ASTHEY STAND UP, LOWER FG., TO MS.GILROY AS SHE CONCLUDES HERCLASS AND CAMERA TILTS UP SLIGHTLY.THE MARCHING BAND PRACTICES, BG.,CONTINUED UNDER FOLLOWINGSCENES.

MS. GILROY 2-376 1376.02 1382.09 6.07 MS. GILROY TO GROUP)Registration for the A.P. exam is due next Registration for the A.P. exam is due next

week so don't flake. (A.P. exam : advanced placement

FEMALE STUDENT culmination of year-long A.P. courses(overlapping) (chuckles) taken by qualified students in high

STUDENTS history, biology, etc. - Depending on(overlapping, low and indistinct chatter - the score of one's test, one can earn

continues under following scenes and prerequisites waived)

dialogue) [regarding registering for the test]')

THE OTHER STUDENTS WALK R.,EXITING, AS GRACE WALKS L.BG. ANDCAMERA PANS WITH HER INTO A MFS.MS. GILROY STEPS L.FG., MEETINGGRACE.

MS. GILROY 2-377 1385.01 1387.04/ 2.03 MS. GILROY TO GRACE)Hey, Grace. Hey, Grace.

1387-06

SCENE 190 - MS - PAST MS. GILROY,L.FG., TO GRACE AS SHE REACTS.

MS. GILROY 2-378 /1387.08 1394.01/ 6.09 MS. GILROY TO GRACE)Uh, I was thinking of putting together just a I was thinking of putting together just a little

little test prep group... (putting together : i.e., 'organizing')1394-02 (test prep group : i.e., 'group of

SCENE 191 - MCS - PAST GRACE, R.FG.,TO MS. GILROY.

MS. GILROY 2-379 /1394.05 1400.05 6.00 MS. GILROY TO GRACE)...for the class and I was hoping I could pick ...and I was hoping I could pick your brain

your brain about what to focus on since (pick your brain : slang for 'ask you

you've taken the test and I've-- I haven't. your knowledge')1406-00

week so don't flake.

examination - tests that are the

school in subjects such as English,

college credit or have college

(flake : slang for 'be irresponsible

test prep group for the class...

students to prepare for the testtogether')

about what to focus on...

questions regarding it' - 'benefit from

2-380 1400.09 1405.14/ 5.05 MS. GILROY TO GRACE)...since you've taken the test and I haven't.



(56)

SCENE 192 - MCS - PAST MS. GILROY,L.FG., TO GRACE.

GRACE 2-381 1406.07 1409.04 2.13 GRACE TO MS. GILROY)Yeah, yeah. You know, no problem. Yeah, yeah. You know, no problem.

MS. GILROY 'that will be fine')Oh, great!

1410-09


MS. GILROYHow 'bout, uh, today after school?

1413-14


GRACE 2-383 /1414.01 1417.13/ 3.12 GRACE TO MS. GILROY)Uh, you know, I can't today. I n-- I nanny You know, I can't today. I nanny after school.

after school. child [referring to Edison]' - 'work as a1417-13 nanny')


MS. GILROY 2-384 1418.13 1422.08/ 3.11 MS. GILROY TO GRACE)(inhales) How about today at lunch? How about today at lunch?

1422-09

SCENE 196 - MCS - PAST MS. GILROY,L.FG., TO GRACE, GESTURING.

GRACE 2-385 1424.09 1427.06 2.13 GRACE TO MS. GILROY)Uh, see, normally that would work for me, See, normally that would work for me...

but (sucks in air through teeth) today at be available then')

lunch, I'm gonna have sex with my humorous and nonchalant personal

boyfriend...1432-05

SCENE 197 - MCS - PAST GRACE, R.FG., my boyfriend for the first time.TO MS. GILROY AS SHE REACTS.

GRACE...for the first time.

MS. GILROY 2-387 1434.00 1435.04 1.04 MS. GILROY TO GRACE) (OPTIONAL)(whispering) Wow. Wow.

1435-06

(no problem : idiomatic agreement -

2-382 1409.08 1413.13/ 4.05 MS. GILROY TO GRACE)(over scene end) Oh, great! How 'bout today after school?

(nanny : idiomatic for 'take care of a

(that would work for me : i.e., 'I would

(For this title and Title #2-386 : Note

disclosure)

2-386 1427.10 1433.12 6.02 GRACE TO MS. GILROY)(over scene end) ...but today at lunch, I'm gonna have sex with



(57)


GRACE 2-388 /1435.08 1437.15/ 2.07 GRACE TO MS. GILROY)First time having sex for both of us. First time having sex for both of us.

1438-00

SCENE 199 - MCS - PAST GRACE, R.FG.,TO MS. GILROY, GRIPPING AN ALUMINUMCAN.

MS. GILROY 2-389 1438.07 1443.13/ 5.06 MS. GILROY TO GRACE)That is (inhales) quite a special time for That is quite a special time for you.

you.1443-15


GRACE 2-390 /1444.01 1449.08/ 5.07 GRACE TO MS. GILROY)It's Valentine's Day, we're in love, we're both It's Valentine's Day, we're in love, we're both

eighteen and... (inhales) (18 : i.e., 'of the legal age of consent')1449-10

SCENE 201 - MFS - ALEX PRACTICESWITH THE MARCHING BAND, POSINGWITH HIS TROMBONE AS HE BACKS UPL.BG. CAMERA PANS R. SLIGHTLY, THENPANS L. WITH HIM.

GRACE 2-391 /1449.12 1452.13 3.01 GRACE TO MS. GILROY)(off) (sighing) ...I just (in normal voice) want ...and I just want it to be special and--

it to be special and-- (stammers) The point

is, my parents are-- (over scene end) The point is, my parents work so they'll be1454-15 gone during lunch...


GRACE 2-393 1457.09 1459.14/ 2.05 GRACE TO MS. GILROY)They work so they'll...be gone during lunch ...and lunch is the only time that could work

and lunch is the only time that could work (that could work out : i.e., 'offered the

out. her parents will not be home)1459-15

18...

2-392 1453.01 1457.05 4.04 GRACE TO MS. GILROY)

out.

ideal conditions' - referring to the fact



(58)

SCENE 203 - MCS - PAST GRACE, R.FG.,TO MS. GILROY AS SHE CONTINUES TOREACT.

MS. GILROYI, um--

GRACE 2-394 1461.00 1466.12 5.12 GRACE TO MS. GILROY)(overlapping) (interrupting) You know, I'm You know, I'm free tomorrow lunchtime.

free tomorrow lunchtime. Lunchtime

tomorrow I'll definitely be free.

MS. GILROY 2-395 1467.00 1470.05 3.05 MS. GILROY TO GRACE)Oh, you'll be done having sex by then? Oh, you'll be done having sex by then?

(stammers - continues under following

dialogue)

GRACE WALKS L.BG., THEN RUNS R.BG.AS CAMERA PANS WITH HER INTO A MFS.

GRACE 2-396 1471.03 1474.04 3.01 GRACE TO MS. GILROY)Yeah, I'll see you tomorrow. It'll be good. Yeah, I'll see you tomorrow. It'll be good.

MS. GILROY productive meeting')All right.

GRACE 2-397 1474.08 1476.09 2.01 MS. GILROY TO GRACE, Bye. THEN GRACE TO MS. GILROY)

MS. GILROY -Bye.(overlapping) (clears throat)

BAND STUDENT #1Here we go, let's stay together!

1480-10

SCENE 204 - EXT. HENDERSON HIGHCAMPUS - DAY - MCS - HIGH ANGLE -PAST MALE STUDENT #1 (TORSO), L.FG.,TO A SIGN HANGING FROM A TABLE ASMALE STUDENT #1 (TORSO) WALKS R.,EXITING.

STUDENTS OUTSIDE(overlapping, low and indistinct chatter -


dialogue)

CHEERLEADERS(off) (in unison) (chant- continues under


Lunchtime tomorrow I'll definitely be free.

(Note humor)

(It'll be good : i.e., 'We will have a

-All right.



(59)


MALE TEACHER *2-398 /1480.12 1485.06/ 4.10 NARRATIVE TITLE, (of sign) (off) Come sign the latte petition. Right over THEN MALE TEACHER TO GROUP)

here, kids. -PUT LATTE'S INTO THE VENDING

THE HANDMADE SIGN READS: -Come sign the latte petition. Right over

PUT LATTE'SINTO THE VENDING (LATTE'S : i.e., 'lattes' - note that a

MACHINES 'latte' is an espresso coffee with frothy

MALE STUDENT #1 (VENDING MACHINE : a machine(off) (indistinct) from which people can buy such

1485-07 items as packaged food or drinks by

SCENE 205 - MS - PAST A SEATED many people demanding a particularFEMALE TEACHER, L.FG., AND FEMALE action from an authority orSTUDENT #1, R.FG., TO MALE TEACHER government)AND SEVERAL MALE STUDENTS ON (kids : i.e., 'students')EITHER SIDE OF THE TABLE AS THEMALE TEACHER COLLECTS SIGNATURESFOR A PETITION, CONTINUED UNDERFOLLOWING SCENES.

MALE STUDENT #1So this is the only thing, right?

MALE TEACHER *2-398A 1486.03 1488.09 2.06 MALE TEACHER TO MALE STUDENT #1)(overlapping) Yeah. Right here. Yeah. Right here.

MALE STUDENT #1Okay.

1489-08

SCENE 206 - MS - HIGH ANGLE - ALEXAND HIS FRIEND WILLY WALK L. UP AFLIGHT OF STAIRS AS CAMERA DOLLIESWITH THEM.

WILLY 2-399 1491.15 1494.04 2.05 WILLY TO ALEX)You're gonna eat first. You're gonna eat first.

ALEX something before you have sex withNo. Grace.')

WILLYNo? Maybe some Gatorade. 2-400 1494.08 1496.00 1.08 ALEX TO WILLY)

ALEXThat's g-- Yea-Yeah, I don't wanna get

dehydrated. No? Maybe some Gatorade.

WILLY drink')Mm-hm. (Gatorade : brand of flavored

1503-12 non-carbonated sports drink)

MACHINES

here, kids.

steamed milk)

inserting money)(petition : written request signed by

(Implying, i.e., 'You should eat

No.

2-401 1496.04 1499.11 3.07 WILLY TO ALEX)

(Maybe : i.e., 'Maybe you should

2-402 1500.07 1503.09/ 3.02 ALEX TO WILLY)Yeah, I don't wanna get dehydrated.

(i.e., 'I will do that, so I don't getdehydrated.')



(60)

SCENE 207 - MS - HIGH ANGLE - FELICIA AND GRACE WALK R.FG. UP A FLIGHT OFSTAIRS AS CAMERA DOLLIES BACK ANDTILTS UP WITH THEM. FELICIA CARRIES ALARGE STUFFED BEAR, CONTINUEDUNDER FOLLOWING SCENES.

FELICIA 2-403 /1503.13 1506.03 2.06 FELICIA TO GRACE)You're not gonna eat lunch? You're not gonna eat lunch?

GRACEN-No. No lunch. (chuckles) 2-404 1506.07 1508.07 2.00 GRACE TO FELICIA)

FELICIAWell, did you have a big breakfast?

GRACE Well, did you have a big breakfast?No. (pants)

1513-11

SCENE 208 - MS - HIGH ANGLE - ALEXAND WILLY WALK L.FG. UP THE STAIRSAS CAMERA DOLLIES BACK AND TILTSUP WITH THEM, THEN DOLLIES L. ANDPANS R. INTO A MCS.

WILLY 2-407 /1513.14 1519.04 5.06 WILLY TO ALEX)Do pushups. (smacks lips) I'm tellin' ya, I Do pushups. I'm tellin' ya, I do 'em before I

do 'em before I run. (pushup : physical exercise in which,

ALEX with the hands under the shoulders,What? Pushups make you run faster? the body is pushed off the floor until

WILLYNo. Makes you look better.

MALE TEACHER What? Pushups make you run faster?(off) (overlapping) Hey, you guys, you

wanna sign our petition? 2-409 1523.03 1526.05 3.02 WILLY TO ALEX)

FELICIA (look better : i.e., 'more physically(off) (overlapping) Oh... attractive')

1527-10

SCENE 209 - MS - FELICIA AND GRACEWALK R.FG.

FELICIA 2-410 /1527.12 1530.02 2.06 FELICIA TO GRACE)...I'll get you a sandwich for when you come I'll get you a sandwich for when you come

back.

MALE TEACHER(off) Sign up now.

GRACE 2-411 1530.06 1532.13 2.07 GRACE TO FELICIA)(overlapping) Okay, yeah, thanks. Okay, yeah, thanks. That's a good idea.

(chuckling) That's a-That's a good idea.

No. No lunch.

2-405 1508.11 1511.14 3.03 FELICIA TO GRACE)

2-406 1512.02 1513.10/ 1.08 GRACE TO FELICIA)No.

run.

from a position of lying flat on the front

the arms are straight)

2-408 1519.08 1522.15 3.07 ALEX TO WILLY)

No. Makes you look better.

back.



(61)


FELICIA(overlapping) (chuckles - continues under

following dialogue)

MALE TEACHER *2-411A 1533.01 1534.15 1.14 MALE TEACHER TO GROUP)(off) Save the lattes. Save the lattes.

FELICIA REACTS AND WALKS L.FG.,EXITING, AS ALEX ENTERS L.BG. ANDSTEPS R. TOWARD GRACE.

FELICIA 2-412 1535.03 1540.00 4.13 FELICIA TO GRACE)They're putting lattes in the vending They're putting lattes in the vending

machines? Finally! (They're putting : i.e., 'The high

ALEX put')(chuckling) (inhales)

GRACE(overlapping) Hey.

ALEX *2-413 1541.09 1545.13 4.04 ALEX TO GRACE)So, um, I'm gonna go to English and then So, I'm gonna go to English and then go set

go set up. (inhales sharply - continues (English : i.e., 'my English literature

under following dialogue) (set up : i.e., 'prepare your bedroom

GRACE that Alex is going to Grace's houseI'll see you there. earlier than Grace)

ALEXAll right. 2-414 1546.01 1547.11 1.10 GRACE TO ALEX)

GRACE(chuckles - continues under following

dialogue) All right.

ALEX AND GRACE WALK R.FG., EXITING,AS CAMERA PANS R. TO REVEAL WILLYHOLDING A WRAPPED PRESENT. WILLYSHAKES THE PRESENT AND GLANCES R.

MALE TEACHER(off) (indistinct to:) As long as it takes to

sign your name.

FEMALE STUDENT #1(off) (overlapping) Why don't you just tell

your mom that--

MALE TEACHER 2-416 1553.05 1555.05/ 2.00 MALE TEACHER TO FELICIA)(off) Thank you, Felicia. Thank you, Felicia.

1555-08

machines? Finally!

school administrators are going to

up.

class')

for us to have sex' - note implication

I'll see you there.

2-415 1547.15 1549.09 1.10 ALEX TO GRACE)



(62)

SCENE 210 - MFS - PAST FELICIA, R.FG.,TO THE SEATED FEMALE TEACHER ANDTHE MALE TEACHER ON THE OTHERSIDE OF THE PETITION TABLE AS MALETEACHER HANDS FELICIA HER LARGESTUFFED BEAR, THEN GESTURES.

FELICIA *2-417 /1555.09 1558.13 3.04 FELICIA TO MALE TEACHER)Mr. Schwaby, I'm so glad you're taking care Mr. Schwaby, I'm so glad you're taking care

of this. (taking care of this : i.e., 'resolving

MALE TEACHER provision of lattes in the campusYou (face off) got it. vending machines)

FELICIA WALKS R. AS CAMERA PANSWITH HER, OFF FEMALE TEACHER AND *2-417A 1559.01 1560.05 1.04 MALE TEACHER TO FELICIA)MALE TEACHER, TO INCLUDE WILLY, You got it.R.FG. (i.e., 'You're welcome.' - Implying, 'I'm

FELICIAAnd I like c-caramel lattes, just, like, FYI.

(chuckles - continues under following And I like caramel lattes, just, like, FYI.

dialogue)

MALE TEACHER *2-418A 1565.04 1567.01 1.13 MALE TEACHER TO FELICIA)(off) Duly noted. Duly noted.

FELICIA(overlapping) (inhales) (exhales)

FELICIA AND WILLY WAVE TO O.S. ALEXAND GRACE.

WILLY 2-419 1567.09 1569.06/ 1.13 WILLY TO ALEX & GRACE)Have fun at lunch! Have fun at lunch!

1569-07

SCENE 211 - FS - LOW ANGLE - GRACEAND ALEX, STANDING AT THE TOP OF ACROWDED STAIRCASE, WAVE TO O.S.WILLY AND FELICIA, THEN KISS.

MALE TEACHER(off) Hey you guys, you wanna sign our

petition? Here we go. Just need your

signature.1574-05

of this.

this situation' - referring to the

happy to help')

2-418 1560.09 1565.00 4.07 FELICIA TO MALE TEACHER)

(FYI : initials for 'for your information')

(i.e., 'I will remember that.')



(63)

SCENE 212 - MCS - PAST WILLY,GLANCING ABOUT, R.FG., TO FELICIA,GESTURING.

WILLY 2-420 /1574.07 1576.08 2.01 WILLY TO FELICIA)What d'you think? What d'you think?

FELICIA also have sex?')We're gonna wait. I think we should just,

like, enjoy this... 2-421 1578.13 1581.01 2.04 FELICIA TO WILLY)1584-09 We're gonna wait.

SCENE 213 - MCS - PAST FELICIA, L.FG., 2-422 1581.05 1584.09/ 3.04 FELICIA TO WILLY)TO WILLY. I think we should just, like, enjoy this time.

FELICIA relationship')...time.

WILLY 2-423 1585.05 1588.04/ 2.15 WILLY TO FELICIA)Yeah. Okay. Good. Yeah. Okay. Good.

1588-06

SCENE 214 - MS - FELICIA AND WILLY ASFELICIA STEPS R. TOWARD HIM ANDPLAYFULLY SMACKS HIS ARM.

FELICIA 2-424 /1588.08 1590.15 2.07 FELICIA TO WILLY)Did you like your gift? Did you like your gift?

WILLYI-I didn't open it yet. 2-425 1591.07 1594.02 2.11 WILLY TO FELICIA)

FELICIAYou need to open it!

WILLY You need to open it!(overlapping) (chuckles)

1597-03

SCENE 215 - MCS - PAST FELICIA, L.FG.,TO WILLY AS HE OPENS HIS GIFT BOXAND REACTS.

WILLYWow.

1600-10

(Implying, 'Do you think we should

(this time : i.e., 'our current, abstinent

I didn't open it yet.

2-426 1594.06 1597.01/ 2.11 FELICIA TO WILLY)



(64)

SCENE 216 - MCS - HIGH ANGLE - WILLY(TORSO) HOLDS THE OPEN BOX, WHICHCONTAINS A MUSCLE SHIRT THATREADS:

TRACKH

HENDERSONAND FIELD

WILLY 2-427 1602.06 1604.05/ 1.15 WILLY TO FELICIA)(face off) It's, um, it's my track shirt. It's my track shirt.

1604-06 (track : implying, 'track and field' -

SCENE 217 - MCS - PAST WILLY, R.FG., example, hurdling or javelin throwing)TO FELICIA AS SHE TAKES THE SHIRTOUT OF THE O.S. BOX, RAISING IT INTOFRAME. THE BACK OF THE SHIRT ISEMBLAZONED WITH A LARGE NUMBERTHIRTEEN.

FELICIA 2-428 /1604.09 1610.07 5.14 FELICIA TO WILLY)Yeah, but I ironed on your lucky number on Yeah, but I ironed on your lucky number on

the back.

WILLYOh.

FELICIA 2-429 1611.04 1612.13/ 1.09 FELICIA TO WILLY)(overlapping) Thirteen. 13.

1612-13 (Note humor as the number 13 is

SCENE 218 - MS - FELICIA AND WILLY,BOTH HOLDING THE SHIRT.

WILLY 2-430 1613.15 1616.12 2.13 WILLY TO FELICIA)(chuckles) But that's your lucky number. But that's your lucky number.

FELICIA REACTS, HURT, AND RELEASESTHE SHIRT.

FELICIA 2-431 1618.00 1619.11/ 1.11 FELICIA TO WILLY)You don't even like it. You don't even like it.

1619-12

SCENE 219 - MCS - PAST FELICIA, L.FG.,TO WILLY, GLANCING ABOUT. FELICIASTEPS R.BG. AND EMBRACES WILLY,CONTINUED UNDER FOLLOWINGSCENE.

WILLY 2-432 /1619.15 1626.14/ 6.15 WILLY TO FELICIA)No! No, I-- I love it. I-I can't wait to wear it. No! No, I love it. I can't wait to wear it.

FELICIA(overlapping) (chuckling) Okay.

1627-00

athletic sports carried out on arunning track and an adjacent field, for

the back.

considered unlucky in North Americanculture)



(65)

SCENE 220 - MCS - PAST WILLY, FG., TOFELICIA, R.BG., AS SHE ENDS THEEMBRACE AND STEPS L.BG.

FELICIA(chuckles - continues under following

dialogue)

WILLY(chuckles)

FELICIA 2-433 1628.00 1630.03/ 2.03 FELICIA TO WILLY)Try it on now, then. Try it on now, then.

1630-04

SCENE 221 - MCS - PAST FELICIA, L.FG.,TO WILLY AS HE REACTS, GLANCINGABOUT.

WILLY 2-434 /1630.07 1632.05 1.14 WILLY TO FELICIA)Now? Now?

FELICIAYeah.

WILLY 2-435 1632.09 1638.06/ 5.13 WILLY TO FELICIA)Well, you know, (inhales) a little Well, you know, a little uncomfortable taking

uncomfortable (chuckling) taking my shirt (Note humorous allusion to all the

off in public. Lautner's [the actor portraying Willy]1638-07 many shirtless scenes in the current

SCENE 222 - MCS - PAST WILLY, R.FG.,TO FELICIA AS SHE REACTS, GLANCINGABOUT.

WILLY 2-436 1640.01 1643.02/ 3.01 WILLY TO FELICIA)But, hey, I-I'll wear it later... But, hey, I'll wear it later, okay?

1643-03

SCENE 223 - MS - FELICIA AND WILLY ASFELICIA PICKS UP HER LARGE STUFFEDBEAR.

WILLY...okay? (chuckles - continues under

following dialogue)

FELICIA 2-437 /1643.06 1644.15 1.09 FELICIA TO WILLY)(overlapping) (chuckling) Okay. (chuckles) Okay.

WILLYAre you gonna carry it around all day? 2-438 1646.06 1649.08 3.02 WILLY TO FELICIA)

my shirt off in public.

media attention paid to Taylor

hit film New Moon)

Are you gonna carry it around all day?(it : referring to the gigantic teddybear)



(66)


FELICIA 2-439 1650.04 1652.09 2.05 FELICIA TO WILLY)Shut up! Shut up!

WILLY affectionately - i.e., 'Don't be silly')(chuckles - continues under following

dialogue)

FELICIA AND WILLY WALK R.

FELICIA 2-440 1653.00 1655.13/ 2.13 FELICIA TO WILLY)(chuckles) Let's go see if this fits in my Let's go see if this fits in my locker.

locker. too large to fit into a high school

WILLYAll right.

WILLY EXITS R.1655-13

SCENE 224 - EXT. ACM RESTAURANT -DAY - FS - PAST MALE PEDESTRIAN #1AND MAN WITH LADDER, L.FG., TO AGROUP OF PEOPLE ON A WALKWAY ASMALE PEDESTRIAN #1 AND MAN WITHLADDER WALK BG. AND THE GROUPWALKS FG. CAMERA DOLLIES R. TOINCLUDE A BUSH, FG., AND A WAITERAND SEATED PATRONS AT THE ACMRESTAURANT, R.BG.

PEOPLE AT ACM RESTAURANT(overlapping, low and indistinct chatter -


dialogue)

PAULA 2-441 1656.07 1661.01/ 4.10 PAULA INTO PHONE TO PERSON)(off) (into telephone) This is his fifth This is his fifth paternity test. What are we

paternity test. What are we talkin' about? (What are we talkin' about : Idiomatic1661-02 expression used to imply that a

SCENE 225 - MS - PAST PAULA, SEATEDR.FG., TO KARA AND SEAN, ALL SEATEDAT ONE OF THE RESTAURANT'S TABLES.PAULA HANGS UP HER CELL PHONE.

PAULA 2-442 1666.05 1669.06/ 3.01 PAULA TO SEAN)(sighs) So... So, I spoke with the GM.

SEAN Manager' - referring to the GeneralHm? Manager of Sean's football team)

PAULA(smacks lips) ...I spoke with the GM.

1669-07

(Harsh for 'Be quiet!' - Here meant

(Note humor, as the bear is obviously

locker)

talkin' about?

situation is unreasonable)

(GM : Abbreviation for 'General



(67)

SCENE 226 - MS - PAST KARA, L.FG., TOPAULA.

PAULA 2-443 /1669.10 1671.08/ 1.14 PAULA TO SEAN)They've passed. They passed.

1671-10 (i.e., 'They decided to not renew your

SCENE 227 - MFS - PAST KARA, L.FG.,AND PAULA, R.FG., TO SEAN AS HEREACTS AND KARA BEGINS WRITING ATEXT MESSAGE.

SEAN 2-444 /1671.12 1673.09 1.13 SEAN TO PAULA)Passed? Passed?

KARA(overlapping) (in low tones) Passed?

SEAN 2-445 1674.05 1678.11 4.06 SEAN TO PAULA)We got to the playoffs. (chuckling) I (in We got to the playoffs. I was all-league.

normal voice) was all-league. after the regular season by the top

PAULA champion)They decided to go another way. They're (all-league : an honor awarded each

chasin' that kid from Alabama. the league)

SEAN(grunting) (exhales through nose - 2-446 1678.15 1683.14 4.15 PAULA TO SEAN)

continues under following dialogue) chasin' that kid from Alabama.

KARA different course of action')I'm working on a press release saying it (chasin' that kid from Alabama : i.e.,

was a mutual parting. a contract instead' - implying they

SEAN quarterback who is not particularlyWell, s-so now what? interested - note that Alabama is a

1691-04 state located in the southeastern

SCENE 228 - MCS - KARA BITES HERTHUMBNAIL AND GLANCES ABOUT. 2-447 1684.02 1688.09 4.07 KARA TO PAULA & SEAN)

KARA a mutual parting.(with thumb in mouth) Well, we, um.... (saying...parting : i.e., 'that states the

(smacks lips) (in normal voice) We look for was mutual')

another team.1695-05 2-448 1688.13 1691.03/ 2.06 SEAN TO KARA & PAULA)

SCENE 229 - MCS - SEAN, GLANCINGABOUT. 2-449 /1691.07 1695.05/ 3.14 KARA TO SEAN)

SEANI don't know. Maybe I'm done.

1699-06 2-450 /1695.09 1699.04/ 3.11 SEAN TO KARA & PAULA)

contract.')

(playoffs : a series of games played

competitors, to determine the league

football season to the best players in

They decided to go another way. They're

(go another way : i.e., 'pursue a

'trying to sign that kid from Alabama to

want to hire a promising young

region of the U.S.)

I'm working on a press release saying it was

decision to not renew your contract

Well, so now what?

Well, we.... We look for another team.

I don't know. Maybe I'm done.(I'm done : i.e., 'I'm done playingfootball' - 'I should retire')



(68)

SCENE 230 - MCS - KARA, GLANCINGABOUT.

KARA *2-451 /1699.08 1702.03/ 2.11 KARA TO SEAN, THEN PAULA TO SEAN)You're not done. -You're not done.

PAULAAbsolutely not.

1702-05

SCENE 231 - MCS - PAST KARA, L.FG., TOPAULA, GLANCING ABOUT ANDGESTURING.

PAULA *2-452 /1702.07 1707.03 4.12 PAULA TO SEAN)And I'm not speaking as someone who And I'm not speaking as someone who

makes a lotta money off-a you. I'm (speaking as : i.e., 'motivated to say

speaking as your fan. (off-a you : off of you - i.e., 'from your1709-13 career')

SCENE 232 - MCS - SEAN REACTS. 2-453 1707.07 1709.13 2.06 PAULA TO SEAN)

PAULA(off) Right now...

1711-09 2-454 1710.01 1716.14/ 6.13 PAULA TO SEAN)

SCENE 233 - MCS - PAST KARA, L.FG., TO (ton-a : i.e., 'lot of')PAULA, GLANCING ABOUT ANDGESTURING.

PAULA...you can still make a ton-a money doin'

what you love.1717-00

SCENE 234 - MCS - SEAN.

SEAN 2-455 /1717.02 1723.00 5.14 SEAN TO PAULA)Well, the problem is, Paula, it's not the only Well, the problem is, Paula, it's not the only

thing I want out of life. A relationship. Kids. (it's...life : i.e., 'football is not my sole1726-14 passion' - 'having a career in football

SCENE 235 - MCS - KARA REACTS.

PAULA A relationship. Kids.(off) Well, you can still have that and play (A relationship : i.e., 'I'd like to have a

football.

SEAN 2-457 /1727.00 1730.03 3.03 PAULA TO SEAN)(off) Look, I'm... Well, you can still have that and play football.

1731-01

-Absolutely not.

makes a lotta money off-a you.

that because I'm')

I'm speaking as your fan.

(over scene end) Right now, you can still make a ton-a moneydoin' what you love.

thing I want out of life.

is not my sole goal in life')

2-456 1723.04 1726.12/ 3.08 SEAN TO PAULA)

permanent romantic relationship')

2-458 1730.07 1734.07/ 4.00 SEAN TO PAULA & KARA)(over scene end) Look, I'm not complaining. I've been lucky.

But--(Look : i.e., 'Listen')



(69)

SCENE 236 - MCS - SEAN,

SEAN...not complaining. I-I've been lucky. But--

PAULA *2-459 /1734.11 1738.02/ 3.07 PAULA TO KARA)(off) (interrupting) So... So, what is he tellin' me? What are we

1734-09 gonna do?

SCENE 237 - MCS - PAST KARA, L.FG., TOPAULA, SHAKING HER HEAD.

PAULA...what is he tellin' me? What are we gonnado?

1738-03

SCENE 238 - MCS - KARA, GLANCINGABOUT.

KARA 2-460 1739.14 1746.15/ 7.01 KARA TO PAULA)I think we should take a beat, and, um, let I think we should take a beat and let Sean

Sean think about what he wants. (take a beat : i.e., 'be quiet for a1747-01 moment' - 'temporarily suspend this

SCENE 239 - MCS - SEAN, GLANCINGABOUT.

KARA 2-461 /1747.03 1748.06 1.03 KARA TO SEAN)(off) Right? Right?

SEANRight. 2-462 1748.10 1749.13/ 1.03 SEAN TO KARA)

1749-14 Right.

SCENE 240 - MS - PAST KARA, L.FG., ANDPAULA, R.FG., TO SEAN AS PAULASTANDS UP AND STEPS R.FG. ASCAMERA CRANES UP WITH HER.

PAULA 2-463 /1750.01 1752.14 2.13 PAULA TO KARA & SEAN)We have no time for thinking. We have no time for thinking.

1755-01 (i.e., 'We must act quickly.')

SCENE 241 - MCS - SEAN REACTS,GLANCING ABOUT.

PAULA *2-464 /1755.03 1757.07 2.04 PAULA TO WAITER)(off) Put it on their tab. Put it on their tab.

1760-06 (Idiomatic for 'Put the expense of this

think about what he wants.

discussion')

meal on their [Kara and Sean's]account.' - 'Charge this meal to theircredit card.')



(70)

SCENE 242 - INT. PLANE - DAY - MCS -HIGH ANGLE - PAST AN AIRPLANE SEATBACK, R.FG., TO HOLDEN (HANDS) ANDKATE (TORSO) AS SHE AND HOLDENPLAY BACKGAMMON. KATE ROLLS THEDICE AND SHE AND HOLDEN REACT ASCAMERA TILTS UP, OFF THEBACKGAMMON BOARD, AND PANS L. TOINCLUDE THEIR FACES, THEN DOLLIESOUT TO A MS.

HOLDEN 2-465 1761.12 1763.13 2.01 HOLDEN TO KATE)(face off) (smacks lips) Come on! Come on!

KATE Referring to Kate's roll of the die)(face off) (chuckles - continues under


HOLDEN 2-466 1764.05 1767.00 2.11 HOLDEN TO KATE, That's seven in a row. (chuckles - THEN KATE TO HOLDEN)

continues under following scenes and -It's amazing.

dialogue) now won seven consecutive

KATE (It's amazing : Here, amiable(chuckling) It's amazing. (softly chuckles - agreement)


HOLDEN 2-467 1767.04 1770.03/ 2.15 HOLDEN TO KATE, THEN TO WOMAN)(chuckling) You are like-- You are like-- This woman's a shark.

HOLDEN GLANCES L. AND GESTURES. often used to refer to some who wins

HOLDEN (cont'd) cheating, or pretending not to beThis woman's a shark. familiar with the game being played],

1770-04 though Holden means this as a

SCENE 243 - MCS - FEMALE PASSENGERREACTS, SMILING, AS SHE LISTENS TOHER IPOD.

HOLDEN 2-468 1770.07 1773.09/ 3.02 HOLDEN TO KATE, (off) God, you are good at this game. THEN KATE TO HOLDEN)

KATE -Not really.(off) Not really.

1773-09

SCENE 244 - MS - PAST HOLDEN, L.FG.,TO KATE, ADJUSTING THE BACKGAMMONPIECES.

KATE Just witnessed a tactical game of readingJust witnessed a tactical game of reading your opponent and adjusting accordingly.

your opponent and adjusting accordingly. merely observing [and unwittingly1781-06 participating in]')

(Here, idiomatic for 'I can't believe it!' -

-That's seven in a row.

(That's seven in a row : i.e., 'You have

backgammon games')

(shark : slang for 'an expert player' -

by skill and deception [such as

compliment)

-God, you are good at this game.

2-469 /1773.13 1781.05/ 7.08 KATE TO HOLDEN)

(Just witnessed : i.e., 'You were

(reading : determining the intent ormood of)(adjusting : i.e., 'adjusting one'sstrategy' - 'adjusting my strategy')



(71)

SCENE 245 - MCS - PAST KATE, R.FG., TOHOLDEN.

HOLDEN 2-470 /1781.09 1785.07 3.14 HOLDEN TO KATE)Wait, so-- Wait, are you saying that you're Wait, are you saying that you're reading me?

reading me?

FLIGHT ATTENDANT ENTERS R.BG. ANDWALKS L., THEN STOPS AND HANDSKATE A HEART-SHAPED LOLLIPOP.

KATE 2-471 1787.11 1788.15/ 1.04 KATE TO FLIGHT ATTENDANT)Thank you. Thank you.

1789-00 (Here said in response to a

SCENE 246 - MS - PAST FLIGHTATTENDANT, L.FG., TO HOLDEN ANDKATE AS FLIGHT ATTENDANT SETSDOWN ANOTHER HEART-SHAPEDLOLLIPOP ON THE TRAY TABLE INFRONT OF HOLDEN.

FLIGHT ATTENDANT 2-472 1792.05 1795.15 3.10 FLIGHT ATTENDANT TO HOLDEN, Happy Valentine's Day. THEN HOLDEN TO FLIGHT ATTENDANT)

HOLDEN -Oh, thank you.Oh, thank you. (makes nonsensical noise) (Oh, thank you : Here said in

FLIGHT ATTENDANT WALKS R., EXITING. the Flight Attendant gave him, which1801-06 he subtly pushes away)

SCENE 247 - MCS - HIGH ANGLE -HOLDEN (HAND) PUSHES THE LOLLIPOPR. ACROSS THE TRAY TABLE AS CAMERAPANS SLIGHTLY WITH HIM.

1802-12


KATE 2-473 /1802.13 1806.03 3.06 KATE TO HOLDEN)Yes, I can read you. It's part of my training. Yes, I can read you. It's part of my training.

Everyone gives subtle hints.

HOLDEN 2-474 1806.07 1808.09 2.02 KATE TO HOLDEN)(overlapping) (breathes deeply) Hints? Like Everyone gives subtle hints.

what? unconscious but detectable gestures

KATE that person's assessment of aGiveaways. situation, or thoughts about a

1811-09 situation')

heart-shaped lollipop the FlightAttendant gave her)

-Happy Valentines Day.

response to a heart-shaped lollipop

(training : i.e., 'military training')

(gives subtle hints : i.e., 'has

or behavioral tics that give clues to

2-475 1808.13 1811.07/ 2.10 HOLDEN TO KATE, THEN KATE TO HOLDEN)-Hints? Like what?-Giveaways.

(Giveaways : i.e., 'Things thataccidentally or unintentionally revealsthings about a person')



(72)

SCENE 249 - MCS - HOLDEN AND KATE, GLANCING ABOUT.

KATE 2-476 /1811.11 1815.10 3.15 KATE TO HOLDEN)You boarded the plane wearing a suit but You boarded the plane wearing a suit but no

no wedding ring. Serious, but not

committed. You let a stranger sleep on your 2-477 1815.14 1818.03 2.05 KATE TO HOLDEN)

shoulder. (i.e., 'From your attire, I deduced that

HOLDEN responsibilities, yet you liked to keep(sighing) Oh. free of romantic restrictions.')

KATEKindness... 2-478 1818.07 1821.13 3.06 KATE TO HOLDEN)

1823-13 You let a stranger sleep on your shoulder.

SCENE 250 - MCS - KATE. 2-479 1822.01 1826.14 4.13 KATE TO HOLDEN)

KATE...but also feels good to be needed. The

heart-shaped candy. (whispering) Another The heart-shaped candy. Another giveaway.

giveaway. way you reacted when the Flight1832-13 Attendant gave you the heart-shaped

SCENE 251 - MCS - PAST KATE, R.FG., TOHOLDEN AS HE REACTS.

HOLDEN(scoffing) (chuckles)

KATE 2-481 1834.01 1836.03 2.02 KATE TO HOLDEN)Either you have a problem with sugar, Either you have a problem with sugar...

which, based on the amount of maple 'avoid sugar for health reasons')

syrup you put on your pancakes this

morning, I wouldn't think so... ...which, based on the amount of maple1842-12 syrup you put on your pancakes this

SCENE 252 - MCS - FLIGHT ATTENDANT batter that is poured onto a hot,#2 WALKS R.FG. AND CROUCHES DOWN greased surface and cooked on bothAS SHE HANDS OUT TWO LOLLIPOPS TO sides until brown)PASSENGERS AS CAMERA TILTS DOWNWITH HER, THEN TILTS BACK UPSLIGHTLY. 2-483 1841.03 1842.11/ 1.08 KATE TO HOLDEN)

KATE(off) ...or you have a problem with candy in

the shape of a heart. ...or you have a problem with candy in the1847-06 shape of a heart.

wedding ring.

Serious, but not committed.

you were a serious person with

(over scene end) Kindness, but also feels good to be needed.

2-480 1827.12 1832.12/ 5.00 KATE TO HOLDEN)

(The heart-shaped candy : i.e., 'The

lollipop')

(have a problem with sugar : i.e.,

2-482 1836.07 1840.15 4.08 KATE TO HOLDEN)

morning...(pancakes : thin cakes made of

...I wouldn't think so...

2-484 /1842.15 1847.04/ 4.05 KATE TO HOLDEN)

(candy in the shape of a heart : i.e.,'candy that has a romantic theme')



(73)

SCENE 253 - MCS - HOLDEN REACTS,GLANCING ABOUT.

KATE 2-485 /1847.08 1851.10/ 4.02 KATE TO HOLDEN)(off) Which means you might have a Which means you might have a problem

problem with romance... 1851-11

SCENE 254 - MCS - KATE, GLANCINGABOUT.

KATE 2-486 /1851.14 1856.09/ 4.11 KATE TO HOLDEN)...and things pertaining to this day in ...and things pertaining to this day in

particular.1856-10

SCENE 255 - MCS - HOLDEN REACTS,NODDING AND GLANCING ABOUT.

HOLDEN 2-487 1862.02 1864.13 2.11 HOLDEN TO KATE)Hm. (smacks lips) Not bad, soldier. Not bad, soldier.

1866-07 (Not bad : i.e., 'Your assessment is

SCENE 256 - INT. FALCON CRESTELEMENTARY - JULIA'S CLASSROOM -DAY - MS - EDISON PLACES A VALENTINEIN A PAPER BIN ATTACHED TO ACHALKBOARD, ALONG WITH A ROW OFOTHER SIMILAR BINS. EDISON WALKSL.BG. AROUND THE END OF A ROW OFDESKS, THEN WALKS L.FG. AND SITSDOWN AT HIS DESK. CAMERA DOLLIESBACK AND PANS L. TO INCLUDESEVERAL CHILDREN SEATED AT THEIRDESKS, FG., AND JULIA, STANDING ATTHE FRONT OF THE ROOM, BG.

JULIA 2-488 /1866.09 1869.09 3.00 JULIA TO EDISON)(off) Okay, Edison. Thank you very much. (to Okay, Edison. Thank you very much.

children) Now you all (on) have seen how Edison has put a Valentine's Day card

to properly place your valentines into your pouch with a student's name on it that

fabulous envelopes, go ahead. Great.

THE CHILDREN STAND UP AND WALK R. 2-489 1869.13 1874.05 4.08 JULIA TO CHILDREN)AS CAMERA DOLLIES L. Now you all have seen how to properly place

CHILDREN(overlapping, low and indistinct chatter -

continues under following scenes and ...into your fabulous envelopes, go ahead.

dialogue) (go ahead : i.e., 'distribute your

with romance...

particular.

rather accurate')

(Thank you very much : Note that

into a hand-made construction-paper

is hanging on the wall)

your valentines...

*2-490 1874.09 1878.12 4.03 JULIA TO CHILDREN)

Great.

Valentine's Day cards in a likemanner')



(74)


JULIA 2-491 1879.00 1885.00/ 6.00 JULIA TO CHILDREN)And while you are doing that quietly, a little And while you are doing that quietly, a little

history about Valentine's Day. (a little history : i.e., 'I will tell you1885-02 some history')

SCENE 257 - MCS - TOUGH FRANKLIN,SEATED AT HIS DESK.

TOUGH FRANKLIN 2-492 /1885.04 1890.14/ 5.10 TOUGH FRANKLIN TO JULIA)Valentine's Day was a massacre in (over scene end) Valentine's Day was a massacre in Chicago

Chicago where... (Note that Tough Franklin is referring1888-14 to the Saint Valentine's Day

SCENE 258 - MS - EDISON, SEATED, of a Prohibition Era conflict betweenGLANCES R.BG. two powerful criminal gangs in

TOUGH FRANKLIN Italian gang led by Al Capone and the(off) ...they shot everybody... North Side Irish gang led by Bugs

1890-15 Moran)

SCENE 259 - MS - PAST GIRL #1, SEATED, confused two events that took place inL.FG., TO TOUGH FRANKLIN. Chicago)

TOUGH FRANKLIN...and put a curse on the Chicago Cubs. 2-493 /1891.02 1894.10/ 3.08 TOUGH FRANKLIN TO JULIA)

1894-11 ...and put a curse on the Chicago Cubs.

SCENE 260 - MS - PAST TOUGH the Chicago Cubs Major LeagueFRANKLIN, L.FG., TO JULIA, GESTURING. Baseball team has not been to the

JULIA when Billy Goat Tavern owner BillyThank you for sharing, Franklin, but this is a Sianis was asked to leave a World

different Valentine's Day. (whispering) Lose ground of Wrigley Field because his

the hat. fans. He was outraged and declared,1901-09 "Them Cubs, they aren't gonna win no

history about Valentine's Day.

where they shot everybody...

massacre, the name given to the1929 murder of seven people as part

Chicago, Illinois: the South Side

(For this Title and Title #2-493 : Notethat Tough Franklin has humorously

(put a curse on the Chicago Cubs : legend commonly cited to explain why

World Series since 1945, it started

Series game at the Cubs' home

pet goat's odor was bothering other

more," which has been interpreted tomean that there would never beanother World Series game won atWrigley Field)

2-494 1895.10 1899.13 4.03 JULIA TO TOUGH FRANKLIN)Thank you for sharing, Franklin, but this is adifferent Valentine's Day.

(sharing : i.e., 'sharing thatinformation with the class' - here saidwryly)

2-495 1900.01 1901.09/ 1.08 JULIA TO TOUGH FRANKLIN)Lose the hat.

(i.e., 'Take off your hat.' - Note thatTough Franklin, who had beenwearing a hat, complies)



(75)

SCENE 261 - FS - EDISON AT HIS DESK,R.FG., AS SEVERAL OF THE CHILDRENWALK R. AND BG. TO THEIR DESKS ASCAMERA PANS R. SLIGHTLY.

JULIA 2-496 /1901.13 1904.08/ 2.11 JULIA TO CHILDREN)(off) Okay, in ancient Rome, Emperor... Okay, in ancient Rome...

1904-10

SCENE 262 - MS - PAST CHILDREN, ...Emperor Claudius II, who was also knownLOWER FG., TO JULIA, GESTURING TO as Claudius the Cruel--THE CHALKBOARD, BG. (Claudius II : Marcus Aurelius

JULIA often referred to as Claudius Gothicus...Claudius the Second, who was also or Claudius II)

known as Claudius the Cruel. 1910-12

SCENE 263 - MS - PAST GIRL #1, L.FG.,TO TOUGH FRANKLIN AS HE PULLS HISSHIRT OVER HIS HEAD.

JULIA 2-498 1911.13 1919.09/ 7.12 JULIA TO CHILDREN)(off) Claudius the Cruel banned... (over scene ends) Claudius the Cruel banned all marriages

1914-04 because he wanted his soldiers to

SCENE 264 - MS - JULIA WALKS FG. ASCAMERA PANS R. SLIGHTLY.

JULIA...all marriages because he...

1916-07

SCENE 265 - MS - EDISON AND GIRL #2REACT AS JULIA (TORSO) ENTERS L.AND WALKS R.

JULIA(off) ...wanted (face off) his soldiers to

concentrate on war. 1919-12

SCENE 266 - FS - PAST JULIA, R.FG., TO EDISON AND THE OTHER STUDENTS ASJULIA PICKS UP PHOTOCOPIED PHOTOSFROM HER DESK.

JULIA (over scene end) But there was a priest who was known asBut there was a priest who was known Valentine who secretly married everyone

as... 1924-00

2-497 /1904.12 1910.11/ 5.15 JULIA TO CHILDREN)

Claudius [May 10, 213 - January, 270],

concentrate on war.

2-499 /1919.13 1926.10 6.13 JULIA TO CHILDREN)

anyway...



(76)

SCENE 267 - MCS - JULIA, HOLDINGPHOTOCOPIES OF ARTWORKSDEPICTING VALENTINE.

JULIA 2-500 1926.14 1930.00/ 3.02 JULIA TO CHILDREN)...Valentine who secretly married everyone (over scene end) ...because he believed in love.

anyway because he... 1928-01

SCENE 268 - MS - PAST JULIA (ARM),R.FG., TO EDISON AS HE REACTS.

JULIA(face off) ...believed in love.

1930-02

SCENE 269 - MS - RANI, SEATED,CHUCKLES.

RANI(chuckles - continues under following

dialogue)

JULIA 2-501 /1930.04 1935.06 5.02 JULIA TO CHILDREN)(off) Claudius found out about the secret... (over scene end) Claudius found out about the secret

1932-02 marriages and he threw Valentine in jail--

SCENE 270 - MCS - MADISON AND GWEN,SEATED. GWEN PRESSES HER CHEEKSTOGETHER WITH HER HANDS ANDMAKES NONSENSICAL NOISES. MADISONSQUEEZES GWEN'S R. CHEEK WITH HERHAND.

JULIA(off) ...marriages and he threw Valentine in

jail--

GWEN(overlapping) (makes nonsensical noises -

continues under following scene and

dialogue)

MADISON(overlapping) Like that. (makes

nonsensical noise)

JULIA 2-502 1935.10 1938.05/ 2.11 JULIA TO MADISON & GWEN)(off) (overlapping) (interrupting) Girls. (over scene end) Girls. I'm watching you. Shh.

1936-07 (I'm watching you : i.e., 'I am aware of

SCENE 271 - MCS - JULIA. making funny faces)

JULIA(in low tones) I'm watching you. Shh.

1938-06

(threw Valentine in jail : i.e.,'imprisoned Valentine')

your behavior and want it to cease' -Note that Madison and Gwen were



(77)

SCENE 272 - MCS - MADISON AND GWENREACT AND STOP THEIR MISCHIEF.

JULIA 2-503 /1940.09 1946.03 5.10 JULIA TO CHILDREN)(off) Thank you. (to children) (in normal (over scene end) Anyway, on February the 14th, Valentine

voice) Anyway...1940-08

SCENE 273 - MS - PAST CHILDREN,LOWER FG., TO JULIA AS SHE PICKS UPA PIECE OF PAPER FROM HER DESK.

JULIA... on February the fourteenth, Valentine

wrote... 1943-05

SCENE 274 - MS - PAST GIRL #1, L.FG.,TO TOUGH FRANKLIN AS HE REMOVESHIS HAT.

JULIA 2-504 1946.07 1952.08/ 6.01 JULIA TO CHILDREN)(off) ...a note to his beloved and he... ...and he signed it: "Farewell, from your

1946-04 Valentine."

SCENE 275 - MCS - JULIA. RAISES A before his execution)PAPER HEART INTO THE FRAME, LOWERR.FG.

JULIA...signed it: "Farewell, from your Valentine."

THE PAPER HEART HAS TEXT ON IT THATREADS:

FAREWELLFROM YOURVALENTINE

1952-09

SCENE 276 - MCS - EDISON REACTS ASJULIA (ARM) BRIEFLY ENTERS LOWERR.FG. AND PLACES THE PAPER HEARTON EDISON'S O.S. DESK, LOWER FG.

JULIA 2-505 1954.08 1959.02/ 4.10 JULIA TO CHILDREN)(off) Let's see. (over scene end) Let's see. Are there any questions?

1956-07

wrote a note to his beloved...

(Farewell : Note that Julia minimizesthe fact Valentine wrote this the night



(78)

SCENE 277 - FS - PAST CHILDREN, FG.,TO JULIA AS TWO OF THE CHILDRENRAISE THEIR HANDS.

JULIAAre there any questions?

CHILDREN(overlapping exclamations of "Me" "Over

here", low and indistinct chatter - continues

under following scenes and dialogue)1959-04

SCENE 278 - MS - GIRL #1 GLANCES R.AT TOUGH FRANKLIN, RAISING HISHAND.

1960-15

SCENE 279 - MS - LOW ANGLE - PASTCHILDREN WITH UPRAISED ARMS, FG.,TO JULIA, GLANCING ABOUT.

JULIA 2-506 1961.07 1964.11/ 3.04 JULIA TO TOUGH FRANKLIN)Franklin, I can't wait to hear this. Go ahead. Franklin, I can't wait to hear this. Go ahead.

1964-12 (this : i.e., 'what your question is')

SCENE 280 - MS - GIRL #1 AND TOUGHFRANKLIN AS HE LOWERS HIS HAND.

TOUGH FRANKLIN 2-507 1965.14 1970.06/ 4.08 TOUGH FRANKLIN TO JULIA)Miss Fitzpatrick, are you in love with Miss Fitzpatrick, are you in love with anyone?

anyone?1970-08

SCENE 281 - MCS - JULIA REACTS,GLANCING ABOUT.

STUDENTS IN CLASSROOM(off) (overlapping chuckles)

1974-12

EXHIBITION REEL FOOTAGE: 1962-13 LAST FRAME OF PICTURE IS 1974.12




(1)


11-15 15.13 = 1ST SCENE END

SCENE 1 - INT. SIENA BOUQUET - DAY - 3-1.MS - REED, AS HE STEPS R. TO REVEAL THROUGH (OUT)HARRISON SMILING IN BG. HARRISON 3-71.GESTURES AND REACTS.

FEMALE SINGER(over speaker) (sings under following


PEOPLE IN SIENA BOUQUET(overlapping, low and indistinct chatter and

laughter - continues under following


HARRISON 3-72 13.10 15.12/ 2.02 HARRISON TO REED)I saw you on TV today. I saw you on TV today.

15-13

SCENE 2 - MS - PAST HARRISON, L.FG.,TO REED, EXCITED.

REED 3-73 16.12 19.03/ 2.07 REED TO HARRISON,Was it on? (over scene end) THEN HARRISON TO REED)

17-14 -Was it on?

SCENE 3 - MS - PAST REED, R.FG., TO interview with Kelvin')HARRISON, GESTURING.

HARRISONYeah, that's why I'm here.

19-04

SCENE 4 - MS - PAST HARRISON, L.FG.,TO REED, GESTURING AND REACTINGEXCITED. HE RAISES HIS HANDS INTOTHE AIR.

REED 3-74 /19.07 22.02 2.11 REED TO GROUP)(chuckling) Yes! (chuckles) (in normal Yes! We're famous!

voice) We're famous! (chuckles - continues well-known due to the TV interview')


HARRISON(chuckles - continues under following


MICHAEL *3-75 22.06 25.07 3.01 MICHAEL TO GROUP,(off) Yay! We're famous! THEN REED) (exclaiming)

REED -Yes!Yes!

-Yeah, that's why I'm here.(Was it on : i.e., 'Did they air my

(We're famous : i.e., 'We are now

-Yay! We're famous!



(2)


REED STEPS R. AS HARRISONGESTURES AND FOLLOWS. CAMERAPANS R. WITH THEM AS THEY STANDACROSS FROM EACH OTHER AT THEFRONT COUNTER.

HARRISON 3-76 25.11 27.11 2.00 HARRISON TO REED)Uh, so you're the owner, I take it. So you're the owner, I take it.

REED actions')Yeah, tech-- Yes. My grandfather actually

started it in, uh, Italy. 3-77 27.15 32.05 4.06 REED TO HARRISON)

HARRISON started it in Italy.(overlapping) Did he really? (tech-- : implying, 'technically')

REEDYeah, my dad brought it over...

34-05 3-78 32.09 36.00 3.07 REED TO HARRISON)

SCENE 5 - MS - PAST REED, L.FG., TO (brought it over : i.e., 'continued theHARRISON, GESTURING. business when he emigrated to the

REED (got : i.e., 'inherited and oversee')...but now I got the shop. So, yeah.

HARRISON 3-79 36.04 38.14 2.10 HARRISON TO REED)(overlapping) Oh, that's great. It's a family Oh, that's great. It's a family business.

business.

REEDYeah.

HARRISON 3-80 39.02 42.14 3.12 HARRISON TO REED)Look, I hate to play this card, but I'm a Look, I hate to play this card, but I'm a doctor.

doctor. I have a surgery in an hour and a this information in order to get

half. Is there any way you could help me...46-10

SCENE 6 - MS - PAST HARRISON, R.FG., there any way you could help me get aroundTO REED, GESTURING. the line?

HARRISON order before everybody else who is...get around the line? waiting' - 'expedite my order')

REED(overlapping) Say no more, man. 3-82 48.04 49.13 1.09 REED TO HARRISON)

(stammers) (Say no more : Idiomatic assent)

THEY STEP R. AS CAMERA PANSSLIGHTLY R. WITH THEM TO INCLUDENIKKI. REED TAKES A FORM FROM NIKKIAND STARTS TO WRITE ON IT.

(I take it : i.e., 'I deduce, from your

Yeah, tech-- Yes. My grandfather actually

(it : i.e., 'this flower business')

(over scene end) Yeah, my dad brought it over but now I gotthe shop.

U.S.')

(play this card : idiomatic for 'divulge

beneficial treatment')

3-81 43.02 48.00 4.14 HARRISON TO REED)(over scene end) I have a surgery in an hour and a half. Is

(help...line : here meaning, 'fill my

Say no more, man.



(3)


HARRISONThank you.

NIKKI(overlapping) Thanks for coming in.

REED 3-83 50.01 55.06 5.05 REED TO NIKKI)(overlapping) Hey, could I get a, uh, an Hey, could I get an order form, please, for the

order form, please, for the great doctor (great : admirable)

here?

NIKKI(overlapping) Oh, okay.

HARRISON 3-84 56.01 59.01/ 3.00 HARRISON TO REED)(overlapping) Oh. (chuckles) Uh, I need two I need two arrangements.

arrangements. Uh, something...59-03 3-85 /59.05 63.05 4.00 HARRISON TO REED)

SCENE 7 - MCS - PAST REED, GAZINGDOWN AT THE O.S. DOCUMENT ANDBLANK GREETING TAG IN L.FG., TOHARRISON.

HARRISON 3-86 64.08 66.05 1.13 HARRISON TO REED)...special, long stem roses for each one of ...ladies.

my, uh... (inhales) ladies.

REED LOOKS UP AT HIM.67-04

SCENE 8 - MCS - PAST HARRISON, R.FG.,TO REED.

HARRISON 3-87 /67.09 69.08/ 1.15 HARRISON TO REED)I need your discretion. I need your discretion.

69-09

SCENE 9 - MCS - PAST REED, L.FG., TOHARRISON.

HARRISON *3-88 70.11 73.08/ 2.13 HARRISON TO REED)You-- We have an understanding, correct? We have an understanding, correct?

REED(overlapping) (chuckles) Understand. 3-89 /73.12 76.09 2.13 REED TO HARRISON)

73-10 Understand. There is a florist code about

great doctor here?

Something special, long stem roses foreach one of my...

these things.(There...things : i.e., 'Florists neverdivulge information about orders' )



(4)

SCENE 10 - MS - PAST HARRISON, R.FG.,TO REED.

REEDThere is a florist code about these things.

HARRISON 3-90 76.13 78.05/ 1.08 HARRISON TO REED)(overlapping) Oh, great. Here's the credit Oh, great. Here's the credit card.

card. 78-05

SCENE 11 - MS - PAST REED, L.FG., TOHARRISON, AS HE REMOVES A CREDITCARD FROM HIS WALLET.

HARRISON 3-91 79.01 82.05/ 3.04 HARRISON TO REED)And here are the addresses. And here are the addresses.

82-07

SCENE 12 - MCS - PAST HARRISON,R.FG., TO REED, REACTING AS HE TAKESTHE O.S. CREDIT CARD.

HARRISON *3-92 82.14 86.08 3.10 HARRISON TO REED)These are the addresses for the ladies. These are the addresses for the ladies.

REEDHarrison Copeland? 3-93 89.07 91.01/ 1.10 REED TO HARRISON)

91-01 Harrison Copeland?


HARRISON 3-94 /91.05 93.13/ 2.08 HARRISON TO REED)Yes, you need a-- You (stammers) want Yes, you want some I.D.?

some I.D.? [to prove I am that person]')93-14

SCENE 14 - MCS - PAST HARRISON,R.FG., TO REED, REACTING.

REED 3-95 95.00 98.05 3.05 REED TO HARRISON)Nope. (in low tones) Should be good. (in Nope. Should be good.

normal voice) This, um-- Okay, this Julia

Fitzpatrick, that would be your...girlfriend. 3-96 101.00 105.13 4.13 REED TO HARRISON)108-00 Okay, this Julia Fitzpatrick, that would be

(I.D. : abbreviation for 'identification

(Nope : Idiomatic for 'No')

your...(this Julia Fitzpatrick : i.e., 'the personnamed Julia Fitzpatrick that you aresending flowers to' - note thatunbeknownst to Harrison, Julia is oneof Reed's best friends)(that would be : i.e., 'is that')

3-97 106.07 107.15/ 1.08 REED TO HARRISON)...girlfriend.



(5)

SCENE 15 - MCS - PAST REED, L.FG., TOHARRISON, REACTING.

HARRISON 3-98 109.05 111.01 1.12 HARRISON TO REED)Yes. Yes.

REEDAnd this, uh, Pamela Copeland, it's the 3-99 111.14 117.03/ 5.05 REED TO HARRISON)

same last name as you. last name as you.117-05

SCENE 16 - MCS - PAST HARRISON,R.FG., TO REED.

REED 3-100 /117.07 119.01 1.10 REED TO HARRISON)Would that be your wife? Would that be your wife?

HARRISON(overlapping) Yes.

120-10 3-101 119.05 120.09/ 1.04 HARRISON TO REED)


HARRISON 3-102 121.05 126.15/ 5.10 HARRISON TO REED)I thought we had some sort of code, I thought we had some sort of code,

understanding. (chuckles)127-01

SCENE 18 - MCS - PAST HARRISON,R.FG., TO REED, AS HE GESTURES WITHTHE BLANK GREETING CARDS.

REED 3-103 /127.03 129.03 2.00 REED TO HARRISON)The code is the code. I just-I just wanna The code is the code.

make sure that your understanding is the not reveal your secret.')

same understanding as my (chuckling)

understanding. I just wanna make sure that your135-07 understanding...

And this Pamela Copeland, it's the same

(Would that be : i.e., 'Is that')

Yes.

understanding.

(i.e., 'The code is in place, and I will

3-104 129.07 133.05 3.14 REED TO HARRISON)

(For this Title and Title #3-105 : Noteamusingly garbled explanation - i.e., 'Iwant to make sure that we bothunderstand the situation clearly and inthe same way.')

3-105 133.09 138.06 4.13 REED TO HARRISON)(over scene end) ...is the same understanding as my

understanding. Understand?



(6)

SCENE 19 - MS - PAST REED, L.FG., TOHARRISON, AS NIKKI CONTINUES TOHELP CUSTOMERS NEXT TO REED.

REEDUnderstand?

NIKKICan I help you?

HARRISON 3-106 138.10 141.06 2.12 HARRISON TO REED)Yeah, can you run the card, please? Yeah, can you run the card, please?

CUSTOMER #1 flowers to the card')(overlapping) Hi. (indistinct to:) Tuesday.

REED *3-107 141.10 143.06 1.12 REED TO HARRISON) (OPTIONAL)(overlapping) (in low tones) Yep. Yep.

NIKKI(overlapping) Okay.

REED EXITS L.

CUSTOMER #1 *3-108 144.09 149.00 4.07 CUSTOMER #1TO NIKKI) (OPTIONAL)Thank you. I have to get my wallet. I'll be Thank you. I have to get my wallet. I'll be

back.

REED 3-109 (OUT)(off) (clears throat)

149-11

SCENE 20 - MCS - REED, AS HE STEPS R.TOWARD THE O.S. CREDIT CARDMACHINE.

152-09

SCENE 21 - CS - THE CREDIT CARDMACHINE, AS REED (HAND) SWIPES THECREDIT CARD THROUGH IT.

154-03

SCENE 22 - MCS - REED, WORRIED.

REED(sighs)

160-11

SCENE 23 - EXT. GRACE'S HOUSE- DAY -FS - GIDEON'S TRUCK, DRIVING FG., ASCAMERA DOLLIES L. THE CAR PULLS TOA STOP AS CAMERA PANS R. WITH IT TOINCLUDE A MS., THROUGH THEPASSENGER WINDOW AND PAST ALEX,L.FG., TO GIDEON, DRIVING. ALEX GETSOUT OF THE CAR AS CAMERA TILTS UPWITH HIM, OFF GIDEON. ALEX TAKES HISBAG AND A GUITAR FROM THE BED OFTHE TRUCK AND PRODUCES HIS CELLPHONE.

179-15

(run the card : i.e., 'charge the

back.



(7)

SCENE 24 - CS - THE CELL PHONE, ASALEX (HAND) PRESSES A BUTTON TOSHOW A NEW TEXT MESSAGE, WHICHREADS: 3-110 180.12 183.04/ 2.08 NARRATIVE TITLE) (of phone)

Mon, Feb 14 Almost there Almost there 12:04p Grace

Grace

183-05 soon')

SCENE 25 - MCS - ALEX, GAZING AT HISCELL PHONE. HE SMILES AND LEANS R.AS CAMERA TILTS DOWN WITH HIM TOINCLUDE GIDEON, STILL SEATED IN THETRUCK.

ALEX *3-111 186.07 190.02 3.11 ALEX TO GIDEON, THEN GIDEON TO ALEX)Wish me luck. -Wish me luck.

GIDEON (pullin' for you : pulling for you -All us virgins are pullin' for you. Whoo-hoo! idiomatic for 'hoping for your success'

ALEX CLOSES THE PASSENGER SIDEDOOR AND RISES AS CAMERA TILTS UPWITH HIM, OFF GIDEON. HE WALKS L. ASCAMERA PANS L. WITH HIM TO INCLUDETHE TWO STORY HOUSE. ALEXCONTINUES BG. TOWARD IT.

GIDEON 3-111A 192.04 195.09 3.05 GIDEON TO ALEX)(off) If you need any help, text me. If you need any help, text me.

FOREIGNER (text me : i.e., 'send me a text(voice over) (sing "Feels Like the First message')

Time" under following scenes)198-15

SCENE 26 - FS - ALEX, AS HE WALKSL.BG. TOWARD THE HOUSE. HE LEANSDOWN AND REMOVES A KEY FROMUNDER THE WELCOMING MAT.

214-15

SCENE 27 - INT. GRACE'S HOUSE -FOYER - DAY - MCS - PUSHKIN, GRACE'SSMALL DOG, STEPS L.FG. AND GLANCESUP AT THE O.S. FRONT DOOR.

217-14

(Almost there : i.e., 'I will be there

-All us virgins are pullin' for you.

- i.e., 'hope you are able to have sex')

(If you need any help : Note humor)



(8)

SCENE 28 - MCS - THROUGH THEFROSTED FRONT DOOR WINDOW TOALEX, MOMENTARILY OBSCURED, AS HESTEPS R. INTO THE HOUSE ANDGLANCES ABOUT. CAMERA DOLLIESBACK INTO A MFS. AS ALEX CLOSES THEDOOR BEHIND HIM AND PUSHKIN RUNSUP TO HIS FEET.

ALEX 3-112 229.01 230.12 1.11 ALEX TO PUSHKIN)Pushkin. Good girl. Go play. Pushkin.

PUSHKIN EXITS R.BG. AS ALEX STEPS Russian poet, novelist and playwright)R.FG. TOWARD THE BOTTOM OF THESTAIRCASE. CAMERA DOLLIES IN ANDTILTS UP AS ALEX ASCENDS L.BG. UP 3-113 234.12 237.09 2.13 ALEX TO PUSHKIN)THE STAIRS. Good girl. Go play.

241-09

SCENE 29 - MCS - PUSHKIN, GROWLINGAS SHE GAZES UP R.FG. AT ALEX.

243-04

SCENE 30 - INT. GRACE'S HOUSE -GRACE'S BEDROOM - DAY - MS - ALEX,CLAD IN ONLY HIS UNDERWEAR, AS HEBACKS UP L., DROPPING ROSES ONTOTHE FLOOR. HE HEARS PUSHKIN BARKAND TURNS L.FG.

247-11

SCENE 31 - MCS - THE DOORWAY, ASPUSHKIN STEPS L.FG. AROUND THECORNER AND RUNS L. CAMERA PANS L.AND TILTS DOWN WITH HER.

250-03

SCENE 32 - MS - ALEX, REACTING ANDGESTURING.

ALEX 3-114 /250.05 253.13 3.08 ALEX TO PUSHKIN)Pushkin, no! Downstairs, Pushkin. Pushkin, no! Downstairs, Pushkin.

255-02 Note that Pushkin ignores the

SCENE 33 - MS - HIGH ANGLE - PUSHKIN,AS SHE LAYS ON THE FLOOR.

258-07

(Name of Grace's dog - After the

(Downstairs : i.e., 'Go downstairs' -

command and lies down. Alex countsas he does pushups)



(9)

SCENE 34 - MS - ALEX, AS HE LEANSDOWN AND DOES PUSH-UPS. CAMERATILTS DOWN WITH HIM.

ALEX *3-114A 261.11 264.00 2.05 ALEX) (counting) (OPTIONAL) (grunting) One, two.... (grunts) (pants - One, two....

continues under following scenes)

HE RISES AS CAMERA TILTS BACK UPWITH HIM.

269-07

SCENE 35 - MCS - HIGH ANGLE -LOOKING DOWN AT PUSHKIN.

272-06

SCENE 36 - MS - ALEX, GAZING R., ASCAMERA PANS R. OFF HIM TO REVEAL AMIRROR, DISPLAYING HIS REFLECTION.HE PICKS UP HIS GUITAR FROM THENEARBY BED AND STARTS TO PLAY,WATCHING HIMSELF IN THE MIRROR.

ALEX 3-115 291.08 298.01 6.09 ALEX AS IF TO GRACE) (singing)(singing) Oh, Grace When I saw your face ITAL Oh, Grace When I saw your face

(pants - continues under following scenes) and 'chase')

HE STOPS AND REMOVES HISUNDERWEAR.

306-12

SCENE 37 - MCS - HIGH ANGLE -LOOKING DOWN AT PUSHKIN, AS SHERISES AND EXITS R.

309-04

SCENE 38 - MS - THE MIRROR,DISPLAYING THE REFLECTION OF ALEX,NOW NAKED AND COVERED ONLY BYTHE GUITAR. HE REMOVES HIS SOCKSAND STARTS TO PLAY HIS SONG.

ALEX 3-116 331.14 334.11/ 2.13 ALEX AS IF TO GRACE) (singing)(singing) Oh, Grace ITAL Oh, Grace

334-12

(Grace : rhymes with 'face' and 'race'

3-117 (OUT)



(10)

SCENE 39 - INT. GRACE'S HOUSE -FOYER - DAY - MS - THROUGH THEFROSTED GLASS OF THE FRONT DOORWINDOW TO MRS. CLAUDIA SMART,GRACE'S MOTHER, AS SHE OPENS THEDOOR AND STEPS R. INTO THE FOYER.

ALEX(off) (singing) When I saw your face Made

my heart race (continues indistinct under

following scenes and dialogue) Grace

SHE CLOSES THE DOOR BEHIND HERAS CAMERA DOLLIES BACK INTO A MFS.PUSHKIN RUNS L TOWARD HER FEET ASSHE BENDS DOWN TO PET HER.

MRS. CLAUDIA SMART 3-118 340.03 344.09 4.06 MRS. SMART TO PUSHKIN)(overlapping) Hey, you. Come on. Mommy's Hey, you. Come on. Mommy's home for a

home for a minute. (to herself) Wha--? (to (Hey, you : Informal greeting)

Pushkin) Come on, sweetie. 'Come here')

SHE REACTS TO O.S. ALEX'S SINGING owners refers to themselves as if aAND STEPS R. parent to their pet)

349-05 (for a minute : i.e., 'for a short visit')

SCENE 40 - INT. GRACE'S HOUSE - 3-119 344.13 346.05 1.08 MRS. SMART TO HERSELF)GRACE'S BEDROOM - DAY - MS - THE Wha--?MIRROR, DISPLAYING THE REFLECTION (i.e., 'What is that sound' - Note that OF ALEX, PLAYING HIS GUITAR. Mrs. Smart hears Alex singing

ALEX(singing) Made my heart race Like a

high-speed chase Grace Come on, sweetie.

CAMERA WHIP PANS L., OFF THEMIRROR AND PAST ALEX, ON A MCS OF 3-121 349.13 356.01 6.04 ALEX AS IF TO GRACE) (singing)MRS. CLAUDIA SMART AS SHE SWITCHES ITAL Made my heart raceON THE LIGHTS AND REACTS, Like a high-speed chaseSHOCKED. (race : i.e., 'beat wildly with

MRS. CLAUDIA SMART(off) (overlapping) Grace? (on) Oh, my--! (to

Alex) Alex! ITAL Grace362-14

SCENE 41 - MS - ALEX, SHOCKED, AS HE Grace?FALLS BG. ONTO THE BED.

MRS. CLAUDIA SMART 3-123 361.05 362.13/ 1.08 MRS. SMART TO ALEX)(off) Oh, my-- Oh, my--! Alex!

ALEX(overlapping) Holy-- (cries out) Mrs.... *3-124 /363.01 366.05/ 3.04 ALEX TO MRS. SMART)

365-02 (over scene end) Holy-- Mrs. Smart. Oh, my gosh!

minute.

(Come on : i.e., 'Come with me' -

(Mommy : Note that many dog

upstairs)

3-120 346.09 348.07 1.14 MRS. SMART TO PUSHKIN)

excitement')

3-122 358.04 359.05 1.01 ALEX AS IF TO GRACE) (singing)

3-122A 359.09 361.01 1.08 MRS. SMART TO GRACE) (CALLING)

(Holy-- : Implying 'Holy shit' - Vulgarslang expression of surprise - Notethat 'Holy' is used as an intensive)



(11)

SCENE 42 - MCS - HIGH ANGLE -PUSHKIN, BARKING.

ALEX(off) ...Smart. Oh, my gosh!

366-05

SCENE 43 - MS - MRS. CLAUDIA SMART,REACTING.

ALEX(off) Oh--

MRS. CLAUDIA SMART 3-125 /366.09 369.00 2.07 MRS. SMART TO ALEX)(overlapping) What are you doing... (over scene end) What are you doing here?

367-14

SCENE 44 - MCS - ALEX, PANICKED. HEGLANCES AT HIS GUITAR ANDGESTURES.

MRS. CLAUDIA SMART(off) ...here?

ALEX 3-126 369.04 373.05 4.01 ALEX TO MRS. SMART)I-I'm... (pants) rehearsing! (pants) I'm rehearsing!

374-04

SCENE 45 - MCS - MRS. CLAUDIA SMART,REACTING.

MRS. CLAUDIA SMART 3-127 374.09 376.03/ 1.10 MRS. SMART TO ALEX)Naked? Naked?

376-04

SCENE 46 - MCS - ALEX, REACTING ANDGESTURING.

ALEX 3-128 376.13 378.07/ 1.10 ALEX TO MRS. SMART)Naked! Yes! Naked! Yes!

378-08

SCENE 47 - MCS - MRS. CLAUDIA SMART, THROUGH (OUT)REACTING. 3-131.

ALEX(off) (pants) It's, um...

380-11

SCENE 48 - MFS - ALEX, GESTURING, ASHE RISES AND STEPS L.FG.

ALEX 3-132 382.11 384.12/ 2.01 ALEX TO MRS. SMART)...uh-- It's experiment-- I'm-I'm doing... It's experiment--

384-14 (experiment : implying, 'experimental

3-129.

art' - an imprecise term applied to artthat is concerned with exploring newideas and/or technology [sometimesused synonymously with avant-garde'] - i.e., 'performance art')



(12)

SCENE 49 - CS - HIGH ANGLE - ALEX(FOOT) AS HE STEPS ON ONE OF THEROSES.

ALEX 3-133 /385.00 391.12/ 6.12 ALEX TO MRS. SMART)(face off) ...an exper-- Ow! Experimental I'm doing an experimental show. It's very,

(on) show. It's very, very avant-garde, uh, (avant-garde : cutting edge of an

type of thing.

CAMERA TILTS UP ON HIM, REACTING 3-134.AND GESTURING, AS HE STEPS THROUGH (OUT)BACKWARDS AND CAMERA TRACKS 3-135.WITH HIM.

391-14

SCENE 50 - MFS - PAST MRS. CLAUDIASMART, GESTURING IN L.FG., TO ALEX,AS HE ACCIDENTALLY BACKS INTO THEDRESSER AND REACTS.

ALEX 3-136 392.00 394.06 2.06 ALEX TO MRS. SMART)And the-- (cries out) Oh, shit! And the-- Oh, shit!

MRS. CLAUDIA SMART here said in response to accidentally(overlapping) Oh! You-- knocking into some furniture and

ALEXI mean, excuse me!

396-06 3-137 394.10 396.04/ 1.10 ALEX TO MRS. SMART)

SCENE 51 - MCS - MRS. CLAUDIA SMART, using vulgar language')REACTING AND GESTURING FOR O.S.ALEX TO CALM DOWN.

MRS. CLAUDIA SMART *3-138 /396.08 400.13/ 4.05 MRS. SMART TO ALEX,It's okay, that's okay. I've heard the word THEN ALEX TO MRS. SMART)

before. before.

ALEX (It's okay : i.e., 'You don't need to(off) (overlapping) Not shit! apologize')

ALEX not to say the word 'shit' he says it(off) God... again)

400-15

very avant-garde type of thing.

artistic movement)

(shit : vulgar slang exclamation -

causing things to fall over)

I mean, excuse me!(excuse me : i.e., 'I apologize for

-It's okay, that's okay. I've heard the word

-Not shit!

(Not shit : Note humor, as in trying


3-142 /401.01 406.13/ 5.12 ALEX TO MRS. SMART)God, look at the time. I gotta go. Thank youfor everything, though.

(God : Used as an expletive toindicate intense feeling)(look at the time : idiomatic for 'I amlate')



(13)

SCENE 52 - MFS - PAST MRS. CLAUDIASMART, GESTURING IN L.FG., TO ALEX,PANICKED.

ALEX...look at the time. I gotta go. There's--

I'm-I'm-- Thank you for everything, though.

HE STEPS FG. AND BENDS DOWNTOWARD HIS BAG. MRS. CLAUDIA SMARTBENDS DOWN CONCURRENTLY,BUMPING HER HEAD INTO ALEX'SGUITAR.

MRS. CLAUDIA SMART(overlapping) It's o-- Ow!

ALEX 3-143 /407.01 408.09 1.08 ALEX TO MRS. SMART,(overlapping) Sh-- I'm so... (over scene end) THEN MRS. SMART TO ALEX)

406-15 -I'm so sorry!

SCENE 53 - MCS - PAST ALEX, R.FG., TO accidentally bumping heads with Mrs.MRS. CLAUDIA SMART, HOLDING HER Smart)HEAD AND REACTING IN PAIN.

ALEX...sorry!

MRS. CLAUDIA SMART(overlapping) Sh--! (to Alex) It's okay

ALEX 3-144 408.13 411.02/ 2.05 ALEX TO MRS. SMART,Are you okay? THEN MRS. SMART TO ALEX)

ALEX ATTEMPTS TO STEP L.BG. TOWARD -No, no, please! Do not come any closer.HER. SHE REACTS AND RAISES HER (closer : i.e., 'closer to me')HANDS IN PROTEST.

MRS. CLAUDIA SMART(overlapping) No, no, please! Do not come

any closer.411-03

SCENE 54 - MFS - PAST MRS. CLAUDIASMART, RAISING HER HAND OUT INL.FG., TO ALEX, REACTING, AS HE BENDSDOWN TO GATHER HIS BAG.

MRS. CLAUDIA SMART 3-145 /411.06 413.07/ 2.01 MRS. SMART TO ALEX)This does not look right, Alex. This does not look right, Alex.

413-08 (This does not look right : i.e.,

SCENE 55 - MCS - HIGH ANGLE - someone come in]')PUSHKIN, AS SHE STANDS ALERT.

415-01

-It's okay.(I'm so sorry : Said in response to

-Are you okay?

'Someone could completelymisinterpret the situation here [should



(14)

SCENE 56 - MS - PAST MRS. CLAUDIASMART, HOLDING HER HEAD IN L.FG., TOALEX, GATHERING HIS BAG. CAMERAPANS SLIGHTLY R., OFF MRS. CLAUDIASMART.

ALEX 3-146 /415.03 417.06/ 2.03 ALEX TO MRS. SMART)Thanks for everything and... Thanks for everything and....

ALEX STARTS R.FG.417-07

SCENE 57 - MCS - MRS. CLAUDIA SMART,SEATED AND HOLDING HER HEAD, ASALEX (TORSO), OUT OF FOCUS,CROSSES L., MOMENTARILY OBSCURINGHER.

ALEX(face off) um... (pants - continues under


MRS. CLAUDIA SMART 3-147 417.14 419.10/ 1.12 MRS. SMART) (exclaiming)(overlapping) Oh, my God. Oh, my God.

419-12

SCENE 58 - MS - ALEX, AS HE LEANSDOWN TO PICK UP HIS PANTS. O.S.PUSHKIN BITES ONTO THE BOTTOM OFTHE PANTS, STRUGGLING TO PULLTHEM FROM ALEX.

MRS. CLAUDIA SMART 3-148 420.12 422.13/ 2.01 MRS. SMART TO PUSHKIN)(off) No! Pushkin! No! Pushkin!

ALEX underwear and will not release it)(overlapping) Pushkin.

422-01

SCENE 59 - MCS - HIGH ANGLE -LOOKING DOWN AT PUSHKIN,STRUGGLING TO PULL THE PANTSAWAY. ALEX (HAND) MOMENTARILYENTERS FRAME, HOLDING ON TO THEOPPOSITE END OF THE PANTS.

422-14

SCENE 60 - MS - HIGH ANGLE - PASTALEX, STRUGGLING TO RETAIN THEPANTS IN L.FG., TO MRS. CLAUDIASMART, AS SHE STEPS INTO R.BG.,GESTURING.

MRS. CLAUDIA SMART *3-149 /423.01 425.04/ 2.03 MRS. SMART TO PUSHKIN)Pushkin, no. (over scene end) Pushkin, no.

ALEX(overlapping) Pushkin. 3-150 (OUT)

424-04

(Note that Pushkin has grabbed Alex's



(15)

SCENE 61 - MCS - HIGH ANGLE -LOOKING DOWN AT PUSHKIN,STRUGGLING TO PULL THE PANTSAWAY.

ALEX(off) Okay...

MRS. CLAUDIA SMART(overlapping) Come here.

425-06

SCENE 62 - MS - ALEX AND MRS.CLAUDIA SMART, BOTH BENT DOWNTOWARD O.S. PUSHKIN, AS ALEXRELENTS AND RISES, FACE OFF.

ALEX 3-151 425.08 428.02 2.10 ALEX TO MRS. SMART)...that's okay. (face off) You know what, I'm That's okay. You know what, I'm gonna just--

gonna just-- underwear')

MRS. CLAUDIA SMART(stammers) All right. *3-152 428.06 429.14/ 1.08 MRS. SMART TO ALEX)

HE WALKS R.FG., MOMENTARILYOBSCURING MRS. CLAUDIA SMART.

429-15

SCENE 63 - MCS - ALEX, AS HE HURRIESBG. OUT OF THE ROOM. CAMERATRACKS BEHIND HIM AND TILTS DOWNAS HE RUNS L.BG. DOWN THE STAIRS,EXITING R.

MRS. CLAUDIA SMART *3-154 430.15 433.04 2.05 MRS. SMART, (exclaiming)(off) (stammers) Whoo! Oh, my goodness. THEN TO HERSELF)

All right. (Oh, my goodness : Idiomatic

ALEXSee you very soon, Mrs. Smart! Bye-bye!

CAMERA PANS R. AND DOLLIES BG. See you very soon, Mrs. Smart! Bye-bye!TOWARD AN OPEN WINDOWOVERLOOKING THE FRONT YARD.CAMERA TILTS SLIGHTLY DOWN TOREVEAL ALEX RUNNING BG. TOWARDTHE STREET.

MRS. CLAUDIA SMART *3-156 445.02 450.01 4.15 MRS. SMART TO ALEX)(off) Alex, honey, cover your hoo-hoo! Alex, honey, cover your hoo-hoo!

ALEX GLANCES ABOUT AND EXITS L. (hoo-hoo : slang for 'genitals' -451-14 particularly female genitals)

(just-- : i.e., 'just leave without my

All right.

Oh, my goodness. All right.

expression of distress)

3-155 433.08 437.14 4.06 ALEX TO MRS. SMART)

(honey : term of affection)



(16)

SCENE 64 - EXT. GRACE'SNEIGHBORHOOD - STREET - DAY - LS -ALEX, RUNNING R.FG. IN THE MIDDLE OFTHE STREET, PAST A MALE GARDENERWORKING IN A LAWN.

MALE GARDENER(in Spanish)

MAN MOWING LAWN(whistles)

BLACK GOLD(over speaker) (sing "Shine" - continues


HE TURNS L.FG. AS CAMERA PANS L.WITH HIM TO REVEAL GRACE DRIVINGHER CAR L.FG. HE RUNS L.BG. ANDRAISES HIS HAND, ATTEMPTING TO STOPHER.

ALEX 3-157 /465.09 467.01/ 1.08 ALEX TO GRACE)Grace! Grace! Grace!

465-08

SCENE 65 - MCS - ALEX, HOLDING HISHAND UP AS HE RUNS R. CAMERA PANSR. WITH HIM.

ALEXGrace!

467-01

SCENE 66 - MCS - THROUGH THEWINDSHIELD TO GRACE, REACTING, ASSHE PULLS TO A STOP.

GRACEWha--?

468-09

SCENE 67 - MS - ALEX, AS HE RUNS R.AND CAMERA PANS WITH HIM, ONGRACE'S CAR, PULLING TO A STOP. ALEXREMOVES HIS BAG AND GETS INTO THECAR.

GRACE 3-158 469.01 472.09 3.08 GRACE TO ALEX)What are you doing? What happened? What are you doing? What happened?

ALEXMom. (pants - continues under following 3-159 472.13 475.11 2.14 ALEX TO GRACE, THEN GRACE TO ALEX)

scenes and dialogue) -What, your mom?

GRACE (What : Used as a tag or initialWhat, your mom? question)

-Mom.

(Mom : i.e., 'Your mother is home')

(your mom : i.e., 'your mother was atmy house' - note that Gracemisunderstands the situation)



(17)


ALEX *3-160 475.15 479.02 3.03 ALEX TO GRACE)Yeah, sure. My mom was at your house. Yeah, sure. My mom was at your house.

GRACEWha--? Oh. My mom. Oh-- What did you

say? Wha--? Oh.

ALEXThat I was rehearsing. 3-162 481.12 484.12 3.00 GRACE TO ALEX)

487-05 My mom. What did you say?

SCENE 68 - MS - GRACE AND ALEX, BOTH house, naked')SEATED IN THE CAR.

GRACE 3-163 485.00 487.03/ 2.03 ALEX TO GRACE)Naked?! That I was rehearsing.

ALEXSh-- 3-164 /487.07 490.10 3.03 GRACE TO ALEX)

GRACE (Did she buy it : Idiomatic for 'Did sheDid she buy it? believe that explanation?')

GRACE DRIVES L.BG., MAKING A U-TURNAS CAMERA PANS L. WITH THE CAR.

ALEX 3-165 490.14 496.03 5.05 ALEX TO GRACE)I think so. My-My fear made me very I think so. My fear made me very convincing.

convincing. I wrote you a song.500-03 3-165A 496.07 498.15 2.08 ALEX TO GRACE)

SCENE 69 - INT. ACM - LIZ'S DESK - DAY -MCS - LIZ (HAND), PLAYING WITH ANOFFICE DESK TOY.

LIZ *3-166 501.04 504.00 2.12 LIZ INTO PHONE TO MALE CALLER)(face off) (into telephone) (as if Russian (over scene end) If you do that again, Vladimir...

dominatrix) If you...501-15

SCENE 70 - MS - HIGH ANGLE - LIZ,LEANING BACK IN HER CHAIR WITH HERLEGS UP ON THE DESK AS SHE SPEAKSINTO A PHONE.

LIZ 3-167 504.04 510.13 6.09 LIZ INTO PHONE TO MALE CALLER)(into telephone) (as if Russian dominatrix) ...I vill have no choice but to get down off my

...do that again, Vladimir, I vill have no (vill : 'will' said with a Russian

choice but to get down off my horse and

punish you. 3-168 511.01 513.07 2.06 LIZ INTO PHONE TO MALE CALLER)

(Note sarcasm)

3-161 479.10 481.08 1.14 GRACE TO ALEX) (OPTIONAL)

(What did you say : i.e., 'What wasyour explanation for being in my

Naked?! Did she buy it?

I wrote you a song.

horse...

accent)

...and punish you.



(18)


JASON *3-168A 513.11 516.09 2.14 JASON TO GROUP)(off) Whoa! Who wants a valentine? Who wants a valentine?

(continues low and indistinct under

following dialogue)

SHE REACTS TO THE SOUND OFJASON'S VOICE AND PANICS.

LIZ 3-169 518.02 522.15 4.13 LIZ INTO PHONE TO MALE CALLER)(into telephone) (as if Russian dominatrix) I am wearing my thigh-high black leather

(pants) I am wearing my thigh-high black

leather boots, carrying my riding crop. Uh, 3-170 523.03 526.06 3.03 LIZ INTO PHONE TO MALE CALLER)

now pull down your pants (whispering) and (riding crop : short riding whip

bend over.

SHE REACHES R. AND OPENS A DESK 3-171 528.05 533.15/ 5.10 LIZ INTO PHONE TO MALE CALLER)DRAWER. Now pull down your pants and bend over.

JASON(off) (overlapping) (indistinct to:) valentines

are.534-02

SCENE 71 - MCS - LIZ, AS SHE HOLDS UPA BALL MADE OF RUBBER BANDS.

JASON *3-172 /534.03 536.08 2.05 JASON TO GROUP)I think this floor has the most valentines of I think this floor has the most valentines.

any floor...

LIZ 3-173 536.12 541.01 4.05 LIZ INTO PHONE TO MALE CALLER)(into telephone) (overlapping) (as if (over scene end) What a sweet little pink ass you have.

Russian dominatrix) What a sweet...537-14

SCENE 72 - MCS - LOOKING DOWN AT LIZAS SHE SNAPS ONE OF THE RUBBERBANDS REPEATEDLY.

JASON...I've been on today.

FEMALE ACM EMPLOYEE(off) (overlapping) (chuckles)

LIZ 3-174 541.05 545.14 4.09 LIZ INTO PHONE TO MALE CALLER)(into telephone) (overlapping) (as if And I will beat it with my crop...

Russian dominatrix) ...little pink ass you

have. And I will beat it...with my crop...until ...until you submit to me, you filthy peasant!

you submit to me, you filthy peasant!

boots...

...carrying my riding crop.

consisting of a stock without a lash)

(sweet : lovely)




(19)


JASON(off) (overlapping) Really? Yeah? Oh, yeah

(continues indistinct under following

dialogue)

LIZ 3-176 551.13 557.05 5.08 LIZ INTO PHONE TO MALE CALLER)(into telephone) (as if Russian dominatrix) I I will beat it, and beat it, and beat it, and beat

will beat it, and beat it, and beat it, and beat

I-- (gasps)

SHE REACTS, FRUSTRATED BUTRELIEVED, AND PUTS DOWN THERUBBER BAND BALL.

558-06

SCENE 73 - MCS - LIZ, GESTURING ANDREACTING. SHE HOLDS DOWN ONENOSTRIL TO MAKE HER VOICE SOUNDS LABORATORY: THE FOLLOWING TITLES #3-177 AND #3-178 APPEARMORE HIGH-PITCHED. JASON, OUT OF AGAINST A LIGHT BACKGROUND. CHECK PRINT FOR PROPERFOCUS, APPROACHES FROM BG., POSITIONING.PUSHING A MAIL CART.

LIZ 3-177 560.15 563.05 2.06 LIZ INTO PHONE TO MALE CALLER)(in Russian) Do svidanya. (as if operator) Thank you for calling Naughty Nymphos.

(in nasal voice) Thank you for calling improper nymphomaniacs' - 'Sexually

Naughty Nymphos. The charge will appear alliterative name of the made-up

on your credit card as Vague

Entertainment. (in normal voice) (to Jason) 3-178 563.09 568.05 4.12 LIZ INTO PHONE TO MALE CALLER)

Hi there! (off) (fake laughs) as Vague Entertainment.

(Do svidanya : Phonetic Russian for Nympho's alias so should any clients''Goodbye') credit card statements be scrutinized,

LIZ HANGS UP THE PHONE AS JASON Note humor)WALKS L.FG. INTO FOCUS. CAMERAPANS WITH HIM AND TILTS UP, OFF LIZ.HE STOPS AND SMILES. 3-179 568.09 570.05 1.12 LIZ TO JASON)

JASONHi. (pants - continues under following

dialogue) (OPTIONAL)

LIZ -Wow.(off) Wow.

JASON 3-181 572.13 575.01/ 2.04 JASON TO LIZ)Well, if it isn't (emphasizing) the (in normal Well, if it isn't the gymnast.

voice) gymnast. 575-03

I--

(Naughty Nymphos : i.e., 'Sexually

suggestive nymphomaniacs' -

phone sex company where Liz works)

The charge will appear on your credit card

(Vague Entertainment : Naughty

the nature of the purchase is vague -

Hi there!

3-180 570.09 572.09 2.00 JASON TO LIZ, THEN LIZ TO JASON)

-Hi.



(20)

SCENE 74 - MS - HIGH ANGLE - LIZ,SMILING AND SHIFTING ABOUT IN HERSEAT, AS JASON CROSSES R., STEPPINGAROUND THE CUBICLE WALL.

JASON(off) (chuckles - continues under following

dialogue)

LIZ 3-182 /575.05 578.05 3.00 LIZ TO JASON)Well.... (chuckling) (in low tones) Yeah. (in Well.... Yeah. Yes.

normal voice) Yes. Um.

JASON 3-183 580.13 584.10 3.13 JASON TO LIZ)(off) (exhales) To paraphrase... (over scene end) To paraphrase some poet:

582-09 (some poet : i.e., 'a poet')

SCENE 75 - MS - PAST LIZ, L.FG., TOJASON, HE STEPS R. AND LEANS BACKON THE O.S. DESK, FACING HER.

JASON 3-184 587.00 591.05 4.05 JASON TO LIZ)...some poet: (sucks in air through teeth) (over scene end) "There's a hell of a nice universe next door."

Uh, "there's a hell of a nice universe... that Jason is alluding the last two589-12 lines of the E.E. Cummings poem

SCENE 76 - MCS - PAST JASON, OUT OFFOCUS IN R.FG., TO LIZ, SMILING.

JASON...next door."

LIZ(groaning) Oh.

JASON 3-185 591.12 593.05 1.09 JASON TO LIZ)"Let's go." (exhales - continues under "Let's go."

following dialogue)

LIZ 3-186 593.09 595.10/ 2.01 LIZ TO JASON)E. E. Cummings. Mm. E. E. Cummings.

595-12 (Edward Estlin Cummings, American

SCENE 77 - MCS - LOW ANGLE - PASTLIZ, OUT OF FOCUS IN L.FG., TO JASON.

JASON 3-187 /595.14 599.02 3.04 JASON TO LIZ)(overlapping) Yeah, E.E. Good stuff. Yeah. Yeah, E.E. Good stuff. Yeah. Good stuff.

Good stuff. wonderful')

LIZ(overlapping) (chuckles) (chuckling) Yeah.

JASON 3-188 599.06 602.09 3.03 JASON TO LIZ)(overlapping) I think you said, uh... (over scene end) I think you said he was your favorite.

601-01 (favorite : i.e., 'favorite poet')

(For this title and Title #3-185 : Note

best known as "pity this busy monstermanunkind")

poet, 1894-1962)

(Good stuff : i.e., 'His poems are



(21)

SCENE 78 - MCS - HIGH ANGLE - PASTJASON, OUT OF FOCUS IN R.FG., TO LIZ,NODDING AND SMILING.

JASON...he was your favorite.

LIZ 3-189 602.13 607.13 5.00 LIZ TO JASON)(overlapping) Yes, I did say he was my Yes, I did say he was my favorite. He had me

favorite. He had me at the font. (He had me at the font : Humorously

JASON poems characteristically are in allI feel, like, so stupid for forgetting... lower case, contain unconventional

611-03 syntax and/or contain a

SCENE 79 - MCS - LOW ANGLE - PAST symbols scattered across the page -LIZ, L.FG., TO JASON. Also note humorous allusion to a line

JASON 1996 film Jerry Maguire: "You had me...th-that it's Valentine's Day today. at hello." - i.e., 'I forgave you and loved

LIZ entered the room and greeted me')(overlapping) (chuckling) Oh, no. (in normal

voice) It's really not a big deal. 3-190 608.01 613.04 5.03 JASON TO LIZ)

JASON Valentine's Day today.You know what, it is to me.

619-05

SCENE 80 - MCS - HIGH ANGLE - PASTJASON, OUT OF FOCUS IN R.FG., TO LIZ.

JASON You know what, it is to me.So, um, (smacks lips) w-- can I take you out

tonight? 3-193 /619.09 624.08 4.15 JASON TO LIZ)

SHE REACTS, DELIGHTED.

LIZ 3-194 626.10 631.13/ 5.03 LIZ TO JASON)U-Uh, yes. That would be wonderful. Yes. That would be wonderful. Yes.

631-13

SCENE 81 - INT. PAULA'S OFFICE - DAY -MFS - PAULA, AS SHE OPENS HER DOORAND EXITS L. TO REVEAL LIZ AND JASON,CONVERSING AT LIZ'S DESK.

LIZ(off) Yes, that-- (on) Yes--

PAULA 3-195 632.06 634.06/ 2.00 PAULA TO JASON)(off) (overlapping) (interrupting) How fast How fast does that cart go?

does that cart... mail.')

LIZ AND JASON REACT, STARTLED, ANDTURN FG.

634-07

at the font.

alluding to the fact that Cummings

typographically exuberant style, withwords, parts of words, or punctuation

spoken by Rene Zellwegger in the

you completely the moment you

(over scene end) I feel, like, so stupid for forgetting that it's

3-191 613.08 616.06 2.14 LIZ TO JASON)Oh, no. It's really not a big deal.

3-192 616.10 619.05/ 2.11 JASON TO LIZ)

So, can I take you out tonight?

(Implying, 'Get back to delivering the



(22)

SCENE 82 - INT. ACM - LIZ'S DESK - DAY -MFS - PAST JASON, REACTING IN R.FG.,TO PAULA, STANDING IN HER DOORWAY.

PAULA...go?

JASON HURRIEDLY STEPS FG. TOWARDHIS O.S. MAIL CART.

JASON 3-196 635.07 636.15/ 1.08 JASON TO PAULA)Uh, well, let's find out. Well, let's find out.

LIZ(overlapping) Um.... (chuckles nervously)

637-00

SCENE 83 - INT. PAULA'S OFFICE - DAY -MFS - PAST PAULA, OUT OF FOCUS INL.FG., AND THROUGH THE DOORWAY TOLIZ AND JASON, PULLING HIS MAIL CARTR.BG. PAULA WALKS BG. TOWARD LIZ ASCAMERA TRACKS WITH HER.

PAULA 3-197 639.07 640.15/ 1.08 PAULA TO LIZ)Liz... Liz...

641-00

SCENE 84 - INT. ACM - LIZ'S DESK - DAY -MS - PAST LIZ, R.FG., TO PAULA, AS SHEAPPROACHES THE DESK AND LEANS ONIT. CAMERA DOLLIES IN.

PAULA 3-198 641.08 649.05/ 7.13 PAULA TO LIZ)...there's a man on line two asking me to ...there's a man on line 2 asking me to cover

cover him up in Vaseline and bubble wrap. (Vaseline : brand name of a kind of649-07 petroleum jelly)

SCENE 85 - MS - PAST PAULA, L.FG., TO packing fragile items. RegularlyLIZ, REACTING NERVOUS. spaced, protruding air-filled

LIZ cushioning for precious or breakableI-I'll take care of that. Um-- Damn prank items)

callers. (chuckles) Paula has intercepted one of Liz's655-08 phone sex calls)

him up in Vaseline and bubble wrap.

(bubble wrap : pliable transparentplastic material commonly used for

hemispheres ["bubbles"] provide

(Note humorous implication that

3-199 /649.09 654.09 5.00 LIZ TO PAULA)I'll take care of that. Damn prank callers.

(I'll take care of that : i.e., 'I will get ridof that call')(Damn : i.e., 'I condemn those')(prank callers : note humor of Lizpretending that the call is justsomeone mischievously making fakephone calls)



(23)

SCENE 86 - MS - PAST LIZ, R.FG., TOPAULA.

PAULA 3-200 /655.09 660.13 5.04 PAULA TO LIZ)And he doesn't have a Russian accent so I (over scene end) And he doesn't have a Russian accent so I

don't think.... (Implying that Paula knows about the658-11 previous call, and that this is a new

SCENE 87 - MS - PAST PAULA, L.FG., TOLIZ.

PAULA...you'll need your horse.

LIZ 3-201 661.01 663.15 2.14 LIZ TO PAULA, THEN PAULA TO LIZ)You heard that? -You heard that?

PAULA (that : i.e., 'my previous call')It's my phone line. (It's my phone line : i.e., 'Since it is

PAULA TURNS AND WALKS FG., PUTTING your calls')HER SUNGLASSES ON ANDMOMENTARILY OBSCURING LIZ.

LIZ *3-202 664.03 669.01 4.14 LIZ TO PAULA)(in muffled voice) Oh, Paula. (in normal Oh, Paula. I'm so sorry. I am so sorry.

voice) I'm so sorry. (whispering) I am (in

normal voice) so sorry. Um, am I fired? Am I fired?

(pants - continues under following scenes

and dialogue)

CAMERA TRACKS BACK WITH PAULAINTO HER OFFICE AS LIZ REACTS ANDFOLLOWS HER, STOPPING IN THEDOORWAY.

PAULA 3-204 672.10 676.09 3.15 PAULA TO LIZ)It's cool. You got a way with dirty words, I It's cool. You got a way with dirty words, I like

like that. Just make sure you answer my (It's cool : Idiomatic for 'It's okay' -

calls first. (You...dirty words : i.e., 'You are adept

PAULA EXITS L.FG. manner' - 'You expertly speak in an

LIZ that 'dirty words' most usually refers to(sighs) Absolutely. (chuckling) Oh, (in vulgar slang words that have sexual

normal voice) you do not have (chuckling)

to worry about (off) th-- 3-205 676.13 679.13 3.00 PAULA TO LIZ)

LIZ STEPS FG. BUT IS STOPPED BY THE (first : i.e., 'before you take any phoneCLOSING OFFICE DOOR, WHICH sex calls')OBSCURES HER.

684-03

don't think you'll need your horse.

phone sex client)

-It's my phone line.

my phone, I have the right to listen to

3-203 670.09 672.06 1.13 LIZ TO PAULA)

(i.e., 'Is my employment terminated?')

that.

'Everything is fine')

at speaking in a sexually explicit

indecent or obscene manner' - Note

connotations)

Just make sure you answer my calls first.

3-206 680.01 684.02/ 4.01 LIZ TO PAULA)Absolutely. Oh, you do not have to worryabout...

(Paula shuts the door in Liz's face)



(24)

SCENE 88 - MS - LIZ, STANDING BEFORETHE CLOSED DOOR.

LIZ 3-206A 685.00 686.14 1.14 LIZ AS IF TO PAULA)(as if to Paula) ...that. (in low tones) (to ...that.

herself) Probably not gonna make

Employee of the Month. Probably not gonna make Employee of the

SHE AWKWARDLY TURNS AND EXITS (make : i.e., 'be awarded' - 'beR.FG. recognized as')

691-05 (Employee of the Month : designation

SCENE 89 - EXT. DOWNTOWN LOS particularly outstanding work - oftenANGELES - GRAND AVENUE - DAY - LS - this recognition is accompanied bySEVERAL DOWNTOWN BUILDINGS. some kind of bonus, or specialCAMERA TILTS DOWN TO REVEAL THE treatment)SIENA BOUQUET VAN, DRIVING L.CAMERA PANS WITH IT.

MALE SINGER(voice over) (sings - continues under

following scenes)

THE LOGO PAINTED ON THE SIDE OFTHE VAN READS:

SIENABOUQUET

THE CAMERA CONTINUES L.BG. ASCAMERA CONTINUES TO PAN L. WITH IT.CAMERA TILTS UP, OFF THE VAN, ON ABILLBOARD WHICH READS:

PASIONGUSTAVO

704-13

SCENE 90 - MS - THROUGH THEWINDSHIELD OF SEAN'S SUV TO SEAN,DRIVING AND GLANCING ABOUTAIMLESSLY.

ESPN RADIO ANNOUNCER #1 *3-207A /704.15 708.11 3.12 ESPN RADIO ANNOUNCER #1(over speaker) You're listening to "Mike and ITAL ON RADIO TO GROUP)

Mike in the Morning" on ESPN Radio, Morning" on ESPN Radio...

America's number one sports... American sports-talk radio show710-15 hosted by Mike Golic and Mike

3-207 688.02 691.05/ 3.03 LIZ TO HERSELF)

Month.

given by many companies eachmonth to an employee who has done

You're listening to "Mike and Mike in the

("Mike and Mike in the Morning" : an

Greenberg on ESPN Radio)(ESPN Radio : an American sportsradio network)

*3-207B 708.15 711.12 2.13 ESPN RADIO ANNOUNCER #1ITAL (over scene end) ON RADIO TO GROUP)

...America's number one sports talk show.(number one : idiomatic for'premiere' - 'most popular')



(25)

SCENE 91 - MCS - THROUGH THEWINDSHIELD TO SEAN, DISTRACTEDLYGLANCING ABOUT.

ESPN RADIO ANNOUNCER #1(over speaker) ...talk show.

ESPN RADIO ANNOUNCER #2 *3-207C 712.00 717.01 5.01 ESPN RADIO ANNOUNCER #2(over speaker) And, Greeny, the news of the ITAL ON RADIO TO GROUP)

hour: Sean Jackson, now a free agent. Jackson, now a free agent.

ESPN RADIO ANNOUNCER #1 Greenberg)(over speaker) But what's he supposed to (free agent : See Title #2-339)

do next?

ESPN RADIO ANNOUNCER #2 ITAL ON RADIO TO GROUP)(over speaker) Maybe he can check out But what's he supposed to do next?

Craigslist, see who's hiring.

HE GLANCES UP FG. AND REACTS. ITAL ON RADIO TO GROUP)722-03 Maybe he can check out Craigslist, see

SCENE 92 - FS - SEAN'S SUV, AS IT online communities featuring freeCRASHES INTO THE BACK OF THE SIENA online classified advertisements, withBOUQUET VAN. a section specifically devoted to jobs)

723-02 (Note humor)

SCENE 93 - MS - A KISSING COUPLE,SEATED ON BUS STOP BENCH, AS THEYREACT AND TURN FG. TOWARD THE O.S.ACCIDENT.

724-09

SCENE 94 - MFS - SEAN'S SUV AND THESIENA BOUQUET VAN, AS THEY COLLIDE.

728-00

SCENE 95 - MS - THE KISSING COUPLE,AS THE CONCERNED MAN RISES,BRIEFLY KNOCKING HER OFF HIS LAP.HE CATCHES HER AND SITS BACKDOWN TO CONTINUE KISSING HER.

KISSING MANOh.

KISSING WOMAN(grunts) (chuckles - continues under

following dialogue)

KISSING MAN(moans softly)

734-08

And, Greeny, the news of the hour: Sean

(Greeny : nickname of Mike

*3-207D 717.05 719.04 1.15 ESPN RADIO ANNOUNCER #1

*3-207E 719.08 722.01/ 2.09 ESPN RADIO ANNOUNCER #2

who's hiring.(Craigslist : a centralized network of



(26)

SCENE 96 - MS - SEAN, AS HE GETS OUTOF HIS SUV AND STEPS R. CAMERA PANSWITH HIM TO INCLUDE THE BACK OFTHE SIENA BOUQUET VAN. ALPHONSO STEPS OUT FROM BEHIND THE SIDE OFTHE VAN AND REACTS TO THE DAMAGE.

SEAN(blows - continues under following

dialogue)

ALPHONSO 3-208 738.15 740.12 1.13 ALPHONSO) (exclaiming)(off) Oh, man! (to Sean) Hey, (on) man, you Oh, man!

see this? Man, you did this. Man, you're

gonna pay... 3-209 741.00 743.00 2.00 ALPHONSO TO SEAN)745-11 Hey, man, you see this?

SCENE 97 - MS - THE DAMAGED BACK OF my van')THE VAN.

ALPHONSO 3-210 743.04 746.11 3.07 ALPHONSO TO SEAN)(off) ...for this. (over scene end) Man, you did this. Man, you're gonna pay for

TEXT EMBLAZONED ON THE BACK OF (you did this : i.e., 'you areTHE VAN READS: responsible for this accident')

2173 Rosewood Avenue responsible for the repairs to the van')Los Angeles, CA 90036

www.sienabouquet.com

SEAN 3-211 746.15 751.01 4.02 SEAN TO ALPHONSO)(off) Easy, big fella. I... (over scene end) Easy, big fella. I know it was my fault.

748-12 (Easy : Idiomatic for 'Calm down')

SCENE 98 - MCS - PAST ALPHONSO, (it : i.e., 'the accident')R.FG., TO SEAN, AS HE REMOVES HISWALLET FROM HIS POCKET.

SEAN *3-212 751.05 757.14/ 6.09 SEAN TO ALPHONSO)...know it was my fault. If you just (inhales) If you just call my business manager, he's

call my business manager, he's got all my (information : i.e., 'insurance

information.

ALPHONSO(overlapping) (chuckles) All right.

SEAN HANDS ALPHONSO A BUSINESSCARD.

757-15

(Idiomatic interjection of dismay)

(man : idiomatic term of address)(see this : i.e., 'see the condition of

this.

(pay for this : i.e., 'be financially

(big fella : big fellow - familiar slangterm of address)

got all my information.

information')



(27)

SCENE 99 - MS - SEAN AND ALPHONSO,AS ALPHONSO REACTS TO THE CARD.

ALPHONSO 3-213 /758.02 763.07 5.05 ALPHONSO TO SEAN)And I'll have my business manager call And I'll have my business manager call your

your business manager, okay? Sean (And...okay : Note humorous allusion

Jackson! (grunting) Oh, man... catchphrase: "I'll have my people call769-10 your people" - meaning that the

SCENE 100 - MCS - PAST SEAN, L.FG., TO business-related activity with theALPHONSO, AS HE GRABS THE BACK OF addressee via the addressee'sHIS NECK. underling - here said wryly to

ALPHONSO method of handling business and to...my neck. Oh, and my back. (gasps) And pointedly clarify that Alphonso does

my chest. (chuckles) (chuckling) I'm (in

normal voice) just kidding. Whoa, dude, will 3-214 765.09 767.13 2.04 ALPHONSO TO SEAN)

you sign my hat? (Note that Alphonso has recognized

HE REMOVES HIS HAT AND HANDS IT TOSEAN.

781-15 3-215 768.09 770.10 2.01 ALPHONSO TO SEAN)

business manager, okay?

to the entertainment industry

speaker will have an underlingarrange a meeting or other

emphasize mild contempt for this

not have a business manager)

Sean Jackson!

Sean)

(over scene end) Oh, man, my neck.(my neck : i.e., 'I have neck pain' -note that Alphonso is jokinglypretending to be hurt now that herealizes he was hit by someonefamous and wealthy)

3-216 770.14 773.01 2.03 ALPHONSO TO SEAN)Oh, and my back.

3-217 773.14 775.13 1.15 ALPHONSO TO SEAN)And my chest.

3-218 776.04 778.02 1.14 ALPHONSO TO SEAN)I'm just kidding.

*3-219 779.01 781.13/ 2.12 ALPHONSO TO SEAN)Whoa, dude, will you sign my hat?

(Whoa : Interjection used to expressexcitement)(dude : slang term of address)(you sign my hat : i.e., 'you autographmy hat')



(28)

SCENE 101 - MCS - PAST ALPHONSO,R.FG., TO SEAN, AS HE TAKES THE HAT.

SEAN 3-220 /782.01 783.09 1.08 SEAN TO ALPHONSO)Sure. Sure.

ALPHONSO(sighs) Thirty-five completions... 3-221 783.13 788.00 4.03 ALPHONSO TO SEAN)

785-11 (over scene end) 35 completions, three touchdowns on the

SCENE 102 - MS - SEAN, SIGNING THE passes [in one game] that wereHAT, AND ALPHONSO, GESTURING. successfully caught by teammate')

ALPHONSO i.e., 'you carried the ball into the end...three touchdowns on the ground and one zone three times for a touchdown [in

in the air, and they think you should hang it touchdown is worth six points)

up. Now that's gratitude for you. responsible for one touchdown by

SEAN teammate in the end zone')Well, thanks, buddy.

SEAN HANDS ALPHONSO THE HAT, 3-222 788.04 792.03 3.15 ALPHONSO TO SEAN)WHICH HE BLOWS ON BEFORE PLACING ...and they think you should hang it up. NowBACK ON HIS HEAD. that's gratitude for you.

ALPHONSO general' - referring to the team(blows) owners, coaches and sports

THEY EXAMINE THE DAMAGE OF THE (hang it up : idiomatic for 'retire' - i.e.,VAN. 'stop playing football')

SEAN Idiomatic phrase, always usedBut that, uh, that door's pretty messed up. sarcastically - i.e., 'They are all very

You got another truck?

ALPHONSO 3-223 792.07 794.04 1.13 SEAN TO ALPHONSO)Yeah, but I'm already behind. Well, thanks, buddy.

801-14 (buddy : idiomatic for 'friend')

ground and one in the air...(35 completions : i.e., 'You threw 35

(three touchdowns on the ground :

one game]' - note that, in football, a

(one in the air : i.e., 'you were

successfully throwing the ball to a

(they : i.e., 'people in authority in

commentators)

(Now that's gratitude for you :

ungrateful')

3-224 794.08 799.09 5.01 SEAN TO ALPHONSO)But that door's pretty messed up. You gotanother truck?

(pretty : rather)(messed up : i.e., 'wrecked' -'destroyed')(You got another truck : i.e., 'Doesyour business have another van')

3-225 799.13 801.13/ 2.00 ALPHONSO TO SEAN)Yeah, but I'm already behind.

(behind : i.e., 'behind schedule [socannot go back to the store toexchange vehicles]')



(29)

SCENE 103 - MS - PAST SEAN, L.FG., TOALPHONSO.

ALPHONSO 3-226 802.07 806.09 4.02 ALPHONSO TO SEAN)Valentine's Day is kind of a big day Valentine's Day is kind of a big day

flower-wise. (kind of : note understatement)

SEAN for those in the flower industry' - noteI don't know why people get flowers that the suffix '-wise' means 'in regard

delivered when you can just go buy 'em and regard to flowers')

give 'em yourself. (sighs - continues under

following scene and dialogue) (over scene end) I don't know why people get flowers

ALPHONSO give 'em yourself.Some folks like to get flowers at the... (you : i.e., 'one can' - 'a person can')

814-15 (give 'em yourself : i.e., 'personally

SCENE 104 - MCS - PAST ALPHONSO,R.FG., TO SEAN. 3-228 812.14 815.14 3.00 ALPHONSO TO SEAN)

ALPHONSO workshop....workshop. To some people, love doesn't (workshop : i.e., 'workplace' - 'at work,

exist unless you acknowledge it in front of they received flowers')

other people.

SEAN To some people, love doesn't exist unless(grunts) you acknowledge it in front of other people.

825-11 (doesn't exist : i.e., 'is not truly love')

SCENE 105 - MS - SEAN AND ALPHONSO, situation - As a star athlete who isGESTURING. secretly homosexual, Sean is unable

ALPHONSO Holden, which, presumably, is whatYou're a superstar, Sean! Drive better. led to their breakup [note that these

(grunts) audience])

ALPHONSO EXITS R.FG. AS SEANPRODUCES HIS CELL PHONE AND 3-230 /825.13 829.13 4.00 ALPHONSO TO SEAN)STEPS L. CAMERA PANS L. WITH HIM. You're a superstar, Sean! Drive better.

SEAN their field - particularly one that gets(into telephone) Uh, yeah, Kara, it's me. media attention)

Listen, uh, I know what I wanna do. I think.

(grunting) (exhales) 3-231 836.02 838.01 1.15 SEAN INTO PHONE TO KARA)

HE STEPS L. AND GETS INTO THE SUV.850-15

flower-wise.

(big day flower-wise : i.e., 'a busy day

to [the noun preceding it]' - i.e., 'in

3-227 806.13 812.10 5.13 SEAN TO ALPHONSO)

delivered when you can just go buy 'em and

hand them to the recipient')

(over scene end) Some folks like to get flowers at the

where their colleagues can see that

3-229 816.02 822.15 6.13 ALPHONSO TO SEAN)

(Note that Alphonso is unknowinglyalluding to Sean's present romantic

to publicly proclaim his love for

facts are not yet known to the

(superstar : someone who excels in

(Drive better : i.e., 'Drive more safely')

Yeah, Kara, it's me.

3-232 838.05 842.09 4.04 SEAN INTO PHONE TO KARA)Listen, I know what I wanna do.

*3-232A 843.01 845.01 2.00 SEAN INTO PHONE TO KARA)I think.



(30)

SCENE 106 - MS - ALPHONSO, BENTDOWN AND EXAMINING THE DAMAGE OFTHE VAN. HE LEANS DOWN AND PICKSUP THE BUMPER, WHICH HAS FALLENOFF.

855-09

SCENE 107 - MS - SEAN'S SUV, AS ITPULLS OUT AND DRIVES R. CAMERAPANS R. WITH IT TO INCLUDEALPHONSO, WAVING.

MALE SINGER(voice over) (in Spanish) (sings - continues


THE SUV EXITS R. AS ALPHONSO OPENSTHE BACK OF THE VAN AND PLACES THEBUMPER IN IT. HE EXITS R. BEHIND THESIDE OF THE VAN.

874-09

SCENE 108 - MS - THE BACK OF THE VAN,AS IT DRIVES BG. THE DOORS SWINGOPEN, CAUSING THE FLOWERS TO FALLOUT ONTO THE STREET.

882-01

SCENE 109 - MFS - THE VAN, DRIVING R.AS CAMERA TRACKS R. WITH IT.FLOWERS CONTINUE TO FALL OUT THEBACK ONTO THE STREET. THE VAN EXITSR.

888-13

SCENE 110 - MFS - ALPHONSO, AS HEGETS OUT OF THE STOPPED VAN ANDREACTS UPSET.

ALPHONSO *3-233 /889.01 894.04 5.03 ALPHONSO) (exclaiming)(groaning) Oh, no! (in normal voice) Man! Oh, no, man, not today.

Not today. Referring to the fact the back doors of

HE STEPS FG. TOWARD THE BACK OF arrangements fell out the back andTHE VAN. broke on the street)

894-12 (Not today : i.e., 'I can't believe this is

SCENE 111 - LS - ALPHONSO, AS HEBENDS DOWN AND STARTS TO PICK UP 3-234.SOME OF THE RUINED FLOWERS FROM THROUGH (OUT)THE STREET. 3-236.

ALPHONSO(continues in Spanish)

909-06

(Man : Exclamation of dismay -

the van flew open and many flower

happening today')



(31)

SCENE 112 - MCS - HIGH ANGLE - SOMEOF THE RUINED FLOWER BOUQUETS, ASA CAR CROSSES R., RUNNING OVERTHEM.

PERCY SLEDGE *3-236A 909.12 915.07/ 5.11 PERCY SLEDGE OVER SPEAKER) (singing)(over speaker) (sings "When A Man Loves ITAL (over scene end) (OPTIONAL)

A Woman") When a man loves a woman (Note that Edison's flowers and card

Can't-- over the card, activating it)

ALPHONSO(off) (overlapping) (in Spanish - continues

under following scene)912-06

SCENE 113 - MFS - ALPHONSO, ANGRILYTOSSING FLOWERS BACK INTO THE VAN.HE SLAMS THE DOOR SHUT.

915-09

SCENE 114 - MCS - HIGH ANGLE - ARUINED FLOWER BOUQUET, AS A CARRUNS OVER IT.

PERCY SLEDGE(over speaker) (sings "When A Man Loves

A Woman") Can't--921-05

SCENE 115 - EXT. SIENA BOUQUETPARKING LOT - DAY - LS - HIGH ANGLE -LOOKING DOWN AT REED ANDALPHONSO, STANDING BETWEEN A NEWSIENA VAN AND THE DAMAGED ONE,TRANSFERRING THE BOUQUETS INTOTHE NEW ONE.

REED 3-237 922.01 923.10 1.09 REED TO ALPHONSO)(stammers) So what do I do? Do I tell her So what do I do?

and break her heart, or do I just...926-15 3-238 923.14 929.01 5.03 REED TO ALPHONSO)

SCENE 116 - MS - REED, AS HE LEANS (tell her : i.e., 'tell Julia the man sheBG. AND PLACES A BOUQUET INTO THE is dating is married')VAN. (break her heart : idiomatic for 'cause

REED (it : i.e., 'the information')...keep it to myself and stay out of it? (stay out of it : i.e., 'not involve myself

Because it's really...

HE TURNS R.FG. AND GESTURES. 3-239 929.05 932.01 2.12 REED TO ALPHONSO)930-03 (over scene end) Because it's really none of my business,

When a man loves a woman

lay strewn in the street. A car drives

(over scene end) Do I tell her and break her heart, or do I justkeep it to myself and stay out of it?

severe emotional pain or grief')

in the situation')

anyway.(business : i.e., 'concern')



(32)

SCENE 117 - MS - ALPHONSO, REMOVINGA BOUQUET FROM THE DAMAGED VAN,AS REED STEPS INTO L.FG.

REED...none of my business, anyway.

ALPHONSO TURNS L.FG. TOWARD HIM.

ALPHONSO 3-240 932.05 934.01 1.12 ALPHONSO TO REED)You really want my opinion? You really want my opinion?

REEDYes. N-No. 3-241 934.05 935.09 1.04 REED TO ALPHONSO)

937-07 Yes.

SCENE 118 - MS - PAST ALPHONSO, 3-242 935.13 937.06/ 1.09 REED TO ALPHONSO)R.FG., TO REED. No.

REEDYea-- Well, it depend-- What-What's your 3-243 937.14 940.07 2.09 REED TO ALPHONSO)

opinion? (depend-- : implying, 'depends')

ALPHONSO wants Alphonso's opinion if itWell, I think you have to ask yourself... supports his own)

942-15

SCENE 119 - MS - PAST REED, L.FG., TO Well, I think you have to ask yourself...ALPHONSO, GESTURING.

ALPHONSO 3-245 /943.01 947.02/ 4.01 ALPHONSO TO REED)...if the situation was reversed, what would ...if the situation was reversed, what would

you want her to do?947-03

SCENE 120 - MS - PAST ALPHONSO,R.FG., TO REED, AS HE TAKES THEBOUQUET FROM ALPHONSO AND TURNSBG.

REED 3-246 948.15 951.02/ 2.03 REED TO ALPHONSO)Why you gotta be so sensitive? Why you gotta be so sensitive?

951-03 (Why you gotta : Colloquial for 'Why

SCENE 121 - LS - HIGH ANGLE - sympathetic')LOOKING DOWN AT REED ANDALPHONSO, STANDING BETWEEN THEVANS.

ALPHONSO 3-247 /951.06 954.03/ 2.13 ALPHONSO TO REED)It's 'cause you're so fragile. It's 'cause you're so fragile.

954-04 (fragile : i.e., 'emotionally fragile')

Well, it depend-- What's your opinion?

(Humorously implying that Reed only

3-244 940.11 942.13/ 2.02 ALPHONSO TO REED)

you want her to do?

do you have to')(sensitive : i.e., 'thoughtful and



(33)

SCENE 122 - INT. FALCON CRESTELEMENTARY - JULIA'S CLASSROOM -DAY - MS - JULIA, READING FROM A TEXTBOOK.

JULIA 3-248 /954.07 962.01 7.10 JULIA TO CHILDREN)Okay, so a neutral chlorine atom has Okay, so a neutral chlorine atom has 17

seventeen protons and seventeen (chlorine : the chemical element with

electrons. And, if these two atoms (neutral chlorine atom : a chlorine

become-- and electrons, so the sum charge

REED, OBSCURED BY A BOUQUET, 'proton' is a subatomic particle with anOPENS THE DOOR IN R.BG. AND STEPS positive electric charge, while anL.FG. INTO THE ROOM. 'electron' is a subatomic particle with

STUDENTS IN CLASS(off) (overlapping, low and indistinct chatter

and chuckles - continues under following And, if these two atoms become--


SCENE 123 - MCS - JULIA, AS SHEGLANCES L. AT THE O.S. STUDENTS ANDSMILES. REED ENTERS R.FG., COVERINGHIS FACE WITH THE BOUQUET.

968-13

SCENE 124 - MS - PAST JULIA, L.FG., TOREED, AS HE LOWERS THE BOUQUETAND SMILES.

971-06

SCENE 125 - MCS - PAST REED, R.FG.,TO JULIA.

JULIA 3-250 /971.08 973.01/ 1.09 JULIA TO REED)Hi. Hi.

REED LEANS L. TO PLACE THEBOUQUET ON THE O.S. DESK.

REED 3-251 /973.05 979.05 6.00 REED TO JULIA)This... (over scene end) This order came into the shop for you, and I

973-01 thought I'd deliver it myself.

protons and 17 electrons.

atomic number 17 and symbol Cl)

atom with an equal number of protons

always adds up to zero - note that a

a negative electric charge)

3-249 962.05 965.05 3.00 JULIA TO CHILDREN)



(34)

SCENE 126 - MFS - PAST JULIA, R.FG., TOTHE STUDENTS, ALL WATCHINGINTENTLY AS REED LEANS INTO FRAMEAND PLACES THE BOUQUET ON THE O.S.DESK.

REED...order came into the shop for you, and I

thought I'd...

EDISON, SEATED IN THE FRONT ROW,REACTS, EXCITED, AND RISES.

975-13

SCENE 127 - MS - JULIA, REACTING, ANDREED.

JULIA(exhaling) (whispering) Wow.

REED(overlapping) ...deliver it myself.

JULIA GESTURES R. TOWARD REED.

JULIA 3-252 979.09 983.01 3.08 JULIA TO GROUP)Hey, guys, this is my friend Reed. Say "Hi." Hey, guys, this is my friend Reed.

984-15

SCENE 128 - MFS - PAST JULIA, R.FG., TO Say "Hi."THE STUDENTS, WAVING ANDGESTURING.

STUDENTS IN CLASS 3-254 /985.02 988.05/ 3.03 CLASS TO REED) (in unison)(overlapping) (in unison) Hi, Reed. Hi, Reed.

(overlapping, low and indistinct chatter and

chuckles - continues under following


EDISON(overlapping) (in low tones) Hi. Hi, Reed.

988-06

SCENE 129 - MS - JULIA AND REED, ASHE WAVES. JULIA GLANCES INTO HERTEXT BOOK.

JULIA *3-256 990.07 996.10 6.03 JULIA TO CHILDREN)Take a look at chapter ten, section two. Take a look at chapter 10, section two. Just,

Just, quietly, to yourselves. (quietly : i.e., 'read quietly')

SHE CLOSES THE BOOK AND PUTS ITDOWN BEFORE PULLING THE GREETINGTAG FROM THE BOUQUET ANDEXAMINING IT.

3-253 983.05 984.14/ 1.09 JULIA TO CHILDREN)

3-255 (OUT)

quietly, to yourselves.



(35)


JULIA 3-257 998.11 1000.12 2.01 JULIA TO REED)(gasps) (inhales through teeth) They're They're from Harrison.

from Harrison. Did he come into the shop?

(whispering) Wow. Did he come into the shop? Wow.1003-10

SCENE 130 - MCS - EDISON, DEJECTED,AS HE SITS BACK DOWN. CAMERA TILTSDOWN WITH HIM.

JULIA 3-259 1004.05 1006.06 2.01 JULIA TO REED)(off) Did you meet him? Did you meet him?

1007-03

SCENE 131 - MS - JULIA AND REED.

REED 3-260 /1007.05 1011.05/ 4.00 REED TO JULIA)I-I kinda need to talk to you. Do you have a I kinda need to talk to you. Do you have a

second? (second : i.e., 'free moment')1011-05

SCENE 132 - MCS - PAST REED, R.FG.,TO JULIA.

JULIA 3-261 1012.07 1014.05 1.14 JULIA TO REED)Yeah, sure. Yeah, sure.

SHE TURNS L. TOWARD THE O.S.STUDENTS.

1014-14

SCENE 133 - MFS - PAST JULIA, R.FG., TOTHE SEATED STUDENTS.

JULIA 3-262 /1015.00 1018.05 3.05 JULIA TO EDISON)(whispering) Edison, (in normal voice) Edison, you're in charge.

you're in charge.

JULIA EXITS L. AS THE STUDENTS OPENTHEIR TEXT BOOKS.

1025-12

3-258 1001.00 1003.09/ 2.09 JULIA TO REED)

second?

(in charge : i.e., 'leading the class')



(36)

SCENE 134 - MFS - PAST A SECTION OFTHE STUDENTS, INCLUDING EDISON,R.FG., TO REED, AS HE LEAVES THEROOM, CLOSING THE DOOR BEHINDHIM.

BOY IN CLASS *3-263 /1025.13 1028.08 2.11 BOY IN CLASS TO CHILDREN)(off) Recess! Let's party! Recess! Let's party!

EDISON TURNS R.FG. TO ADDRESS THE during the school day)O.S. BOY. (party : i.e., 'play' - 'have fun'- usually,

EDISON drink alcohol and socialize')Sit down, and be quiet. Got that?

1032-02

SCENE 135 - INT. FALCON CREST (Got that : i.e., 'Do you understand')ELEMENTARY - HALLWAY - DAY - MS -JULIA, AS SHE CROSSES L.FG.,FOLLOWED BY REED, WHO STOPS ANDGLANCES ABOUT.

CHILDREN OUTSIDE(off) (overlapping, low and indistinct chatter

- continues under following scenes and

dialogue)

JULIA 3-265 /1032.04 1035.10 3.06 JULIA TO REED)(off) I'm just (face off) glad (on) you got to I'm just glad you got to see 'em. They're so

see 'em. They're so cute. ('em : them - i.e., 'my students')

REED(chuckling) Yeah. (in normal voice) They're 3-266 1035.14 1037.11 1.13 REED TO JULIA)

great.

JULIA 3-267 1037.15 1039.09/ 1.10 JULIA TO REED)(off) Hey, guess what. Hey, guess what.

1039-09 (guess what : rhetorical question

SCENE 136 - MCS - PAST REED, R.FG.,TO JULIA, STANDING IN FRONT OF ALARGE WINDOW.

JULIA 3-268 /1039.13 1044.05/ 4.08 JULIA TO REED)I got a flight. I'm leaving at five-thirty. I'll be I got a flight. I'm leaving at 5:30. I'll be there

there by dinner. (got : i.e., 'booked')1044-07

SCENE 137 - MCS - PAST JULIA, L.FG., TOREED, SHAKING HIS HEAD.

REED 3-269 /1044.09 1047.13/ 3.04 REED TO JULIA)You know what, actually, I-I don't think it's a You know what, actually, I don't think it's a

good idea. (it's : i.e., 'surprising Harrison is')1047-14

(Recess : A break from classes

if one is an adult, this means 'let's

3-264 1028.12 1032.00/ 3.04 EDISON TO GIRL IN CLASS)Sit down, and be quiet. Got that?

cute.

Yeah. They're great.

used parenthetically to introduce atopic of conversation)

by dinner.

good idea.



(37)

SCENE 138 - MCS - PAST REED, R.FG.,TO JULIA, REACTING.

JULIA 3-270 1049.08 1051.09/ 2.01 JULIA TO REED)Why? I-It was your idea. Why? It was your idea.

1051-09 (It : i.e., 'Surprising Harrison')

SCENE 139 - MCS - PAST JULIA, L.FG., TOREED.

REED 3-271 /1051.13 1054.06 2.09 REED TO JULIA)Well, sometimes I have bad ideas. Well, sometimes I have bad ideas.

(stammers)

JULIA 3-272 1054.10 1056.07/ 1.13 JULIA TO REED)(overlapping) It was a genius idea. It was a genius idea.

EDISON APPROACHES FROM BG. REEDREACTS AND TURNS L. TOWARD HIM.

1056-09

SCENE 140 - FS - PAST REED ANDEDISON, BOTH R.FG. FACING BG., TOJULIA, AS BOTH SHE AND REED LOOKDOWN R. AT EDISON.

EDISON 3-273 /1056.11 1061.01/ 4.06 EDISON TO REED, Mr. Bouquet, what about my flowers? THEN JULIA TO EDISON)

JULIA STEPS R. BEHIND EDISON. -Hey, is everything okay?

JULIA nickname for Reed)(overlapping) Hey, is everything okay? (what about my flowers : i.e., 'where

1061-01 are the flowers I ordered')

SCENE 141 - MCS - PAST REED (ARM), 3-274 (OUT)L.FG., TO EDISON, DISTRAUGHT, ASJULIA (TORSO) STEPS BEHIND HIM ANDPLACES HER HANDS ON HISSHOULDERS.

EDISON 3-275 /1061.09 1064.12/ 3.03 EDISON TO REED)I gave you thirteen dollars. I gave you $13.

1064-14

SCENE 142 - MCS - PAST JULIA, R.FG., TOREED, GESTURING.

REED 3-276 /1065.00 1067.05 2.05 REED TO EDISON)(grunting) Oh, right. (in normal voice) I Oh, right. I remember.

remember. Yeah, you know what, they're

probably on the truck. D-- (stammers) Don't Yeah, you know what, they're probably on the

worry, man, they'll be here soon. (they're : i.e., 'your flowers are')1073-00

(genius : i.e., 'brilliant' - 'great')

-Mr. Bouquet, what about my flowers?

(Mr. Bouquet : Edison's humorous

3-277 1067.09 1070.08 2.15 REED TO EDISON)

truck.

3-278 1070.12 1072.15/ 2.03 REED TO EDISON)Don't worry, man, they'll be here soon.



(38)

SCENE 143 - MCS - PAST REED (ARM),L.FG., TO EDISON AND JULIA, STANDINGBEHIND HIM. CAMERA TILTS UP ON HERAS SHE LEANS OVER HIM.

JULIA 3-279 /1073.03 1079.02 5.15 JULIA TO EDISON)(face off) Edison, (on) I've known Mr. (over scene end) Edison, I've known Mr. Bouquet for a long,

Bouquet for a-a...1077-08

SCENE 144 - MCS - PAST JULIA, R.FG., TOREED.

JULIA 3-280 1079.06 1083.13/ 4.07 JULIA TO EDISON)...long, long time. If he tells you... (over scene end) If he tells you your flowers are gonna be

1080-05 here, then they will probably be here.

SCENE 145 - MCS - PAST REED (ARM), 3-281 (OUT)L.FG., TO EDISON AND JULIA.

JULIA...your flowers are gonna be here, then they

will probably be here.

SHE STARTS TO LEAD HIM R.1083-14

SCENE 146 - FS - REED, EDISON ANDJULIA, AS JULIA GUIDES EDISON FG. SHESTOPS AS EDISON CONTINUES, EXITINGR.FG.

JULIA 3-282 /1084.01 1088.14 4.13 JULIA TO EDISON) Just give me thirty seconds. Hold down the Just give me 30 seconds. Hold down the

fort. I'll be right back. (inhales) (give me : i.e., 'I will be back in there

REED GESTURES. (Hold down the fort : Idiomatic for

REED situation in another's absence' - InDon't get on the plane. this case, the classroom)

1093-04 (Edison leaves)

SCENE 147 - MCS - PAST REED, L.FG., TO 3-283 1090.05 1092.13 2.08 REED TO JULIA)JULIA, REACTING. Don't get on the plane.

JULIAWhy not? 3-284 1095.09 1097.02/ 1.09 JULIA TO REED)

1097-03 Why not?


REED(sighs)

1100-02

long time.

fort. I'll be right back.

in')

'Maintain charge of a place or



(39)

SCENE 149 - MCS - PAST REED, L.FG., TOJULIA, SMILING.

JULIA 3-285 1101.07 1103.07 2.00 JULIA TO REED)(chuckles softly) You're sweet. Is this You're sweet.

because Harrison came into the shop?

(inhales sharply - continues under 3-286 1104.01 1107.01/ 3.00 JULIA TO REED)

following scene) shop?1107-02


REEDYeah.

JULIA 3-287 1109.02 1115.14/ 6.12 JULIA TO REED)And it made you realize... (over scene end) And it made you realize that things could

1110-14 change between us.

SCENE 151 - MCS - PAST REED, L.FG., TOJULIA, SMILING.

JULIA...that things could-- things could change

between us.1116-00


REED 3-289 1116.13 1118.13/ 2.00 REED TO JULIA)No, it's not about me. No, it's not about me.

JULIA discouraging you from going to San'Cause up... Francisco for selfish reasons')

1119-00

SCENE 153 - MCS - PAST REED, L.FG., TO 'Cause up to now, all these years, I've justJULIA, REACTING AND GESTURING. been there for you.

JULIA...to now, I've just-- All these years, I've just

been there for you.

REED(overlapping) No, it's not about-- It's not

about us.

(sweet : i.e., 'endearing')

Is this because Harrison came into the

(things could change between us : i.e., 'our relationship could change')

3-288 (OUT)

(it's not about me : i.e., 'I am not

*3-289A /1119.01 1124.01 5.00 JULIA TO REED)



(40)


JULIA 3-290 1124.05 1127.06 3.01 JULIA TO REED)(overlapping) (inhales) And-And with And with Morley, if she works late...

Morley, if she works late, if-if-if you wanna

see a bad movie she doesn't wanna see... ...if you wanna see a bad movie she doesn't

REED (bad movie : idiomatic for 'a movie(overlapping) (sighs - continues under deemed by most to be

following dialogue) value')

JULIA...or if you wanna have junk food that she's 3-292 1131.09 1136.04 4.11 JULIA TO REED)

not gonna have, (chuckling) I'm-- (in normal not gonna have...

voice) I'm clearly your go-to girl. balance, especially highly processed,

REED (not gonna have : i.e., 'refuses to eat')(overlapping) (chuckles softly) (stammers)

1138-13

SCENE 154 - MCS - PAST JULIA, R.FG., TO (go-to girl : a woman whom oneREED. turns to for support - i.e., 'the woman

REED note alliteration)And you're the be-- you're the best.

JULIA 3-294 /1139.01 1141.01/ 2.00 REED TO JULIA)(overlapping) And now... And you're the best.

1141-04

SCENE 155 - MCS - PAST REED, L.FG., TO And now, there's this guy in the mix.JULIA, SMILING. (in the mix : idiomatic for 'as part of

JULIA...there's this guy in the mix. (whispering)

And he's not just a guy...he's a man. And he's not just a guy...1150-13

3-291 1127.10 1131.05 3.11 JULIA TO REED)

wanna see...

unsophisticated and of little merit or

...or if you wanna have junk food that she's

(junk food : food lacking nutritional

high-fat snack items)

3-293 1136.08 1138.13/ 2.05 JULIA TO REED)...I'm clearly your go-to girl.

you seek out to do those things with' -

3-295 /1141.05 1144.07 3.02 JULIA TO REED)

the situation')

3-296 1144.11 1147.07 2.12 JULIA TO REED)

3-297 1148.13 1150.12 1.15 JULIA TO REED)...he's a man.

(Referring to Harrison being older,mature, and professionally andfinancially successful)



(41)


REEDHe-He-He-- (stammers)

JULIA 3-298 1151.04 1153.13 2.09 JULIA TO REED)(overlapping) You're afraid he's gonna steal You're afraid he's gonna steal me away?

me away? me from you by monopolizing my time'

REED relationship in my life, taking me away(overlapping) No. (stammers) And he came from you in the process')

in-- (stammers) When he came in to the

shop-- No. When he came in to the shop--

STUDENTS IN CLASS(off) (overlapping screams and shouts -


dialogue)

JULIA 3-300 /1156.09 1158.06 1.13 JULIA TO REED)(overlapping) Because, listen... Because, listen, since I--

JULIA HEARS A COMMOTION IN THE O.S.CLASSROOM AND TURNS L.FG.

1156-08

SCENE 157 - MCS - PAST REED, L.FG., TOJULIA, REACTING AND GESTURING.

JULIA...since I--

STUDENTS IN CLASS(off) (overlapping indistinct yells and chatter


dialogue)

JULIA, DISTRACTED, STEPS L.FG. ANDKISSED REED.

JULIA *3-301 1162.02 1165.00/ 2.14 JULIA TO REED, THEN REED TO JULIA)Oh. Okay, I, um-- (kisses) I'm your buddy. (over scene end) -I'm your buddy. Don't worry.

1163-07 -I know.


JULIADon't worry.

REED(whispering) I know.

JULIA 3-302 /1165.04 1167.13/ 2.09 JULIA TO REED)I'm... I'm not going anywhere.

1165-02 (i.e., 'I'm not going to abandon you.')

(steal me away : idiomatic for 'isolate

- 'become the predominant

3-299 1154.01 1156.05/ 2.04 REED TO JULIA)

(buddy : idiomatic for 'friend')



(42)

SCENE 159 - MCS - PAST REED, L.FG., TOJULIA, AS SHE HURRIES L.BG.

JULIA...not going anywhere.

1167-13

SCENE 160 - FS - PAST JULIA, R.FG., TOREED, AS JULIA HURRIES R.FG., EXITING.

1171-10

SCENE 161 - MFS - JULIA, GESTURING,AS SHE HURRIES R. TOWARD THECLASSROOM DOOR. SHE QUICKLYTURNS L. TO WAVE OT O.S. REEDBEFORE OPENING THE DOOR ANDENTERING THE CLASSROOM.

JULIA 3-303 /1171.12 1173.14 2.02 JULIA TO REED)But thanks for coming. I'll call you later. (to But thanks for coming.

children) Hey, what's happening in here?

(off) Get back... I'll call you later.

ANOTHER TEACHER ENTERS R.FG. ANDSTEPS TOWARD THE DOOR, LEADING A *3-305 1176.00 1179.13 3.13 JULIA TO CHILDREN, THEN TO GIRL)LINE OF CHILDREN BEHIND HER. (over scene end) Hey, what's happening in here? Get back in

1178-09 your seat!

SCENE 162 - INT. FALCON CREST their desks and be quiet')ELEMENTARY - JULIA'S CLASSROOM -DAY - MCS - JULIA, WALKING R.BG. INTOTHE CLASSROOM TOWARD TWOFIGHTING STUDENTS. CAMERA TRACKSBEHIND HER AS THE REST OF THESTUDENTS WILDLY GESTURE ANDREACT AROUND THEM.

JULIA *3-305A 1180.01 1182.06 2.05 JULIA TO CHILDREN)...in your seat. What in the--? Stop that! Get What in the-- Stop that.

back! That is...

JULIA PICKS UP ONE OF THE FIGHTING *3-305B 1182.10 1184.05/ 1.11 JULIA TO CHILDREN)CHILDREN AND PUSHES THE OTHERS Get back!AWAY.

1184-07

SCENE 163 - MCS - THROUGH THEDOORWAY TO REED, APPROACHINGAND GAZING FG. WITH CONCERN.

JULIA *3-306 /1187.05 1191.11 4.06 JULIA TO CHILDREN)(off) ...enough! Have you... Have you lost your minds? To your seat.

1187-03 That's it, that's it.

3-304 1174.02 1175.12 1.10 JULIA TO REED)

(settle down : i.e., 'calm down' - 'it'stime for everyone to sit obediently at

(i.e., 'Stop fighting!')

*3-305C /1184.09 1186.12 2.03 JULIA TO CHILDREN)That is enough!

(Have...minds : Idiomatic expressionused to criticize irresponsiblebehavior on the part of a group)(That's it : Idiomatic phrase of finality- i.e., 'Stop fighting immediately')



(43)

SCENE 164 - MCS - JULIA, STRUGGLINGTO KEEP THE CHILDREN FROMFIGHTING.

JULIA...lost your minds? To your seat. That's it,

that's it.

REED(off) (overlapping) Juli.

SHE TURNS R.FG. TOWARD O.S. REEDAND REACTS.

JULIA 3-307 1191.15 1194.01 2.02 JULIA TO REED)I can't talk right now! I'll have to call ya later! I can't talk right now!

1197-00

SCENE 165 - MCS - THROUGH THE I'll have to call you later!DOORWAY TO REED, DISAPPOINTED, ASHE EXITS L. CAMERA TILTS DOWN ONSEVERAL CHILDREN FROM OTHERCLASSROOMS, GAZING FG. WITHINTEREST.

JULIA *3-308A 1198.08 1201.09 3.01 JULIA TO CHILDREN)(off) Break it up. Let's go. Come on. Break it up. Let's go. Come on.

1202-15 (Break it up : Idiomatic for 'Stop

SCENE 166 - EXT. REED'S VAN/REED'S seats')HOUSE - DAY - FS - THE SIENA BOUQUET (Come on : Idiomatic expression ofVAN, AS IT DRIVES FG. CAMERA PANS R. remonstration, here meaning 'StopWITH IT AS IT PULLS TO A STOP IN A fighting')MCS., THROUGH THE PASSENGER SIDEWINDOW AND PAST ALPHONSO, SEATEDIN L.FG., TO REED, SEATED IN THEDRIVER SEAT.

REED *3-309 1208.15 1214.01 5.02 REED TO ALPHONSO)Stop it. Stop lookin' at me like that. I tried to Stop it. Stop lookin' at me like that. I tried to

tell her. (like that : i.e., 'disapprovingly')

ALPHONSONot hard enough, Reed. 3-310 1214.05 1216.15 2.10 ALPHONSO TO REED)

REED (Not hard : i.e., 'You didn't make a(scoffs) You don't know. very great effort')

REED GETS OUT OF THE CAR ANDOPENS THE SIDE SLIDING DOOR. 3-311 1218.03 1219.13 1.10 REED TO ALPHONSO)

ALPHONSO (i.e., 'You don't know how difficult it isOh, I don't know? to tell Julia such unpleasant news.')

REEDNo, you've never seen her sad. You don't-- *3-312 1220.01 1221.09 1.08 ALPHONSO TO REED)

1225-02 Oh, I don't know?

3-308 1194.05 1196.15/ 2.10 JULIA TO REED)

fighting')(Let's go : i.e., 'Stop' - 'Return to your

tell her.

Not hard enough, Reed.

You don't know.

3-313 1221.13 1225.00/ 3.03 REED TO ALPHONSO)No, you've never seen her sad.



(44)

SCENE 167 - MCS - ALPHONSO.

REED 3-314 /1225.04 1229.04/ 4.00 REED TO ALPHONSO)(off) She looks like an abandoned puppy She looks like an abandoned puppy dog

dog when she cries.

ALPHONSO(overlapping) (chuckles softly - continues

under following dialogue)1229-06

SCENE 168 - MCS - THROUGH THESLIDING DOOR TO REED, AS HEGATHERS A GIFT BOX.

REED 3-315 /1229.08 1231.08 2.00 REED TO ALPHONSO)I'm not gonna do that to her. I'm not gonna do that to her.

HE CLOSES THE DOOR AND STEPS R., and dreams in that manner' -LEANING DOWN INTO THE DRIVER SIDE 'purposely make her feel that way')WINDOW.

REED 3-316 1231.12 1235.13/ 4.01 REED TO ALPHONSO)Especially not today. I'm not gonna ruin Especially not today. I'm not gonna ruin

Valentine's Day for her.

HE STEPS R.1235-13

SCENE 169 - MCS - PAST REED (TORSO),OUT OF FOCUS IN R.FG., AND THROUGHTHE DRIVER SIDE WINDOW TOALPHONSO, AS REED CROSSES L.,MOMENTARILY OBSCURING HIM.

ALPHONSO 3-317 /1236.02 1239.08 3.06 ALPHONSO TO REED)I know what day it is. We got a van full of I know what day it is. We got a van full of

flowers. But at least hurry up, Reed. We're (I...is : Implying Reed's statement is

behind. well aware that it is Valentine's Day')

O.S. REED WALKS AROUND THE FRONTOF THE VAN AND ENTERS L. HE LEANSDOWN AND GESTURES. 3-318 1239.12 1243.03 3.07 ALPHONSO TO REED)

when she cries.

(do that to her : i.e., 'crush her hopes

Valentine's Day for her.

flowers.

obvious and unnecessary - i.e., 'I'm

(got : colloquial for 'have')

But at least hurry up, Reed. We're behind.(behind : i.e., 'behind schedule' - 'latefor our scheduled deliveries')



(45)


REED 3-319 1243.11 1246.05 2.10 REED TO ALPHONSO)(face off) (scoffs) (on) You can't rush love. You can't rush love.

Okay, I'm gonna drop this off in the (rush love : i.e., 'force love to develop

bedroom before Morley gets home. I'll be quickly')

right back. (laughs)

REED TURNS AROUND AND PLAYFULLY Okay, I'm gonna drop this off in the bedroomRUNS BG. before Morley gets home. I'll be right back.

ALPHONSO Reed got at the flower mart)He's not gonna hurry. I'm gonna fish.

ALPHONSO GETS OUT OF THE VAN, 3-321 (OUT)OBSCURING REED. HE REACHES UPAND PULLS A FISHING POLE FROM THECEILING, WHERE IT WAS FASTENED. 3-322 1254.09 1256.12 2.03 ALPHONSO TO REED)

1259-14 He's not gonna hurry.

SCENE 170 - EXT. FALCON CREST 3-323 1258.01 1259.13/ 1.12 ALPHONSO TO REED)ELEMENTARY - DAY - MS - THE FRONT I'm gonna fish.DOORS OF THE SCHOOL, AS A GROUP (fish : i.e., 'go fishing in the canal')OF ROWDY CHILDREN OPEN IT ANDRUN FG.

STUDENTS AT SCHOOL(overlapping, indistinct chatter, cries and

shouts - continues under following scenes


SCENE 171 - LS - GRACE, AS SHEDRIVES R. ALONG THE SIDEWALK.CAMERA PANS SLIGHTLY R. WITH HERAS SHE PULLS TO A STOP.

1266-13

SCENE 172 - LS - EDISON, RUNNING FG.AMONGST SEVERAL OTHER STUDENTS,MILLING ABOUT.

1271-07

SCENE 173 - FS - GRACE'S CAR, PARKEDALONG THE SIDEWALK. EDISON ENTERSR.FG. AND RUNS L.BG. TOWARD IT.

1274-11

(You : i.e., 'One')

quickly' - 'perform gestures of love

3-320 1246.09 1252.13 6.04 REED TO ALPHONSO)

(this : the box of special flowers



(46)

SCENE 174 - MS - PAST GRACE, SEATEDIN THE DRIVER SEAT OF HER CAR INL.FG., TO EDISON, AS HE TOSSES HISBAG INTO THE BACK SEAT AND GETSINTO THE PASSENGER SEAT. CAMERADOLLIES L.

GRACE 3-324 1275.13 1277.13 2.00 GRACE TO EDISON)Hey, how was your day? Hey, how was your day?

EDISONGo, go. 3-325 1278.01 1279.05/ 1.04 EDISON TO GRACE)

1279-06 Go, go.

SCENE 175 - MS - THROUGH THEWINDSHIELD TO EDISON AND GRACE.

GRACE 3-326 /1279.09 1281.07 1.14 GRACE TO EDISON, What--? THEN EDISON TO GRACE)

EDISON -Go!Go! (pants - continues under following (What-- : Used here as an interjection

scene and dialogue)

GRACE 3-327 1281.11 1283.03/ 1.08 GRACE TO EDISON)No, wait. No, wait.

1283-04

SCENE 176 - MS - PAST GRACE, R.FG., TOEDISON, REACTING AND GESTURING.

EDISON 3-328 1283.12 1286.07/ 2.11 EDISON TO GRACE)I want to get out of here. (pants - continues I want to get out of here.

under following scene and dialogue)

GRACE 3-329 /1286.11 1289.12 3.01 GRACE TO EDISON)Okay... Okay, breathe. Like I taught you.

1286-09 (Like I taught you : Note implication

SCENE 177 - MCS - PAST GRACE, R.FG., breathing technique] and breatheTO EDISON, AS SHE PUTS HER HAND ON deeply to calm down, and Edison nowHIS SHOULDER. complies)

GRACE...breathe. Like I taught you.

EDISON USES HIS FINGER TO PLUG ONEOF HIS NOSTRILS.

EDISON(breathes heavily through nose - continues


(i.e., 'Drive away from the schoolimmediately.')

-What--?

of bewilderment)

that Grace taught Edison to plug onenostril with his finger [a yogic



(47)

SCENE 178 - MCS - PAST EDISON, L.FG.,TO GRACE, AS SHE PATS HIS BACKREASSURINGLY.

GRACE 3-330 /1291.03 1293.11/ 2.08 GRACE TO EDISON)All right, now tell me what's wrong. All right, now tell me what's wrong.

1293-12

SCENE 179 - MCS - PAST GRACE, R.FG.,TO EDISON, AS HE REACTS ANDGESTURES.

EDISON 3-331 1294.13 1297.00 2.03 EDISON TO GRACE)(in muffled voice) She doesn't know I love She doesn't know I love her.

her. She didn't get her flowers! She... not yet known by the audience)1299-01

SCENE 180 - MCS - PAST EDISON, OUT (over scene end) She didn't get her flowers! She doesn't know!OF FOCUS IN L.FG, TO GRACE.

EDISON 3-333 1301.05 1307.01 5.12 EDISON TO GRACE)...doesn't know! (in normal voice) I need to (over scene end) I need to make things right. Will you please

make things right. Will you please... (make things right : idiomatic for1304-01 'correct this situation')

SCENE 181 - MCS - PAST GRACE, R.FG.,TO EDISON.

EDISON...help me, Grace? Please?

GRACE 3-334 1307.05 1311.08/ 4.03 GRACE TO EDISON)Of course. But... (over scene end) Of course. But first, soccer.

1308-11 (soccer : i.e., 'you have a soccer

SCENE 182 - MCS - PAST EDISON, OUTOF FOCUS IN L.FG., TO GRACE.

GRACE...first, soccer.

1311-09

SCENE 183 - FS - GRACE'S CAR, AS SHEDRIVES R. AND CAMERA PANS WITH ITTO INCLUDE A SCHOOL BUS, WHICHGRACE'S CAR EXITS BEHIND.

1317-15

(She : Referring to Julia, but this is

3-332 1297.04 1301.01 3.13 EDISON TO GRACE)

help me, Grace? Please?

game' - 'you have soccer practice')



(48)

SCENE 184 - INT. FALCON CRESTELEMENTARY/MUSIC ROOM - DAY - MCS -JULIA, HOLDING HER CELL PHONE TOHER EAR, A SHE STEPS BG.

PEOPLE IN SCHOOL(off) (overlapping, low and indistinct chatter


dialogue)

SHE STOPS AND TURNS FG.

JULIA 3-334A /1318.01 1321.03/ 3.02 JULIA INTO PHONE TO KARA)(into telephone) Hang on. Okay, I can hear Hang on. Okay, I can hear you now.

you now.1321-04

SCENE 185 - EXT. ACM OUTDOOR CAFE -DAY - MS - KARA, SEATED AT A TABLEAND HOLDING HER CELL PHONE TOHER EAR, AND A WAITRESS. KARASLIDES HER PAYED BILL R. ACROSS THETABLE, PAST HER OPEN LAPTOPCOMPUTER.

KARA(into telephone) (sighing) Okay.

THE WAITRESS TAKES THE BILL ANDSTEPS R.BG.

1324-12

SCENE 186 - MCS - KARA'S COMPUTERMONITOR.

KARA 3-335 /1324.13 1328.13/ 4.00 KARA TO JULIA)(off) It's gonna be me all alone at my own It's gonna be me all alone at my own party.

party.

DISPLAYED ON THE MONITOR IS ANANIMATED WEBSITE INVITATION, WHICHREADS.

eviteKARA'S AMAZING

I Hate Valentine's DayDINNER

AN ANIMATED CUPID SHOOTS ANDARROW R., WHICH POPS AN ANIMATEDHEART TO DISPLAY MORE TEXT WHICHREADS:

TOTALGUESTS 0

1328-14

(Hang on : i.e., 'Wait a moment')



(49)

SCENE 187 - INT. FALCON CRESTELEMENTARY/MUSIC ROOM - DAY - MCS -JULIA, REACTING AND GESTURING.

JULIA 3-336 /1329.01 1335.05/ 6.04 JULIA INTO PHONE TO KARA)(into telephone) Nobody RSVPs. It's L.A. Nobody RSVPs. It's L.A. Everyone wants you

Everyone wants you to think they have a life. (RSVP : to respond to an invitation,

(inhales) coming to the corresponding event -

SCENE 188 - EXT. ACM OUTDOOR CAFE - 'Please reply', and is often included inDAY - MCS - PAST THE COMPUTER, R.FG., invitations)TO KARA. (It's L.A. : Implying it is typical for

KARA RSVP)(into telephone) I hate you being so in love. (have a life : slang for 'have busy,

1337-15 interesting social lives' - 'have many

SCENE 189 - INT. FALCON CRESTELEMENTARY/MUSIC ROOM - DAY - MCS -JULIA, SMILING. SHE RAISES HER ARM 3-337.AND GLANCES AT HER WATCH. THROUGH

JULIA(into telephone) Oh, I know. Thank you.

Speaking of which, I am going to San I hate you being so in love.

Francisco. you're in love.' - 'I am jealous that you1343-07 are in love' - Note humor)

SCENE 190 - EXT. ACM OUTDOOR CAFE - 3-340 /1338.02 1340.06 2.04 JULIA INTO PHONE TO KARA)DAY - MCS - PAST THE COMPUTER, R.FG., Oh, I know. Thank you.TO KARA, REACTING. (know : i.e., 'understand')

JULIA(over telephone) Sorry I won't be there.

SHE REACHES UP AND CLOSES HER Speaking of which, I am going to SanCOMPUTER. Francisco.

1345-13 (Speaking of which : i.e., 'Since we're

SCENE 191 - INT. FALCON CRESTELEMENTARY/MUSIC ROOM - DAY - MCS -JULIA, AS SHE GATHERS HER BAGS. *3-342 /1343.10 1345.13/ 2.03 JULIA OVER PHONE TO KARA)

JULIA(into telephone) (chuckling) (grunts) (in

normal voice) Whack the heart for me, Whack the heart for me, honey.

honey. I gotta go. Bye. on my behalf [at the party].' - Note that

SHE HANGS UP HER PHONE. pinata to the party that guests are1351-14 invited to strike with a baseball bat)

to think they have a life.

usually to indicate that one will be

note that 'RSVP' is an abbreviation of'responded, s'il vous plait,' French for

residents of Los Angeles to not

interesting activities to chose from atany given time')

3-338.

3-339 /1335.09 1337.14/ 2.05 KARA INTO PHONE TO JULIA)

(i.e., 'I hate your behavior now that

(Thank you : Note humor)

3-341 1340.10 1343.06/ 2.12 JULIA INTO PHONE TO KARA)

talking about that subject, I shouldalso mention that')

ITAL Sorry I won't be there.

3-343 1347.04 1349.13 2.09 JULIA INTO PHONE TO KARA)

(i.e., 'Strike the heart-shaped pinata

Kara will be bringing a heart-shaped

3-344 1350.01 1351.13/ 1.12 JULIA INTO PHONE TO KARA)I gotta go. Bye.

(I gotta go : Idiomatic for 'I have toend this phone conversation now')



(50)

SCENE 192 - EXT. ACM OUTDOOR CAFE -DAY - MFS - KARA, HYPERVENTILATINGINTO A PAPER BAG.

KARA(blows) (inhales sharply) (blows)

1358-00





(1)


11-15 18.15 = 1ST SCENE END

SCENE 1 - INT. REED'S 4-1.HOUSE/BEDROOM - DAY - MS - THROUGH THROUGH (OUT)THE DOORWAY TO THE TOP OF THE 4-108.STAIRCASE AS REED STEPS UP, INTOFRAME.

REED *4-109 13.05 17.04 3.15 REED TO CARMINE)(on) Carmine, relax. It's me. Carmine, relax. It's me.

HE STEPS L.FG. INTO THE ROOM AND (Carmine : Reed's dog, a BorderREACTS TO THE SIGHT OF O.S. MORLEY. Collie)

18-15

SCENE 2 - MS - MORLEY, FACING BG., ASSHE TURNS R.FG. AND REACTS.

REED(off) Hey.

MORLEY 4-110 21.01 22.05/ 1.04 MORLEY TO REED)Reed. (exhales) Reed.

22-05

SCENE 3 - MS - REED, AS HECAUTIOUSLY STEPS L.FG. INTO THEROOM. CAMERA PANS SLIGHTLY WITHHIM TO INCLUDE MORLEY IN L.FG.

REED 4-112 24.10 26.14/ 2.04 REED TO MORLEY)(chuckles softly) What are you doing here? What are you doing here? Are you okay?

Are you okay? are you here now')26-15 (Morley has packed all her belongings

SCENE 4 - MS - PAST REED, R.FG., TOMORLEY, AS REED GLANCES ABOUT.CAMERA DOLLIES L. AND PANS R.

REED 4-113 27.13 29.09 1.12 REED TO MORLEY) (OPTIONAL)Is it--? Is it--?

REED TURNS L.FG. AND REACTS.33-06

SCENE 5 - MCS - HIGH ANGLE - SOME OFMORLEY'S PACKED LUGGAGE, PLACEDON A CHAIR.

35-02

SCENE 6 - MCS - PAST REED, OUT OFFOCUS IN R.FG., TO MORLEY.

MORLEY 4-114 37.12 39.13 2.01 MORLEY TO REED)I'm sorry. I'm sorry.

40-12

(relax : i.e., 'stop barking')

4-111 (OUT)

(What are you doing here : i.e., 'Why

and is moving out)



(2)

SCENE 7 - MCS - PAST MORLEY, L.FG., TOREED.

MORLEY 4-115 41.02 43.09 2.07 MORLEY TO REED)I love you. But I'm just not ready for this kind I love you.

of commitment.51-09 4-116 44.10 50.09 5.15 MORLEY TO REED)

SCENE 8 - MCS - PAST REED, OUT OF (for this kind of commitment : i.e., 'toFOCUS IN R.FG., TO MORLEY, commit to marriage')SHRUGGING HER SHOULDERS.

MORLEY 4-117 /51.13 57.02/ 5.05 MORLEY TO REED)And I didn't know that this morning. And I didn't know that this morning.

57-04 (that : i.e., 'that I wasn't ready for such

SCENE 9 - MCS - PAST MORLEY, L.FG., TO your proposal this morning')REED, REACTING AND GESTURING.

REED 4-118 61.12 63.15 2.03 REED TO MORLEY)(stammers) (chuckles) No, it's okay. Th-- No, it's okay.

(stammers) I shouldn't have rushed it. We--

(stammers) We can wait. I shouldn't have rushed it. We can wait.69-13 (rushed it : i.e., 'proposed to you so

SCENE 10 - MCS - PAST REED, OUT OFFOCUS IN R.FG., TO MORLEY, REACTINGAS SHE STEPS R.FG.

MORLEY 4-120 70.05 73.02 2.13 MORLEY TO REED)(chuckling) You didn't do anything wrong. You didn't do anything wrong.

(in normal voice) I shouldn't have been

surprised when you asked. I-I... I shouldn't have been surprised when you77-14 asked.


MORLEY 4-122 /78.01 82.05 4.04 MORLEY TO REED)....should be thinking about our future I should be thinking about our future

together. But I'm still...83-07

SCENE 12 - MCS - PAST REED, OUT OF (my future : i.e., 'my careerFOCUS IN R.FG., TO MORLEY. aspirations' - 'my personal

MORLEY...focused on (emphasizing) my (in

normal voice) future.87-00

But I'm just not ready for this kind ofcommitment.

a commitment')(this morning : i.e., 'when I accepted

4-119 65.15 69.13/ 3.14 REED TO MORLEY)

early in our relationship')

4-121 73.06 77.13/ 4.07 MORLEY TO REED)

together.

4-123 82.09 86.14/ 4.05 MORLEY TO REED)(over scene end) But I'm still focused on my future.

aspirations')

4-124 (OUT)



(3)

SCENE 13 - MS - PAST MORLEY, L.FG., TOREED, AS HE LEANS L. AND PUTS HISJACKET AND GIFT BOX ON A NEARBYCHAIR. HE STANDS BACK UPRIGHT ANDLEANS FG. TO KISS MORLEY ON THECHEEK.

REED 4-125 89.00 94.01/ 5.01 REED TO MORLEY)Okay, okay. Look. You can still have your Look, you can still have your career, baby.

career, (kisses) baby. (baby : slang term of affection)

HE STEPS L.FG. AROUND HER.94-03

SCENE 14 - MCS - PAST MORLEY, L.FG.,TO REED, AS HE LEANS L. AND STARTSTO UNPACK ONE OF MORLEY'SSUITCASES, SITTING ON THE BED.

REED 4-126 /94.05 101.11 7.06 REED TO MORLEY)Er, we're getting married. We're not-We're We're getting married. We're not becoming

not get-We're not g-- becoming monks or (becoming monks or something :

something. other pursuits like career aspirations')

MORLEY TURNS BG. TOWARD HIM ANDGESTURES AS CAMERA DOLLIES BACKINTO A MS.

MORLEY 4-127 101.15 108.02 6.03 MORLEY TO REED)(overlapping) And then there's the whole And then there's the whole thing with my

thing with my parents' horrible.... (there's the whole thing with : i.e.,

REED STOPS AND TURNS TOWARD HER. due to')HE REACTS AND GESTURES. (horrible.... : implying 'horrible

REED(overlapping) Why are you packing all your

st-- Yo-Your parents? Wait-- Hold on-- Wait Your parents? Wait a second.

a second. Just because your parents had a

bad divorce does not mean that you're 4-129 111.09 114.05 2.12 REED TO MORLEY)

going to have a bad divorce. They're not divorce...

hereditary. It's not like it's-- (stammers) It's

not like it's contagious... 4-130 114.09 118.05 3.12 REED TO MORLEY)123-11 ...does not mean that you're going to have a

(Look : i.e., 'Listen')

monks or something.

i.e., 'doing something that excludes

parents' horrible....

'there's the issue of' - 'I have concerns

divorce')

4-128 108.09 111.05 2.12 REED TO MORLEY)

(second : i.e., 'moment')

Just because your parents had a bad

(bad : acrimonious)

bad divorce.

4-131 118.09 123.10/ 5.01 REED TO MORLEY)They're not hereditary. It's not like it'scontagious, all right?

(They're : i.e., 'Divorces are')



(4)

SCENE 15 - MCS - PAST REED, OUT OFFOCUS IN L.FG., TO MORLEY, REACTING.SHE LEANS R. TO RE-PACK HER O.S.SUITCASE. CAMERA PANS SLIGHTLYWITH HER, MOMENTARILY OFF REED.

REED(chuckling) ...all right?

MORLEY 4-132 124.13 127.03 2.06 MORLEY TO REED)(overlapping) (sighs) You're not getting it. You're not getting it.

You know, the first phone call I made after 'understanding me' - 'fully realizing the

you proposed was to my office. To confirm this proposed marriage')

my ten o' clock meeting.138-09 *4-133 128.01 134.11 6.10 MORLEY TO REED)

SCENE 16 - MS - PAST MORLEY, CLOSING (You know : i.e., 'Do you know that' -HER SUITCASE IN R.FG., TO REED. SHE 'It's very revealing when you considerREACHES L. FOR HER ENGAGEMENT that')RING BOX.

146-01

SCENE 17 - MCS - PAST REED, OUT OFFOCUS IN L.FG., TO MORLEY, AS SHEHOLDS UP THE RING BOX.

MORLEY 4-135 148.12 152.09 3.13 MORLEY TO REED)(in low tones) It's really beautiful. For It's really beautiful.

someone else. 'This engagement ring is' and [2] i.e.,

SHE HANDS THE BOX TO REED. symbolizes is')159-08

SCENE 18 - MCS - PAST MORLEY, L.FG., For someone else.TO REED, AS HE TAKES THE BOX. (i.e., 'But it should be given to

REED this ring [and this gesture] can only be(stammers) Don't worry. It's-- Me and appreciated by someone who wants

Carmine will be (face off) fine. (to Carmine)

Won't we? (off) Won't we, Carmine? 4-137 169.13 172.04 2.07 REED TO MORLEY)

REED PATS HER SHOULDER AND STEPSR.FG., EXITING. MORLEY TURNS R.FG.WITH HIM. *4-138 174.08 177.14 3.06 REED TO MORLEY, THEN TO CARMINE)

179-05 Me and Carmine will be fine. Won't we?

(getting it : idiomatic for

extent of my lack of commitment to

You know, the first phone call I made afteryou proposed was to my office.

4-134 /135.01 138.08/ 3.07 MORLEY TO REED)To confirm my 10:00 meeting.

(It's : Note double meaning - [1] i.e.,

'What this engagement ring

4-136 156.09 159.06/ 2.13 MORLEY TO REED)

someone else.' - 'But the beauty of

to get married.')

Don't worry. It's--

4-139 178.02 180.05 2.03 REED TO CARMINE)(over scene end) Won't we, Carmine?



(5)

SCENE 19 - MS - HIGH ANGLE - CARMINETHE DOG, LYING ON HIS SIDE, AS REEDENTERS L. AND KNEELS DOWN TOWARDHIM.

REED 4-140 181.14 183.13/ 1.15 REED TO CARMINE)Right, baby? Right, baby?

CARMINE RISES AND STEPS FG.,EXITING.

183-15

SCENE 20 - MS - MORLEY, AS CARMINEENTERS BOTTOM OF FRAME AND JUMPSONTO THE BED NEXT TO HER.

188-09

SCENE 21 - MS - REED, REACTING, AS HERISES AND CAMERA TILTS UP WITH HIM.

REED 4-141 190.04 194.05/ 4.01 REED TO CARMINE)Carmine, come. Come here. Carmine, come. Come here.

194-06 (Carmine evades Reed and lies down

SCENE 22 - MS - CARMINE, UNMOVING,AND MORLEY.

REED(off) (chuckles - continues under following

scene)198-10

SCENE 23 - MS - REED, SMILING.

REED 4-142 199.14 202.01 2.03 REED TO CARMINE)Okay, all right. Yeah. (whispering) Okay.... Okay, all right.

HE LEANS L. AND GATHERS HIS JACKET disappointment)BEFORE STEPPING R. CAMERA PANS R.WITH HIM TO INCLUDE THE DOOR,WHICH HE STEPS BG. THROUGH. 4-143 202.05 204.14 2.09 REED TO CARMINE)

212-10 Yeah. Okay....

SCENE 24 - MS - CARMINE AND MORLEY,DISTRAUGHT, AS SHE SITS BACK ON THEBED.

218-02

SCENE 25 - MCS - THROUGH THE DOORAND THE WOODEN STAIRCASE RAILS TOREED, AS HE STEPS R. DOWN THESTAIRS. HE STOPS AND TURNS FG.

REED 4-144 227.01 230.01/ 3.00 REED TO MORLEY)Did you even consider marrying me? Did you even consider marrying me?

230-01

next to Morley, rejecting him)

(Used here as expressions of wry

(Used here as expressions of wrydisappointment)



(6)

SCENE 26 - MCS - MORLEY.

MORLEY 4-145 231.03 233.05 2.02 MORLEY TO REED)(smacks lips) Of course I did. But when you Of course I did.

ask a girl to marry you, do you want her to

just consider it? But when you ask a girl to marry you, do you244-01 want her to just consider it?

SCENE 27 - MCS - THROUGH THESTAIRCASE RAILINGS TO REED.

MORLEY 4-147 244.09 247.10 3.01 MORLEY TO REED)(off) Or do you want her to just know? Or do you want her to just know?

HE SMILES AND TURNS R. DOWN THE 'instinctively know it is what she wantsSTAIRS, EXITING BOTTOM OF FRAME. to do')

254-02

SCENE 28 - EXT. REED'S HOUSE/CANALBRIDGE - DAY - FS - ALPHONSO,STANDING AND FISHING FROM THECENTER OF A BRIDGE. REED COMESOUT OF HIS HOUSE IN L.BG. AND STEPSR. ONTO THE BRIDGE TOWARDALPHONSO.

ROMEO 4-148 256.03 260.09 4.06 ROMEO TO GROUP) (voice over)(voice over) It's Romeo Midnight, back ITAL It's Romeo Midnight, back again.

again. And if those topsy-turvy feelings have broadcasting when a host resumes

got you twisted inside-out, think of the poet or commercial break - i.e.,

Rumi, who eight-hundred years ago said,

"All we really want... 4-149 260.13 266.11 5.14 ROMEO TO GROUP) (voice over)273-09 ITAL And if those topsy-turvy feelings have got you

4-146 236.03 243.06 7.03 MORLEY TO REED)

(just consider : i.e., 'merely consider')

(just know : i.e., 'simply know' -

(back again : used in radio

addressing the audience after a song

'addressing you again')

twisted inside-out...(topsy-turvy feelings : i.e.,'unpredictable feelings' - 'confusingfeelings' - referring to being in love)(twisted inside-out : i.e., 'feelingconfused and anxious')

4-150 266.15 272.01 5.02 ROMEO TO GROUP) (voice over)ITAL ...think of the poet Rumi, who 800 years ago

said:(Rumi : a 13th-century Persian poet,jurist, theologian, and mystic)(said : i.e., 'wrote')

4-151 272.05 278.06 6.01 ROMEO TO GROUP) (voice over)ITAL (over scene end) "All we really want is love's confusing joy."

(A paraphrase from an untitled Rumipoem that concludes with 'Bothwishes are foolish, but you'll beforgiven for forgetting/that what youreally want is love's confusing joy.')



(7)

SCENE 29 - MS - ALPHONSO, LEANING R.AND FISHING OVER THE BRIDGERAILING.

ROMEO 4-152 279.03 281.08 2.05 ROMEO TO GROUP) (voice over)(voice over) ...is love's confusing joy." ITAL Amen, brother.

Amen, brother. approval and agreement)

ALPHONSO address, used here to refer to Rumi)(overlapping) (grunts) She was there, huh?

Is that it? 4-153 282.13 285.01 2.04 ALPHONSO TO REED)

REED ENTERS L.FG., NODDING SUBTLY.

REED 4-154 286.09 288.05 1.12 ALPHONSO TO REED)(chuckles softly) So this, you believe. Is that it?

295-08 (Note double meaning - [1] i.e., 'Is that

SCENE 30 - FS - PAST ALPHONSO, R.FG.,TO REED, NEXT TO HIM ON THE BRIDGE.

REED So this, you believe.You don't buy it when she says "yes" to me, (i.e., 'You have no trouble believing or

but...when she dumps me, (emphasizing)

that (in normal voice) you can wrap your 4-156 295.15 299.09 3.10 REED TO ALPHONSO)

head around. (chuckles) (buy it : slang for 'believe it')

ALPHONSO(overlapping) (chuckles softly) I had a 4-157 300.09 303.08 2.15 REED TO ALPHONSO)

feeling. (dumps me : slang for 'abruptly ends311-11 our romantic relationship')

(Amen : Used here as an idiomatic

(brother : slang term of male

She was there, huh?

what just occurred?' and [2] i.e., 'Isyour relationship now over?')

4-155 293.05 295.07/ 2.02 REED TO ALPHONSO)

accepting that Morley rejected me.')

You don't buy it when she says "yes" to me...

...but when she dumps me...

4-158 303.12 306.11 2.15 REED TO ALPHONSO)...that you can wrap your head around.

(wrap your head around : slang for'comprehend' - 'easily understand andaccept')

4-159 307.13 309.13 2.00 ALPHONSO TO REED)I had a feeling.

(a feeling : i.e., 'an intuition thiswould occur')



(8)

SCENE 31 - MS - PAST REED, L.FG., TOALPHONSO, GESTURING.

REED 4-160 /311.13 313.08 1.11 REED TO ALPHONSO)Excuse me? Excuse me?

ALPHONSOThat it wasn't right, Reed. Man, you know,

an inkling. That it wasn't right, Reed.

REED and you, ultimately, didn't belongAn inkling? together' - 'That Morley wasn't fully

322-00 committed to being with you')

SCENE 32 - MS - PAST ALPHONSO, R.FG., 4-162 316.04 319.11 3.07 ALPHONSO TO REED)TO REED, REACTING. HE STEPS R. Man, you know, an inkling.BEHIND ALPHONSO. (an inkling : a slight hint or indication

REEDYou had an-You had-- (chuckles) You had

an inkling, and... An inkling?327-09

SCENE 33 - MCS - ALPHONSO, LEANING (over scene end) You had an inkling, and you kept it toL. OVER THE RAIL, AS HE TURNS R.FG. yourself?TOWARD O.S. REED. (kept it to yourself : i.e., 'kept it a

REED(off) ...you kept it to yourself?

REED STARTS TO ENTERS R.330-01

SCENE 34 - MS - PAST ALPHONSO, L.FG.,TO REED, AS HE STEPS R. ANDGESTURES.

REED(in Spanish) Tú tiene un inkling (in

Spanish) y-y nada? ¡No, dígame!

(Tú tiene un : Spanish for 'You have an' -Note that the proper verb conjugation in thiscase would be 'Tú tienes')(y nada : Spanish for 'and nothing' - i.e.,'and you don't say anything')(dígame : Spanish for 'talk to me')

338-15

SCENE 35 - MS - PAST REED, R.FG., TOALPHONSO.

REED 4-165 339.08 342.05/ 2.13 REED TO ALPHONSO)(emphasizing) You don't (in normal voice) You don't keep inklings to yourself.

keep inklings to yourself. inklings like that to himself.')342-05

(Used here to request clarification)

4-161 313.12 316.00 2.04 ALPHONSO TO REED)

(That it wasn't right : i.e., 'That Morley

- a vague intuition)

4-163 319.15 321.14/ 1.15 REED TO ALPHONSO)

4-164 323.05 330.00/ 6.11 REED TO ALPHONSO)

secret' - 'didn't tell me')

(i.e., 'A good friend shouldn't keep



(9)

SCENE 36 - MS - PAST ALPHONSO, L.FG.,TO REED, REACTING AND GESTURING.

REED 4-166 /342.10 344.14 2.04 REED TO ALPHONSO)You share them. You're like, "Hey, guy. I got You share them. You're like:

an inkling you're headed for a fall here." have done is said something like')

That's what friends do. That's common

knowledge. It's in the damn handbook. "Hey, guy. I got an inkling you're headed for a

ALPHONSO (guy : used here as a familiar term ofI'm sorry, Reed. address)

361-03 (you're...here : slang for 'you are

SCENE 37 - MS - ALPHONSO.

ALPHONSO 4-167 351.01 354.01 3.00 REED TO ALPHONSO)You're right. That's what friends do. That's common

363-10 knowledge.

SCENE 38 - MCS - REED.

REED It's in the damn handbook.I gotta stop Julia, don't I? (in the damn handbook : i.e., 'a

ALPHONSO implying the standard expectations of(off) If it's the damn handbook... a friendship comprise an imaginary

369-13 'handbook' of inviolable rules - note

SCENE 39 - MS - ALPHONSO.

ALPHONSO 4-168 359.02 361.02/ 2.00 ALPHONSO TO REED)...I think you better. I'm sorry, Reed.

374-10

SCENE 40 - MCS - REED, AS HE LIGHT BACKGROUND. CHECK PRINT FOR PROPER POSITIONING.PRODUCES HIS CELL PHONE AND DIALSIT.

REED You're right.Now let's go.

378-15

SCENE 41 - INT. LAX SECURITY - DAY - (gotta stop Julia : i.e., 'have to preventMCS - HIGH ANGLE - AN AIRPORT Julia from going to San Francisco')SECURITY BIN CONTAINING JULIA'SCOAT AND PURSE. JULIA (HAND)ENTERS TOP OF FRAME AND PLACES 4-171 368.02 372.14 4.12 ALPHONSO TO REED)HER CELL PHONE INTO THE BIN, ON (over scene end) If it's the damn handbook, I think you better.TOP OF THE COAT.

PEOPLE AT LAX 4-172 377.03 378.14/ 1.11 REED TO ALPHONSO)(overlapping, low and indistinct chatter - Now let's go.


dialogue)380-07

(You're like : i.e., 'What you should

4-166A 345.02 350.04 5.02 REED TO ALPHONSO)

fall here."

going to suffer in the imminentdemise of your romantic relationship')

(common knowledge : i.e., 'acommonplace understanding')

4-167A 354.05 356.14 2.09 REED TO ALPHONSO)

fundamental tenet of friendships' -

that 'damn' is a mildly vulgarintensive)

LABORATORY: THE FOLLOWING TITLE #4-169 APPEARS AGAINST A

4-169 /361.06 363.05 1.15 ALPHONSO TO REED)

4-170 364.10 367.14 3.04 REED TO ALPHONSO)I gotta stop Julia, don't I?



(10)

SCENE 42 - MCS - JULIA, AS SHE PLACESTHE REST OF HER BELONGINGS INTOTHE O.S. BIN AND GLANCES ABOUT. SHETURNS L. TOWARD THE METALDETECTOR.

JULIA(grunts softly) (clears throat)

MALE AIRPORT ANNOUNCER(over speaker ) (low and indistinct -


dialogue)

MALE SECURITY OFFICER #1(off) (overlapping) Put your arms up please.

Turn around. (low and indistinct - continues

under following scene)385-04

SCENE 43 - MS - THROUGH THE METALDETECTOR TO JULIA, AS SHE HOLDSOUT HER BOARDING TICKET AND STEPSFG. THROUGH IT. CAMERA DOLLIESBACK TO INCLUDE TAS SECURITYOFFICER, HOLDING HER HAND BG. TOACCEPT THE BOARDING PASS.

MALE SECURITY OFFICER #1(off) I need you to put your computer in a

separate...387-09

SCENE 44 - MCS - HIGH ANGLE -LOOKING DOWN AT THE BIN AS IT MOVESL. ON THE CONVEYOR BELT.

MALE SECURITY OFFICER #1(off) ...bin, please.

CAMERA PANS L. WITH IT AS JULIA'SCELL PHONE RINGS AND LIGHTS UP.TEXT ON THE SCREEN READS: 4-173 388.03 389.11 1.08 NARRATIVE TITLE, (of phone)

Reed TO GROUP)calling

TAS SECURITY OFFICER -Next.(off) Next.

MALE SECURITY OFFICER #1 through the security gate.')(off) All right, take your shoes off. Go ahead.

THEN TAS SECURITY OFFICER

-Reed calling

(i.e., 'Next passenger in line, pass

*4-173A 389.15 391.10 1.11 MALE SECURITY OFFICER TO GROUP)(OPTIONAL)

All right, take your shoes off.



(11)


JULIA 4-174 391.14 396.05/ 4.07 JULIA TO TAS SECURITY OFFICER)(off) (overlapping) I'm going to visit my I'm going to visit my boyfriend. It's a surprise.

boyfriend. It's a surprise. I'm surprising

him.

THE BIN IS OBSCURED AS IT ENTERSTHE X-RAY MACHINE.

396-05

SCENE 45 - MS - OVER THE X-RAYMACHINE TO JULIA AND TAS SECURITYOFFICER, HOLDING JULIA'S BOARDINGTICKET.

TAS SECURITY OFFICER 4-175 /396.09 399.09 3.00 TAS SECURITY OFFICER TO JULIA)Oh, yeah. Guys love surprises. Oh, yeah. Guys love surprises.

JULIAIs that sarcasm?

401-12 4-176 399.13 401.11/ 1.14 JULIA TO TAS SECURITY OFFICER)

SCENE 46 - MCS - PAST JULIA, L.FG., TOTAS SECURITY OFFICER.

TAS SECURITY OFFICER 4-177 /401.15 407.00/ 5.01 TAS SECURITY OFFICER TO JULIA)I surprised my husband once. Now he's my I surprised my husband once. Now he's my

ex-husband. (Note humorous implication that the

SHE HANDS JULIA HER BOARDING PASS. husband while he was having sex407-01 with another woman)

SCENE 47 - MS - OVER THE X-RAYMACHINE TO JULIA AND TAS SECURITYOFFICER, AS JULIA PUTS HER HAND ONTHE OFFICER'S SHOULDER.

JULIA 4-178 /407.04 411.09 4.05 JULIA TO TAS SECURITY OFFICER,Oh, that sucks. THEN TAS SECURITY OFFICER TO JULIA)

TAS SECURITY OFFICER REACTS AND -Yes. Never touch security, ma'am.GESTURES FOR JULIA TO REMOVE HER (sucks : slang for 'is awful')HAND. (security : i.e., a security officer' -

TAS SECURITY OFFICER the TAS Security Officer's shoulder in(overlapping) (interrupting) Yes. a gesture of sympathy)

(stammers) Never touch security, ma'am. address for a woman - contraction of

JULIA REACTS AND GESTURES.

I'm surprising him.

(Note sarcastic tone)

Is that sarcasm?(Is that : i.e., 'Are you using')

ex-husband.

TAS Security Officer surprised her

-Oh, that sucks.

Note that Julia had put her hand on

(ma'am : used as a form of polite

'madam')



(12)


JULIA 4-179 411.13 414.05 2.08 JULIA TO TAS SECURITY OFFICER)Yes, ma'am. Copy that. Yes, ma'am. Copy that.

TAS SECURITY OFFICER during radio communicationsOkay. [particularly by the military or law

JULIA EXITS L. radio transmission with sufficient415-14 clarity to understand the message -

SCENE 48 - MCS - HIGH ANGLE - manner)LOOKING DOWN AT THE BINCONTAINING JULIA'S BELONGINGS, AS ITMOVES L. OUT OF THE X-RAY MACHINE. 4-180 414.09 415.13/ 1.04 TAS SECURITY OFFICER TO JULIA)CAMERA PANS L. WITH IT. Okay.

420-14

SCENE 49 - MS - OVER THE X-RAYMACHINE TO TAS SECURITY OFFICER,GESTURING.

TAS SECURITY OFFICER 4-181 421.03 422.07/ 1.04 TAS SECURITY OFFICER TO GROUP)Next. Next.

422-08

SCENE 50 - MS - PAST MALE SECURITYOFFICER #2, L.FG., TO JULIA, HAVINGGATHERED HER BELONGINGS, AS SHESTEPS L. AND CAMERA PANS WITH HER.

JULIA *4-182 /422.11 425.04 2.09 JULIA TO TAS SECURITY OFFICER #2,Have a nice day. THEN TAS SECURITY OFFICER #2 TO

MALE SECURITY OFFICER #2 -Have a nice day. You too, ma'am. -You too, ma'am.

SHE WALKS L.FG. TOWARD AN (ma'am : used as a form of politeESCALATOR AS CAMERA CONTINUES address for a woman - contraction ofPANNING L., OFF MALE SECURITY 'madam')OFFICER #2.

JULIA(hums)

429-10

SCENE 51 - INT. REED'S VAN - DAY - MCS- THROUGH THE DRIVER SIDE WINDOWTO ALPHONSO, AS HE GETS INTO THEPASSENGER SEAT.

ALPHONSO 4-183 430.13 435.12 4.15 ALPHONSO TO REED)I never had a inkling before. I didn't know I never had a inkling before. I didn't know

what to do with it. (inkling : see Title #4-162)

REED ENTERS R.FG. AND SITS IN THE respond to it')DRIVER SEAT. HE PUTS ON HIS SEATBELT AND GLANCES R. INTO THE BACKOF THE VAN.

(Copy that : i.e., 'I understand' - Used

enforcement] to indicate receipt of a

Note humor of Julia replying to theTAS Security Officer in such an official

JULIA)

(Have a nice day : Idiomatic farewell)

what to do with it.

(what to do with it : i.e., 'how to



(13)


REED *4-184 436.15 439.09 2.10 REED TO ALPHONSO)We gotta get to the airport. Oh, shit. The We gotta get to the airport.

flowers.

ALPHONSO Oh, shit. The flowers.Well, I'll deliver them. You go. (Oh, shit : Vulgar slang expression of

REED (The flowers : i.e., 'The flowerNo, I don't have a car. All I have is this van. arrangements in the back of the van

ALPHONSO customers.')My cousin Flaco lives nearby. He's got a car

you can borrow. It's a Chevy. 4-186 442.06 444.08 2.02 ALPHONSO TO REED)451-06 Well, I'll deliver them. You go.

SCENE 52 - MCS - THROUGH THEPASSENGER SIDE WINDOW AND PAST 4-187 444.12 447.08 2.12 REED TO ALPHONSO)ALPHONSO, L.FG., TO REED, REACTING No, I don't have a car. All I have is this van.AS HE STARTS THE VAN.

REED 4-188 447.12 452.14 5.02 ALPHONSO TO REED)(in low tones) Yeah? (over scene end) My cousin Flaco lives nearby. He's got a car

ALPHONSO (Chevy : short for 'Chevrolet' - A brandA hybrid. of automobile produced by General

THE VAN DRIVES R., AS THE SIDE OF ITFILLS THE FRAME.

458-08 4-189 453.02 454.15 1.13 REED TO ALPHONSO)

WIPE TO:

SCENE 53 - EXT. ALPHONSO'S COUSIN'S A hybrid.HOUSE - DAY - FS - PAST A COVERED (hybrid : note double meaning - [1] aCAR PARKED ON THE SIDEWALK TO vehicle that uses two or more distinctREED AND ALPHONSO, STANDING power sources to move the vehicleBEFORE IT. ALPHONSO'S COUSIN, and [2] humorously referring to theFLACO, IS SEATED ON A LAWN CHAIR IN fact that Flaco's Chevy has beenR.BG. ALPHONSO PULLS THE COVER modified to include custom hydraulicOFF, REVEALING A PURPLE VINTAGE suspensions that allow the driver toCHEVY. alter the ride height at will, a

2PAC FEATURING DR. DRE aesthetic additions, in a style favored(voice over) (sings "California Love" - by "lowriders")


dialogue)466-05

SCENE 54 - EXT. STREET - DAY - FS - THEPURPLE CHEVY, DRIVEN BY REED, AS ITHEADS BG. DOWN THE BUSY STREET. APLANE CROSSES R. IN THE BG. SKY.

475-06

4-185 439.13 442.02 2.05 REED TO ALPHONSO)

annoyance)

need to be delivered to various

(go : i.e., 'go to the airport')

you can borrow. It's a Chevy.

Motors Company)

Yeah?

4-190 455.14 457.15 2.01 ALPHONSO TO REED)

non-factory paint finish and other



(14)

SCENE 55 - EXT. LAX ENTRANCE - DAY - TRANSLATORS: YOU MAY OMIT TITLE #4-191 IF YOU DO NOT NEED TOFS - THE PURPLE CHEVY, AS IT TRANSLATE IT FOR YOUR TERRITORY.CROSSES R. AND CONTINUES R.BG.CAMERA PANS WITH IT TO INCLUDE ALARGE SCULPTED SIGN, WHICH READS: 4-191 480.05 482.05 2.00 NARRATIVE TITLE) (OPTIONAL)

LAX LAX

483-03 International Airport)

SCENE 56 - INT. LAX/SOUTHWESTTERMINAL - DAY - FS - REED, AS HEFRANTICALLY STEPS R. INTO THEBUILDING AND APPROACHES ANAIRPORT SECURITY OFFICER.

PEOPLE AT LAX(overlapping, low and indistinct chatter -


dialogue)

THE SECURITY OFFICER POINTS L.FG.

AIRPORT SECURITY OFFICER *4-191A 484.07 486.11 2.04 AIRPORT SECURITY OFFICER TO REED)Right over there. Right over there.

REED RUNS L.FG. PAST SEVERAL counter, there is giant bearded colliePEOPLE AS CAMERA TRACKS BACK WITH in a cage on the scale)HIM, OFF THE SECURITY OFFICER.

494-00

SCENE 57 - MFS - A FEMALE SOUTHWESTAIRLINE WORKER AND THE OVERSIZEDBAGGAGE AGENT, GESTURING, BOTHSTANDING BEHIND THE TICKETCOUNTER. A LOGO ON THE WALLBEHIND THEM READS:

SOUTHWESTAIRLINES

OVERSIZED BAGGAGE AGENT 4-192 /494.01 497.05/ 3.04 OVERSIZED BAGGAGE AGENTThe guy leaves the dog. I said, (stammers) TO FEMALE CO-WORKER)

"We can't take the dog." the dog."497-08 (guy : i.e., 'man')

SCENE 58 - FS - PAST OVERSIZED the plane')BAGGAGE AGENT, GESTURING IN L.FG.,TO REED, RUNNING L.FG. TOWARD HIM.

OVERSIZED BAGGAGE AGENT 4-193 /497.09 500.05/ 2.12 OVERSIZED BAGGAGE AGENTHe says, "Well, you know, he'll be right TO FEMALE CO-WORKER)

back--" back--"

HE STOPS AT THE COUNTER IN FRONTOF HIM.

500-05

(Code name for Los Angeles

(At the Southwest oversized luggage

The guy leaves the dog. I said, "We can't take

(leaves : colloquial for 'left')(take the dog : i.e., 'put this dog on

He says, "Well, you know, he'll be right



(15)

SCENE 59 - MS - PART REED, R.FG., TOOVERSIZED BAGGAGE AGENT.

REED 4-194 /500.09 505.01 4.08 REED TO OVERSIZED BAGGAGE AGENT)(pants) (panting) Hi. I need, uh... (over scene end) Hi. I need your first ticket...

503-00 (your first ticket out of : i.e., 'to buy a

SCENE 60 - MCS - PAST OVERSIZEDBAGGAGE AGENT, L.FG., TO REED,FRANTIC AND EXHAUSTED.

REED 4-195 505.05 508.09 3.04 REED TO OVERSIZED BAGGAGE AGENT)(panting) ...your first ticket out of terminal (over scene end) ...out of terminal G to San Francisco.

G... Julia's plane is leaving from this507-01 terminal)

SCENE 61 - MS - PAST REED, R.FG., TOOVERSIZED BAGGAGE AGENT,GESTURING TOWARD AN "OVERSIZED"SIGN.

REED(panting) ...to San Francisco.

OVERSIZED BAGGAGE AGENT 4-196 508.13 511.14/ 3.01 OVERSIZED BAGGAGE AGENT TO REED)This counter for oversized items. This counter for oversized items.

511-15 (i.e., 'People may only buy tickets at

SCENE 62 - MCS - PAST OVERSIZEDBAGGAGE AGENT, L.FG., TO REED,GLANCING UP AT AN O.S. SIGN.

REED 4-197 /512.02 513.10 1.08 REED TO OVERSIZED BAGGAGE AGENT)Right. I-- But you-you sell tickets. Right.

516-10

SCENE 63 - MS - PAST REED, R.FG., TO But you sell tickets.OVERSIZED BAGGAGE AGENT, REACTINGAND GESTURING EMPHATICALLY.

REEDI-I--

OVERSIZED BAGGAGE AGENT 4-199 /516.13 520.07/ 3.10 OVERSIZED BAGGAGE AGENT TO REED)(overlapping) (interrupting) This counter for This counter for oversized items.

oversized items.

REED 4-200 /520.11 522.07 1.12 REED TO OVERSIZED BAGGAGE AGENT)(overlapping) But you... But you sell tickets here, right?

520-09

ticket for the next plane that leavesfrom')

(terminal G : note implication that

this counter if they have oversizeditems to take on the plane.')

4-198 513.14 516.09/ 2.11 REED TO OVERSIZED BAGGAGE AGENT)



(16)

SCENE 64 - MS - PAST OVERSIZEDBAGGAGE AGENT, L.FG., TO REED,GESTURING.

REED...sell tickets here, right?

OVERSIZED BAGGAGE AGENT POINTSR.BG. AT ANOTHER COUNTER.

OVERSIZED BAGGAGE AGENT 4-201 522.11 528.09/ 5.14 OVERSIZED BAGGAGE AGENT TO REED)(overlapping) That counter is for oversized That counter is for oversized people, this

people, this counter is for oversized items, (oversized people : i.e., 'overweight

okay? the Oversized Baggage Agent points

REED GLANCES ABOUT AND LEANS is a long line of people waiting to buyDOWN L. TO PICK UP AN O.S. TRASH plane tickets)CAN.

528-11

SCENE 65 - FS - OVER THE COUNTERAND PAST THE FEMALE SOUTHWESTWORKER, L.FG., TO OVERSIZEDBAGGAGE AGENT, REACTING, AS REEDLIFTS THE TRASH CAN ON TOP OF THECOUNTER.

REEDOkay.

530-09

SCENE 66 - MCS - PAST OVERSIZEDBAGGAGE AGENT, L.FG., TO THE TRASHCAN ATOP THE COUNTER AND REED,DEFIANT.

REED 4-202 /530.11 532.03 1.08 REED TO OVERSIZED BAGGAGE AGENT)Here's my luggage. Here's my luggage.

532-03 (Referring to a large metal trash can

SCENE 67 - MS - PAST REED, R.FG., ANDOVER THE COUNTER TO OVERSIZEDBAGGAGE AGENT, AS HE LEANS R. ANDPICKS UP A SMALL TRASH CAN, WHICHHE PLACES ATOP THE COUNTER.

OVERSIZED BAGGAGE AGENT 4-203 534.03 536.11 2.08 OVERSIZED BAGGAGE AGENT TO REED)Now it's a matched set. Now it's a matched set.

counter is for oversized items, okay?

people' - note humor - also note that

to another counter nearby where there

which Reed has picked up and placedon the counter)

(it's a matched set : i.e., we have acomplimentary pair' - referring to asmall trash can which the OversizedBaggage Agent has picked up frombehind the counter and placed next tothe metal trash can - note humor)



(17)


OVERSIZED BAGGAGE AGENT (cont'd) 4-204 536.15 541.02 4.03 OVERSIZED BAGGAGE AGENT TO REED)Now, look, buddy, I'm fifty-two and I'm Now look, buddy, I'm 52 and I'm wearing a

wearing a bright blue shirt to work. Please (look : i.e., 'listen')

don't make me madder than I am. address)

FEMALE AIRPORT ANNOUNCER (wearing : i.e., 'required to wear')(over speaker) Would... (bright blue shirt : note implication

543-13 that the Oversized Baggage Agent is

SCENE 68 - MCS - PAST OVERSIZEDBAGGAGE AGENT, L.FG., AND OVER THE 4-205 541.06 543.13/ 2.07 OVERSIZED BAGGAGE AGENT TO REED)SMALL TRASH CAN TO REED. Please don't make me madder than I am.

FEMALE AIRPORT ANNOUNCER (am : i.e., 'already am')(over speaker) ...passenger Juan Alvarez

please...

REED REACHES UP AND REMOVES THELARGE TRASH CAN FROM THECOUNTER.

REED 4-206 544.08 546.08 2.00 REED TO OVERSIZED BAGGAGE AGENT)(overlapping) (in low tones) I'm sorry. I'm sorry.

547-07

SCENE 69 - FS - OVER THE COUNTERAND PAST THE FEMALE SOUTHWESTAGENT, L.FG., TO OVERSIZED BAGGAGEAGENT AND REED, SETTING THE TRASHCAN ON THE GROUND.

FEMALE AIRPORT ANNOUNCER(over speaker) ...return (continues low and


dialogue)

REED 4-207 552.01 553.09 1.08 REED TO OVERSIZED BAGGAGE AGENT)There's this girl. (stammers - continues There's this girl.

under following dialogue) to quickly get to terminal G is because

OVERSIZED BAGGAGE AGENT REMOVESTHE SMALL TRASH CAN FROM THECOUNTER AND LEANS DOWN TO PLACEIT ON THE GROUND. HE RISES ANDGESTURES.

bright blue shirt to work.

(buddy : used as a form of familiar

(52 : i.e., '52 years old')

not particularly fond of his uniform)

(madder : i.e., 'angrier')

(i.e., 'The reason why I am so anxious

of a certain woman.')



(18)


OVERSIZED BAGGAGE AGENT 4-208 553.13 556.12 2.15 OVERSIZED BAGGAGE AGENT TO REED)Oh, don't tell me, that'll take the fun out of Oh, don't tell me, that'll take the fun out of

guessing. Let's see, this is gonna be a (me : implying 'me your sad story')

tough one.559-00

SCENE 70 - MS - PAST REED, R.FG., AND (Let's see : i.e., 'Let's see if I canOVER THE COUNTER TO OVERSIZED guess')BAGGAGE AGENT, GESTURING. (this...one : i.e., 'it's going to be

OVERSIZED BAGGAGE AGENT that you're in')There's a very pretty girl and she's about to

get on a big airplane. And if you don't stop 4-208B /559.03 563.14 4.11 OVERSIZED BAGGAGE AGENT TO REED)

her, she'll never know how you really feel. get on a big airplane.568-06 (For this Title and Title #4-208C :

SCENE 71 - MS - PAST OVERSIZEDBAGGAGE AGENT, GESTURING IN L.FG.,AND OVER THE COUNTER TO REED, 4-208C 564.02 568.05/ 4.03 OVERSIZED BAGGAGE AGENT TO REED)GESTURING. And if you don't stop her, she'll never know

REED(stammers) Not exactly.

OVERSIZED BAGGAGE AGENT THEN OVERSIZED BAGGAGE AGENT TOWhat am I missing? REED)

OVERSIZED BAGGAGE AGENT REACHES -What am I missing?BG. AND TAKES REED'S IDENTIFICATION (Not exactly : i.e., 'That's not preciselyFROM THE COUNTER. the situation I am in')

REED of your story have I failed to mention')(stammers) If she gets on the plane, she's

gonna find out the hard way that... (pants) 4-209 573.11 579.05/ 5.10 REED TO OVERSIZED BAGGAGE AGENT)579-05 If she gets on the plane, she's gonna find

SCENE 72 - MS - PAST REED, R.FG., AND 'discover by undergoing anOVER THE COUNTER TO OVERSIZED unpleasant experience')BAGGAGE AGENT, EXAMINING THEIDENTIFICATION CARD.

REED (over scene end) ...that the guy that she thinks she's in love...the-the guy that... with...

581-02

SCENE 73 - MCS - PAST OVERSIZEDBAGGAGE AGENT, HOLDING UP THEIDENTIFICATION CARD IN L.FG., TOREED, GESTURING.

REED 4-211 583.13 588.00/ 4.03 REED TO OVERSIZED BAGGAGE AGENT)...she thinks she loves is a spineless, lying ...is a spineless, lying creep.

creep. (lying : deceitful)588-02 (creep : i.e., 'repellent person')

guessing.

(Note sarcastic tone)

4-208A 557.00 558.15/ 1.15 OVERSIZED BAGGAGE AGENT TO REED)Let's see, this is gonna be a tough one.

difficult to ascertain the predicament

There's a very pretty girl and she's about to

Note that this is a typical plot elementin many romantic comedies)

how you really feel.

4-208D 570.09 573.07 2.14 REED TO OVERSIZED BAGGAGE AGENT,

-Not exactly.

(What am I missing : i.e., 'What part

out the hard way...(find out the hard way : idiomatic for

*4-210 /579.09 583.09 4.00 REED TO OVERSIZED BAGGAGE AGENT)

(spineless : i.e., 'cowardly')



(19)

SCENE 74 - MS - PAST REED, R.FG., TOOVERSIZED BAGGAGE AGENT AS HEPLACES THE IDENTIFICATION CARDBACK ONTO THE COUNTER AND BEGINSTO TYPE ON HIS COMPUTER.

OVERSIZED BAGGAGE AGENT 4-212 /588.04 589.13 1.09 OVERSIZED BAGGAGE AGENT TO REED)That's no good. That's no good.

REED Note sudden change of tone as the(overlapping) (stammers) No, it is no good, Oversized Baggage Agent appears to

and I can't let that... Reed's dilemma - Also note that the592-02 Oversized Baggage Agent examines

SCENE 75 - MCS - PAST OVERSIZEDBAGGAGE AGENT, L.FG., TO REED,GESTURING. 4-213 590.01 592.15 2.14 REED TO OVERSIZED BAGGAGE AGENT)

REED...happen. Because this girl, she is great.

She's like...like sunshine. Because this girl, she is great.603-08 (great : i.e., 'wonderful')

SCENE 76 - MS - PAST REED, R.FG., TO 4-215 596.13 598.11 1.14 REED TO OVERSIZED BAGGAGE AGENT)OVERSIZED BAGGAGE AGENT, AS HE She's like...REACTS AND LOOKS UP AT HIM.

REED 4-216 600.13 603.01 2.04 REED TO OVERSIZED BAGGAGE AGENT)Everything is better when she's there. ...like sunshine.

608-01

SCENE 77 - MCS - PAST OVERSIZED Everything is better when she's there.BAGGAGE AGENT, L.FG., TO REED, (there : i.e., 'with me')GESTURING AND REACTING.

REED 4-218 /608.04 613.02 4.14 REED TO OVERSIZED BAGGAGE AGENT)I can't stand the idea of some jerk hurting I can't stand the idea of some jerk hurting

her. I just can't. I can't. (stand : i.e., 'tolerate')

A DOG, SEATED IN A TRAVEL CAGE ON horrible oaf')THE SCALE, STARTS TO BARK.

618-03

SCENE 78 - MS - PAST REED, R.FG., TOOVERSIZED BAGGAGE AGENT, AS REEDLEANS DOWN L. TO ADDRESS THE DOG. 4-220 616.03 618.01/ 1.14 REED TO OVERSIZED BAGGAGE AGENT)

REEDCan you please...

CAMERA TILTS DOWN WITH HIM, FACE (over scene end) Can you please be quiet...OFF OVERSIZED BAGGAGE AGENT. (be quiet : i.e., 'stop barking')

620-02

(i.e., 'That is a terrible circumstance.' -

be becoming more sympathetic to

Reed's I.D., and then starts to typeinto his computer)

(over scene end) No, it is no good, and I can't let that happen.

4-214 593.03 596.09 3.06 REED TO OVERSIZED BAGGAGE AGENT)

4-217 604.10 608.00/ 3.06 REED TO OVERSIZED BAGGAGE AGENT)

her.

(some jerk : i.e., 'a mean person' - 'a

4-219 613.06 615.09 2.03 REED TO OVERSIZED BAGGAGE AGENT)I just can't.

I can't.

4-221 618.12 621.07 2.11 REED TO DOG)



(20)

SCENE 79 - MS - OVER THE COUNTER TOOVERSIZED BAGGAGE AGENT, SMILING.REED (HAND) HOLDS ON TO THECOUNTER IN R.FG.

REED 4-222 621.11 628.13 7.02 REED TO DOG)(face off) ...be quiet so this nice young man (over scene end) ...so this nice young man can sell me a

can sell me a ticket. (young man : referring to the

OVERSIZED BAGGAGE AGENT CARRIES A Reed is purposefully flattering theBOARDING TICKET R.BG. CAMERA PANS Oversized Baggage Agent in order toR. WITH HIM AS HE STEPS R. AROUND ingratiate himself with him - noteTHE SIDE OF THE COUNTER. humor)

625-13

SCENE 80 - FS - PAST REED, LEANINGDOWN TOWARD THE DOG CAGE IN L.FG.,TO OVERSIZED BAGGAGE AGENT,APPROACHING HIM. HE LEANS DOWN TOTAP REED ON THE BACK.

REEDPlease?

OVERSIZED BAGGAGE AGENT 4-223 629.15 631.13 1.14 OVERSIZED BAGGAGE AGENT TO REED)Take it easy. Take it easy.

REED TURNS AND RISES.632-12

SCENE 81 - MCS - THROUGH THE CAGEDOOR TO THE DOG.

OVERSIZED BAGGAGE AGENT 4-224 /632.13 636.04 3.07 OVERSIZED BAGGAGE AGENT TO REED)(off) Here, this'll get you to any... (over scene end) Here, this'll get you to any gate in the place.

634-00 (Here : Note that the Oversized

SCENE 82 - MS - OVER THE COUNTER TOOVERSIZED BAGGAGE AGENT ANDREED, TAKING THE BOARDING TICKET.

OVERSIZED BAGGAGE AGENT 4-225 636.08 638.07/ 1.15 OVERSIZED BAGGAGE AGENT TO REED)...gate in the place. She's like sunshine, She's like sunshine, huh?

huh? question or in seeking repetition or638-08 confirmation of a statement)

ticket. Please?

Oversized Baggage Agent - note that

(Idiomatic for 'Calm down.')

Baggage Agent gives Reed a ticket)(the place : i.e., 'this airport')

(huh : interjection used in asking a



(21)

SCENE 83 - MCS - PAST OVERSIZEDBAGGAGE AGENT, L.FG., TO REED,SMILING.

REED 4-226 639.04 640.12 1.08 REED TO OVERSIZED BAGGAGE AGENT)Yeah. Yeah.

OVERSIZED BAGGAGE AGENTWell, in that case, it's on me. Go on, get out 4-227 641.00 645.02 4.02 OVERSIZED BAGGAGE AGENT TO REED)

of here. of here.

REED complimentary' - 'you do not have toThank you. pay for the ticket')

REED STEPS L.FG. AND KISSES and leave' - Note playful tone)OVERSIZED BAGGAGE AGENT ON THEFOREHEAD.

OVERSIZED BAGGAGE AGENT Thank you.(chuckles - continues under following

scene and dialogue) 4-229 648.07 650.04 1.13 REED TO OVERSIZED BAGGAGE AGENT)

REED(kisses) (chuckling) Thank you.

REED RUNS L., EXITING.650-14

SCENE 84 - MCS - PAST OVERSIZEDBAGGAGE AGENT, L.FG., TO REED,ENTHUSIASTICALLY RUNNING BG.

653-05

SCENE 85 - INT. LAX SECURITY - DAY -MCS - HIGH ANGLE - AN AIRPORTSECURITY BIN, CONTAINING REED'SCOAT, AS REED (HAND) ENTERS TOP OFFRAME AND PLACES HIS SHOES INTO IT.

PEOPLE AT LAX(overlapping, low and indistinct chatter -


dialogue)

MALE AIRPORT ANNOUNCER(over speaker) (low and indistinct -


dialogue)

CAMERA DOLLIES BACK ON REED TOINCLUDE A LARGE MAN TO HIS L., INFRONT OF HIM IN LINE, PLACING HISOBJECTS INTO A BIN AT A SLOW PACE.

MALE TAS SECURITY OFFICER #1(off) Step through. Put your arms up please.

Turn around.

Well, in that case, it's on me. Go on, get out

(it's on me : i.e., 'this ticket is

(Go on, get out of here : i.e., 'Hurry up

4-228 645.06 647.01 1.11 REED TO OVERSIZED BAGGAGE AGENT)

Thank you.



(22)


REED, IMPATIENT, REACHES L. ANDREMOVES THE LARGE MAN'SSUNGLASSES FROM HIS SHIRT ANDPLACES THEM INTO HIS BIN. THE LARGEMAN TURNS L. TO STEP THROUGH THEMETAL DETECTOR.

680-15

SCENE 86 - MCS - PAST A MALE TASSECURITY OFFICER, OUT OF FOCUS INL.FG., TO THE LARGE MAN, STEPPINGL.FG. THROUGH THE METAL DETECTOR.REED LOOKS ON FROM BEHIND HIM.

684-15

SCENE 87 - MS - THE LARGE MAN,EXITING L., MALE TAS SECURITYOFFICER, AND REED, STANDING ON THEOTHER SIDE OF THE METAL DETECTOR.MALE TAS SECURITY OFFICERGESTURES FOR REED TO STEPTHROUGH.

MALE TAS SECURITY OFFICER 4-230 /685.01 686.10 1.09 MALE TAS SECURITY OFFICER TO MAN)Right this way. (to Reed) Come on. Let Right this way.

me-Let me see. TAS Security Officer is directing a

REED STEP L. THROUGH THE METAL conveyor belt to retrieve his personalDETECTOR. MALE TAS SECURITY items)OFFICER GESTURES FOR REED'SBOARDING PASS.

689-15 4-231 686.14 689.13/ 2.15 MALE TAS SECURITY OFFICER TO REED)

SCENE 88 - MCS - MALE TAS SECURITY security gate' - note that ReedOFFICER AND REED, AS MALE TAS complies)SECURITY OFFICER TAKES THE (see : i.e., 'see your ticket andBOARDING PASS AND EXAMINES IT. boarding pass')REED TURNS R.FG. AND GLANCES (Reed's shoes, which are in a plasticDOWN AT THE CONVEYOR BELT OF bin on the conveyor belt, get stuck asBINS. they try to pass under the X-ray

692-13 machine. Reed attempts push them

SCENE 89 - MCS - HIGH ANGLE - him from doing so)LOOKING DOWN AT THE BINCONTAINING REED'S SHOES, AS ITSTOPS BEFORE ENTERING THE X-RAYMACHINE AND BACKS UP R. CAMERAPANS R. WITH IT.

MALE TAS SECURITY OFFICER 4-232 /692.15 694.09 1.10 MALE TAS SECURITY OFFICER TO REED) (off) All right. All right.

MALE TAS SECURITY OFFICER #1(off) All right, take your shoes off. Great.

700-03

(Right : i.e., 'Step' - Note that the Male

male passenger toward the end of the

Come on. Let me see.(Come on : i.e., 'Come through the

farther down into the plastic bin, butthe Male TAS Security Officer prevents



(23)

SCENE 90 - MFS - OVER THE CONVEYORBELT AND PAST REED, R.FG., TO MALETAS SECURITY OFFICER, AS REEDLEANS FG. FOR HIS SHOES. MALE TASSECURITY OFFICER LEANS AFTER HIMAND STOPS HIM.

MALE TAS SECURITY OFFICER 4-233 700.12 703.00 2.04 MALE TAS SECURITY OFFICER TO REED)Hey, sir! Sir. (stammers) Just a moment, Hey, sir! Sir.

sir.

REED RISES AND STEPS L., Just a moment, sir.DISTRAUGHT. (Just : i.e., 'Wait')

FEMALE AIRPORT ANNOUNCER(over speaker) (overlapping) Attention

please.707-00

SCENE 91 - MS - PAST THE LARGE MAN,L.FG., AND ANOTHER MAN, STANDINGBEHIND HIM, TO REED, GLANCINGABOUT, AND MALE TAS SECURITYOFFICER.

FEMALE AIRPORT ANNOUNCER *4-234A /707.01 710.11/ 3.10 FEMALE AIRPORT ANNOUNCER(over speaker) Flight four-six-four to... ITAL (over scene end) OVER SPEAKER TO GROUP)

708-13 Flight 464 to San Francisco...

SCENE 92 - FS - THE ESCALATOR TO THEBOARDING GATES.

FEMALE AIRPORT ANNOUNCER *4-234B 710.15 714.04/ 3.05 FEMALE AIRPORT ANNOUNCER(over speaker) ...San Francisco is now ITAL (over scene end) OVER SPEAKER TO GROUP)

boarding...710-13

SCENE 93 - MCS - PAST REED, L.FG.,GAZING L.FG. AT THE O.S. ESCALATOR,TO MALE TAS SECURITY OFFICER.

FEMALE AIRPORT ANNOUNCER(over speaker) ...at gate thirteen...

712-09

SCENE 94 - MS - A WHEELCHAIR-BOUNDYOUNG GIRL, INTENTLY GAZING R.FG.

FEMALE AIRPORT ANNOUNCER(over speaker) ...in terminal G.

714-05

SCENE 95 - MCS - HIGH ANGLE - REED(FEET), AND MALE TAS SECURITYOFFICER (FEET), AS THE BAREFOOTREED RUNS R., EXITING.

716-03

4-234 703.15 706.05 2.06 MALE TAS SECURITY OFFICER TO REED)

...is now boarding at gate 13 in terminal G.



(24)

SCENE 96 - MS - PAST THE LARGE MAN,OUT OF FOCUS IN FG., TO REED, AS HERUNS L. AND CAMERA PANS WITH HIM,OFF THE LARGE MAN, TO INCLUDE THEESCALATOR. REED CONTINUES BG.TOWARD IT.

YOUNG GIRL 4-235 718.03 721.00/ 2.13 YOUNG GIRL(off) The-The (chuckling) man left his TO MALE TAS SECURITY OFFICER)

shoes. (The man : Referring to Reed, who721-02 has run past the security checkpoint

SCENE 97 - MS - THE YOUNG GIRL, wait for his shoes to pass through theREACTING. X-ray machine, he might not be in

YOUNG GIRL plane)Mister, the man forgot his shoes.

723-15

SCENE 98 - MCS - MALE TAS SECURITY Mister, the man forgot his shoes.OFFICER, AS HE RAISES HIS RADIO TOHIS MOUTH AND REACTS.

MALE TAS SECURITY OFFICER *4-237 /724.02 726.02/ 2.00 MALE TAS SECURITY OFFICER(into radio) We've got a code Foxtrot. INTO RADIO TO GROUP)

726-03 We've got a code Foxtrot.

SCENE 99 - FS - HIGH ANGLE - REED, without proper clearance or withRUNNING L. UP THE STAIRS AS CAMERA purposely leaving belongings behind.'PANS WITH HIM. - Note that 'Foxtrot' is used as a code

REED radio communications)Excuse me, excuse me!

MALE TAS SECURITY OFFICER 4-238 /726.06 730.00 3.10 REED TO GROUP)(off) (overlapping) (over speaker) We've got Excuse me, excuse me!

a code Foxtrot.

REED EXITS L.730-13

SCENE 100 - INT. LAX/SOUTHWEST GATE- DAY - FS - JULIA, STANDING IN LINEAND CONVERSING WITH ANOTHERPASSENGER. REED ENTERS FROM R.BG.AND RUNS L.FG. TOWARD HER.

PEOPLE AT LAX GATE(overlapping, low and indistinct chatter -


dialogue)

The man left his shoes.

toward the gates - Note implicationthat Reed decided that if he were to

time to stop Julia from getting on her

4-236 /721.04 723.14/ 2.10 YOUNG GIRLTO MALE TAS SECURITY OFFICER)

(Seemingly, airport security code for,'A passenger has left the security area

word for the letter "F" in international

4-239 (OUT)



(25)


JULIA 4-240 733.14 735.13 1.15 JULIA TO MAN) (OPTIONAL)Oh, on Mount Tam? Do you think? Oh, on Mount Tam?

Because I heard that there's a little Tamalpais, known locally as "Mount

restaurant. (gasps) California - note that Julia is having a

REED as she stands in line to board her(stammers and grunts - continues under plane to San Francisco)

following dialogue)

SEVERAL PASSENGERS IN LINE REACT Do you think? 'Cause I heard that there's aAND DISPERSE AS REED STOPS IN little restaurant.FRONT OF JULIA. (Note that Reed runs up to Julia and

WOMAN AT GATE next to her, frightening severalOh, God. passengers)

JULIA REACTS AS REED FRANTICALLYGESTURES.

JULIA 4-242 740.07 743.00 2.09 JULIA TO GROUP)He's a friend of mine. It's okay. (to Reed) He's a friend of mine. It's okay.

What is-- What are you doing?

REED What are you doing?Just fixing-- (grunts) (pants - continues (What are you doing : Referring to the

under following dialogue) restore the barricade to its upright

JULIA(overlapping) Where are your shoes? Are

you okay? Where are your shoes? Are you okay?749-01

SCENE 101 - MCS - PAST JULIA, L.FG., TOREED, REACTING.

REED 4-245 /749.05 750.15/ 1.10 REED TO JULIA)He's married. (exhales through nose) He's married.

HE BACKS UP AS CAMERA PANSSLIGHTLY R. WITH HIM.

751-00

SCENE 102 - MCS - PAST REED, R.FG.,TO JULIA, REACTING.

JULIA 4-246 752.13 754.05/ 1.08 JULIA TO REED)What? What?

754-06 (Exclamation of confusion)


REED 4-247 /754.09 757.09/ 3.00 REED TO JULIA)Harrison. He's married. Harrison. He's married.

757-11

(Mount Tam : referring to Mount

Tam" - a peak in Marin County,

conversation with a fellow passenger

*4-241 736.01 740.03 4.02 JULIA TO MAN)

clumsily knocks over the barricade

*4-243 743.04 746.02 2.14 JULIA TO REED)

fact that Reed is ineptly trying to

position)

4-244 746.06 749.01/ 2.1 JULIA TO REED)



(26)

SCENE 104 - MCS - PAST REED, OUT OFFOCUS IN R.FG., TO JULIA, REACTING.

JULIA 4-248 759.05 761.14/ 2.09 JULIA TO REED)He was married, and now he's divorced. He was married, and now he's divorced.

REED(overlapping) Oh, no, he's-- No, he's--

761-15

SCENE 105 - MCS - PAST JULIA, L.FG., TOREED, REACTING AND GESTURING.

REED 4-249 /762.02 766.13 4.11 REED TO JULIA)No. He's still married. Her name is No. He's still married. Her name is Pamela.

Pamela. They live in Brentwood. I know (Her : i.e., 'His wife's')

because I delivered flowers to her. western Los Angeles)770-04

SCENE 106 - MCS - PAST REED, OUT OFFOCUS IN R.FG., TO JULIA, REACTING.

JULIA I know because I delivered flowers to her.(whispering) Okay.

REED 4-252.I-I tried to tell you at the school. THROUGH (OUT)

JULIADid he say that it was his...

776-13 4-254 /770.07 774.00 3.09 REED TO JULIA)

SCENE 107 - MCS - PAST JULIA, L.FG., TOREED, REACTING. 4-255 775.01 780.07 5.06 JULIA TO REED)

JULIA he say, "I'm sending flowers to my current...current wife? Did he say, "I-I'm sending wife"?

flowers to my current wife"?

REED 4-256 (OUT)(overlapping) (stammers) He-He didn't

have t-- He didn't have to. I could tell. 4-257 780.11 782.14/ 2.03 REED TO JULIA)782-15 He didn't have to. I could tell.

SCENE 108 - MCS - PAST REED, OUT OF the truth without him having toFOCUS IN R.FG., TO JULIA, UPSET. verbalize it')

JULIAOh, well, like you could tell that my old 4-258 /783.02 786.14 3.12 JULIA TO REED)

boyfriend, Eddie, was gay. You don't kn-- boyfriend, Eddie, was gay.

REED(overlapping) Well, Eddie was gay.

788-11 4-259 787.02 788.10/ 1.08 REED TO JULIA)

(was : i.e., 'was once')

They live in Brentwood.

(Brentwood : a wealthy suburb in

4-250 (OUT)

4-251 767.01 770.03/ 3.02 REED TO JULIA)

4-253.

I tried to tell you at the school.

(over scene end) Did he say that it was his current wife? Did

(say : i.e., 'actually admit')

(to : i.e., 'to actually say those words')(could tell : i.e., 'was able to perceive

Oh, well, like you could tell that my old

(old : i.e., 'former')

Well, Eddie was gay.



(27)

SCENE 109 - MCS - PAST JULIA, L.FG., TOREED, REACTING.

JULIA 4-260 /788.14 791.08 2.10 JULIA TO REED)Eddie is happily married with two beautiful Eddie is happily married with two beautiful

kids.

REED 4-261 791.12 793.13/ 2.01 REED TO JULIA)(overlapping) Eddie has a cat named Eddie has a cat named "Babs."

"Babs." (stammers - continues under nickname by fans given to musical

following dialogue) icon - Note humor)793-13

SCENE 110 - MCS - PAST REED, OUT OFFOCUS IN R.FG., TO JULIA, DISTRAUGHT.

JULIA 4-262 /794.01 799.01/ 5.00 JULIA TO REED)You- You've tried to talk me out of every You've tried to talk me out of every boyfriend

boyfriend I've had in since we've met! (talk me out of : i.e., 'discourage me799-01 from dating')


REED 4-263 /799.05 801.13 2.08 REED TO JULIA)I'm-I'm telling you the truth. I promise. I'm telling you the truth. I promise.

JULIAI'm going. 4-264 802.01 803.13/ 1.12 JULIA TO REED)

803-13 I'm going.

SCENE 112 - MS - JULIA, UPSET, ANDREED, AS JULIA STEPS L.FG. REEDTURNS AND STOPS HER, PULLING HERR.FG. TO FACE HIM.

REED 4-265 /804.01 807.14 3.13 REED TO JULIA)No, hang on, hang on. No, hang on, hang on. Come here, come

JULIA (hang on : i.e., 'wait')(overlapping) I'm go-- (Reed pulls Julia out of the boarding

REED approaches them)Come here, come here.

TAS SUPERVISOR DAISY BELL 4-266.(off) Why, hello... THROUGH (OUT)

808-08 4-269.

SCENE 113 - MCS - PAST REED, OUT OF 4-270 /808.09 810.15/ 2.06 TAS SUPERVISOR DAISY BELL TO REED)FOCUS IN L.FG., TO TAS SUPERVISOR Why, hello there. I'm with security.DAISY BELL, WALKING R. AS CAMERA (with security : i.e., 'a member ofPANS WITH HER. SHE STOPS TO security' - note that Reed ignores TASADDRESS REED. Supervisor Daisy Bell and turns to

TAS SUPERVISOR DAISY BELL...there. I'm with security.

811-00

kids.

(Babs : Short for 'Barbara' - And a

artist Barbra Streisand, a popular gay

I've had in since we've met!

here.

line and TAS Supervisor Daisy Bell

Julia)



(28)

SCENE 114 - MS - PAST TASSUPERVISOR DAISY BELL, R.FG., TOREED AND JULIA.

JULIA(inhales - continues under following

dialogue)

REED 4-271 811.14 814.13/ 2.15 REED TO JULIA)Do you think that Morley and I belong Do you think that Morley and I belong

together? (together : i.e., 'together as a married814-14 couple')


JULIA 4-272 /817.00 821.09/ 4.09 JULIA TO REED, THEN REED TO JULIA)What does that have to do with anything? (over scene end) -What does that have to do with anything?

818-09 -Just tell me. Do you?

SCENE 116 - MCS - PAST JULIA, R.FG., TO this current situation')REED.

REEDJust tell me. Do you?

821-09


JULIA 4-273 /821.13 825.14 4.01 JULIA TO REED)I don't-I don't know. If you love her and if she I don't know. If you love her and if she loves

loves you--

REED 4-274 826.02 827.15 1.13 REED TO JULIA)(overlapping) (interrupting) Answer the Answer the question.

question.

JULIA Fine.Fine. No. (Interjection of begrudging

835-05 acquiescence)

together?

(What does that have to do withanything : i.e., 'How is that relevant to

you--

4-275 828.03 829.13 1.10 JULIA TO REED)

4-275A 832.12 834.06 1.10 JULIA TO REED)No.



(29)

SCENE 118 - MCS - PAST JULIA, R.FG., TOREED. JULIA GESTURES.

JULIA 4-276 836.09 838.13 2.04 JULIA TO REED)Personally, I don't see it. I-- Personally, I don't see it.

REED REACTS AND GESTURES. are not a suitable romantic couple.')

REED(overlapping) (interrupting) That's what I'm 4-277 839.01 841.04 2.03 REED TO JULIA)

doing here. Because apparently everyone (i.e., 'That's the reason I came here,

and their mother felt that way, but nobody your romantic relationship just as you

had the guts to tell me. mine.')848-15

SCENE 119 - MCS - PAST REED, L.FG., TO Because apparently everyone and theirJULIA. mother felt that way...

REED hyperbolic for 'everyone who knowsAnd now, I'm left with some stupid... me')

852-03 (that way : i.e., 'the same way that you

SCENE 120 - MCS - PAST JULIA, R.FG., TOREED, REACTING AND GESTURING. 4-279 846.01 848.14/ 2.13 REED TO JULIA)

REED (had the guts : idiomatic for 'was...ring, and an empty closet, and an ache in brave enough')

my gut the size of Texas. 'Cause nobody

told me. (over scene end) And now, I'm left with some stupid ring...862-10 (stupid ring : i.e., 'meaningless

SCENE 121 - MCS - PAST REED, L.FG., TOJULIA. 4-281 853.09 855.08 1.15 REED TO JULIA)

JULIAShe left you.

866-01 *4-282 855.12 859.01 3.05 REED TO JULIA)


REED ...'cause nobody told me.Today. (told me : i.e., 'was honest with me')

868-09

SCENE 123 - MCS - PAST REED, L.FG., TO She left you.JULIA, REACTING. (She : i.e., 'Morley')

JULIA(scoffs) 4-285 866.13 868.09/ 1.12 REED TO JULIA)

872-02 Today.

(i.e., 'In my opinion, you and Morley

That's what I'm doing here.

so that I could tell you the truth about

have now told me the truth about

4-278 841.08 845.13 4.05 REED TO JULIA)

(everyone and their mother :

do about my relationship with Morley')

...but nobody had the guts to tell me.

4-280 849.13 853.05 3.08 REED TO JULIA)

engagement ring')

...and an empty closet...

...and an ache in my gut the size of Texas...(i.e., '...and a severe heartache.')

*4-283 859.05 862.09/ 3.04 REED TO JULIA)

4-284 864.01 866.01/ 2.00 JULIA TO REED)



(30)

SCENE 124 - MCS - PAST JULIA, R.FG, TOREED, AS HE PUTS HER HAND ON HISSHOULDER.

JULIA 4-286 872.13 874.12/ 1.15 JULIA TO REED)I'm sorry. I'm sorry.

REED(overlapping) (sighs)

874-13

SCENE 125 - MS - A SOUTHWEST GATEAGENT, SPEAKING INTO A RADIO.

SOUTHWEST GATE AGENT 4-287 /875.00 882.00 7.00 SOUTHWEST GATE AGENT TO GROUP)(into radio) (over speaker) This will serve (over scene end) This will serve as your final boarding call for

as your... (This will serve as : i.e., 'This876-14 announcement is')

SCENE 126 - MCS - PAST REED, L.FG., TOJULIA, AS SHE TURNS R. TOWARD THE 4-288GATE AGENT AND REACTS. THROUGH (OUT)

SOUTHWEST GATE AGENT(off) (into radio) (over speaker) ...final

boarding call for flight four-six-four to San

Francisco.

SHE HOLDS UP HER BOARDING PASS,INDICATING THAT SHE HAS TO GETONTO THE PLANE.

886-09

SCENE 127 - MCS - PAST JULIA, R.FG., TOREED. THEY LEAN TOWARD EACHOTHER AND EMBRACE. SHE KISSES HISCHEEK.

JULIA(exhales) (kisses)

REED(overlapping) (exhales)

890-11

SCENE 128 - MCS - PAST REED, L.FG., TOJULIA, AS THEY FINISH HUGGING ANDSTEP BACK FROM EACH OTHER.

JULIA(inhales)

SHE HOLDS UP HER BOARDING PASSAND STEPS R.

898-07

flight 464 to San Francisco.

(call : i.e., 'summon')

4-289.



(31)

SCENE 129 - MS - PAST TASSUPERVISOR DAISY BELL, R.FG., TOJULIA, STEPPING L. TOWARD THE O.S.BOARDING GATE, AND REED, REACTING.JULIA TURNS AND EXITS R.FG. AS REEDTRIES TO FOLLOW.

REED 4-290 900.12 903.07/ 2.11 REED TO JULIA)I don't want this to happen to you. I don't want this to happen to you.

THE GATE AGENT ENTERS L. AND STOPS currently experiencing')HIM AS TAS SUPERVISOR DAISY BELLSTEPS L. IN FRONT OF HIM.

903-08

SCENE 130 - MCS - JULIA, AS SHE TURNSFG.

JULIA 4-291 904.04 907.01 2.13 JULIA TO REED)I'm sorry about Morley. (breathes heavily) I'm sorry about Morley.

But I'm going to see my boyfriend.911-02 4-292 908.02 911.01/ 2.15 JULIA TO REED)

SCENE 131 - MCS - REED.

REED 4-293 911.12 914.07 2.11 REED TO JULIA)You know it's the truth. You know it's the truth.

914-14 (it's : i.e., 'I have told you')

SCENE 132 - MCS - JULIA, AS SHE TURNS 4-294 (OUT)AND EXITS R.

920-12

SCENE 133 - MS - PAST REED, FG., TOTAS SUPERVISOR DAISY BELL AND THEGATE AGENT. TAS SUPERVISOR DAISYBELL POINTS L.FG.

TAS SUPERVISOR DAISY BELL 4-295 921.07 924.06/ 2.15 TAS SUPERVISOR DAISY BELL TO REED)Sir, your shoes are still at security. Sir, your shoes are still at security.

924-07

SCENE 134 - MS - PAST THE GATEAGENT, L.FG., AND TAS SUPERVISORDAISY BELL, R.FG., TO REED.

TAS SUPERVISOR DAISY BELL 4-296 925.07 928.01 2.10 TAS SUPERVISOR DAISY BELL TO REED)We're not allowed to touch 'em. We're not allowed to touch 'em.

928-06 (touch 'em : i.e., 'remove them from

(this : i.e., 'the same heartache I am

But I'm going to see my boyfriend.

the security area' - note implicationthat Reed must go back to securityand retrieve his shoes)



(32)

SCENE 135 - MS - PAST REED, FG., TOTAS SUPERVISOR DAISY BELL AND THEGATE AGENT, AS REED TURNS ANDWALKS L.FG., FOLLOWED BY TASSUPERVISOR DAISY BELL. CAMERADOLLIES BACK WITH THEM AS THE GATEAGENT STEPS L.

TAS SUPERVISOR DAISY BELL 4-297 929.08 935.10 6.02 TAS SUPERVISOR DAISY BELL TO REED)Sir, wh-what kind of man takes his shoes Sir, what kind of man takes his shoes off

off and leave 'em off in public? Now, you (kind : i.e., 'caliber')

know, it's some nasty stuff on these floors, (public : i.e., 'a public place')

sir.

REED Now, you know, it's some nasty stuff on(overlapping) (sighs) these floors, sir.

REED AND TAS SUPERVISOR DAISY BELL (nasty stuff : referring to dirt andEXIT L.FG. grime)

940-07 (Kate is reacting to turbulence as she

SCENE 136 - INT. PLANE - DAY - MCS -LOW ANGLE - LOOKING UP AT AN 4-299 (OUT)ELECTRONIC SIGN, WHICH READS:

NO SMOKING FASTEN SEAT BELT 4-300 942.07 945.09/ 3.02 NARRATIVE TITLE) (of sign) (OPTIONAL)LIFE VEST UNDER YOUR SEAT

THE "FASTEN SEAT BELT" PORTIONBECOMES ILLUMINATED.

945-10

SCENE 137 - INT. PLANE BATHROOM -DAY - CS - HIGH ANGLE - KATE (HANDS),SQUEEZING SOME LOTION FROM ATUBE. SHE SCREWS THE CAP BACK ONAND PUTS THE TUBE ON AN O.S.COUNTER.

952-05

SCENE 138 - MCS - KATE, RUBBING THELOTION INTO HER HANDS. SHE STARTSTO APPLY SOME TO HER FACE WHENTHE PLANE SHAKES. SHE HOLDS HERHANDS OUT TO KEEP FROM FALLING.

KATEWhoa.

962-13

and leave 'em off in public?

(leave : i.e., 'leaves')

4-298 935.14 940.06/ 4.08 TAS SUPERVISOR DAISY BELL TO REED)

(it's : i.e., 'there's)

freshens up in the plane's bathroom)

FASTEN SEAT BELT



(33)

SCENE 139 - INT. PLANE - DAY - MS - TWOFLIGHT ATTENDANTS, STANDING IN THEAISLE WHILST SERVING DRINKS TO THESURROUNDING PASSENGERS. THEYREACT AS THE PLANE SHAKES.

PEOPLE ON PLANE(overlapping, low and indistinct chatter and

exclamation of "Oh!" - continues under

following dialogue)

FLIGHT ATTENDANT *4-300A 964.01 966.01 2.00 FLIGHT ATTENDANT TO PASSENGER)Sorry. Sorry.

966-08

SCENE 140 - INT. PLANE BATHROOM -DAY - MCS - KATE, STRUGGLING, AS SHEREACHES L.FG. TO GATHER HERCLOTHES IN THE TURBULENCE.

981-07

SCENE 141 - INT. PLANE - DAY - MS -KATE, AS SHE WALKS R.FG. DOWN THEAISLE, PASSING FLIGHT ATTENDANT #2,WALKING L.BG.

FLIGHT ATTENDANT #2 *4-301 983.12 986.06 2.10 FLIGHT ATTENDANT #2(over speaker) Ladies and gentlemen, as ITAL OVER SPEAKER TO GROUP)

I'm sure you've noticed, we're experiencing noticed...

a little turbulence. Nothing to be concerned

about, but the captain has turned on the ITAL OVER SPEAKER TO GROUP)

seat belt sign for your safety. (little : i.e., 'slight')995-05 (rough : i.e., 'turbulent')

SCENE 142 - MS - PAST HOLDEN, *4-303 989.12 991.12 2.00 FLIGHT ATTENDANT #2SEATED IN R.FG., TO KATE, FACE OFF, AS ITAL OVER SPEAKER TO GROUP)SHE CARRIES HER BAG L. SHE TURNS Nothing to be concerned about...AND REACHES UP TOWARD THEOVERHEAD BAGGAGE COMPARTMENT.

FLIGHT ATTENDANT #2 ITAL OVER SPEAKER TO GROUP)(over speaker) So if you could please return ...but the captain has turned on the seat belt

to your seats until we pass through this...

HOLDEN RISES TO HELP HER, *4-305 996.03 1001.02/ 4.15 FLIGHT ATTENDANT #2ACCIDENTALLY HITTING HIS HEAD ON ITAL OVER SPEAKER TO GROUP)THE OVERHEAD COMPARTMENT. So if you could please return to your seatsCAMERA TILTS UP WITH HIM. until we pass through this...

KATE(overlapping) Oh. 4-306 (OUT)

FLIGHT ATTENDANT #2(over speaker) ...which should be... *4-307 /1001.06 1003.10 2.04 FLIGHT ATTENDANT #2

1001-03 ITAL OVER SPEAKER TO GROUP)

Ladies and gentlemen, as I'm sure you've

*4-302 986.10 989.08 2.14 FLIGHT ATTENDANT #2

...we're experiencing a little turbulence.

*4-304 992.00 995.05 3.05 FLIGHT ATTENDANT #2

sign for your safety.

...which should be in just a few minutes.



(34)

SCENE 143 - MCS - PAST KATE, L.FG., TOHOLDEN, AS HE RISES AND STANDSNEXT TO HER. HE MOVES A BAG IN THECOMPARTMENT ASIDE, MAKING SPACEFOR KATE'S BAG, WHICH SHE PLACESDOWN.

FLIGHT ATTENDANT #2(over speaker) ...in just a few minutes.

HOLDENYeah. Yeah.

KATE *4-307AA 1005.09 1007.13 2.04 KATE TO HOLDEN)(overlapping) (whispering) I'll just put it (over scene end) I'll just put it there.

there.1007-00

SCENE 144 - MCS - HOLDEN AND KATE,AS THEY CLOSE THE BAGGAGECOMPARTMENT DOOR.

HOLDEN 4-307A 1008.01 1009.10 1.09 HOLDEN TO KATE)Watch your hands. Watch your hands.

THEY SIT IN THEIR SEATS NEXT TO EACH overhead bin, as I am about to closeOTHER AS CAMERA TILTS DOWN WITH it.')THEM.

1014-15


HOLDEN 4-308 1017.01 1019.06/ 2.05 HOLDEN TO KATE)(groans) You look very pretty. You look very pretty.


1019-08

SCENE 146 - MCS - PAST HOLDEN, L.FG.,TO KATE.

KATE 4-309 1020.09 1022.09 2.00 KATE TO HOLDEN)Thank you. Thank you.

HOLDENAre you nervous? 4-310 1023.11 1025.05 1.10 HOLDEN TO KATE,

KATE -Are you nervous? (overlapping) Yes. -Yes.

KATE NODS. your loved one again')

HOLDENWell, you have no reason to be. The minute 4-311 1025.09 1029.01/ 3.08 HOLDEN TO KATE)

you walk through that door... you walk through that door...1029-01 (walk through that door : i.e., 'get

(i.e., 'Move your hands away from the

THEN KATE TO HOLDEN)

(nervous : i.e., 'nervous about seeing

Well, you have no reason to be. The minute

home')



(35)


HOLDEN 4-312 1029.13 1032.01/ 2.04 HOLDEN TO KATE)...nothing else is gonna matter. ...nothing else is gonna matter.

1032-02 (Implying that, even though she has

SCENE 148 - MCS - PAST HOLDEN, L.FG., that he will immediately forgive her forTO KATE. her absence)

KATEThank you. 4-312A 1032.15 1034.10 1.11 KATE TO HOLDEN)

1036-09 Thank you.

SCENE 149 - EXT. SOCCER FIELD - DAY -MS - LOW ANGLE - LOOKING UP AT ASOCCER BALL, AS IT FALLS R.BG.CAMERA TILTS DOWN WITH IT ONTOUGH FRANKLIN, WHO USES HIS HEADTO KNOCK IT BACK L.

CHILDREN PLAYING SOCCER(overlapping, indistinct chatter, cries and


and dialogue)

MALE SOCCER COACH(off) All right, Phil. Let's pass it, Phil. Let's

go. (indistinct yelling - continues under


TOUGH FRANKLIN RAISES HIS ARMSAND STEPS R.BG. TOWARD A NET.CAMERA PANS SLIGHTLY R. WITH HIM,ON EDISON, STRETCHING NEXT TO THENET. SEVERAL CHILDREN PLAYERSCROSS R.

TOUGH FRANKLIN 4-313 1038.14 1041.11 2.13 TOUGH FRANKLIN) (exclaiming)(overlapping) Franklin rules! Franklin rules!

1043-00 (rules : slang for 'is excellent' - here

SCENE 150 - MFS - PAST EDISON,STRETCHING IN R.FG., TO TOUGHFRANKLIN, STANDING IN HIS POSITION 4-314.IN THE NET. THROUGH (OUT)

RANI(off) Hey, Edison.

EDISON TURNS R.FG. TOWARD O.S. (over scene end) Hey, Edison, want to warm up together?RANI. (warm up : prepare for physical

1045-15 exercise by stretching or practicing)

been away for a long time, her lovedone will be so overjoyed to see her

said to congratulate himself afterheading the soccer ball)

4-318.

4-319 1045.00 1048.11/ 3.11 RANI TO EDISON)



(36)

SCENE 151 - MS - PAST EDISON, L.FG.,TO RANI, REMOVING HER JACKET.

RANIWanna warm up together?

TOUGH FRANKLIN 4-320 /1048.15 1052.15 4.00 TOUGH FRANKLIN TO EDISON)(off) (in mocking tone) Yeah... Yeah, Edison. Warm up with your girlfriend.

1048-13

SCENE 152 - MFS - PAST EDISON, R.FG.,TO TOUGH FRANKLIN, STANDING IN THENET.

TOUGH FRANKLIN...Edison. Warm up with your girlfriend.

EDISON 4-321 1053.03 1056.00 2.13 EDISON TO TOUGH FRANKLIN)Grow up, Franklin. Grow up, Franklin.

TOUGH FRANKLIN GESTURESDISMISSIVELY AND EXITS L. EDISONTURNS R.FG. AS CAMERA PANSSLIGHTLY R. TO INCLUDE RANI IN R.FG.SHE REPEATEDLY TOSSES A SOCCERBALL TO HIM. HE USES HIS HEAD TOPASS IT BACK TO HER, WHICHCONTINUES THROUGHOUT THEFOLLOWING SCENES.

EDISON 4-322 1058.03 1063.14 5.11 EDISON TO RANI)Are you gonna watch Discovery Channel (over scene end) Are you gonna watch Discovery Channel

tonight? It's about giraffes. (Discovery Channel : an American1062-06 satellite and cable TV channel that

SCENE 153 - MS - PAST EDISON, L.FG., technology, and history)TO RANI. (It's about : i.e., 'Tonight's show

RANINo, I can't. I have to work at my mother's

restaurant. No, I can't. I have to work at my mother's1068-09 restaurant.

SCENE 154 - MCS - EDISON, AS CAMERAPANS SLIGHTLY R. TO INCLUDE RANI(ARM), OUT OF FOCUS IN R.FG.

EDISON 4-324 1070.03 1073.08 3.05 EDISON TO RANI)The one with the pointy towers? -The one with the pointy towers?

RANI (pointy towers : referring to the(face off) Yeah. restaurant's architecture - note that

EDISON restaurant could quite possiblyI went there for your birthday party. feature domes, a common

1076-04 characteristic of Indian architecture)

(Grow up : i.e., 'Don't be immature')

tonight? It's about giraffes.

provides documentary programmingfocused primarily on popular science,

features')

4-323 1064.02 1068.09/ 4.07 RANI TO EDISON)

-Yeah.

Rani is Indian and that her mother's

4-325 1073.12 1076.03/ 2.07 EDISON TO RANI)I went there for your birthday party.



(37)

SCENE 155 - MS - TOUGH FRANKLIN,WHO HAS PULLED HIS SHIRT OVER HISFACE, AS HE BLOCKS A SOCCER BALLFROM GOING INTO THE NET.

TOUGH FRANKLIN 4-326 (OUT)(overlapping) (grunts)

RANI 4-327 /1077.03 1079.01 1.14 RANI TO EDISON)(off) It's a busy night for us. We have a It's a busy night for us.

wedding... (us : i.e., 'my mother's restaurant')

HE KICKS IT AWAY.1080-02 4-328 1079.05 1084.06/ 5.01 RANI TO EDISON)

SCENE 156 - MS - PAST EDISON, L.FG., (wedding : i.e., 'wedding reception')TO RANI.

TOUGH FRANKLIN...and a party for people who hate

Valentine's Day.1084-07

SCENE 157 - MCS - PAST RANI (ARM),OUT OF FOCUS IN R.FG., TO EDISON.

EDISON 4-329 /1085.00 1087.11 2.11 EDISON TO RANI)Why hate Valentine's Day? Why hate Valentine's Day?

RANI(face off) I don't know. 4-329A 1087.15 1089.11/ 1.12 RANI TO EDISON)

1089-12 I don't know.

SCENE 158 - MS - PAST EDISON, L.FG.,TO RANI.

RANI *4-330 1090.03 1094.14/ 4.11 RANI TO EDISON)We have it every year, and it's all of Miss We have it every year, and it's all of Miss

Fitzpatrick's friends. (have : i.e., 'host')1094-15 (it's : i.e., 'the party consists of')

SCENE 159 - MCS - PAST RANI (ARM),OUT OF FOCUS IN R.FG., TO EDISON,REACTING, HAPPY.

EDISON 4-331 /1095.02 1096.14/ 1.12 EDISON TO RANI)Really? Really?

1097-00

SCENE 160 - MS - TOUGH FRANKLIN, ASHE CATCHES A SHOT AND REACTS.

TOUGH FRANKLIN 4-332 1098.00 1101.01/ 3.01 TOUGH FRANKLIN) (exclaiming)Not in Franklin's house! Not in Franklin's house!

HE THROWS THE BALL L. am serving as goalie!' - Note that1101-03 Franklin has just saved a goal while

(It's : i.e., 'Tonight is')

(over scene end) We have a wedding, and a party for peoplewho hate Valentine's Day.

Fitzpatrick's friends.

(i.e., 'You will not score a goal when I

warming up with the other children)



(38)

SCENE 161 - FS - PAST RANI ANDEDISON, R.FG., TO TOUGH FRANKLIN,REACTING AND GESTURING.

TOUGH FRANKLIN 4-333 /1101.05 1104.08/ 3.03 TOUGH FRANKLIN TO EDISON)Come on, the game's starting! Come on, the game's starting!

1104-09

SCENE 162 - EXT. SOCCER FIELD -LATER - DAY - FS - RANI, AS SHE KICKS ASOCCER BALL BG. TOWARD THEOPPOSING TEAMS, STARTING THE GAME.

CHILDREN PLAYING SOCCER(overlapping, indistinct chatter, cries and


and dialogue)

SOCCER PARENTS(overlapping, indistinct shouts and cheers -


dialogue)

RANI RUNS BG. TOWARD THE TEAMS,NOW SCRAMBLING FOR THE BALL, ASCAMERA TRACKS BEHIND HER. SHESCURRIES L. AND R.

1113-06

SCENE 163 - MCS - EDISON, GLANCINGABOUT NONCHALANTLY AS THE GAMEGOES ON BEHIND HIM. THE REFEREELOOKS ON, OUT OF FOCUS IN L.BG.EDISON TURNS R.FG.

1115-11

SCENE 164 - FS - PAST SEVERALSOCCER MOTHERS, L. AND R.FG., TOGRACE, SEATED ON A BENCH IN BG. SHEWAVES FG. AT O.S. EDISON.

1117-10



(39)

SCENE 165 - MCS - PAST EDISON, R.FG.,TO THE REFEREE, APPROACHING. HEPUTS HIS ARM AROUND EDISON'SSHOULDER AND LEANS DOWN.

REFEREE 4-334 /1117.12 1120.08 2.12 REFEREE TO EDISON)Edison, what in the heck is wrong with you? Edison, what in the heck is wrong with you?

EDISON not that 'heck' is used as a emphaticI'm in love. and is a mild variation of 'hell')

REFEREE soccer game has begun, but EdisonSo am I, but I can move my feet. is standing on the field daydreaming)

REFEREE RUBS EDISON'S HAIRREASSURINGLY AND TURNS TO RUN 4-335 1120.12 1122.06 1.10 EDISON TO REFEREE)R.BG. I'm in love.

1126-10

SCENE 166 - FS - TOUGH FRANKLIN, So am I, but I can move my feet.SHIRT COVERING HIS FACE, STANDING (Note humor)IN THE NET. THE PLAYERS ENTER L.AND MOVE R., PARTIALLY OBSCURINGHIM. HE REMOVES THE SHIRT FROM HISFACE.

1131-01

SCENE 167 - FS - THE PLAYERS, AS ONEOF THEM DRIBBLES THE BALL L. ANDKICKS IT INTO THE NET, PAST TOUGHFRANKLIN. CAMERA DOLLIES L. WITHTHEM. SOME OF THE PLAYERS CHEERAND GESTURE IN CELEBRATION.

1136-05

SCENE 168 - MCS - EDISON, VACANTLYSTARING FG. AS SOME OF THE PLAYERSCROSS L., MOMENTARILY OBSCURINGHIM.

YOUNG MALE SOCCER PLAYER 4-336A 1138.00 1139.11/ 1.11 YOUNG MALE SOCCER PLAYER(off) Did you see it? TO SOCCER MOM)

HE GLANCES L. AT THE O.S. YOUNG (it : i.e., 'what I did')MALE SOCCER PLAYER.

1139-13

SCENE 169 - MS - PAST A SOCCER MOM,L.FG., TO THE YOUNG MALE SOCCERPLAYER, EXCITEDLY REACTING AS HEJUMPS UP AND DOWN.

YOUNG MALE SOCCER PLAYER 4-336B /1139.15 1142.13/ 2.14 YOUNG MALE SOCCER PLAYERI went like this with my head! TO SOCCER MOM)

1142-15 I went like this with my head!

(in...you : i.e., 'is the matter with you' -

(Here referring to the fact that the

4-336 1122.10 1125.14 3.04 REFEREE TO EDISON)

Did you see it?

(went like this with my head : i.e.,'headed the soccer ball')



(40)

SCENE 170 - MCS - EDISON, GAZING L.AT THE O.S. MOTHER AND SOCCERPLAYER.

YOUNG MALE SOCCER PLAYER 4-336C /1143.01 1145.05/ 2.04 YOUNG MALE SOCCER PLAYER(off) I kicked the ball with my head! TO SOCCER MOM)

HE TURNS R.FG.1145-05

SCENE 171 - MS - A MOM ON SIDELINE,SEATED IN A CHAIR WITH HER YOUNGSON SEATED IN HER LAP.

YOUNG MALE SOCCER PLAYER 4-336D 1145.12 1148.06 2.10 YOUNG MALE SOCCER PLAYER(off) Did you see it? TO SOCCER MOM)

SHE KISSES HIS HEAD.

MOM ON SIDELINE(kissing) Mm.

1150-03

SCENE 172 - MCS - EDISON, SAD. HETURNS BACK TOWARD THE O.S. YOUNGMALE SOCCER PLAYER.

SOCCER MOM *4-336E 1150.09 1154.11/ 4.02 SOCCER MOM(off) Oh, I did see it, honey. Mommy is... TO YOUNG MALE SOCCER PLAYER)

1154-13 Oh, I did see it, honey.

SCENE 173 - MS - PAST THE SOCCERMOM, ARMS OUTSTRETCHED IN L.FG., TO *4-336F /1154.15 1157.08/ 2.09 SOCCER MOMTHE YOUNG MALE SOCCER PLAYER, AS TO YOUNG MALE SOCCER PLAYER)THEY EMBRACE. Mommy's so proud of you.

SOCCER MOM refers to herself in the third person)(emphasizing) ...so (in normal voice) proud

of you.1157-10

SCENE 174 - MCS - EDISON, PENSIVE, ASTHE VARIOUS PLAYERS CROSS R. INFRONT OF AND BEHIND HIM.

SOCCER MOM *4-336FF 1158.11 1161.05 2.10 SOCCER MOM(off) Let's go find Daddy. TO YOUNG MALE SOCCER PLAYER)

1167-00 Let's go find Daddy.

I kicked the ball with my head!

Did you see it?

(honey : term of affection)

(Mommy : Note that Soccer Mom

(Daddy : colloquial for 'Dad' - 'Father')



(41)

SCENE: EXT. HOLLYWOOD BOULEVARD -DAY - MS - LOW ANGLE - LOOKING UP ATA LARGE ELECTRIC SIGN, WHICHREADS:

HOLLYWOODGUINNESS

WORLD OF RECORDS G

KELVIN 4-336G /1167.01 1169.13/ 2.12 KELVIN TO GROUP)(off) (into microphone) So I'm Kelvin Moore So I'm Kelvin Moore on channel 13.

on channel thirteen.1169-13

SCENE 175 - MS - PAST KELVIN,HOLDING A MICROPHONE TO HISMOUTH IN L.FG., TO GREG, HOLDING ACAMERA ON HIS SHOULDER ANDFILMING HIM.

KELVIN 4-336H /1170.01 1171.15 1.14 KELVIN TO GROUP)(into microphone) Happy Valentine's Day. Happy Valentine's Day.

GREG GESTURES, HOLDING HIS THUMBUP.

CISCO *4-33I 1172.03 1175.05 3.02 CISCO TO GROUP)(off) (overlapping) Welcome to the (over scene end) Welcome to the famous Hollywood Stars

famous... (Hollywood Stars tour : a made-up1173-13 name for a guided tour of Hollywood,

SCENE 176 - MCS - KELVIN, REACTING exterior views of the homes of severalCONFUSED, AS AN ANGRY GIRLFRIEND movie stars)CROSSES L.BG. BEHIND HIM. HE TURNSTO WATCH.

CISCO(off) ...Hollywood Stars tours.

ANGRY GIRLFRIEND 4-336J 1175.09 1178.01/ 2.08 ANGRY GIRLFRIEND TO CISCO)(off) (overlapping) (in Spanish) Vato, (on) Vato, don't you know who I am?! Huh?

don't you know who I am?! Huh? You for Mexican or Latino youth - Note that

think... address amongst friends or as a

(Vato : Mexican-American slang term for context - to appear in ITALICS)Mexican or Latino youth) (don't...am : i.e., 'don't underestimate

1178-04 me')

tours.

California, which may include suchattractions as the Walk of Fame and

(Vato : Mexican-American slang term

it may be used as a familiar term of

derogatory term, depending on the



(42)

SCENE 177 - FS - OVER SEVERALTOURISTS, SEATED ON THE TOUR BUSIN FG., TO THE ANGRY GIRLFRIEND,GESTURING AS SHE WALKS L. CAMERAPANS WITH HER TO INCLUDE CISCO,THE TOUR GUIDE, REACTING.

ANGRY GIRLFRIEND 4-336K /1178.05 1181.15 3.10 ANGRY GIRLFRIEND TO CISCO)...I wouldn't find you? You think I wouldn't You think I wouldn't find you? You think I

find you here?

CISCO(overlapping) What are you doing here, (in

Spanish) cholita? I'm trying to work!

(cholita : diminutive of 'chola' - Mexicanslang for a female gang member)

ANGRY GIRLFRIEND TURNS FG.,REVEALING A SIGN SHE IS WEARINGOVER HER TORSO, WHICH SHEGESTURES TOWARD.

ANGRY GIRLFRIEND 4-336L 1182.03 1186.01/ 3.14 ANGRY GIRLFRIEND TO GROUP)(overlapping) Look at this! Look at this, Look at this! Look at this, everyone! He's a

everyone! (rata : to appear in ITALICS)

CISCO REACTS AND TRIES TO COVER note that Angry Girlfriend gestures to aTHE SIGN WITH HIS HANDS. sign she wears over her torso)

CISCO for someone considered(overlapping) (in Spanish) Algunos untrustworthy - to appear in ITALICS)

trabajamos. (to group) This is very--

(Algunos trabajamos : Spanish for 'Someof us work')

ANGRY GIRLFRIEND(overlapping) He's a (in Spanish) rata.

(rata : Spanish for 'rat')1186-03

SCENE 178 - MCS - TWO SEATEDTOURISTS, SMILING AS THEY AIM THEIRCAMERAS R. TO TAKE PHOTOGRAPHSOF. O.S. CISCO AND THE ANGRYGIRLFRIEND.

CISCO 4-336M /1186.05 1188.13 2.08 CISCO (off) This isn't a great picture. This is-- This TO WOMAN ON TOUR WITH CAMERA)

is-- (This isn't a great picture : i.e., 'Do

ANGRY GIRLFRIEND with Angry Girlfriend')(off) A (in Spanish) rata.

wouldn't find you here?

rata.

(this : i.e., 'the sign I am wearing' -

(rata : Spanish for 'rat' - slang term

This isn't a great picture.

not take a picture of this interaction



(43)


WOMAN ON TOUR WITH CAMERA(overlapping) (chuckles)

KELVIN 4-336N 1189.01 1193.07 4.06 KELVIN TO ANGRY GIRLFRIEND)(off) (overlapping) (indistinct to) Miss. Miss. Oh, mami, what's goin' on? Why so--?

1188-15 (mami : Spanish slang for 'mommy'

SCENE 179 - MS - OVER SEVERAL (what's goin on' : i.e., 'what'sSEATED TOURISTS, FG., TO CISCO, happening' - 'why are you so upset')STEPPING R. AS HE HANDS PAMPHLETSTO THE TOURISTS. THE ANGRYGIRLFRIEND LOOKS ON, PARTIALLYOBSCURED, FROM BG. CISCO EXITS R.AS KELVIN STEPS L. TO INTERVIEW HER.GREG ENTERS R., FILMING THEM.

KELVINOh, (in Spanish) mami, what's goin' on?

(face off) (on). Why-- Why so--?

(mami : Spanish slang for 'mommy' as aterm of endearment)

CISCO(overlapping) Oh, sh-- (to person) Here,

take this. Take one-a these. Here you go.

Thank you.

KELVIN GESTURES TOWARD THE SIGNSHE IS WEARING, WHICH IS REVEALEDTO READ:

CiscoMARTINEZ

is aCheating

Rat

KELVIN 4-336O 1193.11 1196.09/ 2.14 KELVIN) (reading)(reading) "Cisco Martinez is a cheating rat." "Cisco Martinez is a cheating rat."

1196-12 (cheating : i.e., 'adulterous' -

SCENE 180 - MCS - CISCO, REACTINGAND GESTURING.

CISCO 4-336P /1196.13 1200.09/ 3.12 CISCO TO KELVIN)She's (in Spanish) loco, man. I don't know She's loco, man. I don't know what she's

what she's talking about. (loco : Spanish for 'crazy' - to appear

(loco : Spanish for 'crazy') (man : slang term of address)1200-09

as a term of endearment - to appearin ITALICS)

'unfaithful')

talking about.

in ITALICS)



(44)

SCENE 181 - MS - OVER SEVERALSEATED TOURISTS, FG., TO THE ANGRYGIRLFRIEND, KELVIN AND GREG. ANGRYGIRLFRIEND REACTS AND RUNS R.FG.TOWARD O.S. CISCIO.

ANGRY GIRLFRIENDNo, (in Spanish) rata. Rata!

KELVIN REACTS AND GESTURES AS SHEEXITS R.FG.

KELVIN 4-336Q 1201.10 1203.13/ 2.03 KELVIN TO CISCO)(overlapping) Cis-Cisco! Cisco! Cisco! Cisco!

1203-13 (Used here to warn him that Angry

SCENE 182 - MS - PAST SEVERALTOURISTS, FG., TO CISCO, PARTIALLYOBSCURED, AS ANGRY GIRLFRIENDENTERS L. AND HITS HIM WITH HERSIGN.

ANGRY GIRLFRIEND 4-336R /1204.01 1206.01 2.00 ANGRY GIRLFRIEND TO CISCO)(off) You (on) (in Spanish) rata. You rata!

PEOPLE ON HOLLYWOOD TOUR(overlapping, low and indistinct chatter -


dialogue)

ANGRY GIRLFRIEND GRABS CISCO,BRINGING HER KNEE UP INTO HISTESTICLES. HE DOUBLES OVER IN PAIN.

CISCO(cries out)

KELVIN 4-336S 1206.05 1208.09 2.04 CISCO TO ANGRY GIRLFRIEND)(cries out) What are you doing? This is-- What are you doing? This is--

(cries out - continues under following

dialogue)

ANGRY GIRLFRIEND(grunts)

1208-12

Girlfriend is about to physically attackhim)

(rata! : to appear in ITALICS)



(45)

SCENE 183 - MS - OVER SEVERALSEATED TOURISTS, FG., TO KELVIN,REACTING. GREG FILMS FROM BG.

KELVIN 4-336T 1208.13 1211.01 2.04 KELVIN TO GROUP)(into microphone) Oh, she kneed him in the Oh, she kneed him in the gonads.

gonads. (to Cisco) Oh, my goodness, I feel

for you. The Dodger Dog. 4-336U 1211.05 1214.11/ 3.06 KELVIN TO CISCO)1214-12 Oh, my goodness, I feel for you. The Dodger

SCENE 184 - MCS - PAST ANGRY expression of surprise)GIRLFRIEND, L.FG., TO CISCO, AS SHE (I feel for you : i.e., 'I sympathize withTOSSES HIM BG. AGAINST THE SIDE OF the pain you are experiencing')THE TOUR BUS. CAMERA PANS R. WITH (Dodger Dog : a hot dog named afterHIM, OFF HER, AS HE ADDRESSES THE the Major League Baseball franchiseSEATED TOURISTS, LOOKING ON WITH that sells them - slang euphemismCONCERN FROM THE BUS. for 'penis')

CISCO(grunts) It's okay. I'm okay.

ANGRY GIRLFRIEND 4-336V /1214.15 1217.01/ 2.02 ANGRY GIRLFRIEND TO CISCO)(off) (overlapping) Are you sleeping with Are you sleeping with them too?

them too? (continues low and indistinct intercourse with his tour patrons)


SCENE 185 - MS - PAST GREG, R.FG., TOKELVIN, AS HE CONTINUES HIS NEWSREPORT.

CISCO(off) (overlapping) It's fine. She's just crazy.

(continues low and indistinct under

following dialogue)

KELVIN 4-337 /1217.05 1220.01 2.12 KELVIN TO GROUP)(overlapping) (into microphone) Anyway, my Anyway, my name is Kelvin Moore.

name is Kelvin Moore. Happy Valentine's

Day. KVLA, channel thirteen. Happy Valentine's Day. KVLA, channel 13.

HIS PHONE BUZZES, INDICATING THATHE RECEIVED A TEXT MESSAGE.

KELVIN 4-338 1225.09 1227.07 1.14 KELVIN TO GREG)We done? We done?

KELVIN LOWERS HIS MICROPHONE AND segment?')REMOVES HIS CELL PHONE FROM HISPOCKET TO READ HIS TEXT. GREGLOWERS HIS CAMERA.

(gonads : i.e., 'reproductive organs')

Dog.(Oh, my goodness : Idiomatic

(Implying Cisco is also having

4-337A 1220.05 1225.05 5.00 KELVIN TO GROUP)

(KVLA : See Title #1-41)

(i.e., 'Have we finished filming the



(46)


KELVIN 4-339 1229.08 1233.05 3.13 KELVIN TO GREG)(grunts) Got a text. Sean Jackson is callin' a Got a text. Sean Jackson is callin' a press

press conference. This could be my (Got : i.e., 'I received')

exclusive, okay? Listen, keep filming. All brief written messages between

right, do some B-roll or... networks)

KELVIN GESTURES. order or request for something)1239-08 (press conference : invited meeting

SCENE 186 - MS - GREG, AS HE UNZIPS somebody in the news, and usually toHIS JACKET, REVEALING A SHIRT AND ask questions about that statement)TIE UNDERNEATH.

KELVIN 4-340 1233.09 1237.13 4.04 KELVIN TO GREG)(off) ...somethin' like that, all right? This could be my exclusive, okay? Listen,

1243-01 keep filming.

SCENE 187 - MFS - KELVIN, AS HE RUNS network)L.BG. ACROSS THE STREET. CAMERAPANS SLIGHTLY L. WITH HIM.

GREG (over scene end) All right, do some B-roll or somethin' like(off) No worries, boss. that, all right?

1246-13 (do some B-roll : i.e., 'continue to

SCENE 188 - MS - GREG, AS HE Valentine's Day assignment whileREMOVES HIS HAT AND FIXES HIS HAIR. Kelvin pursues the Sean Jackson

GREG to describe alternate footage shot toIt's my day. intercut with the primary shots used in

HE RAISES A MICROPHONE TOWARD HIS cutaway shots)MOUTH.

1253-05

conference.

(text : text message - the exchange of

mobile phones, over cellular

(callin' : calling - making an official

for members of the press to enablethem to hear a prepared statement by

(exclusive : news report that isbroadcast by only one station or

4-341 1238.01 1242.00 3.15 KELVIN TO GREG)

shoot footage for the story' - implyingGreg should complete Kelvin's

story - note that 'B-roll' is a term used

a program, frequently used for

*4-341A /1243.03 1245.10 2.07 GREG TO KELVIN)No worries, boss.

(No worries : i.e., 'Do not worry' - 'Iwill adequately carry out the task youhave given me')

4-342 1249.01 1251.01 2.00 GREG TO HIMSELF)It's my day.

(i.e., 'Today I will prove myself to be acapable reporter.')



(47)

SCENE 189 - INT. GLARE PR/RECEPTIONAREA - DAY - MS - KELVIN, GESTURING,AS HE STEPS L.FG.

KELVIN 4-343 /1253.08 1257.15 4.07 KELVIN TO HEATHER)Hey, listen, I just need to be able to talk to Hey, listen, I just need to be able to talk to

Kara for two seconds. (two seconds : i.e., 'a brief moment')

HEATHER RISES INTO L.FG., FACING HIM.

HEATHER (over scene end) I already gave you everything on the Sean(overlapping) Mm-mm. I already gave you... Jackson press conference, so we are all

1259-01 good.

SCENE 190 - MCS - PAST KELVIN, R.FG., concluded all our business' - 'there isTO HEATHER, SHAKING HER HEAD AND nothing further I can do for you')GESTURING AS SHE GESTURESTOWARD HIS FOLDER OF NOTES.

HEATHER...everything on the Sean Jackson press

conference, so we-we are all good.

KELVIN 4-343B 1263.13 1266.09/ 2.12 KELVIN TO HEATHER)(overlapping) I'm tryin' to do something I'm tryin' to do something special.

special. You know, look at- look at the report')

profile.

HEATHER Look at the profile. I'm from KVLA.(overlapping) Mm-hm. (Look at the profile : i.e., 'Don't you

1266-11 recognize who I am' - 'Don't I look

SCENE 191 - MCS - PAST HEATHER,L.FG., TO KELVIN.

KELVINI'm from KVLA.

1269-06

SCENE 192 - MS - HEATHER AND KELVIN,AS KELVIN STEPS L.FG. TOWARD KARA'SOFFICE DOOR, HEATHER BACKS UPWITH HIM AS CAMERA DOLLIES R. ANDPANS L. WITH THEM.

HEATHER 4-343D /1269.09 1271.09 2.00 HEATHER TO KELVIN)Yeah, you're the number-number two Yeah, you're the number two sports guy.

sports guy. (stammers) secondary sports anchor' - see Title

KELVIN(overlapping) Yeah, but on my way to

number one... Yeah, but on my way to number one and I

HEATHER Sean Jackson.Okay. (on...one : i.e., 'striving to become the

Kara for two seconds.

4-343A 1258.03 1263.09 5.06 HEATHER TO KELVIN)

(everything : i.e., 'all the information')(we are all good : i.e., 'we have

(something special : i.e., 'a special

4-343C /1266.13 1269.05/ 2.08 KELVIN TO HEATHER)

familiar')

(number two sports guy : i.e., 'the

#1-52)

4-343E 1271.13 1276.08/ 4.11 KELVIN TO HEATHER)

just wanted to ask her one question about

senior anchor')



(48)


HEATHER STANDS IN FRONT OF THEDOOR, ATTEMPTING TO BLOCK KELVINFROM ENTERING.

KELVIN(overlapping) ...and I just wanted to ask her

one question about Sean Jackson.1276-08

SCENE 193 - MCS - PAST HEATHER,R.FG., TO KELVIN, AS THEY STAND NEXTTO THE DOOR.

KELVIN 4-343F 1277.03 1281.13/ 4.10 KELVIN TO HEATHER)I just need to be able to ask Sean Jackson I just need to be able to ask Sean Jackson

one question on camera.1281-15

SCENE 194 - MCS - PAST KELVIN, L.FG.,TO HEATHER.

HEATHER 4-343G /1282.01 1285.04/ 3.03 HEATHER TO KELVIN)(stammers) She's on a conference call, so She's on a conference call, so she's very

she's very busy.1285-05

SCENE 195 - MCS - PAST HEATHER,R.FG., TO KELVIN.

HEATHER 4-343H /1285.08 1288.01/ 2.09 HEATHER TO KELVIN,I don't know if I can help you. THEN KELVIN TO HEATHER)

KELVIN -Oh, my goodness. My bladder.(overlapping) (sucks air through teeth) Oh,

my goodness. My bladder.

HE SUDDENLY REACTS, SEEMINGLY INPAIN.

1288-01

SCENE 196 - MCS - PAST KELVIN, L.FG.,TO HEATHER, REACTING, AS KELVINEXITS R.

HEATHERWhat? What's wrong?

KELVIN 4-344 /1288.05 1291.01 2.12 KELVIN TO HEATHER)(overlapping) I gotta use the bathroom. (over scene end) I gotta use the bathroom. You got a

1289-09 bathroom?

one question on camera.

busy.

-I don't know if I can help you.



(49)

SCENE 197 - MFS - KELVIN ANDHEATHER, AS KELVIN STEPS R.FG. ANDDROPS HIS NOTES.

KELVINYou got a bathroom?

HEATHEROh.

KELVIN 4-345 1291.05 1293.08 2.03 KELVIN TO HEATHER)(overlapping) (sucks air through teeth) Oh, I Oh, I dropped my notes.

dropped my notes. (stammers)

HE BENDS OVER TOWARD THE NOTESAS HEATHER FOLLOWS HIM,CONCERNED. KELVIN SUDDENLY RISESAND RUNS BG. TOWARD THE DOOR.

HEATHER(overlapping) Yeah, we have a--

(stammers) No!

HEATHER REACTS AND FOLLOWS.1293-14

SCENE 198 - INT. KARA'S OFFICE - DAY -MS - THE DOOR, AS KELVIN OPENS ITAND STEPS R. INTO THE ROOM,GLANCING ABOUT. HEATHER FOLLOWSHIM IN.

HEATHER 4-346 1294.09 1297.07 2.14 HEATHER TO KELVIN)(off) You can't just barge (on) into an-- You can't just barge into an--

KELVIN GLANCES DOWN R.FG. AND intrude, especially rudely)REACTS.

KELVIN(overlapping) Kara. Kara.

HEATHERKara.

KELVIN 4-347 1297.11 1298.15 1.04 KELVIN) (exclaiming)Damn. Damn.

KELVIN RUNS R.FG. AND LEANS DOWN referring to finding Kara lying on theAS HE TURNS R. HEATHER FOLLOWS AS ground with a bag of candy atop herCAMERA TILTS DOWN AND PANS R. WITH chest)THEM TO REVEAL KARA, LYING ON HERBACK ON THE FLOOR, A BAG OF CANDYON HER BELLY.

HEATHER 4-348 1299.03 1301.07 2.04 HEATHER TO KARA)Oh, Kara. Oh, Kara. Are you okay?

KELVIN(overlapping) Kara.

HEATHER(off) Are you okay?

(barge into : force oneself upon or

(Mildly vulgar interjection of alarm,



(50)


CAMERA DOLLIES BACK AS KELVIN ANDHEATHER LEAN DOWN BY HER SIDE.CONCERNED, KELVIN HOLDS KARA'SHAND.

KARA 4-349 1301.11 1304.09 2.14 KARA TO HEATHER)(groaning) Oh, do I look okay? Oh, do I look okay?

KELVINShould we call a doctor?

KARA Should we call a doctor?(sighs - continues under following

dialogue)

HEATHER 4-351 1306.13 1308.09/ 1.12 HEATHER TO KELVIN)No, it's this day. No, it's this day.

1308-10 (Implying Kara is lying on the ground,

SCENE 199 - MCS - LOW ANGLE - KELVIN, Valentine's Day)HOLDING KARA'S HAND, AND HEATHER,GESTURING.

KELVINHm?

HEATHER 4-352 /1308.13 1312.09 3.12 HEATHER TO KELVIN)(overlapping) Christmas, New Year's, Christmas, New Year's, Fourth of July, she's

Fourth of July, she's fine. Valentine's Day...1313-06

SCENE 200 - MCS - HIGH ANGLE - (no so good : idiomatic for 'she is notLOOKING DOWN AT KARA, AS KELVIN fine')(HANDS) CONTINUES TO HOLD HERHAND.

HEATHER(off) ...not so good.

KARA 4-354 1315.12 1318.09/ 2.13 KARA TO KELVIN)(overlapping) (sighs) What are you doing What are you doing tonight, Kelvin?

tonight, Kelvin?1318-10

(Note sarcasm)

4-350 1304.13 1306.09 1.12 KELVIN TO HEATHER)

not because she is ill or injured, butbecause she is depressed that it's

fine.

4-353 1312.13 1315.08 2.11 HEATHER TO KELVIN)(over scene end) Valentine's Day, not so good.



(51)

SCENE 201 - MCS - LOW ANGLE - KELVIN,AS HE REACTS AND GLANCES ABOUT.

KELVIN 4-355 1321.00 1327.01/ 6.01 KELVIN TO KARA)Uh, (stammers) I'm actually here about the I'm actually here about the Sean Jackson

Sean Jackson interview, but, um, (we could talk : i.e., 'we could

(stammers) we could talk. Kelvin believes Kara is asking him on

KARA(off) (chuckles - continues under following

scene)1327-01

SCENE 202 - MCS - HIGH ANGLE -LOOKING DOWN AT KARA, GESTURINGDISMISSIVELY AND REACTING. KELVIN(HANDS) CONTINUES TO HOLD HERHAND.

KARA 4-356 /1327.07 1333.15/ 6.08 KARA TO KELVIN)Relax, I'm not asking you out. I'm just Relax, I'm not asking you out. I'm just

(inhales) curious. (Relax : i.e., 'Don't be so cautious

KELVIN ENTERS R. AS KARA GRABS HER (out : i.e., 'out on a date')BAG OF CANDY AND STARTS TO RISE.

KELVIN(overlapping) (grunts) Come on.

1334-00

SCENE 203 - MS - HIGH ANGLE - PASTHEATHER, R.FG., TO KARA AND KELVIN,AS HE HELPS KARA UP. CAMERA TILTSUP WITH THEM AS HEATHER, BACKINGUP L.FG., TRIES TO TAKE THE BAG OFCANDY.

KARA 4-357 1334.05 1341.01 6.12 KARA TO KELVIN)(overlapping) How are you spending this How are you spending this happiest of all

happiest of all days? (this happiest of all days : note

HEATHER(overlapping) (whispering) Just-- Shh--

Shh. (in low tones) Let me just-- Let me THEN KELVIN TO HEATHER)

just take them. -You sure you don't wanna call somebody?

KARA Kara' - such as a doctor or therapist)(overlapping) (groaning) No. (them : i.e., 'the candy')

KELVIN(overlapping) You sure you don't wanna call

somebody?

interview, but we could talk.

discuss making plans' - note that

a date)

curious.

and apprehensive')

days?

sarcasm)

4-358 1342.03 1346.09 4.06 HEATHER TO KELVIN,

-Let me just take them.

(somebody : i.e., 'somebody to help



(52)


HEATHER TAKES THE BAG ANDGESTURES BEFORE EXITING L.

HEATHER(mouthing) I'm gonna....

KARA GESTURES AS SHE STEPS R. TOSIT AT HER DESK. KELVIN STEPS L.AROUND THE DESK AND MOVES R. TOSIT ACROSS THE DESK FROM HER.CAMERA DOLLIES R. AND TILTSSLIGHTLY DOWN.

KARA 4-359 1346.13 1350.01 3.04 KARA TO KELVIN)(overlapping) (inhales) I just wanna know if, I just wanna know if, in fact...

in (face off) fact, (face off) I (off) am (face off)

the (chuckling) only (on) (in normal voice) ...I am the only person on the whole freaking

person on the whole freaking planet who is (whole : i.e., 'entire')

completely and one-hundred percent alone emphatic)

on Valentine's Day.1365-00 4-361 1357.01 1364.01 7.00 KARA TO KELVIN)

SCENE 204 - MS - PAST KELVIN, SEATED (alone : here meaning, 'without aIN L.FG., TO KARA, SEATED ACROSS romantic partner or the prospect ofFROM HIM. one')

KARA(inhales sharply) I asked you a question. 4-362 1366.05 1368.05/ 2.00 KARA TO KELVIN)

1368-06 I asked you a question.

SCENE 205 - MS - PAST KARA, R.FG., TOKELVIN.

KELVIN 4-362A 1369.08 1372.07/ 2.15 KELVIN TO KARA)Yeah. Uh, I'm workin'. Yeah. I'm workin'.

1372-08 (i.e., 'I am working on Valentine's

SCENE 206 - MS - PAST KELVIN, L.FG., TOKARA.

KELVIN 4-363 1373.04 1377.00 3.12 KELVIN TO KARA)I got three telecasts: nine, ten, and eleven... (over scene end) I got three telecasts: 9, 10, and 11:00.

KARA STARTS TO RISE FROM HER SEAT. broadcasts')1375-15

4-360 1350.05 1356.13 6.08 KARA TO KELVIN)

planet...

(freaking : mildly vulgar slang

(over scene end) ...who is completely and 100% alone onValentine's Day.

(Implying, 'Why aren't you answeringme?')

Day.')

(telecasts : i.e., 'television



(53)

SCENE 207 - MS - HIGH ANGLE - PASTKARA, R.FG., TO KELVIN, AS KARA RISES AND STEPS L. AROUND THE DESK.CAMERA TILTS UP AND DOLLIES R. ASSHE LEANS R. AND PICKS UP A BOX OFCHOCOLATES FROM THE DESK.

KELVIN 4-364 1377.04 1383.09/ 6.05 KELVIN TO KARA)...o'clock. Usually, I do two, but people want Usually, I do two, but people want it off, so

it off, so I'm happy to cover for 'em on (want it off : i.e., 'want to take the day

this...day. (cover for 'em : i.e., 'substitute for

SHE STEPS BACK L. AS SHE EATSCHOCOLATES.

1383-09

SCENE 208 - MCS - LOW ANGLE - KARA,AS SHE STEPS BACK.

KARA 4-365 1384.04 1387.08/ 3.04 KARA TO KELVIN)You don't like to go out on Valentine's Day? You don't like to go out on Valentine's Day?

1387-09

SCENE 209 - MS - PAST KARA, L.FG., TOKELVIN, GESTURING.

KELVIN 4-366 /1387.12 1389.09 1.13 KELVIN TO KARA)I hate it. I hate it.

KARA GESTURES.

KARA 4-366A 1389.13 1391.05/ 1.08 KARA TO KELVIN)Me too. Me too.

1391-06

SCENE 210 - MCS - LOW ANGLE - KARA,EATING CHOCOLATES AND GESTURING.

KARA 4-367 /1392.01 1396.13 4.12 KARA TO KELVIN)(chewing) It's my fault I'm alone. I'm It's my fault I'm alone. I'm neurotic to the nth

neurotic to the nth degree. You know, (nth degree : the utmost degree or

(stammering) I don't have time to work on

myself because... 4-368 1397.01 1399.13/ 2.12 KARA TO KELVIN)1399-14 You know, I don't have time to work on

I'm happy to cover for 'em on this day.

off')

them' - 'work in their stead')

degree.

extent)

myself...(work on myself : i.e., 'beintrospective and improve myself')



(54)

SCENE 211 - MS - HIGH ANGLE - KELVIN,REACTING, AS HE PULLS HIS CELLPHONE FROM HIS POCKET.

KARA 4-368A /1400.01 1404.15 4.14 KARA TO KELVIN)(off) ...I'm too busy (chuckles) fixing (face ...because I'm too busy fixing everyone else.

off) everyone else. to my clients' problems')

CAMERA DOLLIES SLIGHTLY L. TOINCLUDE KARA (ARM), GESTURING.

KELVINRight.

KARA(face off) (overlapping) (chuckles)

1405-04

SCENE 212 - MFS - KARA, GESTURINGAND EATING CHOCOLATES, AND KELVIN,TEXTING.

KARA 4-369 /1405.05 1410.09/ 5.04 KARA TO KELVIN)(chewing) My closest relationship is with My closest relationship is with my

my BlackBerry. (closest : note double meaning - [1]1410-12 involving regular contact and [2]

SCENE 213 - MS - HIGH ANGLE - PAST supports push e-mail, mobileKARA, L.FG., TO KELVIN, GESTURING telephone, text messaging, InternetWITH HIS CELL PHONE. faxing, web browsing and other

KELVINRight.

1412-02 4-370 /1410.13 1412.01/ 1.04 KELVIN TO KARA)

SCENE 214 - MCS - LOW ANGLE - KARA,GESTURING.

KARA 4-371 /1412.05 1414.01/ 1.12 KARA TO KELVIN)(chewing) Thank God it vibrates. Thank God it vibrates.

1414-02 (Humorously implying the vibration

SCENE 215 - MS - HIGH ANGLE - PASTKARA, OUT OF FOCUS IN L.FG., TOKELVIN, REACTING. 4-372.

KELVIN 4-381.(groaning) Oh, no, not--

KARA 4-382 1415.09 1418.09 3.00 KARA TO KELVIN)(overlapping) (chewing) But do you know (over scene end) But do you know who has always been there

who... (been there for me : i.e., 'remained1416-09 loyal and has comforted me' - 'been

(fixing everyone else : i.e., 'attending

BlackBerry.

intimate and private)(BlackBerry : smartphone which

wireless information services)

Right.

setting on Kara's BlackBerry can beused as a sexual aid)

THROUGH (OUT)

for me?

present and never abandoned me')



(55)

SCENE 216 - MCS - LOW ANGLE - KARA,GESTURING AND REACTING.

KARA(chewing) ...has always been there for me?

KELVIN *4-382A 1418.13 1420.05 1.08 KELVIN TO KARA)(off) Who's that? Who's that?

KARAMy best friend: (smacks lips) Candy. 4-383 1420.09 1424.05/ 3.12 KARA TO KELVIN)

1424-06 My best friend: Candy.

SCENE 217 - MS - HIGH ANGLE - PAST chocolate bars, mints, and toffee andKARA (ARM), OUT OF FOCUS IN L.FG., TO [2] diminutive nickname for aKELVIN, GESTURING. woman's name 'Candace' or

KELVINThere's somebody.

1426-06 4-384 /1424.09 1426.05/ 1.12 KELVIN TO KARA)

SCENE 218 - MFS - KARA, GESTURING have a loyal friend.')WITH A PIECE OF CHOCOLATE, ANDKELVIN.

KARA 4-385 1427.01 1429.07 2.06 KARA TO KELVIN)(whimpers) (in wavering voice) I cannot get I cannot get enough.

enough. (Kara gestures to a box of chocolate

KELVIN STANDS AND STEPS BG., PASTKARA, TO GESTURE OUT THE DOOR TOO.S. HEATHER.

KELVINOh, no, Kara.

CAMERA DOLLIES L. AND PANS R. ASKARA STEPS R. TO FACE KELVIN ANDGESTURE. KELVIN ATTEMPTS TO TAKETHE BOX OF CHOCOLATES.

KARA 4-386 1429.11 1433.01 3.06 KARA TO KELVIN)(overlapping) (in wavering voice) And I And I know it's bad, but I need it.

know it's bad, but I need it. (in wavering

voice) I need it and there is not a shortage 4-387 1433.05 1437.13 4.08 KARA TO KELVIN)

on Valentine's Day. And that is my future. I'll Valentine's Day.

be... particularly chocolate, being a popular1441-15 gift on Valentine's Day)

(Candy : note double meaning - [1]small sweet food items such as

'Candice')

There's somebody.(Implying, 'You are not alone, as you

(get : i.e., 'eat' - 'consume')

in her hand)

(bad : i.e., 'unhealthy' - 'fattening')

I need it and there is not a shortage on

(there...Day : referring to candy,

4-388 1438.01 1440.09 2.08 KARA TO KELVIN)And that is my future.

4-389 1440.13 1446.01/ 5.04 KARA TO KELVIN)(over scene end) I'll be a lonely old lady with rotting teeth--

(rotting : damaged - i.e., 'cavity-filled')



(56)

SCENE 219 - MCS - KELVIN AND KARA,GESTURING AND REACTING.

KARA 4-390 (OUT)...a lonely old lady with (in wavering voice)

rotting...

KELVIN(overlapping) No. No.

1446-01

SCENE 220 - CS - PAST KARA (HANDS)TO KELVIN (HANDS), AS HE STRUGGLESTO TAKE THE BOX OF CHOCOLATESFROM HER.

KARA(face off) ...teeth...

KELVIN(face off) You're not. This is not...

KARA 4-391 /1447.12 1450.09/ 2.13 KARA TO KELVIN)(face off) (overlapping) (grunts) (in wavering (over scene end) --and a chocolate mustache.

voice) ...and a... chocolate stain on one's upper lip1447-08 from carelessly consuming chocolate)

SCENE 221 - MCS - KELVIN AND KARA, AS 4-392 (OUT)HE STRUGGLES TO TAKE THECHOCOLATES FROM HER, CAUSINGTHEM TO MOVE L. CAMERA PANSSLIGHTLY L. WITH THEM.

KARA...chocolate...

KELVIN(overlapping) ...wha--(straining) You do

not...1448-12

SCENE 222 - MCS - PAST KARA (HANDS),R.FG., TO KELVIN (HANDS), AS HESTRUGGLES TO TAKE THE CHOCOLATESFROM HER.

KARA(face off) (in wavering voice) ...mustache.

KELVIN(face off) ...want this! (grunting) No, you're

not.

HE PULLS ON THE CHOCOLATES,CAUSING THEM TO FALL BG. ONTO THECOUCH BEHIND THEM.

1450-12

(chocolate mustache : referring to a



(57)

SCENE 223 - FS - KELVIN, SEATED ONTHE COUCH, AND KARA, WHO HASTUMBLED ON TOP OF HIM.

KELVINOw! Ow!

KARA(overlapping) (cries - continues under

following scenes and dialogue)1454-03

SCENE 224 - MS - THROUGH THEDOORWAY TO HEATHER, SEATED IN HERCHAIR, AS SHE TURNS AND GAZES R.FG.

KELVIN(off) (whispering) It's not what you think.

1458-01

SCENE 225 - MCS - KELVIN AND KARA,LYING IN HIS ARMS.

KELVIN 4-393 1458.13 1462.15 4.02 KELVIN TO KARA)Okay, maybe you should try some tofu or Okay, maybe you should try some tofu or

somethin'. (tofu : soft food with no particular

KARA extract pressed into a cake)(in wavering voice) (groaning) (exhales - (Humorously implying Kara might be

continues under following dialogue) too much sugar)

KELVINOkay. It'll balance out your emotions. 4-394 1463.03 1467.11 4.08 KELVIN TO KARA)

KARA (It'll balance out your emotions : i.e.,(in low tones) I don't want a mustache. 'You won't feel as frenetic or

KELVIN(stammers) You'll look hot with a

mustache. (stammers) I don't want a mustache.1475-15

SCENE 226 - MS - THROUGH THE You'll look hot with a mustache.DOORWAY TO HEATHER, SLIGHTLY (hot : slang for 'sexually desirable' -SMILING. 'beautiful')

KELVIN(off) (in normal voice) Or without it. It doesn't 4-396A 1476.13 1480.01 3.04 KELVIN TO KARA)

matter.

SHE REACHES L. AND TAKES A PIECE OFCANDY FROM THE BAG ON HER DESK.

1481-01

somethin'.

flavor made from coagulated soybean

chemically imbalanced from eating

Okay. It'll balance out your emotions.

high-strung')

4-395 1468.05 1471.03 2.14 KARA TO KELVIN)

4-396 1473.07 1475.14/ 2.07 KELVIN TO KARA)

Or without it. It doesn't matter.



(58)

SCENE 227 - MCS - KELVIN AND KARA, ASSHE SHIFTS ABOUT, GLANCING UP ATKELVIN.

KARA 4-397 1493.12 1495.13/ 2.01 KARA TO KELVIN)(exhales) You can let go of me now. You can let go of me now.

1495-14 (i.e., 'You don't have to embrace me

SCENE 228 - FS - KELVIN AND KARA, ASHE LETS GO OF HER.

KELVIN 4-398 1496.07 1499.05 2.14 KELVIN TO KARA)Yeah, I sh-should. (clears throat) Yeah, I should.

THEY BOTH RISE AND REACT,AWKWARD. CAMERA TILTS UP WITHTHEM AS KELVIN STEPS L. AND TURNSTO FACE HER.

KARA 4-399 1500.05 1503.08 3.03 KARA TO KELVIN)Um, I, uh, guess we're done here. (inhales I guess we're done here.

- continues under following dialogue)

KELVINAll right.

KARA 4-400 1503.12 1508.05 4.09 KARA TO KELVIN)Uh, you can, uh, check with Heather... (over scene end) You can check with Heather and she'll

1505-14 validate your parking.

SCENE 229 - MCS - KELVIN. parking fee is waived')

KELVIN(off) ...and she'll validate your parking.

KELVIN 4-401 1508.09 1510.01 1.08 KELVIN TO KARA)You have a blessed day. You have a blessed day.

1510-02

SCENE 230 - MFS - KELVIN AND KARA,GESTURING, AS KELVIN EXITS L.,CLOSING THE DOOR BEHIND HIM.

MALE COACH 4-402 1514.00 1516.04/ 2.04 MALE COACH TO MALES) (voice over)(voice over) On your mark, get... ITAL On your mark.

1516-05 (For this Title and Title #4-403 : Used

any longer as I have my emotionsunder control now.')

(validate your parking : i.e., 'confirmthat you had business here so your

as a command to runners to take uptheir starting positions and get readyfor the start of a race)

4-403 /1516.08 1518.05/ 1.13 MALE COACH TO MALES)Get set.



(59)

SCENE 231 - EXT. HENDERSON HIGHSCHOOL - DAY - FS - FELICIA, STANDINGON A FIELD AND STRETCHING AMONGSTSEVERAL TRACK AND FIELD TEAMMEMBERS, PRACTICING.

CHEERLEADERS(off) (overlapping, low and indistinct cheers

and chants of "G-O Let's go!" - continues


MALE COACH(off) ...set.

1518-05

SCENE 232 - FS - WILLY AND TWOOTHER RUNNERS, ALL RUNNING FG.AND JUMPING OVER HURDLES.

1521-07

SCENE 233 - FS - FELICIA, AS SHE RUNSR.FG. ALONG THE LONG JUMP TRACK.

1524-07

SCENE 234 - FS - WILLY, AS HE CLEARSTHE LAST HURDLE AND RUNS R.FG.,EXITING. CAMERA PANS SLIGHTLY R. ONFELICIA, RUNNING R.FG. SHE JUMPSINTO THE LONG JUMP SAND PIT ANDFALLS.

GREG 4-404 1525.15 1532.05/ 6.06 GREG TO GROUP)(voice over) I'm Greg Gilkins at my old high I'm Greg Gilkins at my old high school,

school, Henderson High, and today's love.

subject: young love. (today's subject : i.e., 'the topic of this

A NEWS CAMERAMAN, KNEELING DOWN,FILMS HER FROM THE SIDE OF THE PIT.

1532-06

SCENE 235 - MCS - PAST GREG,HOLDING A MICROPHONE IN R.FG., TOFELICIA, SMILING. GREG TURNS L.BG.TOWARD HER AS SHE WAVES.

GREG 4-405 /1532.09 1538.09/ 6.00 KELVIN TO GREG)(into microphone) I'm joined by Felicia, I'm joined by Felicia, whose boyfriend Willy is

whose boyfriend Willy is still at track shortly.

practice, but he'll be joining us shortly. (track : short for 'track and field,'1538-09 athletic sports carried out on a

Henderson High, and today's subject: young

(old : i.e., 'former')

news segment is')

still at track practice, but he'll be joining us

(Willy : diminutive of 'William')

running track and an adjacent field, forexample, hurdling or javelin throwing)(shortly : i.e., 'soon')



(60)

SCENE 236 - MCS - PAST GREG, L.FG., TOTHE CAMERAMAN, FILMING.

GREG 4-406 /1538.13 1541.13/ 3.00 GREG TO FELICIA)(into microphone) So, Felicia, if he's the So, Felicia, if he's the star athlete, you are--?

star athlete, you are--? proficient athlete')1541-13

SCENE 237 - MCS - PAST GREG, R.FG.,TO FELICIA, AS HE POINTS THEMICROPHONE TOWARD HER.

FELICIA 4-407 /1542.01 1545.09/ 3.08 FELICIA TO GREG)(into microphone) Not the cheerleader. I'm Not the cheerleader. I'm on the dance team.

on the dance team. referring to the stereotype of star1545-10 athletes dating cheerleaders - Note

SCENE 238 - MCS - PAST GREG, L.FG., TO Felicia] popular hit song "You BelongTHE CAMERAMAN. To Me" which features the lyrics "She's

GREG bleachers")(into microphone) Maybe you could show (dance team : dance squad or dance

us a little bit. and half-time periods of sports events1547-09 such as football and basketball)

SCENE 239 - MCS - PAST GREG, R.FG., 4-408 /1545.13 1547.09/ 1.12 GREG TO FELICIA)TO FELICIA, AS SHE STEPS L.BG. AND Maybe you could show us a little bit.STARTS DANCING. CAMERA PANS (a little bit : i.e., 'some of your danceSLIGHTLY L. WITH HER, OFF GREG. routine')

FELICIAFive, six, seven, eight. 4-409 1549.01 1552.01/ 3.00 FELICIA) (counting)

1552-01 Five, six, seven, eight.

SCENE 240 - MFS - PAST THE no music] as that is normally done toCAMERAMAN AND GREG, R.FG., TO make sure a group of dancers are inFELICIA, DANCING. SHE DROPS DOWN synch with each other or to cue music)TO HER KNEES AND CONTINUESDANCING.

1560-05

SCENE 241 - MCS - HIGH ANGLE -FELICIA, ON HER KNEES AND DANCING.

GREG 4-410 1561.09 1563.13 2.04 GREG TO FELICIA)(off) (into microphone) Don't hurt yourself. Don't hurt yourself.

FELICIA whipping her head around)(exhales)

SHE FINISHES HER DANCE, HOLDINGHER ARMS INTO THE AIR.

1564-11

(the star athlete : i.e., 'a popular and

(Not the cheerleader : Humorously

allusion to Taylor Swift's [themusician/actress playing the role of

cheer captain and I'm in the

team performs during the pre-game

(Note humor of Felicia counting offbefore beginning her dance routine [to

(Referring to Felicia spasmodically



(61)

SCENE 242 - MS - HIGH ANGLE - FELICIA,ARMS OUTSTRETCHED, AS WILLYENTERS L., CLAPPING.

WILLY(face off) Yes.

GREG 4-411 /1564.13 1570.03/ 5.06 GREG TO FELICIA)(off) (overlapping) (into microphone) Wow. I Wow. I haven't seen moves like that since

haven't seen moves like that since the (moves : note double meaning - [1]

ninety-four Northridge quake. 'movement' - 'shaking')

FELICIA RISES AND STEPS TOWARD (Northridge quake : referring to theWILLY. THEY EMBRACE. 6.7 magnitude earthquake that struck

FELICIA 1994 that caused 72 deaths and an(overlapping) (low and indistinct) estimated $20 billion in damage,

WILLY disasters in U.S. history)(overlapping) (chuckles) (low and

indistinct)

THEY START TO KISS.1570-04

SCENE 243 - MS - PAST FELICIA ANDWILLY, KISSING PASSIONATELY IN L.FG.,TO GREG, REACTING, AND THECAMERAMAN, FILMING.

GREG 4-412 /1570.07 1572.05 1.14 GREG TO FELICIA & WILLY)(into microphone) You guys are-- You guys are--

WILLY AND FELICIA(kiss - continues under following scene

and dialogue)

GREGOh.

1573-14

SCENE 244 - MCS - PAST GREG (HAND),HOLDING THE MICROPHONE IN R.FG.,TO FELICIA AND WILLY, KISSINGPASSIONATELY.

GREG 4-413 1577.09 1581.05/ 3.12 GREG TO FELICIA & WILLY)(face off) (clears throat) (stammers) (off) (over scene end) So how do you two feel about each other this

(into microphone) So how do you two...1578-07

the '94 Northridge quake.

i.e., 'dance maneuvers' and [2] i.e.,

('94 : i.e., '1994')

Northridge, California on January 17,

making it one of the costliest natural

Valentine's Day?



(62)

SCENE 245 - MCS - PAST GREG, L.FG., TOTHE CAMERAMAN, FILMING.

GREG(into microphone) ...feel about each other

this Valentine's Day?1581-07

SCENE 246 - MCS - WILY AND FELICIA,EMBRACING, AS GREG (HAND) ENTERSR., HOLDING THE MICROPHONETOWARD THEM.

FELICIA 4-414 /1581.09 1583.10 2.01 FELICIA TO GREG)(into microphone) Oh, my gosh. I totally love Oh, my gosh. I totally love him.

him. of excitement)

WILLY 'wholeheartedly')(into microphone) And I'm crazy about her.

1585-09

SCENE 247 - MCS - PAST GREG, L.FG., TO (crazy about : idiomatic forTHE CAMERAMAN. 'excessively fond of')

GREG(into microphone) So, Willy, what is it about 4-416 /1585.13 1589.07/ 3.10 GREG TO WILLY)

her that makes you so happy? so happy?1589-08

SCENE 248 - MCS - PAST WILLY, L.FG., TOFELICIA.

WILLY 4-417 /1589.11 1594.05 4.10 WILLY TO GREG)Well, she's beautiful, she makes me Well, she's beautiful, she makes me laugh...

laugh...


dialogue)

WILLY 4-418 1594.09 1596.07/ 1.14 WILLY TO GREG)(chuckles) ...and she does my geometry. ...and she does my geometry.

FELICIA that is concerned with the properties(overlapping) (inhales) and relationships of points, lines,

1596-08 angles, curves, surfaces, and solids -

(Oh, my gosh : Idiomatic expression

(totally : i.e., 'completely' -

4-415 1583.14 1585.09/ 1.11 WILLY TO GREG)And I'm crazy about her.

So, Willy, what is it about her that makes you

(geometry : branch of mathematics

i.e., 'geometry homework')



(63)

SCENE 249 - MS - PAST FELICIA ANDWILLY, L.FG., TO GREG AND THECAMERAMAN.

GREG 4-419 /1596.11 1598.03 1.08 GREG TO WILLY)(into microphone) Bonus. (chuckles - Bonus.

continues under following dialogue) interjection of approval and [2] i.e.,

WILLY extra unexpected advantage of dating(chuckles) (chuckling) Yep. her.')

GREG(into microphone) And, Felicia, what is it 4-420 1598.07 1602.01 3.10 GREG TO FELICIA)

about Willy that... cool?1600-07

SCENE 250 - MCS - PAST WILLY, L.FG., TOFELICIA.

GREG(off) (into microphone) ...that's so cool?

GREG (HAND) ENTERS R. AND HOLDSTHE MICROPHONE TOWARD THEM.

FELICIA 4-421 1602.05 1606.00 3.11 FELICIA TO GREG)(into microphone) Oh, well, besides the fact Oh, well, besides the fact that he's totally

that he's totally hot? Uh, he's an amazing (besides : i.e., 'other than')

athlete. Go show 'em, babe.

WILLY REACTS, RELUCTANT. He's an amazing athlete.

WILLY(overlapping) (grunts) (smacks lips) 4-423 1608.10 1612.02/ 3.08 FELICIA TO WILLY)

FELICIA 'em.Go show 'em, go show 'em. ('em : them - i.e., 'Greg and the news

WILLY (babe : slang term of affection)(overlapping) All right.

WILLY STARTS TO RUN BG.1612-03

SCENE 251 - FS - PAST THE CAMERAMANAND GREG, R.FG., TO WILLY ANDFELICIA, AS WILLY RUNS BG. WILLYPERFORMS A FLIP.

FELICIA 4-424 /1612.06 1614.04 1.14 FELICIA TO GREG)He's so good. (cries out) He's so good.

FELICIA GESTURES EXCITEDLY AS WILLYEXITS L. 4-425.

1620-03 THROUGH (OUT)

(Note double meaning - [1] Slang

'Felicia doing your homework is an

(over scene end) And, Felicia, what is it about Willy that's so

hot?

4-422 1606.04 1608.06 2.02 FELICIA TO GREG)

Go show 'em, babe. Go show 'em, go show

audience')

4-427.



(64)

SCENE 252 - INT. ACM - DAY - MCS -JASON, WALKING FG. THROUGH THECROWDED ATRIUM AS CAMERA TRACKSBACK WITH HIM.

PEOPLE IN ACM ATRIUM(overlapping, low and indistinct chatter -


dialogue)

JASON 4-428 /1620.05 1626.13 6.08 JASON TO MAILROOM DANNYOkay, uh, how 'bout this? I cook her dinner & MAILROOM TED)

and then serve it to her in front of a then serve it to her in front of a fireplace.

fireplace. That says romance.1628-12

SCENE 253 - MS - PAST MAIL ROOM That says romance.DANNY, PUSHING A CART IN L.FG., TO (i.e., 'That is a romantic gesture')JASON AND MAIL ROOM TED, PUSHING ACART. THEY ALL WALK R. AS CAMERATRACKS R. WITH THEM.

MAILROOM TED 4-430 /1628.15 1631.01 2.02 MAILROOM DANNY TO JASON)That says cheap-o. That says cheap-o.

JASON REACTS AND GESTURES. 'stingy')

JASON - Implying that the gesture indicates(overlapping) Okay, not a problem. Uh, I got Jason is too cheap to take Liz out to a

her two tickets to the movie at the

Hollywood Cemetery. 4-431 1631.05 1633.01 1.12 JASON TO MAILROOM DANNY

MAILROOM DANNY Okay, not a problem.Oh, yeah. Chicks love the cemetery on (not a problem : i.e., 'it is not a

Valentine's Day. rejected [as I have others]')

Okay, how 'bout this? I cook her dinner and

(her : i.e., 'Liz')

4-429 1627.01 1628.11/ 1.10 JASON TO MAILROOM DANNY& MAILROOM TED)

(cheap-o : alteration of 'cheap' - i.e.,

(i.e., 'That implies that you are stingy.'

restaurant)

& MAILROOM TED)

problem that that option has been

4-432 1633.05 1637.01 3.12 JASON TO MAILROOM DANNY& MAILROOM TED)I got her two tickets to the movie at theHollywood Cemetery.

(Hollywood Cemetery : referring toHollywood Forever Cemetery, knownfor the famous people interred there -note that during the summer, moviesare screened at the cemetery andspectators can come with blankets,chairs and picnics to view filmsprojected onto the side of one of thebuildings)

4-433 1637.05 1642.08 5.03 MAILROOM DANNY TO JASON)Oh, yeah. Chicks love the cemetery onValentine's Day.

(Chicks : Slang for 'Women')



(65)


MAILROOM TED 4-434 1642.12 1645.06 2.10 MAILROOM TED TO JASON)Don't you think you should get her a real Don't you think you should get her a real gift?

gift?

ACM RECEPTIONIST(off) (into telephone) (low and indistinct -


dialogue)

JASON 4-435 1645.10 1650.12 5.02 JASON TO MAILROOM DANNYWhat gift? (over scene end) & MAILROOM TED)

1646-07 What gift? I'm supposed to get her a Prius?

SCENE 254 - FS - HIGH ANGLE - MAIL car developed and manufactured byROOM DANNY, JASON, AND MAIL ROOM the Toyota)TED, ALL WALKING FG. PAST THE (like : i.e., 'approximately')RECEPTION DESK.

JASON 4-436 1652.04 1654.09 2.05 JASON TO MAILROOM DANNYI'm supposed to get her a Prius? We've & MAILROOM TED)

been dating for like two weeks. Is there a (Note double meaning - [1] i.e., 'Is

two-week gift? for someone you've been dating for

MAIL ROOM DANNY EXITS R.FG. AS HE rule that dictates I need to get a gift forAND MAIL ROOM TED STEP R. TOWARD a woman I've been dating for twoTHE RECEPTION DESK TO GATHER weeks?')FLOWER BOUQUETS.

MAILROOM TED 4-437 1654.13 1658.05/ 3.08 MAILROOM TED TO JASON)If you want there to be a third week there is. If you want there to be a third week there is.

1658-07 (Implying Jason could ruin his

SCENE 255 - EXT. HENDERSON HIGH Valentine's Day)SCHOOL - DAY - MCS - PAST GREG, L.FG.,TO THE CAMERAMAN, FILMING.

STUDENTS ON FIELD THROUGH (OUT)(off) (overlapping, low and indistinct chatter 4-441.


dialogue)

GREG 4-442 /1658.09 1660.05/ 1.12 GREG TO FELICIA & WILLY)(into microphone) So, uh, how did you guys So how did you guys meet?

meet?1660-05

(real : here meaning, 'substantial')

We've been dating for like two weeks.(Prius : full hybrid electric mid-size

Is there a two-week gift?

there a gift that's appropriate to give

two weeks?' and [2] i.e., 'Is there a

chances of continuing a relationshipwith Liz if he doesn't give her a gift on

4-438.



(66)

SCENE 256 - MCS - PAST GREG, R.FG.,TO FELICIA, GESTURING.

FELICIA 4-443 1661.00 1665.07 4.07 FELICIA TO GREG)(into microphone) It's really funny, actually. It's really funny, actually. Like, I was not into

Like, I was not into him at first. He used to (Like : Used in speech, often

shoot spit wads at me in Spanish class, fill a certain pause)

which is, like, so junior high.1671-12

SCENE 257 - MCS - PAST GREG, Spanish class, which is, like, so junior high.REACTING IN L.FG., TO THE CAMERAMAN. (spit wads : balled up piece of paper,

GREG and shot through a drinking straw)Oh. (chuckles) (so junior high : slang for 'very

FELICIA U.S. is school that is intermediate(off) (into microphone) But then one night... between elementary school and high

1674-02 school, consisting of grades six or

SCENE 258 - MCS - PAST GREG, R.FG.,TO FELICIA, PLAYING WITH HER HAIR. 4-445 1672.15 1677.09 4.10 FELICIA TO GREG)

FELICIA hair when I got home......I was brushing out my hair when I got

home, and I found this spit wad, but it was 4-446 1677.13 1682.01 4.04 FELICIA TO GREG)

really a note. And it said, "What's up?" And I note.

was like, "That is so cute." And then I liked wad was lodged in her hair)

him.

MALE COACH And it said, "What's up?" And I was like, "That(off) And go! is so cute."

1690-02 (What's up : Slang greeting - i.e.,

SCENE 259 - MCS - PAST GREG, L.FG., TO (was like : slang for 'thought toTHE CAMERAMAN. GREG TURNS R. myself')

1692-02

SCENE 260 - FS - WILLY, RUNNING L.FG. And then I liked him.AND JUMPING THE HURDLES ASCAMERA PANS L. WITH HIM. WILLY TRIPSOVER THE LAST HURDLE, CAUSING HIM 4-449 (OUT)TO FALL AND ROLL L.

WILLY(grunts)

HE RISES AND STARTS BACK R.1701-02

him at first.

habitually, to preface a sentence or to

(into : slang for 'attracted to')

4-444 1665.11 1671.11/ 6.00 FELICIA TO GREG)He used to shoot spit wads at me in

moistened with saliva [by chewing]

immature' - note that junior high in the

seven through eight or nine)

(over scene end) But then one night I was brushing out my

...and I found this spit wad, but it was really a

(Humorously implying that the spit

4-447 1682.05 1688.02 5.13 FELICIA TO GREG)

'What's been happening lately'- 'Howare you')

4-448 1688.06 1690.01/ 1.11 FELICIA TO GREG)



(67)

SCENE 261 - MS - PAST THE CAMERAMANAND GREG, R.FG., TO FELICIA,REACTING.

FELICIA 4-450 /1701.04 1703.14 2.10 FELICIA TO WILLY)Oh, my God. Baby, are you okay? Walk it off, Oh, my God. Baby, are you okay?

baby. Just walk it off. of distress)1706-15 (Baby : Slang term of affection)

SCENE 262 - FS - WILLY, AS HE RESETS the hurdle to fall)THE FALLEN HURDLE AND CALMLYTURNS TO STEP OVER IT.

FELICIA Walk it off, baby. Just walk it off.(off) You're still hot, baby. You're still hot! (Walk if off : i.e., 'Walk around until

GREG(off) (into microphone) Wow, he rolled outta

that like a ninja. You're still hot, baby. You're still hot.

HE WALKS L. AS CAMERA PANSSLIGHTLY L. WITH HIM.

1715-08 *4-452 1712.13 1715.05/ 2.08 GREG TO FELICIA)

SCENE 263 - MCS - FELICIA, REACTING, amazement)AS SHE TURNS R.FG. CAMERA PANS R. (rolled outta that : i.e., 'recoveredWITH HER, ON GREG. from his fall')

FELICIA mercenaries in feudal Japan who(into microphone) He's usually really good were trained in stealth and the martial

at those. saboteurs, or assassins)

GREG to recover from his fall)(overlapping) (into microphone) Yeah, well,

he's quite the athlete and... 4-453 /1715.09 1717.08 1.15 FELICIA TO GREG)1719-04 He's usually really good at those.

SCENE 264 - MCS - PAST GREG, L.FG., TO 4-454 1717.12 1721.01/ 3.05 GREG TO FELICIA)THE CAMERAMAN. (over scene end) Yeah, well, he's quite the athlete and you're

GREG (quite : used to emphasize the(into microphone) ...you're quite the dancer, exceptional or impressive nature of

huh? (the : i.e., 'a good')1721-02 (Note affectionately patronizing tone)

SCENE 265 - MCS - PAST GREG, R.FG.,TO FELICIA, REACTING.

FELICIA 4-455 /1721.05 1723.14/ 2.09 FELICIA) (counting)Five, six, seven, eight! Five, six, seven, eight!

SHE STEPS BACK AND STARTS TODANCE.

GREG(overlapping) (into microphone) Oh. No...

1723-15


(Note that Willy hits one the hurdlesas he jumps over it, causing him and

4-451 1704.02 1706.14/ 2.12 FELICIA TO WILLY)

the pain subsides')

4-451A 1708.07 1712.09 4.02 FELICIA TO WILLY)

(hot : slang for 'sexy')

Wow, he rolled outta that like a ninja.(Wow : Interjection used to express

(ninja : member of a group of

arts and employed as spies,

(Humorously referring to Willy's ability

quite the dancer, huh?

somebody or something)



(68)

SCENE 266 - MS - PAST FELICIA,DANCING IN L.FG., TO GREG, AWKWARD.

GREG 4-456 /1724.02 1727.01/ 2.15 GREG TO FELICIA)...I think we're-- I think we're okay. We-- No, I think we're okay.

1727-04 (I think we're okay : i.e., 'You needn't

SCENE 267 - MCS - PAST GREG (HAND),HOLDING THE MICROPHONE IN R.FG.,TO FELICIA, DANCING.

GREG 4-457 /1727.05 1730.01 2.12 GREG TO FELICIA)(face off) I don't-- Ooh, we haven't seen that Ooh, we haven't seen that one.one. (that one : i.e., 'that dance maneuver

FELICIA(chuckling) (exhales - continues under

following dialogue)

SHE FINISHES HER DANCE AS WILLYENTERS L. AND THEY EMBRACE.

WILLY 4-458 1731.07 1735.01 3.10 WILLY TO FELICIA, THEN TO GREG,(off) (chuckles) Way to go. (on) (to Greg) GREG TO WILLY)

She tell you the spit wad story? -Yes, she did.

GREG (HAND) MOMENTARILY EXITS R.FG. praise)AS HE SPEAKS INTO THE MICROPHONE.

GREG(off) (into microphone) Yes, she did.


dialogue)

WILLY 4-459 1735.05 1737.05 2.00 WILLY TO GREG)(into microphone) Yeah, she's mushy like Yeah, she's mushy like that.

that. sentimental)

FELICIAYou like it. 4-460 1737.09 1739.09/ 2.00 FELICIA TO WILLY,

WILLY -You like it. I know. -I know.

THEY KISS PASSIONATELY. me')

FELICIA AND WILLY(kiss - continues under following scenes


demonstrate your dance routine for usagain')

before')

-Way to go. She tell you the spit wad story?

(Way to go : Idiomatic expression of

(mushy : overly romantic or

THEN WILLY TO FELICIA)

(You like it : i.e., 'You like that about



(69)

SCENE 268 - MCS - PAST FELICIA ANDWILLY, KISSING PASSIONATELY IN L.FG.,TO GREG, REACTING.

GREG 4-461 /1740.00 1741.15/ 1.15 GREG TO GROUP)(into microphone) Ooh, I miss high school. Ooh, I miss high school.

1742-00 (I miss high school : Humorously

SCENE 269 - MCS - PAST WILLY, FG., TO each other in front of everyone)FELICIA, AS THEY CONTINUE KISSINGPASSIONATELY.

GREG 4-462 1743.05 1745.06 2.01 GREG TO GROUP)(off) (into microphone) There you have it, There you have it, young love.

young love. Full of promise, full of hope, expression of presentation)

ignorant...1747-13 4-463 1745.10 1749.05 3.11 GREG TO GROUP)

SCENE 270 - MCS - GREG, SPEAKING (ignorant of reality : i.e., 'very naive' -INTO THE MICROPHONE. note humor)

GREG(into microphone) ...of reality. From 4-464 1749.09 1754.01/ 4.08 GREG TO GROUP)

Henderson High on Valentine's Day, I'm I'm Greg Gilkins, channel 13.

Greg Gilkins, channel thirteen.1754-02



referring to Felicia and Willyunabashedly expressing their love for

(There you have it : Idiomatic

(over scene end) Full of promise, full of hope, ignorant ofreality.

From Henderson High on Valentine's Day,



(1)


11-15 22.03 = 1ST SCENE END

SCENE 1 - INT. EDGAR AND ESTELLE'SHOUSE - DAY - FS - HIGH ANGLE -EDGAR, SEATED AT THE TABLE WITH 5-1.THE PHONE TO HIS EAR. EDISON THROUGH (OUT)STANDS BESIDE HIM, AND GRACE IS 5-128.SEATED AT THE TABLE NEXT TO EDISON.

EDGAR 5-129 12.08 14.04 1.12 EDGAR INTO TELEPHONE TO PERSON)(into telephone) Okay. (inhales) Okay.

EDGAR LOWERS THE PHONE.

EDGAR (cont'd) 5-130 14.11 19.08 4.13 EDGAR TO EDISON)(to Edison) Sorry, Mr. E., but they can't get Sorry, Mr. E., but they can't get your flowers

your flowers delivered today, but they-they'll (Mr. E : Edgar's humorous nickname

figure it out tomorrow. homonym with 'mystery')22-03 (they : referring to Siena Bouquet)

SCENE 2 - MCS - EDGAR AND EDISON, 5-131 19.12 22.01/ 2.05 EDGAR TO EDISON)GESTURING EMPHATICALLY. ...but they'll figure it out tomorrow.

EDISON delivery')No, it has to be today! It has to!

EDGAR 5-132 /22.05 26.03/ 3.14 EDISON TO EDGAR & GRACE)(overlapping) (stammers - continues under No, it has to be today! It has to!

following scene) distraught)26-05

SCENE 3 - MFS - OVER THE TABLE ANDPAST GRACE, R.FG., TO EDGAR ANDEDISON, WHO RUNS L.BG., EXITING.CAMERA PANS SLIGHTLY L., OFF GRACE,AS EDGAR RISES FROM THE TABLE,GESTURING, AND ESTELLE ENTERS L.

EDGAR 5-133 27.11 29.12 2.01 EDGAR TO ESTELLE)(to Estelle) Oh-Oh, just let him-- Let him go. Oh, just let him--

ESTELLE(overlapping) (grunts) (groaning) Oh.

EDGAR 5-134 30.00 33.05 3.05 EDGAR TO ESTELLE)(overlapping) Let him go, let him go. Let him go. Let him go, let him go.

delivered today...

for Edison using his initial - note

(figure it out : i.e., 'schedule the

(Edison runs out of the kitchen,

(Let him go : i.e., 'Don't chase afterhim' - 'Leave him alone until hisemotions calm down')



(2)


EDGAR (cont'd) *5-135 33.09 39.10/ 6.01 EDGAR TO ESTELLE)I tell ya... I'll tell ya, today's a lot of pressure for

ESTELLE (I tell ya : I tell you - Idiomatic(coughs - continues under following emphatic expression)

dialogue) greater degree for')

ESTELLE AND EDGAR STEP FG. (C'mon : Come on : i.e., 'Sit down')

EDGAR...today's a lot of pressure for anyone, let

alone a little kid. C'mon.

ESTELLE(overlapping) (stammers)

39-11

SCENE 4 - MCS - GRACE, REACTING.

GRACE 5-136 40.09 45.14/ 5.05 GRACE TO EDGAR & ESTELLE)(scoffs) Tell me about it. (inhales) I haven't Tell me about it. I haven't been having the

been having the best day myself. (Tell me about it : Idiomatic46-00 expression used to express emphatic

SCENE 5 - MCS - PAST GRACE, R.FG., TO the topic being discussed)ESTELLE AND EDGAR, SITTING DOWN ATTHE TABLE AS CAMERA TILTS DOWNWITH THEM. EDGAR EXITS R.BG. ASESTELLE CLASPS HER HANDS ANDGLANCES R.

GRACE(exhales)

ESTELLE 5-137 50.10 54.06 3.12 ESTELLE TO GRACE)Ooh. Um, is everything okay with Alex? Is everything okay with Alex?

GRACE(smacks lips) Not really. 5-138 55.02 57.02/ 2.00 GRACE TO EDGAR & ESTELLE)

57-04 Not really.

SCENE 6 - MCS - EDGAR,CONTEMPLATIVELY TOUCHING HISTHUMB TO HIS LIPS.

ESTELLE 5-139 /57.06 59.11/ 2.05 ESTELLE TO GRACE)(off) Uh-oh, what happened? Uh-oh, what happened?

59-14 (Uh-oh : Interjection used to express

anyone, let alone a little kid. C'mon.

(let alone : i.e., 'and to an even

(little kid : i.e., 'young child')

best day myself.

agreement, and also to acknowledgethat the speaker already knows about

dismay)




(3)

SCENE 7 - MCS - GRACE, REACTING ANDGESTURING.

GRACE 5-143 62.01 66.09 4.08 GRACE TO EDGAR & ESTELLE)(blows) Alex and I were supposed to... Alex and I were supposed to...

(smacks lips) (inhales) have sex today.69-05 5-144 67.10 69.05/ 1.11 GRACE TO EDGAR & ESTELLE)

SCENE 8 - MS - ESTELLE AND EDGAR,WHO REACTS AS HIS ELBOW SLIPS ONTHE TABLE.

EDGAR(grunts) Hm?

73-01

SCENE 9 - MS - GRACE.

GRACE 5-145 /73.03 76.09/ 3.06 GRACE TO EDGAR & ESTELLE)For the first time. For both of us. For the first time. For both of us.

76-10

SCENE 10 - MCS - PAST EDGAR, R.FG., THROUGH (OUT)TO ESTELLE, GLANCING R.FG. 5-147.

ESTELLE(low) Huh.

GRACE 5-148 78.05 82.08 4.03 GRACE TO EDGAR & ESTELLE)(off) I... (over scene end) I wanted it to be magical, and I'm realizing

79-02 that...

SCENE 11 - MCS - GRACE, GESTURING.

GRACE 5-149 82.12 86.10/ 3.14 GRACE TO EDGAR & ESTELLE)...wanted it to be magical, and I'm realizing ...it's hard to plan something to be magical,

that...it's hard to plan something to be (it's...magical : i.e., 'a magical

magical, you know? and cannot be contrived')86-12

SCENE 12 - MCS - PAST GRACE, R.FG.,TO ESTELLE.

EDGAR(off) (sighs - continues under following

dialogue)

ESTELLE 5-150 87.02 90.07/ 3.05 ESTELLE TO GRACE)Yes. That-That-- It is. Yes. It is.

...have sex today.

5-146.

(magical : so beautiful or pleasingas to seem supernaturally created)

you know?

experience has to happen organically



(4)


EDGAR 5-151 /90.11 92.11/ 2.00 EDGAR TO GRACE)(off) Well... Well, love can't be planned.

90-10

SCENE 13 - MCS - EDGAR.

EDGAR...love can't be planned.

92-13

SCENE 14 - MCS - PAST EDGAR, R.FG.,TO ESTELLE.

ESTELLE 5-152 /92.15 97.05/ 4.06 ESTELLE TO EDGAR)It's not love she is talking about, Edgar. It is It's not love she is talking about, Edgar. It is

sex.97-07

SCENE 15 - MCS - EDGAR, GLANCING L.

GRACE 5-153 /97.09 99.07/ 1.14 GRACE TO EDGAR & ESTELLE)(off) He's-He's going to Stanford... He's going to Stanford.

99-09 (Stanford : prestigious private

SCENE 16 - MS - GRACE, GESTURING.

GRACE 5-154 /99.11 105.02/ 5.07 GRACE TO EDGAR & ESTELLE)...I'm going to Yale, and it's just hit me I'm going to Yale. And it's just hit me recently

recently that... (Yale : prestigious private research105-04 university in New Haven, Connecticut

SCENE 17 - MS - ESTELLE AND EDGAR. (hit me : slang for 'occurred to me' -

GRACE...it's gonna be really hard to stay together.

ESTELLE ...it's gonna be really hard to stay together.(exhales - continues under following (stay together : i.e., 'sustain a

dialogue) distance')

GRACE(off) So I guess I thought that if we had 5-156 108.12 114.09 5.13 GRACE TO EDGAR & ESTELLE)

this... amazing thing connecting us...111-13 (thing : i.e., 'experience')

SCENE 18 - MCS - GRACE, GESTURING.

GRACE 5-157 114.13 118.01 3.04 GRACE TO EDGAR & ESTELLE)...amazing thing connecting us, it'd make it ...it'd make it easier, somehow, but--

easier, somehow, but-- separation easier to deal with')

sex.

research university located in PaloAlto, California)

that...

and a member of the Ivy League)(it's : it has)

'come to my mind')

5-155 /105.06 108.08 3.02 GRACE TO EDGAR & ESTELLE)

romantic relationship from such a

(over scene end) So I guess I thought that if we had this

(make it easier : i.e., 'make the



(5)


GRACE (cont'd) *5-158 118.05 124.01 5.12 GRACE TO EDGAR & ESTELLE)(inhales) I don't know. Hearing myself say it I don't know. Hearing myself say it out loud, it

out loud, it all sounds really stupid, you

know? And it's not like I'm gonna sleep with 5-159 124.05 130.02 5.13 GRACE TO EDGAR & ESTELLE)

(emphasizing) one person (in normal person for the rest of my life, right?voice) (sleep with : idiomatic for 'have sex

for the (chuckling) rest (in normal voice) of (one person : i.e., 'just one person' -

my life...128-13

SCENE 19 - MS - ESTELLE AND EDGAR.

GRACE 5-160 130.06 133.11 3.05 GRACE TO EDGAR & ESTELLE)...right? I mean, that's just crazy. Who does I mean, that's just crazy. Who does that?

that? 'that's ridiculous')

EDGARWell, crazy people like us. We did. 5-161 134.03 138.04/ 4.01 EDGAR TO GRACE)

138-05 Well, crazy people like us. We did.

SCENE 20 - MS - GRACE.

GRACE 5-162 /138.08 140.08/ 2.00 GRACE TO EDGAR & ESTELLE)No. No.

140-09 (Used here as an interjection of

SCENE 21 - MS - ESTELLE AND EDGAR.

EDGARMm-hm.

GRACE 5-163 143.04 145.09 2.05 GRACE TO EDGAR & ESTELLE)(off) We-- That's amazing. Wow. That's amazing. Wow.

EDGAR(overlapping) Well, granted, it was a-a 5-164 145.13 149.11/ 3.14 EDGAR TO GRACE)

different time and... (granted : used when acknowledging149-12 the truth of something somebody has

SCENE 22 - MCS - GRACE. and I met and married during a time

EDGAR(off) ...people weren't as promiscuous as

they are now. ...and people weren't as promiscuous as

all sounds really stupid, you know?

(over scene end) And it's not like I'm gonna sleep with one

with')

'the same person')

(that's just crazy : i.e., 'that's illogical' -

disbelief)

Well, granted, it was a different time...

said or is thinking)(it was a different time : i.e., 'Estelle

of different social mores')

5-165 150.09 155.01 4.08 EDGAR TO GRACE)

they are now.



(6)


EDGAR (cont'd) 5-166 /156.05 161.13/ 5.08 EDGAR TO GRACE)(off) ...And there... And there were times we spent long periods

156-04 apart, but we managed.

SCENE 23 - MCS - ESTELLE, REACTING. sustain our relationship')

EDGAR(off) ...were times we spent long periods 5-167 /162.01 166.12 4.11 EDGAR TO GRACE)

apart, but we managed. I'm not... you.161-14

SCENE 24 - MCS - GRACE, REACTING TOO.S. ESTELLE.

EDGAR(off) ...saying it was easy or suggesting it...

164-15


EDGAR *5-168 167.00 170.05/ 3.05 EDGAR TO GRACE)...for you. Just saying, it's possible. Just saying it's possible.

170-05


EDGAR *5-168A /170.09 175.14/ 5.05 EDGAR TO GRACE)And actually, we're gonna renew our vows And actually, we're gonna renew our vows

this spring, right? (renew our vows : i.e., 'renew our175-15 wedding vows' - an informal ceremony

SCENE 27 - MFS - PAST ESTELLE, L.FG., of continued commitment to theAND GRACE, R.FG., TO EDGAR. ESTELLE marriage)DRAMATICALLY RISES FROM THE TABLEAND TURNS L.BG. AS CAMERA PANSSLIGHTLY L., OFF GRACE.

EDGAR(kisses)

179-01

SCENE 28 - MS - PAST ESTELLE (TORSO),L.FG., TO EDGAR, REACTING. ESTELLE(TORSO) EXITS L.BG. O.S. GRACE'S CELLPHONE RINGS.

EDGAR 5-169 182.06 184.06 2.00 EDGAR TO GRACE)Would you excuse us a minute? Would you excuse us a minute?

(managed : i.e., 'managed to stayfaithful to each other' - 'managed to

(over scene end) I'm not saying it was easy or suggesting it for

this spring, right?

wherein a married couple re-statesthe vows of their wedding as a display

(Edgar follows Estelle, who has leftthe kitchen in tears)



(7)


GRACE 5-170 184.10 186.15 2.05 GRACE TO EDGAR)(off) Yeah. I'm gonna take this. Yeah. I'm gonna take this.

EDGAR RISES FROM CHAIR AND EXITS L. phone')AS CAMERA PANS R. TO REVEAL GRACE,ANSWERING HER RINGING CELLPHONE.

GRACE (cont'd)(into telephone) (to Alex) Hey.

189-07

SCENE 29 - FS - EDGAR, WALKING BG. ASGRACE ENTERS R. AND CROSSES L.THROUGH FRAME.

GRACE 5-171 190.05 194.09 4.04 GRACE INTO PHONE TO ALEX)(off) (into telephone) No, I'm just at (on) No, I'm just at Edgar and Estelle's. What are

(into telephone) Edgar and Estelle's. What

are you doing? 195-13

SCENE 30 - MS - GRACE, WALKING L.BG.INTO A MFS. AS CAMERA PANS WITHHER.

GRACE *5-172 199.07 203.13 4.06 GRACE INTO PHONE TO ALEX)(into telephone) I-It's-- (chuckles) Alex, I... (over scene end) Alex, I gotta tell you something.

200-09

SCENE 31 - FS - EDISON, WALKING L.FG.DOWN THE STAIRS, WEARING HISBACKPACK. CAMERA TILTS DOWN ANDPANS WITH HIM TO REVEAL EDGAR ANDESTELLE, SEATED IN THE LIVING ROOM.

GRACE *5-173 205.05 208.09 3.04 GRACE INTO PHONE TO ALEX)(into telephone) ...gotta tell you something. I I don't know if today's the day.

just-- I don't know if today's the day. right day for us to have sex')

EDISON WALKS L. IN A MS. AS CAMERAPANS WITH HIM, OFF EDGAR AND 5-174.ESTELLE. HE MOMENTARILY STOPS THROUGH (OUT)BESIDE THE LIVING ROOM DOORWAY. 5-175.

GRACE (cont'd)(into telephone) I mean, I want it to be *5-176 208.13 212.01 3.04 GRACE INTO PHONE TO ALEX)

special, you want it to be special, and, you be special...

know, we tried to make it special...

EDISON DASHES L.BG. TO THE FRONT ...and, you know, we tried to make it special,DOOR AS CAMERA PANS AROUND WITH but, you know....HIM.

GRACE (cont'd)(into telephone) ...but, you know....

(take this : i.e., 'answer my cell

you doing?

(today's the day : i.e., 'today is the

I mean, I want it to be special, you want it to

*5-177 212.05 218.07 6.02 GRACE INTO PHONE TO ALEX)



(8)


GRACE (cont'd) 5-178 220.00 224.13 4.13 GRACE INTO PHONE TO ALEX)(into telephone) Do you really (chuckling) (over scene end) Do you really wanna go back there and see

wanna (in normal voice) go back... (Note implication that Alex suggested

EDISON OPENS THE FRONT DOOR. consummate their relationship)221-12

SCENE 32 - MCS - GRACE.

GRACE 5-179 225.01 227.00/ 1.15 GRACE INTO PHONE TO ALEX)(into telephone) ...there and see my mom I don't think so.

after what happened earlier? I don't--

(whispering) I don't think so.227-02

SCENE 33 - FS - THROUGH THE LIVINGROOM WINDOW TO EDISON, PUTTINGON HIS BICYCLE HELMET.

230-13

SCENE 34 - MCS - GRACE.

GRACE 5-180 231.04 235.01 3.13 GRACE INTO PHONE TO ALEX)All right, well, okay. Um... All right, well, okay.

GRACE REACTS AND STEPS FG.238-06

SCENE 35 - FS - THROUGH THE LIVINGROOM WINDOW TO EDISON, WALKINGHIS BICYCLE L.BG. AS GRACE ENTERSR.FG.

GRACE 5-181 /238.08 242.04/ 3.12 GRACE INTO PHONE TO ALEX)(off) (into telephone) ...you know what, Alex- You know what, Alex, sorry. I need to call you

Alex, sorry. (on) (into telephone) I need to-- I (Grace has just noticed that Edison

need to call you back. riding away on his bicycle)242-06

SCENE 36 - FS - GRACE, MOVING L.FG.INTO A MCS.

GRACE 5-183 /242.08 245.08/ 3.00 GRACE INTO PHONE TO ALEX)(into telephone) I really have to go. I'll call I really have to go. I'll call you later. Bye.

you later. Bye.

SHE MOVES L.245-09

my mom after what happened earlier?

going back to Grace's house to

back.

has snuck out of the house and is

5-182 (OUT)

(go : i.e., 'end this phone call')



(9)

SCENE 37 - EXT. EDGAR AND ESTELLE'SHOUSE - DAY - FS - THE SIDE OF THEHOUSE AND STREET, AS EDISONENTERS L.FG. IN A MS., RIDING HISBICYCLE R.BG. INTO A FS. CAMERA PANSR. WITH HIM.

248-11

SCENE 38 - FS - GRACE, RUNNING R.FG.INTO A MS. AS CAMERA DOLLIES BACKSLIGHTLY WITH HER AND PANS R.

GRACE 5-184 252.03 253.11/ 1.08 GRACE TO EDISON)Edison! Edison!

253-12

SCENE 39 - FS - PAST A GARDENER,L.FG., TO EDISON, RIDING HIS BICYCLEBG.

257-08

SCENE 40 - MS - GRACE, REACTING ANDRUNNING R. AS CAMERA PANS WITHHER.

261-00

SCENE 41 - INT. GRACE'S CAR - DAY - CS- HIGH ANGLE - GRACE (TORSO), SEATEDIN THE DRIVER'S SEAT, FASTENING HERSEAT BELT.

264-11

SCENE 42 - CS - GRACE (TORSO),PUTTING THE CAR IN DRIVE.

265-15

SCENE 43 - EXT. EDGAR AND ESTELLE'SHOUSE - DAY - FS - GRACE, REVERSINGHER BEETLE OUT OF THE DRIVEWAY,R.FG., AS CAMERA PANS SLIGHTLY WITHIT.

268-11

SCENE 44 - MS - GRACE, REVERSINGHER CAR L. AS CAMERA PANS WITH HER.

273-01

SCENE 45 - INT. GRACE'S CAR - DAY - CS- GRACE (TORSO), SHIFTING GEARS.

274-00

SCENE 46 - EXT. EDGAR AND ESTELLE'SHOUSE - DAY - FS - GRACE, DRIVING HERCAR R.BG. AS CAMERA PANS R. WITHTHE CAR.

280-01

5-185 (OUT)



(10)

SCENE 47 - INT. EDGAR AND ESTELLE'SHOUSE/LIVING ROOM - DAY - FS - HIGHANGLE - EDGAR AND ESTELLE, SEATED LABORATORY: THE FOLLOWING TITLE #5-186 APPEARS AGAINST AACROSS FROM EACH OTHER IN THE LIGHT BACKGROUND. CHECK PRINT FOR PROPER POSITIONING.LIVING ROOM.

ESTELLE 5-186 280.11 287.05/ 6.10 ESTELLE TO EDGAR)Remember when you went away to Florida Remember when you went away to Florida

to, uh, build the apartments?287-08

SCENE 48 - MS - PAST EDGAR, R.FG., TOESTELLE.

ESTELLE 5-187 /287.09 289.03 1.10 ESTELLE TO EDGAR)You remember that. You remember that.

EDGAR(overlapping) (whispering) Yeah. (in low

tones) Mm-hm.

ESTELLE 5-188 289.07 292.01 2.10 ESTELLE TO EDGAR)(overlapping) (sniffs) And you were gone a And you were gone a very long time.

very long time.

EDGAR 5-189 292.05 293.13 1.08 EDGAR TO ESTELLE)(in low tones) Yes. Yes.

294-02

SCENE 49 - MS - PAST ESTELLE, L.FG.,TO EDGAR, NODDING.

ESTELLE 5-190 294.15 297.14 2.15 ESTELLE TO EDGAR)(in wavering voice) You were gone so long. You were gone so long.

(in low tones) I was so lonely. 301-10 5-191.

SCENE 50 - MCS - PAST EDGAR, R.FG.,TO ESTELLE, GESTURING.

EDGAR I was so lonely.Mm-hm.

ESTELLE 5-195 303.10 305.11 2.01 ESTELLE TO EDGAR)(overlapping) (inhales) (stammers) And, And, um....

um.... (smacks lips) Well, Joey came over.

It was my birthday and he brought flowers. Well, Joey came over.

EDGAR(overlapping) (grunts softly) 5-197 309.04 314.12/ 5.08 ESTELLE TO EDGAR)

ESTELLEAnd...

314-14

to build the apartments?

THROUGH (OUT)5-193.

5-194 299.01 301.08/ 2.07 ESTELLE TO EDGAR)

5-196 306.09 309.00 2.07 ESTELLE TO EDGAR)

It was my birthday and he brought flowers.



(11)

SCENE 51 - MS - PAST ESTELLE, L.FG.,TO EDGAR, GESTURING FG. ANDREACTING.

ESTELLE...um--

EDGAR 5-198 /315.00 316.11 1.11 EDGAR TO ESTELLE)(overlapping) (interrupting) I-I sent you I sent you flowers, hon.

flowers, (in low tones) hon. idiomatic term of affection)

ESTELLEYes, you did. 5-199 316.15 318.14 1.15 ESTELLE TO EDGAR)

EDGAR(overlapping) (chuckles softly)

ESTELLE 5-200 319.07 322.03 2.12 ESTELLE TO EDGAR)And, uh, champagne. (sniffs) And champagne.

EDGAR champagne.')Joey? Wait a minute.

326-01

SCENE 52 - MS - PAST EDGAR, R.FG., TO (Wait a minute : i.e., 'Wait a moment'ESTELLE. - Idiomatic expression of realization)

EDGARJoey Keenan? 5-202 326.08 328.13 2.05 EDGAR TO ESTELLE,

ESTELLE NODS. -Joey Keenan?

ESTELLE (Wait a minute : i.e., 'Wait a moment'Yes. - Idiomatic expression of realization)

EDGARMy... 5-203 /329.12 332.09/ 2.13 EDGAR TO ESTELLE,

329-10 THEN ESTELLE TO EDGAR)


EDGAR...business partner.

ESTELLE(off) (crying) Mm, that's right. (cries softly -

continues under following scene)332-10

SCENE 54 - MCS - ESTELLE, GESTURING.

ESTELLE 5-204 335.00 339.04/ 4.04 ESTELLE TO EDGAR)(in wavering voice) And we sat and we And we sat and we talked and we had

talked and we had dinner, and...339-05

(hon : diminutive of 'honey,' an

Yes, you did.

(i.e., 'Joey also brought over some

5-201 322.13 325.15/ 3.02 EDGAR TO ESTELLE)Joey? Wait a minute.

THEN ESTELLE TO EDGAR)

-Yes.

-My business partner. -That's right.

dinner, and we....



(12)


ESTELLE(off) ...we.... (exhales) (whimpers -

continues under following scene) 341-07

SCENE 56 - MCS - ESTELLE, GESTURINGAND REACTING.

ESTELLE 5-205 /341.09 343.11 2.02 ESTELLE TO EDGAR)And then.... It-It-- (stammers) It wasn't And then....

anything at first. And, um.... (inhales

sharply) It wasn't anything at first. And....351-08 (It wasn't anything at first : Implying,

SCENE 57 - MCS - EDGAR. friendship')

EDGARYou had an affair. 5-207 /351.09 353.05/ 1.12 EDGAR TO ESTELLE)

ESTELLE (affair : sexual relationship between(off) (crying) (stammers - continues under two people not married to each other)

following scene)353-06

SCENE 58 - MCS - ESTELLE, NODDING.

ESTELLE 5-208 /353.09 358.01 4.08 ESTELLE TO EDGAR)(in wavering voice) Yes. (inhales sharply) (over scene end) Yes. But it didn't last long, Edgar.

(in normal voice) But it didn't last...356-03


ESTELLE...long, Edgar.

EDGAR(exhales - continues under following

dialogue)

ESTELLE 5-209 358.05 363.07 5.02 ESTELLE TO EDGAR)(off) Didn't last long and-and we regretted it Didn't last long, and we regretted it very

very much. (whispering) I'm so sorry.366-12

SCENE 60 - MCS - PAST EDGAR, R.FG.,TO ESTELLE. EDGAR RISES, FACE OFF.

370-05

5-206 346.15 351.05/ 4.06 ESTELLE TO EDGAR)

'Our relationship was innocent in thebeginning' - 'Joey and I had a

You had an affair.

much.

5-210 363.11 365.15 2.04 ESTELLE TO EDGAR)I'm so sorry.



(13)

SCENE 61 - MS - PAST ESTELLE, L.FG.,TO EDGAR, RISING, AS CAMERA CRANESUP WITH HIM.

374-00

SCENE 62 - MCS - ESTELLE.

ESTELLE 5-211 374.13 377.08/ 2.11 ESTELLE TO EDGAR)(breathes heavily - continues under You're the only man I've ever loved.

following scene) You're the only man I've

ever loved.377-09


EDGAR 5-212 /377.12 380.14 3.02 EDGAR TO ESTELLE)Then why tell me now? Then why tell me now?

ESTELLE serves to alleviate her guilt at the cost(off) It's been botherin' me. (in wavering of causing Edgar immense pain)

voice) Our vows and everything. And...386-09 5-213 381.02 386.07/ 5.05 ESTELLE TO EDGAR)

SCENE 64 - MCS - ESTELLE. (Our vows and everything : i.e.,

ESTELLE wedding vows, and everything that...I wanted to tell you the (crying) truth. those vows represent')

390-15

SCENE 65 - MS - PAST ESTELLE, L.FG., And I wanted to tell you the truth.TO EDGAR.

EDGAR 5-215 /391.01 393.07 2.06 EDGAR TO ESTELLE)The truth? (sighs) (clears throat) Well, The truth?

unfortunately, Estelle, the truth makes

everything else seem like a lie. (breathes Well, unfortunately, Estelle...

heavily through nose - continues under

following scene) ...the truth makes everything else seem like407-06 a lie.

SCENE 66 - MCS - ESTELLE. (everything...lie : i.e., 'me think the

ESTELLE on a falsehood')(whispering) I'm sorry.

412-02

SCENE 67 - MCS - EDGAR, REACTING.

EDGAR(inhales sharply) (exhales)

(Implying that Estelle's revelation only

It's been botherin' me. Our vows andeverything.

'Because we are going to renew our

5-214 /386.11 389.12 3.01 ESTELLE TO EDGAR)

5-216 397.07 400.15 3.08 EDGAR TO ESTELLE)

5-217 401.03 406.03 5.00 EDGAR TO ESTELLE)

(the truth makes : i.e., 'your revelationmakes')

foundation of our marriage is based

5-218 409.01 410.14 1.13 ESTELLE TO EDGAR)I'm sorry.



(14)


EDGAR TURNS AND WALKS L.BG. INTO AMS. AS CAMERA PANS WITH HIM. HEWALKS R.BG. DOWN A HALLWAY,EXITING.

425-01

SCENE 68 - EXT. AIRPLANE/SKY - DAY -LS - AERIAL SEQUENCE - THE AIRPLANE,FLYING BG. AS CAMERA TRAVELS BG.

KATE 5-219 426.11 429.13/ 3.02 KATE TO HOLDEN) (voice over)(voice over) Why do you hate heart-shaped ITAL Why do you hate heart-shaped candy?

candy?

AERIAL SEQUENCE ENDS.430-00

SCENE 69 - INT. AIRPLANE - DAY - MS -PAST KATE, SEATED IN L.FG., TOHOLDEN, ALSO SEATED ON THECROWDED AIRPLANE.

HOLDEN 5-220 430.07 436.13 6.06 HOLDEN TO KATE)I think it's because it reminds me that this I think it's because it reminds me that this is

is Valentine's Day and, uh, I'm recently

single.

KATE(smacks lips) (in low tones) Oh.

HOLDEN 5-221 437.15 440.13 2.14 HOLDEN TO KATE, We just-- We weren't on the same page. THEN KATE TO HOLDEN)

KATE -Sorry.(overlapping) Sorry. (We : i.e., 'My former lover' - Note that

HOLDEN gay, but here he is purposely using(overlapping) It's-- It's okay. It's over. ambiguous, non-gender specific,

444-14 terms to discuss his lovelife [This is

SCENE 70 - MCS - PAST HOLDEN, L.FG., a wife or girlfriend])TO KATE. (on the same page : idiomatic for

KATE agreement about certain aspects ofNothing to be done? our relationship')

HOLDENNo, no. 5-222 441.01 444.12/ 3.11 HOLDEN TO KATE)

Valentine's Day and I'm recently single.

-We weren't on the same page.

it will be revealed later that Holden is

not known by Kate or the audience,who assumes Holden is talking about

'thinking in a similar way' - 'in

It's okay. It's over.

5-223 /445.00 447.15/ 2.15 KATE TO HOLDEN, THEN HOLDEN TO KATE)-Nothing to be done? -No, no.

(Nothing to be done : i.e., 'There isnothing that can do to repair therelationship')



(15)


HOLDEN (cont'd) 5-224 /448.03 450.13/ 2.10 HOLDEN TO KATE)I've... I've seen the enemy and the enemy is me.

448-01 (Implying that it was something about

SCENE 71 - MCS - PAST KATE, R.FG., TO possibly referring to the fact thatHOLDEN. Holden is a gay male, as [as will be

HOLDEN audience at this time] Holden's former...seen the enemy and the enemy is me. lover is Sean Jackson, and

450-15 professional football and its fans are

SCENE 72 - MS - PAST HOLDEN, L.FG., TO of Sean's relationship with HoldenKATE. would end his football career - Note

KATE have met the enemy and it is us" byWell, you could go for the stewardess. She Pogo, the titular character of a

seems to like you. Walt Kelly that often engaged in social455-04 and political satire through the

SCENE 73 - MS - PAST A FEMALE that the Pogo quote was a parody of aPASSENGER, SEATED IN L.FG., TO TWO message sent in 1813 from U.S. NavyFEMALE FLIGHT ATTENDANTS, SERVING Commodore Oliver Hazard Perry toBEVERAGES OFF A BEVERAGE CART. A Army General William Henry HarrisonBLONDE FLIGHT ATTENDANT after the Battle of Lake Erie, statingFLIRTATIOUSLY GLANCES FG. AT O.S. "We have met the enemy, and they areHOLDEN. ours")

HOLDEN(off) I think she likes everybody... 5-225 /451.01 455.03/ 4.02 KATE TO HOLDEN)

457-02 Well, you could go for the stewardess. She

SCENE 74 - MS - PAST KATE, R.FG., TO easily seduce')HOLDEN.

HOLDEN 5-226 455.13 458.14 3.01 HOLDEN TO KATE)...that's her job. (over scene end) I think she likes everybody, that's her job.

KATE not paying him any special attentionShe looks over here every five seconds. but merely being friendly as part of her

HOLDENNo.

464-04 5-227 459.02 462.11 3.09 KATE TO HOLDEN)

SCENE 75 - MS - PAST HOLDEN, L.FG., TO often' and [2] literally, 'every 5KATE. seconds')

KATEReady? 5-228 462.15 464.03/ 1.04 HOLDEN TO KATE)

Holden's essential nature that causedthe relationship to end - In this case,

revealed but is unknown to the

not stereotypically tolerant ofhomosexuality; thus public knowledge

allusion to the famous quote "We

long-running comic strip created by

adventures of its anthropomorphicfunny animal characters - Also note

seems to like you.(go for : i.e., 'express an interest in' -

(Implying that the Flight Attendant is

job duties)

She looks over here every 5 seconds.(Note double meaning - [1] i.e., 'very

No.

5-229 /464.07 466.01 1.10 KATE TO HOLDEN)Ready?

(i.e., 'Are you ready to count?' - 'Are youready to see how often she looks overhere?')



(16)


KATE (cont'd) 5-230 466.05 469.11 3.06 KATE TO HOLDEN, Five, four... THEN HOLDEN TO KATE)

HOLDEN -You wanna bet on it?(overlapping) You wanna bet on it?

KATE 5-231 469.15 473.09 3.10 KATE TO HOLDEN, ...three-- I'll bet you a bag of pretzels. THEN HOLDEN TO KATE)

HOLDEN -Okay.Okay.

KATE CROSSES HER ARMS.

KATE *5-232 473.13 477.02/ 3.05 KATE TO HOLDEN)(in low tones) Five, four... (over scene end) Five, four, three, two....

475-01

SCENE 76 - MS - PAST A MALEPASSENGER, SEATED IN L.FG., TO THETWO FLIGHT ATTENDANTS.

KATE(off)...three, two....

THE BLONDE FLIGHT ATTENDANTGLANCES FG.

477-04

SCENE 77 - MS - PAST KATE, R.FG., TOHOLDEN, REACTING.

KATE 5-233 /477.06 479.05 1.15 KATE TO HOLDEN)Oh, there it is. Oh, there it is.

HOLDEN discovery - i.e., 'she is looking at you(chuckles) Okay. A-All right, that was a right now')

coincidence.

KATE Okay. All right, that was a coincidence.Five...

HOLDEN 5-235 482.05 486.04/ 3.15 KATE TO HOLDEN,(whispering) Stop it. (off) Stop it. (over scene end) THEN HOLDEN TO KATE)

KATE -Stop it. Stop it.(overlapping) ...four...

484-07

SCENE 78 - MCS - THE FLIGHTATTENDANT, GLANCING FG. AS SHEPOURS A BEVERAGE.

KATE(off)...three--

486-06

-Five, four, three--

-I'll bet you a bag of pretzels.

(there it is : idiomatic expression of

5-234 479.09 482.01 2.08 HOLDEN TO KATE)

-Five, four, three--



(17)

SCENE 79 - MS - PAST HOLDEN, L.FG., TOKATE, REACTING.

KATE 5-236 /486.08 489.06/ 2.14 KATE TO HOLDEN)Oh, she looked on three. She's gonna She looked on three. She's gonna come

come over here. (She looked on three : i.e., 'She

HOLDEN finish counting to five')(overlapping) (chuckles - continues under


SCENE 80 - MS - THE BLONDE FLIGHTATTENDANT, STEPPING FG. AROUNDTHE BEVERAGE CART, AS THE SECONDFLIGHT ATTENDANT (ARM) CONTINUESSERVING BEVERAGES.

HOLDEN(off) (chuckling) No. (softly chuckles -


FLIGHT ATTENDANT 5-237 /489.10 491.07/ 1.13 FLIGHT ATTENDANT TO HOLDEN)'Scuse me. 'Scuse me.

KATE(off) (clears throat - continues under

following scene)491-10

SCENE 81 - MS - PAST KATE, R.FG., TOHOLDEN, AS THE FLIGHT ATTENDANTENTERS L., SMILING BROADLY.

FLIGHT ATTENDANT 5-238 /491.11 493.08/ 1.13 FLIGHT ATTENDANT TO HOLDEN)(off) Can I (on) getcha anything? Can I getcha anything?

HOLDEN(overlapping) Uh--

493-09

SCENE 82 - MS - PAST HOLDEN, L.FG.,AND THE FLIGHT ATTENDANT (HAND),R.FG., TO KATE, REACTING.

KATE 5-239 /493.12 496.04 2.08 KATE TO FLIGHT ATTENDANT)(interrupting) A bag of pretzels, please. A bag of pretzels, please.

HOLDEN(overlapping) (chuckles softly) (clears

throat)

THE FLIGHT ATTENDANT (TORSO)GESTURES AND CROSSES L.,MOMENTARILY OBSCURING KATE ANDHOLDEN BEFORE EXITING.

over here.

looked at you before I could even

(getcha : get you)



(18)


HOLDEN (cont'd) 5-240 498.04 500.07 2.03 HOLDEN TO FLIGHT ATTENDANT)Two, actually. Two, actually.

KATE(laughs) 5-241.

501-11 THROUGH (OUT)

SCENE 83 - EXT. BURBANK STREET - DAY- LS - A MAN DRIVING A RED TRUCK L.,EXITING, TO REVEAL EDISON, RIDING HISBICYCLE L.BG. PAST A RESTAURANT ASCAMERA PANS WITH HIM AND ZOOMSOUT. A SIGN OUTSIDE THE RESTAURANTREADS:

originalDOUBLE DECKHAMBURGER

513-09

SCENE 84 - EXT. HOSPITAL - DAY - LS - AGARDENER, USING A LEAFBLOWER, ASJULIA, VISIBLE THROUGH A GLASSWALKWAY, QUICKLY MOVES L.

519-01

SCENE 85 - FS - THROUGH THE GLASSWALKWAY TO JULIA, WALKING L. ASCAMERA PANS WITH HIM.

521-15

SCENE 86 - INT. HOSPITAL/NURSES'STATION - DAY - FS - OVER SEVERALSEATED SENIOR CITIZENS, FG., ANDPAST A PARTITION TO JULIA, WALKINGL.FG. AS CAMERA PANS WITH HER.

PEOPLE IN HOSPITAL(overlapping, low and indistinct chatter -


dialogue)

CANDY STRIPER *5-259 522.01 525.04/ 3.03 CANDY STRIPER(off) Thank you for the Valentine flowers, Mr. TO MALE PATIENT #1)

Troken. Troken.525-06

5-258.

Thank you for the Valentine flowers, Mr.



(19)

SCENE 87 - FS - PAST A NURSE,PUSHING A MALE PATIENT IN AWHEELCHAIR, R.FG., TO ANOTHERNURSE, ALSO PUSHING A SECOND MALEPATIENT IN A WHEELCHAIR. THEY EXITR.FG. AS JULIA ENTERS R.BG., WALKINGL.FG. AS CAMERA SLOWLY DOLLIES IN.

CANDY STRIPER 5-260 525.15 528.05 2.06 CANDY STRIPERReady for your sponge bath? TO MALE PATIENT #1)

MALE PATIENT #1 (sponge bath : type of bathing,(off) Yes, please. usually conducted in hospitals, which

MALE PATIENT #2 sponge or washcloth using a basin,(off) (overlapping) (chuckles) rather than immersing the person in

TEXT ON A PILLAR READS:

The Lawrence 5-260A 528.09 531.01 2.08 MALE PATIENT #1Foundation TO CANDY STRIPER)

JULIA WALK R. INTO A MS. AS CAMERAPANS WITH HER AS SHE STEPS TOWARDA RECEPTION DESK, INCLUDING AYOUNG NURSE SEATED BEHIND THEDESK.

JULIA 5-261 544.15 547.12 2.13 JULIA TO YOUNG NURSE)Hi, excuse me. (whispering) Hi. Hi, excuse me. Hi.

THE YOUNG NURSE RISES AND STEPSL.BG. TOWARD JULIA.

JULIA (cont'd) 5-262 548.13 551.13 3.00 JULIA TO YOUNG NURSE)(in normal voice) Could I ask you a Could I ask you a question?

question? Um, I'm looking for Dr.

Copeland. Is he here tonight? 5-263 552.01 556.08 4.07 JULIA TO YOUNG NURSE)

YOUNG NURSE tonight?Not tonight, no.

JULIA 5-264 556.12 558.13 2.01 YOUNG NURSE TO JULIA)Oh, sorry, Dr. Harrison Copeland. Not tonight, no.

YOUNG NURSENot tonight. 5-265 559.01 561.15 2.14 JULIA TO YOUNG NURSE)

JULIA (Sorry : i.e., 'Sorry, perhaps I shouldCould you tell me where I could find him? have been more explicit')

568-10

SCENE 88 - MCS - PAST THE YOUNG Not tonight.NURSE, R.FG., TO AN OLDER NURSE,OUT OF FOCUS.

YOUNG NURSE Could you tell me where I could find him?Are you a patient? Is something wrong?

573-10

Ready for your sponge bath?

involves washing someone with a

water)

Yes, please.

(Could : Colloquial for 'May' - 'Can')

I'm looking for Dr. Copeland. Is he here

Sorry, Dr. Harrison Copeland.

5-266 562.11 565.01 2.06 YOUNG NURSE TO JULIA)

5-267 566.01 568.08/ 2.07 JULIA TO YOUNG NURSE)

5-268 /568.12 573.06/ 4.10 YOUNG NURSE TO JULIA)Are you a patient? Is something wrong?



(20)

SCENE 89 - MCS - JULIA, GLANCING L.AND REACTING.

JULIA 5-269 581.11 585.10 3.15 JULIA TO YOUNG NURSE)Um.... (inhales sharply) Look, (stammers) Look, can I ask you a question?

can I ask you a question? Just woman to

woman. 5-270 585.14 587.11/ 1.13 JULIA TO YOUNG NURSE)587-13 Just woman to woman.

SCENE 90 - MCS - PAST YOUNG NURSE, temporarily disregarded to facilitate aR.FG., TO THE OLDER NURSE. conversation on a personal topic that

YOUNG NURSE being a woman)Okay.

JULIA 5-271 589.11 591.07 1.12 YOUNG NURSE TO JULIA)(off) (breathes heavily - continues under Okay.


SCENE 91 - MCS - JULIA.

JULIA 5-272 598.01 600.11 2.10 JULIA TO YOUNG NURSE)(softly chuckles) Is Dr. Copeland married? Is Dr. Copeland married?

Not divorced and not separated, just full-on

married to a woman named Pamela? Not divorced and not separated, just full-on611-01 married to a woman named Pamela?

SCENE 92 - MCS - PAST YOUNG NURSE,R.FG., TO THE OLDER NURSE, ASYOUNG NURSE GLANCES BG. AT HER.OLDER NURSE NODS.

614-06

SCENE 93 - MS - PAST YOUNG NURSE,L.FG., TO JULIA, AS YOUNG NURSELOOKS BG. AT HER.

YOUNG NURSE 5-274 616.13 620.14 4.01 YOUNG NURSE TO JULIA)They just celebrated their fifteenth They just celebrated their 15th anniversary.

anniversary.

YOUNG NURSE ANSWERS HER RINGINGPHONE.

YOUNG NURSE (cont'd) 5-275 624.01 626.03 2.02 YOUNG NURSE INTO PHONE TO PERSON)(into telephone) Cardiology Center. Cardiology Center.

YOUNG NURSE LOWERS HERSELF OUTOF FRAME.

626-09

(Look : i.e., 'Listen')

(woman to woman : used to requestthat all formal considerations be

is directly related to the experience of

5-273 602.15 610.14/ 7.15 JULIA TO YOUNG NURSE)

(full-on : slang for 'unequivocally' -'completely')



(21)

SCENE 94 - MS - OLDER NURSE,WALKING L.FG. INTO A MCS. AS CAMERA LABORATORY: THE FOLLOWING TITLE #5-275A APPEARS AGAINST APANS WITH HER TO INCLUDE JULIA, LIGHT BACKGROUND. CHECK PRINT FOR PROPER POSITIONING.L.FG.

YOUNG NURSE 5-275A 632.10 636.09 3.15 YOUNG NURSE INTO PHONE TO PERSON)(off) (into telephone) Los Angeles Hospital, Los Angeles Hospital, may I help you?

may I help you?

OLDER NURSE 5-276 639.05 643.03 3.14 OLDER NURSE TO JULIA)(whispering) Bistro Garden, early seating. Bistro Garden, early seating.

OLDER NURSE EXITS L. AS JULIA TURNS European Continental restaurant inFG. Studio City, California, a suburb of

655-14 Los Angeles)

SCENE 95 - EXT. HOSPITAL/BRIDGE - DAY early evening, usually around 6 p.m. -- LS - A DOCTOR, CROSSING L. note that on major holidays likeTHROUGH THE COURTYARD, AND THE Valentine's Day some restaurants willGARDENER, USING THE LEAFBLOWER, establish pre-set dining times of 'earlyAS JULIA WALKS R. ACROSS THE GLASS seating' and 'late seating' to manageWALKWAY. the volume of patrons)

JULIA at the Bistro Garden during early(into telephone) Kara, I'm still here. I'm-I'm seating, because he has made

in L.A.661-05

SCENE 96 - FS - THOUGH THE GLASS (here : i.e., 'in Los Angeles, [becauseWALKWAY TO JULIA, WALKING R. AS I decided to not go to San Francisco]')CAMERA PANS WITH HER. (L.A. : Abbreviation for 'Los Angeles')

JULIA(into telephone) I have a lot to tell you. Give *5-277A /661.07 664.08/ 3.01 JULIA INTO PHONE TO KARA)

me a call when you can. you can.664-09

SCENE 97 - EXT. MARRIOT HOTELROOFTOP - DAY - LS - SEVERAL LARGECONDOMINIUMS AND A MARINA, ASCAMERA DOLLIES L. TO REVEAL A TENTSET UP ON THE ROOFTOP UNDERWHICH SEAN JACKSON AND KARASTAND. SEVERAL REPORTERS STAND INFG., LOOKING ON, AS KARA STEPS R.AND SEAN WALKS BG. TO THEMICROPHONE.

KARA 5-278 666.02 668.05 2.03 KARA TO GROUP)(off) (into microphone) May I have your May I have your attention, please?

attention, please? I'm Sean's publicist, and

recently there has been a lot of speculation I'm Sean's publicist...

about his future.

(Bistro Garden : A French and

(early seating : used to refer to apre-established dining period in the

(Implying that Harrison can be found

reservations)

*5-277 657.08 661.03/ 3.11 JULIA INTO PHONE TO KARA)Kara, I'm still here. I'm in L.A.

I have a lot to tell you. Give me a call when

5-278A 668.09 670.04 1.11 KARA TO GROUP)

5-279 670.08 674.15 4.07 KARA TO GROUP)...and recently there has been a lot ofspeculation about his future.



(22)


KARA (cont'd) 5-280 675.03 681.03 6.00 KARA TO GROUP)(off) (into microphone) And rather than keep And rather than keep you all in suspense, he

you all in suspense, he will make a brief (in suspense : i.e., 'in a state of

statement (on) (into microphone) at this 'wondering')

time.686-11

SCENE 98 - MS - KELVIN AND GREG,STANDING AMONGST SEVERALREPORTERS HOLDING CAMERAS.

GREG *5-280A /686.13 689.00/ 2.03 GREG TO KELVIN)Hey, boss. Sorry, elevator took a year. Hey, boss. Sorry, elevator took a year.

GREG HANDS KELVIN A MICROPHONE. referring to Kelvin)689-02 (elevator took a year : i.e., 'the

SCENE 99 - MS - KELVIN, RECEIVING THEMICROPHONE FROM GREG, HOLDING ACAMERA. THEY ARE SURROUNDED BYOTHER REPORTERS.

KELVIN *5-280B /689.04 692.07/ 3.03 KELVIN TO GREG, You cleanin' up, huh? (over scene end) THEN GREG TO KELVIN)

-You cleanin' up, huh? GREG -Yeah, I'm tryin' to be you, you know?(overlapping) Yeah... (You cleanin' up : i.e., 'You're

690-14 cleaning up' , slang for 'You're

SCENE 100 - MS - KELVIN AND GREG, IN in a suit and tie)THE MIDST OF SEVERAL REPORTERS. (be you : i.e., 'be more like you' - 'copy

GREG...I'm tryin' to be you, you know?

KELVIN(overlapping) All right.

692-09

SCENE 101 - FS - OVER THEREPORTERS, FG., TO SEAN, STANDINGBEHIND A PODIUM, FLANKED BY AFEMALE INTERPRETER AND KARA.

KELVINAll right.

SEAN *5-281 693.00 697.01/ 4.01 SEAN TO GROUP)(into microphone) First off I'd like to thank First off, I'd like to thank everyone for coming.

everyone for coming. I-- first thing I would like to say is')697-02

will make a brief statement at this time.

suspenseful anticipation' -

(boss : an employer or supervisor -

elevator took a very long time' - notewry hyperbole)

meticulously dressing and groomingnow', referring to Greg being dressed

your style')

(First off : idiomatic for 'First' - 'The



(23)

SCENE 102 - MFS - OVER SEVERALREPORTERS, FG., TO SEAN.

SEAN 5-282 /697.05 701.13/ 4.08 SEAN TO GROUP)I know it's Valentine's Day and you might I know it's Valentine's Day and you might

have other plans, so I'll be quick. (quick : i.e., 'brief')701-14

SCENE 103 - MS - THE FEMALEINTERPRETER, GESTURING AS SHEPERFORMS SIGN LANGUAGE.

SEAN 5-283 703.04 705.07/ 2.03 SEAN TO GROUP)(off) (into microphone) The cliché... The cliché...

705-09

SCENE 104 - INT. ACM/PAULA'S OFFICE -DAY - MFS - PAST PAULA, LYING FACE-DOWN ON A MASSAGE TABLE, R.FG., TO AFEMALE MASSEUSE POUNDING PAULA'SBACK. CAMERA PANS L. AND DOLLIES IN,OFF PAULA AND THE MASSEUSE, TOREVEAL A TELEVISION DISPLAYING SEANJACKSON.

SEAN 5-284 /705.11 710.05 4.10 SEAN TO GROUP)(over television) ...when someone's (on ITAL (over scene end) ...when someone's retiring who doesn't want

television) retiring who doesn't want to

retire is to say that it's because they want to 5-285 710.09 713.08/ 2.15 SEAN TO GROUP)

spend more... spend...

A GRAPHIC ON THE TV READS:

LIVE ...more time with their family. KVLA SEAN JACKSON

713-10

SCENE 105 - EXT. MARRIOT HOTELROOFTOP - DAY - FS - PAST SEAN, R.FG.,TO THE GROUP OF REPORTERS,INCLUDING KELVIN AND GREG.

SEAN 5-287 716.08 723.04 6.12 SEAN TO GROUP)(into microphone) ...time with their family. I (over scene end) I don't have a family, and with everything

don't have a family... (I don't have a family : i.e., 'I'm not718-04 married and do not have any children')


SEAN 5-288 724.08 729.04 4.12 SEAN TO GROUP)(into microphone) ...and with everything (over scene end) ...the biggest thing it's taken away is that.

football has given me, the biggest thing it's my life it has suppressed and

taken... family.')727-07

have other plans, so I'll be quick.

to retire...

ITAL ...is to say that it's because they want to

5-286 /713.12 716.04 2.08 SEAN TO GROUP)

football has given me...

(football : i.e., 'that my footballcareer')

(i.e., '...the most significant aspect of

excluded is the opportunity to have a



(24)

SCENE 107 - MS - PAST KELVIN ANDGREG, FG., TO SEVERAL CAMERAMEN.KELVIN GESTURES.

SEAN 5-289 730.02 734.07 4.05 SEAN TO GROUP)(off) (into microphone) ...away is that. (over scene end) Because of who I am...

Because of...731-07

SCENE 108 - MS - KARA, SMILING.

SEAN 5-290 735.08 737.09/ 2.01 SEAN TO GROUP)(off) (into microphone) ...who I am, because ...because of my job...

of my job...737-12

SCENE 109 - FS - OVER THEREPORTERS, FG., TO SEAN, FLANKED BYTHE FEMALE INTERPRETER AND KARA.

SEAN 5-291 /737.13 742.04 4.07 SEAN TO GROUP)(into microphone) ...I haven't been able to ...I haven't been able to live the life I want to.

live the life I want to.743-06

SCENE 110 - MS - PAST KELVIN ANDGREG, FG., TO SEVERAL CAMERAMEN.GREG OPERATES HIS CAMERA.

SEAN 5-292 /743.08 749.05/ 5.13 SEAN TO GROUP)(off) (into microphone) With that in mind, I'll With that in mind, I'll just say the thing I came

just say the thing I came here to say. (With that in mind : Note double749-06 meaning - [1] Idiomatic request for the

SCENE 111 - MCS - SEAN. the context as subsequent

SEAN 'With that concern still present in my(into microphone) I'm gay. thoughts and feelings' - 'It is due to

PEOPLE AT PRESS CONFERENCE(overlapping, low and indistinct chuckles

and chatter - continues under following LIGHT BACKGROUND. CHECK PRINT FOR PROPER POSITIONING.

scene and dialogue)753-03 5-293 751.01 752.13 1.12 SEAN TO GROUP)


GREG(off) Oh, wow.

SIGN LANGUAGE INTERPRETER(overlapping) (clicks tongue)

755-09

here to say.

listener to maintain the providedinformation and continue to recognize

information is introduced and [2] i.e.,

that context that')

LABORATORY: THE FOLLOWING TITLE #5-293 APPEARS AGAINST A

I'm gay.



(25)

SCENE 113 - INT. ACM/PAULA'S OFFICE -DAY - MCS - PAULA, LIFTING HER HEADFROM THE MASSAGE TABLE AS CAMERATILTS UP WITH HER.

PEOPLE AT PRESS CONFERENCE(over television) (overlapping, low and

indistinct chuckles and chatter - continues

under following scene and dialogue)

PAULA 5-294 757.01 758.11/ 1.10 PAULA) (exclaiming)I knew it! I knew it!

758-13

SCENE 114 - EXT. MARRIOT HOTELROOFTOP - DAY - LS - HIGH ANGLE -PAST THE GROUP OF REPORTERS, FG.,TO SEAN, FLANKED BY THE FEMALEINTERPRETER AND KARA.

PEOPLE AT PRESS CONFERENCE(overlapping, low and indistinct chatter -


dialogue)

SEAN *5-295 /758.15 761.04 2.05 SEAN TO GROUP,(into microphone) Any questions? THEN REPORTER #1 TO SEAN)

REPORTER #1 -What, are you kiddin' me?What, are you kiddin' me? (What : Rhetorical question

SEAN conversation, often to solicit(into microphone) And-And... agreement)

762-06 (are you kiddin' me : are you kidding

SCENE 115 - MS - SEAN. me')

SEAN(into microphone) ...be cool, 'cause I'm not 5-296 761.08 766.13/ 5.05 SEAN TO GROUP)

above kickin' anybody's ass. anybody's ass.766-15 (be cool : slang for 'be polite' -

SCENE 116 - MS - KARA, STEPPING L. AS about my homosexuality orCAMERA PANS WITH HER TO INCLUDE homosexuals')SEAN. (I'm not above : Idiomatic for 'I'm not

REPORTER #1 appearances that I will resist')(off) Sean, you for real? (kickin' anybody's ass : kicking

-Any questions?

informally used parenthetically in

me - idiomatic expression ofincredulity - i.e., 'are you joking with

(over scene end) And be cool, 'cause I'm not above kickin'

'behave respectfully' - i.e., 'don't makeany jokes or derogatory remarks

so concerned with professional

anybody's ass - vulgar slang for'physically assaulting anybody' - notethat 'ass' is also vulgar slang for'buttocks')

*5-297 /767.01 769.07 2.06 REPORTER #1 TO SEAN)(OPTIONAL)Sean, you for real?

(you for real : slang for 'are you beingserious right now')



(26)


KARA 5-299 772.03 774.06 2.03 KARA TO GROUP)(into microphone) Uh, first question. Um... First question.

REPORTER #2(off) Uh, Sean, come on... *5-299A 775.11 778.12 3.01 REPORTER #2 TO SEAN) (OPTIONAL)

777-02 (over scene end) Sean, come on, help me out.

SCENE 117 - MCS - KELVIN, RAISING HIS (help me out : implying 'help me byHAND. letting me ask a question first')

REPORTER #2(off) ...help me out.

779-06

SCENE 118 - MCS - SEAN AND KARA,GESTURING FG.

KARA 5-300 780.05 782.09/ 2.04 KARA TO KELVIN)(into microphone) ...Kelvin Moore, KVLA. Kelvin Moore, KVLA.

782-09

SCENE 119 - FS - PAST KARA, R.FG., TOTHE REPORTERS, INCLUDING KELVINAND GREG.

KELVIN 5-301 783.02 788.02/ 5.00 KELVIN TO SEAN)Uh, Sean, I'm confused here. Are you Sean, I'm confused here. Are you saying that

saying that you're retiring?

KARA STEPS L., EXITING, AS SEANENTERS R., STEPPING L. TO THEPODIUM.

788-04

SCENE 120 - MFS - OVER SEVERALREPORTERS, FG., TO SEAN.

SEAN 5-302 /788.06 791.14/ 3.08 SEAN TO KELVIN)(into microphone) Oh, right, that. Oh, right, that.

792-02 (i.e., 'Oh, you're right to point out that I


SEAN *5-303 793.10 798.11 5.01 SEAN TO SEAN)(off) (into microphone) (chuckles) Nah, (over scene end) Nah, Kelvin, no, I'm not retiring.

Kelvin. 795-13

*5-298 (OUT)

(come on : idiomatic expression ofurging)

you're retiring?

had forgotten to address that'.)

(Nah : Idiomatic dissent)



(27)


SEAN 5-304 799.11 803.14/ 4.03 SEAN TO GROUP)(into microphone) (to group) No, I'm not I'm gay, and I'm gonna play.

retiring. I'm gay, and I'm gonna play. (play : i.e., 'continue to play804-00 professional football')

SCENE 123 - LS - THE GROUP OF telephone)REPORTERS, THE FEMALEINTERPRETER, SEAN, AND KARA.

REPORTERS(overlapping, indistinct chatter)

808-03 5-305.

SCENE 124 - EXT. GRACE'S CAR - DAY -FS - A CAR WASH, AS CAMERA TRAVELSL.BG. PAST IT. A SIGN READS:

HANDCAR

WASH

CAMERA PANS R., OFF THE SIGN, TOREVEAL GRACE, DRIVING HER BEETLE L.AS CAMERA TRACKS WITH HER.

817-00

SCENE 125 - MCS - GRACE, DRIVINGL.FG. AS CAMERA TRAVELS BACK WITHHER CAR.

820-06

SCENE 126 - EXT. BISTRO GARDEN - DAY- LS - GRACE, DRIVING HER BEETLE L.AS CAMERA PANS WITH HER TO REVEALA RESTAURANT. GRACE EXITS L.

GRACE *5-310 820.13 825.05 4.08 GRACE INTO PHONE TO ESTELLE,Pick up the phone, Estelle. Edgar. THEN TO EDGAR)

825-07 Pick up the phone, Estelle. Edgar.

SCENE 127 - FS - LOW ANGLE - THERESTAURANT, WHICH READS:

Bistro Garden

829-03

(gay : note rhyme with 'play')

(Grace calls Estelle and Edgar'shouse, but no one answers the

*5-304A (OUT)

THROUGH (OUT)5-309.



(28)

SCENE 128 - INT. BISTRO GARDEN - DAY- MS - PAST BISTRO WAITRESS #2 ANDAMOS, A WELL-DRESSED HOST, R.FG.,TO HARRISON, WALKING FG. INTO A MCS.

PEOPLE IN BISTRO GARDEN(overlapping, low and indistinct chatter -


dialogue)

AMOS *5-311 830.08 833.15 3.07 AMOS TO BISTRO WAITRESS #2,Rosato martini with soda, table six. THEN BISTRO WAITRESS #2 TO AMOS)

BISTRO WAITRESS #2 -You got it.You (face off) got it. (Rosato martini with soda : A cocktail

HARRISON WALKS R. AS CAMERA PANS vermouth and club soda)AROUND WITH HIM, OFF THE WAITRESS (Idiomatic assent - i.e., 'I will fulfill thatAND AMOS. HARRISON WALKS BG. PAST order right away.')A BISTRO WAITRESS AS CAMERADOLLIES IN BEHIND HIM.

BISTRO WAITRESS 5-312 834.03 837.12/ 3.09 BISTRO WAITRESS(off) I'm (on) not really a waitress, I'm an TO BISTRO GARDENS MAN)

actress. (really : i.e., 'primarily')837-14 (Note that this is a cliché and

SCENE 129 - MCS - PAMELA, SEATED AT A and actors)TABLE. HARRISON (TORSO) ENTERSR.FG. AND STEPS L., SITTING DOWN ATTHE TABLE BESIDE HER TO INCLUDEHIS FACE.

BISTRO WAITRESS 5-313 /838.00 841.13 3.13 BISTRO WAITRESS(off) I just did a day on Days of Our Lives. TO BISTRO GARDENS MAN)

HARRISON (did a day : i.e., 'did one day of actingHappy Valentine's Day. work')

HARRISON RAISES A FLUTE OF soap opera - to appear in ITALICS)CHAMPAGNE. (Note humor of considering such

PAMELA primary occupation)Happy Valentine's to you.

PAMELA RAISES HER GLASS AND *5-314 842.06 844.03 1.13 HARRISON TO PAMELA)TOASTS HARRISON. Happy Valentine's Day.

HARRISONYou look beautiful. 5-315 844.07 847.01 2.10 PAMELA TO HARRISON)

PAMELAThank you.

850-05 5-316 847.05 850.03/ 2.14 HARRISON TO PAMELA,

SCENE 130 - MCS - PAST HARRISON -Thank you.(HAND), R.FG., TO A BOTTLE OF (Julia pours a glass of champagne forCHAMPAGNE IN A BUCKET ON ICE. Harrison, but Harrison does not yet

HARRISON(face off) (sips) Mm.

-Rosato martini with soda, table six.

made with gin, Martini Rosato

I'm not really a waitress, I'm an actress.

stereotype of waitstaff in Los Angeles,many of whom are aspiring actresses

I just did a day on Days of Our Lives.

(Days of Our Lives : an American

minor, intermittent acting work one's

Happy Valentine's to you.

THEN PAMELA TO HARRISON)-You look beautiful.

realize it is Julia who is serving him)



(29)


JULIA (TORSO) ENTERS L.BG. AND PICKSUP THE BOTTLE OF CHAMPAGNE,REFILLING HARRISON'S FLUTE.

HARRISON (cont'd)(face off) (to Julia) Thank you.

PAMELA 5-317 855.01 857.06 2.05 PAMELA TO HARRISON)(off) Olivia's gonna need braces. Olivia's gonna need braces.

CAMERA TILTS UP TO INCLUDE one's teeth)HARRISON'S FACE AND DOLLIES BACKTO INCLUDE PAMELA.

HARRISON 5-318 857.10 860.06 2.12 HARRISON TO PAMELA)Well, that makes sense. I had them, you Well, that makes sense. I had them, you

had them. (Implying Olivia's need for braces is

PAMELAI know.

JULIA CROSSES R. AND REFILLS I know.PAMELA'S FLUTE.

HARRISON(inhales sharply) Mm. (inhales sharply)

AMOS *5-318B 866.06 868.12/ 2.06 AMOS INTO PHONE TO PERSON)(off) (into telephone) Bistro Gardens (OPTIONAL)

restaurant. (Bistro Gardens : i.e., 'Bistro Garden')

JULIA STEPS R.FG. AROUND THE TABLE.868-14

SCENE 131 - MCS - PAST HARRISON,SIPPING CHAMPAGNE IN L.FG., TO JULIA,STEPPING R.

HARRISON(sips - continues under following dialogue)

JULIA 5-319 869.13 871.08/ 1.11 JULIA TO HARRISON & PAMELA)Good evening. Good evening.

HARRISON for Harrison and Pamela's table,(with mouth full) (grunts) startling Harrison)

871-09

SCENE 132 - MS - PAST JULIA (TORSO),R.FG., TO HARRISON, REACTING, ANDPAMELA.

HARRISON(with mouth full) (coughs) (snorts) (gags)

(in normal voice) (coughs - continues

under following scene and dialogue) 875-03

(braces : dental braces to straighten

had them.

genetically inherited)

*5-318A 860.10 862.05 1.11 PAMELA TO HARRISON)

Bistro Gardens restaurant.

(Note that Julia poses as the waitress



(30)


JULIA 5-320 875.14 877.06 1.08 JULIA TO PAMELA)Hi. Hi.

PAMELA(off) Harrison? (chuckling) Are you... *5-321 878.15 882.04 3.05 PAMELA TO HARRISON,

879-10 (over scene end) THEN HARRISON TO JULIA & PAMELA)

SCENE 134 - MS - PAST JULIA (TORSO), ('Scuse : i.e., 'Excuse' - ImplyingR.FG., TO HARRISON AND PAMELA. 'Excuse me')

PAMELA(chuckling) ...okay? (chuckles - continues


HARRISON(overlapping) (in wavering voice) Excuse

me. 'Scuse-- (coughs - continues under

following dialogue)

PAMELAYou okay?

JULIA 5-322 882.08 885.05 2.13 JULIA TO HARRISON)(face off) (overlapping) You all right... (over scene end) You all right, sir?

883-07


JULIA *5-324 885.13 891.00 5.03 JULIA TO HARRISON & PAMELA)...sir? Great. (over scene end) Great. Well, my name is Julia and I'm gonna

PAMELA(off) (softly grunts - continues under

following dialogue)

JULIAWell, my name is Julia and I'm gonna be

your server...889-00

SCENE 136 - MCS - HARRISON,LOWERING HIS NAPKIN FROM HISMOUTH. JULIA (ARM) MOMENTARILYENTERS R.FG.

JULIA 5-325 891.04 894.02/ 2.14 JULIA TO HARRISON & PAMELA)(face off) ...tonight. (off) Why don't I get Why don't I get started with a few specials.

started with a few specials. describing a few dinner specials' - 'by894-03 describing a few special menu items')

-Are you okay? -Excuse me. 'Scuse--

*5-323 (OUT)

be your server tonight.

(with a few specials : i.e., 'by



(31)

SCENE 137 - MCS - PAMELA.

PAMELA 5-326 894.11 897.00/ 2.05 PAMELA TO JULIA)Yes, please. Yes, please.

JULIA(off) Tonight... 5-327 /897.04 903.01/ 5.13 JULIA TO HARRISON & PAMELA)

897-02 Tonight the chef is featuring a dish that he

SCENE 138 - MCS - PAST HARRISON, meaning - [1] i.e., 'reclining,L.FG., TO JULIA. malodorous pig,' used as a metaphor

JULIA unappetizing dinner special name...the chef is featuring a dish that he likes to and [2] i.e., 'dishonest, reprehensible

call the lying, stinking pig. allusion to 'male chauvinist pig,' a903-02 term used to describe a sexist male -

SCENE 139 - MS - PAST JULIA (TORSO),R.FG., TO HARRISON AND PAMELA.

PAMELA 5-328 906.03 909.00/ 2.13 PAMELA TO JULIA)You're-- You're (chuckling) ki-- You're You're kidding. How is that cooked?

kidding. (in normal voice) How is that disbelief - i.e., 'You're joking')

cooked?

JULIA 5-329 /909.05 912.14/ 3.09 JULIA TO HARRISON & PAMELA)(face off) He... He starts by cutting off the pig's testicles...

909-03 (For this Title through Title #5-330 :

SCENE 140 - MCS - PAST HARRISON, revenge)L.FG., TO JULIA, GESTURING.

JULIA...starts by cutting off the pig's testicles...

913-00

SCENE 141 - MS - A GROUP OF DINERS,SEATED AT A TABLE, TURNING FG. TOREGARD O.S. JULIA.

JULIA 5-330 /913.02 918.11 5.09 JULIA TO HARRISON & PAMELA)(off) ...and he chops them up really... (over scene end) ...and he chops them up really finely, teeny

915-07 tiny pieces.

SCENE 142 - MCS - PAST HARRISON,L.FG., TO JULIA, MAKING CHOPPINGMOTIONS WITH HER HAND.

JULIA 5-331 918.15 924.00/ 5.01 JULIA TO HARRISON & PAMELA)...finely, teeny tiny pieces. And then he takes And then he takes those testicles and he

those testicles and he-he pulverizes...924-01

likes to call the lying, stinking pig.(lying, stinking pig : note double

for Harrison - note humorously

cad,' referring to Harrison - note

also note that the dual meaning of thedish continues throughout this scene)

(You're kidding : Idiomatic phrase of

Implying that this is what Julia wouldlike to do to Harrison to exact her

(teeny tiny : idiomatic for 'very small' -i.e., 'into very small')

pulverizes them...



(32)

SCENE 143 - MS - PAST JULIA (TORSO),R.FG., TO HARRISON AND PAMELA.

JULIA 5-332 /924.04 929.00/ 4.12 JULIA TO HARRISON & PAMELA)(face off) ...them and adds in a little ...and adds in a little arugula, some sage...

arugula, some sage, um... used as a leaf vegetable)929-02 (sage : a small evergreen subshrub

SCENE 144 - MCS - JULIA, GESTURING.

JULIA 5-333 /929.04 933.08/ 4.04 JULIA TO HARRISON & PAMELA)...feta cheese, and shoves the mixture... ...feta cheese, and shoves the mixture...

933-09 (feta cheese : a brined curd cheese

SCENE 145 - MCS - HARRISON,GLANCING L., VISIBLY UNCOMFORTABLE.

JULIA 5-334 /933.12 936.13/ 3.01 JULIA TO HARRISON & PAMELA)(off) ...back up the pig's-- (inhales sharply - ...back up the pig's--

continues under following scene) 936-14

SCENE 146 - MCS - PAST HARRISON,L.FG., TO JULIA, GESTURING.

JULIA 5-335 937.04 940.05/ 3.01 JULIA TO HARRISON & PAMELA)Well, for lack of a better word, ass. Well, for lack of a better word, ass.

(chuckles) indicates the following word is not

HARRISON (ass : vulgar slang for 'rectum' -(overlapping) (exhales sharply) 'anus')

940-06

SCENE 147 - MCS - PAST MALE BISTROGARDENS DINER, SEATED AT A TABLE INR.FG., TO HIS WIFE. BISTRO GARDENSDINER GLANCES FG.

943-02

SCENE 148 - MCS - PAMELA, REACTING.

PAMELA 5-336 /943.04 944.10/ 1.06 PAMELA TO JULIA)Really? Really?

944-11

SCENE 149 - MS - PAST HARRISON,POURING HIMSELF ANOTHER GLASS OFCHAMPAGNE IN L.FG., TO PAMELA ANDJULIA.

JULIA 5-337 /944.14 948.12 3.14 JULIA TO HARRISON & PAMELA)Yeah. Then he cuts out the heart... Yeah. Then he cuts out the heart...

(arugula : an edible annual plant

used as a culinary herb)

traditionally made in Greece)

(for...word : idiomatic phrase that

entirely appropriate but will suffice)



(33)


JULIA (cont'd) 5-338 949.00 953.02/ 4.02 JULIA TO HARRISON & PAMELA)...the cold, useless, tiny little heart... ...the cold, useless, tiny little heart...

953-03 (Note double meaning - [1] Literally

SCENE 150 - MCS - HARRISON, pig...' and [2] i.e., '...the aloof, useless,REACTING. emotionless nature of Harrison...')

JULIA(off) ...then, uh... 5-339 953.09 959.07/ 5.14 JULIA TO HARRISON & PAMELA)

955-07 (over scene end) ...then fillets it on either side and it's a nice

SCENE 151 - MCS - PAST HARRISON, (amuse-bouche : French forL.FG., TO JULIA. 'mouth-amuser', a single, bite-sized

JULIA...fillets it on either side and it's a nice (in

French) amuse-bouche.

(amuse-bouche : French for 'mouth-amuser', a single, bite-sized hors d’œuvre)

HARRISON(overlapping) (exhales sharply)

959-09

SCENE 152 - MS - PAST JULIA (TORSO),R.FG., TO HARRISON, REACTING, ANDPAMELA.

HARRISON(sighing) (scoffs)

PAMELA 5-340 961.13 963.05/ 1.08 PAMELA TO JULIA)I'll have the salmon. I'll have the salmon.

963-06 (Note humor)


JULIA 5-341 964.01 966.00 1.15 JULIA TO PAMELA)Good choice. Good choice.

HARRISON(inhales sharply) (blows)

JULIA 5-341A 966.04 967.12/ 1.08 JULIA TO HARRISON)For you, sir? For you, sir?

967-13

SCENE 154 - MCS - HARRISON, GAZINGDOWN.

HARRISON 5-342 970.04 973.08/ 3.04 HARRISON TO JULIA)I--I'm-- I'm not-- (stammers) I don't--I don't I'm not-- I don't know.

know.

'...the cold, useless [now that the pigis deceased], tiny little heart of the

amuse-bouche.(nice : i.e., 'pleasant' - 'tasty')

hors d'oeuvre - to appear in ITALICS)



(34)


HARRISON GLANCES R.FG.

JULIA(off) (overlapping) Just--

973-10

SCENE 155 - MS - PAST HARRISON, L.FG.,TO PAMELA AND JULIA.

HARRISON(clears throat - continues under following

dialogue)

JULIA 5-343 /973.12 978.09 4.13 JULIA TO HARRISON & PAMELA)Oh, just so you know, the, um, (tsks) heart Oh, just so you know, the heart of the pig...

of the pig...

JULIA REMOVES THE TOY HEART ANDWINDS IT UP.

JULIA (cont'd) 5-344 /979.11 982.03 2.08 JULIA TO HARRISON & PAMELA)...little somethin' like this. ...little somethin' like this.

JULIA SETS THE TOY HEART DOWN ON Referring to the wind-up toy heart thatTHE TABLE. Harrison gave her, and which she

984-05 now winds up and puts on the table)

SCENE 156 - MCS - HIGH ANGLE - PASTJULIA (HAND AND ARM), R.FG., TOHARRISON (TORSO), AS THE WIND-UPHEART MOVES ON THE TABLE. JULIA(ARM) EXITS R.FG. AS HARRISON PICKSUP THE HEART AND CAMERA TILTS UPTO INCLUDE HIS FACE.

990-06

SCENE 157 - MCS - PAST BISTROGARDENS DINER, R.FG., TO HIS WIFE.

BISTRO GARDENS DINER *5-345 991.11 993.05/ 1.10 BISTRO GARDENS DINERDid we get a toy? TO BISTRO GARDENS DINER'S DATE)

993-06 Did we get a toy?

(i.e., '...looks somewhat like this.' -

(i.e., 'Did our waitress also give us atoy?')



(35)

SCENE 158 - MCS - PAST HARRISON,L.FG., TO JULIA, GESTURING.

JULIA 5-346 994.01 998.14/ 4.13 JULIA TO HARRISON)Maybe I'll give you a little time to juggle the Maybe I'll give you a little time to juggle the

choices... (juggle the choices : idiomatic for998-15 'consider the options' - note double

SCENE 159 - MCS - PAST HARRISON, various courses of action HarrisonL.FG., TO PAMELA. now has in dealing with Pamela -

JULIA Julia and Pamela [alternatingly(off) ...sir. seeing one of them while avoiding the

PAMELA GLANCES L.FG. AT HARRISON.1003-10

SCENE 160 - MCS - JULIA, NODDING ANDTURNING BG.

JULIA(breathes heavily)

1008-01

SCENE 161 - FS - HIGH ANGLE - THECROWDED RESTAURANT, AS JULIAWALKS L. AWAY FROM HARRISON ANDPAMELA. JULIA TAKES OFF HER APRONAND WALKS L.BG.

1013-07

SCENE 162 - MS - PAST JULIA, R.FG., TOAMOS, AS JULIA STEPS L.BG. TOWARDHIM, HANDING HIM HER APRON.

AMOS 5-347 1014.05 1015.13/ 1.08 AMOS TO JULIA)Nicely done. Nicely done.

1015-14 (Idiomatic approval)

SCENE 163 - MS - PAST AMOS, L.FG., TOJULIA.

JULIA(inhales sharply - continues under

following dialogue)

AMOS 5-348 1018.01 1022.01 4.00 AMOS TO JULIA)(chuckles) Miss Fitzpatrick, my son Franklin Miss Fitzpatrick, my son Franklin really loves

really loves your class.

JULIA 5-349 1022.05 1025.02 2.13 JULIA TO AMOS)(overlapping) Oh, he's got a great Oh, he's got a great imagination.

imagination.

AMOS 5-350 1025.06 1027.00 1.10 AMOS TO JULIA)(chuckling) Yeah. Yeah.

choices, sir.

implication - [1] referring to the variousmenu items and [2] referring to the

note allusion to Harrison 'juggling'

other, without their knowledge])

your class.



(36)


AMOS EXITS L.FG.

AMOS (cont'd) 5-351 1027.12 1030.06 2.10 AMOS TO JULIA)(off) (in normal voice) So I guess we'll... So I guess we'll charge these to--

AMOS ENTERS L.FG. AND HANDS JULIA A items paid for by' - referring to twoBAG OF TAKEOUT. bags of prepared food that Amos

AMOS (cont'd)(face off) ...charge (on) these to--

JULIA 5-352 1030.10 1033.15/ 3.05 JULIA TO AMOS)(overlapping) (interrupting) Oh, charge (over scene end) Oh, charge these to my friend over there.

these... Harrison)1032-00

SCENE 164 - MS - PAST JULIA, R.FG., TOAMOS. JULIA GLANCES R.FG. OVER HERSHOULDER.

JULIA...to my friend over there.

JULIA WAVES.1034-01

SCENE 165 - MFS - HARRISON ANDPAMELA, SURROUNDED BY OTHERDINERS AND WAITERS.

AMOS 5-353 /1034.03 1038.01/ 3.14 AMOS TO JULIA)(off) Yeah, that's what I figured, so I put in Yeah, that's what I figured, so I put in some

some extra lobster tails and a cheesecake. (figured : i.e., 'expected' - 'assumed')1038-01 (Implying Amos intentionally included

SCENE 166 - MS - PAST JULIA, L.FG., TOAMOS.

JULIA 5-354 1039.06 1041.13 2.07 JULIA TO AMOS)(chuckles) (chuckling) Thank you, Amos. Thank you, Amos.

JULIA WALKS R.BG., EXITING.

AMOS THROUGH (OUT)(overlapping) (chuckles) 5-357.

AMOS TURNS FG. AND GESTURES WITHTWO THUMBS UP.

1045-05

SCENE 167 - EXT. STREET - DAY - FS - ABUS, TRAVELING R.FG. DOWN THESTREET AS CAMERA PANS WITH IT. ANLED DISPLAY ON THE BUS READS:

750 UNIVERSAL CITY STA

(charge these to : i.e., 'have these

hands to Julia)

(my friend over there : referring to

extra lobster tails and a cheesecake.

expensive items to further punishHarrison)

5-355



(37)


LEIGHTON MEESTER(voice over) (sings "Somebody To Love" -


dialogue)

THE BUS DRIVES R., EXITING TO REVEALTHE GOLDEN KADAHI RESTAURANTACROSS THE STREET.

1055-10

SCENE 168 - EXT. GOLDEN KADAHIRESTAURANT - DAY - MFS - A DELIVERYVAN, THE SIDE OF WHICH READS: *5-358 /1055.12 1057.04 1.08 NARRATIVE TITLE) (of sign) (OPTIONAL)

the the Golden KadahiGolden Kadahi

CAMERA PANS L. AS KARA'S SUV ENTERSR., DRIVING L. TO THE VALET STAND. A 5-359 (OUT)VALET ENTERS R. AND RUNS L. ASKARA'S SUV PULLS TO A STOP. A SIGNOUTSIDE THE RESTAURANT READS:

Golden Kadahi

1064-01

SCENE 169 - FS - A VALET, STANDINGBESIDE KARA'S SUV, AS KARA REMOVESA BUNCH OF BALLOONS FROM HERBACK SEAT.

KARA 5-360 1065.05 1067.05 2.00 KARA TO INDIAN RESTAURANT VALET)Um, and then maybe these? And then maybe these?

1068-09 (i.e., 'Can you take these?' - referring

SCENE 170 - FS - THE VALET AND KARA,CARRYING A HEART PIÑATA ANDCLOSING THE DOOR OF HER SUV. *5-361 (OUT)CAMERA SLOWLY DOLLIES L.

KARA *5-362 1070.04 1074.01/ 3.13 KARA TO INDIAN RESTAURANT VALET)Put that ticket right-- Just put it where you're Put that ticket right-- Just put it where you're

lookin'. Yep. (Put that ticket right-- : Implying 'Put

THE VALET EXTENDS THE VALET TICKET valet ticket)R. TO KARA'S CLEAVAGE. (put it where you're lookin' : put it

1074-02 where you're looking - note that the

SCENE 171 - FS - THE VALET, PLACING dress, near her breasts)THE VALET TICKET IN KARA'S CLEAVAGE. (Yep : Idiomatic assent)

KARAYep. That's per-- Great. Thank you. 5-363 /1074.05 1076.13 2.08 KARA TO INDIAN RESTAURANT VALET)

INDIAN RESTAURANT VALET(overlapping) All right.

(Made-up Indian restaurant)

to several helium balloons that Karahands to the Indian Restaurant Valet)

lookin'. Yep.

that ticket right here' - Referring to the

Indian Restaurant Valet complies,putting the valet ticket inside Kara's

Yep. Great. Thank you.



(38)


KARA TAKES THE BUNCH OF BALLOONSFROM THE VALET AND WALKS L. ASCAMERA PANS WITH HER, OFF THEVALET.

KARA *5-364 1077.01 1080.03 3.02 KARA TO INDIAN RESTAURANT VALET)Now let me take that thing. Thank you very Now let me take that thing.

much. Appreciate it. of balloons and other items)

INDIAN RESTAURANT VALET(overlapping) Uh-huh. *5-365 1080.09 1083.13 3.04 KARA TO INDIAN RESTAURANT VALET)

KARA WALKS BG. TOWARD THE (Appreciate it : i.e., 'I appreciate yourRESTAURANT, PASSING THE VALET help.')STAND WHICH READS:

VALET

KARA *5-366 1087.04 1089.15 2.11 KARA, (exclaiming) THEN TO ITEM)(whispering) Oh, crap! Just go! Oh, crap! Just go!

1090-15 (Oh, crap : Vulgar slang expression

SCENE 172 - INT. GOLDEN KADAHI restaurant' - Note that Kara drops anRESTAURANT - DAY - MS - REHKA, item and kicks it toward theSTANDING AT THE HOSTESS STAND, restaurant's entrance)HOLDING THE PHONE TO HER EAR ASVARIOUS PEOPLE MOVE ABOUT IN BG.

PEOPLE IN GOLDEN KADAHI(overlapping, low and indistinct chatter -


dialogue)

REHKA 5-367 /1091.01 1096.01 5.00 REHKA INTO PHONE TO PERSON)(into telephone) Golden Kadahi, best Golden Kadahi, best Indian restaurant in

Indian restaurant in Los Angeles. How may

I help you?

KARA ENTERS BG., CARRYING THEBUNCH OF BALLOONS L.BG. AS CAMERAPANS WITH HER, OFF REHKA.

KARA 5-368 1096.05 1098.15 2.10 KARA TO REHKA, THEN REHKA TO KARA)(overlapping) (in Sanskrit) Namaste. (OPTIONAL)(A common Sanskrit greeting with a variety -Namaste. of meanings - i.e., 'I bow to you' - 'I honor -Hi.the Spirit in you which is also in me') (Namaste : A common Sanskrit

RANI i.e., 'I bow to you' - 'I honor the Spirit in(overlapping) Hi, Miss Kara. you which is also in me' - to appear in

REHKA(overlapping) Hi. (face off) (into telephone)

This is Rehka (off) (into telephone) This is Rehka speaking.

speaking.1106-02

(that thing : referring to the bouquet

Thank you very much. Appreciate it.

of annoyance)(Just go : i.e., 'Just get inside the

Los Angeles. How may I help you?

greeting with a variety of meanings -

ITALICS)

5-369 1099.03 1102.02 2.15 REHKA INTO PHONE TO PERSON)



(39)

SCENE 173 - INT. BEVERLY WILSHIREHOTEL/THE BLVD RESTAURANT - DAY -FS - PAST JASON, SEATED AT A LONGTABLE CROWDED WITH OTHER DINERSIN L.FG., TO LIZ, RUNNING FG. ANDGLANCING ABOUT.

PEOPLE IN THE BLVD RESTAURANT(overlapping, low and indistinct chatter -


dialogue) 5-370.

JASON GLANCES BG. AND RAISES HIS 5-371.HAND.

JASON *5-372 1112.03 1114.04 2.01 JASON TO LIZ)(stammers) Hey, Liz. Hey, Liz.

LIZOh, (chuckling) hi. *5-372A 1114.08 1116.12 2.04 LIZ TO JASON) (OPTIONAL)

LIZ WALKS L. AS CAMERA DOLLIES WITHHER, REVEALING A KISSING COUPLESEATED AT THE TABLE IN FG.

LIZ (cont'd)(to Blvd Diner) (in low tones) 'Scuse me.

LIZ WALKS FG. TOWARD HER SEAT.

LIZ (cont'd)(to Jason) (in wavering voice) Hey.

JASONHey.

LIZ 5-373 1122.04 1126.09 4.05 LIZ TO JASON)I made it. (chuckles) I made it. Cannot even believe it.

LIZ SITS DOWN AT THE TABLE AS THE arrived')KISSING COUPLE PARTS. (Cannot even believe it : Idiomatic for

LIZ (cont'd)Cannot (in low tones) even believe it. (in

normal voice) Oh.

JASON *5-374 1127.05 1128.13 1.08 JASON TO LIZ, THEN LIZ TO JASON)S--Sorry. -Sorry.

LIZ (Sorry : Said here in response to an(overlapping) Sorry. Oh. awkward attempt at a kiss)

LIZ AND JASON LEAN TOWARD EACHOTHER, KISSING EACH OTHER ON THECHEEK.

JASON AND LIZ(kiss)

JASON(chuckles - continues under following

dialogue)

THROUGH (OUT)

Oh, hi.

(I made it : i.e., 'I arrived' - 'I finally

'I'm surprised I was able to do it')

-Sorry.



(40)


LIZ 5-375 1129.01 1130.09 1.08 LIZ TO JASON)(chuckling) Hi. Hi.

JASONSorry.

1132-09

SCENE 174 - MCS - PAST LIZ, L.FG., TOJASON.

JASON 5-376 /1132.11 1135.13 3.02 JASON TO LIZ)Wow, Liz, you look... (over scene end) Wow, Liz, you look beautiful.

1134-14

SCENE 175 - MS - PAST JASON, R.FG., TOLIZ, PLACING HER NAPKIN O.S. ON HERLAP.

JASON...beautiful.

LIZ 5-377 1136.01 1141.12 5.11 LIZ TO JASON)Thank you. Paula's indefinite trip out of the Thank you. Paula's indefinite trip out of the

office coincided very nicely with my "haul (indefinite trip : i.e., 'trip of indefinite

ass home and throw on something festive" completion time')

plan, (chuckling) so....

JASON 5-378 1142.00 1146.14 4.14 LIZ TO JASON)(overlapping) (chuckles) ...with my "haul ass home and throw on

LIZ (haul ass : vulgar slang for 'hurry')You look wonderful. (chuckles - continues (throw on something festive : slang

under following scene) attire appropriate to the occasion')1148-12

SCENE 176 - MS - PAST LIZ, L.FG., TO You look wonderful.JASON, SMILING. THE KISSING MAN ANDKISSING WOMAN KISS BESIDE THEM.

KISSING MAN AND KISSING WOMAN(moaning) (kiss - continues under


JASON GLANCES R.1152-01

SCENE 177 - MFS - PAST THE KISSINGWOMAN, L.FG., AND JASON, R.FG., TOKISSING MAN, LIZ, AND CHARLIE, A MANSEATED BESIDE LIZ.

LIZ 5-380 1153.11 1155.05/ 1.10 LIZ TO KISSING MAN & KISSING WOMAN)(clears throat) Hi. Hi.

1155-06

office coincided very nicely...

length' - 'errand with no specific

(nicely : i.e., 'conveniently')

something festive" plan, so....

for 'quickly get dressed in cheerful

5-379 1147.02 1148.11/ 1.09 LIZ TO JASON)



(41)

SCENE 178 - MS - PAST THE KISSINGCOUPLE, FG., TO LIZ AND JASON.

JASON 5-381 1156.02 1157.10 1.08 JASON TO LIZ)I was think-- I was think--

LIZ(overlapping) S-- S-- What? 5-382 1157.14 1159.07 1.09 LIZ TO JASON)

JASON(overlapping) Sorry.

LIZ(stammers) Do you wanna--?

JASON 5-383 1159.11 1161.11/ 2.00 JASON TO LIZ)(overlapping) Go ahead. No, no, you first. Go ahead. No, no, you first.

1161-12 (you first : i.e., 'you should speak

SCENE 179 - MFS - PAST THE KISSINGWOMAN, L.FG., AND JASON, R.FG., TOKISSING MAN, LIZ, AND CHARLIE.

LIZ 5-384 /1161.15 1163.12/ 1.13 LIZ TO JASON)No, please. No, please. You should.

JASON(overlapping) You.

LIZYou should.

1163-13


JASON 5-385 /1164.00 1168.05 4.05 JASON TO LIZ)Oh, okay. Oh, okay. You don't wanna be an agent, do

LIZ (agent : i.e., 'talent agent,' a person(chuckles - continues under following who finds jobs for people in various

dialogue) their money by taking a percentage of

JASONI just-- Y--You don't wanna be an agent, do

you?

LIZ 5-386 1168.09 1171.05 2.12 LIZ TO JASON)(overlapping) No, but I may... (over scene end) No, but I may need an agent...

1170-03 (need an agent : i.e., 'need to hire an

SCENE 181 - MCS - PAST JASON, R.FG.,TO LIZ, GESTURING.

LIZ...need an agent...

What?

first')

you?

entertainment businesses and make

the money that their client is paid)

agent for my own aspirations')



(42)


LIZ (cont'd) 5-387 1171.09 1177.12 6.03 LIZ TO JASON)...so I figure might as well learn the (over scene end) ...so I figure might as well learn thebusiness business while I'm agentless.

while I'm (inhales sharply) agentless. 'suppose I should' - 'think it may be1176-06 beneficial if I')

SCENE 182 - MS - PAST LIZ, L.FG., ANDKISSING MAN, R.FG., TO JASON ANDKISSING WOMAN, PARTIALLY 5-388.OBSCURED. THROUGH (OUT)

LIZ(chuckles - continues under following

dialogue)

JASONRight.

A WAITER (TORSO) ENTERS R.FG.,STEPPING L. AND BENDING DOWN TOINCLUDE HIS FACE.

WAITER 5-393 /1178.10 1181.11/ 3.01 WAITER TO JASON, THEN TO LIZ)(face off) Good evening, sir, (on) (to Liz) Good evening, sir, ma'am.

ma'am. address for a woman)

LIZ(whispering) Hi.

1181-13

SCENE 183 - MCS - THE WAITER.

WAITER 5-394 /1181.15 1183.08 1.09 WAITER TO JASON & LIZ)Welcome to The Boulevard. Would you like Welcome to The Blvd.

the four-course Sweetheart's Menu... cuisine restaurant located in the1187-02 Beverly Wilshire Hotel in Beverly Hills,

SCENE 184 - MFS - PAST KISSINGWOMAN, L.FG., AND JASON, R.FG., TOKISSING MAN, THE WAITER, LIZ, AND 5-395 1183.12 1187.00/ 3.04 WAITER TO JASON & LIZ)CHARLIE. Would you like the four-course Sweetheart's

WAITER (four-course Sweetheart's Menu : i.e.,...or the eight-course Eternal Love? 'four-course meal called the

LIZHmm....

JASON ...or the eight-course Eternal Love?(overlapping) Whoa, slow down. (chuckles)

1192-14 Whoa, slow down.

(figure might as well : idiomatic for

(agentless : i.e., 'not yet representedby an agent')

5-392.

(ma'am : used as a form of polite

(The Blvd : a contemporary American

California - note that its name is anabbreviation for 'The Boulevard')

Menu...

Sweetheart's Menu')

5-396 /1187.04 1189.15 2.11 WAITER TO JASON & LIZ)

5-396A 1190.03 1192.12/ 2.09 JASON TO WAITER)

(Whoa : Interjection used to tellanother person to slow down or stop)



(43)


JASON 5-397 1193.05 1201.05 8.00 JASON TO WAITER)Is there, like, a one-course, uh, Only Been Is there, like, a one-course Only Been Dating

Dating For Two Weeks But It Looks option?

Promising option? (chuckles - continues (Note humor)

under following scene and dialogue) 1201-09

SCENE 186 - MFS - PAST KISSINGWOMAN, L.FG., AND JASON, R.FG., TOKISSING MAN, THE WAITER, LIZ, ANDCHARLIE. THE WAITER REACTS,STIFFENING.

WAITER(sighs - continues under following

dialogue)

JASON 5-398 1202.11 1205.01/ 2.06 JASON TO WAITER)(chuckling) Because...it's... Because it's....

1205-06


JASON 5-399 /1205.08 1207.09/ 2.01 JASON TO WAITER)(chuckling) ...it's.... (in normal voice) I-I'm- I'm kidding.

I'm--I'm kidding.1207-12

SCENE 188 - MFS - PAST KISSINGWOMAN, L.FG., AND JASON, R.FG., TOKISSING MAN, THE WAITER, LIZ, ANDCHARLIE.

WAITER 5-400 1208.05 1210.03/ 1.14 WAITER TO JASON)I realize that, sir. I realize that, sir.

LIZ(overlapping) (mouthing) Yeah.

1210-05

SCENE 189 - MS - PAST THE WAITER(TORSO) AND LIZ, L.FG., AND KISSINGMAN, R.FG., TO JASON.

WAITER 5-401 /1210.07 1213.01/ 2.10 WAITER TO JASON)(face off) I'll come back when you're I'll come back when you're serious.

serious. (tsks) joking around' - note play on 'I'm1213-01 kidding')

For Two Weeks But It Looks Promising

(Looks : i.e., 'Seems')

(Idiomatic for 'I'm joking.')

(you're serious : i.e., 'you're no longer



(44)

SCENE 190 - MS - PAST JASON, R.FG., TOTHE WAITER (TORSO), LIZ, AND CHARLIE.THE WAITER CROSSES R., EXITING.

LIZ 5-402 1215.07 1218.05 2.14 LIZ TO JASON)He's your biggest fan. (chuckles - He's your biggest fan.

continues under following dialogue) (Note that Liz is kidding, as it was

JASON amusing)(in low tones) (scoffs)

JASON LIFTS A GLASS OF WATER AND *5-403 (OUT)CHARLIE REACTS.

CHARLIE 5-404 1220.06 1222.07/ 2.01 CHARLIE TO JASON)Hello? That's my water. Hello? That's my water.

1222-08 (Hello? : Used in a situation where

SCENE 191 - MS - PAST LIZ, L.FG., AND (Said here in response to JasonKISSING MAN, R.FG., TO JASON, sipping Charlie's water)REACTING, AND KISSING WOMAN(PARTIALLY OBSCURED).

JASON(sipping) (spits)

LIZ 5-405 1223.13 1228.09 4.12 LIZ TO CHARLIE)Oh, uh, you know what? I didn't touch (over scene end) Oh, you know what? I didn't touch mine, so

mine... (you know what : a rhetorical1226-07 question informally used

SCENE 192 - MS - PAST KISSING WOMAN, drink any of')L.FG,. AND JASON, R.FG., TO LIZ, AS SHE (go ahead and : idiomatic for 'simply'HANDS HER GLASS OF WATER R. TO - 'freely')CHARLIE.

LIZ 5-406 1228.13 1231.03 2.06 LIZ TO CHARLIE)...so why don't you go ahead and have it. Happy Valentine's Day.

Happy (chuckling) Valentine's Day. (softly

chuckles)

CHARLIE 5-407 1231.12 1233.13 2.01 CHARLIE TO LIZ)Well, same to you. Well, same to you.

HOSTILE WOMAN ENTERS R., SWATTING Day to you also')CHARLIE WITH HER HAND.

HOSTILE WOMAN *5-408 1234.01 1236.00/ 1.15 HOSTILE WOMAN TO CHARLIE,Charlie! THEN CHARLIE TO HOSTILE WOMAN)

HOSTILE WOMAN EXITS R. -What?

CHARLIE (What : Used here to mean 'What's(whispering) What? wrong' - 'Why did you do that' - Said

1236-01 here in response to the Hostile

(biggest : i.e., 'most enthusiastic')

obvious the Waiter did not find Jason

certain information should be obviousto another party but isn't)

why don't you go ahead and have it.

parenthetically in conversation)(touch : i.e., 'drink any of' - 'touch or

(same to you : i.e., 'Happy Valentine's

-Charlie!

(Charlie : Diminutive of 'Charles')

Woman striking him with her napkinfor flirting with Liz)



(45)

SCENE 193 - MS - PAST LIZ, L.FG., ANDKISSING MAN, R.FG., TO HOSTILEWOMAN, JASON, AND KISSING WOMAN(PARTIALLY OBSCURED).

CHARLIE 5-409 1236.08 1240.09 4.01 CHARLIE TO HOSTILE WOMAN)(off) (in low tones) She said Happy She said Happy Valentine's Day. I can't talk

Valentine's Day. (I can't talk now : i.e., 'Are you

HOSTILE WOMAN to talk to strangers')(scoffs - continues under following

dialogue)

JASONLook, I'm--

CHARLIE(off) (in low tones) I can't talk now? (face off)

(continues indistinct under following scene

and dialogue)

JASON 5-410 1240.13 1244.00/ 3.03 JASON TO LIZ)I'm sorry this place is, like, such a zoo. I'm sorry this place is, like, such a zoo.

1244-01 (like : used in speech, often

SCENE 194 - MCS - PAST JASON, R.FG., uncertainty or neutralize a followingTO LIZ, REACTING AND GESTURING. adjective)

LIZ - 'crowded, busy place')(chuckling) No, it's (in normal voice) fine. I

mean, they're fighting, they're mating, and 5-411 /1244.04 1249.15/ 5.11 LIZ TO JASON)

I'm in the zoo with you. mating, and I'm in the zoo with you.1250-01 (they're fighting : referring to Charlie

SCENE 195 - MCS - PAST LIZ, L.FG., TO Kissing Man and Kissing Woman,JASON, SMILING. who passionately kiss next to Liz and

JASON (zoo : rhymes with 'you')(chuckles) (chuckling) Oh. (stammers)

1254-01

SCENE 196 - CS - LIZ, SHAKING HERHEAD.

LIZ 5-412 1256.01 1257.12 1.11 LIZ) (exclaiming)(breathes heavily) (whispering) God. (in God.

normal voice) Um.... express nervousness)1260-03

now?

suggesting that I'm no longer allowed

habitually, to preface a sentence, to filla certain pause, to express

(zoo : slang for 'chaotic environment'

No, it's fine. I mean, they're fighting, they're

and Hostile Woman)(they're mating : referring to the

Jason)

(Idiomatic interjection used here to



(46)


LIZ 5-413 1261.06 1265.12 4.06 LIZ TO JASON)Jason, I j-- Um, (smacks lips) I really like Jason, I really like you...

you, (inhales) and, um, I was--

JASON REACTS. ...and I'm just wondering how you feel...1269-07

SCENE 198 - CS - LIZ.

LIZ 5-415 1278.09 1282.08/ 3.15 LIZ TO JASON)I just-- I'm just wondering how you ...about the idea of....

feel...about the idea of, um....

LIZ REACTS AS HER O.S. CELL PHONERINGS.

1282-10

SCENE 199 - MCS - PAST LIZ, L.FG., TOJASON, REACTING.

LIZ 5-417 1284.12 1288.12/ 4.00 LIZ TO JASON)(in low tones) Uh.... Oh, God. (in normal (over scene end) Oh, God. I'm gonna take this outside.

voice) I've gotta-- mild distress - Said here in response1287-02 to her cell phone ringing)

SCENE 200 - CS - LIZ, GESTURING WITHHER CELL PHONE.

LIZI'm gonna take this outside.

1288-14

SCENE 201 - MCS - PAST LIZ, L.FG., TOJASON, GESTURING.

JASON 5-418 /1289.00 1290.14/ 1.14 JASON TO LIZ)Sure, sure, sure. Yeah, yeah. Sure, sure, sure. Yeah, yeah. Go. Yeah.

LIZ(overlapping) Oh, thank you so-- I'm sorry.

JASON I'm sorry. Thank you.(overlapping) Go.

1291-01

SCENE 202 - CS - LIZ, REACTING.

JASON(off) (overlapping) Yeah, yeah.

LIZ(overlapping) (pffts) Thank you.

1293-08

5-414 1273.01 1277.04 4.03 LIZ TO JASON)

5-416 (OUT)

(Oh, God : Idiomatic expression of

(take this : i.e., 'answer this phonecall' - 'have this phone conversation')

(Sure : Idiomatic assent)

5-418A 1291.02 1293.06/ 2.04 LIZ TO JASON)



(47)

SCENE 203 - MS - PAST LIZ, L.FG., ANDKISSING MAN, R.FG., TO HOSTILEWOMAN, JASON, AND KISSING WOMAN(PARTIALLY OBSCURED). LIZ RISESFROM HER CHAIR AND EXITS R.FG.

JASON *5-418AA 1293.10 1295.02 1.08 JASON TO LIZ)Go ahead. Go ahead.

LIZBe right back. *5-418B 1295.06 1298.06 3.00 LIZ TO JASON, THEN JASON TO LIZ)

JASON -Sure.(overlapping) Sure. (Be right back : i.e., 'I'll return in a few

1302-10 minutes')

SCENE 204 - INT. BEVERLY WILSHIREHOTEL/LOBBY - DAY - MS - LIZ, STEPPINGR.FG. AND GLANCING AT HER CELLPHONE AS PEOPLE MOVE ABOUT IN BG.

PEOPLE IN LOBBY(overlapping, low and indistinct chatter -


dialogue)

LIZ RAISES HER CELL PHONE TO HEREAR.

LIZ 5-418C 1309.05 1312.10 3.05 LIZ INTO TELEPHONE TO STANLEY)(sighs) (into telephone) (in Southern All right, Stanley, listen to me.

accent) All right, Stanley, listen to me. We're

gonna make this hard and we're gonna We're gonna make this hard and we're

make this fast. (make this hard : note double

MORLEY ENTERS L.BG. WITH CARMINE, aggressive phone sex' and [2] i.e.,TOWING A PIECE OF ROLLING LUGGAGE 'make you have an erection')BEHIND HER AS SHE WALKS R. LIZ EXITSL. AS CAMERA DOLLIES R. WITH MORLEY,WHO WALKS TO THE RECEPTION DESK,INCLUDING A MALE AND FEMALE HOTELCLERKS ASSISTING GUESTS. THEFEMALE HOTEL CLERK SPEAKS ON ATELEPHONE.

HOTEL CLERK *5-418E 1317.07 1321.11 4.04 HOTEL CLERK INTO TELEPHONE(off) (into telephone) Yes, we can get you TO PERSON)

two adjoining rooms. (get you : i.e., 'provide you' - 'reserve

-Be right back.

5-418D 1312.14 1317.03 4.05 LIZ INTO TELEPHONE TO STANLEY)

gonna make this fast.

meaning - [1] i.e., 'have bluntly

Yes, we can get you two adjoining rooms.

for you')



(48)


HOTEL CLERK (cont'd) *5-418F 1321.15 1325.07 3.08 HOTEL CLERK INTO TELEPHONE(off) (into telephone) Uh-huh, yes. But with TO PERSON)

the door open you still have to pay for both. pay for both.

(chuckling) Okay. (on) (into telephone) Bye- adjoining rooms will have a common

bye, now. the rooms will be charged at separate

HOTEL CLERK LOWERS THE one large room)TELEPHONE.

HOTEL CLERK (cont'd) *5-418G 1325.11 1328.07 2.12 HOTEL CLERK INTO TELEPHONE(in normal voice) Hi. TO PERSON)

MORLEY (Bye-bye : Idiomatic farewell)(overlapping) (sighs) (indistinct) (breathes (now : used parenthetically in

heavily) the end of a sentence)1329-02

SCENE 205 - MCS - MORLEY, SMILING.

MORLEYHi. (exhales sharply - continues under

following dialogue)

HOTEL CLERK 5-418H 1330.02 1332.06 2.04 HOTEL CLERK TO MORLEY)(off) Welcome to the Beverly Wilshire. How Welcome to the Beverly Wilshire.

many checking in? Wilshire Hotel, a luxury hotel in

MORLEY hotel is featured prominently in GarryTwo. Marshall's 1990 film Pretty Woman

1334-09 [as is the bus stop where Jason later

SCENE 206 - MS - PAST MORLEY, L.FG.,TO HOTEL CLERK. 5-4181 1332.10 1334.08/ 1.14 HOTEL CLERK TO MORLEY,

HOTEL CLERK -How many checking in? Two? -Two.

MORLEY many people are in your party' - 'HowI mean one. Well... many people will be staying in your

1337-02 hotel room')

SCENE 207 - MCS - MORLEY, *5-418J /1334.12 1337.00/ 2.04 HOTEL CLERK TO MORLEY,GESTURING. THEN MORLEY TO HOTEL CLERK)

MORLEY -I mean one....technically, it's two.

1339-07

SCENE 208 - MS - PAST MORLEY, L.FG., Carmine, my dog.AND HOTEL CLERK, R.FG., TO THE MALE (technically : idiomatic for 'officially' -HOTEL CLERK. 'when the situation is considered in

MORLEYOne person and Carmine, my dog.

Yes. But with the door open you still have to

(But...both : Implying that the two

door, but even if the door is left open,

room rates, rather than the rate for

Okay. Bye-bye, now.

conversation to fill pauses or to soften

(Beverly Wilshire : The Beverly

Beverly Hills, California - Note that this

finds Liz sitting])

THEN MORLEY TO HOTEL CLERK)

(How many checking in : i.e., 'How

-Two?

5-418K /1337.04 1341.09 4.05 MORLEY TO HOTEL CLERK)(over scene end) Well, technically, it's two. One person and

detailed, literal terms')



(49)


HOTEL CLERK 5-418L 1341.13 1345.09 3.12 HOTEL CLERK TO MORLEY)(overlapping) A person and a dog. A person and a dog. Okay, that would be our

MORLEY (that would be our pleasure : (overlapping) Yeah, yeah. idiomatic assent - i.e., 'we will

HOTEL CLERK immediately')(overlapping) Okay, that would be our

pleasure.

MORLEYOh. Okay.

1347-08

SCENE 209 - MS - PAST MORLEY, L.FG.,TO HOTEL CLERK.

HOTEL CLERK 5-418M /1347.10 1350.14/ 3.04 HOTEL CLERK TO MORLEY)Oh, and by the way, Happy Valentine's Day. Oh, and by the way, Happy Valentine's Day.

1351-00 (by the way : idiomatic for

SCENE 210 - MCS - MORLEY, NODDING.

MORLEY 5-418N 1352.08 1354.02 1.10 MORLEY TO HOTEL CLERK)You too. (exhales through nose) You too.

1354-15

SCENE 211 - MCS - CARMINE, LOWERINGHIS HEAD, AND MORLEY (LEGS).

ALPHONSO 5-418O 1357.01 1361.01 4.00 ALPHONSO TO REED)(voice over) And Julia's not even in... (over scene end) And Julia's not even in love with that guy.

1358-12 (that guy : Harrison)

SCENE 212 - EXT. RESIDENTIALSTREET/SIDEWALK - NIGHT - MS - REEDAND ALPHONSO, WALKING FG. ASCAMERA DOLLIES BACK WITH THEM.ALPHONSO HOLDS A BOOK.

ALPHONSO...love with that guy.

REED 5-418P 1362.07 1364.02 1.11 REED TO ALPHONSO)How do you know that? How do you know that?

ALPHONSOShe was too calm about the whole thing. I 5-419 1364.06 1370.11 6.05 ALPHONSO TO REED)

mean, always under control. mean, always under control.

pleasure.

accommodate your request

'incidentally')

She was too calm about the whole thing. I

(the whole thing : i.e., 'herrelationship')(under control : i.e., 'in control of heremotions')



(50)


ALPHONSO (cont'd) 5-420 1371.00 1372.09 1.09 ALPHONSO TO REED)Listen, (reciting) "The way of love is not a Listen:

subtle argument. The door there is

devastation." "The way of love is not a subtle argument.1384-02 (For this Title and Title #5-422 : Note

SCENE 213 - MCS - HIGH ANGLE -ALPHONSO (TORSO), WALKING R. ASCAMERA DOLLIES WITH HIM. HE HOLDS 5-422 1379.09 1383.13 4.04 ALPHONSO TO REED) (reciting)A BOOK AND BOX OF COOKIES. TEXT ON The door there is devastation."THE COVER OF THE BOOK READS:

tHE ESSENtiALRumi

ALPHONSO 5-423 /1384.04 1385.12 1.08 ALPHONSO TO REED)(face off) The master. The master.

REED something - in this case, a master of(off) So according to Rumi, love has to be... love poems or insights about love -

1389-01 Referring to Rumi)

SCENE 214 - EXT. ALPHONSO'S HOUSE - 5-424 1386.00 1390.04 4.04 REED TO ALPHONSO)NIGHT - MCS - PAST ALPHONSO, R.FG., (over scene end) So, according to Rumi, love has to beTO REED AS THEY STEP L. AND CAMERA devastating?PANS WITH THEM. ALPHONSO STEPSINTO L.FG.

REED...devastating?

ALPHONSO 5-425 1390.08 1397.04 6.12 ALPHONSO TO REED)(chuckles) Listen. You don't step into love, (over scene end) Listen. You don't step into love, my friend,

my friend... (step into love : i.e., 'deliberately and1394-06 gradually develop strong loving

SCENE 215 - MCS - PAST REED, R.FG., 'Suddenly and completely' -TO ALPHONSO, GESTURING. 'Helplessly')

ALPHONSO...you fall in. Head over heels. You ever 5-426 1397.08 1404.02 6.10 ALPHONSO TO REED)

seen somebody fall head over heels in love heels in love for real, Reed?

for real, Reed? It's ugly, bro. Toxic, septic. seen' - 'Did you ever see')

5-421 1373.04 1378.13 5.09 ALPHONSO TO REED) (reciting)

that Alphonso is reciting the openinglines of the Rumi poem "Sky-Circles")

(Person eminently skilled in

you fall in. Head over heels.

feelings' - note play on 'fall in love')(Head over heels : Idiomatic for

You ever seen somebody fall head over

(You ever seen : i.e., 'Have you ever

(for real : slang for 'in actuality')

5-427 1404.06 1408.07 4.01 ALPHONSO TO REED)It's ugly, bro. Toxic, septic.

(ugly : i.e., 'harsh' - 'emotionallypainful')(bro : slang term of male address,diminutive of 'brother')(Toxic, septic : Implying falling in loveinvolves a host of unwieldy,unpleasant emotions - Note allusionto 'toxic' [emotionally unhealthy]relationships)



(51)


ALPHONSO (cont'd) 5-428 1409.03 1413.04 4.01 ALPHONSO TO REED)Come on, boss. Still got a few hours left. Come on, boss. Still got a few hours left.

Make somethin' happen with somebody encouragement, used here to mean

someplace. (a few hours left : i.e., 'a few hours of

ALPHONSO OPENS A BOX OF COOKIES.

ALPHONSO (cont'd) 5-429 1413.08 1418.04 4.12 ALPHONSO TO REED)Cookie? Make somethin' happen with somebody

REED (i.e., 'Do something romantic with(smacks lips) (in low tones) I'm good. someone.')

ALPHONSO(chuckles) Day's not over yet, man. 5-430 1418.08 1420.08 2.00 ALPHONSO TO REED,

1422-14 THEN REED TO ALPHONSO)

SCENE 216 - MCS - ALPHONSO AND (Cookie : i.e., 'Do you want a cookie' -REED, EMBRACING. Note that Alphonso opens the box of

ALPHONSO (I'm good : Idiomatic for 'No, thankGive me some. you.' - 'I'm content without one.')

REEDHey, tell me somethin'. How'd you and your 5-431 1420.12 1424.06 3.10 ALPHONSO TO REED)

wife get it so right? (Give me some : Slang used here to1431-05 mean 'Give me a hug')

SCENE 217 - MCS - PAST REED, R.FG., 5-432 1425.13 1428.11 2.14 ALPHONSO TO REED)TO ALPHONSO, REACTING. Hey, tell me somethin'.

ALPHONSO(pffts) That's easy. I married my best friend. 5-432A 1428.15 1431.03/ 2.04 REED TO ALPHONSO)

1436-04 How'd you and your wife get it so right?

SCENE 218 - MCS - PAST ALPHONSO,L.FG., TO REED.

REED That's easy. I married my best friend.Thought I was your best friend.

1441-04

SCENE 219 - MS - PAST REED, R.FG., TOALPHONSO AS THEY POUND FISTS.

ALPHONSO 5-432D /1441.06 1444.02 2.12 ALPHONSO TO REED)Yeah, you're my man. That's my lady. Yeah, you're my man.

1446-02 (my man : idiomatic for 'my best

(Come on : Idiomatic expression of

'Don't be discouraged')

Valentine's Day left')

someplace.

-Cookie? -I'm good.

cookies he is carrying)

(over scene end) Day's not over yet, man. Give me some.

(get it so right : i.e., 'manage to havesuch a good relationship')

5-432B 1432.02 1436.01/ 3.15 ALPHONSO TO REED)

5-432C 1438.13 1441.02/ 2.05 REED TO ALPHONSO)Thought I was your best friend.

male friend')

5-432E 1444.09 1446.01/ 1.08 ALPHONSO TO REED)That's my lady.

(my lady : used here to mean 'myfemale romantic partner, who is alsomy female best friend')



(52)

SCENE 220 - MCS - PAST ALPHONSO,L.FG., TO REED, SMILING.

ALPHONSO 5-432F 1447.00 1449.07 2.07 ALPHONSO TO REED,Night. THEN REED TO ALPHONSO)

REED -Good night.(overlapping) (softly chuckles) Good night. (Night : i.e., 'Good night')

ALPHONSO EXITS L.FG.

REED (cont'd) 5-433 1451.11 1453.12 2.01 REED TO ALPHONSO)Go give your wife those cookies, huh? Go give your wife those cookies, huh?

ALPHONSO(off) Best for the best. 5-434 1454.00 1456.02 2.02 ALPHONSO TO REED)

REED (i.e., 'I will, because the best things,Yeah. Best for the best. like these cookies, are for the best

1461-04 people, like my wife.' - 'I give the best

SCENE 221 - MFS - ALPHONSO, WALKING adage 'The best for the best, and theL.BG. TOWARD HIS HOUSE AS CAMERA rest for the rest' that suggests thePANS SLIGHTLY WITH HIM. best people get the best things, while

1465-15 average and inferior people get

SCENE 222 - MFS - PAST THE SIENABOUQUET VAN, FG., TO REED, STEPPING 5-435 1458.10 1461.00/ 2.06 REED TO ALPHONSO)L. AROUND IT TO THE DRIVER'S SIDE Best for the best.DOOR AS CAMERA PANS WITH HIM.REED OPENS THE DRIVER'S SIDE DOORAND GETS INTO THE VAN, FASTENINGHIS SEAT BELT. HE GLANCES FG.THROUGH THE PASSENGER WINDOW.

1481-13

SCENE 223 - MS - THROUGHALPHONSO'S LIVING ROOM WINDOW TOALPHONSO'S WIFE, STEPPING R.ALPHONSO'S SON ENTERS L. ANDSTEPS R. AS ALPHONSO ENTERS R. ANDSTEPS L., KISSING HIS WIFE.

ALPHONSO(indistinct- continues under following

scenes and dialogue) 1484-12

SCENE 224 - MCS - THROUGH THEPASSENGER WINDOW TO REED, GAZINGFG.

1488-09

-Night.

Best for the best.

things to my wife, because she is mybest friend.' - Note allusion to the

average and inferior things)



(53)

SCENE 225 - MFS - THROUGH THELIVING ROOM WINDOW AND PASTALPHONSO'S SON, L.FG., TOALPHONSO'S WIFE, ALPHONSO'SDAUGHTER, AND ALPHONSO.ALPHONSO'S SON TOSSES A BALL TOALPHONSO.

ALPHONSO'S SON(indistinct to:) Dad!

1492-12

SCENE 226 - MCS - THROUGH THEPASSENGER WINDOW TO REED, GAZINGFG. HE TURNS AND DRIVES THE VAN R.,EXITING.

1498-04

WIPE TO:

SCENE 227 - INT. AIRPORT/UAA GATE -NIGHT - MS - PAST A GROUP OF AIRLINEPASSENGERS, FG., TO HOLDEN ANDKATE, PARTIALLY OBSCURED, AS THEYMOVE R.FG.

PEOPLE AT GATE(overlapping, low and indistinct chatter -


dialogue)

HOLDEN 5-436 1498.01 1501.00 2.15 HOLDEN TO KATE)Kate. Kate. Hey, have a great trip.

SEVERAL PASSENGERS EXIT R. TOFULLY REVEAL HOLDEN AND KATE. KATESTOPS AND TURNS L. TO FACE HOLDEN.

HOLDEN (cont'd)Hey, have a great trip.

KATE 5-437 1501.04 1503.13 2.09 KATE TO HOLDEN)Thanks. (over scene end) Thanks. Nice meeting you.

1502-00

SCENE 228 - MCS - PAST HOLDEN, L.FG.,TO KATE, SMILING AND WALKING R.BG.INTO A MS.

KATENice (chuckling) meeting you.

HOLDEN(overlapping) Yeah.

CAMERA PANS R. WITH KATE, OFFHOLDEN.

1505-05

(trip : i.e., 'visit here')



(54)

SCENE 229 - EXT. AIRPORT - NIGHT - FS -PEOPLE CROSS L. AND R. THROUGHFRAME AS A SMALL CROWD OF PEOPLEWAITS ON THE CURB BESIDE A TAXISTAND. A PARKED TAXI RESIDES AT THECURB. CAMERA DOLLIES L. AS THE TAXIDRIVES L.BG.

PEOPLE OUTSIDE AIRPORT(overlapping, low and indistinct chatter -


TAXI MAN #1 *5-438 /1505.07 1508.15 3.08 TAXI MAN #1 TO TAXI MAN #2,This is my taxi! THEN TAXI MAN #2 TO TAXI MAN #1)

TAXI MAN #2 -No, no, I been waitin'.No, no, I been waitin'. (I been : Colloquial for 'I've been')

TAXI WOMAN #1I've been waiting for forty-five minutes. *5-439 1509.03 1513.00/ 3.13 TAXI WOMAN #1 TO TAXI MAN #1,

TAXI MAN #3 -I've been waiting for 45 minutes. (overlapping) (whistles) -Just be a little patient, folks.

TAXI MAN #4 address for either gender)(overlapping) Just be a little patient, folks.

1513-02

SCENE 230 - INT. AIRPORT/BAGGAGECLAIM - NIGHT - FS - PEOPLE MOVEABOUT THROUGH FRAME AS HOLDENENTERS TOP L., DESCENDING ASTAIRCASE R. HE WALKS R. AS CAMERADOLLIES WITH HIM TO INCLUDEREDMOND, HIS CHAUFFEUR.

PEOPLE IN BAGGAGE CLAIM(overlapping, low and indistinct chatter -


dialogue)

AIRPORT ANNOUNCER(over speaker) -ing in the airport terminal.

HOLDEN 5-440 1519.02 1522.01 2.15 HOLDEN TO REDMOND,Hey, Redmond. THEN REDMOND TO HOLDEN)

REDMOND -Welcome back, Mr. Wilson.Welcome back, Mr. Wilson.

CAMERA DOLLIES IN SLIGHTLY TO A MFS.

HOLDEN 5-441 1522.05 1525.08 3.03 HOLDEN TO REDMOND,Did you have to wait long? THEN REDMOND TO HOLDEN)

REDMOND -Not long at all.Not long at all.

-This is my taxi!

THEN TAXI MAN #4 TO GROUP)

(folks : idiomatic term of group

-Hey, Redmond.

-Did you have to wait long?



(55)


REDMOND (cont'd) 5-442 1525.12 1528.04 2.08 REDMOND TO HOLDEN,Check any bags? THEN HOLDEN TO REDMOND)

FEMALE AIRPORT ANNOUNCER -No.(over speaker) (overlapping, low and (Check any bags : i.e., 'Did you

indistinct - continues under following aircraft personnel that we now need to


HOLDENNo. (exhales sharply)

HOLDEN AND REDMOND WALK FG. INTOA MCS. HOLDEN GAZES L.FG. ANDREACTS.

1533-07

SCENE 231 - MS - KATE, SPEAKING WITHAN INFORMATION DESK CLERK,GESTURING, AS VARIOUS PEOPLECROSS THROUGH FRAME.

INFORMATION DESK CLERK *5-443 1534.09 1537.01 2.08 INFORMATION DESK CLERK TO KATE)They're right through there. (continues They're right through there.

indistinct) stops for rental car providers)1538-13 (right : i.e., 'directly')

SCENE 232 - CS - A BAGGAGECAROUSEL LIGHT, GLOWING RED.

1540-04

SCENE 233 - MCS - LUGGAGE, MOVINGFG. ALONG THE BAGGAGE CLAIMCONVEYOR BELT. CAMERA TILTS DOWNSLIGHTLY.

1543-07

SCENE 234 - FS - PAST SEVERALPASSENGERS, FG., TO KATE,MOMENTARILY OBSCURED, AS SHESTEPS L. AWAY FROM THE INFORMATIONDESK AND CAMERA PANS WITH HER.

1547-11

-Check any bags?

consign any of your luggage to the

retrieve?')

(They're : Referring to shuttle bus



(56)

SCENE 235 - MCS - HIGH ANGLE -SEVERAL PIECES OF LUGGAGE, MOVINGR. ALONG THE BAGGAGE CAROUSEL ASCAMERA PANS WITH THEM. KATE (HANDAND ARM) ENTERS R.FG. TO RETRIEVEHER BAG, JUST AS HOLDEN (HAND ANDARM) ENTERS R.FG., ALSO REACHINGFOR THE BAG.

HOLDEN 5-444 1550.10 1552.12/ 2.02 HOLDEN TO KATE)(face off) (straining) May I help you, May I help you, captain?

captain? her luggage)1552-13

SCENE 236 - MS - PAST KATE, R.FG., TOHOLDEN, LIFTING THE BAG OFF THECAROUSEL. HOLDEN STEPS L. ASCAMERA PANS WITH HIM TO INCLUDEREDMOND.

KATE(scoffs)

HOLDEN(grunts)

KATE 5-445 1554.03 1555.15 1.12 KATE TO HOLDEN)Thank you. Thank you.

HOLDEN(breathes heavily) You okay? 5-446 1558.03 1559.12/ 1.09 HOLDEN TO KATE)

1559-13 You okay?

SCENE 237 - MS - PAST HOLDEN, L.FG.,TO KATE, GLANCING R. AND GESTURING.

KATE 5-447 /1560.00 1566.02/ 6.02 KATE TO HOLDEN)No, I'm fine. It's just the SuperShuttle, it's No, I'm fine. It's just the SuperShuttle, it's

gonna take nine stops to get to my house. (SuperShuttle : a shared-ride,

So... transportation service)1566-04 (take nine stops to get : i.e., 'have

SCENE 238 - MCS - PAST HOLDEN, L.FG., before it gets')TO KATE.

KATE *5-448 /1566.06 1571.05 4.15 KATE TO HOLDEN)...thought I'd pay extra for a cab, and I go (over scene end) So thought I'd pay extra for a cab, and I go

down there and the line's two... (go : i.e., 'went' - note that Kate uses1570-07 the present tense to describe past

SCENE 239 - MCS - PAST KATE, R.FG., TO line of people waiting for taxis is veryHOLDEN. long')

KATE...miles long, and now I'm headed to the *5-449 1571.09 1574.05 2.12 KATE TO HOLDEN)

rental car place. (headed : i.e., 'going')

(Note that Holden assists Kate with

gonna take nine stops to get to my house.

door-to-door airport shuttle ground

nine stops before it gets' - 'stop ninetimes to drop off other passengers

down there and the line's two miles long...

events)(the line's two miles long : i.e., 'the

...and now I'm headed to the rental car place.



(57)


HOLDEN 5-450 1574.09 1577.08/ 2.15 HOLDEN TO KATE)Which is gonna take an hour to get there by Which is gonna take an hour to get there by

shuttle. (Implying Kate will have to wait for1577-10 another shuttle bus to take her to the

SCENE 240 - MCS - PAST HOLDEN, L.FG.,TO KATE.

HOLDEN *5-451 /1577.12 1579.06 1.10 HOLDEN TO KATE,I'm gonna help you. THEN KATE TO HOLDEN)

KATE -Really?Really?

HOLDEN 5-452 1579.10 1581.09 1.15 HOLDEN TO KATE)Yeah, I have a car. Yeah, I have a car.

KATEI-I live in the Valley. 5-453 1582.05 1584.04/ 1.15 KATE TO HOLDEN)

HOLDEN (the Valley : the San Fernando Valley,(overlapping) No, no... a suburban community in Los

1584-06 Angeles County - note that the San

SCENE 241 - MCS - PAST KATE, R.FG., TO Angeles International Airport)HOLDEN. PEOPLE CROSS THROUGHFRAME IN FG.

HOLDEN No, no. I want you to have it. You traveled so...I want you to have it. You traveled so far far for a few hours.

for a few hours. I think you should spend is providing Kate with the services of

every possible second with this guy. And limousine he otherwise would use for

it's already paid for.

HOLDEN STEPS L.BG. AS CAMERA PANS 5-455 1588.07 1592.06 3.15 HOLDEN TO KATE)WITH HIM TO INCLUDE REDMOND. I think you should spend every possibleHOLDEN HANDS REDMOND KATE'S BAG. second with this guy.

1594-12 (possible : i.e., 'available')

SCENE 242 - MCS - PAST HOLDEN, L.FG., 5-456 1592.10 1594.11/ 2.01 HOLDEN TO KATE)TO KATE. And it's already paid for.

HOLDENRedmond (straining) will take you wherever 5-457 /1594.15 1598.07 3.08 HOLDEN TO KATE)

you need to go. You just give him the go.

address. (in normal voice) (exhales Marshall film Pretty Woman [also

sharply) in this film] where Julia Roberts'

HOLDEN TURNS BG. TO FACE KATE AS limousine driver will take herSHE SMILES. anywhere she wishes to go)

shuttle.

rental car provider, and this processwill take another hour)

-I'm gonna help you.

I live in the Valley.

Fernando Valley is a significantlyinconvenient distance from Los

*5-454 /1584.08 1588.03 3.11 HOLDEN TO KATE)

(have it : note implication that Holden

his driver, Redmond, and the

his own transportation)

Redmond will take you wherever you need to

(Note allusion to the 1990 Garry

starring Julia Roberts who plays Kate

character Vivian is told that the

5-458 1598.11 1601.03 2.08 HOLDEN TO KATE)You just give him the address.



(58)


KATE 5-459 1605.02 1606.10/ 1.08 KATE TO HOLDEN)Thank you. Thank you.

KATE STEPS FG.1606-11

SCENE 243 - MCS - KATE, EMBRACINGHOLDEN.

KATE 5-460 1607.02 1609.00/ 1.14 KATE TO HOLDEN)Thank you. Thank you.

1609-01

SCENE 244 - MCS - HOLDEN AND KATE,EMBRACING. KATE PULLS AWAY,STEPPING R.BG.

HOLDEN 5-461 1613.00 1615.13 2.13 HOLDEN TO KATE)He's a lucky man. He's a lucky man.

KATE STEPS L.FG., EXITING, AS HOLDEN to visit, and implying Holden alsoTURNS FG. TO WATCH HER GO. finds her appealing)

1619-04

SCENE 245 - MS - PAST HOLDEN, R.FG.,TO KATE AND REDMOND. KATE TURNSAND STEPS FG. TOWARD HOLDEN,KISSING HIM ON THE CHEEK.

KATE(softly chuckles) (kisses)

1623-02

SCENE 246 - MS - PAST KATE, L.FG., TOHOLDEN. KATE TURNS AND EXITS L.FG.

KATE *5-462 /1623.04 1625.07 2.03 KATE TO HOLDEN, (whispering) Thank you. THEN HOLDEN TO KATE)

HOLDEN -Bye.Bye.

1627-02

SCENE 247 - EXT. GOLDEN KADAHIRESTAURANT - DAY - MS - KARA, FACINGBG. AS SHE PINS A BANNER ABOVE THEHEART PIÑATA. THE BANNER READS: 5-463 /1627.04 1630.04 3.00 NARRATIVE TITLE) (of sign)

I HATE VALENTINE'S DAY I HATE VALENTINE'S DAY

HAPPY (Note that this is a sign Kara has putVALENTINES up in her private room at the

DAY restaurant)

(Referring to the person Kate is going

-Thank you.



(59)


A PERSON CROSSES R. THROUGHFRAME AS KARA STEPS DOWN OFF ANO.S. CHAIR AND CAMERA TILTS DOWNWITH HER. SHE TURNS FG.

1631-11

SCENE 248 - MS - PAST RANI, R.FG., TOREHKA, STEPPING R.FG. TOWARD HER.

REHKA 5-464 /1631.13 1635.12/ 3.15 REHKA TO RANI)Rani, sweetheart, why are you moping? Rani, sweetheart, why are you moping?

1635-14 (moping : gloomy or dejected)

SCENE 249 - MS - PAST REHKA, L.FG., TORANI AS SEVERAL INDIAN GUESTSCROSS L. IN BG.

REHKA 5-465 /1636.00 1639.14 3.14 REHKA TO RANI)Is this about a boy 'cause it's Valentine's Is this about a boy 'cause it's Valentine's

Day? Did you get many valentines? Oh,

sweetheart... 5-466 1640.10 1643.10 3.00 REHKA TO RANI)

RANI GLANCES UP.1644-10

SCENE 250 - MCS - REHKA.

REHKA 5-468 1646.06 1653.01/ 6.11 REHKA TO RANI)...don't be sad. When the time is right, your When the time is right, your father and I, we

father and I, we are going to find you such a (your...boy : note that in the Indian

nice Indian boy. prearranged by the parents, and1653-04 interracial marriages are generally

SCENE 251 - MS - PAST REHKA, L.FG., TORANI. ALEX ENTERS R. AS CAMERA PANSSLIGHTLY R., OFF REHKA'S FACE.

ALEX 5-469 1654.01 1659.00/ 4.15 ALEX TO RANI)(off) 'Ey, cheer up, (on) Rani. I'll be your 'Ey, cheer up, Rani. I'll be your valentine.

valentine. (cheer up : idiomatic for 'don't be1659-03 sad')

SCENE 252 - MS - PAST RANI AND ALEX, affection)R.FG., TO REHKA, GESTURING.

REHKA 5-470 /1659.05 1662.05/ 3.00 REHKA TO ALEX)Alex, please, for now, be our delivery boy. Alex, please, for now, be our delivery boy.

1662-07 (be our delivery boy : i.e., 'please

Day?

Did you get many valentines?

5-467 1643.14 1646.02 2.04 REHKA TO RANI)(over scene end) Oh, sweetheart, don't be sad.

are going to find you such a nice Indian boy.

culture, marriages are usually

discouraged)

('Ey : Hey)

(I'll be your valentine : Used here asa platonic gesture of empathy and

focus on performing your deliveries' -note humorous play on 'I'll be yourvalentine')



(60)

SCENE 253 - MCS - PAST REHKA(TORSO), GESTURING IN L.FG., TO RANIAND ALEX.

REHKA 5-471 /1662.09 1667.11 5.02 REHKA TO ALEX)(face off) I have an Indian wedding and I (over scene end) I have an Indian wedding and I have a private

have a private party... (I have : i.e., 'In the restaurant tonight,

ALEX TURNS AND WALKS L.1666-01

SCENE 254 - FS - KARA, SETTING OUTPLACE SETTINGS AND DECORATIVEPARTY GIFTS ON A LARGE TABLE.

REHKA(off) ...going on.

KARA REACHES R. TOWARD A BUNCHOF BALLOONS, POPPING ONE OF THEM.

1669-10

SCENE 255 - MS - KARA, REACTING.

KARA 5-472 1671.10 1673.05 1.11 KARA) (exclaiming)Perfect. Perfect.

HOTEL CLERK accidentally popping one of her(voice over) Beverly... decorative balloons - Note sarcasm)

1673-14

SCENE 256 - INT. BEVERLY WILSHIRE Beverly Wilshire, this is Michelle.HOTEL/LOBBY - NIGHT - MS - HOTELCLERK, OUT OF FOCUS, AS JASONENTERS R.FG. IN A MCS. AND WALKSL.BG. INTO A MS. AS CAMERA PANS WITHHIM.

PEOPLE IN BEVERLY WILSHIRE HOTELLOBBY(overlapping, low and indistinct chatter -


dialogue)

HOTEL CLERK 5-474 1676.09 1679.09 3.00 HOTEL CLERK INTO PHONE TO PERSON)(off) (into telephone) ...Wilshire, this is Okay, yeah, I'm gonna have to put you on

Michelle. Okay, yeah, I'm gonna have to put (put you on hold : see Title #2-302)

you on hold. All right, thanks. Bye-bye.

(coughs - continues under following All right, thanks. Bye-bye.

dialogue)

JASON TURNS AND WALKS R. TO THERECEPTION DESK AS CAMERA PANSWITH HIM TO INCLUDE HOTEL CLERK.

party going on.

I have')

(Said here in response to Kara

5-473 /1674.00 1676.05 2.05 HOTEL CLERK INTO PHONE TO PERSON)

hold.

5-475 1679.13 1681.13 2.00 HOTEL CLERK INTO PHONE TO PERSON)

(Bye-bye : Idiomatic farewell)



(61)


JASON 5-476 1682.01 1683.09 1.08 JASON TO HOTEL CLERK)Um, uh, excuse me. You didn't happen to Excuse me.

see a really pretty girl, blue dress, come

through here? You didn't happen to see a really pretty girl,

HOTEL CLERKUm, are you a guest of the hotel, or...?

JASON Are you a guest of the hotel, or...?Uh, no, we were at the, uh, early seating.

HOTEL CLERK 5-479 1692.10 1696.07 3.13 JASON TO HOTEL CLERK)Oh, okay. Yeah, she was on the phone and No, we were at the early seating.

she just went out that way. early seating dinner' - see Title

HOTEL CLERK GESTURES L.

JASON 5-480 1696.11 1701.02 4.07 HOTEL CLERK TO JASON)Oh, okay. Thanks. Oh, okay. Yeah, she was on the phone and

HOTEL CLERKYeah, no (face off) problem.

JASON TURNS AND HURRIEDLY WALKS THEN HOTEL CLERK TO JASON)L. AS CAMERA PANS WITH HIM, OFF -Oh, okay. Thanks. HOTEL CLERK. -Yeah, no problem.

1705-13 (no problem : idiomatic expression



5-477 1683.13 1689.08 5.11 JASON TO HOTEL CLERK)

blue dress, come through here?

5-478 1689.12 1692.06 2.10 HOTEL CLERK TO JASON)

(early seating : i.e., 'restaurant for the

#5-276)

she just went out that way.

5-481 1701.06 1704.02 2.12 JASON TO HOTEL CLERK,

that indicates something is notbothersome)



(1)


11-15 23.14 = 1ST SCENE END

SCENE 1 - EXT. BEVERLY WILSHIREHOTEL - NIGHT - MS - LIZ (TORSO),SEATED ON THE TOP EDGE OF THE 6-1.BACK REST OF BUS STOP BENCH, TALKS THROUGH (OUT)ON THE PHONE TO A PHONE SEX 6-226.CUSTOMER AND PRESSES HER PURSETO HER FOREHEAD AS CAMERA TILTSUP TO INCLUDE HER FACE.

LIZ 6-227 12.03 16.11 4.08 LIZ INTO PHONE TO STANLEY)(face off) (into telephone) (in Southern Put the blindfold on right now, Stanley.

accent) Put (on) (into telephone) the

blindfold on (emphasizing) right (in normal Oh, you know what's gonna happen when

voice) now, Stanley. Oh, you know what's

gonna happen when you do. Sugar and 6-229 20.09 23.13/ 3.04 LIZ INTO PHONE TO STANLEY)

your little kitty cat... (Sugar : Liz's alias and persona for23-14 this particular phone sex caller)

SCENE 2 - FS - PAST LIZ, L.FG., TO JASONAS HE WALKS L.FG., THEN STOPS ANDWATCHES LIZ FROM A SHORT DISTANCE,UNBEKNOWNST TO HER. JASON FOLDSHIS ARMS.

LIZ 6-230 24.09 30.13 6.04 LIZ INTO PHONE TO STANLEY)(into telephone) ...oh, we're gonna lick you ...oh, we're gonna lick you all up and down.

all up and down. 31-08

SCENE 3 - MCS - JASON REACTS.

LIZ 6-231 /31.10 38.12 7.02 LIZ INTO PHONE TO STANLEY)(off) (into telephone) (in raspy voice) Scratchy little tongues goin' up and down

Scratchy little tongues goin' up and down

your-- Oh! 40-02

SCENE 4 - MS - PAST JASON, R.FG., TOLIZ.

LIZ 6-232 43.09 50.09 7.00 LIZ INTO PHONE TO STANLEY)(into telephone) (makes purring sound) Oh, Stanley, I'm gonna have to have a mint

Mm. Oh, Stanley, I'm gonna have to have a (mint julep : a cocktail comprised of

mint julep to cool down after that one. is associated with the Southern U.S.)

6-228 16.15 20.05 3.06 LIZ INTO PHONE TO STANLEY)

you do.

Sugar and your little kitty cat...

(kitty cat : idiomatic for 'kitten' - 'cat')

(all up and down : i.e., 'thoroughly')

your--

julep to cool down after that one.

mint, bourbon, sugar, and water that

(that one : i.e., 'that satisfying sexualexperience')



(2)


LIZ 6-233 50.13 53.01 2.04 LIZ INTO PHONE TO STANLEY)(into telephone) Talk to you next time. Talk to you next time.

LIZ HANGS UP HER CELL PHONE ANDPUTS IT IN HER PURSE, THEN STANDSUP AND WALKS R.FG. ALONG THE SEATOF THE BENCH AS CAMERA TILTS UPWITH HER INTO A LOW ANGLE MS. LIZSTOPS AND REACTS AS SHE SEESJASON.

LIZ (cont'd) 6-234 53.05 55.01 1.12 LIZ AS IF TO STANLEY) (OPTIONAL)(whispering) Thank you. (to Jason) (in Thank you.

normal voice) Oh, God.57-15 6-235 56.09 57.14/ 1.05 LIZ TO JASON)

SCENE 5 - MCS - JASON. said here as Liz realizes Jason has

JASONThat is a really unusual way to talk to your...

61-10 6-236 /58.02 61.09/ 3.07 JASON TO LIZ)

SCENE 6 - FS - HIGH ANGLE - PAST LIZ, (Note humor)L.FG., TO JASON, GESTURING, AS LIZSTEPS DOWN FROM THE BENCH ANDWALKS R.BG. TOWARD HIM. CAMERATILTS DOWN WITH HER AND DOLLIES INTO A MFS.

JASON...boss.

LIZ *6-237 62.15 64.11 1.12 LIZ TO JASON)It's not what you think. (stammers - It's not what you think.

continues under following dialogue) situation is probably incorrect.')

JASONReally? Oh, awesome. Because what I 6-238 64.15 68.02 3.03 JASON TO LIZ)

think it is is you leaving me at dinner to talk (awesome : slang for 'great')

dirty to your boyfriend...75-02

SCENE 7 - MCS - PAST JASON, R.FG., TO at dinner to talk dirty to your boyfriendLIZ. Stanley.

JASON sexually explicit, erotic manner')...Stanley, so--

LIZ 6-240 /75.05 77.12/ 2.07 LIZ TO JASON)(overlapping) (interrupting) No, no, no, no, No, no, no, no, no, no, no, no, no.

no, no, no, no...

Oh, God.(Idiomatic expression of distress,

overheard her conversation)

That is a really unusual way to talk to yourboss.

(i.e. 'Your initial assessment of the

Really? Oh, awesome.

(Note sarcasm)

6-239 68.06 75.01/ 6.11 JASON TO LIZ)Because what I think it is is you leaving me

(talk dirty : slang for 'speak in a



(3)


JASON(overlapping) Whoo! (exhales sharply -


dialogue)77-14


LIZ...no.

JASON 6-241 /78.00 84.05/ 6.05 JASON TO LIZ)What a relief to know that you're not What a relief to know that you're not

someone who licks people all up and with their scratchy kitty cat tongue.

down with their scratchy kitty cat tongue.84-05

SCENE 9 - MCS - PAST JASON, R.FG., TOLIZ.

LIZ 6-242 /84.09 88.07 3.14 LIZ TO JASON)I moonlight as an adult phone entertainer. I moonlight as an adult phone entertainer.

89-00 (moonlight : slang for 'work in my

SCENE 10 - MFS - PAST LIZ, L.FG., TOJASON.

JASON 6-243 90.11 93.01/ 2.06 JASON TO LIZ)Wha--? (stammers) Like phone sex? Like phone sex?

93-01

SCENE 11 - MFS - PAST JASON, R.FG., TOLIZ. A PEDESTRIAN COUPLE ENTERSR.FG. AND WALKS L.BG., EXITING.

LIZ 6-244 /93.05 94.14 1.09 LIZ TO JASON)Yes. This is the busiest day of the year for Yes.

phone sex. (chuckles softly) Surprise.105-03 6-245 98.13 102.13 4.00 LIZ TO JASON)

someone who licks people all up and down

(Note sarcasm)

spare time' - 'have a second part-timejob')

This is the busiest day of the year for phonesex.

6-246 103.09 105.02/ 1.09 LIZ TO JASON)Surprise.

(Interjection used here to wrylyannounce that unexpectedinformation has been shared - Notethat 'Surprise' is usually used toreveal that guests have gathered andpreparations have surreptitiouslybeen made for a surprise party inhonor of a particular person)



(4)

SCENE 12 - MCS - PAST LIZ, L.FG., TOJASON AS HE REACTS, GLANCINGABOUT.

JASON 6-247 111.10 113.15/ 2.05 JASON TO LIZ)(stammers) (exhales sharply) I j-- Why Why didn't you tell me?

didn't you tell me?114-00


LIZ 6-248 115.09 117.05 1.12 LIZ TO JASON)(smacks lips) Okay, um.... Okay....

118-00


LIZ 6-249 /118.03 119.15 1.12 LIZ TO JASON)I'm broke. I have a hundred K... I'm broke.

121-11 (Slang for 'I have no money' - 'I do not


LIZ (over scene end) I have 100k student loan I have absolutely no...student loan I have absolutely no idea idea how I'm going to pay off.

how I'm going to pay off. I have no health a hundred thousand dollars on a

insurance. And so if you know of a job that is a low-interest loan for higher

will pay a poetry major more than forty note that '100k' is slang for 'hundred

dollars an hour with her clothes on, (in (I have absolutely no idea : i.e., 'I do

normal voice) I'm all ears.137-14

have enough money for all of myexpenses')

6-250 120.03 125.07 5.04 LIZ TO JASON)

(have a 100k student loan : i.e., 'owe

student loan' - note that a student loan

education tuition and expenses - also

thousand dollars')

not know whatsoever')

6-251 125.11 127.09 1.14 LIZ TO JASON)I have no health insurance.

6-252 127.13 132.00 4.03 LIZ TO JASON)And so if you know of a job that will pay apoetry major...

(a poetry major : note implication thatLiz's major area of study in collegewas poetry - also note that Liz refersto herself in the third person)

*6-253 132.04 137.06 5.02 LIZ TO JASON)...more than $40 an hour with her clothes on,I'm all ears.

(with her clothes on : implying theonly occupations that pay more thanforty dollars per hour would involvebeing a stripper)(I'm all ears : Idiomatic for 'I'm eagerto hear about it')



(5)

SCENE 16 - MFS - PAST LIZ, L.FG., TOJASON AS HE CLAPS HIS HANDSTOGETHER, THEN TURNS AND WALKSR.BG.

JASON 6-254 /138.00 139.08 1.08 JASON TO LIZ)(chuckling) Okay. (in normal voice) I'm out. Okay.

(exhales sharply - continues under

following dialogue) I'm out.

LIZ longer be involved in this relationship.'(in low tones) No, Ja-- (in normal voice) Are - 'I'm leaving')

y--Are you gonna call me?

JASON STOPS, TURNS FG., AND STEPS Are you gonna call me?L.FG., GESTURING. (Note double meaning - [1] i.e., 'Are

JASON ordinary conversation' and [2] i.e., 'AreWell, you know, I'd like to say yes, but you going to call me for phone sex')

(scoffs) I don't know if I can afford it.

JASON TURNS AND STEPS R.BG. LIZ Well, you know, I'd like to say yes, but...REACTS AS SHE TURNS AND STEPSR.FG. JASON TURNS FG. AGAIN ANDSTEPS L.FG., GESTURING AS HE 6-258 150.12 153.07 2.11 JASON TO LIZ)FOLLOWS LIZ. ...I don't know if I can afford it.

JASON Note cruel humor)I'm sorry, that was-- I'm sorry.

156-15

SCENE 17 - LS - LIZ WALKS R.,FOLLOWED BY JASON.

JASON *6-260 159.02 162.05 3.03 JASON TO LIZ)Come on, you know I didn't... (over scene end) Come on, you know I didn't mean that.

160-07 (Come on : Idiomatic expression of

SCENE 18 - MCS - LIZ STEPS L.BG., THENTURNS FG. AND REACTS AS JASONENTERS R.FG.

JASON 6-261 162.09 167.01/ 4.08 JASON TO LIZ)(off) ...mean that. (on) I'm-- (stammers) (in This is way too much for me, okay?

normal voice) This is, like-- (pants) This is 'much too startling and disturbing')

way too much for me, (chuckling) okay? 167-02

6-255 141.00 142.11 1.11 JASON TO LIZ)

(Slang used here to mean 'I can no

6-256 142.15 145.08 2.09 LIZ TO JASON)

you going to call me to have an

6-257 145.12 149.09 3.13 JASON TO LIZ)

(Referring to the phone sex charges -

6-259 154.09 156.14/ 2.05 JASON TO LIZ)I'm sorry, that was-- I'm sorry.

urging, here used to mean 'Bereasonable')

(way too much : i.e., 'overwhelming' -



(6)

SCENE 19 - MCS - PAST LIZ, L.FG., TOJASON, GESTURING.

JASON 6-262 168.04 170.05 2.01 JASON TO LIZ)(pants) I'm from Muncie, Indiana. Like, the I'm from Muncie, Indiana.

wildest thing I ever did was... (inhales values typical of a small town

sharply) types of situations - Note that Muncie,174-04 Indiana is a small city in the

SCENE 20 - MCS - PAST JASON, R.FG., TOLIZ AS SHE REACTS. 6-263 170.09 174.03/ 3.10 JASON TO LIZ)

JASON...leave Muncie, Indiana. Look, this is me,

it's not you. ...leave Muncie, Indiana.

LIZ(overlapping) Mm-hm. Yeah. 6-264 179.07 182.08 3.01 JASON TO LIZ)

JASON (Look : i.e., 'Listen')I just-- (this is...you : i.e., 'the awkwardness

185-12 of this situation is due to my own

SCENE 21 - MCS - PAST LIZ, L.FG., TO inherently wrong')JASON AS HE TURNS AND STEPS R.BG.

JASON 6-265 188.03 190.03 2.00 JASON TO LIZ)(exhales through nose) I'm sorry, Liz. I'm sorry, Liz.

192-08

SCENE 22 - MCS - LIZ REACTS. OVER EXISTING TYPEFACE. PLEASE CHECK PRINT FOR PROPER199-06 POSITIONING TO AVOID DOUBLE-PRINTING.

SCENE 23 - EXT. HOLLYWOOD FOREVERCEMETERY/ENTRANCE - NIGHT - FS -PAST A SIGN, R.FG., TO SEVERALPEOPLE WALKING L. IN A LONG LINE.THE SIGN READS:

HOLLYWOOD FOREVERCemetery

Funeral HomeFlowers & Gifts

6000

CAMERA DOLLIES AND PANS L., OFF THESIGN, TO INCLUDE A LINE OF CARSWAITING TO ENTER THE CEMETERY,L.FG.

PEOPLE AT CEMETERY ENTRANCE(overlapping, low and indistinct chatter -


dialogue)

(Implying Jason has conservative

upbringing, and is not used to these

northeastern U.S.)

Like, the wildest thing I ever did was...

*6-263A 174.13 178.02 3.05 JASON TO LIZ)

Look, this is me, it's not you.

limited views and experiences, notbecause what you're doing is




(7)


STRANGE USHER 6-266 /199.08 203.13 4.05 STRANGE USHER TO GROUP)(off) Welcome to the Hollywood Forever Welcome to the Hollywood Forever

Cemetery. Enjoy your romantic evening. (Hollywood Forever Cemetery : see

CEMETERY TICKET VENDOR(off) Please, everyone form a single file

line! (in Spanish) Que si forman una línea Enjoy your romantic evening.

organizada, por favor.

SHOUTING SHELDON 6-268 208.01 213.05 5.04 CEMETERY TICKET VENDOR TO GROUP)(off) She... Please, everyone form a single file line.

218-10 (single file line : a line of people

SCENE 24 - MS - PAST WAITING MAN #1 STANDING BY THE ENTRANCE GATE, FG.,TO THE PEOPLE IN LINE, OUT OF FOCUS, 6-269 /218.12 221.08 2.12 SHOUTING SHELDON TO JASON)AS THEY WALK L.BG. INTO THE She said she would meet me right beforeCEMETERY. CAMERA DOLLIES L., OFF showtime...WAITING MAN #1, AND CRANES DOWN (right before : i.e., 'just before' -TO REVEAL SHOUTING SHELDON AND 'immediately before')JASON, SEATED ON A BENCH. (showtime : i.e., 'the scheduled

SHOUTING SHELDON(off) ...said she would meet me right before

showtime, and here it is right before (on) ...and here it is right before showtime but

showtime but she's not here yet, and-- (here it is : i.e., 'now it is')

(inhales sharply) (stammers) I got her

these flowers because I'm so sorry. I I got her these flowers because I'm so sorry.

mean, it was a small fire. It's a small dog.

Everything's fine, and-- (inhales sharply) I mean, it was a small fire. It's a small dog.234-12 Everything's fine, and--

SCENE 25 - MFS - PAST WOMAN #1 AND upset his date)WOMAN #2, L.FG., TO CEMETERY TICKETVENDOR AND EDGAR AS WOMAN #1 ANDWOMAN #2 WALK L.FG., EXITING, AND 6-273.EDGAR STEPS FG. TO THE FRONT OF THROUGH (OUT)THE LINE. 6-274.

CEMETERY TICKET VENDORThank you.

STRANGE USHER 6-275 235.14 238.09 2.11 STRANGE USHER TO GROUP)(off) (overlapping) We're sold out. We're sold out.

CEMETERY TICKET VENDOR GLANCES available tickets.')ABOUT, THEN TURNS R.BG. TOWARDEDGAR AND GESTURES.

Cemetery.

Title #4-432)

6-267 204.01 207.09 3.08 STRANGE USHER TO GROUP)

(Note humor)

standing one behind the other [ratherthan in pairs or larger groups])

screening time of the film')

6-270 221.12 225.10 3.14 SHOUTING SHELDON TO JASON)

she's not here yet, and--

6-271 225.14 229.00 3.02 SHOUTING SHELDON TO JASON)

6-272 229.04 234.11/ 5.07 SHOUTING SHELDON TO JASON)

(Note implication that ShoutingSheldon caused a bizarre mishap that

(Idiomatic for 'We have no more



(8)


CEMETERY TICKET VENDOR 6-276 239.05 244.13 5.08 CEMETERY TICKET VENDOR TO EDGAR)Oh, I-I'm sorry, sir, but we are... (over scene end) Oh, I'm sorry, sir, but we are completely sold

241-05 out. Only pre-sold tickets.

SCENE 26 - MS - PAST CEMETERY Implying they cannot sell any moreTICKET VENDOR, L.FG., TO EDGAR AS HE tickets, but will allow patrons to enterREACTS, SHAKING HIS HEAD. if they already purchased tickets in

CEMETERY TICKET VENDOR...completely sold out. Only pre-sold tickets.

EDGAR *6-277 245.01 248.13/ 3.12 EDGAR TO CEMETERY TICKET VENDOR)No, you don't understand. I need a ticket No, you don't understand. I need a ticket

tonight... (you don't understand : implying 'you248-15 don't understand how important this

SCENE 27 - MS - SHOUTING SHELDON explanation, i.e., 'as you will come toAND JASON AS JASON OVERHEARS understand')EDGAR'S DILEMMA AND STANDS UPR.FG., FACE OFF.

EDGAR(off) ...you--

CEMETERY TICKET VENDOR(off) (overlapping) Okay, um, here's a

brochure. You could come and see another

night.

SHOUTING SHELDON 6-278 /249.01 252.15 3.14 SHOUTING SHELDON TO JASON)(overlapping) But I-I mean, I packed a But I mean, I packed a basket. It's got her

basket. It's got her favorite. Ham hocks (a basket : i.e., 'a picnic basket')

and... snacks')

JASON(overlapping) Actually... 6-279 253.03 255.11 2.08 SHOUTING SHELDON TO JASON)

254-15 (over scene end) Ham hocks and squid and--

SCENE 28 - MS - LOW ANGLE - PAST bone and gristle)EDGAR, R.FG., TO CEMETERY TICKET (Note that these are atypical contentsVENDOR, GLANCING ABOUT AS JASON for a romantic picnic basket)ENTERS L.FG. AND HOLDS OUT A PAIROF TICKETS AS CAMERA PANS L.

SHOUTING SHELDON(off) ...squid and--

CEMETERY TICKET VENDOR(overlapping) I'm--

JASON *6-280 255.15 258.05 2.06 JASON TO EDGAR)(off) (overlapping) ...you know what, sir? You know what, sir...

(on) Um, I have an extra ticket.

(Only pre-sold tickets : i.e., 'We cannow only accept pre-sold tickets.' -

advance)

tonight.

is')(you see : used to preface an

favorite.

(her favorite : i.e., 'her favorite picnic

(Ham hock : The lower portion of ahog's hind legs, made up of meat, fat,

*6-281 259.05 262.00 2.11 JASON TO EDGAR)...I have an extra ticket.



(9)


CEMETERY TICKET VENDOR 6-282 262.04 265.01/ 2.13 CEMETERY TICKET VENDOR TO EDGAR)Oh, that's your ticket? Oh, that's your ticket?

265-03

SCENE 29 - MCS - PAST CEMETERYTICKET VENDOR, L.FG., TO EDGAR ANDJASON.

EDGAR 6-283 /265.05 269.00 3.11 EDGAR TO CEMETERY TICKET VENDOR, That's my ticket. THEN CEMETERY TICKET VENDOR TO

CEMETERY TICKET VENDOR -That's my ticket.It's your lucky night. -It's your lucky night. Have a great time.

EDGAR tonight.' - Implying Edgar may nowThank you. enter)

EDGAR AND JASON WALK FG.

CEMETERY TICKET VENDOR 6-284 269.04 272.12/ 3.08 CEMETERY TICKET VENDOR TO GROUP)(off) (overlapping) Have a great time. (to (over scene end) All right, everyone, we are sold out.

group) All right, everyone, we are... 270-14

SCENE 30 - MS - LOW ANGLE -CEMETERY TICKET VENDOR,GESTURING.

CEMETERY TICKET VENDOR...sold out.

272-14

SCENE 31 - EXT. HOLLYWOOD FOREVERCEMETERY - NIGHT - FS - THROUGH AFENCE AND PAST MOVIEGOERS, FG., TOEDGAR AND JASON, INITIALLYOBSCURED, AS THEY WALK L.FG.THROUGH THE CEMETERY. CAMERADOLLIES L., OFF THE FENCE, INTO A MS.,THEN DOLLIES BACK WITH EDGAR ANDJASON AS THEY WALK FG.

EDGAR 6-284A /273.00 275.00 2.00 EDGAR TO JASON)So who do I thank? So who do I thank?

JASONUh, Jason, from Indiana.

EDGAR Jason, from Indiana.Edgar, from New York. (in low tones) Yeah, (i.e., 'My name is Jason and I'm from

(in normal voice) my wife and I used to

come here every Valentine's Day, but-- 6-284C 277.10 280.00 2.06 EDGAR TO JASON)

EDGAR)

(It's your lucky night : i.e., 'You're lucky

(Implying, 'What is your name?)

6-284B 275.04 277.06 2.02 JASON TO EDGAR)

Indiana.')

Edgar, from New York.

6-285 280.04 285.11 5.07 EDGAR TO JASON)Yeah, my wife and I used to come here everyValentine's Day, but--



(10)


EDGAR 6-286 285.15 289.01 3.02 EDGAR TO JASON)Well, except tonight. Yeah. Well, except tonight. Yeah.

JASONAh, well, you know, I had the extra ticket, 6-287 289.15 293.09 3.10 JASON TO EDGAR)

so....

EDGAR 6-288 294.07 299.01 4.10 EDGAR TO JASON)On Valentine's Day. Well, there's gotta be a On Valentine's Day. Well, there's gotta be a

story there. (there's...there : i.e., 'there must be

JASON that is the case' - 'something(in normal voice) Well-- (chuckles) Yeah, interesting must have occurred, then')

not a good one. Uh, pretty much the worst

Valentine's Day story of all time. (exhales Yeah, not a good one.

through nose) 'story with a happy ending')

EDGARMm-hm, you wanna bet? 6-290 303.06 308.00 4.10 JASON TO EDGAR)

310-14 Pretty much the worst Valentine's Day story

SCENE 32 - INT. SIENA BOUQUET - 'Essentially')NIGHT - FS - PAST REED, ADJUSTINGFLOWER ARRANGEMENTS AS HECROUCHES, LOWER R.FG., TO POLICE 6-291 308.04 310.05 2.01 EDGAR TO JASON)OFFICER #2 AND #1 CARRYING You wanna bet?BOUQUETS AS THEY WALK R.BG. OUT (Idiomatic expression of doubt and aTHE DOOR. declaration of challenge - i.e., 'Would

FEMALE SINGER Edgar's own experience surely makes(over speaker) (sings under following a worse Valentine's Day story than


NIKKI 6-292 /311.01 312.09 1.08 NIKKI TO POLICE OFFICER #1 & #2)(off) Thank you, officers. Thank you, officers.

POLICE OFFICER #1Thank you, Nikki. *6-292A 312.13 315.02 2.05 POLICE OFFICER #1 TO NIKKI,

POLICE OFFICER #2 -Thank you, Nikki.They're beautiful. -They're beautiful.

POLICE OFFICER #2 AND #1 EXIT R.BG.EDISON ENTERS R.BG. AND WALKSL.FG., WHERE HE TURNS R. TO FACE 6-293 315.06 316.06 1.00 EDISON TO OFFICER #1 AND #2)REED IN A MS. Thank you.

EDISON who hold the shop door open as(panting) Thank you. (pants - continues Edison enters)


NIKKI Siena Bouquet.(off) (into telephone) Siena Bouquet.

REED(overlapping) (exhales sharply)

Well, you know, I had the extra ticket, so....

story there.

an interesting explanation as to why

6-289 301.04 303.02 1.14 JASON TO EDGAR)

(good one : i.e., 'pleasant story' -

of all time.(Pretty much : Idiomatic for

you like to wager on that?' - Implying

Jason's)

THEN POLICE OFFICER #2 TO NIKKI)

(They're : i.e., 'The flowers are')

(Said here in response to the officers,

*6-294 316.10 318.09 1.15 NIKKI INTO PHONE TO PERSON)



(11)


NIKKI *6-294A 320.12 324.14 4.02 NIKKI INTO PHONE TO PERSON)(off) (into telephone) Yeah, we're still open Yeah, we're still open for about another hour.

for about another hour.

EDISON 6-295 325.09 327.06 1.13 EDISON TO REED)(panting) Mister? You...owe...me... Mister?

flowers. (pants - continues under following

dialogue) You...owe...me...flowers.

REED NODS AND PICKS UP A BOX OF Edison ordered were never delivered)FLOWERS.

REED 6-297 345.08 347.06/ 1.14 REED TO EDISON)(smacks lips) Where we takin' 'em? Where we takin' 'em?

347-07 (i.e., 'Where would you like us to

SCENE 33 - INT. GOLDEN KADAHIRESTAURANT - NIGHT - FS - PAST AWEDDING CAKE ON A SMALL TABLE,LOWER L.FG., TO THE INDIAN WEDDINGPARTY, SEATED AROUND A LONGDINING TABLE. MALE WEDDING GUEST#1 GLANCES ABOUT, R.FG.

PEOPLE IN GOLDEN KADAHIRESTAURANT(in Hindi) (overlapping, low and indistinct

chatter - continues under following scenes


SCENE 34 - FS - KARA, DEJECTED ANDSEATED ALONE AT A LONG TABLECOVERED WITH PARTY FAVORS,HOLDING A DRINK IN ONE HAND AND AHELIUM BALLOON IN THE OTHER,CONTINUED UNDER FOLLOWINGSCENES.

352-12

SCENE 35 - MS - KARA, GLANCINGABOUT.

355-01

SCENE 36 - MS - PAST MALE WEDDINGGUEST #1, R.FG., TO THE INDIANWEDDING PARTY AS MALE WEDDINGGUEST #1 STANDS UP AND CAMERATILTS UP SLIGHTLY WITH HIM.

357-03

6-296 329.04 336.07 7.03 EDISON TO REED)

(Said here because the flowers that

deliver them?')



(12)

SCENE 37 - MS - KARA INHALES HELIUMFROM THE BALLOON, WHICH ALTERSHER VOICE. SHE SETS DOWN HERDRINK AND SMILES AND WAVES TO THEO.S. INDIAN WEDDING PARTY.

KARA 6-298 362.02 366.13 4.11 KARA TO MAN)(inhales) (in high voice) Okay, I'm gonna go Okay, I'm gonna go now. Have a nice life.

now. Have a nice life. (chuckles) farewell, implying the speaker never

KARA RELEASES THE BALLOON, WHICH Wry variation of 'Have a nice day')FLIES L.FG. (Note unnaturally high tone, as Kara

367-06 has inhaled helium from one of the

SCENE 38 - MCS - PAST MALE WEDDINGGUEST #1, R.FG., TO MALE WEDDINGGUEST #2 AS THE BALLOON ENTERSR.FG. AND THEY REACT. MALE WEDDINGGUEST #1 UNSUCCESSFULLY TRIES TOCATCH THE BALLOON AS IT FLIES L.BG.,EXITING.

372-05

SCENE 39 - MFS - KARA, NOW STANDING,GLANCES ABOUT AND REACTS.

MALE SINGER(voice over) (sings in Hindi - continues


JULIA(off) (breathes heavily - continues under


SCENE 40 - FS - JULIA, CARRYING THETWO BAGS OF FOOD FROM THE BISTROGARDEN, WALKS R.FG. TOWARD KARA'SPARTY TABLE AS CAMERA PANS WITHHER.

377-11

SCENE 41 - MFS - KARA REACTS,GESTURING.

KARA 6-299 378.05 380.01/ 1.12 KARA TO JULIA)You came. You came.

380-03 (Said here to indicate surprise)

SCENE 42 - MFS - JULIA DRAMATICALLYDROPS THE BAGS OF FOOD ONTO ONEOF THE CHAIRS.

384-02

(Have a nice life : Dismissive

expects to see the addressee again -

balloons)



(13)

SCENE 43 - MS - KARA REACTS.

KARA 6-300 384.08 386.06/ 1.14 KARA TO JULIA)What happened? What happened?

386-07

SCENE 44 - MS - JULIA GESTURES,POINTING R.FG. TO THE O.S. BASEBALLBAT FOR THE PIÑATA.

JULIA(breathes heavily - continues under

following scenes) 388-12

SCENE 45 - MS - KARA GESTURES,INDICATING JULIA IS WELCOME TO USETHE BAT.

390-11

SCENE 46 - FS - PAST THE TABLE,LOWER FG., TO JULIA AND KARA ASJULIA WALKS R. AND PICKS UP THE BAT,THEN WALKS L. WITH IT. KARA SITSDOWN AT THE TABLE, R.FG. AS JULIATWIRLS AND TOSSES THE BAT ABOUT,CONTINUED UNDER FOLLOWINGSCENES.

398-09

SCENE 47 - MFS - KARA, SEATED, PICKSUP A FESTIVE TIARA FROM THE TABLE.

400-12

SCENE 48 - MFS - PAST KARA, R.FG., TOJULIA AS KARA PUTS THE TIARA ON HERHEAD.

404-06

SCENE 49 - MS - PAST JULIA AS SHEENTERS, L.FG., TO KARA. JULIA SWINGSTHE BAT

JULIA 6-301 406.11 409.01/ 2.06 JULIA TO KARA)(off) He's (on) married. He's married.

409-03

SCENE 50 - FS - PAST KARA, R.FG., TOJULIA AS SHE VIOLENTLY STRIKES THEHEART-SHAPED PIÑATA, CONTINUEDUNDER FOLLOWING SCENES.

JULIA(grunting) (cries out - continues under

following scenes)



(14)


THE PIÑATA HAS TEXT ON IT, CROSSEDOUT WITH A LARGE SLASH MARK, THATREADS:

HAPPYVALENTINE'S

DAY

409-13

SCENE 51 - FS - THE INDIAN WEDDINGPARTY GUESTS REACT, GLANCINGABOUT.

411-09

SCENE 52 - FS - PAST KARA, R.FG., TOJULIA AS SHE CONTINUES TO STRIKETHE PIÑATA.

412-11

SCENE 53 - MS - THE INDIAN GROOMAND INDIAN BRIDE REACT, STANDINGUP, AND THE INDIAN GROOM EMBRACESTHE INDIAN BRIDE.

415-03

SCENE 54 - MS - KARA REACTS.416-02

SCENE 55 - MFS - PAST KARA, R.FG., TOJULIA.

JULIA(panting) Ya!

417-01

SCENE 56 - MCS - LOW ANGLE - PASTTHE PIÑATA, R.FG., TO JULIA.

JULIA(panting) Hiya!

418-00

SCENE 57 - MS - KARA REACTS.

JULIA(off) (panting) Hiya!

419-09



(15)

SCENE 58 - MCS - THE PIÑATA SPINSABOUT AS O.S. JULIA CONTINUES TOSTRIKE IT.

JULIA(off) (panting) (grunts and cries out -

continues under following scene)420-06

SCENE 59 - MCS - PAST THE PIÑATA,R.FG., TO JULIA.

JULIA(panting) Hiya!

422-12

SCENE 60 - FS - PAST KARA, R.FG., TOJULIA.

JULIA(panting) (grunts and cries out - continues

under following scenes) 424-09

SCENE 61 - MS - PAST THE SWINGINGBAT, L.FG., TO KARA AS SHE REACTS.

425-03

SCENE 62 - MFS - PAST KARA, R.FG., TOJULIA AS SHE PUNCTURES THE PIÑATAWITH THE BAT.

427-09

SCENE 63 - MCS - HIGH ANGLE - THEFLOOR AS CANDY FALLS ONTO IT FROMTHE O.S. PIÑATA, CONTINUED UNDERFOLLOWING SCENES.

428-09


429-13

SCENE 65 - MCS - PAST THE PIÑATA,R.FG., TO JULIA.

432-04


433-11



(16)

SCENE 67 - MCS - PAST FEMALEWEDDING GUEST #1, SEATED R.FG., TOMALE WEDDING GUEST #2, SEATED.FEMALE WEDDING GUEST #1GESTURES, THRUSTING HER HAND FG.IN SYNC WITH O.S. JULIA'S BLOWS.

436-01

SCENE 68 - FS - PAST KARA, R.FG., TOJULIA AS SHE FINISHES DESTROYINGTHE PIÑATA.

JULIA(pants - continues under following scenes)

443-13

SCENE 69 - MS - PAST JULIA AS SHEENTERS, L.FG., AND SETS DOWN THEO.S. BAT, TO KARA AS SHE REACTS.

448-11

SCENE 70 - MS - PAST KARA, R.FG., TOJULIA AS SHE SITS DOWN NEXT TO HERAND CAMERA TILTS DOWN WITH HER.

JULIA 6-301A 454.05 457.05 3.00 JULIA TO KARA)(panting) Now that's open-heart surgery. Now that's open-heart surgery.

(pants - continues under following open-heart surgery.' - Implying that

dialogue) heart-shaped piñata has made her

KARA humorous allusion to Harrison'sMm-hm. profession)

JULIA HANDS KARA A PEPPERMINTPATTIE.

JULIA 6-302 460.13 463.04/ 2.07 JULIA TO KARA)Peppermint Pattie? (pants - continues Peppermint Pattie?

under following scene and dialogue) Pattie?' - Referring to a York

KARA chocolate-covered peppermintYep. confection produced by the Hershey

463-05 Foods Corporation - Note that candy

SCENE 71 - FS - JULIA AND KARA EACHOPEN THE WRAPPERS ON THEPEPPERMINT PATTIES.

467-07

(i.e., 'That is the correct way to perform

taking her aggression out on the

feel better emotionally - Also note

(i.e., 'Would you like a Peppermint

Peppermint Pattie, a dark

fell out of the piñata once Juliademolished it)



(17)

SCENE 72 - EXT. HOLLYWOOD FOREVERCEMETERY - NIGHT - LS - HIGH ANGLE -SEVERAL MOVIEGOERS WALK L.FG. ASCAMERA CRANES DOWN.

PEOPLE AT HOLLYWOOD FOREVERCEMETERY(overlapping, low and indistinct chatter -


dialogue)

FEMALE SINGER(over speaker) (sings "Cupid" - continues


STRANGE USHER 6-302A 468.01 472.14 4.13 STRANGE USHER TO GROUP)(off) Don't step on the people, step on the... (over scene end) Don't step on the people, step on the grass.

472-00 (people : i.e., 'graves')

SCENE 73 - FS - HIGH ANGLE - SEVERALMOVIEGOERS WALK R.FG.

STRANGE USHER 6-302B 473.02 474.13/ 1.11 STRANGE USHER TO GROUP)(off) ...grass. Step on the grass. Step on the grass.

474-14

SCENE 74 - MS - HIGH ANGLE - PASTEDGAR (TORSO), L.FG., TO JASON(TORSO) AS EDGAR OPENS A FOLDINGCHAIR AND SETS IT DOWN. AMOVIEGOER (TORSO) CROSSES L., FG.,BRIEFLY OBSCURING THEM.

EDGAR 6-303 476.09 480.05 3.12 EDGAR TO JASON)(face off) This telephone... (over scene end) This telephone girl, you like her, huh?

478-04 (This telephone girl : Referring to Liz

SCENE 75 - FS - PAST MOVIEGOERS,LOWER FG., TO THE WALL OF AMAUSOLEUM, WHICH ACTS AS THEMOVIE SCREEN FOR THE CEMETERYSCREENINGS. A SERIES OF STILLIMAGES FROM THAT NIGHT'S FILM, "HOTSPELL," ARE SHOWN, CONTINUEDUNDER FOLLOWING SCENES.

EDGAR(off) ...girl, you like her, huh?

- i.e., 'This girl who provides phonesex')



(18)


TEXT SUPERIMPOSED ON THEPROJECTED MOVIE STILLS READS: 6-304 480.09 482.09 2.00 NARRATIVE TITLE) (of screen)

HOT SPELL HOT SPELL ...will begin in 5 minutes ...will begin in 5 minutes

JASON mother's struggle to manage an(off) Thought maybe she had... unhappy family, featuring Shirley

484-01 MacLaine as Virginia Duval and

SCENE 76 - MS - EDGAR, SEATED IN HIS MacLaine is also the actress whoFOLDING CHAIR, AND JASON, SEATED portrays Estelle)ON THE GROUND, AS MOVIEGOERSWALK ABOUT AND SETTLE INTO THEIRSEATING AREAS FG. AND BG., *6-305 482.13 486.09 3.12 JASON TO EDGAR)CONTINUED UNDER FOLLOWING (over scene end) Thought maybe she had the trifecta.SCENES. (the trifecta : made-up slang used

JASON three vital characteristics' - note that...the trifecta. 'trifecta' is most commonly used as a

EDGAR in which the bettor must predict whichTrifecta? What's that? horses will finish first, second, and

JASON(smacks lips) Oh, you know, it's like, uh, the

big three S's: Trifecta? What's that?495-01

SCENE 77 - MS - PAST JASON, Oh, you know, it's like the big three S's:GESTURING, R.FG., TO EDGAR. (the big three S's : i.e., 'the three vital

JASON with the letter S')smart, sensitive...

498-01

SCENE 78 - MCS - PAST EDGAR (TORSO),L.FG., TO JASON.

JASON...sexy.

EDGAR(face off) Hm.

500-10

(HOT SPELL : a 1958 film about a

Warren Stevens as her boyfriend,Wyatt Mitchell - Note that Shirley

here to mean 'a rare combination of

horse racing term for a parimutuel bet

third in exact order)

6-306 487.13 490.10 2.13 EDGAR TO JASON)

6-307 491.11 495.01/ 3.06 JASON TO EDGAR)

characteristics of women that all start

6-308 /495.05 499.06 4.01 JASON TO EDGAR)(over scene end) Smart, sensitive, sexy.



(19)

SCENE 79 - LS - PAST MOVIEGOERS,LOWER FG., TO A PROJECTED MOVIESTILL OF WARREN STEVENS AS WYATTMITCHELL AND A YOUNG ESTELLE ASVIRGINIA DUVAL IN "HOT SPELL".

EDGAR 6-309 501.05 503.07/ 2.02 EDGAR TO JASON)(off) That's my trifecta. That's my trifecta.

503-08 (i.e., 'That's the ideal woman for me.' -

SCENE 80 - MS - EDGAR AND JASON, AS Note that Edgar gestures to a stillEDGAR, WHO HOLDS A FLASK IN HIS R. image from Hot Spell of ShirleyHAND, GESTURES L.FG. TOWARD THE MacLaine as Virginia Duval, projectedO.S. MAKESHIFT MOVIE SCREEN. on the screen prior to the start of the

JASONHer?

EDGAR Her?(on) Mm-hm.

508-09

SCENE 81 - LS - PAST MOVIEGOERS,LOWER FG., TO THE SAME STILL IMAGEOF WARREN STEVENS AND YOUNGESTELLE.

JASON 6-311 509.01 511.05/ 2.04 JASON TO EDGAR)(off) You mean, like, literally, that--? You mean, like, literally, that--?

511-05 (literally, that : i.e., 'do you literally

SCENE 82 - MCS - PAST JASON, R.FG., TO Edgar isn't merely infatuated with theEDGAR, GESTURING WITH HIS FLASK. character of Virginia Duval, or

EDGAR just another fan)Literally. Her.

JASON 6-312 /511.09 513.10/ 2.01 EDGAR TO JASON)(chuckling) Oh. Literally. Her.

513-12

SCENE 83 - MS - EDGAR AND JASON ASEDGAR SIPS FROM HIS FLASK.

JASON 6-313 /513.14 515.13 1.15 JASON TO EDGAR)She was hot. She was hot.

EDGAR(overlapping) (sips - continues under

following dialogue)

JASON(chuckles - continues under following

dialogue)

EDGAR 6-314 517.10 519.09 1.15 EDGAR TO JASON)(with mouth full) Mm. (in normal voice) Still Still is.

is.520-02

'That's the woman that has the threevital characteristics I revere most.' -

film)

6-310 506.09 508.01 1.08 JASON TO EDGAR)

mean you are in love with that actualactress' - used here to clarify that

infatuated with Estelle from afar as

(hot : slang for 'sexy' - 'gorgeous')



(20)

SCENE 84 - MCS - PAST EDGAR (TORSO), *TRANSLATORS: NOTE THAT FORMER TITLES #6-314A THROUGHL.FG., TO JASON AS HE REACTS, #6-314H FROM THE REVISED PRELIMINARY VERSION NOW APPEARGLANCING ABOUT. LATER IN THIS REEL.

523-01

SCENE 85 - INT. GOLDEN KADAHI THROUGH (OUT)RESTAURANT - NIGHT - FS - PAST INDIAN *6-314H.WEDDING GUESTS AS THEY CLAP, FG.,TO THE INDIAN GROOM, REHKA, ANDTHE INDIAN BRIDE. THE INDIAN GROOMSTEPS R.FG. AS REHKA LEADS THEINDIAN BRIDE L.FG., AND THE INDIANGROOM AND INDIAN BRIDE JOIN HANDS.REHKA STEPS BG., THEN R.

PEOPLE IN RESTAURANT(overlapping, low and indistinct chatter -


dialogue)527-04

SCENE 86 - MS - THE INDIAN GROOMAND INDIAN BRIDE AS THE INDIANGROOM RELEASES THE INDIAN BRIDE'SHAND AND BOWS, PRESSING HIS PALMSTOGETHER IN A NAMASTE GESTURE.

529-13

SCENE 87 - MFS - PAST JULIA, L.FG., ANDKARA, R.FG., TO ELISE AND DANA ASTHEY WALK FG. JULIA AND KARA STANDUP AND TURN R.BG., THEN EMBRACEELISE AND DANA, RESPECTIVELY.

ELISE 6-315 /529.15 531.10 1.11 ELISE TO KARA)(in singsong voice) Hey, hey. Hey, hey.

KARAYou guys came!

JULIA THEN JULIA TO ELISE & DANA)(overlapping) Oh! You're here! (exhales -You guys came!

sharply - continues under following (guys : term of group address for

dialogue) to Kara's friends Dana and Elise)

KARAWait, I-I thought you were going out with... 6-317 534.07 538.02 3.11 KARA TO DANA)

536-13 (over scene end) Wait, I thought you were going out with your

SCENE 88 - MS - PAST JULIA, L.FG., AND 'were celebrating Valentine's Day byKARA, R.FG., TO ELISE AND DANA AS THE going out')WOMEN RELEASE THEIR EMBRACES.

KATE...your new boyfriend.

*6-314AA.

(Idiomatic greeting)

6-316 531.14 534.03 2.05 KARA TO ELISE & DANA,

-You're here!

members of either gender - referring

new boyfriend.(were going out : i.e., 'had a date' -



(21)


JULIA 6-318 538.06 541.09 3.03 JULIA TO ELISE)(overlapping) I thought you had a date with I thought you had a date with your old

your old boyfriend. (old : i.e., 'former')

ELISE AND DANA EXCHANGE A GLANCE.

DANA AND ELISE 6-319 541.13 543.08 1.11 DANA & ELISE TO KARA & JULIA)(in unison) Same guy. (in unison)

JULIA (i.e., 'We discovered that our dates(scoffs) were with the same guy.')

KARANo. 6-320 543.12 545.05 1.09 KARA TO DANA & ELISE, T

JULIA -No.Not surprised. -Not surprised.

DANA surprised' - Alluding to Julia'sYeah. experience with Harrison)

ELISE(overlapping) He booked back-to-back 6-321 545.09 550.01 4.08 ELISE TO KARA & JULIA)

seatings at the same restaurant... same restaurant and thought we wouldn't

KARA (booked back-to-back seatings : (overlapping) No. idiomatic for 'made immediately

DANA(overlapping) (scoffs)

ELISE...and thought we wouldn't notice.

KARA 6-322 550.05 553.02 2.13 KARA TO DANA, THEN ELISE TO KARA)(overlapping) What? (over scene end) -What?

550-15 -Please lead me to the alcohol.

SCENE 89 - MS - PAST JULIA,GESTURING, L.FG., AND KARA, R.FG., TOELISE, GESTURING, AND DANA.

DANAPlease lead me to the alcohol.

ELISE WALKS L.FG., BRIEFLY EXITING, ASDANA STEPS R., BRIEFLY EXITING.

KARA *6-323 553.06 558.06 5.00 KARA TO ELISE, THEN JULIA TO DANA)(overlapping) Right here. Sit down. -Right here. Sit down.

JULIA friend.(overlapping) Right here. S-- We are gonna

take good care of you, my friend.

boyfriend.

Same guy.

HEN JULIA TO DANA & ELISE)

(Not surprised : i.e., 'I'm not

He booked back-to-back seatings at the

notice.

sequential reservations')

(What : Used here as an interjectionof disbelief)

-We are gonna take good care of you, my



(22)


JULIA AND KARA BOTH STEP L. AND SITDOWN AT THE TABLE AS CAMERA PANSWITH THEM TO AGAIN INCLUDE ELISE ASSHE SITS DOWN, L.BG. DANA, OUT OFFOCUS, CROSSES L., FG. CAMERADOLLIES BACK AND PANS L. TO AGAININCLUDE DANA AS SHE SITS DOWN,L.FG.

KARA(overlapping) You have come (off) to the

(on) right place.

DANA 6-324 558.10 560.13 2.03 DANA TO JULIA)(overlapping) What happened to the What happened to the piñata?

piñata? papier-mâché object that is filled with

JULIA guests until the candy spills out -Oh, it got what it deserved. referring to Kara's piñata, shaped like

ELISE Valentine's Day' written on it, but(overlapping) (chuckles - continues under crossed out, that Julia destroyed)

following dialogue)

ADDITIONAL FRIENDS OF KARA'S ENTER Oh, it got what it deserved.BG. AND WALK R.FG. TOWARD THE (Note humor)TABLE IN A FS. JULIA AND KARA STANDUP AND EMBRACE THE NEW GUESTS.

KARA 6-326 563.13 566.15 3.02 (31) KARA TO GROUP)Oh, more sad and lonely people. More sad and lonely people.

KARA'S FRIENDS guests)(overlapping, low and indistinct chatter and


dialogue)

KARA'S FRIEND #1 *6-326A 567.03 569.13/ 2.10 KARA'S FRIEND #1 TO GROUP, (chuckling) Hey, guys! THEN KARA'S FRIEND #3 TO ELISE)

KARA'S FRIEND #2 -Hey, Elise.(overlapping) Hey, guys. (chuckles)

JULIAHi.

KARA'S FRIEND #3(overlapping) Hey, Elise.

569-13

(piñata : a brightly-colored

candy and struck by one or more party

a large heart with the words 'Happy

6-325 561.01 563.09 2.08 JULIA TO DANA)

(Referring to the arrival of additional

-Hey, guys.



(23)

SCENE 90 - EXT. GRACE'S VW BUG -NIGHT - LS - PAST CAR #1, L.FG., TOGRACE IN HER VW BUG, L.BG., ANDEDISON AND REED IN THE SIENABOUQUET VAN, INITIALLY OBSCURED,FAR L.BG., AS ALL OF THE VEHICLESDRIVE R.FG. ALONG A BOULEVARD. CAR#1 AND GRACE'S VW COME TO A STOP ATAN O.S. STREET LIGHT AS CAMERA TILTSDOWN AND PANS R. WITH THEM.

GRACE *6-327 570.06 576.05 5.15 GRACE INTO PHONE (into telephone) You know, I'm driving TO EDGAR & ESTELLE)

around, looking in all the places (chuckling) the places he's probably gonna be, but....

he's probably (in normal voice) gonna be,

but.... Anyways, like I said, just call me 6-328 576.09 579.05 2.12 GRACE INTO PHONE

back. But no big deal, I've got it under Anyways, like I said, just call me back.

control, so...582-14

SCENE 91 - INT. GRACE'S VW BUG - But no big deal, I've got it under control...NIGHT - MS - PAST GRACE, L.FG., AND (no big deal : slang for something ofTHROUGH HER WINDSHIELD TO little importance or consequence - i.e.,EDISON, SEATED IN THE SIENA 'don't worry about it')BOUQUET VAN'S FRONT PASSENGER (I've got it out of control : i.e., 'I amSEAT AS THE VAN DRIVES R. AND STOPS confident I can manage this situation')AT THE O.S. TRAFFIC SIGNAL. GRACESEES EDISON AND REACTS, CONTINUEDUNDER FOLLOWING SCENES.

GRACE 6-330 /583.01 585.00 1.15 GRACE INTO PHONE (into telephone) ...I'll find him. (chuckles) TO EDGAR & ESTELLE)

Oh...586-05

SCENE 92 - EXT. GRACE'S VW BUG -NIGHT - MCS - THROUGH THEWINDSHIELD TO GRACE.

GRACE 6-331 587.01 590.09/ 3.08 GRACE INTO PHONE (into telephone) ...oh, I've found him! (over scene end) TO EDGAR & ESTELLE)

588-07 I've found him! Found him.

SCENE 93 - EXT. GRACE'S VW BUG -NIGHT - MS - THROUGH THE SIDEWINDOW OF THE SIENA BOUQUET VANTO EDISON.

GRACE(off) (into telephone) (chuckles) Found him.

590-11

You know, I'm driving around, looking in all

(he's : referring to Edison)

TO EDGAR & ESTELLE)

(Anyways : Colloquial for 'Anyway')

6-329 579.09 582.13/ 3.04 GRACE INTO PHONE TO EDGAR & ESTELLE)

...so I'll find him.



(24)

SCENE 94 - MCS - THROUGH THEWINDSHIELD TO GRACE AS SHE ENDSHER PHONE CALL AND GLANCESABOUT.

GRACE 6-332 /590.13 593.09/ 2.12 GRACE TO HERSELF)Oh, my God, he's in a van. Shit! Oh, my God, he's in a van. Shit!

593-11 (Oh, my God : Idiomatic expression

SCENE 95 - INT. GRACE'S VW BUG - riding in the Siena Bouquet van withNIGHT - MS - PAST GRACE, L.FG., AND Reed - also note that vansTHROUGH THE WINDSHIELD TO EDISON sometimes have a sinisterIN THE SIENA BOUQUET VAN AS BOTH connotation, and Grace fears EdisonVEHICLES DRIVE R. may have been abducted)

GRACE alarm)What are you doing in a van?

595-11

SCENE 96 - EXT. GRACE'S VW BUG - (i.e., 'Why are you in a van?')NIGHT - FS - PAST GRACE IN HER CAR,L.FG., TO EDISON IN THE VAN AS THEVAN DRIVES R.BG. AND GRACEFOLLOWS IN HER CAR AS CAMERA PANSWITH THEM. EDISON EXITS R.BG. AS THEFRONT PORTION OF THE VAN EXITSFRAME.

GRACE 6-334 /595.14 597.09 1.11 GRACE TO EDISON)Edison! Edison!

600-02

SCENE 97 - INT. GOLDEN KADAHIRESTAURANT - NIGHT - MS - PAST ACAULDRON WITH A SMALL FIREBURNING IN IT, FG., TO CHARLIE (HAND),KARA (TORSO), DANA (TORSO), ANDELISE (HAND) AS DANA TOSSES APHOTOGRAPH OF AN EX-BOYFRIENDINTO THE CAULDRON AS PART OF ONEOF KARA'S PARTY RITUALS.

PEOPLE IN RESTAURANT(off) (overlapping, low and indistinct chatter


dialogue)

of alarm)(he's in a van : note that Edison is

(Shit : Vulgar slang interjection of

6-333 /593.13 595.10/ 1.13 GRACE TO EDISON)What are you doing in a van?



(25)


KARA, KARA'S FRIEND #2, DANA, ELISE 6-335 600.09 603.04 2.11 GROUP) (in unison) (chanting)AND PARTY GUESTS Burn, baby, burn!(face off) (in unison) Burn, baby, burn! (Idiomatic expression of enthusiasm

ELISE phrase was made infamous by the(face off) Justin Levy. 1965 Watts riots in Los Angeles that

605-03 left 36 dead, 900 injured, and over

SCENE 98 - MS - PAST THE CAULDRON, known as Magnificent Montague,LOWER L.FG., TO KARA, KARA'S FRIEND who'd shout the phrase any time a#2, DANA AND ELISE, HOLDING A piece of soul music got him excited -PHOTOGRAPH. his listeners appropriated it for the

ELISE that the party guests are ritualisticallyBroke up with me on the morning of my burning the photographs of past

birthday, still showed up to my party.

ELISE TOSSES THE PHOTOGRAPH 6-336 603.08 605.01/ 1.09 DANA TO GROUP)LOWER L. INTO THE CAULDRON. Justin Levy.

KARA(chuckles) 6-337 /605.05 609.01 3.12 DANA TO GROUP)

613-04 Broke up with me on the morning of my

SCENE 99 - MS - PAST MALE WEDDING romantic relationship')GUEST #1 (ARMS), HOLDING A CAMERA,L.FG., TO MALE WEDDING GUEST #3,INDIAN GROOM AND INDIAN BRIDE AS 6-338 609.05 612.09 3.04 DANA TO GROUP)THE INDIAN GROOM APPLIES ...still showed up to my party.CEREMONIAL FACE PAINT TO HIS INDIAN (party : i.e., 'birthday party')BRIDE'S FACE, CONTINUED UNDERFOLLOWING SCENE.

KARA, KARA'S FRIEND #2, DANA, ELISE 6-339 613.13 616.07/ 2.10 GROUP) (in unison) (chanting)AND PARTY GUESTS Burn, baby, burn!(off) (in unison) Burn, baby, burn!

(overlapping chuckles, low and indistinct


and dialogue)

WEDDING GUESTS(overlapping chuckles, low and indistinct



SCENE 100 - FS - PAST INDIAN WEDDINGGUESTS, CLAPPING, L.FG. AND R.FG., TOTHE INDIAN GROOM AND INDIAN BRIDE.

CHARLIE 6-340 618.01 620.05/ 2.04 CHARLIE TO GROUP)(off) Ivonne Quinteros. Ivonne Quinteros.

620-05 (Referring to the Hostile Woman)

for the act of burning something - The

$200 million in property damage. Itwas originally used by a disc jockey

arson that marked the riots - Also note

lovers)

birthday...(Broke up : Idiomatic for 'Ended the



(26)

SCENE 101 - MS - PAST THE CAULDRON,LOWER FG., TO CHARLIE, HOLDING APHOTOGRAPH, KARA, KARA'S FRIEND #2,AND DANA. KELVIN ENTERS R.BG. ANDLOOKS ON, UNNOTICED BY THEOTHERS.

CHARLIE 6-341 621.05 626.00 4.11 CHARLIE TO GROUP)Dumped me for the piano player at the Dumped me for the piano player at the

Beverly Wilshire. (chuckles) Two hours (Dumped : Slang for

ago. (chuckles - continues under following relationship with')

dialogue) be with')

CHARLIE CRUMPLES THE PHOTOGRAPHIN HIS HAND.

KARA Two hours ago.(chuckles - continues under following

dialogue)

DANA *6-342A 628.05 629.13/ 1.08 DANA TO CHARLIE)Oh, Charlie. Oh, Charlie.

FEMALE GUEST #1(off) (overlapping) Ooh.

629-14

SCENE 102 - MS - PAST THE CAULDRON,FG., TO CHARLIE (TORSO), KARA(TORSO), AND DANA (TORSO).

CHARLIE, DANA, AND PARTY 6-343 630.09 633.11 3.02 GROUP) (in unison) (chanting)ATTENDANTS (over scene end) Burn, baby, burn!(face off) (in unison) Burn, baby, burn!

KARA 6-344 (OUT)(face off) (overlapping) Burn, baby...

632-02

SCENE 103 - MCS - PAST CHARLIE, L.FG.,TO KARA AND KARA'S FRIEND #2. KELVINENTERS AS HE STEPS R.FG. OUT FROMBEHIND KARA.

KARA...burn!

KELVIN 6-345 633.15 637.01/ 3.02 KELVIN TO KARA)Fire marshal... (over scene end) Fire marshal know about this burning pot?

634-15 (Fire marshal : i.e., 'Does the fire

SCENE 104 - MCS - PAST KELVIN, R.FG., likely against the fire department'sTO DANA AND KARA AS SHE TURNS FG. codes and regulations)AND REACTS, REACHING FOR THEPARTY HAT SHE IS WEARING.

KELVIN...know about this burning pot?

637-01

Beverly Wilshire.

'Unceremoniously ended the romantic

(for the piano player : i.e., 'in order to

(Beverly Wilshire : See Title #5-473)

6-342 626.04 628.01 1.13 CHARLIE TO GROUP)

marshal')(Implying that such a practice is most



(27)

SCENE 105 - MCS - PAST KARA, L.FG.,AND DANA, R.FG., TO KELVIN AS KARA'SFRIEND #2 LOOKS ON, R.BG. KARAQUICKLY REMOVES HER PARTY HAT.

KARA 6-346 /637.05 640.05 3.00 KARA TO KELVIN)Oh, hey, Kelvin. Oh, hey, Kelvin.

KELVINHey.

KARA 6-347 640.09 642.09/ 2.00 KARA TO GROUP)Uh, back to the wine. Back to the wine.

642-10 (i.e., 'Let's all go back to the wine bar.'

SCENE 106 - MS - PAST KELVIN, R.FG., TOKARA AS ALL OF THE OTHER GUESTS, 6-348 (OUT)FG. AND BG., WALK R., EXITING.

KARA 6-349 /642.13 645.08 2.11 KARA TO KELVIN)Wha--? What are you doin' here? What are you doin' here?

KELVINWell, I had a little time before my ten o'clock 6-350 645.12 649.08/ 3.12 KELVIN TO KARA)

broadcast. Somebody said... broadcast.649-10

SCENE 107 - MCS - PAST KARA, L.FG., TO Somebody said there was a gathering of myKELVIN AS THE OTHER GUESTS, BG., people here.WALK L.BG. (my people : i.e., 'people with whom I

KELVIN 'people who also hate Valentine's...there was a gathering of my people here. Day, like me')

KARAHow did you find (chuckling) us? 6-352 652.09 654.13 2.04 KARA TO KELVIN)

KELVIN SIPS A GLASS OF WINE.

KELVIN 6-353 655.03 656.03/ 1.00 KELVIN TO KARA)(sips) (swallows) Heather. Heather.

656-04

SCENE 108 - MCS - PAST KELVIN, R.FG.,TO KARA AS SHE NODS AND GESTURESWITH HER GLASS OF WINE.

KARA 6-355 /656.07 658.07 2.00 KARA TO KELVIN)Right, right. Well, um, welcome. Right, right.

KELVIN(overlapping) Mm-hm. Mm-hm. 6-356 658.11 661.11 3.00 KARA TO KELVIN)

JULIA ENTERS R.BG.

- 'Let's all refill our wine glasses.')

Well, I had a little time before my 10:00

6-351 /649.12 652.05 2.09 KELVIN TO KARA)

share something in common' -

How did you find us?

6-354 (OUT)

Well, welcome.



(28)


JULIA 6-357 661.15 664.13/ 2.14 JULIA TO KELVIN)(overlapping) Hi. Hi. I'm Julia.

KELVINHey.

JULIAI'm Julia.

664-15

SCENE 109 - MCS - PAST KARA,GLANCING ABOUT, L.FG., TO KELVIN.

KELVIN 6-358 /665.01 667.05 2.04 KELVIN TO JULIA)I'm Kelvin. I'm Kelvin.

JULIA(off) Hi.

KELVINUh, yes.

JULIA(off) (overlapping) (inhales sharply)

668-12

SCENE 110 - MCS - PAST KELVIN AS HESIPS HIS WINE, R.FG., TO KARA ANDJULIA.

JULIA 6-359 669.01 672.00 2.15 JULIA TO KELVIN)So, um, you guys know each other? So you guys know each other?

(inhales)

KARAMm.

JULIA 6-360 672.04 675.13/ 3.09 JULIA TO KELVIN)(overlapping) What misadventure of the What misadventure of the heart brings you

heart brings you here... (misadventure of the heart : i.e.,

KELVIN (brings you : i.e., 'has caused you to(overlapping) (sips) be')

675-14

SCENE 111 - MCS - PAST KARA, L.FG., TOKELVIN.

JULIA...tonight?

KELVIN 6-361 /676.01 679.01 3.00 KELVIN TO KARA)Oh, actually, I'm Kara's date. Oh, actually, I'm Kara's date.

679-10

here tonight?

'romantic disappointment')



(29)

SCENE 112 - MCS - PAST KELVIN,SIPPING HIS WINE, R.FG., TO KARA ASSHE REACTS, GLANCING ABOUT, ANDJULIA AS SHE REACTS AND TAKESKARA'S GLASS OF WINE FROM HER.

KELVIN(sips - continues under following dialogue)

JULIA 6-362 681.05 683.09 2.04 JULIA TO KELVIN)Fascinating. Fascinating.

KELVIN(swallows) Mm-hm.

KARA 6-363 684.03 685.13 1.10 KARA TO KELVIN)Yeah. Yeah.

KELVINMm. 6-364 (OUT)

JULIA(clears throat - continues under following

dialogue)

KARA HOLDS HER CONE-SHAPED PARTYHAT TO HER MOUTH AND USES IT LIKE APARTY HORN.

KARA(through party hat) Whoo!

JULIA(overlapping) (chuckling) Yeah.

RESTAURANT WEDDING ATTENDEES(overlapping, low and indistinct chatter and

laughter - continues under following scene)

691-00

SCENE 113 - MS - PAST MALE WEDDINGGUEST #1 (ARM) HOLDING A CAMERA,L.FG., TO MALE WEDDING GUEST #3,INDIAN GROOM, HOLDING A SLICE OFWEDDING CAKE, AND INDIAN BRIDE. THEINDIAN BRIDE TAKES A SMALL PIECE OFCAKE IN HER HAND AND BEGINS TOFEED IT TO THE INDIAN GROOM, THENEATS IT HERSELF. MALE WEDDINGGUEST #3 REACTS, AMUSED, ANDCLAPS.

697-02



(30)

SCENE 114 - EXT. GOLDEN KADAHIRESTAURANT - NIGHT - LS - GRACEDRIVES HER VW BUG L.FG. AROUND ACORNER, THEN R.FG. INTO A FS. ASCAMERA PANS L. AND R. WITH HER.

GRACE 6-365 701.09 703.01/ 1.08 GRACE TO EDISON)Edison! Edison!

703-03

SCENE 115 - FS - REED WALKS R.AROUND THE END OF THE SIENABOUQUET VAN AS EDISON WALKS R.TOWARD THE ENTRANCE OF GOLDENKADAHI, CARRYING THE BOX OFFLOWERS, AND CAMERA PANS R. SLIGHTLY. INDIAN GROOM WALKSABOUT, L.BG.

REED 6-366 /703.05 705.08/ 2.03 REED TO EDISON)All right, buddy. All right, buddy.

GRACE(off) (overlapping) Edison!

705-10

SCENE 116 - MFS - GRACE DRIVES HERCAR R.FG. AS CAMERA PANS WITH HER.

GRACE 6-367 /705.12 707.02/ 1.06 GRACE TO EDISON)Don't move! Don't move!

707-03

SCENE 117 - MFS - EDISON.

EDISON 6-368 /707.06 710.00/ 2.10 EDISON TO GRACE)I'm really, really sorry. I'm really, really sorry.

710-02

SCENE 118 - FS - PAST GRACE, FG., TOREED, L.BG., THE INDIAN GROOM,INITIALLY OBSCURED, BG., AND EDISON,R.BG. GRACE WALKS BG. TOWARDEDISON AS CAMERA DOLLIES L. ANDPANS R.

GRACE 6-369 /710.04 714.09 4.05 GRACE TO EDISON)Okay, but you can't do that to me! Do you (in Okay, but you can't do that to me! Do you

wavering voice) understand? (do that to me : i.e., 'abruptly leave

EDISON(overlapping) I know, I know. But this was

really important. I know, I know. But this was really important.

GRACE(overlapping) (exhales sharply)

(buddy : idiomatic for 'friend')

understand?

me without explanation')

6-370 714.13 718.09 3.12 EDISON TO GRACE)



(31)


EDISON 6-371 718.13 721.01 2.04 EDISON TO GRACE)She had to get... (over scene end) She had to get her flowers.

720-01 (i.e., 'It was essential that the recipient

SCENE 119 - MS - REED REACTS.

EDISON(off) ...her flowers.

REED *6-372 721.05 723.01/ 1.12 REED TO GRACE)Is everything okay? Is everything okay?

723-03

SCENE 120 - MS - EDISON AND GRACE,GESTURING.

GRACE 6-373 /723.05 725.05/ 2.00 GRACE TO REED)Yeah, I'm-I'm his babysitter. Yeah, I'm his babysitter.

725-07

SCENE 121 - MS - REED, GESTURING.

REED 6-374 /725.09 727.07/ 1.14 REED TO GRACE)I'm his florist. I'm his florist.

727-08 (Note humor)

SCENE 122 - MS - EDISON AND GRACEBOTH GLANCE ABOUT.

GRACE 6-375 730.01 734.05 4.04 GRACE TO EDISON)Look... (grunting) (exhales) (over scene end) Look, I'm glad you're okay.

731-09 (Look : i.e., 'Listen')

SCENE 123 - MS - REED TAKES EDISON'SBICYCLE OUT OF THE VAN AND SETS ITDOWN ON THE O.S. GROUND ASCAMERA TILTS DOWN WITH HIM.

GRACE 6-376 734.11 737.13/ 3.02 EDISON TO GRACE)(off) ...I'm glad you're okay. Do-Do you want Do you want me to come in there with you?

me to come in there with you? Kadahi restaurant)737-15

SCENE 124 - MCS - PAST GRACE, R.FG.,TO EDISON.

EDISON 6-377 /738.01 743.05/ 5.04 EDISON TO GRACE)No. I think this is one of those things I have No. I think this is one of those things I have

to do myself. (one of those things : i.e., 'an act' -743-07 'the type of activity')

get the Valentine's Day flowers fromme.')

(in there : referring to the Golden

to do myself.



(32)

SCENE 125 - EXT. FREEWAY - NIGHT - LS- HIGH ANGLE - BUSY FREEWAY TRAFFICSLOWLY DRIVES L.FG. AS SEVERALCARS HONK THEIR HORNS.

745-15

SCENE 126 - LS - HIGH ANGLE -REDMOND DRIVES HIS LIMOUSINE L.FG.AS CAMERA TILTS DOWN AND PANSWITH HIM.

REDMOND 6-378 /746.01 749.05/ 3.04 REDMOND TO KATE) (voice over)(voice over) I've been driving Holden for a ITAL I've been driving Holden for a long time.

long time. Holden's personal driver')749-06

SCENE 127 - INT. LIMOUSINE - NIGHT -MS - KATE, SEATED IN THE BACK SEAT,GLANCES ABOUT AS THE LIMOUSINETRAVELS FG. AND CAMERA TRAVELSWITH IT.

REDMOND 6-379 749.13 753.07/ 3.10 REDMOND TO KATE)(off) He's never given his car up for He's never given his car up for anybody.

anybody. else my services')753-09

SCENE 128 - MCS - PAST THE FRONTSEAT'S BACKREST, LOWER FG., TOREDMOND AND HIS REFLECTION IN THEREAR VIEW MIRROR.

REDMOND 6-379A /753.11 755.09/ 1.14 REDMOND TO KATE)You must be pretty special. You must be pretty special.

755-09 (i.e., 'He must have great affinity for

SCENE 129 - MS - KATE REACTS.758-12

SCENE 130 - EXT. HOLLYWOODFOREVER CEMETERY - NIGHT - MS -EDGAR GRAPPLES WITH HIS FLASK ASHE REACTS TO WATCHING "HOT SPELL".

YOUNG ESTELLE AS VIRGINIA DUVAL *6-380 /758.13 760.08 1.11 YOUNG ESTELLE AS VIRGINIA DUVAL(off) (over speaker) (echoing) Over? ITAL TO WARREN STEVENS

(exhaling) Why (in normal voice) do you Over?

keep talkin' like it's over? 'Are you ending our relationship?')

EDGAR(inhales sharply through nose) *6-381 760.12 764.05 3.09 YOUNG ESTELLE AS VIRGINIA DUVAL

765-06 ITAL TO WARREN STEVENS

(been driving Holden : i.e., 'been

(given...anybody : i.e. 'offered anyone

you.')

AS WYATT MITCHELL)

(i.e., 'Our relationship has ended?' -

AS WYATT MITCHELL)Why do you keep talking like it's over?



(33)

SCENE 131 - LS - PAST MOVIEGOERS,LOWER FG., TO THE MAKESHIFT MOVIESCREEN AS WARREN STEVENS ASWYATT MITCHELL IS PULLED FG. BYYOUNG ESTELLE AS VIRGINIA DUVALAND PASSIONATELY KISSED BY HER.

YOUNG ESTELLE AS VIRGINIA DUVAL 6-382 /765.10 767.11 2.01 YOUNG ESTELLE AS VIRGINIA DUVAL(on movie screen) (echoing) I love you. ITAL TO WARREN STEVENS AS WYATT

(exhales sharply) (panting) My-- I love you.769-03

SCENE 132 - LS - PAST THE SEATEDCROWD, FG., TO ESTELLE AS SHEENTERS, L.BG., AND WALKS R.FG.THROUGH THE CROWD.

YOUNG ESTELLE AS VIRGINIA DUVAL(off) (over speaker) (pants - continues


ESTELLE 6-383 771.07 773.04 1.13 ESTELLE TO EDGAR)Edgar! Edgar!

YOUNG ESTELLE AS VIRGINIA DUVAL(over speaker) (overlapping) (echoing)

(whispering) I love you. (pants) 776-12

SCENE 133 - MS - PAST LOUD LADY,SEATED, L.FG., TO LOUDER GUY,SEATED, AND LOUD GUY, SEATED, AS HEREACTS TO O.S. ESTELLE.

LOUD GUY 6-384 /776.14 779.01/ 2.03 LOUD GUY TO ESTELLE)Hey, get outta the way! Hey, get outta the way!

PEOPLE IN CEMETERY the view of the movie screen)(overlapping, low and indistinct chatter and

interjections of "Excuse me," "Come on," *6-385 /779.05 781.08/ 2.03 YOUNG ESTELLE AS VIRGINIA DUVAL

and "Sshh" - continues under following AS WYATT MITCHELL)


YOUNG ESTELLE AS VIRGINIA DUVAL(over speaker) (overlapping) (echoing) I'll...

779-04

SCENE 134 - MFS - PAST ESTELLE(TORSO), FG., TO SEVERAL CROWDMEMBERS AS THEY REACT AND ESTELLEWALKS L., EXITING.

YOUNG ESTELLE AS VIRGINIA DUVAL(over speaker) ...always love you.

781-10

MITCHELL)

(Referring to Estelle partially blocking

ITAL TO WARREN STEVENS

I'll always love you.



(34)

SCENE 135 - MFS - LOW ANGLE -ESTELLE STEPS R.FG. THEN PAUSESAND GLANCES ABOUT AS CAMERA PANSSLIGHTLY WITH HER.

ESTELLE 6-386 /781.12 783.05 1.09 ESTELLE TO EDGAR)Edgar! Edgar!

WARREN STEVENS AS WYATT MITCHELL(over speaker) (echoing) You now think

(continues indistinct under following


SCENE 136 - MFS - PAST LOUD LADY,L.FG., TO LOUDER GUY AND LOUD GUY.

LOUDER GUY 6-387 /784.15 787.05/ 2.06 LOUDER GUY TO ESTELLE)Down in front! Down in front!

787-07 (Used in public events when a patron

SCENE 137 - LS - PAST THE CROWD, 'You, the person in the front of theLOWER FG., TO ESTELLE, GLANCING crowd, should sit down now!')ABOUT.

ESTELLE 6-388 /787.09 791.01/ 3.08 ESTELLE TO EDGAR)Edgar, where are you? I know you're out Edgar, where are you? I know you're out

there! (out there : i.e., 'in this crowd791-02 somewhere')

SCENE 138 - MFS - LOW ANGLE - PASTCROWD MEMBERS, LOWER FG., TOESTELLE AS SHE STEPS R.FG.,GLANCING ABOUT.

LOUD GUY 6-389 791.09 793.12 2.03 LOUD GUY TO ESTELLE)(off) Who the hell is Edgar? Who the hell is Edgar?

ESTELLE emphatic)He is my husband, and shut your mouth.

(to Edgar) Edgar! 6-390 794.00 797.01 3.01 ESTELLE TO LOUD GUY)798-06 He is my husband, and shut your mouth.

SCENE 139 - MS - EDGAR REACTS.

ESTELLE 6-391 797.05 799.11 2.06 ESTELLE TO EDGAR)(off) Answer me! (over scene end) Edgar! Answer me!

WARREN STEVENS AS WYATT MITCHELL(over speaker) (overlapping) (echoing) I

had two years in and plus all the time it

takes to get started.

near the front of an audience standsup or walks by, blocking the view - i.e.,

there!

(the hell : mildly vulgar slang

(shut your mouth : idiomatic, harshexpression for 'stop talking')



(35)


LOUD LADY 6-392 799.15 801.13 1.14 LOUD LADY TO EDGAR)(off) (overlapping) (echoing) Answer her, Answer her, Edgar!

Edgar!

MALE HECKLER #1 (over scene end) Lady, I can't see through ya.(off) Lady, I can't see... (I can't see through ya : i.e., 'you are


What about...803-10

SCENE 140 - MS - PAST JASON, R.FG., TOEDGAR (TORSO) AS JASON REACTS.

MALE HECKLER #1(off) ...through ya. (stammers)


...Pete?804-14

SCENE 141 - MFS - ESTELLE WALKSR.FG. THROUGH THE CROWD ASCAMERA PANS WITH HER.

ESTELLE 6-393 /805.01 807.05/ 2.04 ESTELLE TO EDGAR)Edgar, where are you? Edgar, where are you?

YOUNG ESTELLE AS VIRGINIA DUVAL(over speaker) (overlapping)

(echoing)(indistinct to:) work. (continues


dialogue)807-07

SCENE 142 - MS - EDGAR REACTS.

EDGAR 6-394 808.00 809.04/ 1.04 EDGAR TO ESTELLE)Estelle! Estelle!

809-05

SCENE 143 - LS - PAST THE CROWD,LOWER FG., TO ESTELLE, GLANCINGABOUT.

ESTELLE 6-395 /809.09 811.15/ 2.06 ESTELLE TO EDGAR)Edgar, answer me! Edgar, answer me!

812-00

*6-392A 802.01 804.13/ 2.12 MALE HECKLER #1 TO ESTELLE)

obstructing my view')



(36)

SCENE 144 - LS - EDGAR REACTS.

EDGAR 6-396 /812.03 813.15/ 1.12 EDGAR TO ESTELLE)Estelle! Estelle!

814-01

SCENE 145 - MFS - HIGH ANGLE -SHOUTING SHELDON REACTS.

SHOUTING SHELDON 6-397 /814.03 815.14/ 1.11 SHOUTING SHELDON TO GROUP)That must be Edgar. That must be Edgar.

815-15

SCENE 146 - MS - EDGAR STANDS UPAND STEPS L.FG. AS CAMERA TILTS UPWITH HIM.

EDGAR 6-398 816.11 819.01/ 2.06 EDGAR TO ESTELLE)I'm here! I'm... I'm here!

819-03

SCENE 147 - MCS - CEMETERY MOVIE I'm coming.GUY IS RECLINED ON THE GRASS WHENEDGAR (LEGS) ENTERS R.FG., ANDSTEPS L. ONTO CEMETERY MOVIE GUY'SCHEST BEFORE EXITING L.FG.CEMETERY MOVIE GUY REACTS, SITTINGUP, AS CAMERA TILTS UP WITH HIM.

EDGAR(face off) ...coming!

CEMETERY MOVIE GUY (groans)

EDGAR *6-398B 821.14 822.14 1.00 EDGAR TO CEMETERY MOVIE GUY)(off) Sorry. Sorry.

822-15

SCENE 148 - MS - LOW ANGLE - EDGARQUICKLY WALKS L.FG. THROUGH THECROWD AS CAMERA PANS WITH HIM.

824-11

SCENE 149 - LS - PAST THE CROWD,LOWER FG., TO ESTELLE AS SHE RUNSR.FG.

ESTELLE *6-399 825.02 827.01/ 1.15 ESTELLE TO EDGAR)I-I see. I see.

*6-398A /819.05 821.01 1.12 EDGAR TO ESTELLE)

(i.e., 'I see you.')



(37)


MALE HECKLER #2 *6-399A /827.05 829.01 1.12 MALE HECKLER #2 TO ESTELLE)(off) Hey, run... Run lower!

827-03 (i.e., 'Crouch as you run so as not to

SCENE 150 - LS - PAST ESTELLE AS SHEENTERS, L.FG., TO EDGAR AS HE RUNSFG. THROUGH THE CROWD.

MALE HECKLER #2(off) ...lower.

830-00

SCENE 151 - FS - PAST EDGAR AS HEENTERS, R.FG., TO ESTELLE AS SHERUNS R.FG. AND REACTS.

ESTELLE(cries out)

831-13

SCENE 152 - MS - EDGAR RUNS L.FG. ASCAMERA PANS WITH HIM TO INCLUDEESTELLE (ARM), L.FG.

833-15

SCENE 153 - MFS - ESTELLE WALKS R.AS EDGAR WALKS L. UNTIL THEY MEET.ESTELLE PUTS HER HANDS ON EDGAR'SSHOULDERS AS HE GRIPS HER ARMS. INTHE BG., "HOT SPELL" CONTINUES TOPLAY ON THE MAKESHIFT MOVIESCREEN, CONTINUED UNDERFOLLOWING SCENES.

ESTELLE 6-400 /834.01 837.09/ 3.08 ESTELLE TO EDGAR)Listen to me. Listen to me. I know I let you down...

EDGAR 'disappointed you')(overlapping) (pants - continues under

following dialogue)

ESTELLEI know I let you down...

837-12

SCENE 154 - MCS - ESTELLE ANDEDGAR.

ESTELLE 6-401 /837.13 841.01 3.04 ESTELLE TO EDGAR)...and maybe you don't think I deserve your ...and maybe you don't think I deserve your

forgiveness... 841-03

obscure the screen.')

(let you down : idiomatic for

forgiveness...



(38)


ESTELLE 6-402 841.05 844.05/ 3.00 ESTELLE TO EDGAR)...but you're going to give it to me anyway... ...but you're going to give it to me anyway,

844-05 Edgar.

SCENE 156 - MS - PAST ESTELLE, L.FG.,TO EDGAR AS HE REACTS.

ESTELLE 6-403 /844.09 847.09/ 3.00 ESTELLE TO EDGAR)...Edgar. (in wavering voice) Because when Because when you love someone...

you love someone, you... someone')847-12

SCENE 157 - MCS - JASON REACTS AS ...you love all of them. That's the job.HE OBSERVES O.S. ESTELLE AND O.S. (all of them : i.e., 'every aspect ofEDGAR. them')

ESTELLE requirement of true love')(off) (in wavering voice) ...love all of them.

That's the job. *6-404A (OUT)

EDGAR(off) I know that now. 6-405 850.12 852.12 2.00 EDGAR TO ESTELLE)

ESTELLE (know : i.e., 'realize')(off) I'm so sorry. And...

855-07

SCENE 158 - MCS - PAST ESTELLE ANDEDGAR, L.FG., TO THE MAKESHIFT MOVIESCREEN, OUT OF FOCUS, AS WARREN 6-406 /855.09 859.13 4.04 ESTELLE TO EDGAR)STEVENS AS WYATT MITCHELL REACTS, (over scene end) And now, please, you gotta love everythingOBSCURED, AND YOUNG ESTELLE AS about them.VIRGINIA DUVAL PLEADS WITH HIM IN AMANNER SIMILAR TO ESTELLE'S PLEASTO EDGAR, CONTINUED UNDERFOLLOWING SCENES.

ESTELLE 6-407 860.01 863.09 3.08 ESTELLE TO EDGAR)...now, (inhales sharply) please, (inhales Not just the good things, but the bad things

sharply) you gotta love everything about (things : i.e., 'aspects')

them. Not just the good things, but the bad

things too. The things that you find lovable The things that you find lovable and the

and the things that you don't find lovable. (find : i.e., 'deem')

EDGAR(overlapping) Sh-sh-sh-sh-sh-shhhh.

ESTELLE(whimpers)

(you love someone : i.e., 'one loves

6-404 /847.13 850.08 2.11 ESTELLE TO EDGAR)

(That's the job : i.e., 'That is the

I know that now.

*6-405A 853.00 855.05/ 2.05 ESTELLE TO EDGAR) I'm so sorry.

too.

*6-408 863.13 869.13 6.00 ESTELLE TO EDGAR)

things that you don't find lovable.



(39)


EDGAR 6-409 870.04 872.05 2.01 EDGAR TO ESTELLE)I understand. I'll never leave you. I understand.

THE O.S. CROWD REACTS AS ESTELLEAND EDGAR KISS, L.FG. ON THE MOVIE 6-410 872.14 875.05 2.07 EDGAR TO ESTELLE)SCREEN, WARREN STEVENS AS WYATT I'll never leave you.MITCHELL AND YOUNG ESTELLE ASVIRGINIA DUVAL KISS AND EMBRACEALSO, OUT OF FOCUS, R.BG.

EDGAR AND ESTELLE(kiss)

PEOPLE AT CEMETERY(overlapping cheers, whistles, shouts of

'Whoo!', and low and indistinct chatter -


dialogue) 880-06

SCENE 159 - LS - HIGH ANGLE - THECROWD REACTS AND APPLAUDS.

883-08

SCENE 160 - MS - LOW ANGLE - JASON,NOW STANDING, COLLECTS HISBELONGINGS AND QUICKLY WALKSR.FG., GLANCING ABOUT.

890-01

SCENE 161 - MFS - ESTELLE AND EDGARKISS, THEN ESTELLE BOWS TO THEAUDIENCE AND TURNS BG. AND POINTSTO YOUNG ESTELLE ON THE SCREEN ASTHE CROWD CONTINUES TO APPLAUDAND CHEER. ESTELLE EMBRACESEDGAR. CAMERA ZOOMS OUT TO A LS.

KELVIN *6-411 /912.00 914.15/ 2.15 KELVIN) (singing) (OPTIONAL)(voice over) (singing "I Will Survive") (in high ITAL At first I was afraid

voice) At first... (petrified : rhymes with 'side')911-14 (Note that Kelvin, Kara and the party

SCENE 162 - INT. GOLDEN KADAHIRESTAURANT - NIGHT - MCS - KELVIN,SEATED, SINGS AND PLAYS "I WILLSURVIVE" ON AN O.S. KEYBOARD,CONTINUED UNDER FOLLOWINGSCENES. SEVERAL PARTY ATTENDEES(TORSO) STAND BEHIND HIM ANDREACT, CONTINUED UNDERFOLLOWING SCENES. CAMERA PANS R.SLIGHTLY.

I was petrified

guests are singing "I Will Survive",popularized by Gloria Gaynor)



(40)


PEOPLE IN RESTAURANT(overlapping, low and indistinct chatter and



KELVIN(singing "I Will Survive") (in high voice) I

was afraid I was petrified915-00

SCENE 163 - MFS - PAST SEVERAL PARTYGUESTS, FG., TO KARA AND KELVIN.KARA LEANS FG. AND PICKS UP A WINEBOTTLE FROM A NEARBY TABLE.

KELVIN *6-412 915.10 921.05/ 5.11 KELVIN) (singing) (OPTIONAL)(singing "I Will Survive") (in high voice) Kept ITAL (over scene end) Kept thinking how I could never live

thinking how I could never live Without you... (by my side : i.e., 'as my mate')919-01

SCENE 164 - MS - IN THE ADJACENT BARAREA NEARBY, JULIA SITS AT THE BARAND REACTS.

KELVIN(singing "I Will Survive") (in high voice) (off)

...by my side921-06

SCENE 165 - MS - PARTY SINGER ANDKARA, GLANCING ABOUT AS SHE SINGS,PRETENDING THE WINE BOTTLE IS AMICROPHONE.

KARA 6-413 921.12 927.07 5.11 KARA) (singing) (OPTIONAL)(singing "I Will Survive") But then I spent so ITAL (over scene end) But then I spent so many nights

many nights Thinking how... (did me wrong : idiomatic for925-12 'betrayed me' - note that 'wrong'

SCENE 166 - MFS - PAST SEVERALGUESTS, FG., TO KARA AND KELVIN.

KARA 6-414 927.11 932.09 4.14 KARA) (singing) (OPTIONAL)(singing "I Will Survive") ...you did me wrong ITAL And I grew strong

And I grew strong And I learned how to get (strong : i.e., 'emotionally resilient')

along spite of hardship')

KARA AND PARTY ATTENDANTS 6-414A 932.13 935.03 2.06 GROUP) (singing) (OPTIONAL)(singing "I Will Survive") And so you're... ITAL (over scene end) And so you're back

933-11

Without you by my side

Thinking how you did me wrong

rhymes with 'strong' and 'along')

And I learned how to get along

(get along : idiomatic for 'continue in



(41)

SCENE 167 - MCS - JULIA REACTS ASEDISON ENTERS R.FG. AND WALKS L.,EXITING, FOLLOWED BY REHKA (TORSO)AS SHE ENTERS R.FG. AND STEPS L.,BRIEFLY OBSCURING JULIA.

KARA AND PARTY ATTENDANTS(off) (singing "I Will Survive") ...back From

outer space I just walked in to find you here

With that sad look upon your face

REHKA 6-415 935.14 941.09 5.11 REHKA TO JULIA)(face off) (overlapping) Julia, I found this... (over scene end) Julia, I found this little friend of Rani's, but I

937-11 think he's looking for you.

SCENE 168 - MS - REHKA, EDISON AND to mean 'young')JULIA.

REHKA 6-416 (OUT)...little friend of Rani's, but I think he's

looking for you.

JULIA LEANS L. TOWARD EDISON AS HEREACTS, GLANCING ABOUT.

EDISON 6-417 941.13 943.07 1.10 EDISON TO REHKA)(overlapping) (whining) I'm not little. I'm not little.

REHKA(overlapping) Oh.

REHKA EXITS L.FG. AS JULIA LEANS R.AND GLANCES ABOUT AND CAMERATILTS DOWN.

JULIA 6-418 943.11 948.13/ 5.02 JULIA TO EDISON)(overlapping) Edison, are you okay? Does Edison, are you okay? Does somebody

somebody know that you're here? (somebody : i.e., 'anybody' - 'a parent

KARA AND PARTY ATTENDANTS(off) (overlapping) (singing "I Will Survive") I

should have changed my stupid lock I

should have made you leave your key949-00

SCENE 169 - MCS - PAST JULIA, R.FG., TOEDISON.

EDISON 6-419 /949.01 951.02/ 2.01 EDISON TO JULIA)Yeah, my babysitter's outside. Yeah, my babysitter's outside.

KARA AND PARTY ATTENDANTS(off) (overlapping) (singing "I Will Survive") If

I had known for just one...951-03

(this little friend of Rani's : referring toEdison - note that 'little' is used here

know that you're here?

or other guardian figure')



(42)

SCENE 170 - MS - PAST EDISON, L.FG.,TO JULIA, GLANCING ABOUT.

JULIAOkay.

KARA AND PARTY ATTENDANTS 6-420 953.09 957.03 3.10 GROUP) (singing) (OPTIONAL)(off) (overlapping) (singing "I Will Survive") ITAL (over scene end) You'd be back to bother me Oh, now, go

...second You'd be back to... 953-07

SCENE 171 - MS - LOW ANGLE - PARTYSINGER AND KARA, GESTURING, ASTHEY CONTINUE SINGING THE SONG.

KARA AND PARTY ATTENDANTS(singing "I Will Survive") ...bother me Oh,

now, go...955-11

SCENE 172 - MCS - KELVIN LEANS BG.AND GLANCES ABOUT, APPEARINGINTOXICATED.

KELVIN(overlapping) (singing "I Will Survive") Go

KARA AND PARTY ATTENDANTS(face off) (singing "I Will Survive") ...now

babe, now go

KARA AND PARTY ATTENDANTS 6-421 957.07 960.04 2.13 GROUP, THEN PARTY SINGER) (singing)(face off) (overlapping) (singing "I Will ITAL (over scene end) (OPTIONAL)

Survive") Walk out the door -Out that door959-00

SCENE 173 - MS - PAST KELVIN, LOWERR.FG., TO PARTY SINGER AND KARA,BOTH GESTURING.

PARTY SINGER(overlapping) (singing "I Will Survive") Out that door

KARA AND PARTY ATTENDANTS 6-422 960.08 962.11/ 2.03 GROUP) (singing) (OPTIONAL)(singing "I Will Survive") Just turn around ITAL Just turn around now

now962-12

-Walk out the door



(43)

SCENE 174 - MCS - PAST EDISON, L.FG.,TO JULIA, GLANCING ABOUT.

KARA AND PARTY ATTENDANTS(off) (singing "I Will Survive") 'Cause you're

not welcome anymore

EDISON 6-423 964.11 967.10/ 2.15 EDISON TO JULIA)(off) (overlapping) This... (over scene end) This is for you.

965-10 (Referring to the box of flowers that

SCENE 175 - MS - PAST JULIA, R.FG., TOEDISON AS HE HANDS HER THE BOX OFFLOWERS.

EDISON...is for you.

KARA AND PARTY ATTENDANTS(off) (singing "I Will Survive") Weren't you...

967-12

SCENE 176 - MCS - PAST EDISON, L.FG.,TO JULIA AS SHE REACTS, SURPRISED.

KARA AND PARTY ATTENDANTS(off) (singing "I Will Survive") ...the one who

tried to hurt me with goodbye

JULIA 6-424 969.14 971.09/ 1.11 JULIA TO EDISON)(overlapping) For me? For me?

971-09

SCENE 177 - MCS - PAST JULIA, R.FG., TOEDISON.

KARA AND PARTY ATTENDANTS(off) (singing "I Will Survive") You think I'd

crumble

EDISON 6-425 /971.13 974.01 2.04 EDISON TO JULIA)(overlapping) You're my valentine. You're my valentine.

974-08

SCENE 178 - MS - EDISON AND JULIA ASSHE REACTS, ACCEPTING THE BOX, ANDLEANS R. AND L.

KARA AND PARTY ATTENDANTS(off) (singing "I Will Survive") You think I'd

lay down and die Oh no, not I

PARTY SINGER(off) (overlapping) (singing "I Will Survive")

Oh no, not I

Edison hands to Julia)



(44)


JULIA(overlapping) (in low tones) Oh.

KARA AND PARTY ATTENDANTS(off) (singing "I Will Survive") I will survive

PARTY SINGER(off) (overlapping) (singing "I Will Survive") I

will survive

KARA AND PARTY ATTENDANTS(off) (singing "I Will Survive") As long as I

know how to love I know I'll...

JULIA 6-426 983.03 985.00 1.13 JULIA TO EDISON)(overlapping) Thank you. (softly chuckles) Thank you.

(inhales sharply) 986-12

SCENE 179 - MCS - HIGH ANGLE - PASTJULIA'S CHIN AND SHOULDER, R.FG., TOHER HANDS AS SHE OPENS THE BOX TOREVEAL SEVERAL EXOTIC FLOWERS.

JULIA 6-427 988.07 992.04/ 3.13 JULIA TO EDISON)(face off) Oh, this is beautiful. Oh, this is beautiful.

KARA AND PARTY ATTENDANTS(off) (overlapping) (singing "I Will Survive")

...stay alive I've got all my life to live I've got

all my...992-05

SCENE 180 - MS - PAST EDISON, L.FG.,TO JULIA AS SHE PUTS THE LID BACK ONTHE BOX.

JULIA 6-428 /992.08 994.03 1.11 JULIA TO EDISON)Wha--? Wha--?

KARA AND PARTY ATTENDANTS(off) (overlapping) (singing "I Will Survive")

...love to give and I'll survive I will survive

JULIA 6-429 995.03 1000.09/ 5.06 JULIA TO EDISON)(overlapping) Are you sure that I am really Are you sure that I am really the person that

the person that you wanna give this to?1000-10

(Referring to the flowers)

you wanna give this to?



(45)

SCENE 181 - MS - PAST JULIA, R.FG., TOEDISON.

EDISON 6-430 /1000.13 1002.09 1.12 EDISON TO JULIA)Yeah. I mean, I think so. Why? Yeah.

1007-12

SCENE 182 - MS - PAST EDISON, L.FG., I mean, I think so.TO JULIA.

JULIA 6-432 1006.02 1007.11/ 1.09 EDISON TO JULIA)Well, when you pick a valentine you have to Why?

be sure that you choose the right person.

Or else you-you could be overlooking Well, when you pick a valentine you have to

someone who's even more special to you.

JULIA POINTEDLY GAZES R.FG. 6-434 1015.03 1020.14/ 5.11 JULIA TO EDISON)1020-15 Or else you could be overlooking someone

SCENE 183 - MS - PAST A TABLE OFDINERS, FG., TO RANI, AS SHE REACTSAND SMILES.

1024-00

SCENE 184 - MCS - PAST JULIA, R.FG., TOEDISON, GLANCING ABOUT.

EDISON 6-435 1024.14 1026.09 1.11 EDISON TO JULIA)Rani? Rani?

JULIAHm.

EDISON 6-436 1026.13 1030.05/ 3.08 EDISON TO JULIA)But I don't love her. I love you. But I don't love her. I love you.

JULIA(overlapping) (exhales sharply)

1030-07

SCENE 185 - MCS - PAST EDISON, L.FG.,TO JULIA AS SHE REACTS.

EDISON 6-437 1031.02 1035.05/ 4.03 EDISON TO JULIA)Is it our age difference that keeps you from Is it our age difference that keeps you from

going... (For this Title and Title #6-438 : i.e.,1035-05 'Is it our age difference that keeps

SCENE 186 - MS - PAST JULIA, R.FG., TO that 'boom' is a verbal representationEDISON AS HE RHYTHMICALLY PATS HIS of a heart beating with excitement andCHEST, OVER HIS HEART. joy - see Titles #2-231 and #2-232)

EDISON...boom, boom, boom? 6-438 /1035.09 1038.04/ 2.11 EDISON TO JULIA)

6-431 1002.13 1005.14 3.01 EDISON TO JULIA)

6-433 1008.03 1014.15 6.12 JULIA TO EDISON)

be sure that you choose the right person.

who's even more special to you.

going:

your heart from beating quickly andstrongly in response to me?' - Note

Boom, boom, boom?



(46)


JULIA 6-439 /1038.08 1040.07 1.15 JULIA TO EDISON)Yeah... Yeah, a little bit.

1038-06 (a little bit : i.e., 'to a certain extent')

SCENE 187 - MS - PAST EDISON, L.FG.,TO JULIA.

JULIA...a little bit.

EDISON 6-440 1040.11 1042.14 2.03 EDISON TO JULIA)Is it my height? Is it my height?

JULIA(inhales sharply - continues under

following dialogue)

EDISON 6-441 1043.02 1045.07 2.05 EDISON TO JULIA)'Cause I'm gonna grow. 'Cause I'm gonna grow.

JULIAOh, (exhales sharply) well, then, no, it's not 6-442 1046.05 1049.01 2.12 JULIA TO EDISON)

your height. It's just it wouldn't be right,

'cause I know Rani likes you. 6-443 1049.05 1054.07/ 5.02 JULIA TO EDISON)1054-08 It's just it wouldn't be right, 'cause I know

SCENE 188 - MS - PAST JULIA, R.FG., TOEDISON.

EDISON 6-444 /1054.11 1056.09 1.14 EDISON TO JULIA)Really? Really?

JULIAYeah.

EDISON 6-445 1056.13 1059.05 2.08 EDISON TO JULIA)Well, I like her a lot too. She's the only other Well, I like her a lot too.

fifth grader who has Frank Zappa on her

iPod. She's the only other fifth-grader who has1064-13 Frank Zappa on her iPod.

Well, then no, it's not your height.

Rani likes you.

6-446 1059.09 1064.11/ 5.02 EDISON TO JULIA)

(fifth-grader : idiomatic for 'a child inthe fifth grade' - note that the fifthgrade is the fifth year of primaryschool in the U.S., when students areusually 10 to 11 years old)(Frank Zappa : i.e., 'Frank Zappasongs' - note that Frank Zappa wasan eclectic experimental rockcomposer, guitarist, record producerand satiric iconoclast who died in1993)(iPod : a portable digital musicplayer)



(47)

SCENE 189 - MCS - PAST EDISON, L.FG.,TO JULIA, GLANCING ABOUT.

JULIA 6-447 /1064.15 1066.07 1.08 JULIA TO EDISON)Well, see? Well, see?

EDISON example has arisen - i.e., 'that's anAnd she loves giraffes. important indication that you and Rani

JULIA(overlapping) Oh! See, giraffes, it's

something you guys have in common. See, And she loves giraffes.

it's things like that that can turn a friend

from someone that you like into someone See, giraffes, it's something you guys have

that you love. (have in common : idiomatic for 'both1081-05 like' - 'share the same opinion of')

SCENE 190 - MCS - PAST JULIA, R.FG., TO *6-450 1072.14 1078.13 5.15 JULIA TO EDISON)EDISON. See, it's things like that that can turn a friend

EDISON (See : Used to preface anHas that ever happened to you, Miss explanation, i.e., 'As you will come to

Fitzpatrick? (turn...love : i.e., 'cause a friendship

JULIA(overlapping) (sighs)

1085-15 6-451 1079.01 1081.05/ 2.04 JULIA TO EDISON)

SCENE 191 - MCS - PAST EDISON, L.FG.,TO JULIA AS SHE REACTS WITH A 6-452 1082.10 1085.14/ 3.04 EDISON TO JULIA)SUDDEN REALIZATION AND BECOMES Has that ever happened to you, MissPREOCCUPIED, CONTINUED UNDER Fitzpatrick?FOLLOWING SCENES.

JULIA(softly chuckles)

1093-10

SCENE 192 - MCS - PAST JULIA, R.FG., TOEDISON AS HE REACTS.

EDISON 6-453 1095.03 1097.01/ 1.14 EDISON TO JULIA)(in singsong voice) Hello? Hello?

KARA AND PARTY ATTENDANTS Julia's attention, as she becomes(off) (overlapping) (singing "I Will Survive") introspective and distracted)

And I'll survive1097-02 6-454.

SCENE 193 - MCS - PAST EDISON, L.FG.,TO JULIA AS SHE LEANS R.BG.

KARA AND PARTY ATTENDANTS(off) (singing "I Will Survive") I will survive

1100-08

(see : used here to indicate a salient

are compatible')

6-448 1066.11 1068.09 1.14 EDISON TO JULIA)

6-449 1068.13 1072.10 3.13 JULIA TO EDISON)

in common.

from someone that you like...

understand')

to evolve into a romantic relationship')

...into someone that you love.

(Said here in an attempt to regain

THROUGH (OUT)6-456.



(48)

SCENE 194 - FS - PAST PARTYATTENDANTS, FG., TO PARTY SINGER,KARA, AND KELVIN AS THEY CONCLUDETHE SONG WITH A FLOURISH AND THEGUESTS CHEER AND APPLAUD. KARAGESTURES.

KARA AND PARTY ATTENDANTS(singing "I Will Survive") Hey, hey

KARA, KELVIN, AND PARTY ATTENDEES(overlapping cheers, shouts, chuckles, and

low and indistinct chatter - continues under


KARA 6-457 1111.07 1114.08 3.01 KARA TO GROUP)Back to the chocolate! (chuckles - Back to the chocolate!

continues under following dialogue) chocolate!')

PARTY SINGEROh! (cries out)

KELVIN 6-458 1116.05 1118.09 2.04 KELVIN TO KARA)(overlapping) Mm. I (emphasizing) am (in I am the chocolate.

normal voice) the chocolate. (chuckles - Humorously referring to Kelvin being

continues under following dialogue) referring to Kelvin being delectable)

MANY PARTY ATTENDEES WALK L.,EXITING.

KARA 6-459 1118.13 1122.13/ 4.00 KARA TO KELVIN)Oh, you are. Thank you so much for Oh, you are. Thank you so much for coming.

coming.1122-15

SCENE 195 - MS - PAST JULIA, R.FG., TOEDISON HOLDING THE BOX OFFLOWERS AS HE REACTS AND SMILES.

JULIA 6-459A /1123.01 1127.15 4.14 JULIA TO EDISON)You are the most special valentine I have You are the most special valentine I have

ever had.1129-06

SCENE 196 - MS - PAST EDISON, L.FG., 6-465.TO JULIA AS EDISON WALKS R., EXITING.

1133-15

(i.e., 'Let's all eat some more

(Note double meaning : [1]

African-American and [2] Humorously

ever had.

6-460.THROUGH (OUT)



(49)

SCENE 197 - MFS - PAST TWO SEATEDPARTY GUESTS, LOWER FG., TO KARAAND KELVIN, NOW STANDING BEHINDTHE KEYBOARD.

KELVIN 6-466 /1134.01 1136.13 2.12 KELVIN TO KARA)But, uh, it w--it was great. And, uh, bye. But it was great. And bye.

KARABye.

KELVIN Bye.(in low tones) All right.

KELVIN OFFERS A FIST BUMP GESTURE,AND KARA AWKWARDLY REACTS,GESTURING WITH AN UPRAISED PALM.

1141-02

SCENE 198 - MS - PAST KELVIN, R.FG., TOKARA AS SHE CLAPS HER HANDSTOGETHER AND GESTURES, THENCLENCHES FISTS WITH BOTH HANDS.

KARA 6-468 1141.13 1145.03 3.06 KARA TO KELVIN, THEN KELVIN TO KARA)Don't know how to do that. -Don't know how to do that.

KELVIN (do that : referring to a fist bump, a(overlapping) I'll teach you. variation of a handshake, used here

KARAOkay.

KELVIN 6-469 1145.07 1149.05 3.14 KELVIN TO KARA)(in low tones) There you go. (over scene end) There you go. Right on to-- There it is. Close.

1146-09 (There you go : Idiomatic expression

SCENE 199 - MS - PAST KARA, L.FG., TO approval)KELVIN AS KARA BUMPS THE TOP OF (Close : i.e., 'You almost did itKELVIN'S FIST WITH HERS, THEN correctly')RETRACTS HER FIST.

KELVINRight on to-- There it is. Close.

KARA(overlapping) Okay.

KELVINAll right.

KELVIN STEPS L.FG. AROUND KARA ASSHE WALKS R.BG.

KARA *6-470 1149.09 1152.05 2.12 KARA TO KELVIN)(overlapping) I know you got to go to work. I know, you got to go to work.

(chuckles)

KELVIN WALKS FG., GESTURING. 6-471 (OUT)

(it : referring to Kara's party)

6-467 1137.01 1138.09 1.08 KARA TO KELVIN)

-I'll teach you.

as a farewell gesture)

of approval)(There it is : Idiomatic expression of

(got : colloquial for 'have got')



(50)


KELVIN 6-472 1152.09 1154.14/ 2.05 KELVIN) (exclaiming)Belly, belly! Belly, belly!

1155-00 (Used here as an interjection of

SCENE 200 - MCS - PAST ELISE, FG., TO traditional Arabian dance, IndianDANA (INITIALLY OBSCURED) AS THEY music has some similarities to theDANCE R.FG., THEN R., JOINING THE music used for belly dancing - AlsoWEDDING PARTY ON THE DANCE FLOOR note that Kelvin is intoxicated)AS EVERYONE DANCES AND CLAPSALONG TO INDIAN MUSIC, CONTINUEDUNDER FOLLOWING SCENES. CAMERADOLLIES BACK AND PANS R. WITH DANAAND ELISE INTO A MS.

1160-13

SCENE 201 - MS - PAST THE DANCINGCROWD, L.FG., TO KARA AS SHE DANCESL., JOINING THE CROWD, AS CAMERAPANS WITH HER.

1164-03

SCENE 202 - INT. GOLDEN KADAHIRESTAURANT/ENTRANCE - NIGHT - MCS- PAST RANI, SEATED L.FG., TO EDISON,SEATED, AS HE HANDS HER THE BOX OFFLOWERS.

DANCERS IN GOLDEN KADAHIRESTAURANT(overlapping, low and indistinct chatter and

cries of "Woo!" - continues under following


EDISON 6-473 1164.13 1168.02/ 3.05 EDISON TO RANI)Here. Happy Valentine's Day. Here. Happy Valentine's Day.

1168-03 (Here : Idiomatic term of

SCENE 203 - MCS - PAST EDISON, R.FG.,TO RANI AS SHE OPENS THE BOX ANDREACTS.

RANI(softly chuckles)

EDISON 6-474 1171.01 1174.10/ 3.09 EDISON TO RANI)I don't usually go for girls my own age, but... I don't usually go for girls my own age...

1174-11 (go for : slang for 'have an interest in'

SCENE 204 - MCS - PAST RANI, L.FG., TOEDISON AS RANI CLOSES THE BOX. 6-475 /1174.14 1177.04 2.06 EDISON TO RANI)

...you're pretty cool. (pretty cool : slang for 'rather

enthusiasm for belly dancing - Notethat although belly dancing is a

presentation - Note that Edison handsthe box of flowers to Rani)

- 'develop an attraction to')

...but you're pretty cool.

interesting and appealing' -'somewhat impressive')



(51)


RANI 6-476 1178.12 1182.01/ 3.05 RANI TO EDISON)Wow. Thanks. Wow. Thanks.

1182-02

SCENE 205 - MCS - PAST EDISON, R.FG.,TO RANI, GLANCING ABOUT AS ANAWKWARD SILENCE DEVELOPS.

1188-01

SCENE 206 - MFS - RANI AND EDISON.

EDISON 6-477 1188.15 1192.13/ 3.14 EDISON TO RANI)I don't really have anything else to say. I don't really have anything else to say.

FEMALE SINGER(over speaker) (overlapping) (sings

"Signed, Sealed, Delivered" - continues

under following scenes and dialogue) 1192-14

SCENE 207 - INT. GOLDEN KADAHIRESTAURANT/DANCE FLOOR - NIGHT -MFS - ELISE, DANA, FEMALE WEDDINGGUEST #2, MALE WEDDING GUEST #4,AND KARA DANCE WITH THE REST OFTHE GROUP AS CAMERA DOLLIES INAND PANS R., OFF ELISE AND DANA, ANDRACKS FOCUS TO KARA IN A MS., PASTFEMALE WEDDING GUEST #2 AND MALEWEDDING GUEST #4, FG.

1205-14

SCENE 208 - EXT. GOLDEN KADAHIRESTAURANT - NIGHT - MCS - THROUGHTHE WINDSHIELD OF GRACE'S VW BUGTO GRACE, SEATED IN THE DRIVER'SSEAT. GRACE RECEIVES A TEXTMESSAGE FROM ALEX AND REACTS,SMILING, THEN GLANCES R.BG. OVERHER SHOULDER. THE INDIAN GROOMAND ALEX ARE REVEALED TO BESTANDING BY THE RESTAURANT'SENTRANCE, R.BG., AS CAMERA TILTS UP,PANS R., AND RACKS FOCUS TO THEM INA MFS. ALEX TURNS FG., HOLDING A BOXAND BAGS OF FOOD FOR DELIVERY.

1212-02



(52)

SCENE 209 - FS - PAST GRACE SITTINGIN HER VW BUG, L.FG., TO THE INDIANGROOM AND ALEX AS GRACE GETS OUTOF HER CAR, STEPPING R., THEN WALKSBG. TOWARD ALEX, GESTURING AS HEWALKS FG. TOWARD HER.

ALEX 6-477A 1215.13 1217.11 1.14 ALEX TO GRACE)I saw Edison. I tipped the valet to keep an I saw Edison.

eye on him. I have the delivery van set up

over there. (inhales) We could take a trip to I tipped the valet to keep an eye on him.

Mulholland. attendant who parks cars for the1228-04 restaurant')

SCENE 210 - MFS - PAST ALEX, R.FG., TOGRACE AS ALEX TURNS AND STEPSR.FG., FOLLOWED BY GRACE AS CAMERA 6-477C 1221.05 1224.15 3.10 ALEX TO GRACE)PANS WITH THEM. I have the delivery van set up over there.

ALEX arranged' - implying Alex has putCome check it out. blankets and pillows or other items in

GRACE AND ALEX WALK FG. AS CAMERA sex in it)DOLLIES BACK WITH THEM IN A MS.

GRACE 6-477D 1225.03 1228.03/ 3.00 ALEX TO GRACE)Alex, can I-can I be honest with you? We could take a trip to Mulholland.

ALEX Drive.' - Note that Mulholland Drive isI love it when you're honest. a famous road in Los Angeles,

GRACE basin and the San Fernando ValleyI don't know if I'm ready for this. and is an ideal place to engage in

ALEX(inhales) Lie to me.

6-477B 1217.15 1221.01 3.02 ALEX TO GRACE)

(tipped the valet : i.e., 'paid the

(keep an eye on : idiomatic for 'watch'- 'monitor')

(set up : idiomatic for 'completely

the van so that he and Grace can have

(i.e., 'We could drive to Mulholland

offering views of the Los Angeles

amorous activity)

6-477E /1228.09 1230.03 1.10 ALEX TO GRACE)Come check it out.

(check it out : slang for 'see it')

6-477F 1230.07 1234.13 4.06 GRACE TO ALEX)Alex, can I be honest with you?

6-477G 1235.01 1237.11 2.10 ALEX TO GRACE)I love it when you're honest.

6-477H 1238.07 1241.14 3.07 GRACE TO ALEX)I don't know if I'm ready for this.

(for this : i.e., 'to have sex with you')

6-477I 1243.03 1244.14 1.11 ALEX TO GRACE)Lie to me.

(Humorously implying Alex wouldrather have Grace lie to him to keepthe possibility of having sex alive -Note humorously abrupt change fromAlex's earlier declaration of "I love itwhen you're honest')



(53)


GRACE 6-477J 1245.02 1247.13 2.11 GRACE TO ALEX)No, look, I'm (chuckling) serious. No, look, I'm serious.

1248-03 (look : i.e., 'listen')

SCENE 211 - INT. GOLDEN KADAHIRESTAURANT/DANCE FLOOR - NIGHT -FS - KARA, HER GUESTS, AND THEWEDDING PARTY STAND IN A CIRCLEAND EACH EXTEND THEIR RIGHT HANDINTO THE CENTER OF THE CIRCLE,THEN RAISE THEIR ARMS OVERHEAD INSYNC AND RESUME THEIR INDIVIDUALDANCE MOVES AS CAMERA ZOOMS OUT.

FEMALE SINGER(over speaker) (sings "Signed, Sealed,

Delivered" - continues under following


PARTY ATTENDANTS, WEDDING PARTYAND GUESTS(in unison) Whoo! (overlapping, low and

indistinct chatter - continues under

following scenes and dialogue) 1256-00

SCENE 212 - MCS - PAST DANCERSDANCING, FG., TO KARA AS SHE WALKSL.FG. THROUGH THE CROWDED DANCEFLOOR AND CAMERA PANS WITH HER.

KARA 6-477K 1257.04 1259.05 2.01 KARA TO GROUP)I'm gonna go now. I'm gonna go now.

KARA EXITS L.FG.1263-02

SCENE 213 - FS - THE CROWDED DANCEFLOOR AS CAMERA PANS R. TO INCLUDEKARA, R.FG. KARA WALKS BG. INTO THEADJACENT DINING AREA.

KARA 6-477L 1268.05 1270.03 1.14 KARA TO GROUP)Bye. Bye.

KARA WALKS L.BG., BECOMINGOBSCURED BEHIND THE DANCERS ASCAMERA DOLLIES IN, PANS L. ANDCRANES UP SLIGHTLY OVER THEDANCERS.

1275-14



(54)

SCENE 214 - EXT. GOLDEN KADAHIRESTAURANT - NIGHT - MS - GRACE ANDALEX WALK L.FG. AS CAMERA DOLLIESBACK AND PANS L. WITH THEM TOINCLUDE THE GOLDEN KADAHIDELIVERY VAN, L.BG.

GRACE *6-478 1276.00 1281.15 5.15 GRACE TO ALEX)I guess that I thought that if-if we did this I guess I that thought that if we did this we'd

we'd have this (inhales) special bond, and (guess : i.e., 'suppose')

now I'm realizing that something like this (this special bond : i.e., 'a strong

you can't just plan, you know? It has to

happen. 6-479 1282.03 1287.14 5.11 GRACE TO ALEX)

CAMERA SETTLES INTO A MS., PAST this you can't just plan, you know?ALEX, L.FG., TO GRACE AS ALEX OPENSTHE REAR HATCH OF THE DELIVERYVAN. 6-480 1288.02 1290.08 2.06 GRACE TO ALEX)

ALEX (i.e., 'It has to happen spontaneously.'(exhales) Uh, we have a chance to make it - 'It has to happen naturally, when the

happen.

GRACE *6-481 1291.08 1295.02 3.10 ALEX TO GRACE)But-- Did-Did you hear what you (chuckling) We have a chance to make it happen.

said? (in normal voice) "Make it happen"?

We shouldn't have to--to make it happen. Did you hear what you said? "Make it

Look, s--sit. (Did...said : i.e., 'Do you realize the

GRACE STEPS L. AND SITS DOWN ON Implying Alex did not comprehend orTHE TAILGATE OF THE VAN, R.FG. ALEX agree with Grace's opinion that 'It hasSITS DOWN NEXT TO HER, L.FG. to happen naturally')

GRACE (cont'd)This is-This is so sweet, and.... 6-483 1301.10 1306.04 4.10 GRACE TO ALEX)

ALEX(overlapping) (sighs)

GRACE Look, sit.Look, Alex, I-I love you. I just-- I really think

we should wait. 6-484A 1313.09 1317.05 3.12 GRACE TO ALEX)

have this special bond...

(did this : i.e., 'had sex')

sense of continuing intimacy')

...and now I'm realizing that something like

It has to happen.

timing is right.')

6-482 1296.13 1301.06 4.09 GRACE TO ALEX)

happen"?

implications of what you said' -

We shouldn't have to make it happen.

6-484 1308.01 1310.05 2.04 GRACE TO ALEX)

This is so sweet, and....(This : i.e., 'Preparing the van in thismanner')(sweet : i.e., 'thoughtful' - 'nice')

6-484B 1317.13 1321.13 4.00 GRACE TO ALEX)Look, Alex, I love you. I just--

6-484C 1323.11 1326.12 3.01 GRACE TO ALEX)I really think we should wait.



(55)


GRACE *6-485 1327.11 1329.10/ 1.15 GRACE TO ALEX)I'm sorry. I'm sorry.

1329-11

SCENE 215 - MCS - HIGH ANGLE - PASTALEX (FEET), L.FG., TO GRACE (FEET) ASSHE CROSSES HER LEGS ANDCARESSES ALEX'S L. SHIN WITH HER L.FOOT AS CAMERA TILTS UP.

ALEX 6-485A 1332.14 1334.12 1.14 ALEX TO GRACE)(face off) It's okay. I love you too. It's okay.

1338-00

SCENE 216 - MFS - ALEX AND GRACE AS I love you too.ALEX LEANS BG. INTO THE VAN ANDSETS DOWN THE BOX AND BAGS OFFOOD. ALEX TURNS R. TOWARD GRACEAND GESTURES.

ALEX *6-485C /1339.05 1341.01 1.12 ALEX TO GRACE)And (grunts) (smacks lips) we can still And...

make out.

GRACE ...we can still make out.(chuckles) (make out : slang for 'kiss

TAYLOR SWIFT(voice over) (sings "Today Was A Fairytale"


ALEX(chuckles softly)

ALEX AND GRACE(kiss)

1359-08

SCENE 217 - INT. HARRISON'SCONDO/HALLWAY - DAY - FS - ELEVATORDOORS OPEN TO REVEAL WILLY ANDFELICIA PASSIONATELY KISSING IN THEELEVATOR.

FELICIA AND WILLY(kiss)

FELICIA CARRIES HER LARGE STUFFEDBEAR AS SHE WALKS FG. INTO THEHALLWAY AND WAVES TO WILLY, WHOWAVES BACK.

FELICIA 6-486A 1369.13 1371.01/ 1.04 FELICIA TO WILLY)(in low tones) Bye. (chuckles) Bye.

1371-02

6-485B 1335.06 1337.06 2.00 ALEX TO GRACE)

*6-486 1343.12 1346.06 2.10 ALEX TO GRACE)

passionately')



(56)

SCENE 218 - MCS - PAST FELICIA, R.FG., LABORATORY: THE FOLLOWING TITLE #6-266 MAY DOUBLE-PRINTTO WILLY AS FELICIA WALKS R.FG., OVER EXISTING TYPEFACE. PLEASE CHECK PRINT FOR PROPEREXITING. WILLY STEPS FG. AND STOPS POSITIONING TO AVOID DOUBLE-PRINTING.THE ELEVATOR DOORS FROM CLOSING,PEERING OUT BETWEEN THEM, ASCAMERA DOLLIES BACK SLIGHTLY.

1376-03

SCENE 219 - FS - THROUGH THE GAP INTHE ELEVATOR DOORS TO WILLY AS O.S.FELICIA SETS DOWN THE STUFFEDBEAR, R.FG., THEN ENTERS R.FG. ANDQUICKLY WALKS L.BG. FELICIA ANDWILLY KISS THROUGH THE GAPBETWEEN THE ELEVATOR DOORS.

FELICIA AND WILLY(kiss - continues under following scene)

1381-10

SCENE 220 - INT. HARRISON'SCONDO/ELEVATOR - NIGHT - MCS - PASTWILLY, R.FG., TO FELICIA AS THEY FINISHKISSING AND SHE LEANS BG.

1386-06

SCENE 221 - INT. HARRISON'SCONDO/HALLWAY - NIGHT - MS - PASTFELICIA, R.FG., TO WILLY STANDING INTHE GAP BETWEEN THE ELEVATORDOORS. FELICIA STEPS R. AS SHETURNS FG. AND CAMERA PANS WITHHER. WILLY EXITS AS THE ELEVATORDOORS CLOSE.

1391-06

SCENE 222 - MFS - FELICIA STANDSNEXT TO THE STUFFED BEAR AS SHEREACTS, CROUCHING DOWN ANDGRASPING HER HEAD AS CAMERA TILTSDOWN WITH HER.

FELICIA(chuckles)

FELICIA STANDS BACK UP ANDGESTURES WITH EXCITEMENT ASCAMERA TILTS UP WITH HER. FELICIASTEPS R.

1405-10

SCENE 223 - MCS - PAST FELICIA(TORSO), L.FG., TO THE STUFFED BEARAS FELICIA WALKS R., EXITING, THENTUGS THE BEAR AFTER HER, CAUSINGIT TO EXIT R.

1407-13



(57)

SCENE 224 - INT. GOLDEN KADAHIRESTAURANT - NIGHT - FS - HIGH ANGLE- ALEX SWEEPS THE FLOOR OF THENOW-EMPTY RESTAURANT.

1418-02

SCENE 225 - MS - ALEX GLANCES ABOUTAS HE WRITES A TEXT MESSAGE TOGRACE.

1426-02

SCENE 226 - INT. GRACE'S BEDROOM -NIGHT - MS - GRACE, RECLINING IN BED,REACTS AND SMILES AS SHE RECEIVESALEX'S TEXT MESSAGE AND READS IT.CAMERA DOLLIES IN SLIGHTLY.

1437-04

SCENE 227 - CS - HIGH ANGLE - GRACE(HAND) HOLDING HER CELL PHONE.TEXT ON THE PHONE'S DISPLAY READS: *6-486B /1437.05 1439.07 2.02 NARRATIVE TITLE) (of text message)

TEXT MESSAGE FROM: ALEX TEXT MESSAGE FROM ALEXHappy Valentine's Day- I will always love youREPLY OPTIONS *6-486C 1439.11 1444.02/ 4.07 NARRATIVE TITLE) (of text message)

1444-03 Happy Valentine's Day

SCENE 228 - INT. GOLDEN KADAHIRESTAURANT - NIGHT - FS - HIGH ANGLE *TRANSLATORS: TITLES #6-486D THROUGH #6-486K WERE- ALEX BRIEFLY JUMPS UP R.FG. AND PREVIOUSLY TITLES #6-314A THROUGH #6-314H IN THE REVISEDGRABS A HELIUM BALLOON CAUGHT ON PRELIMINARY VERSION.SOME MOLDING. AFTER HANDLING THEBALLOON FOR A MOMENT, ALEX RELEASES IT AND THE BALLOON FLOATSUPPER FG., EXITING.

1457-15

SCENE 229 - INT. PAULA'S OFFICE -NIGHT - MFS - PAULA, SEATED AT HERDESK AS THE PHONE RINGS AND SHEANSWERS IT. PAULA REACTS AS ITSLOWLY BECOMES APPARENT IT IS ONEOF LIZ'S PHONE SEX CLIENTS CALLING.

PAULA *6-486D 1462.02 1468.03 6.01 PAULA INTO PHONE TO PERSON)(into telephone) Paula Thomas. Whoever Paula Thomas. Whoever this is better have a

this is better have a good reason for calling

me this late. (to Vladimir) You want me to *6-486E 1471.07 1473.12 2.05 PAULA INTO PHONE TO VLADIMIR)

do what? (Note incredulous tone)

-I will always love you

good reason for calling me this late.

You want me to do what?



(58)


PAULA *6-486F 1475.08 1478.12 3.04 PAULA INTO PHONE TO VLADIMIR)Boy, do you know who you're talkin' to? Boy, do you know who you're talking to?

CAMERA SLOWLY DOLLIES IN TO A MS. man, here used as a term of derision)

PAULA (cont'd) indicate a level of power or(into telephone) (chuckling) Oh. (in normal importance of the speaker - implying,

voice) Vladimir. you knew how important I am')

PAULA COVERS THE MOUTHPIECE ANDGLANCES R. TOWARD LIZ'S O.S. *6-486G 1485.13 1488.04 2.07 PAULA INTO PHONE TO VLADIMIR)CUBICLE, THEN RESUMES HER Vladimir.CONVERSATION. (See Title #3-166 - Note that

PAULA (cont'd) hoping to speak to Liz)(into telephone) Well, let me tell you

something, Vladimir. You don't know what LABORATORY: THE FOLLOWING TITLES #6-486H THROUGH #6-486J

rough is until you've dealt with a true African POSITIONING OR USE DROP SHADOW FOR READABILITY.

queen. Let me get my... 1507-06 *6-486H 1494.13 1498.05 3.08 PAULA INTO PHONE TO VLADIMIR)

SCENE 230 - MCS - HIGH ANGLE - A expression used to introduce the factRULER ON PAULA'S DESK AS PAULA that the addressee's statement is a(HAND) ENTERS UPPER R.FG., PICKS UP very large understatement)THE RULER, THEN EXITS UPPER R.FG.WITH IT.

PAULA You don't know what rough is until you've(off) (into telephone) ...stick. dealt with a true African queen.

1510-00 (i.e., 'You have never been properly

SCENE 231 - MS - PAULA USES HER woman.' - Note that Paula is referringFREE HAND TO BEND BACK THE RULER, to herself in the third person)THEN RELEASES IT AS IT LOUDLYSMACKS THE DESKTOP. PAULA TOSSESDOWN THE RULER AND GLANCES *6-486J 1506.06 1509.02 2.12 PAULA INTO PHONE TO VLADIMIR)ABOUT, WILD-EYED. (over scene end) Let me get my stick.

PAULA a rod used by royalty as a symbol of(into telephone) Kneel to Nzinga! authority in certain ceremonies, but to

1514-06 be used here as an instrument of

(Boy : Slang term of address for a

(do...to : idiomatic phrase used to

'you would not speak in such a way if

implication that Vladimir has called

APPEAR AGAINST A LIGHT BACKGROUND. CHECK PRINT FOR PROPER

Well, let me tell you something, Vladimir.(let me tell you something : idiomatic

*6-486I 1498.09 1505.13 7.04 PAULA INTO PHONE TO VLADIMIR)

dominated until you've beendomineered by a powerful black

(my stick : my royal staff - referring to

punishment)

*6-486K 1511.09 1514.05/ 2.12 PAULA INTO PHONE TO VLADIMIR)Kneel to Nzinga!

(Kneel to : Note double meaning - [1]i.e., 'Worship' and [2] i.e., 'Be sexuallysubmissive to')(Nzinga : Paula's alias, seeminglyafter Queen Anna Nzinga of Angola,one of the great women rulers ofAfrica [circa 1581-1663]. She foughtagainst the slave trade and Europeaninfluence in the 17th century)



(59)

SCENE 232 - EXT. SIENA BOUQUET -NIGHT - LS - PAST CARS AS THEY CROSSR., FG., TO SIENA BOUQUET, CLOSEDFOR THE BUSINESS DAY. A LARGE SIGNON THE UPPER PART OF THE STORE'SEXTERIOR READS: 6-487 /1514.09 1517.05 2.12 NARRATIVE TITLE) (of storefront)

SIENA BOUQUET

1521-03

SCENE 233 - FS - THROUGH ONE OF THE STOREFRONT WINDOWS TO REED,LEANING ON THE CASHIER'S COUNTERINSIDE THE SHOP, R.FG., AS NIKKIENTERS L.BG. FROM THE HALLWAY ANDWALKS R.FG. INTO THE MAIN SHOPROOM. NIKKI STEPS UP ONTO A SMALLPLATFORM.

JOSS STONE(voice over) (sings "4 and 20" under


NIKKI 6-488 1526.03 1530.02 3.15 NIKKI TO REED)Attention, I'm going home now. But I wanted Attention, I'm going home now.

to say good night to the world's greatest attention' - Note humor of using such

boss, and tell him that we all love him. Reed is the only other person in the

NIKKI STEPS DOWN FROM THEPLATFORM AND WALKS L.BG. INTO THEHALLWAY. 6-489 1530.06 1535.05 4.15 NIKKI TO REED)

REED greatest boss...Good night, Nikki. (the world's greatest boss : note that

1549-07 Nikki refers to Reed in the third

SCENE 234 - INT. SIENA BOUQUET -NIGHT - MS - REED, GLANCING ABOUT. 6-490 1535.09 1539.04 3.11 NIKKI TO REED)

REED(sighs)

1563-15 6-491 1546.10 1548.11 2.01 REED TO NIKKI)

SCENE 235 - EXT. STREET - NIGHT - MS -JULIA DRIVES L. AS CAMERA TRAVELSWITH HER.

1572-03

SCENE 236 - FS - A BUILDING WITH ANILLUMINATED SIGN OVER THEENTRANCE THAT READS:

LANKERSHIM ARTS

(OPTIONAL)

SIENA BOUQUET

(Attention : i.e., 'May I have your

a formal term of announcement when

shop)

But I wanted to say good night to the world's

person)

...and tell him that we all love him.

Good night, Nikki.



(60)


CAMERA TRAVELS L. AND TILTS DOWN,OFF THE SIGN, TO JULIA DRIVING HERCAR L. AS CAMERA TRAVELS WITH HER.

1579-06

SCENE 237 - EXT. ALPHONSO'SHOUSE/YARD - NIGHT - MFS -ALPHONSO'S WIFE AND ALPHONSOSWING R.FG. AND L.BG. ON A SWINGSET, SMILING AT EACH OTHER,CONTINUED UNDER FOLLOWINGSCENE.

1584-02

SCENE 238 - FS - PAST A PATIO TABLEAND CHAIRS, LOWER FG., TOALPHONSO'S WIFE AND ALPHONSO ONTHE SWINGS.

1587-09

SCENE 239 - EXT. HOLLYWOODFOREVER CEMETERY - NIGHT - FS -ESTELLE AND EDGAR BALLROOMDANCE IN THE DESERTED CEMETERY,CONTINUED UNDER FOLLOWINGSCENE, AS CAMERA DOLLIES IN TO AMFS.

1597-04

SCENE 240 - MS - PAST ESTELLE, FG., TOEDGAR, GESTURING AS ESTELLE TURNSR.BG. TOWARD HIM.

1602-00

SCENE 241 - EXT. ALPHONSO'SHOUSE/PATIO - NIGHT - MFS -ALPHONSO'S WIFE AND ALPHONSO,SEATED AT THE PATIO TABLE AS THEYSIP WINE AND KISS.

1612-09

SCENE 242 - INT. MALIBU HOME - NIGHT -FS - PAST SEAN, SEATED AND ASLEEP,R.FG., TO HOLDEN (TORSO), L.BG., ASHOLDEN (TORSO) TOSSES HIS COATASIDE AND WALKS R.FG. INTO A MS.HOLDEN (TORSO) STROKES SEAN'SFACE WITH SOME FLOWERS HE HOLDSIN HIS HAND, CONTINUED UNDERFOLLOWING SCENE.

1637-11



(61)

SCENE 243 - MCS - HIGH ANGLE - PASTHOLDEN (TORSO), R.FG., TO SEAN AS HEGROGGILY PUSHES THE FLOWERSAWAY AND AWAKENS.

SEAN(inhaling) (grunts)

1642-14

SCENE 244 - MCS - PAST SEAN, L.FG., TOHOLDEN (TORSO) AS HE CROUCHESDOWN, FACE ON, AND STROKES SEAN'SHAIR, CONTINUED UNDER FOLLOWINGSCENES.

HOLDEN(exhales through nose)

1651-00

SCENE 245 - MCS - PAST HOLDEN, R.FG.,TO SEAN.

SEAN 6-492 1656.08 1658.09/ 2.01 SEAN TO HOLDEN)You saw. You saw.

1658-11 (i.e., 'You saw my press conference.')

SCENE 246 - MCS - PAST SEAN, L.FG., TOHOLDEN.

HOLDEN 6-493 1659.08 1661.03 1.11 HOLDEN TO SEAN)(in low tones) Yeah. Yeah.

1663-11

SCENE 247 - MCS - PAST HOLDEN, R.FG.,TO SEAN AS HE REACTS.

1666-08





(1)


11-15 30.08 = 1ST SCENE END

SCENE 1 - INT. KVLA NEWS SET - NIGHT -CS - A MONITOR, DISPLAYING KELVIN.

KELVIN 7-1 /12.01 16.13 4.12 KELVIN TO GROUP)(on monitor) Listen, I'd like to take time out Listen, I'd like to take time out to comment

to comment on the story that we broke (time out : i.e., 'a moment')

earlier. Quarterback sensation Sean to report on')

Jackson has popped the lock on the closet

and come out. Quarterback sensation Sean Jackson...

CAMERA PANS R., OFF THE MONITORAND ONTO A FS. OF KELVIN ANDANCHOR SHERRY DONALDSON SEATED 7-3 20.02 24.00 3.14 KELVIN TO GROUP)AT THE KVLA NEWS DESK. ...has popped the lock on the closet and

KELVIN (cont'd) (popped the lock on the closet andWhat does this mean for Sean Jackson? come out : idiomatic for 'publicly

Will there be more house music played in note that 'popped' is idiomatic for

the locker room? idiomatic for 'a homosexual whose

A SIGN ON THE FRONT OF THE NEWS and, therefore, is typically assumed toDESK READS: be heterosexual')

KVLA CHANNEL 13

30-08 What does this mean for Sean Jackson?

on the story that we broke earlier.

(broke : i.e., 'revealed' - 'were the first

7-2 17.01 19.14 2.13 KELVIN TO GROUP)

(sensation : i.e., 'star')

come out.

revealed that he is a homosexual' -

'opened' and that being 'closeted' is

sexual preferences are undisclosed

7-4 24.04 26.10 2.06 KELVIN TO GROUP)

(this mean : i.e., 'this revelationportend')

LABORATORY: THE FOLLOWING TITLE #7-4A MAY DOUBLE-PRINT OVEREXISTING TYPEFACE. PLEASE CHECK PRINT FOR PROPER POSITIONINGTO AVOID DOUBLE-PRINTING.

7-4A 26.14 30.06/ 3.08 KELVIN TO GROUP)Will there be more house music played inthe locker room?

(house music : a style of electronicdance music that originated inChicago, Illinois in the early 1980s. Itis strongly influenced by elements ofsoul and funk-infused varieties ofdisco and is favored in gay bars andclubs)(the locker room : referring to thelocker room of Sean's football team -note that a locker room is a changingroom with lockers where peoplechange their clothes for sports)(Note humor)



(2)

SCENE 2 - MCS - KELVIN.

KELVIN 7-5 /30.10 35.03 4.09 KELVIN TO GROUP)These questions aside, Mr. Jackson's These questions aside, Mr. Jackson's name

name is likely to be remembered (These questions aside : Idiomatic

alongside Jackie Robinson, Muhammad (Mr. Jackson's...King : Implying that

Ali, and Billie Jean King, who... places him alongside other renowned40-13 sports figures who openly challenged

SCENE 3 - MS - PAST THE STAGE players have publicly revealed theyMANAGER, L.FG., AND SUSAN, R.FG., TO are homosexual: Dave Kopay, EseraKARA, WHO SITS DOWN ON THE STAIRS Tuaolo and Roy Simmons)IN BG.

KELVIN 7-6 35.07 40.11/ 5.04 KELVIN TO GROUP)(off) ...endured their share of trash talkin' as ...alongside Jackie Robinson, Muhammad

well. But let's allow future generations to... (Jackie Robinson : the first African47-03 American to openly play Major League

SCENE 4 - MCS - KELVIN GESTURES. an end to racial segregation in

KELVIN (Muhammad Ali : a retired American...decide where to place Sean Jackson in boxer and three-time World

history. widely considered one of the greatest

is likely to be remembered...

for 'Moving on from these questions')

Sean's decision to reveal his sexuality

societal or political issues - Note thatat present, only three former NFL

Ali, and Billie Jean King...

Baseball since the 1880s, largelyconsidered instrumental in bringing

professional baseball)

Heavyweight Champion, who is

heavyweight championship boxers ofall time and notoriously opposed theVietnam War, which resulted in hisarrest on draft evasion charges)(Billie Jean King : a renowned tennisplayer from the United States and anadvocate against sexism in sportsand society)

7-7 /40.15 44.08 3.09 KELVIN TO GROUP)... who endured their share of trash talkin' aswell.

(trash talkin' : slang for 'verballymaligning comments' - 'criticalcomments')

7-8 44.12 50.12 6.00 KELVIN TO GROUP)(over scene end) But let's allow future generations to decide

where to place Sean Jackson in history.(where to place Sean Jackson inhistory : i.e., 'how significant SeanJackson's disclosure is to the sport offootball' - 'what kind of impact SeanJackson's disclosure had on the sportand/or society')



(3)


KELVIN 7-9 51.00 54.13/ 3.13 KELVIN TO GROUP)But let's be clear: (over scene end) But let's be clear: It's not about defiance...

52-01 (let's be clear : i.e., 'let's be certain

SCENE 5 - MCS - PAST THE STAGE (It's...love : i.e., 'Sean Jackson is notMANAGER, L.FG., TO KARA. announcing his homosexuality to

KELVIN to love openly')(off) It's not about defiance, it's...

54-15

SCENE 6 - MCS - KELVIN, GESTURING.

KELVIN(on) ...about what a man will do for love.

59-11

SCENE 7 - MCS - PAST THE STAGEMANAGER, L.FG., TO KARA, REACTING.

KELVIN 7-11 /59.13 62.13/ 3.00 KELVIN AS IF TO SEAN)(off) I stand behind you, Sean. I stand behind you, Sean.

62-15 (stand behind you : note double

SCENE 8 - MCS - KELVIN. in a sexual position')

KELVINMetaphorically. 7-12 /63.01 64.09/ 1.08 KELVIN AS IF TO SEAN)

64-11 Metaphorically.

SCENE 9 - MCS - GREG REACTS ASCAMERA TILTS DOWN SLIGHTLY.

GREG *7-13 /64.13 66.09/ 1.12 GREG TO HIMSELF, Oh, jeez. THEN KELVIN TO GROUP)

KELVIN -Thank you.(off) Thank you. (Oh, jeez : Interjection used to

66-09 express dismay)

SCENE 10 - FS - KELVIN AND ANCHOR LABORATORY: THE FOLLOWING TITLE #7-13A MAY DOUBLE-PRINTSHERRY DONALDSON. OVER EXISTING TYPEFACE. PLEASE CHECK PRINT FOR PROPER

KELVINGood night.

68-08 *7-13A /66.13 68.06/ 1.09 KELVIN TO GROUP)

SCENE 11 - MFS - PAST SUSAN, FG., TOKARA, WHO STARTS TO CLAP, THEN 7-14 69.04 72.07 3.03 ANCHOR SHERRY DONALDSON STOPS AS SUSAN MOMENTARILY TURNS TO GROUP)BG. TO LOOK AT HER. And that's it for tonight's news.

ANCHOR SHERRY DONALDSON of our broadcast')(off) And that's it for tonight's news.

we understand exactly why Seanmade this disclosure')

further a social cause, but to be able

7-10 55.01 59.09/ 4.08 KELVIN TO GROUP)...it's about what a man will do for love.

meaning - [1] idiomatic for 'supportyou,' and [2] literally 'stand behind you

(Note humor, as Kelvin clarifies hewas not speaking literally)

-Oh, jeez.

POSITIONING TO AVOID DOUBLE-PRINTING.

Good night.

(that's it : i.e., 'we've reached the end



(4)


ANCHOR SHERRY DONALDSON 7-15 72.11 76.04 3.09 ANCHOR SHERRY DONALDSON Happy Valentine's Day to all of you. Sherry TO GROUP)

Donaldson for KVLA...

PEOPLE ON KVLA SET TO GROUP)(overlapping, low and indistinct chatter - Sherry Donaldson for KVLA, channel 13.


dialogue)

THE STAGE MANAGER ENTERS L. WITHHER ARMS OUTSTRETCHED AND STEPSFG. TOWARD KELVIN, WHO ENTERS R.FGAND STEPS TOWARD HER, OBSCURINGSUSAN.

KELVIN(overlapping) Mm.

81-10

SCENE 12 - MS - THE STAGE MANAGERAND KELVIN HUG AS A MALE EMPLOYEECROSSES R. BEHIND THEM.

ANCHOR SHERRY DONALDSON(off) ...channel thirteen.

KELVIN(overlapping) (kisses)

STAGE MANAGER(chuckles softly - continues under following

dialogue)

CAMERAMAN 2 ENTERS R.FG. ANDSTEPS L.BG. AS HE RAISES HIS FISTTOWARD KELVIN. THE STAGE MANAGERSTEPS R.BG. AS CAMERAMAN 1 ENTERSR.FG., FOLLOWING CAMERAMAN 2 ASKELVIN TRIUMPHANTLY BUMPS FISTSWITH CAMERAMAN 2.

KELVIN 7-18 82.05 83.13 1.08 KELVIN TO STAGE MANAGER, Good. Hey, man. THEN TO CAMERAMAN 2)

CAMERAMAN 2Excellent.

KELVIN THEN CAMERAMAN 1 TO KELVIN)Thank you. -Excellent.

CAMERAMAN 1 (way to go : idiomatic expression of(overlapping) Hey, way to go, bro. praise)

Happy Valentine's Day to all of you.

7-16 76.08 81.09/ 5.01 ANCHOR SHERRY DONALDSON

*7-17 (OUT)

Good. Hey, man.

7-19 84.01 85.13/ 1.12 CAMERAMAN 2 TO KELVIN,

-Hey, way to go, bro.

(bro : slang term of address for aclose male friend - diminutive of'brother')



(5)


STAGE MANAGER *7-19A 86.01 88.00 1.15 STAGE MANAGER TO GROUP)(overlapping) Cue... Cue music, cue logo.

85-13 (logo : i.e., 'the network logo')

SCENE 13 - MCS - PAST CAMERAMAN 1AND KELVIN, BOTH WITH RAISED FISTS,FG., TO SUSAN, PARTIALLY OBSCURED,AND KARA SEATED ON THE STAIRS ASCAMERAMAN 2 EXITS R. CAMERAMAN 1AND KELVIN BUMP FISTS , THENCAMERAMAN 1 EXITS R. AS KELVINTURNS BG. TOWARD SUSAN ANDCAMERA DOLLIES R. WITH THEM, OFFKARA AS MALE EMPLOYEE #1 CROSSESL. BEHIND THEM.

STAGE MANAGER(off) (overlapping) ... music, cue logo. And,

we're clear.

SUSAN 7-20 88.04 90.10 2.06 SUSAN TO KELVIN)(overlapping) You sneaky little cupid. You You sneaky little cupid.

got... romantic' - referring to the fact that91-09 Kelvin chose to emphasize love in his

SCENE 14 - MS - SUSAN AND KELVIN ASMALE EMPLOYEE #2 CROSSES R.FG. *7-21 90.14 94.13/ 3.15 SUSAN TO KELVIN)

SUSAN (got romantic : i.e., 'developed a...romantic after all, didn't ya? romantic sensibility')

KELVIN(overlapping) (chuckles)

94-14

SCENE 15 - MCS - SUSAN AND KELVIN.

SUSAN 7-22 /95.01 99.01 4.00 SUSAN TO KELVIN)I may get a few letters on that, but I got your I may get a few letters on that, but I got your

back. (get...that : i.e., 'receive angry,

KELVIN broadcast')Thank you. (I got your back : idiomatic for 'I will

SUSANHappy Valentine's Day, Kelvin.

SUSAN AFFECTIONATELY PATS KELVIN, Thank you.THEN EXITS R.FG. AS CAMERA DOLLIES L. AND TILTS UP SLIGHTLY TO INCLUDEKARA. 7-24 100.13 102.13 2.00 SUSAN TO KELVIN)

KELVINSame to you. (inhales sharply)

(sneaky little cupid : i.e., 'secret

report on Sean Jackson)

(over scene end) You got romantic after all, didn't ya?

back.

homophobic letters as a result of your

support you publicly')

7-23 99.05 100.09 1.04 KELVIN TO SUSAN)

Happy Valentine's Day, Kelvin.

7-25 103.01 104.12 1.11 KELVIN TO SUSAN)Same to you.



(6)


KELVIN 7-26 105.00 109.03 4.03 KELVIN TO KARA)Well, those stairs never looked so good. Well, those stairs never looked so good.

KARA are sitting on the stairs makes them(chuckles softly) Interesting perspective on much more attractive' - note flirtatious

Sean Jackson.

KELVIN 7-27 111.12 116.09/ 4.13 KARA TO KELVIN)(chuckles softly) Interesting perspective on Sean Jackson.

116-10

SCENE 16 - INT. SIENA BOUQUET -NIGHT - MS - REED PLACES A BOUQUETOF FLOWERS INTO A BUCKET OF WATERON TOP OF THE O.S. CASHIER COUNTERAS CAMERA DOLLIES L.

119-08

SCENE 17 - FS - HIGH ANGLE - PAST THECASHIER COUNTER, R.FG., TO REED,WHO TURNS BG. AND CROUCHESDOWN, THEN STANDS UP AND TURNSFG. WITH MORE FLOWERS IN HISHANDS. HE PLACES THE FLOWERS INTOTHE BUCKET OF WATER BEFORETURNING BG. AGAIN.

133-00

SCENE 18 - INT. LIZ'S APARTMENT -NIGHT - MS - PAST A SHELVING UNIT ANDSOME SMALL OBJECTS ON A SHELF, FG.,TO LIZ, SEATED ON HER BED, CRYING.SHE REACTS TO A KNOCK AT HERFRONT DOOR.

LIZ 7-28 139.04 141.13 2.09 LIZ TO PERSON)(sniffles) Just a second. (soft grunt) Just a second.

LIZ STANDS UP AND CAMERA TILTS UP will be at the door in a moment.')WITH HER, THEN PANS L. WITH HER, OFFTHE SHELVING UNIT AS LIZ WALKSTOWARD HER FRONT DOOR.

LIZ 7-29 151.01 152.14 1.13 LIZ TO PERSON)Who is it? Who is it?

153-08

(those...good : i.e., 'the fact that you

tone)

(Idiomatic for 'Wait a moment.' - i.e., 'I



(7)

SCENE 19 - INT. LIZ'S APARTMENT/HALLWAY - NIGHT - MCS - PAST JASON,L.FG., AS HE HOLDS UP LIZ'S CAMERAAND LOOKS THROUGH ITS VIEWFINDER,TO LIZ'S FRONT DOOR. LIZ OPENS THEDOOR AND JASON TAKES APHOTOGRAPH OF HER.

JASON *7-29A 157.01 159.01/ 2.00 JASON TO LIZ)You forgot your camera. You forgot your camera.

159-02 (i.e., 'You left your camera at my

SCENE 20 - INT. LIZ'S APARTMENT -NIGHT - MCS - PAST LIZ, R.FG. TO JASON,WHO PASSES THE CAMERA TO LIZ WITHHIS RIGHT HAND AS SHE HOLDS OUTHER ARM. THERE IS A LARGE REDVALENTINE'S CARD TUCKED UNDERJASON'S LEFT ARM.

161-07

SCENE 21 - INT. LIZ'S APARTMENT/HALLWAY - NIGHT - MCS - PAST JASON,L.FG., TO LIZ, WHO TAKES THE CAMERAAND LOWERS IT OUT OF FRAME.

164-02

SCENE 22 - INT. LIZ'S APARTMENT -NIGHT - MCS - PAST LIZ, R.FG. TO JASON.

JASON 7-30 164.11 166.09/ 1.14 JASON TO LIZ)Can I come in? Can I come in?

166-09

SCENE 23 - INT. LIZ'S APARTMENT/HALLWAY - NIGHT - MCS - PAST JASON,L.FG., TO LIZ, WHO TURNS AND STEPSBG., FOLLOWED BY JASON.

LIZ 7-31 172.09 174.03 1.10 LIZ TO JASON)Sure. Sure.

174-04

SCENE 24 - MFS - PAST LIZ, FG., TOJASON (PARTIALLY OBSCURED) IN THEDOORWAY. LIZ STEPS FG. ANDMOMENTARILY LEANS FG. , PLACING THECAMERA ON AN O.S. TABLE AS JASONCLOSES THE FRONT DOOR BEHIND HIM.LIZ STEPS R.FG. AND TURNS TO FACEJASON, WHO STEPS TOWARD HER ASCAMERA DOLLIES SLIGHTLY R.

LIZ 7-32 180.04 185.00 4.12 LIZ TO JASON)Jason, I feel bad about how you found out Jason, I feel bad about how you found out

about my job. It was awkward and I'm sorry.

apartment.')

about my job.

7-33 185.04 189.01/ 3.13 LIZ TO JASON)It was awkward, and I'm sorry.



(8)


LIZ 7-34 /189.05 192.13/ 3.08 LIZ TO JASON)But that... But that is the only thing that I apologize for.

189-03

SCENE 25 - MCS - PAST JASON, L.FG., TOLIZ, WHO CLOSES HER DRESSINGGOWN AND CROSSES HER ARMS.

LIZ...is the only thing that I apologize for.

JASON(overlapping) No. Um...

193-00

SCENE 26 - MS - PAST LIZ, R.FG., TOJASON.

JASON *7-35 /193.01 196.07 3.06 JASON TO LIZ)...I should be the one apologizing. (sighs) If I should be the one apologizing.

you want to be a adult ph-phone e-

entertainer, that's cool. If you want to be a adult phone entertainer...208-10 (a : colloquial for 'an')

SCENE 27 - MS - PAST JASON, L.FG., TO 7-37 206.13 208.09/ 1.12 JASON TO LIZ)LIZ, WHO REACTS, THEN STEPS R., ...that's cool.GESTURING AS CAMERA PANS WITH (Idiomatic expression of approval -HER, OFF JASON. i.e., '...I support the decision.')

LIZI don't know, Jason. I mean, when you 7-38 210.00 211.15 1.15 LIZ TO JASON)

found out something about me you didn't (I don't know : i.e., 'I still have

like, you judged (chuckling) me (in normal you')

voice) and bailed. I don't think that's a

promising foundation for a relationship. I mean, when you found out something

JASON ENTERS THE FRAME L.FG., THENSTEPS R. TOWARD LIZ, GESTURING ASCAMERA DOLLIES IN. 7-40 215.12 217.12 2.00 LIZ TO JASON)

JASON (bailed : slang for 'left' - 'walkedYou know what? You're right. away')

7-36 198.02 205.03 7.01 JASON TO LIZ)

I don't know, Jason.

concerns' - 'I am still uncertain about

7-39 212.03 215.08 3.05 LIZ TO JASON)

about me you didn't like...

...you judged me and bailed.

7-41 218.00 222.03 4.03 LIZ TO JASON)I don't think that's a promising foundation fora relationship.

7-42 222.07 224.07 2.00 JASON TO LIZ)You know what? You're right.



(9)


JASON 7-43 224.11 228.05/ 3.10 JASON TO LIZ)I just spent all night in a cemetery. I just spent all night in a cemetery.

228-06 (a cemetery : referring to the

SCENE 28 - MS - PAST LIZ, R.FG., TOJASON.

JASON 7-44 /228.09 232.06/ 3.13 JASON TO LIZ)And I actually learned something. And I actually learned something.

232-07

SCENE 29 - MS - PAST JASON, L.FG.,GESTURING, TO LIZ.

JASON 7-45 /232.10 234.15 2.05 JASON TO LIZ)Um, in a relationship, you have to accept In a relationship...

the other person...237-04 7-46 235.03 241.06 6.03 JASON TO LIZ)

SCENE 30 - MS - PAST LIZ, R.FG., TO (what they are : i.e., 'their entireJASON, GESTURING. personality')

JASON...f-for all of what they are, (stammers) not 7-47 241.10 244.07/ 2.13 JASON TO LIZ)

just the parts that are easy to like. (the parts : i.e., 'the characteristics of244-08 that person')

SCENE 31 - MCS - JASON.

JASON 7-47A /244.11 251.15 7.04 JASON TO LIZ)And y-you're stupid if you turn your back on And you're stupid if you turn your back on

something as important (pants softly) as... (stupid : i.e., 'foolish')255-15 (turn your back on : idiomatic for

SCENE 32 - MCS - LIZ, REACTING.

JASON ...as...(off) (pants softly)

259-06

SCENE 33 - MCS - JASON.

JASON 7-47C /259.09 261.09 2.00 JASON TO LIZ)...l-love. ...love.

261-15

SCENE 34 - MCS - LIZ SMILES.265-10

Hollywood Forever Cemetery)

(over scene end) ...you have to accept the other person for allof what they are...

...not just the parts that are easy to like.

something as important...

'reject' - 'disregard')

7-47B 254.04 255.14/ 1.10 JASON TO LIZ)



(10)

SCENE 35 - MS - PAST LIZ, R.FG., TOJASON, WHO HANDS LIZ THE LARGERED VALENTINE'S CARD.

JASON 7-48 267.05 272.00 4.11 JASON TO LIZ)Um.... (clears throat) So I bought this for So I bought this for you. At the store.

you. At the store. Valentine's Day card, which he275-07 presents to her)

SCENE 36 - MCS - LIZ, LOOKING DOWNAT THE O.S. VALENTINE'S CARD.

278-00

SCENE 37 - MCS - HIGH ANGLE - PASTLIZ, R.FG., TO JASON (TORSO AND LEGS).LIZ OPENS THE VALENTINE'S CARD,OBSCURING JASON'S LEGS. THEVALENTINE'S CARD FEATURES SEVERALPHOTOS OF JASON AND LIZ AND READS: 7-49 278.13 280.13 2.00 NARRATIVE TITLE) (of card)

SORRY! SORRY!

282-02

SCENE 38 - MCS - LIZ, LOOKING DOWNAT THE O.S. VALENTINE'S CARD ANDSMILING.

286-01

SCENE 39 - MS - PAST LIZ, R.FG.,LOOKING DOWN AT THE VALENTINE'SCARD, TO JASON, WHO RAISES THEPHOTOGRAPH OF LIZ THAT HE TOOK ATTHE FRONT DOOR INTO FRAME ANDMOVES IT FG. OVER THE CARD.

JASON 7-50 287.05 290.01 2.12 JASON TO LIZ)And this one goes.... And this one goes....

290-13 (this one : i.e., 'this Polaroid I just

SCENE 40 - CS - HIGH ANGLE - JASON(HAND), PLACING THE PHOTO OF LIZAMONGST THE OTHER PHOTOS ON THE 7-51 (OUT)VALENTINE'S CARD. JASON'S HANDEXITS TOP FRAME AS CAMERA TILTSDOWN.

294-13

SCENE 41 - MCS - LIZ, LOOKING DOWNAND SMILING. SHE RAISES HER EYES TOLOOK AT O.S. JASON.

LIZ(sighs)

299-10

SCENE 42 - MCS - JASON SMILES.301-06

(this : referring to a large hand-made

took of you')(goes : i.e., 'goes here')



(11)

SCENE 43 - MS - PAST LIZ, R.FG., TOJASON, WHO REACTS AS LIZ'S CELLPHONE RINGS.

304-02

SCENE 44 - MS - PAST JASON, L.FG., TOLIZ, WHO REACTS, THEN STEPS R. ASCAMERA DOLLIES WITH HER.

310-06

SCENE 45 - MS - PAST LIZ, R.FG., TOJASON AS LIZ MOVES L.FG. OUT OFFRAME.

312-09

SCENE 46 - MCS - LIZ, LEANING R. SHESTRAIGHTENS UP AS CAMERA TILTS UPWITH HER, THEN RAISES HER CELLPHONE TO HER EAR AS SHE LOOKSL.FG. AT O.S. JASON.

LIZ 7-52 317.05 322.00 4.11 LIZ INTO PHONE TO PERSON) (into telephone) (in Southern accent) Sugar can't answer the phone right now.

Sugar can't answer the phone right now. for a person of romantic interest,

LIZ HANGS UP THE PHONE, LOWERING (answer : i.e., 'talk on')IT OUT OF FRAME, THEN STEPS L.FG. TOJASON AS DOLLIES BACK TO INCLUDEHIM. LIZ EMBRACES JASON, MOVING L.AROUND HIM AS THEY HUG AND KISS.

LIZ (cont'd) 7-53 323.14 328.03 4.05 LIZ TO JASON)(in low tones) She's got to make love (in She's got to make love to her boyfriend on

normal voice) to her boyfriend on (her boyfriend : i.e., 'Jason')

Valentine's Day.

JASON AND LIZ(kiss)

LIZ 7-54 337.06 341.14 4.08 LIZ TO JASON)(whispering) And, for the record, this is And, for the record, this is what I like.

what I like. (kisses) (in low tones) Simple. that it is clear and known')

(kisses) meaning - [1] i.e., 'romantic gestures

JASON like,' and [2] i.e., 'you are what I like')(overlapping) (kisses)

LIZ 7-55 342.07 344.08 2.01 LIZ TO JASON)Mm. Simple.

347-08 (i.e., 'A simple romantic gesture, like a

SCENE 47 - MS - LIZ'S FRONT DOOROPENS TO REVEAL A TRIO OFMUSICIANS WHO STEP FG. INTO LIZ'SLIVING ROOM.

352-06

(Sugar : Slang term of endearment

typically a woman)

Valentine's Day.

(for the record : i.e., 'officially' - 'so

(this is what I like : note double

like the one you just made are what I

card.')



(12)

SCENE 48 - MCS - LIZ AND JASON,HUGGING. [UNBEKNOWNST TO LIZ,]JASON GESTURES FOR THE TRIO OFMUSICIANS TO LEAVE.

356-02

SCENE 49 - MS - THE TRIO OFMUSICIANS REACT, THEN STEP BG., OUTTHE FRONT DOOR.

361-11

SCENE 50 - MCS - LIZ AND JASON,HUGGING.

JASON 7-56 362.03 363.14 1.11 JASON TO LIZ)Yeah. Yeah.

364-08

SCENE 51 - MCS - JASON AND LIZ,HUGGING.

LIZ(sighing) Mm.

JASON *7-56A 365.04 369.00 3.12 JASON TO LIZ)(overlapping) Let's just keep it really Let's just keep it really simple.

simple. (keep it really simple : i.e., 'not do

LIZ note humor as, unbeknownst to Liz, aI also like make-up sex. violin trio enters the apartment and

JASON REACTS AS LIZ MOVES HERHANDS ONTO HIS SHOULDERS.

JASON I also like make-up sex.Whoa, what a coincidence. (make-up sex : sex between a

LIZ(overlapping) You too?

JASON Whoa. What a coincidence.Me too. (Whoa : Interjection used to express

JASON NODS ENTHUSIASTICALLY. (What a coincidence : Implying376-09 Jason enjoys make-up sex as well -

SCENE 52 - MS - JASON AND LIZ. LIZLEAPS INTO JASON'S ARMS AND HE 7-58A 374.12 376.08/ 1.12 LIZ TO JASON, THEN JASON TO LIZ)WALKS BACKWARDS WITH HER, EXITING -You too?THE FRAME L. -Me too.

LIZ(overlapping) Yay! (giggles) 7-59 /376.12 378.06 1.10 LIZ) (exclaiming) (OPTIONAL)

379-13 Yay!

(it : i.e., 'our relationship')

anything exceptionally outlandish' -

Jason gestures for them to leave)

7-57 369.04 372.00 2.12 LIZ TO JASON)

couple after an argument is resolved)

7-58 372.04 374.08 2.04 JASON TO LIZ)

surprise)

Note wry tone)

(Interjection of enthusiasm)



(13)

SCENE 53 - EXT. JULIA'S CAR - NIGHT -MCS - THROUGH THE WINDOW OFJULIA'S CAR TO JULIA, DRIVING L. ASCAMERA TRAVELS WITH HER.

384-12

SCENE 54 - EXT. REED'S HOUSE/CANALBRIDGE - NIGHT - MFS - REED,STANDING ON THE BRIDGE, CUTS THESTEM OFF A PINK ROSE WITH A PENKNIFE AND DROPS THE STEM LOWERFG., OUT OF FRAME. HE SMELLS THEROSE, THEN DROPS IT LOWER FG., OUTOF FRAME.

393-11

SCENE 55 - EXT. VENICE STREET - NIGHT- FS - JULIA'S CAR DRIVES R.BG. ASCAMERA PANS R.

399-15

SCENE 56 - EXT. REED'S HOUSE/CANALBRIDGE - NIGHT - MCS - HIGH ANGLE -LOOKING DOWN ON THE CANAL WATERAS A ROSE ENTERS R.FG. AND FALLSBG. INTO THE WATER.

403-10

SCENE 57 - LS - THE CANAL BRIDGE ASJULIA WALKS R. ACROSS IT TO JOINREED AS HE THROWS ANOTHER ROSEFG. INTO THE CANAL, THEN REACHESINTO AN O.S. BUCKET AND TAKES OUTANOTHER ROSE.

418-00

SCENE 58 - MCS - PAST REED, R.FG.,HOLDING THE ROSE, TO JULIA.

JULIA 7-60 /418.02 419.15 1.13 JULIA TO REED)Hi. Hi.

421-08


425-02

SCENE 60 - MS - JULIA AND REED. REEDDROPS THE ROSE LOWER FG., OUT OFFRAME.

REED 7-61 426.04 428.13 2.09 REED TO JULIA, THEN JULIA TO REED)Sorry. -Sorry.

JULIA (Sorry : i.e., 'My condolences for what(in low tones) Yeah. happened with Harrison')

431-09

-Yeah.



(14)

SCENE 61 - MCS - HIGH ANGLE -LOOKING DOWN ON TWO ROSES,FLOATING IN THE CANAL. ANOTHERROSE ENTERS R.FG. AND FALLS BG.INTO THE WATER.

JULIA 7-62 432.05 435.05 3.00 JULIA TO REED)(off) (in normal voice) What are you doing What are you doing with the flowers?

with the flowers? into the Venice canals)

REED(off) They're all the ones that nobody wants. 7-63 436.05 438.07/ 2.02 REED TO JULIA)

438-08 They're all the ones that nobody wants.

SCENE 62 - MS - JULIA AND REED, WHOHOLDS ANOTHER ROSE. HE CUTS THESTEM OFF THE ROSE AND GIVES IT TOJULIA, THEN REACHES R.FG. AND PICKSUP ANOTHER ROSE. HE CUTS THORNSOFF THE ROSE'S STEM THROUGHOUTTHE FOLLOWING SCENES.

JULIA 7-64 439.11 442.13 3.02 JULIA TO REED)So you're givin' 'em a second life? So you're givin' 'em a second life?

REED them for a different purpose')Yeah, most shops throw 'em away. I.... I like

the idea that tomorrow, somebody's gonna 7-65 444.13 448.03 3.06 REED TO JULIA)

see 'em floatin' by and...

JULIA 7-66 451.15 459.03 7.04 REED TO JULIA)(overlapping) (chuckling) Yeah. (inhales) I like the idea that tomorrow, somebody's

REED...wonder where they come from.

JULIA Yeah.(overlapping) (in low tones) Yeah.

463-11

SCENE 63 - MCS - HIGH ANGLE - mystery of it all.LOOKING DOWN ON THE CANAL AS A (come : colloquial for 'came')DUCK SWIMS AND EXITS TOP FRAME, (of it all : i.e., 'of where they cameFOLLOWED BY ANOTHER DUCK AND from')TWO DUCKLINGS.

REED 7-69 466.01 470.00/ 3.15 REED TO JULIA)(off) And the mystery of it all. I used to I used to actually put 'em together...

actually put 'em together and...470-01

SCENE 64 - MS - JULIA AND REED.

REED 7-70 471.06 475.09 4.03 REED TO JULIA)...practice new designs with them and... ...and practice new designs with them...

JULIA(overlapping) (chuckles)

(Referring to the flowers Reed tosses

(givin' 'em a second life : i.e., 'using

Yeah, most shops throw 'em away.

gonna see 'em floatin' by and...

7-67 459.07 461.01 1.10 JULIA TO REED)

*7-68 461.09 465.13 4.04 REED TO JULIA)(over scene end) ...wonder where they come from. And the

(designs : i.e., 'floral arrangements')



(15)


REED 7-71 475.13 481.01 5.04 REED TO JULIA)...drop them off at a random... (over scene end) ...and drop them off at a random doorstep

478-02 with a note saying:

SCENE 65 - MCS - PAST REED, R.FG., TOJULIA, WHO MOVES HER ARM L.

REED 7-72 481.05 484.06 3.01 REED TO JULIA)...doorstep with a note saying, "Somebody "Somebody out there loves you."

out there loves you." Then I got to thinkin'...490-10 7-73 485.10 488.01 2.07 REED TO JULIA)

SCENE 66 - MCS - PAST JULIA, L.FG., TOREED AS JULIA DROPS HER ROSE R.FG.AND IT FALLS OUT OF FRAME.

REED 7-74 /490.12 494.06 3.10 REED TO JULIA)...what if they found out that someone was ...what if they found out that someone was

me? Would they want me to be the one that

loves them? 7-75 495.09 499.02/ 3.09 REED TO JULIA)499-03 Would they want me to be the one that loves

SCENE 67 - MCS - PAST REED, R.FG., TOJULIA.

JULIA 7-76 501.13 504.00/ 2.03 JULIA TO REED)I would... I would...

504-01

SCENE 68 - MS - PAST JULIA, L.FG., TOREED, REACTING.

JULIA 7-76A 507.09 509.12 2.03 JULIA TO REED)...want that. ...want that.

510-05

SCENE 69 - MCS - PAST REED, R.FG., TOJULIA. REED MOVES HIS HEAD BG.TOWARD JULIA.

515-13

SCENE 70 - MS - PAST JULIA, L.FG., TOREED. JULIA MOVES HER HEAD BG.TOWARD REED AS HE REACTS.

REED 7-77 518.14 521.09/ 2.11 REED TO JULIA)Am I about to kiss my best friend? Am I about to kiss my best friend?

521-10

Then I got to thinking...(got to thinking : i.e., 'wondered')

me?

them?



(16)

SCENE 71 - MCS - PAST REED, R.FG.,REACTING, TO JULIA, WHO SMILES.

REED(chuckles)

JULIA 7-78 524.05 526.04 1.15 JULIA TO REED)I hope so. I hope so.

528-06

SCENE 72 - MS - JULIA AND REED KISS,THEN REACT.

REED AND JULIA(kiss)

JULIA 7-79 542.01 544.01 2.00 JULIA TO REED)Not great. Not great.

REED kiss.')That was awkward. Awkward.

JULIA 7-80 544.05 547.02 2.13 REED TO JULIA)Just not great. That was awkward. Awkward.

REEDYep. 7-81 547.06 550.05/ 2.15 JULIA TO REED, THEN REED TO JULIA)

550-07 -Just not great.

SCENE 73 - INT. KVLA NEWS SET - NIGHT- MFS - PAST A MONITOR AND SOMECAMERA EQUIPMENT, FG., TO KARA ANDKELVIN AS HE GESTURES.

KELVIN 7-82 /550.09 554.08 3.15 KELVIN TO KARA, THEN KARA TO KELVIN)But, this is my old.... You know, where I get -But, this is my old.... You know, where I get

down. -This is your spot.

KARA news set' - note that 'old' is used to(overlapping) This is your spot. express affection or familiarity)

KELVIN parenthetically in conversation to fillYou really helped me out. pauses or get the listener's

556-02 agreement)

SCENE 74 - MS - PAST GREG, R.FG., TO (spot : i.e., 'place of work')THE WEATHER GIRL, BOTH SEATED AT ACONTROL PANEL. GREG MOVES BACK INHIS SEAT, SMILING, AS HE LOOKS FG. AT *7-83 554.12 560.05 5.09 KELVIN TO KARA)O.S. KELVIN AND KARA. HE NUDGES THE (over scene end) You really helped me out. I mean, SusanWEATHER GIRL AND SHE TURNS TO is.... She's giving me a chance to be numberLOOK FG. ALSO. one.

KELVIN career by giving me an exclusive story (off) I mean, Susan is.... She's giving me a on Sean Jackson')

chance to be number one. me')

(i.e., 'That was not a memorable

-Yep.

down.

(old : i.e., 'old place of work' - 'old

(You know : Informally used

(get down : slang term, heremeaning 'work' - 'do my job')

(helped me out : i.e., 'helped my

(is : implying, 'is very pleased with

(number one : i.e., 'her primarysports journalist' - see Title #1-52)



(17)


KARA 7-84 560.09 562.04/ 1.11 KARA TO KELVIN)(off) Congratulations. Congratulations.

562-06

SCENE 75 - MFS - PAST THE MONITORAND CAMERA EQUIPMENT, FG., TO KARAAND KELVIN AS KELVIN ATTEMPTS TOPERFORM A COMPLICATED HANDSHAKEWITH KARA, WHO TRIES, BUT IS UNABLETO COMPLETE THE HANDSHAKE WITHKELVIN.

KELVIN 7-85 /562.08 564.13 2.05 KELVIN TO KARA, THEN KARA TO KELVIN)Thank you, once again. -Thank you, once again.

KARA (Kelvin attempts a complicatedThank you. handshake with Kara, which she is

KELVINI'm gonna have to teach you that.

KARA -I'm gonna have to teach you that. (overlapping) That is just (chuckling) so.... -That is just so....

568-00

SCENE 76 - MCS - PAST GREG, R.FG., TOTHE WEATHER GIRL, BOTH REACTING.GREG REACHES L. AND PRESSES ABUTTON ON THE O.S. CONTROL PANEL.

KELVIN *7-87 /568.02 571.09/ 3.07 KELVIN TO KARA, THEN KARA TO KELVIN)(off) I'll-- Come here-- (scoffs) I'll teach you -I'll teach you this. You know what I'm

this. -It's not natural for me.

KARA (You know what I'm saying : A(off) (overlapping) (in low tones) It's not rhetorical question informally used

natural for... pauses or get the listener's

KELVIN (It's not natural for me : i.e., 'I am not(off) (overlapping) You know what I'm innately skilled to perform those kinds

saying? 571-09

SCENE 77 - MCS - A MONITOR,DISPLAYING KARA AND KELVIN WITHIN AGREEN SCREEN AS KELVIN ATTEMPTSTO TEACH KARA HOW TO PERFORM THECOMPLICATED HANDSHAKE.

KARA(on monitor) ...me.

KELVIN *7-88 572.00 575.06 3.06 KELVIN ON MONITOR TO KARA, (on monitor) Just keep the fist-- It's just a ITAL THEN KARA ON MONITOR TO KELVIN)

little-- -Thank you. Okay.

-Thank you.

unable to follow)

7-86 565.01 567.14/ 2.13 KELVIN TO KARA, THEN KARA TO KELVIN)

saying?

(this : i.e., 'this handshake')

parenthetically in conversation to fill

agreement)

of movements')

-Just keep the fist-- It's just a little--



(18)


KARA(on monitor) (overlapping) Thank you. Okay.

KELVIN *7-89 575.10 577.14 2.04 KELVIN ON MONITOR TO KARA, (on monitor) No, no, no. Open your-- ITAL THEN KARA ON MONITOR TO KELVIN)

KARA -Open.(on monitor) Open. (your : i.e., your hand')

KELVIN(on monitor) (overlapping) Okay, you-- You *7-90 578.02 581.15/ 3.13 KELVIN ON MONITOR TO KARA)

know what? You know what? I got a better idea.

KARA shaking hands, I know what we(on monitor) (overlapping) It's not should do')

happening for--

KELVIN(on monitor) (overlapping) I got a better

idea.

KELVIN MOVES HIS HEAD CLOSER TOKARA'S.

582-00

SCENE 78 - MCS - PAST GREG, R.FG., TOTHE WEATHER GIRL WHO BOTH LOOK L.AT THE O.S. MONITOR AS GREG POINTSL.

584-03

SCENE 79 - MCS - THE MONITOR,DISPLAYING KARA AND KELVIN, WHOKISS AS O.S. GREG SWITCHES THEGREEN SCREEN BACKGROUND TO ABEAUTIFUL SUNSET. CAMERA DOLLIESBACK TO REVEAL KARA AND KELVIN ONMULTIPLE MONITORS.

KELVIN AND KARA(on monitor) (kiss)

KELVIN *7-91 593.14 595.09 1.11 KELVIN ON MONITOR TO KARA)(on monitor) Okay. (clears throat) ITAL Okay.

(whispering) (stammers - continues under

following dialogue)

KARA *7-92 597.00 599.04 2.04 KARA ON MONITOR TO KELVIN)(on monitor) (in low tones) That was nice. ITAL That was nice.

KELVIN kiss)(on monitor) Oh. (nice : i.e., 'pleasant')

KELVIN AND KARA(on monitor) (kiss)

604-15

-No, no, no. Open your--

ITAL THEN KARA ON MONITOR TO KELVIN)

(I got a better idea : i.e., 'Instead of

(That : Referring to Kara and Kelvin's



(19)

SCENE 80 - EXT. REED'S HOUSE/CANALBRIDGE - NIGHT - MS - JULIA AND REED,REACTING.

JULIA(chuckles - continues under following

dialogue)

REED *7-93 /605.01 611.00 5.15 REED TO JULIA)Was it-- Well, you didn't exactly, like, kn- Well, you didn't exactly, like, knock it out of

knock it out of the park. It was like faces (knock...park : idiomatic for 'do an

(low and indistinct)

JULIA 7-94 611.04 615.12 4.08 JULIA TO REED)(chuckling) Well, (in normal voice) Well, we've never practiced, you have to

(stammers) we've never practiced, you

have to admit.

REED *7-95 616.02 618.08 2.06 REED TO JULIA)Maybe we should practice, then. Maybe we should practice, then.

JULIA(in low tones) Okay. 7-96 618.12 620.04 1.08 JULIA TO REED)

621-04 Okay.

SCENE 81 - EXT. BEVERLY HILLS STREET- NIGHT - FS - MORLEY AND CARMINEWALK L. AS CAMERA DOLLIES WITHTHEM.

628-14

SCENE 82 - INT. HARRISON'S CONDO -DAY - MS - HARRISON SITS ALONE IN HISBED WITH A PIZZA BOX ON TOP OF HISQUILT.

634-07

SCENE 83 - INT. EDISON'S ROOM - NIGHT- MCS - EDISON LIES AWAKE IN HIS BED.KATE (TORSO) ENTERS, L.BG. AND SITSDOWN ON EDISON'S BED AS CAMERATILTS UP TO REVEAL HER FACE.

644-11

SCENE 84 - MCS - PAST KATE, L.FG., TOEDISON, WHO REACTS AND STARTS TOSIT UP.

EDISON 7-97 /649.04 650.12 1.08 EDISON TO KATE)Mommy! Mommy!

649-02

the park.

excellent job' - referring to the kiss)

admit.



(20)

SCENE 85 - MCS - KATE AND EDISON ASEDISON SITS UP AND HUGS KATE. KATEREACTS AS CAMERA DOLLIES IN.

KATE 7-98 658.05 660.13 2.08 KATE TO EDISON)(chuckles softly) (cries) (whispering) You're You're so big.

so big. (cries - continues under following much.')

scenes)661-03

SCENE 86 - MCS - PAST KATE, FG., TOEDISON AS THEY HUG.

665-15

SCENE 87 - MCS - KATE AND EDISON,HUGGING.

KATE 7-99 666.14 669.01 2.03 KATE TO EDISON)(crying) (whispering) You're so big. You're so big.

673-08

SCENE 88 - MS - THROUGH EDISON'SBEDROOM DOORWAY TO ESTELLE ANDEDGAR, REACTING. THEY EXIT INTO THEHALLWAY, R. AS CAMERA PANS R., OFFTHE DOORWAY TO AN MCS. OF KATEAND EDISON, HUGGING.

692-03

SCENE 89 - EXT. REED'S HOUSE/CANALBRIDGE - NIGHT - FS - JULIA AND REED.

REED 7-100 /692.08 695.13 3.05 REED TO JULIA, THEN JULIA TO REED)Did you imagine it better or worse than -Did you imagine it better or worse than that?

that? (it : i.e., 'kissing me would be')

JULIA (I did : i.e., 'I did think it would be(overlapping) I did. better')

REEDYou imagined it better? 7-101 696.01 699.02 3.01 REED TO JULIA, THEN JULIA TO REED)

JULIA -I gave you more credit.(overlapping) I gave you more credit. (I gave you more credit : i.e., 'I

REED at kissing than you actually are')Really?

JULIA 7-102 699.06 700.14 1.08 REED TO JULIA, THEN JULIA TO REED)Yeah. -Really?

REEDWell, I hate that I'm not living up to my-- 7-103 701.02 703.15 2.13 REED TO JULIA)

(i.e., 'You've physically grown so

-I did.

(that : i.e., 'than that first kiss')

-You imagined it better?

imagined you would be more skilled

-Yeah.

Well, I hate that I'm not living up to my--(living up to : idiomatic for 'meeting' -'fulfilling')(my-- : implying 'your assumptionsabout me' - 'your expectations')



(21)


JULIA 7-104 704.03 707.01 2.14 JULIA TO REED)(overlapping) Well, I don't know. Well, I don't know.

REED AND JULIA(kiss - continues under following scenes)

717-06

SCENE 90 - MCS - PAST REED, R.FG., TOJULIA AS THEY KISS AND CAMERADOLLIES R.

725-10

SCENE 91 - MCS - PAST JULIA, L.FG., TOREED AS THEY KISS.

ROMEO 7-105 728.15 733.12 4.13 ROMEO TO GROUP) (voice over)(voice over) It's Romeo Midnight, one last ITAL It's Romeo Midnight, one last time.

time. Only thirty...735-02 7-106 734.00 739.10 5.10 ROMEO TO GROUP) (voice over)

SCENE 92 - FS - JULIA AND REED, (it's just another day : i.e., 'it's noKISSING. CAMERA CRANES UP, OFF longer Valentine's Day' - implying it isJULIA AND REED TO THE NIGHT SKY. nearly midnight)

ROMEO(voice over) ...seconds left now before it's 7-107 739.14 742.06 2.08 ROMEO TO GROUP) (voice over)

just another day. So count it down with me, (count it down : i.e., 'count the last

lovers. And raise your glass to those three

little words that we all want to hear: "Let's 7-108 742.10 750.00 7.06 ROMEO TO GROUP) (voice over)

get naked." words that we all want to hear:

TITLE FADES IN: (over above bg.) (little : i.e., 'simple')

The End

TITLE FADES OUT. ITAL "Let's get naked."

761-12 humor, as the implication was the

SCENE 93 - BLACK BACKGROUND/ENDCREDIT SEQUENCE.

ET #1 POPS IN: (over above bg.)

Unit Production Manager DIANA POKORNYFirst Assistant Director DAVID H.

VENGHAUS, JR.Second Assistant Director JEFFREY

SCHWARTZ

ET #1 POPS OUT.ET #2 POPS IN: (over above bg.)

CastMorley Clarkson JESSICA ALBA

(i.e., 'I don't know what to tell you.')

ITAL (over scene end) Only 30 seconds left now before it's justanother day.

ITAL So count it down with me, lovers.

seconds')

ITAL And raise your glass to those three little

(raise your glass : i.e., 'toast')

7-109 750.04 754.08 4.04 ROMEO TO GROUP) (voice over)

(Implying, 'Let's have sex.' - Note

'three little words' would be 'I loveyou.')

7-110 756.14 760.09 3.11 NARRATIVE TITLE)

The End



(22)


Susan KATHY BATESKara Monahan JESSICA BIEL

ET #2 POPS OUT.771-11

SCENE 94 - EXT. REED'S VAN - DAY - MCS LABORATORY: THE FOLLOWING TITLE #7-110A MAY DOUBLE-PRINT- PAST PRODUCTION ASSISTANT #1 (ARM OVER EXISTING TYPEFACE. PLEASE CHECK PRINT FOR PROPERAND HAND) HOLDING UP A POSITIONING TO AVOID DOUBLE-PRINTING.CLAPPERBOARD, FG., TO REED'S VAN.

THE CLAPPERBOARD READS: 7-110A /771.13 773.05/ 1.08 NARRATIVE TITLE) (of slate) (OPTIONAL)

Valentine's Day Valentine's DayDirector: Garry Marshall

Cinematographer: Charles Minsky, ASC

773-06

SCENE 95 - INT. REED'S VAN - DAY - MCS- ALPHONSO, SEATED IN THEPASSENGER SEAT, CLOSES THE DOORBEHIND HIM AS REED ENTERS THEFRAME R.FG. AND SITS DOWN IN THEDRIVER'S SEAT. BOTH MEN STRUGGLETO PULL OUT THEIR SEAT BELTS,WHICH ARE STUCK. REED REACTS.

ALPHONSO 7-111 /773.09 777.12 4.03 ALPHONSO TO REED)I never had a inkling before, man. I didn't I never had a inkling before, man. I didn't

know what to do. (inkling : see Title #4-162)

REED(scoffs) I need to get to the airport. Stupid-- ! 7-112 778.13 781.09 2.12 REED TO ALPHONSO)

785-09 I need to get to the airport.

SCENE 96 - BLACK BACKGROUND/END 7-113 784.02 785.09/ 1.07 REED) (exclaiming)CREDIT SEQUENCE. Stupid-- !

TAYLOR SWIFT referring to Reed's seat belt, which he(voice over) (sings "Today Was a Fairytale" cannot fasten)


dialogue)


Holden BRADLEY COOPERSean Jackson ERIC DANE

Dr. Harrison Copeland PATRICKDEMPSEY

ET #3 POPS OUT.ET #4 POPS IN: (over above bg.)

know what to do.

(Slang interjection of annoyance, here



(23)


Edgar HECTOR ELIZONDAKelvin Moore JAMIE FOXX

Julia Fitzpatrick JENNIFER GARNER


SCENE 97 - INT. ACM/PAULA'S OFFICE -NIGHT - MS - PAULA, SEATED AT HERDESK AS SHE SPEAKS INTO THETELEPHONE.

PAULA 7-113A /795.04 798.05/ 3.01 PAULA INTO PHONE TO VLADIMIR)(into telephone) Vladimir! (over scene end) Vladimir! Let me get my whip.

796-15 (Vladimir : See Title #3-166 and Title

SCENE 98 - CS - HIGH ANGLE - SEVERALITEMS ON PAULA'S DESK, INCLUDING ABALL OF RUBBER BANDS AS PAULA(HAND) PICKS UP THE BALL AND STARTSTO EXIT, TOP OF FRAME.

PAULA(face off) (into telephone) Let me get my

whip.798-06

SCENE 99 - MS - PAULA SNAPS ONE OFTHE RUBBER BANDS ON THE BALL,INJURING HERSELF AND REACTING ASCAMERA DOLLIES IN.

PAULA(mouthing) Ow.

803-07

SCENE 100 - EXT. IVAR THEATER - DAY -FS - LIZ, SITTING DOWN ON AMOTORCYCLE AS SHE TALKS ON THEPHONE. THE MOTORCYCLE FALLSDOWN AND SHE REACTS, CROUCHINGDOWN NEXT TO IT.

LIZ *7-114 /803.09 807.13 4.04 LIZ INTO PHONE TO MALE CALLER)(into telephone) (moaning) You know I You know I always wanna answer yours first!

always wanna answer yours (crying out)

first!808-12

SCENE 101 - INT. GOLDEN KADAHIINDIAN RESTAURANT - NIGHT - MCS -JULIA CATCHES A BAT, THEN STEPS BG.

810-07

#6-314D)

(yours : i.e., 'your phone calls')



(24)

SCENE 102 - FS - PAST KARA, SEATED INR.FG. AND PLACING A PARTYACCESSORY ON HER HEAD, TO JULIA,WHO TWIRLS THE BAT, THEN DROPS ITAND BEGINS TO EXIT, L.BG.

JULIA 7-115 812.07 814.09/ 2.02 JULIA TO GARRY MARSHALL)Oop. Let's do-- Oop. Let's do--

814-11 (Oop : Interjection used to express

SCENE 103 - EXT. REED'S VAN - DAY - (do : i.e., 'do one more take')MCS - PAST PRODUCTION ASSISTANT #1(ARM AND HAND) HOLDING UP THECLAPPERBOARD, FG., TO REED'S VAN.

815-09

SCENE 104 - INT. REED'S VAN - DAY -MCS - PAST REED, R.FG., TO ALPHONSO.REED CLOSES HIS DOOR, THENSTRUGGLES TO PULL OUT HIS SEATBELT AS ALPHONSO EASILY PULLS OUTHIS.

ALPHONSO 7-116 /815.11 820.02 4.07 ALPHONSO TO REED)I never had a inkling before. I didn't know I never had a inkling before. I didn't know

what to do with it.

REED 7-117 821.02 823.13/ 2.11 REED TO ALPHONSO)(grunts) Shoot, we gotta get to the-- Shoot, we gotta get to the--

823-14 (Shoot : Slang expression of

SCENE 105 - MCS - PAST REED, R.FG.,TO ALPHONSO AS THEY REACT TO REEDNOT BEING ABLE TO PULL OUT HIS SEATBELT. REED LETS GO OF HIS SEAT BELTAND REACTS, WAVING HIS HANDS UPAND DOWN FRENETICALLY.

REED 7-118 824.10 827.02 2.08 REED TO ALPHONSO)(chuckling) It's stupid. (crying out) (in faux It's stupid.frustrated voice) Stupid seat belt! (It's : i.e., 'The seat belt' - Note that

829-12 Reed is still unable to fasten his seat

SCENE 106 - BLACK BACKGROUND/ENDCREDIT SEQUENCE. 7-119 827.06 829.10/ 2.04 REED) (exclaiming)


Jason TOPHER GRACE TRANSLATORS: NOTE THAT FORMER TITLES #7-120 THROUGH #7-122Liz ANNE HATHAWAY FROM THE REVISED PRELIMINARY VERSION NOW APPEAR LATER INAlex CARTER JENKINS THIS REEL.

ET #5 POPS OUT.

ET #6 POPS IN: (over above bg.) THROUGH (OUT)

Reed Bennett ASHTON KUTCHERPaula Thomas QUEEN LATIFAH

Willy TAYLOR LAUTNER

apology or mild surprise - Note thatJulia drops the bat she is twirling)

what to do with it.

annoyance)

belt)

Stupid seat belt!

*7-120.

*7-122.



(25)



SCENE 107 - EXT. EDGAR'S CADILLAC -DAY - MS - THROUGH THE WINDSHIELDTO EDISON AND EDGAR, WHO DRIVESFG. AS CAMERA TRAVELS WITH THE CAR.PRODUCTION ASSISTANT #2 (HAND ANDARM) ENTERS R. AND STARTS TO WIPETHE WINDSHIELD IN FRONT OF EDGARWITH A CLOTH AS EDISON AND EDGARREACT.

EDGAR 7-122A 841.06 845.00/ 3.10 EDGAR TO GARRY MARSHALL)Oh, there's a-- Hold on, there's a finger in Oh, there's a-- Hold on, there's a finger in

there. (Hold on : i.e., 'Wait' - 'Don't film right845-01 now')

SCENE 108 - INT. PLANE - DAY - MCS - cleaning Edgar's windshield)HOLDEN AND KATE SIT NEXT TO EACHOTHER.

HOLDEN 7-123 845.09 847.09/ 2.00 HOLDEN TO KATE)You on Facebook? You on Facebook?

847-11 (See Title #2-178)

SCENE 109 - MS - PAST HOLDEN, L.FG.,TO KATE, WHO GESTURES TO HERRIGHT EAR. HOLDEN MOVES R.BG. ANDSPEAKS INTO KATE'S LEFT EAR ASCAMERA DOLLIES WITH HIM. KATEREACTS.

KATE 7-124 849.05 852.05 3.00 KATE TO HOLDEN)I can't hear out of this ear. I can't hear out of this ear.

HOLDEN that to discourage Holden from talking(overlapping) (whispering) Oh. (in normal to her)

voice) Are you guys on Facebook? speaks into her other ear)

KATE(overlapping) (laughs) 7-125 855.06 857.13/ 2.07 HOLDEN TO KATE)

857-14 Are you guys on Facebook?

there.

(in there : i.e., 'in the shot' - referringto the hand of the person who is

(Note implication that Kate is saying

(Holden leans across Kate and

(A device used in motion pictureproduction to assist in thesynchronization of picture and sound,and to designate and mark particularscenes and takes recorded during aproduction - Note that many othernames are commonly used for'marker,' including clapper and slate)



(26)

SCENE 110 - EXT. REED'S VAN - DAY -MCS - PAST PRODUCTION ASSISTANT #1(ARMS AND HANDS) HOLDING UP ACLAPPERBOARD, FG., TO REED'S VAN.

ALPHONSO 7-126 /859.00 863.00 4.00 ALPHONSO TO REED)(off) I... I never had a inkling before. I didn't know

858-14 what to do with it.

SCENE 111 - INT. REED'S VAN - DAY -MCS - PAST REED, R.FG., AS HE ENTERSTHE VAN, TO ALPHONSO SEATED IN THEPASSENGER SEAT. REED SITS DOWN INTHE DRIVER'S SEAT, THEN STRUGGLESTO PULL OUT HIS SEAT BELT ASALPHONSO EASILY PULLS OUT HIS SEATBELT AND SECURES IT. REED REACTS.

ALPHONSO...never had a inkling before. I didn't know

what to do with it.

REED 7-127 863.15 866.11 2.12 REED TO ALPHONSO)Huh. I gotta get to the airport. She-She's I gotta get to the airport.

probably at the gate by now. How did you

do that? She's probably at the gate by now.875-02

SCENE 112 - BLACK BACKGROUND/END How did you do that?CREDIT SEQUENCE. (do that : i.e., 'fasten your seat belt so

ET #7 POPS IN: (over above bg.) have trouble getting his seat belt to

Alphonso GEORGE LOPEZEstelle SHIRLEY MACLAINE

Grace EMMA ROBERTS *TRANSLATORS: TITLES #7-129AA THROUGH #7-129AC WERE

ET #7 POPS OUT. PRELIMINARY VERSION.ET #8 POPS IN: (over above bg.)

Captain Kate Hazeltine JULIA ROBERTSEdison BRYCE ROBINSON

Felicia TAYLOR SWIFT


7-128 868.09 872.05 3.12 REED TO ALPHONSO)

7-129 873.05 875.01/ 1.12 REED TO ALPHONSO)

easily' - note that Reed continues to

function properly)

PREVIOUSLY TITLES #7-120 THROUGH #7-122 IN THE REVISED



(27)

SCENE 113 - EXT. HENDERSON HIGHSCHOOL - DAY - MS -PAST A FEMALECREW PERSON, R.FG., TO WILLY,WEARING A TIARA, AND FELICIA,WEARING A CROWN AND HOLDING ACAMERA SLATE.

FELICIA *7-129AA /885.02 887.14 2.12 FELICIA TO AUDIENCE, Hey, I'm Taylor. THEN WILLY TO AUDIENCE)

WILLY -And I'm Taylor. Too.And I'm Taylor. (in low tones)Too. (Taylor [1st instance] : Note that the

FELICIA Swift, a popular American countryYeah. It's confusing. Yeah, we know that. musician)

WILLY actor portraying Willy is Taylor(overlapping) (chuckles) Lautner)

FELICIA CLAPS THE STICKS OF THESLATE TOGETHER AND RAISES IT ABOVE *7-129AB 888.02 892.00 3.14 FELICIA TO AUDIENCE)HER HEAD. Yeah. It's confusing. Yeah, we know that.

FELICIA that both Taylor Lautner and TaylorMarker. Swift have the same first name and

894-12 are, in real life, dating)

SCENE 114 - EXT. RODEO DRIVE - NIGHT *7-129AC 892.04 894.01 1.13 FELICIA TO CAMERA CREW)- FS - LOW ANGLE - A STREET SIGN THAT Marker.READS: (A device used in motion picture

Rodeo Dr. synchronization of picture and sound,

CAMERA TILTS DOWN OFF THE SIGN TO scenes and takes recorded during aREVEAL REDMOND'S LIMO, DRIVING production - Note that many otherR.FG. AMONG THE TRAFFIC. names are commonly used for

REDMOND(voice over) If you look out the window,

ma'am, we're passing the famous Rodeo... THROUGH (OUT)898-09 *7-129F.

SCENE 115 - INT. LIMOUSINE - NIGHT - 7-130 894.13 900.00 5.03 REDMOND TO KATE)MS - KATE, SEATED IN THE BACKSEAT OF (over scene end) If you look out the window, ma'am, we'reTHE LIMO. passing the famous Rodeo Drive.

REDMOND 7-131 (OUT)(off) ...Drive. Have you ever shopped here?

KATE 7-132 900.04 902.09 2.05 REDMOND TO KATE)I did once, actually. Have you ever shopped here?

-Hey, I'm Taylor.

actress portraying Felicia is Taylor

(Taylor : [2nd instance] Note that the

(It's confusing : Referring to the fact

production to assist in the

and to designate and mark particular

'marker,' including clapper and slate)

*7-129A.

7-133 902.13 905.06 2.09 KATE TO REDMOND)I did once, actually.

(I did once : Humorously referring tothe film Pretty Woman, in which JuliaRoberts, the actress portraying 'Kate,'played 'Vivian Ward,' a prostitute hiredby a wealthy businessman who atone point in the film takes hershopping on Rodeo Drive)



(28)


KATE 7-134 905.10 911.01 5.07 KATE TO REDMOND)But, big mistake. Big. Huge. But, big mistake. Big. Huge.

912-00 (Note humorous allusion to a famous

SCENE 116 - BLACK BACKGROUND/END street prostitute, is treated rudely byCREDITS. the clerks in an expensive boutique.

END CREDIT ROLL-UP BEGINS. clothes and carrying many bags from

line in Pretty Woman, in which Vivian,still dressed in garb appropriate for a

She returns later, dressed in designer

other stores. She says: "You peoplework on commission, right? Bigmistake. Big. Huge. I have to goshopping now")

*7-135 1310.01 1313.13 3.12 NARRATIVE TITLE)MAINTITLE VALENTINE'S DAY

LAST FRAME OF PICTURE IS 1345.02

END OF REEL 7AB

END OF FILM




Associate ProducersHEATHER HALL

RUSSELL HOLLANDERMARK KAUFMAN

CASTGreg Gilkins MATT WALKER

Oversized Baggage Agent LARRY MILLERMrs. Claudia Smart BETH KENNEDY

Pamela Copeland KATHERINE LaNASAMs. Gilroy KRISTEN SCHAAL

Flight Attendant ERIN MATTHEWSHeather CHRISTINE LAKIN

Hotel Clerk Michelle LAUREN REEDERBistro Gardens Maitre'd Amos JOEY SORGE

Olivia Copeland JULIA SPRINGERCharlie ALEC NEMSER

SIENA BOUQUETNikki KATHLEEN MARSHALL

Michael RICK BATALLABulgarian Girl ANNA KULINOVA

Coffee Barista CASSIE ROWELLFlower Shop Customer #1 FALINE ENGLANDFlower Shop Customer #2 JAMES F. McCANN

INDIAN RESTAURANTFriend Elise SHEA CURRYFriend Dana ALEXIS PETERS

Rani's Mom Rehka WEDIL DAVIDIndian Bride NATALIE TIMMERMANSParty Singer JENNIFER LEIGH WARREN

Indian Restaurant Valet SCOTT CRUMLY

SCHOOL/SOCCERTough Franklin JONATHAN MORGAN HEIT

Rani MEGAN SURIMadison BROOKLYNN PROULX

Gwen KAROLINAH VILLARREALAlex's Friend Gideon ANGELO SALVATORE RESTAINO

Mr. Schwabbe SCOTT MARSHALLReferee KELLY FLYNN

Soccer Son SAM MARSHALLTeacher MANDY MEDLIN

AIRPORTChauffer Redmond LARRS JACKSON

TAS Supervisor Daisy Bell CLEO KINGTAS Security Officer CORENA CHASETAS Security Guard JUSTIN MICHAEL DUVAL

Southwest Gate Agent HEIDI BRUCKERLily LILY MARSHALL-FRICKER

KVLASherry Donaldson KAMILLA BJORLIN

Weather Girl ANNA AIMEE WHITEStage Manager STEPHANIE SHERKCameraman #1 MARTY NADLERCameraman #2 SCOTT SENER

Male Anchor COLIN OWENSFLOWER MARTSimon CALVIN JUNG

Chinese Vendor SERENA POONJapanese Vendor KAZUMI NAKAMURA



Spanish Vendor GWENDA PEREZDodger Grandmother KIKO KIKO

JEWEL(voice over) (sings "Stay Here Forever")

ACMMailroom Danny JOSEPH LEO BWARIE

Mailroom Ted ROBERT BELUSHIACM Receptionist JACLYN MILLER

ACM Restaurant Waiter JOE SMITHACM Outdoor Café Waitress KATIE JOY

OTHER LOS ANGELENOSYoung Nurse LISA ROBERTS GILLANHead Nurse BARBARA MARSHALL

Candy Striper STEPHANIE FABIANBeach Girl Candy SANDRA TAYLOR

Lady With Dog SARAH LILLYBeverly Wilshire Waiter TONY SCRUGGS

Angry Girlfriend ROBERTA VALDERRAMACisco the Cheater CYRUS ALEXANDER

Cupid PETER ALLAN VOGTShouting Sheldon PAUL VOGT

Strange Lady BONNIE AARONSCemetery Ticket Vendor ADREANA GONZALEZ

Loud Guy MATT MERCHANTLoud Lady LISA VALENZUELA

Louder Guy HOWARD STORMBistro Gardens Waitress JENNIFER AMY

Bistro Gardens Diner RANCE HOWARDSign Language Interpreter TRAVINA SPRINGER

French Photographer TRACY REINERESPN Hannah Storm HANNAH STORM

ESPN Radio Announcers MIKE GREENBERGMIKE GOLIC

Romeo Midnight PAUL WILLIAMS

Stunt Coordinator CHARLIE BREWERStunts PAT BANTA

AUSTEN BREWERANDY GILLLOGAN HOLLADAYWADE EASTWOODTAMMY BREWER-HANKS

Second Unit Director SCOTT MARSHALLAdditional Editor KEVIN TENT, ACE

Production Supervisor MICHELLE MORRISSEYPost Production Supervisor JAY VINITSKY

Art Director ADRIAN GORTONSet Decorator K.C. FOX, S.D.S.A.

Leadman MARK WOODSConstruction Coordinator DAVID BRENNER

Buyer KATHY ORLANDOSet Dressers DAVID AGAJANIAN

MICHAEL PERITZRICK STOCKMANMICHAEL T. TIMMANMIKE VIRNIGJOHNNY YOUNGBLOOD

On Set Dresser MERDYCE McCLARANFloral Manager PEGGY CASEY

Production Assistants HANNA SHAPIROCHARLOTTE MARSHALL-FRICKER



"A" Camera Operator/Steadicam Operator COLIN HUDSON"A" Camera First Assistant TOMMY KLINES

"A" Camera Second Assistant LARISSA SUPPLITT"B" Camera Operator MICHAEL CHAVEZ

"B" Camera First Assistants CHRIS TOLLGREGORY IRWIN

"B" Camera Second Assistant SAL ALVAREZCamera Loader ROBIN BURSEY

Still Photographer RON BATZDORFF, SMPSPVideo Assist BRYCE W. SHIELDSSound Mixer JEFF WEXLER, CAS

Boom Operator CARY WEITZUtility Sound JEFFREY HUMPHREYS

Production Accountant TERRY EDINGERFirst Assistant Accountant MICHAEL I. BILOG

Production Coordinator KERRI SMELTZERAssistant Production Coordinators ERIN ENGMAN

ALI GRIFFITHProduction Office Assistants RYAN KAERCHER

KEVIN J. McKEONERIN FAHEYCANDACE INFUSOJULIA PRESCOTT

Script Supervisor CAROL DePASQUALEScript Coordinators CARRIE BLACK GALLISON

EMILY MOSS WILSONSecond Second Assistant Director MATTHEW JANSSEN

Chief Lighting Technician JAMES CRAWFORDAssistant Chief Lighting Technician PAUL HAZARD

Rigging Gaffer JAMES J. KEYSRigging Best Boy Electrician ERIK BUTTERS

Key Grip BEN BEAIRDBest Boy Grip CHARLES TURNER

Dolly Grip PAUL HAMACHERKey Rigging Grip GARY A. BROSTROM

Best Boy Rigging Grip MIKE CAMPBELL

Property Master RICK YOUNGAssistant Property Masters MICHAEL SEMON

ERNEST H. LAUTERIO

Department Head Makeup DEBORAH LAMIA DENAVERKey Makeup Artist CINZIA ZANETTI

Department Head Hairstylist JANINE RATH-THOMPSONKey Hairstylist NICOLE VENABLES

Assistant Costume Designer JESSICA PEELCostume Supervisor BRUCE ERICKSEN

Key Costumer ROBIN BORMAN-WIZANSet Costumers PHILLIP HOWARD

SUSIE SEARLESUSAN STRUBEL

First Assistant Editor BETHANY ORLEMANNAssistant Editors HUGH ROSS

ROB MALINASet Designers BRUCE WEST

MASAKO MASUDAArt Department Coordinator PAM CARTMEL

Graphic Designer KIMBERLY PAPAZIAN-ICENHOWERProduction Assistants FARRELL INGLE



ANTHONY OCASIORACHEL BRENNAN WEIR

Sound Design & Supervising Sound Editor MARK MANGINIDialogue/ADR Supervisor KIMBERLY HARRIS

Sound Effects Editors JOHN DUNNPIERO MURAMIKE CHOCKRICHARD ANDERSONGEORGE SIMPSON

Dialogue Editors ULRIKA AKANDERLAURA HARRIS ATKINSON

Dialogue / ADR Editor MICHELE PERRONEAssistant Sound Editor MARK COFFEY

Re-Recording Mixers RON BARTLETTD.M. HEMPHILL

Mix Technician ERIC FLICKINGERFoley Mixer DARRIN MANN

Foley Artists CHRIS MORIANACATHERINE HARPER

ADR Mixer DOC KANE

Propmaker Foremen TIM R. LAFFERTYBOBBY L. VAUGHN

Paint Supervisor ENRICO PARONELLIStandby Painter ANDY FLORES

Head Greensman JASON VANOVER

Location Manager CHRISTINE BONNEMKey Assistant Location Managers STACEY B. BRASHEAR

MATTHEW V. MESSINAGEORGE W. SHOCKLEY IIIHILARY WALKERMATT PRISK

Assistants to Garry Marshall GREG WILSONKIMBERLY ARNOLD

Assistant to Mike Karz & Josie Rosen MARY MALONE BROWNINGAssistant to Wayne Rice LINDA FRIEDMAN

Assistant to Diana Pokorny VANESSA I. MENDOZAKey Set Production Assistant AMY VENGHAUS

Set Production Assistants JASON KUMALOCHRISTIAN PAPAZIANDOUGLAS I. SCHWARTZERIN STERNANDRE VERDERAME

Casting Associates JENNIFER SMITHERIN TONERLISA ZAGORIA

Extras Casting MARYELLEN AVIANO

Special Effects Supervisor JEREMY HAYSSpecial Effects Foreman MARK LILIENTHAL

Special Effects Technician JONATHAN KOMBRINCKVisual Effects By WILDFIRE VISUAL EFFECTS

Unit Publicist DEBORAH WULIGERSet Medics SARAH CATIZONE

DEVIN BURIESStudio Teacher MAURA GANNETT

Catering By CHEF ROBERT CATERING, INC.Craft Service H. LEAH AMIR

Animals Provided by BIRDS AND ANIMALS UNLIMITED



Transportation Coordinator LARRY SHEPHARDTransportation Captain GARY SHEPHARD

Transportation Co-Captain/Picture Car Coordinator KENNY YOUNGBLOODTransportation Co-Captain CESAR ANGOBALDO

SECOND UNITProduction Supervisor MICHELLE MORRISSEYFirst Assistant Director BAC DELORME

Second Assistant Director PAUL SCHMITZProduction Coordinator ERIN SAHLSTROM

Assistant Production Coordinator ALI GRIFFITHOffice Production Assistant LUKE HIPPELY

Director of Photography MARK IRWIN, ASC/CSC"A" Camera First Assistant KYLE JEWELL

"A" Camera Second Assistant ALFREDO ROSADOCamera Loader MARK BAIN

Chief Lighting Technician JOE IVERSONAssistant Chief Lighting Technician JEAN-BAPTISTE LeCONTE

Key Grip DANNY BRAZENBest Boy Grip BOB "NICE" ARREDONDO

Dolly Grip SHAWN STONEHairstylists K. TROY ZESTOS

KELLY MULDOONKey Makeup Artist MAGGIE E. GERMAIN

Set Costumer ROSA LOPEZCraft Service TERESA BALLEK

Key Assistant Location Managers JONATHAN LYNCHGEORGE W. SHOCKLEY III

Script Supervisor CATHERINE JELSKILeadman JOHNNY YOUNGBLOODSet Medic MICHAEL HIRD

Standby Painter PAUL A. COOPERSound Mixer DOUGLAS AXTELL

Boom JIM McCANNVideo Assist PAUL J. MURPHEY

Transportation Coordinator KENNY YOUNGBLOODSet Production Assistants TERESA JOLENE LEE

CATE ECKENRODELENNON FICALORASTEPHEN CLARKEJEREMY W. REISIG

24 Frame Video Playback STEVE IRWIN

Music Editors JEFF CARSONJIM HARRISONTOM KRAMER

Orchestrator BRAD DECHTERScore Mixers SHAWN MURPHY

MICHAEL STERNMusic Coordinator JESSICA NEILSON

TAYLOR SWIFT(voice over) (sings "Jump Then Fall")

Soundtrack Album on WATERTOWER MUSIC

"Say Hey (I Love You)" "For Once In My Life"Written by Michael Franti Written by Ronald Miller

and Carl Young and Orlando MurdenPerformed by Michael Franti Performed by Stevie Wonder



& Spearhead Courtesy of Motown RecordsCourtesy of Under license from

Anti/Universal Republic Records Universal Music EnterprisesUnder license from

Universal Music Enterprises "I'm In The Mood For Love"

Written by Dorothy Fields"On The Street Where You Live" and Jimmy McHugh

Written by Alan Jay Lerner Performed by Jools Hollandand Frederick Loewe and Jamiroquai

Performed by Willie Nelson Courtesy of Warner Music U.K. Ltd.Courtesy of Blue Note Records By arrangement with Warner Music

Under license from Group Film & TV LicensingEMI Film & Television Music

"Everyday""The Way You Look Tonight" Written by Buddy Holly

Written by Dorothy Fields and Norman Pettyand Jerome Kern Performed by Sausalito Foxtrot

Performed by Maroon 5 Courtesy of Dragonette Inc.Courtesy of A&M / Octone Records By Arrangement with

Under license from Zync Music Group LLCUniversal Music Enterprises

"Amor" "I'm Into Something Good" Written by Ricardo Lopez,

Written by Carole King Gabriel Ruiz and Sunny Skylarand Gerry Goffin Performed by Ben E. King

Performed by the bird and the bee Courtesy of Atlantic Recording Corp.Courtesy of The Blue Note Label Group By arrangement with Warner Music

Under license from Group Film & TV LicensingEMI Film & Television Music

"Stay Here Forever""In The Mood" Written by Jewel, Bobby Pinson

Written by Joseph Garland and Dallas DavidsonPerformed by Glenn Miller Performed by Jewel

Courtesy of Fuel Label Group Courtesy of The Valory Music Co., LLCand Prime Entertainment

By Arrangement with RipTide Music "When A Man Loves A Woman"Written by Calvin Lewis

"Keep On Lovin' You" and Andrew WrightWritten by Chris Stapleton Performed by Percy Sledge

and Trent Willmon Courtesy of Performed by Steel Magnolia Dominion Entertainment, Inc.,

Courtesy of Big Machine Records, LLC a K-Tel CompanyBy arrangement with Fine Gold Music

"Heartbreaker"Written by Will Adams "Valentino"Performed by Will.i.Am Written and performed by Diane Birch

Courtesy of Interscope Records Courtesy of S-Curve RecordsUnder license from Under license from

Universal Music Enterprises EMI Film & Television Music

"Feels Like The First Time" "Shine"Written by Michael L. Jones Written by Than Luu and Eric Ronick

Performed by Foreigner Performed by Black GoldCourtesy of Atlantic Recording Corp. Courtesy of Red Bull Records

By arrangement withWarner Music Group "Quit Your Job" Film & TV Licensing Written by Terius Nash,

Carlos McKinney and Jamie Foxx"Grace" Performed by Jamie Foxx

Written by Scott Marshall Courtesy of J RecordsBy arrangement with

"Te Quiero, Dijiste" Sony Music EntertainmentWritten by Maria Grever

Performed by Nat King Cole "California Love"Courtesy of Capitol Records Written by Mikel Hooks,



Under license from Ronnie Hudson, Larry Troutman,EMI Film & Television Music Roger Troutman, Joe Cocker

and Chris Stainton"Somebody To Love" Performed by 2Pac

Written by Richard Butler, featuring Dr. Dre and Roger TroutmanMike Caren, Oliver Goldstein, Courtesy of WIDEawake-Death Row

Robin Thicke, Shahine Ezell Entertainment LLCand Leighton Meester Under license from

Performed by Leighton Meester EverGreen Copyrights, Inc.featuring Robin Thicke

Courtesy of Universal Records "Lost Love"Under license from Written by Dan Rose

Universal Music Enterprises Performed by Alan PalankerRobin Thicke appears courtesy of

Interscope Records "Banished"Written and performed by Mychael Danna

"Aaj Mera Jee Kardaa" Courtesy of Milan Entertainment Inc.Written and performed by

Sukhwinder Singh "Cupid"Courtesy of Milan Entertainment Inc. Written by Sam Cooke

Performed by Amy Winehouse"The Truth Hurts" from HOT SPELL Courtesy of

Written by Alex North Universal-Island Records Ltd.Under license from

"I Will Survive" Universal Music EnterprisesWritten by Dino Fekarisand Frederick Perren "Banno Ki Aayegi (Happy)"

Written by Sameer Sen and Dilip Sen"Signed Sealed Delivered Performed by Pamela Chopra,

I'm Yours" Jackie Shroff, Amrita Singh,Written by Stevie Wonder, and Juhi Chawla

Syreeta Wright, Lee Garrett Courtesy of Saregama India Limitedand Lula Mae Hardaway By arrangement with The Orchard

Performed by Anju RamapriyamCourtesy of DeeTown Entertainment "Today Was A Fairytale"

Written and performed by Taylor Swift"4 And 20" Courtesy of Big Machine Records, LLC

Written by Conner Reeves,Jonathan Shorten and Joss Stone "Jump Then Fall"

Performed by Joss Stone Written and performed byCourtesy of Virgin Records America Taylor Swift

Under license from Courtesy ofEMI Film & Television Music Big Machine Records, LLC

DI Facility WARNER BROS.MOTION PICTURE IMAGING

DI Colorist JAN YARBROUGHDI Editor KATIE LARGAY

DI Producer ADAM OHLMain & End Titles by SCARLET LETTERS

Negative Cutter KONA CUTTINGColor Timer CHRIS REGAN

Camera Cranes, Dollies, Remote & Stabilized Camera Systems by CHAPMAN / LEONARD

STUDIO EQUIPMENT, INC.Camera Support by J.L. FISHER, INC.

Night Lights by BEBEELighting and Technical Fabrics Provided by THE RAG PLACE RENTALS, INC.

Additional Equipment by AERO MOCK-UPSPANAVISION REMOTE SYSTEMS, LLC.

Dolby Digital DTS Digital SDDS(logo) (logo) (logo)



KODAK Motion Picture Products

The filmmakers wish to extend their personal thanksto the following for their contribution

to the making of this movie:CITY OF LOS ANGELES

ESPN, INC.and BARBARA SUE WELLS

All Los Angeles Fire DepartmentTM marks, insignias and badgesare trademarks of the city of Los Angeles. Use permitted.

The Major League Baseball trademarks depicted in this motion picturewere licensed by Major League Baseball Properties, Inc.

"Young Doctors In Love" poster licensed by American Broadcast Company, Inc."Pillow Talk" and "Love Actually" posters licensed by Universal Studios Licensing LLC.

"Hot Spell" licensed through Paramount Pictures.

American Humane monitored the animal action.No animals were harmed®. AHAD01704

(logo)

No person or entity associated with this film received payment or anything of value,or entered into any agreement, in connection with the depiction of tobacco products.

Approved #45849 IATSE(emblem) (logo)

Motion Picture Association of America

This motion picture(c) 2010 New Line Productions, Inc.

Story and Screenplay(c) 2010 New Line Productions, Inc.

Original Score(c) 2010 Warner-Olive Music, LLC

The production of this film incorporated a number of ecological practices in orderto minimize its environmental impact and promote the use of natural resources.

The characters and incidents portrayed and the names herein are fictitious, and any similarityto the name, character or history of any person is entirely coincidental and unintentional.

This motion picture photoplay is protected pursuant to the provisions of the laws of theUnited States of America and other countries. Any unauthorized duplication and/or

distribution of this photoplay may result in civil liability and criminal prosecution.

This motion picture is being exhibited under specific license and is not for sale.

VALENTINE'S DAYA New Line Cinema Release

New Line Cinema(Logo)

CREDIT ROLL-UP ENDS. 1329-08

DISSOLVE TO:



SCENE 117 - EXT. HIGH SCHOOLFOOTBALL FIELD - DAY - LS - HIGHANGLE - LOOKING DOWN AT AMARCHING BAND, AS THEY SPREAD OUTIN MULTIPLE DIRECTIONS TO FORM AHEART SHAPE. WILLY AND FELICIAENTER BOTTOM OF FRAME AND WALKINTO THE MIDDLE OF THE HEART.

1338-03

FADE OUT.

SCENE 118 - BLACK FRAMES. 1338-08

FADE IN:

SCENE 119 - NEW LINE CINEMACLOSING LOGO.

(logo)NEW LINE CINEMA

A TimeWarner Company

1343-10

SCENE 120 - BLACK FRAMES. 1345-02

EXHIBITION REEL FOOTAGE: 1333-03

END OF REEL 6AB

END OF FILM

"VALENTINE'S DAY"

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