MEET CUTE
by
John Fitten Goldsmith III
WGA REG. NO. I10931-00
FADE IN:
EXT. CONVERTIBLE -- DAY
A deep blue sky is filled with fluffy white clouds. Chirping
birds. Bright sunlight. A perfect day.
On a sidewalk, a beautiful YOUNG COUPLE walk hand in hand
down a tree-lined street of impeccably-kept two-story brick
apartment buildings.
The lovebirds turn and look deeply into each other's eyes...
When a thick cloud of dark grey exhaust engulfs them. The
cloud sputters out of a dirty red Miata convertible.
Driving the car, GAVIN STARK, a typical late 20s/early 30s
white-collar worker, spins the steering wheel with one hand
and talks into his cell phone with the other.
GAVIN
Sorry Mike, you and Judd are on your
own. Tonight, I'm taking Hannah out
to the Abbey. A little wine, a little
dancing. A nice little break from
the stress of the wedding
arrangements.
EXT. APARTMENT BUILDING -- CONTINUOUS
Gavin pulls over to the curb, parking his car behind an ugly
yellow moving truck, "JOE'S MOVERS".
GAVIN
Look, I'm home. I'll call you
tomorrow.
Hopping out of his car, he enters an older brick apartment
complex.
INT. APARTMENT HALLWAY -- CONTINUOUS
Checking his mailbox, Gavin grabs a handful of junk mail.
Then he starts bounding up the stairs before stopping; he's
blocked by two older overweight MOVERS carrying a mattress.
Gavin steps to one side to let them pass down.
His eyes follow the mattress down the stairs and out of the
building, then they turn back up the stairs to the source of
the flowing furniture. Recognition. He runs up the stairs
into --
-----------------------------------------------------------------------------------------------------
2.
INT. GAVIN'S APARTMENT - LIVING ROOM - CONTINUOUS
The small one-bedroom apartment is practically bare. A few
moving boxes still lay on the hard wood floors. A large
16x9 television set sits on the floor in front of a couch,
the only furniture left.
Two overweight MOVERS slowly flop from the kitchen into the
living room, following the directions of HANNAH, a pretty
pert 27-year-old, who instructs them to lift the sofa up.
Gavin looks to her, perplexed.
HANNAH
Jesus, Gavin! What are you doing
home?!
GAVIN
Larry let us out early. Why-
HANNAH
(interrupting)
And you didn't call?!?
The two movers put the couch back down on the floor. This
could be trouble.
GAVIN
Sorry, I didn't think-- What's going
on? Are we being evicted?
HANNAH
No, of course not.
GAVIN
Then what's going on?
Hannah signals to the movers to pick up the couch. They do.
HANNAH
I'm moving out.
Gavin drops the mail from his hands. He's shocked.
CUT TO:
INT. JESSICA'S LIVING ROOM -- DAY
Oil paintings line the walls. Ceiling high bookshelves are
filled with art books and large encyclopedia volumes. Tall
detailed drapes hang down to the floor over the windows.
The living room is a tasteful picture of expensive elegance.
On an antique, pearl-white couch, JESSICA KINGFIELD-JANISH
sits with perfect posture and raised chin. Her smart business
attire make her look older than she is, late 20s.
-----------------------------------------------------------------------------------------------------
3.
Pacing across from her, FRANK JANISH, 40s, wrestles with his
own hands. He turns to Jessica.
FRANK
I want a divorce.
Jessica is completely still, save a strange twitch in her
jaw muscle.
JESSICA
Honey, it is perfectly normal in a
marriage for one partner or the other
to express a desire to return to the
freedom they imagined their single
life afforded them.
FRANK
I'm in love with Fiona.
A lamp flies past Frank's left ear, smashing into a million
pieces against the wall.
JESSICA
Fiona! The fajita girl at
Friday's?!?!
CUT TO:
INT. GAVIN'S APARTMENT - LIVING ROOM - LATER
Gavin places his hands on Hannah's shoulders, trying to get
through to her.
GAVIN
I love you. You can't leave.
One of the movers drops his end of the couch back down...
and begins to move closer to the arguing couple. The other
mover struggles to keep his end of the couch up.
HANNAH
I'm paying these guys by the hour,
please don't distract them!
GAVIN
Hannah. I love you. That ring on
your finger.
(taking Hannah's hand)
I gave you this ring because I want
to spend the rest of my life with
you.
She pulls her hand free.
HANNAH
I'll always cherish it.
-----------------------------------------------------------------------------------------------------
4.
GAVIN
Don't leave!
The curious MOVER #1 steps up to the couple. Wedging himself
in between them, completely engrossed.
HANNAH
Gavin, I don't want to argue in front
of the movers. You're embarrassing
me.
GAVIN
What?
(gesturing to the
obtruding Mover #1)
Look, could you give us a moment
alone?
MOVER #1
Joe.
GAVIN
What?
MOVER #1
My name is Joe.
(beat)
I went to Emory.
GAVIN
Could you give us a moment alone,
Joe?
JOE/MOVER #1
(suggesting)
Please...
GAVIN
Could you please give us a moment
alone, Joe?
MOVER #2
How come he gets a break instead of
me? This sucks. Is it cause he
went to Emory?
HANNAH
Now you've done it! You've upset
the movers!!! Apologize!
GAVIN
What?
HANNAH
Do you know how hard it is to find
good movers?
-----------------------------------------------------------------------------------------------------
5.
GAVIN
How long have you been looking???
HANNAH
Apologize to them for pissing them
off.
GAVIN
Why should I apologize to --
MOVER #2
(interrupting)
Paul.
All eyes turn to him.
PUAL/MOVER #2
My name is Paul.
JOE/MOVER #1
Joe.
GAVIN
(calmly)
Paul. Joe. I'm sorry for pissing
you off.
JOE/MOVER #1
Asshole.
The movers exit with the couch. Gavin tries to hold the
woman he loves, but Hannah shakes out of his grip and starts
packing more boxes.
GAVIN
I love you. What's going on?
HANNAH
Gavin, I left you a message explaining
everything.
GAVIN
Well I'm here, you can tell me.
HANNAH
I'd rather you hear it from the
machine.
Gavin marches over to a counter... which is empty. He arches
an eyebrow, turning back to Hannah.
HANNAH (CONT'D)
Don't look at me like that! That
answering machine was mine. I had
the movers pack it an hour ago.
CUT TO:
-----------------------------------------------------------------------------------------------------
6.
INT. JESSICA'S LIVING ROOM -- LATER
Kneeling over, Jessica sweeps the remaining pieces of the
lamp into a dustpan. Talking to herself.
JESSICA
...because forgiveness is the first
step in recovering from emotional
pain. The hatred and pain that I'm
feeling is perfectly natural and
alright. But by forgiving...
Frank enters the living room carrying two packed suitcases.
Jessica sees him and immediately loses her composure. Pulling
at her hair, screaming.
She throws the dustpan filled with the remains of the lamp
at Frank.
JESSICA (CONT'D)
You fucking asshole! How could you?
Grabbing hard bound books off a bookshelf, Jessica tosses
them at her soon-to-be-ex-husband's head. Frank ducks out
of the way of most of the projectiles.
JESSICA (CONT'D)
(crying)
This is our marriage! You can't do
this...
(switching tone, more
loving)
I'm sorry. Please...
Jessica goes to Frank, throwing her arms around him. He
doesn't let go of his suitcases.
JESSICA (CONT'D)
I've been a pain in the tush, I know
it. I've never let you be you...
I'm always trying to change you.
From the way you dress to the way
you act. It's a sign of insecurity
in me. I can work on it. I don't
want you to go.
Jessica releases Frank from her grip and begins wiping the
tears from her eyes.
FRANK
So. Yeah. I'll be moving in with
her. And I've contacted a lawyer.
In an instant, more books are exploding around Frank.
Frank bats most down with his hands, frustrating Jessica who
begins aiming the books at his crotch.
-----------------------------------------------------------------------------------------------------
7.
JESSICA
(stuttering through
out)
Frank, are fucking fajitas more
important than our vows?!! I mean
come on, Fiona! F-Fiona's the f- f-
fattest f- f- fucking fajita girl at
Friday's, F- F- Frank.
(losing her breath)
Damnnit, that's hard to say.
She chucks a giant encyclopedia volume at Frank, who has
begun moving toward the door.
JESSICA (CONT'D)
Don't you leave me!
She throws a paperback into the back of his head.
JESSICA (CONT'D)
I love you!
Another book smacks him.
JESSICA (CONT'D)
I would never hurt you!
Frank closes the door behind him.
Jessica is all alone. A moment of peace...
Just a moment.
JESSICA (CONT'D)
The sex was perfunctory! Perfunctory!
With a book in each hand, she throws them wildly into the
door. Then turning, she grabs anything not nailed down.
Chairs. Pictures. End tables.
Destroying the room in a sad tantrum.
CUT TO:
INT. GAVIN'S APARTMENT - LIVING ROOM - DAY
Hannah gathers some remaining items: candles, coasters,
magazines; tosses them into a large handbag. She tries to
leave, but Gavin blocks her.
GAVIN
Please, Hannah. Honey. I don't
know what's going on... but you can't
leave!
HANNAH
I'm not satisfied.
-----------------------------------------------------------------------------------------------------
8.
GAVIN
You're just a going through a phase.
We're stuck in a rut. Don't give up
on me. Don't give up on us. I've...
I'm... Do you want me to propose
again? Because I will. I don't
want to spend my life with anyone
but you.
HANNAH
(compassionately)
Gavin, it's not me. It's you.
Hannah exits. Gavin collapses down to the floor.
Defeated.
CUT TO:
INT. JESSICA'S LIVING ROOM -- NIGHT
The room is destroyed as if a thousand smart bombs had been
dropped. Books are littered across the floor... as is most
of the furniture.
Jessica sits on the bottom of the overturned couch. No
muscles moving except for the strange twitch in her face.
And the tears on her cheeks.
JESSICA
(talking to herself)
My violent reaction is healthy.
When a person suffers an emotional
trauma, they tend to either release
the pain in aggressive behavior, as
I did. Or they contain that pain
inside themselves. Which is most
unhealthy and can lead to dangerous
psychological behavior. I must
release this and not bottle this up!
CUT TO:
INT. GAVIN'S APARTMENT - LIVING ROOM - NIGHT
A small amount of moonlight sneaks in through the windows.
Gavin is still seated in the exact same spot on the floor.
A blank expression on his face. Catatonic... the very picture
of someone bottling up painful feelings inside themselves.
The phone rings.
Again.
Again.
-----------------------------------------------------------------------------------------------------
9.
The ringing stops.
Gavin hasn't moved.
DISSOLVE TO:
EXT. GAVIN'S APARTMENT -- MORNING
A meter lady places a ticket on Gavin's convertible, still
parked in the same spot. There are two other parking tickets
already on the windshield.
DISSOLVE TO:
INT. GAVIN'S APARTMENT - HALLWAY -- AFTERNOON
He walks around the empty apartment like a ghost. Opening a
closet, revealing lines of jackets and shirts.
Gavin leans in and begins sniffing the clothes. Paying
particular attention to one particular coat.
Removing it from the closet, he smells it more intensely.
GAVIN
Jovan Musk.
Showering the coat with affectionate hugs, Gavin carries it
closely, like Linus and his blanket.
Moving into--
MONTAGE
INT. GAVIN'S APARTMENT - BATHROOM
Searching the drain, Gavin finds a long strand of hair.
Moving to the sink, rinsing it off.
Blowing it dry with a hair dryer.
As the hair flaps, he notices an old used toothbrush...
INT. GAVIN'S APARTMENT - BEDROOM
A flashlight probes underneath a dresser, the light focused
on a dirty white sock -- a lady's sock.
His hands covered with dish gloves, holding salad tongs,
Gavin removes the bounty.
-----------------------------------------------------------------------------------------------------
10.
INT. GAVIN'S APARTMENT - LIVING ROOM -- DAY
In the center of the floor, on a white sheet, various items
are laid out with care: the sock, the long hair, photos of
Gavin and Hannah, the old used toothbrush, a few DVDs: Nurse
Betty, Desperately Seeking Susan, Delirious.
Surrounded by boxes of Kleenex, Gavin examines the Hannah
leftovers. He reaches toward the used toothbrush, then pulls
his hand away.
He grabs a tissue, then thinks better. He grabs a Kleenex
out of one box and uses it to pull out a second tissue from
a different box.
Then he picks up the toothbrush. Examining it with care.
CUT TO:
INT. THE OKAY CAFE -- DAY
In the center of the upscale diner, a large artificial tree
with money for leaves towers above various dining booths.
Jessica looks up at the tree, then down to her plate, pushing
around macaroni-and-cheese with her fork.
Across from Jessica, a pleasantly rotund DANA POWELL, early
30s, offers a sip of her chocolate milkshake. Jessica shakes
her head 'no'.
DANA
You're killing me. I can't keep
seeing all of your patients in
addition to all of mine. You've got
to come back to work.
JESSICA
I just wanted to know: 'why.' Why
did Frank leave me?
Dana is slightly distracted from shoveling food into her
face.
DANA
Oh, there could be plenty of reasons.
(rattling them off)
Your whining. Your anal compulsive
cleaning. Your penny pinching.
Your large overbite. Your nasally
voice. And it probably didn't help
that you kept crying when you two
were screwing.
JESSICA
(embarrassed)
Dana-!
-----------------------------------------------------------------------------------------------------
11.
DANA
Look, if it'll make you feel any
better, he's probably found somebody
who doesn't cry when they fuck.
JESSICA
How could Frank leave me for another
woman?
DANA
Fuck if I know. From all his time
with you, I'd always assumed he go
gay.
Jessica collapses down into a puddle of tears. Without a
second thought, Dana grabs a pickle off Jessica's tray.
Woofs it down.
JESSICA
I'm a psychiatrist! I should have
seen this coming. I'm a failure.
DANA
Pretty much. So can you cover my
two o'clock tomorrow?
CUT TO:
EXT. PIEDMONT PARK -- DAY
Happy couples walk hand in hand through the greenery. On a
bench, watery-eyed Jessica sobs as Dana munches on Ho-Ho's.
JESSICA
(clearing the tears
from her eyes)
I'm a wreck. How can I give my best
to my patients?
DANA
Just repeat whatever bullcrap falls
out of their mouths back to them.
Works every time.
JESSICA
I just feel so alone.
DANA
That's just cause Frank left you for
another woman.
Jessica sobs harder. Dana tries a new approach.
DANA (CONT'D)
Remember there's a sea full of fish
out there.
(MORE)
-----------------------------------------------------------------------------------------------------
12.
DANA (CONT'D)
(pointing across a
lawn)
What about him?
A TOO-TAN MAN lays in the grass reading the sports section
of a newspaper.
JESSICA
Oh no. Look at him. My suitcases
don't look as leathery as his face.
DANA
Okay, what about him?
A JOGGER runs by in short shorts.
JESSICA
Not in those shorts. And he'd have
to work on his upper body some more.
DANA
Fine. How 'bout that guy?
JESSICA
Mustache, eww.
DANA
Him?
JESSICA
Please, he's reading John Grisham!
DANA
You're rather hard to please. There's
no perfect man out there who's going
to sweep you off your feet.
JESSICA
Forgive me, but I simply want a
charming, witty, intelligent,
flossing, successful, heterosexual
man who dressed nice and chews with
his mouth closed.
(fantasizing)
Maybe a fire fighter. Someone who
rushes into burning buildings, all
sweaty and brave.
Awkward pause.
DANA
You're going to be alone for a long
time.
-----------------------------------------------------------------------------------------------------
13.
JESSICA
Yeah.
CUT TO:
EXT. APARTMENT HALLWAY -- NIGHT
A fist bangs on the door to Gavin's apartment.
MIKE
Gavin, open up. Let's go.
A beat. No response.
A second fist joins in, banging harder and more often.
MIKE (CONT'D)
Come on. Open up. We know you're
in there.
JUDD
Don't be a pussy, you ass-wipe!
INT. GAVIN'S APARTMENT - LIVING ROOM -- CONTINUOUS
Gavin turns his head toward the door. He's alive!
JUDD (CONT'D)
That's right, pussy, I said 'ass-
wipe.' And if you don't get your
butt over to--
Gavin gets up, walking to the door.
JUDD (CONT'D)
Let us in, we're going to stand here
and yell and all your neighbors will
realize that your girl left you and
you've got a small cock and --
Gavin opens the door. Two twenty-something hipsters, MIKE
and JUDD smile and walk past him into the apartment.
Without any furniture, they congregate in the center of the
empty living area, near Gavin's collection of discovered
Hannah booty.
MIKE
Dude, your shit's gone.
Gavin doesn't respond, returning to his spot on the floor.
Mike bends down and grabs a photo:
-----------------------------------------------------------------------------------------------------
14.
INSERT PHOTOGRAPH - Looking like a happy young couple, GAVIN
and HANNAH kiss in front of the huge carving on the side of
Stone Mountain.
MIKE (CONT'D)
Gavin, sometimes you just have to
move on.
MIKE tears the photo in half. Picking up a second photo:
INSERT PHOTOGRAPH - Hannah and Gavin on a bike built for
two.
Mike hands the photo over to JUDD, who holds the photo to
the lit end of his cigarette. The picture melts away.
JUDD
We went through your mail and we've
got some good news for you. You've
been approved for several major credit
cards... and a Discover.
Mike grabs a third photo from the floor.
MIKE
You're a free agent again, my brother!
I look at you back then, and I look
at you now... and I can tell that
you're much better off.
INSERT PHOTOGRAPH - Gavin is all smiles. Clean shaven.
REVEAL Gavin now -- With a scraggly beard on his face and a
glaze over his eyes, he could pass for a drugged-up caveman.
JUDD
Man, you've been locked up in this
apartment for almost a month. You
haven't called work; they think you're
dead. We call and call and you don't
even bother to have the answering
machine on to take our message. You
could--
MIKE
(interrupting)
Dude, looks like Hannah took the
answering machine.
JUDD
Bitch. I never liked her. Remember
when she was crying during the Super
Bowl. All 'look at me', I'm-
MIKE
(interrupting)
Her mother had just died. Cancer.
-----------------------------------------------------------------------------------------------------
15.
JUDD
Answering Machine-stealing, cancer-
dying-mother bitch.
Gavin the 'caveman' tears up. Mike rolls his eyes: This
isn't working! Judd fiddles with the only remaining piece
of furniture in the apartment: the television set. He
switches the tv on, and a blue glow envelops the room.
MIKE
Hey, she left you the tv! Cool.
Guess she can't watch nothing, huh?
GAVIN
He has a big screen tv, too. Bigger
than mine.
JUDD
Bigger? This guy must be quite a
catch. Go Hannah!
Mike smacks Judd across the back of the head, then kneels
down next to Gavin.
GAVIN
She's the only person I've ever loved.
We are going to spend the rest of
our lives together.
(pointing to his
collection)
I've saved her things for her. When
she comes back.
JUDD
Comes back???
MIKE
When a cowboy gets thrown from a
horse, he gets right back up.
JUDD
Unless he injured his spine.
MIKE
So like that cowboy, you've got to
get up, dust yourself off, and get
back in the game. Staying inside
and moping will just drive you crazy.
You don't want to go crazy, do you?
Gavin doesn't respond. Mike looks to Judd, 'what do we do
now?'
MIKE (CONT'D)
You may think that you need time to
be alone and whatnot.
(MORE)
-----------------------------------------------------------------------------------------------------
16.
MIKE (CONT'D)
But listen: You have to get out of
this house. Do you hear me? You
have to get back to your life!
Gavin doesn't respond.
MIKE (CONT'D)
Okay, you want to be alone. That's
cool. But when you feel better:
call us. We'll go to Manuel's. Get
you hooked up.
Mike hits Judd on the shoulder, signaling that it's time to
leave, but Judd has become fascinated with the large tv.
Turning it on, the screen fills with a scene of two YOUNG
LOVERS on a park bench.
JUDD
Friggin' chick flicks. All "oh-my-
life's-so-rough." This shit drives
me crazy. Know what I mean, nutjob?
Gavin still doesn't respond... from the look in his eyes...
he's gone.
JUDD (CONT'D)
I guess you do.
MIKE
She's gone. It sucks, but you've
got to move on.
Gavin gives a light wave goodbye as Mike and Judd exit.
GAVIN
Don't worry. I'm so over her.
CUT TO:
INT. GAVIN'S APARTMENT -- LATER
A noose hangs from an overhead light.
A blank look of emptiness on Gavin's face.
He pulls the noose with his hand. It's sturdy. It will do
the trick.
Sticking his neck upward... his head can't reach it.
Stretching on his tiptoes, his chin can't slip into the noose.
It's too high.
Jumping and thrusting his neck at the noose. Nope.
-----------------------------------------------------------------------------------------------------
17.
Needing a boost, Gavin drags the television to the middle of
the room. Stepping on the mammoth set, Gavin easily slips
the noose around his head.
Hannah's objects below him on the floor... Gavin steps off
the television.
The noose snaps hard... his feet jerk and dangle... losing
oxygen...
CRASH. The light fixture is ripped from the ceiling by
Gavin's weight.
His legs flail out, kicking the tv stand. Collapsing to the
floor in a pile, Gavin gasps for air.
GAVIN
(breathing heavy)
I'm alive.
The television set tips over and slams down on his head.
Static burst out as the set comes to life. The channels
flip in rapid succession in a blur of images and sounds.
MONTAGE OF IMAGES ON THE TELEVISION SCREEN:
1-900 DATE-LINE COMMERCIAL
Sexy jailbaits stretch in skimpy clothing.
SEXY FEMALE ANNOUNCER (V.O.)
Are you alone? Want to talk to young,
frisky ladies in your area? Just--
Channel changes to FOX NEWS
BLOWHARD POLITICAL HOST
--shut up! I'm going to tell you
the facts. If you want--
Channel changes to NICK AT NIGHT: LOVE BOAT OPENING CREDITS
THEME SONG SINGER
Love... exciting and new... Come--
Channel changes to QVC: GEORGE FOREMAN GRILL INFOMERCIAL
GEORGE FOREMAN
--taste that delicious meat. Sweet.
Succulent. It can be yours if you--
Channel changes to SCI-FI CHANNEL: CHEESY 50s HORROR FILM
BELA LUGOSI-ESQUE VAMPIRE
Obey Me. Obey Me
Underneath the set, blood trickles down Gavin's forehead.
-----------------------------------------------------------------------------------------------------
18.
GAVIN
(incoherent, mumbling)
Obey.
BELA LUGOSI-ESQUE VAMPIRE
Obey. Rise, my creature. Rise!
Gavin sits up, pushing the television off and back on to the
stand. Rubbing his temple.
BELA LUGOSI-ESQUE VAMPIRE (CONT'D)
That's it. Now, do as I say Mongo
and--
Channel changes to ROBERT TILTON - Creepy Televangelist who
speaks in tongues.
ROBERT TILTON
Place your hand on the tv, and feel
God's anointing oil reaching out to
show you the way.
As if in a trance or perhaps possessed, Gavin reaches to the
television, accidentally turning the channel again to--
LIFETIME TELEVISION NETWORK MOVIE OF THE WEEK.
BRITISH MALE VOICE
I'm so alone. I'm so alone.
The blue glow of the tv flickers across Gavin's face. Even
with drops of blood dripping over his eyes, they're awake
and alive.
BRITISH MALE VOICE (CONT'D)
I have to get out of this apartment.
I have to get out of this flat and
get on with my life.
Gavin grabs the remote, turns up the volume.
ON SCREEN
EXT. LONDON SOHO SIDEWALK -- DAY
On a sidewalk, two blurred figures walk toward each other.
They bump. A happy accident has occurred.
BRITISH MALE VOICE
Oh dear, I'm dreadfully sorry. I've
spilled my coffee all over you --
AMERICAN FEMALE VOICE
No, I wasn't watching where I was
going. I'm so clumsy.
-----------------------------------------------------------------------------------------------------
19.
BRITISH MALE VOICE
But your dress--
AMERICAN FEMALE VOICE
Don't worry about this old thing.
I've got another dress here in my
bag... if there was only some place
to change --
BRITISH MALE VOICE
My flat is just around the corner.
You could-
AMERICAN FEMALE VOICE
You wouldn't mind? That would be
lovely.
A romantic score swells from the set.
BACK IN THE APARTMENT
The pupils of Gavin's eyes expand with the swelling music.
Nodding in agreement.
The old Gavin is gone, replaced by a triumphant, yet deranged,
smiling lunatic.
CUT TO:
EXT. STARBUCKS -- DAY
On the sidewalk patio outside a Starbucks coffee shop, YOUNG
ADULTS sip down their caffeine delights.
INT. STARBUCKS COUNTER -- CONTINUOUS
A newly clean-shaven, sharply-dressed Gavin steps up to the
register.
GAVIN
Let me have a Grande Mocha Frappuccino
with soy milk and coconut.
He holds out his money with a purpose, almost like a
completely different person from the man we first met.
EXT. STARBUCKS -- DAY
Standing behind a row of tables, Gavin studies the Starbucks
patrons. Exiting the store, a BEAUTIFUL WOMAN blindly looks
down toward the magazine in her hand. A latte in the other.
-----------------------------------------------------------------------------------------------------
20.
With a jarring thrust, Gavin begins walking toward her.
Lifting his coffee...
CRASH. Gavin and the Beautiful Woman bump into each other.
The drinks explode, drenching both.
Flashing puppy dog eyes, Gavin looks up into her eyes...
BEAUTIFUL WOMAN
God damn it, you asshole. Why don't
you look where you're going?!?
GAVIN
Oh dear, I'm dreadfully sorry. My
flat is right around the corner.
BEAUTIFUL WOMAN
You've ruined it. You asshole.
Gavin starts to wipe her dress clean, touching her. She
slaps his hands away.
BEAUTIFUL WOMAN (CONT'D)
Don't touch me. You stupid fuck!
She bulldozes her way past him; Flips up her middle finger
as she races away.
CUT TO:
INT. STARBUCKS COUNTER -- LATER
GAVIN
I'll take a Caffe Macchiato Espresso
with cinnamon and tazoberry.
CUT TO:
EXT. STARBUCKS -- LATER
Seated at a table. Holding a newspaper, but not looking at
it. Gavin's eyes search the crowd.
An incredibly sexy MS. THING comes out of the Starbucks, a
cell phone held tight to her ear. A drink in her other hand.
Rising out of his chair. The paper falls to the table. The
coffee cup lid comes off. The prey has been marked.
BLAM. Gavin slams hard into Ms. Thing. They stumble backward
away from each other.
Gavin looks up into her eyes. Despite being soaked, Ms.
Thing has a pleasant smile on her face; her eyes locked in
on Gavin...
Well not quite Gavin, just over his shoulder...
-----------------------------------------------------------------------------------------------------
21.
He turns to see where she is looking, and sees--
MUSCLE T-SHIRT BOYFRIEND rushes toward Gavin as quickly as
his ripped legs can take him. He throws one mighty fist
forward.
CUT TO:
INT. STARBUCKS -- LATER
A black eye swelling on the right side of his face. The
front of his clothes stained black and brown.
GAVIN
Iced White Chocolate Latte with half
and half instead of milk.
CUT TO:
EXT. STARBUCKS -- LATER
Back at his table, Gavin scans the crowd, when he sees--
Walking out of Starbucks, no... not walking but floating,
PERFECT GIRL steps out, smiling. The sunlight catches her
hair as if she was starring in a L'oreal hair care commercial.
His spirit renewed, Gavin stands confidently.
The world seems to slow down. Gavin approaches her; coffee
extended --
A GROUP of YOUNG COLLEGE KIDS get up from a table and walk
toward the entrance. Blocking Gavin.
Perfect Girl turns in the opposite direction. Getting further
and further away. Panic. Gavin tries to squeeze past --
Perfect Girl gets further and further away.
Like a big league pitcher, Gavin throws his coffee --
SMACK. The cup explodes into the back of Perfect Girl's
head.
PERFECT GIRL
Ahh!!!
She collapses to the ground. Everyone on the sidewalk rushes
to her, forming a circle around her.
GAVIN
Oh dear, I'm dreadfully sorry. My
flat's right around the corner.
PERFECT GIRL
Owww! The pain! The pain!
-----------------------------------------------------------------------------------------------------
22.
Gavin is dumfounded. Why isn't this working?
Desperately glancing around, he grabs a coffee cup from a
man next to him. Pouring it down on Perfect Girl.
GAVIN
My flat's right around the corner!
PERFECT GIRL
Owww!!! Why God?!? Why?!?
The now-angry mob tackles Gavin, as he tries to pour more.
CUT TO:
EXT. POLICE STATION -- DAY
Mike and Judd lead Gavin down the steps of a police station.
MIKE
Don't sweat it, brother. She's got
some minor second degree burns, big
deal.
JUDD
Yeah, what's she complaining about?
She smells great!
MIKE
Might be a blessing too, since the
judge is sending you to a shrink.
Help you forget about Hannah.
CUT TO:
INT. JESSICA'S OFFICE -- DAY
Behind a huge oak desk, dressed in a professional brown suit
with glasses, Jessica flips through a file folder. Biting
her lip, she tosses it down.
JESSICA
Gavin, I understand exactly what
you're going through. I know that
must sound like something a therapist
would say, but believe me, I
understand the bad place you're in.
You've had your heart broken.
Seated across from her, on a comfortable leather couch, Gavin
nods.
JESSICA (CONT'D)
That's a painful thing. Yet, you
want to be loved again.
Gavin nods.
-----------------------------------------------------------------------------------------------------
23.
JESSICA (CONT'D)
That's really brave.
Gavin doesn't move.
JESSICA (CONT'D)
I said, 'That's really brave.'
Gavin nods.
JESSICA (CONT'D)
But you can't pretend to be someone
from the movies, you have to be YOU.
And you have to be okay with...
(starting to tear up)
Being alone for a while.
Looking quite unaffected, Gavin nods again.
JESSICA (CONT'D)
You seem like a good guy, Gavin.
You didn't deserve this. That person
who broke your heart and fucked a
fajita girl...
Gavin begins to take notice of Jessica's growing emotional
breakdown. He starts to stand. Caught, she waves him back
into his seat.
JESSICA (CONT'D)
Metaphorically, fucked a fajita girl.
(breaking into tears)
I think that should do it for this
week. Try to stay upbeat and smile
some.
Losing all control, Jessica drops her head down on to her
desk, sobbing. Without a thought, Gavin stands slowly.
Walking up to the puddle that is Jessica, Gavin watches
passively. Patting her on the head, he leaves.
CUT TO:
INT. SLEAZY HOME VIDEO STORE -- NIGHT
From the dirty white walls to the abundance of Betamax tapes,
it is obvious that this ISN'T Blockbuster. Mike and Judd
stand on either side of Gavin, leading him through the store.
MIKE
You watched some chick flicks and it
messed with your mind.
JUDD
Naturally.
(MORE)
-----------------------------------------------------------------------------------------------------
24.
JUDD (CONT'D)
There's a reason why no straight man
finds Julia Roberts attractive.
MIKE
Let us take care of you.
They push Gavin through a swinging door marked: ADULT.
A PIMPLY FACED MANAGER restocks the shelves; Mike taps his
shoulder.
MIKE (CONT'D)
Could you help us? Our buddy here
got his heartbroken and we need a
film that's going to pump some blood
into him. Any suggestions?
The Pimply Manager squirms for a second, then pulls two movies
off the shelf; Holding it them up for inspection.
JUDD
"Touched By A Trucker" sounds good.
What's it about?
The Manager turns to look Judd squarely in the eyes. Beat.
PIMPLY FACED MANAGER
Fucking.
MIKE
Any interesting locations?
PIMPLY FACED MANAGER
The anus.
JUDD
Nice. What's that other one... "When
Harry Wet Sally"... what can you
tell us about the plot?
PIMPLY FACED MANAGER
The... plot?
(reading from the
back of the 'Harry'
video)
On drive from Chicago to New York, a
...
(squirming and skipping
over the awkward
parts)
... experiences orgasmic... with a
stranger with a big... comes from...
his fist... and ... leafblower... to
discover love.
(selling)
It got a good review.
-----------------------------------------------------------------------------------------------------
25.
MIKE
Two thumbs up?
PIMPLY FACED MANAGER
Err... well, they're not exactly
thumbs.
CUT TO:
INT. GAVIN'S APARTMENT -- NIGHT
The blue glow of the television flickers across Gavin's face.
ON SCREEN - Two throbbing BODIES thrust wildly by a pool.
PLUMBER
That's it. I've got to work it.
Work it hard.
YOUNG RICH WOMAN
Yes, harder. Harder. Oh God, you're
so good with your tool.
PLUMBER
Who's your plumber? Who's your
plumber?
CUT TO:
INT. SUBURBAN KITCHEN -- DAY
A HOUSEWIFE pulls two Juicy Juice juice boxes from the
refrigerator and hands them down to her two young CHILDREN,
who scampers away into the family room.
The doorbell rings. The housewife steps over to the door.
Opening it --
GAVIN
(in a deep voice)
D'you order a pizza?
Gavin is dressed in a Domino's Pizza jumpsuit and cap. A
large pizza box in his hands.
HOUSEWIFE
Not that I know of. Let me go get
my purse.
The housewife exits the kitchen, and Gavin begins removing
his Domino's Pizza jumpsuit. There is nothing underneath,
except shiny metallic briefs.
Gavin struggles to take his clothes off while keeping the
pizza flat. The jumpsuit gets caught around his feet.
-----------------------------------------------------------------------------------------------------
26.
The two small children walk back into the kitchen. Bumping
into the barely dressed Gavin, the kids SCREAM.
Gavin tries to kick the jumpsuit off his feet, but falls
down in the process. The pizza goes flying.
The housewife returns with her purse. She sees the children
flailing around covered in pizza...
Gavin rolls on the floor, trying to remove the jumpsuit from
his ankles. She SHRIEKS as pandemonium ensues.
CUT TO:
EXT. POLICE STATION -- DAY
Once again, Mike and Judd lead Gavin down the steps to their
car.
MIKE
Big deal, you've made the kids afraid
of pizza. That doesn't sound like
trauma to me! Hell, you've probably
saved them from being fat asses.
And this ridiculous judge is making
you pay for their therapy?
JUDD
Where's the therapy taking place:
Chuck E. Cheese?
CUT TO:
INT. JESSICA'S OFFICE -- DAY
Back in their 'official positions': Gavin on the couch,
Jessica behind her desk. She's more serious now. Her words:
more heartfelt.
JESSICA
I don't know if I was too wrapped up
in my own issues last week to really
listen and communicate to you. This
pizza incident is troubling. I'm
just... it's hard losing someone you
love. Being rejected. That soul-
destroying emptiness.
(here come the tears)
Knowing that you've been lied to.
Your feelings... tossed aside.
Gavin walks over to her, offering a tissue.
JESSICA (CONT'D)
Thank you. You're going to be fine.
Just try to watch yourself.
-----------------------------------------------------------------------------------------------------
27.
Jessica's head rests on the desk again. She's a mess.
CUT TO:
INT. SUPERMARKET -- NIGHT
The shopping cart has four bad wheels... not wanting to move,
yet Gavin pushes it up to the conveyer belt at the checkout
line. He grabs a box of Lucky Charms out of his cart, and
places it down, as his attention is drawn to the tiny TV
monitor above the cash register.
ON THE SCREEN
A cute CHEERLEADER grabs a box of Fruit Roll-ups, just as a
TEENAGE BOY reaches for the same box.
TEENAGE BOY
Hey, I wanted that one. We must
have the same taste.
CHEERLEADER
(cheerily)
Oh yeah, I love them.
TEENAGE BOY
I could live off these. I'd eat
them for every meal.
The cheerleader giggles and the boy leans in closer.
AT THE CHECKOUT LINE
Gavin rocks back on his heels. Turning from the checkout
monitor, Gavin turns his attention back toward the aisles.
CUT TO:
INT. SUPERMARKET -- LATER
A PROFESSIONAL WOMAN walks down an aisle, engrossed in looking
at the items on the shelf. Gavin struggles to keep his cart
up with her.
She pulls the box off the shelf just before Gavin can grab
it.
GAVIN
(turning on the charm)
Hey, I wanted that one. We must
have the same taste.
PROFESSIONAL WOMAN
(uncomfortable)
Err... yeah.
-----------------------------------------------------------------------------------------------------
28.
GAVIN
I could live off these. I'd love
eating them for every meal.
The woman looks down at the box of Kotex tampons in her
hands... begins backing away from Gavin, who flashes his
deranged smile.
CUT TO:
INT. WAITING ROOM -- DAY
Fluorescent lights flicker over PATIENTS reading magazines
like Highlights and year-old National Geographics. Gavin
walks past them to the reception window.
On the other side of the window, LIZ THE RECEPTIONIST stops
flipping through charts.
LIZ THE RECEPTIONIST
Mr. Stark, Dr. Kingfield mentioned
that she might be tied up today and
if it's alright with you, she
suggested you have your session with
another therapist.
Gavin nods, and moves away from the window to a back corner
of the waiting room.
A television is mounted high on a wall across from Gavin's
seat. He looks up toward the set.
ON THE TELEVISION SCREEN
INT. DR. ROY'S SET
On a raised stage in front of a large STUDIO AUDIENCE, the
round and jolly DR. ROY comforts a CRYING WIFE in a chair
next to him.
CRYING WIFE
I feel so betrayed. I... I'm sorry
I don't mean to cry.
Dr. Roy gets out of his chair and kneels down next to her,
placing a hand on her shoulder.
DR. ROY
No, no. Girl, you don't have no
reason to apologize for nothing.
I'm here for you. Your friends and
family are here for you.
CRYING WIFE
I just thought... he was the one.
Will I always feel like this?
-----------------------------------------------------------------------------------------------------
29.
DR. ROY
A heartbreak is like any other kinda
scar. As long as you don't pick at
the scab, it'll heal. You're like
that Ann-Margaret number in Bye Bye
Birdie, have you seen that?
The crying wife shakes her head 'no.'
DR. ROY (CONT'D)
Well girl, I can tell that you've
got a lot of living to do.
The studio audience roars with applause and cheers. A subtle
smile cracks the lips of the Crying Wife.
INT. WAITING ROOM -- DAY
Gavin sits up in his chair, engrossed. That Dr. Roy sure
does know his stuff.
INT. DANA'S OFFICE -- DAY
Dressed in workout clothes, Dana walks on a treadmill dialed
to a negligible speed. Leaning on the window ledge, Jessica
fights back tears.
JESSICA
Dana, you've got to take this patient
from me. All he does is bring back
the pain of Frank leaving.
Dana opens a fanny pack and pulls out a bag of potato chips.
DANA
Screw that. He's court appointed;
he's got to be paying you jack shit.
JESSICA
I just...
(sobbing buckets)
Every time I think about it, I cry.
DANA
Good grief, is this the kind of act
you did when you were fucking Frank?
Jessica tears up even more.
DANA (CONT'D)
God, now I understand why Frank left
you.
-----------------------------------------------------------------------------------------------------
30.
JESSICA
This is serious. I'm having...
(beat)
A nervous breakdown.
DANA
Don't be dramatic, you want a beer?
Dana stops the treadmill and walks over to a mini-fridge;
pulling a bottle of Corona out. Taking a bottle opener from
her fanny pack, she cracks it open and takes a long gulp.
As Dana walks back to the treadmill, she walks past a second
couch revealing a VERY IRRITATED PATIENT.
VERY IRRITATED PATIENT
Umm, your partner's been crying like
this for a while, can we get back to
my problems? I'm paying for this
hour, and--
DANA
(cutting him off)
Your hour's up.
VERY IRRITATED PATIENT
What about my mother?
DANA
I don't know. You want to fuck her?
Fuck her.
Dana ingests another swig of Corona and steps back on the
treadmill.
DANA (CONT'D)
(to Jessica)
So if I take this guy off your hands
what's in it for me?
The Irritated Patient has walked gently up to the treadmill,
hands wringing.
VERY IRRITATED PATIENT
So about my insurance?
DANA
Please, I'm with a co-worker! We'll
deal with it next week.
The Patient exits as Jessica steps to Dana's side.
JESSICA
I'm having trouble breathing. My
palms itch. I can't look at Mexican
food without vomiting.
(MORE)
-----------------------------------------------------------------------------------------------------
31.
JESSICA (CONT'D)
And there's a Del Taco on every God
forsaken corner!
DANA
Don't get your panties in a bunch!
Jessica slams her fist down on the treadmill controls.
JESSICA
I'm serious! I need help!
Jessica slams her fist down on the control panel again,
causing the machine to launch into a quicker speed.
The jolt shocks Dana who drops her potato chips and struggles
to pick up her pace. With the difficulty, she takes another
swig of beer.
But she can not keep up. Losing control, she falls down...
on to the speeding belt which whips her backward and off the
machine.
CUT TO:
INT. WAITING ROOM -- LATER
Gavin's attention is devoted to the screen and Dr. Roy's
homespun advice.
He doesn't notice the PARAMEDICS pushing a stretcher out of
the office. On the stretcher, Dana's head is in bandages
and secured.
DANA
Fucking. Crying. Stupid. Whiny....
Jessica watches them wheel her out, then notices Gavin. She
lets out an exasperated sigh.
She waves Liz over.
JESSICA
How long has he been waiting?
LIZ THE RECEPTIONIST
'Bout an hour.
JESSICA
I suppose I'll have to see him.
Give me a couple of minutes to gather
myself, then send him in.
CUT TO:
-----------------------------------------------------------------------------------------------------
32.
INT. JESSICA'S OFFICE -- MOMENTS LATER
Entering her office, Jessica walks over to a blaring
television on a bookshelf. The "Dr. Roy" television program
rambles on.
ON THE SCREEN
INT. DR. ROY'S SET
Dr. Roy has another CRYING WOMAN in his arms.
DR. ROY
You have to release this pain, and
if it's with tears, just bring a
tissue. If it's with screaming,
bring some earplugs . If it's with
booze, bring me 'cause I could use a
drink.
The studio audience laughs. Dr. Roy looks into the camera.
DR. ROY (CONT'D)
On our next show, we'll talk with
some mothers--
IN THE OFFICE
Jessica's phone buzzes out.
LIZ THE RECEPTIONIST
(over the intercom)
Jessica, are you able to see him?
If not, I could ask him to reschedule.
He seems fine.
Walking behind her desk, collapsing down into her chair.
JESSICA
No, send him in.
Grabbing a remote, she flips off the television. Pulling a
mirror out of a drawer, Jessica checks her make-up. Mascara
shows the trail of tears from her watered eyes.
Gavin enters and calmly walks across the office to the couch,
where he takes a seat.
JESSICA (CONT'D)
Gavin, no arrests this past week, I
see. That's a good start. How have
you been holding up? Are you still
struggling to recover and move past
the pain?
-----------------------------------------------------------------------------------------------------
33.
GAVIN
(in his best Dr. Roy
voice)
A heartbreak is like any other kinda
scar. As long as you don't pick at
the scab and let it heal, you'll be
okay.
Jessica's eyes leave the papers in front of her, and re-
examine Gavin...this is an unexpected development.
JESSICA
That's a good attitude. Did I say
that last time?
GAVIN
Naw, that's just something my ol'...
He notices the watery mascara under her eyes.
GAVIN (CONT'D)
Hey, it looks like somebody's been
having a rough go.
Gavin gets up off the couch, and walks over to Jessica,
kneeling down at her chair, placing a hand on her shoulder...
just as Dr. Roy had done to the Crying Wife.
GAVIN (CONT'D)
You've been crying.
Jessica wipes the tears away from her eyes, sucking it up.
JESSICA
Oh, I'm fine. This is your session.
Let's talk about you.
GAVIN
If you don't want to talk: it's okay.
No one in this room wants to do
anything but support you being you.
Jessica shakes her head at the awkward wording, yet turns to
him intently.
JESSICA
I... You've been going through your
situation. Well... I suppose that I
should have mentioned... My husband
left me. He was screwing a woman in
the food service industry... that
part is not relevant to your dilemma.
GAVIN
That shows a blatant disregard for
the sanctity of the marriage union.
(MORE)
-----------------------------------------------------------------------------------------------------
34.
GAVIN (CONT'D)
While it may not help the hurting
that you're feeling, it's important
that you know that you're better off
without that negative influence in
your life.
Jessica nods, blows her nose. Placing an understanding hand
down on Gavin's shoulder.
JESSICA
That's what I've been telling myself.
You're really great to talk to.
(sniffing away)
I probably haven't helped you too
well these last couple of weeks.
GAVIN
Getting to know you has made me a
richer person.
Gavin's hands have moved up from her shoulder, now caressing
her hair.
JESSICA
(sobbing out of control)
I remember Frank walking out like it
was yesterday. But it wasn't. It
was last month, March 11th. 4:17.
PM.
GAVIN
I'm so very sorry. You take all the
time you need to sort this all out.
I'll be here when you're ready.
Jessica's free hand takes Gavin's free hand. Massaging it.
Looking deeply into each other's eyes. All smiles.
JESSICA
Maybe we should cancel for today-
GAVIN
If you want to.
JESSICA
We could go... somewhere else and
talk.
GAVIN
I'd like that.
CUT TO:
-----------------------------------------------------------------------------------------------------
35.
INT. FRIDAY'S RESTAURANT -- NIGHT
A bright neon sign explains that "Here, Everyday is Friday's".
Under the grammatically awkward sign, sullen faced 9 - TO -
5 - ERS sip watery domestic beers. FAMILIES with out-of-
control CHILDREN tear at rubbery chicken fingers. Luckily,
the restaurant is dark.
A WAITRESS places two wine glasses down on the table.
Uncorking the bottle, pouring for two.
Jessica and Gavin pay her no mind.
JESSICA
(enthralled in her
own story)
...and yesterday I figured it out.
He left me because he had issues
with his mother.
GAVIN
He was projecting.
JESSICA
Yes, oh God, yes! You see it too.
You're such a good listener.
Jessica smiles a pitiful smile, which brings a warm smile to
Gavin's face. He gently rubs the side of her face with his
hand. She appreciates the closeness.
JESSICA (CONT'D)
Look at me, it's like you're the
therapist. Let's talk about something
other than problems.
She opens a menu up wide.
JESSICA (CONT'D)
So what do you feel like?
Gavin scans his menu and shrugs, presenting an opening.
JESSICA (CONT'D)
The fajitas are great here. Do you
like fajitas?
(before Gavin can
answer)
You know the word 'fajita' come from
the Spanish word "faja" which means
girdle. The girdle connects via
beef 'skirts', which is the diaphragm
muscle. It's fascinating.
Gavin smiles, unsure how to respond. Jessica waves the
waitress back over.
-----------------------------------------------------------------------------------------------------
36.
JESSICA (CONT'D)
We're ready to order. He'll have
the fajitas.
WAITRESS
And for you?
JESSICA
Oh, I'm not hungry. I'll just have
a salad. The Caesar. Large. That
comes with Chicken? Extra chicken,
please. And more breadsticks.
They're free? Good. Thanks.
The waitress leaves and Jessica turns her attention back to
Gavin, who has a sweet smile across his face.
Jessica drops a hand down on to his knee, smiles, then
nervously pulls it back.
JESSICA (CONT'D)
So again, you went a whole week
without being arrested.
GAVIN
That's right. I was kicked out of a
supermarket, but they didn't call
the cops.
JESSICA
Oh. I suppose I can take credit for
stopping you short of prison.
GAVIN
You've made it less difficult. You've
helped me understand that you have
to release the pain. And if it's
with tears, just bring tissue. If
it's with booze, bring me 'cause I
could use a drink.
Jessica sits back, confused.
JESSICA
Did I say that? That's familiar.
It's catchy advice. You know who
that sounds like, do you watch Dr--?
The waitress drops a basket of bread down on the table.
Then places a salad down for Jess.
JESSICA (CONT'D)
Quick service.
-----------------------------------------------------------------------------------------------------
37.
WAITRESS
(huge smile on her
face)
We have a lot prepared in advance.
The waitress leaves as Jessica takes a brief second to
consider the odd fact, then moves on.
JESSICA
So, do you have any plans for the
weekend?
GAVIN
Well, on my next show, I'll talk
with some mothers who are worried
because their pregnant daughters are
still single.
Jessica's eyes widen... then releases a gut-busting laugh.
JESSICA
That's hilarious.
GAVIN
'Til then, keep smiling... at that
person in the mirror.
JESSICA
I thought you were a fan of his!
That's hilarious. I love him. When
he's on Letterman, I--
A plate of sizzling fajitas drops down on to the table. But
rather than a pert-woman delivering the meal, a SCRUFFY WAITER
holds the skillet. A shocked Jessica looks around the
restaurant.
JESSICA (CONT'D)
Excuse me, are you... shouldn't
someone else be bringing us these
fajitas?!?
SCRUFFY WAITER
You ordered fajitas, right?
JESSICA
Yes, we did, but isn't there... I
thought a young woman normally... Is
there a young woman who... Fiona?
SCRUFFY WAITER
She has the day off.
JESSICA
Fu---
(catching herself)
--ine. Fine. Thank you.
-----------------------------------------------------------------------------------------------------
38.
The scruffy waiter leaves. Jessica's shoulders droop.
GAVIN
Everything okay, girlfriend?
Jessica regains her composure.
JESSICA
Girlfriend? I'm sorry. I'm fine.
I'm fine. We should go back to, uh,
you should call me Dr. Kingfield.
GAVIN
If you need space in this
relationship, I understand.
JESSICA
Relationship?
GAVIN
Because a relationship is built on
mutual attraction and achieving
satisfaction by providing your partner
with the ability to achieve their
desires. Be it in the living room
or the bedroom.
JESSICA
The... bedroom?
Suddenly, she is intrigued. Leaning in.
GAVIN
Of course. I could never enjoy
personal satisfaction in intercourse
until you received pleasurable climax.
Beat.
JESSICA
(to no one in
particular)
Check!
CUT TO:
INT. JESSICA'S LIVING ROOM -- NIGHT
Jessica pulls Gavin down on to the couch. She's moving fast,
taking off his shirt, removing her jacket.
Gavin tries to slow down, stop.
GAVIN
I want...
(MORE)
-----------------------------------------------------------------------------------------------------
39.
GAVIN (CONT'D)
(fighting through her
kisses)
I want to make sure you're ready for
physical intimacy.
Jessica places a hand over his mouth, shutting him up. With
her free hand, she struggles to remove her blouse.
GAVIN (CONT'D)
Rushing into a sexual relationship
is a one-way ticket to--
Jessica pushes her tongue down his throat, shutting him up.
Gavin stops fighting and gives into the passion, returning
her thrusts.
JESSICA
Oh Yes! Yes. Tell me.... Tell me
more about the mutual climax.
Gavin's response is muffled by Jessica's continued kissing.
JESSICA (CONT'D)
God, Jesus, Buddha, Mohammed. Thank
you.
They roll off the couch, falling to the floor in an ecstatic
embrace.
DISSOLVE TO:
INT. JESSICA'S BEDROOM -- MORNING
Jessica rolls her fingernails across sleeping Gavin's
bareback; he lets out a pleasant sigh.
JESSICA
(talking to herself)
I didn't cry. That's a good sign.
No tears.
GAVIN
(waking up)
What?
JESSICA
Nothing.
Gavin rolls out of bed, gathering his clothes off the floor.
Jessica frowns at this latest development.
JESSICA (CONT'D)
Where are you going?
-----------------------------------------------------------------------------------------------------
40.
GAVIN
I have no desire to invade your
personal space or overstay my welcome.
JESSICA
Please. I don't want you to go!
Stay here. I'll make breakfast.
Gavin sits back down on the bed, rubbing her leg.
GAVIN
If that's your wish, I will support
it. Our relationship should be based
on acceptance.
JESSICA
Geesh, you're great, but you've got
to stop with the relationship talk.
You're my patient.
(thinking)
I suppose it's an ethical no-no for
you to be in my bed. It's just...
Frank was such a lousy lover.
GAVIN
I don't want to put you in an
unethical situation. I could go.
JESSICA
No.
(reconsidering)
But yes. Look, I can get someone
else to see you. That way you
wouldn't be my patient.
(beat)
That way we could continue... if
you'd like to?
GAVIN
I'd like that.
CUT TO:
INT. APARTMENT HALLWAY -- AFTERNOON
Sitting down in front of Gavin's front door, Mike and Judd
flip quarters into a small paper cup. Gavin steps up to
them, inserting his key into the lock.
JUDD
Dude, you're alive!
GAVIN
Yeah?
-----------------------------------------------------------------------------------------------------
41.
INT. GAVIN'S APARTMENT - LIVING ROOM -- CONTINUOUS
The guys step into the apartment, which hasn't changed in
appearance from Gavin's suicide attempt.
MIKE
You didn't come home last night. We
thought... you'd tried to commit
suicide again.
GAVIN
Suicide? No.
JUDD
Well, if at first you don't succeed.
Mike punches Judd in the arm. Gavin starts cleaning up
Hannah's stuff on the floor.
MIKE
So where were you?
GAVIN
(still in Dr. Roy
mode)
A gentleman never tells.
He drops Hannah's things into a wastebasket.
MIKE
Are you claiming that you spent the
night with a chick?
JUDD
How do you get a girl so quick? Who
was it?
GAVIN
Her name is Dr. Jessica Kingfield.
JUDD
How do you know her?
GAVIN
I've been seeing her lately. Weekly.
MIKE
Your therapist!? You slept with
her?
GAVIN
We shared a tender evening in mutual
respect.
JUDD
Better not be paying her by the hour.
-----------------------------------------------------------------------------------------------------
42.
MIKE
Gavin, that can't be a good idea.
GAVIN
(in full Dr. Roy-mode)
You would agree that many people
have a hard time accepting that the
mates they chose via subconscious
intentions have the positive and
negative traits of their caretakers?
Mike and Judd look lost at the relationship talk. Neither
respond.
GAVIN (CONT'D)
So as my therapist, she represents a
caretaker. Naturally, my time-locked
myopic old brain would have an
unconscious drive to recover the
lost self. Those thoughts, feelings
and behaviors that I repressed in
adapting to family and societal
behavior.
Mike and Judd are dumbstruck. Beat.
JUDD
The bitch has fucked with his brain.
CUT TO:
INT. APARTMENT HALLWAY -- MOMENTS LATER
The two friends stand close, in serious mode.
MIKE
He's gone 10 days since being
arrested. Hasn't tried to commit
suicide again. Let's not overreact.
JUDD
(incredulous)
Overreact? We're talking malpractice!
MIKE
He's over Hannah. And he's getting
action, too.
JUDD
I mean, one time, after I had sex
with this bitch, I started acting
weird.
MIKE
Like what?
-----------------------------------------------------------------------------------------------------
43.
JUDD
Oh, you know. Listening. Holding
hands. Chick stuff.
MIKE
Okay, what do you think we should
do?
JUDD
He's talking like a friggin fairy.
We've got to show him how to be a
man again.
CUT TO:
INT. GAVIN'S APARTMENT - LIVING ROOM
Gavin, Mike and Judd stare at the flickering screen.
ON THE TELEVISION SCREEN
EXT. DIRTY CITY - BACK ALLEY -- NIGHT
Fog hangs on the wet street. A streetlight sputters on and
off. Out from the darkness, comes THE COP - rugged good-
looking chiseled hero in a dark trench coat.
No movement, just his eyes dart from side to side. Searching.
THE COP
I know you're back here, punk. Hand
over the little lady's purse and I
won't make you part of the scenery.
Nothing.
The cop turns on his heels, walking back down the alley, as
THREE STREET PUNKS step into the light. The THIRD PUNK snaps
open a switchblade.
The NOISE from the switchblade stops the Cop dead in his
tracks. He turns--
THE COP (CONT'D)
So. Looks like my night got a little
more fun.
The three punks charge the Cop. Pulling out a gun, the Cop
blows away the closest punk.
IN GAVIN'S APARTMENT
Gavin is mesmerized by this latest sensory input.
-----------------------------------------------------------------------------------------------------
44.
BACK ON THE TELEVISION SCREEN
A second punk jumps on top of the Cop. The gun falls down
into a sewer drain.
The Cop flips the Punk over his shoulder, slamming him to
the ground. One. Two quick punches to the face, and the
Cop has knocked the second punk out.
The third punk stabs his switchblade forward. With the
perfect movements of a martial arts expert, the Cop swings
off his trench coat and suffocates the blade.
The third punk tries to pull his arm free. The Cop elbows
him in the face, knocking him to the ground.
The Cop slowly approaches him. Arms at his side.
THIRD PUNK
Come on, you old bastard. I'm not
afraid of you.
THE COP
That's your second mistake. Pinching
that old broad's purse was your first.
Third Punk spits up into the Cop's face. Taking a moment,
the Cop wipes it away with his sleeve. Then he places his
hands down on both sides of Punk Leader's skull, twisting--
CRACK. The third punk's body goes limp. He's dead. The
Cop spits on his corpse.
Back up the alley, a beautiful FEMALE COP runs to the Cop.
Throwing her arms around him.
FEMALE COP
Are you alright? I called for back-
up.
The Cop dusts off his overcoat, pulling a pack of cigarettes
from a pocket. Placing it in his mouth, lighting up.
THE COP
Back-up? Good, they can clean up
this mess.
FEMALE COP
You're too reckless, you could have
been killed!
THE COP
That's the Chief talking. Sure, I
could sit around all day.
(MORE)
-----------------------------------------------------------------------------------------------------
45.
THE COP (CONT'D)
Scarfing down doughnuts and pushing
pencils until I get the gold watch
and a pension. I could sit home at
nights and pray somebody else would
clean up this city. But I'm a man
of action, Sweet Cheeks.
IN GAVIN'S APARTMENT
As the music swells, Judd jumps up and turns the set off.
Mike finishes his beer, stretches.
MIKE
Is it just me, or does that remind
you of classic Chuck Norris? Back
when the hair was real. The beard
was real.
JUDD
Oh, I think the beard's still real.
MIKE
Come on.
JUDD
Seriously.
Gavin has stood up, with a new stronger vibe in his posture.
Across his face. He's one bad motherfu... I'm just talking
about Gavin. He moves toward the door.
MIKE
Where are you going?
GAVIN
(in a trance)
I'm a man of action, Sweet Cheeks.
Judd follows after him, worried.
JUDD
Uh huh. Maybe we should stay in.
GAVIN
This is a dirty city. I'm the mop.
Gavin slams the door behind him. Mike starts after him.
MIKE
Oh shit.
CUT TO:
-----------------------------------------------------------------------------------------------------
46.
EXT. APARTMENT BUILDING -- NIGHT
Gavin slides across the hood of his car -- TV detective style --
then enters through the window.
Mike and Judd run out, just as the car starts up. Gavin
pulls out; Mike grabs the passenger door handle, but can't
open the door. Tires squeal as the car pulls out and speeds
away into the night.
MIKE
We've got to follow him.
They dart toward a Taurus, when Judd turns and runs back
toward the apartment.
JUDD
My keys are up in the apartment!
CUT TO:
EXT. DOWNTOWN -- NIGHT
Gavin's Miata peels through the city streets. Running yellow
lights, taking hard angle turns at insane speeds.
Wearing an inappropriate pair of sunglasses in the nighttime,
Gavin looks from side to side, searching for a perp to collar.
He slams on the brakes and pulls over to the curb.
EXT. NIGHTCLUB -- NIGHT
Outside a seedy nightclub, a group of BIKERS congregate in a
smoking circle. Gavin struts up to them, chest out.
GAVIN
Hey Punks.
In unison, the Bikers spin their heads. None seem impressed
by Gavin or his attitude.
GAVIN (CONT'D)
There's been a lot of talk on the
street about some lowlife pushing
blow. Crank. H.
(unable to think of
any more)
Other drugs.
The Bikers turn dismissively away, back to their circle and
conversation.
Gavin walks up to a Harley, then glances back at the leather-
clad hooligans.
-----------------------------------------------------------------------------------------------------
47.
With a swift kick, he knocks the motorcycle over. The Bikers
turn to him, pissed.
GAVIN (CONT'D)
Now that I have your attention.
He walks into the circle, no fear.
GAVIN (CONT'D)
As I was saying, it has been said
that there's a punk dealing. I want
a word with this scumbag. The word
I want is 'dead'. Because if I find
him, I'm not going to sit on my thumb
and wait for some high-priced lawyer
to cop a plea and let this dirtbag
out on the streets in a month. No,
he's going down.
Gavin pulls back his coat, reaching inside.
One of the Bikers - a meek, frail, skinny pale kid - sees
his opportunity, and runs. Sprinting away down the street.
Gavin removes a business card from his coat pocket, not
noticing the escaping punk.
GAVIN (CONT'D)
So if any of you want to drop a dime
on this jerk, give me a call.
All of the other bikers motion with their eyes in the
direction of the fleeing suspect. Finally, Gavin notices.
Shoving his card into a hand, he charges after the perp.
The remaining bikers look down at the business card.
INSERT - Gavin Stark/Cox Advertising
EXT. PEACHTREE STREET -- CONTINUOUS
The Frail Biker runs across four lanes of traffic, trying to
escape. Various autos slam on the brakes to avoid hitting
him.
Gavin is gaining on the kid, and with a picture-perfect jump,
he slides across the hood of a stopped car. Continuing his
pursuit.
Across an intersection, a police car starts the SIREN and
lights. Following the action.
-----------------------------------------------------------------------------------------------------
48.
EXT. DARK ALLEY -- CONTINUOUS
The Frail Biker turns a corner, stops. Trapped by brick
walls on all sides. He turns to see Gavin blocking the only
escape rout.
The Frail Biker falls down to his knees, crying.
FRAIL BIKER
Please. Please.
Step. Step. Gavin stands above him. Judge. Jury.
Executioner.
FRAIL BIKER (CONT'D)
I give up. Arrest me. Please don't
hurt me!
Gavin smiles, nodding his head back. Looking down at the
pathetic kid, Gavin grabs the punk by the back of his hair.
GAVIN
I wish I could grant you that last
request.
POW. Gavin's fist smashes the kid's nose, knocking him out.
He pulls his arm back for another dose of justice when--
A bright light blinds the alley. Gavin turns to the source:
a police cruiser. Two OFFICERS stand behind their doors,
weapons drawn.
POLICE OFFICER #1
Freeze! Step away from that man.
Gavin places both hands in the air, steps back defiantly.
GAVIN
Bout time you guys showed up. Take
this piece of filth away. That's
one less drug dealer walking the
streets.
DISSOLVE TO:
EXT. DARK ALLEY -- LATER
An officer holds the Frail Biker's head down, as he places
him in the back of the squad car. The other officer shakes
Gavin's hand.
POLICE OFFICER #1
...just half pound of marijuana on
him. But he says he's willing to
give up his dealer.
-----------------------------------------------------------------------------------------------------
49.
GAVIN
All these lowlifes sing once they
see how much time they'd be putting
in at the big house.
The officers look to each other. This act is getting tired,
quick.
POLICE OFFICER #1
Yeah, well. What division did you
say you worked out of?
GAVIN
The city.
The Officer turns his head, puzzled.
GAVIN (CONT'D)
Chief took my badge for being too
reckless. Damn bureaucrats.
POLICE OFFICER #1
Right. Well, we're going to need
you to come down to 11th and help us
file the report on this guy.
GAVIN
Not a problem.
CUT TO:
INT. POLICE STATION CELLBLOCK -- NIGHT
The bars slam in front of Gavin's face. With an eyebrow
raised, he stammers back into the cell, amongst stone-faced
PRISONERS.
The bench is filled, but that doesn't stop Gavin. He
approaches two large crooks.
Gavin grunts and signals for the men to make some room.
They don't move. Gavin makes another grunt. Nothing.
He gets right up in one of the men's grill. Almost nose-to-
nose. Finally, the perp moves and Gavin takes a seat. All
the other inmates turn their attention to the new arrival.
GAVIN
(to the nearest inmate)
What are you in for?
INMATE
I dina do nuttin'.
GAVIN
That's what all the scum say.
(MORE)
-----------------------------------------------------------------------------------------------------
50.
GAVIN (CONT'D)
I've busted enough of you crumb bums
to fill Oakland Cemetery.
The prisoners gather around Gavin... a very attentive group
of prisoners.
INMATE
You a cop?
Gavin is ignorant to the gathering problem around him.
GAVIN
That's right, punk. I'm a badge.
INMATE
Why are you in here?
GAVIN
Guess I was too tough. City hall
wanted me to bring in punks alive.
I must have cracked the head of one
too many crackheads.
The prisoners now surround Gavin as he continues on...
CUT TO:
INT. POLICE STATION -- MORNING
Jessica follows DETECTIVE GERMAN through the hallway. Seated
in a wooden chair, wrapped in a blanket, Gavin has a swollen
right eye from the beating he took.
DETECTIVE GERMAN
No one was answering at his apartment,
and we found your card in his
belongings. Impersonating an officer
is a serious offense.
JESSICA
Yes, yes. Can he be released?
DETECTIVE GERMAN
You're sure he's stable?
JESSICA
I'm a highly trained specialist.
DETECTIVE GERMAN
So you're saying he's fine to go out
in public?
JESSICA
I graduated at the top of my class
at Emory.
-----------------------------------------------------------------------------------------------------
51.
DETECTIVE GERMAN
Right, but he's been arrested--
JESSICA
Three years of graduate work at-
DETECTIVE GERMAN
I need a 'yes' or 'no.'
JESSICA
Will I be held responsible if he
gets arrested again?
DETECTIVE GERMAN
Of course not.
JESSICA
Yes, he's fine.
CUT TO:
INT. JESSICA'S CAR -- DAY
Jessica's silver BMW is flooring. Disregarding any other
traffic, Jessica barrels down the road. An oblivious Gavin
seated next to her.
JESSICA
You seemed fine. Perfect the other
night! What got into you?
GAVIN
(still in Eastwood
mode)
You rolled through that stop sign.
Don't make me take you down.
Seeing this display, Jessica shrieks in panic.
JESSICA
Oh my Jesus, you're insane. Dear
Heavens. We slept together. I could
lose my license.
(catching a ray of
hope)
No one knows. Nobody. They can't
take your word, you're batty. No
one knows we...
GAVIN
Did it. Sorry, Sweet Cheeks, but my
partners Rubin and McOwen know about
our secret affair.
Jessica starts banging her head on the steering wheel, causing
the horn to blare out twice.
-----------------------------------------------------------------------------------------------------
52.
JESSICA
Who are you?!?! You're not the
sensitive man who took me to
Friday's... and picked up the check!
What can I do? I'm having a
breakdown.
(changing subject)
This is perfectly natural. I finally
get an orgasm and the source is
psychotic.
Gavin is still focused on the road.
GAVIN
That was a red light.
JESSICA
Drugs. I need drugs. And you. You
need to be medicated. We'll go home,
I'll dope you up, get you committed.
No one will be the wiser.
CUT TO:
EXT. JESSICA'S HOUSE -- LATER
Pulling her car into the driveway, Jessica stops the car
short -- because another car blocks the path and the front
door is wide open.
JESSICA
Damn it!
She jumps out, furious.
JESSICA (CONT'D)
(screaming)
Frank? Frank, what do you think
you're doing?
Stepping out of the house, Frank holds a cardboard box in
his hands. Reclaiming his bounty.
FRANK
Geesh, Jessica. Calm down.
But his words are arriving too late, as she has pulled the
box from his hands, and begins inspecting.
JESSICA
The juicer, Frank? How could you?!
You've never once squeezed juice
from a fruit in your life!
FRANK
I paid for it. I want it.
-----------------------------------------------------------------------------------------------------
53.
JESSICA
What might you even know about fruit?
Do you even know what a persimmon
is? A persimmon!
Frank has heard enough, pulling the box from her hands. She
tugs back with all her might.
GAVIN
(calling over, brut
tough)
I would let the little lady have her
juice-making machine, bub.
Leaning against Jessica's car, Gavin is the picture of an
Old West gunslinger. Ice in his veins.
FRANK
Who the hell are you?
GAVIN
Your worst nightmare, Punk.
Frank buckles for a brief second, then turns on Jessica.
FRANK
Is this the guy? I heard that you
went by Friday's the other night.
We'd appreciate it if you left us
alone.
JESSICA
That's my juicer.
Jessica rips the machine from Frank's grip... it skips along
the driveway. Frank takes a step toward it--
Gavin lets out a whistle, and Frank stops.
GAVIN
You just might reach that juice making
appliance before me... but then
there's a chance I'll scoop it up
first... and bring it down on your
crown, Chief. You won't look too
good with your front teeth down on
the corner of Chipped and Queer
Street. So you have to be asking
yourself: do you feel lucky?
(standing up straight)
Well, do you?
Frank moves back to his car, not ready to get into a fight
with the younger, if scrawny, vigilante.
Gavin swoops in and cradles the juicer. He hands it to
Jessica, then pulls her close for a kiss.
-----------------------------------------------------------------------------------------------------
54.
Jessica fights the kiss, but Gavin's determination causes
her to just give up and accept it.
Frank's eyes lower, dejected. Pulling back from Gavin,
Jessica notices her ex's reaction. She pats her deranged
patient on the shoulder.
JESSICA
Down, tiger. Could you go inside
and give us a second to talk?
Gavin does not want to move; his eyes now locked on Frank.
Gently, Jess shoves him into the house. As he enters, she
turns back to her shell-shocked ex.
JESSICA (CONT'D)
I'm sorry about that.
FRANK
(in disbelief)
You moved on pretty quick.
JESSICA
You left me!
FRANK
Kinda young for you!
JESSICA
That's rich coming from a man fucking
his fajita server. He's actually my
age. Which is perfect. I've learned
older men can't satisfy my yearnings.
FRANK
What's that suppose to mean?
JESSICA
Good grief, what do you think it
means? Read the subtext, Frank.
I'm letting you know that I had sex
with him, without coming out and
saying I had sex with him.
FRANK
You had sex with him!?
JESSICA
Hello? What did I just say?
FRANK
You slept with that guy!
JESSICA
I never said that.
Frank plops down onto his car hood. Dejected.
-----------------------------------------------------------------------------------------------------
55.
JESSICA (CONT'D)
Don't get jealous, Frank.
FRANK
I'm not.
(beat)
At all.
Frank's body language does not support his previous words.
He drops the box into his back seat. Slowly, entering his
car.
FRANK (CONT'D)
I just wanted to get some things.
His body facing away, turned to his steering wheel.
FRANK (CONT'D)
You got the house. I want my stuff.
With that, the defeated Frank starts the car, and pulls out
of the driveway. Watching him leave, a small smile of revenge
crosses Jessica's lips. That was sweet.
CUT TO:
INT. JESSICA'S LIVING ROOM -- MOMENTS LATER
Still in a cloud of bliss, Jessica collapses down on to her
couch. Glowing.
Unnoticed, Gavin examines the television set. Turned off
and still, the box fascinates him. He searches the dark
glass... waiting for his next signal.
Finally, Jessica catches him out of the corner of her eye.
JESSICA
Did you want to watch something?
She pushes magazines around the coffee table, until she finds
the remote. Turning it on.
JESSICA (CONT'D)
Here you go.
She drops her head down, resting and savoring her moment.
The set blurts to life.
ON THE SCREEN
INT. LATIN SOAP OPERA LIVING ROOM SET
A hot-bodied young LATIN STUD stands by a window with his
shirt open wide. His 6-pack abs are glistening with sweat.
Across the room, his TROPHY LOVE is poured on to a divan.
-----------------------------------------------------------------------------------------------------
56.
INTERCUT WITH JESSICA'S LIVING ROOM
In robotic movement, Gavin starts to unbutton his shirt like
the Latin Stud.
ON THE SCREEN
The Latin Stud pulls a rose from a vase on the window sill
and struts to his woman. He gently rubs the flower pedals
across her face.
LATIN STUD
Mi amor para usted se mas profundo
que el mar...
IN THE LIVING ROOM
Jessica stretches out, talking to herself.
JESSICA
Did you see the steam coming from
Frank's ears? Delicious.
Unnoticed, Gavin searches the room for a flower. There's
nothing. Seeing a candle...
JESSICA (CONT'D)
Without hesitation, I can proclaim
that I have felt: consummation.
Being so enthralled in her own thrill, Jessica does not notice
that her face is being gently stroked by the wick of a candle.
Beat.
Her eyelids explode open, and her eyes strain to see the man
standing behind her, rubbing a candle against her face.
JESSICA (CONT'D)
What in the world are you doing?
GAVIN
(in a nonsense Spanish)
Mojado burrito con mi entrepierna.
Whiplashing herself up in her seat, she backs away from his
advances. Pushing her hands to stop him, she touches his
bare chest, then quickly pulls her hands back.
JESSICA
Gavin, you must behave when --
ON THE SCREEN
The Latin Stud continues to romance his love with the flower.
-----------------------------------------------------------------------------------------------------
57.
LATIN STUD
Cada pedal seta para usted.
IN THE LIVING ROOM
GAVIN
Comma comma comma parakeet, you-ah.
Jessica grabs the remote.
JESSICA
Ha ha. Nice. I get it, but we can't
have any more physical contact with--
Switching the channel to:
ON THE SCREEN
INT. INFOMERCIAL KITCHEN
A RUGGED MAN and OVER-SMILING WOMAN stand in front of a grease
stained refrigerator.
OVER-SMILING WOMAN
It wiped away the grease and didn't
hurt the finish.
RUGGED MAN
I can tell you're impressed... but
wait there's more. It comes with a
second box of Miracle Shammies for
attacking those tough stains in the
bathroom.
OVER-SMILING WOMAN
A second box of Miracle Shammies?
RUGGED MAN
That's right. Watch me clean this
grime.
Rugged Man wipes away muck.
IN THE LIVING ROOM
Gavin has grabbed the only thing close to a shammy -- the
hem of Jessica's skirt and is wiping it across the coffee
table. Jessica fights him.
GAVIN
I'll have this place in spic-spot
shape in no time. Watch me clean
this grime.
JESSICA
You are delusional!
-----------------------------------------------------------------------------------------------------
58.
She changes the channel again to --
ON THE SCREEN
EXT. SWIMMING POOL - DAY
HAIR REPLACEMENT COMMERCIAL. A MAN WITH HAIR PLUGS is bear-
hugged from behind by his GIRL. He turns to her as she runs
her fingers across his scalp.
MAN WITH HAIR PLUGS
It feels real, and no one can tell!
I can go swimming or horseback riding
and my own natural hair goes with
me.
IN THE LIVING ROOM
Gavin has grabbed Jessica's hand and forced it on to his
head.
GAVIN
Pull on it. Pull on it. It feels
real.
Jessica pushes him to the floor, and backs away. Next to
the television. She turns it off.
JESSICA
Gavin...? Look, whatever is going
on... you...?
She turns to the television, tapping it gently.
GAVIN
I didn't want to use chemicals with
embarrassing side effects. This
hair makes me feel like the old me.
JESSICA
The things on TV...
She smacks her hand down on the set, hard. Gavin looks hurt.
GAVIN
No-!
Appraising the situation, Jessica points to the television
again.
JESSICA
You're not well. The television--
GAVIN
(interrupting her)
Obey.
-----------------------------------------------------------------------------------------------------
59.
Jessica is stopped dead in her tracks.
GAVIN (CONT'D)
Obey.
The tension has wilted away. Jessica exits the room to--
CUT TO:
INT. JESSICA'S BEDROOM -- MOMENTS LATER
Slamming the door behind her, Jessica paces across the floor.
And back. Burning a tread in the carpet. And back.
Giving up, she collapses down on the bed. Her head in her
hands. What am I going to do?
Something catches her eye.
Up from the bed, Jessica walks to a nightstand. A smaller
tv and dvd player. On top of the dvd player, a DVD.
Gone With the Wind.
CUT TO:
INT. JESSICA'S LIVING ROOM
Gavin is seated on the couch, with one hand covering his
eyes and the other hand still pulling on his hair.
GAVIN
Can I look yet?
JESSICA
No, not yet. One minute.
GAVIN
Having hair again has given me more
confidence.
Throwing the DVD into the player. A mad scramble to find
the remote. Finally, she cues up the perfect scene.
JESSICA
One second... one second. Yes, this
is it. You can open your eyes now.
Lowering his hands, Gavin's eyes adjust, then open wide to
the glowing blue light of the television set.
ON THE SCREEN - GONE WITH THE WIND
EXT. ROAD OUTSIDE OF BURNING ATLANTA
Rhett Butler grabs Scarlett down from a horse carriage and
grabs hold of her with both hands. She fights his grip.
-----------------------------------------------------------------------------------------------------
60.
RHETT
Here's a soldier of the South that
loves you, Scarlett. Wants to feel
your arms around him, wants to carry
the memory of your kisses into battle
with him. Never mind about loving
me. You're a woman who's sending a
soldier to his death with a beautiful
memory. Scarlett, kiss me, kiss me,
once.
INTERCUT WITH:
INT. JESSICA'S LIVING ROOM
Jessica watches Gavin closely. Pressing a button on the
remote, "Repeat".
JESSICA
My prescription for you is to study
this closely.
Waiting for a sign of comprehension... but Gavin is engrossed
in the movie. Jessica exits.
CUT TO:
INT. DANA'S OFFICE -- DAY
Wearing a neck brace and one arm in a sling, Dana has
difficulty lighting her cigarette. Jessica assists her.
JESSICA
There you go.
Dana takes a long drag. Blows out the smoke.
DANA
I hate you.
Dana struggles to walk behind her desk and sit down. Jessica
is smiling rainbows.
DANA (CONT'D)
Why are you smiling?
JESSICA
Frank's jealous of me.
DANA
(sarcastic)
Right.
JESSICA
Serious. He saw me with someone new
and it drove him crazy.
-----------------------------------------------------------------------------------------------------
61.
Jessica grabs the cigarette from Dana's mouth, taking a drag.
Dana pushes away from the desk, unsettled.
DANA
Dear God, it's not me, is it?
JESSICA
No. I'm afraid to tell you. It is
so wrong. Guess. If you can guess
who it is, I'll tell you.
DANA
Don't care.
JESSICA
Come on... who would it really be
wrong for me to be with?
DANA
Go away.
JESSICA
Okay, I'll give you a hint: It's a
patient.
DANA
You're dating a patient!
JESSICA
No. Not really dating, per se. But
he is a patient.
DANA
Who?
JESSICA
Guess!
DANA
The guy with the missing front teeth!
JESSICA
No.
(considering)
Why? Did he like me?
DANA
You're driving me crazy.
JESSICA
That's right, the crazy one.
DANA
You're not suppose to date patients,
especially the crazy one.
-----------------------------------------------------------------------------------------------------
62.
JESSICA
(excited)
Yeah. It makes it so 'dangerous'.
DANA
The other day, you wanted me to see
him. Now, you're playing footsy
with him.
JESSICA
Don't be crude. Footsy. That said,
he's at my house as we speak.
DANA
You brought a patient home?!?
JESSICA
I know... he's certifiable. Should
be committed. But you should have
seen how he stuck it to Frank. That's
why I want you to start seeing him.
DANA
Fuck that.
JESSICA
If you're his psychiatrist, it's
good. There's probably nothing
ethically wrong with me seeing one
of your patients.
DANA
You're becoming a real bitch...
(smiling)
I like it. When do you want me to
start seeing him?
JESSICA
Once I'm done.
DANA
Done with what?
JESSICA
Turning him into the perfect man.
DANA
How can you change a nutjob into
your perfect man?
JESSICA
Just show him the way.
CUT TO:
-----------------------------------------------------------------------------------------------------
63.
INT. JESSICA'S LIVING ROOM -- NIGHT
Entering with coat in hand, tossing mail down on the coffee
table.
JESSICA
(calling)
Gavin. Gavin?
Gavin stumbles in from the kitchen, a glass goblet in one
hand, a bottle of Jack Daniels held low in the other.
GAVIN
(slurring his words,
with Rhett's Southern
accent)
Well, if it isn't the wheg-livered
little coward. Come over here so I
can kiss you.
Jessica doesn't move, restrained.
JESSICA
You're drunk.
GAVIN
I'm very drunk and I intend getting
still drunker before the evening's
over. Now you my dear should be
kissed, often and by someone who
knows how.
Jessica moves toward the hallway, but Gavin throws the glass
goblet against a wall, blocking her path. It shatters into
a million pieces.
GAVIN (CONT'D)
You're not going to bed. Not yet.
Jessica moves in close to him, trying to get her arms around
him.
JESSICA
This is more like it.
Leaning in for a kiss, Gavin pushes her away.
GAVIN
Take those hands away before I snap
them like a twig.
Gavin grabs both her wrists, forcefully. Jessica smiles at
the aggressive moves.
-----------------------------------------------------------------------------------------------------
64.
JESSICA
(playing along)
I'll never love you, Gavin. I only
have room in my heart for Tara.
GAVIN
Frankly my dear, I don't give a damn.
Jessica playfully attempts to "act" like she doesn't want to
go.
JESSICA
Gavin, no. No.
In a forceful sweep, Gavin grabs her up into his arms and
carries her away to the bedroom.
CUT TO:
INT. JESSICA'S BEDROOM -- LATER
The bed rocks back and forth to Jessica's pleasure-filled
moans.
DISSOLVE TO:
INT. JESSICA'S BEDROOM -- MORNING
Jessica sits up in her bed, with a Cheshire Cat grin stretched
from ear to ear. She straightens the blankets on either
side of her.
JESSICA
(calling out)
Gavin? Gavin? I'm ready for my
breakfast, dear.
Noises come from the other room.
JESSICA (CONT'D)
Gavin?
Gavin marches into the bedroom, dressed in one of Frank's
oversized suits, and holding a CAT in his arms.
JESSICA (CONT'D)
(worried)
What are you doing with Sweet Pea?
Gavin tightens his grip on her feline.
GAVIN
I'm going to Charleston.
(gesturing to the cat)
And I'm taking Bonnie with me.
-----------------------------------------------------------------------------------------------------
65.
This is trouble. Jessica bounces out of bed, and runs to
his side. Gavin turns and exits.
JESSICA
Gavin, Gavin... listen.
INT. JESSICA'S LIVING ROOM -- CONTINUOUS
Gavin has one of her suitcases out and begins filling it
with various items littered on the couch: pillows, magazines,
jars of peanut butter.
GAVIN
You were right all along. I am a
scoundrel and you're better off
without me. Don't shed any crocodile
tears, Jessica. I've seen them and
I know they aren't for me. I'm sure
my absence won't prevent you from
attending the cotillions and--
Using her body as a shield, Jessica desperately blocks the
door.
JESSICA
Please. Please. Listen, I need you
to just watch. Something.
The phone rings. Neither move.
JESSICA (CONT'D)
Gavin, could you get that?
(beat)
It could be the army! They might
need you to report.
Reluctantly, Gavin shoves the cat into Jessica's arms, then
moves to the phone. Answering.
GAVIN
General?
(beat)
Yes, she's here. One moment.
(to Jessica)
It's a gentleman caller.
Jessica moves to the phone. Cradling the receiver to her
ear.
JESSICA
Hello?
EXT. FRANK'S CAR -- DAY
A cell phone earpiece dangles from Frank's ear.
-----------------------------------------------------------------------------------------------------
66.
FRANK
Jess. You've moved on. I've moved
on. And to move on, I need my stuff.
I thought I'd run by your office and
pick up some stuff that I left there.
INTERCUT WITH:
JESSICA
Stuff? What are you talking about?
FRANK
The furniture. The globe.
JESSICA
Don't you dare go near my office?
FRANK
I'm already in the parking lot, I've
still got a key. Don't worry, I'll
be quick.
Frank hangs up.
INT. JESSICA'S LIVING ROOM -- MORNING
Jessica grabs her car keys; Gavin watches her move.
JESSICA
I've got to go into the office. You
should watch... err, just pick a
film.
GAVIN
Don't play me like those boys back
at Tara who float on the ground you
walk on. I'm coming with you.
JESSICA
No. Look, I can't--
GAVIN
Talk back to me again woman and I'll
give you a good lashing with a buggy
whip!
Jessica gives up and drags him out the door.
CUT TO:
INT. WAITING ROOM -- DAY
Frank backs into the waiting room from the offices, pulling
a large globe on a stand.
-----------------------------------------------------------------------------------------------------
67.
All the eyes of the waiting PATIENTS turn to him -- a SOCCER
MOTHER and her YOUNG SON, a BALDING SAD MAN, a large AFRICAN-
AMERICAN WOMAN.
Liz the Receptionist struggles to get Frank's attention.
LIZ THE RECEPTIONIST
You don't have permission to take
these things.
FRANK
They're mine and I'll be damned if
I'm not going to have them.
With Frank's back turned, Dana appears, grabbing the Globe
and dragging it back toward the office.
Frank turns, struggling to pull it back.
The front door swings open--
JESSICA
Frank, how dare you!?
Gavin pushes his way past Jessica and steps up to confront
Frank. Frank doesn't seem worried in the slightest.
GAVIN
Excuse me, good sir, but the lady
asked you kindly to leave that right
where it is.
FRANK
Look, pal. Stop butting in on our
personal business.
Gavin smacks Frank across the face with the back of his hand.
GAVIN
I'll pretend that your rude remark
was an attempt to display courage,
rather than a sign of your ignorance.
FRANK
Mind your own business, jerk.
GAVIN
I'm calling you out, good sir. I'll
have you know I'm one of the best
shots in the country. It has been
proven a number of times, against
steadier hands and cooler heads than
yours.
Frank throws a punch, but Gavin easily moves past it, knocking
Frank down with a fist to the jaw.
-----------------------------------------------------------------------------------------------------
68.
The patients begin backing away, nervously.
Jessica grabs Gavin's arm, preventing another punch.
JESSICA
Okay, that's enough.
Gavin turns, suddenly directing his anger at her.
GAVIN
Is this him? Is this your precious
Ashley whom you've been saving your
heart for? Observe my hands, my
dear.
He places both hands against the side of her face.
GAVIN (CONT'D)
I could tear you to pieces with them.
And I'd do it if it'd take him out
of your mind forever. I'll smash
your skull like a walnut.
Soccer Mom grabs her child, who's wailing. Pulling him away
from the violence.
Off the floor, Frank throws his body into Gavin, knocking
them both over several chairs, falling on to the heavyset
African-American woman, who screams.
Gavin wrestles an arm around Frank's throat, tossing him to
the ground. Turning to the screaming African-American Woman.
GAVIN (CONT'D)
Quiet Mammie. You'll alert the
Carpetbaggers to our presence.
(to Jessica)
Darling, you need to keep your Negros
in line.
With explosive pissed-rage, the African-American woman spins
Gavin around, then starts rope-a-doping his face, knocking
him to the ground.
Jessica grabs the woman from behind, trying to calm her.
JESSICA
I apologize. He's a patient. He's
mentally ill. Remain calm. Everyone
remain calm.
Emerging from the inner offices, FIONA - tan young white
fajita-serving gum-smacking trash - carries a chair.
FIONA
Good Lord.
-----------------------------------------------------------------------------------------------------
69.
Upon seeing her, Jessica's eyes turn red.
JESSICA
Fiona!!!
Jessica flies through the air, claws out, attacking.
Dana tries to hold Jessica back from murdering Fiona, who
stumbles back.
DANA
Get a hold of yourself.
JESSICA
This is the fajita slut he's fucking.
I'll kill her.
The waiting room erupts in pandemonium.
DISSOLVE TO:
INT. WAITING ROOM -- LATER
The room is filled with three POLICE OFFICERS and various
PARAMEDICS. With his nose heavily bandaged, Frank places an
arm around Fiona, avoiding the scratches across her neck.
An Officer signals to them.
OFFICER
We may be calling you later for more
questioning, but you're free to go.
As Frank and Fiona begin to leave, Frank turns back to
Jessica, who sits wrapped in a blanket.
FRANK
You'll be hearing from my lawyers.
JESSICA
Up yours!
Frank tries to pick up the Globe, but Dana steps in front of
him.
DANA
Don't even think about it.
Frank gives up and escorts Fiona out the door.
As the door closes, Jessica walks over to a battered and
bruised Gavin, who's being examined. A paramedic scans a
light on Gavin's eyes, examining the pupils.
JESSICA
How is he?
-----------------------------------------------------------------------------------------------------
70.
PARAMEDIC
He looks okay. But he's got a serious
gash here on his skull... looks about
a month old. He should get a cat-
scan, make sure there's no brain
tissue trauma.
JESSICA
Right.
The Paramedic moves to check on the African-American woman,
who has an oxygen-mask covering her fuming-with-hate face.
Gavin turns to look Jessica in the eyes.
GAVIN
(still in Rhett Butler-
mode)
My ribs aren't as bruised as my pride.
But the thing that hurts most of all
is that I still love you. After all
the pain and confusion we've caused
each other.
Jessica pulls him in, about to plant a passionate kiss across
his lips... then she pulls away. Not in the office.
JESSICA
You... you are not yourself. You
can't say you 'love' me.
GAVIN
Of course, I love you. I've loved
you ever since that day I saw you at
Twelve Oaks.
The reality of the situation hits Jessica, like a smack across
the face. She checks and makes sure that no one heard the
insanity.
JESSICA
What am I doing? I've got to get
you help.
GAVIN
You're something special, Dr.
Kingfield.
Gavin leans in and gently kisses her cheek.
Pulling back, he breaks into a warm smile. Turns and tips
an imaginary hat to the African-American Woman, who shoots
him the middle-finger.
-----------------------------------------------------------------------------------------------------
71.
Jessica is beside herself, but smiling. Then she turns to
see Dana frowning and shaking her head.
CUT TO:
INT. DANA'S OFFICE -- LATER
A large book labeled across the spine: 'Freud, Jung, Jack.'
Dana opens it to reveal a flask. She takes a big gulp.
Offers the flask to Jessica, who shakes it off.
DANA
He's completely deranged.
JESSICA
Yeah. I suppose that it's my fault.
I should never have picked "Gone
With the Wind."
DANA
Ya think? It's a good thing you
don't get turned on by the Terminator.
The building would have been
demolished.
Jessica collapses into a puddle on a couch.
JESSICA
What have I done? I failed in my
marriage and now I'm screwing up my
career. I'm abusing a harmless
patient.
Dana's frown dissipates. Sitting down next to her friend.
DANA
Is it good?
JESSICA
What?
DANA
Is the sex good?
Sheepishly, Jessica nods.
DANA (CONT'D)
(with mock outrage)
You slut!
Jessica's grin grows.
DANA (CONT'D)
This is excellent! And you -- you're
not crying after?
Jessica smiles even more. Shaking her head 'no'.
-----------------------------------------------------------------------------------------------------
72.
DANA (CONT'D)
I'll take over his therapy, but you
have to help. We need to find out
what this nutbag of yours was like
before he flipped his channels.
CUT TO:
INT. COX ADVERTISING -- AFTERNOON
Walking through a busy modern office of high tech gadgets
and cubicles, a SECRETARY leads Jessica past many hip WHITE
COLLAR WORKERS and into--
INT. CONFERENCE ROOM -- CONTINUOUS
A glass conference room. Mike and Judd stop a videotape
they were watching and turn very suspicious eyes toward
Jessica. The secretary leaves them, closing the door behind.
JESSICA
Hello, I'm Dr. Kingsfield. I called
about my patient, Gavin Stark.
Neither Mike nor Judd move, both brows furrowed.
JESSICA (CONT'D)
The receptionist told me that you
two were close friends of Gavin's...
Nothing. The tension is building and Jessica nervoulsy shifts
her weight in her stance.
JESSICA (CONT'D)
I was hoping you could give me some
insight... into his personality.
Anything.
MIKE
And just how are you helping?
JESSICA
Excuse me?
JUDD
What have you done to our pal, lady?
At this point, the men are up, confronting and circling
Jessica. Like Good Cop/Bad Cop... well more like Bad Cop/Bad
Cop.
MIKE
The last time we saw him, he was a
self-help book one minute and then
he snapped and became Dirty Harry
the next!
-----------------------------------------------------------------------------------------------------
73.
JESSICA
(defensive)
Oh... well, he's suffered a brain
trauma and the emotional unrest from
his relationship has left him with--
JUDD
He told us you two were having sex!
Jessica is stunned, trying to regain control.
JESSICA
No. Uh. It's natural for a patient
to develop feelings for a counselor
when --
MIKE
Are you saying he lied?
JESSICA
No, uh--
JUDD
I know what it sounds like to lie
about getting some. I've done it
plenty of times. He wasn't lying!
MIKE
Is sex part of your therapy session?!
Jessica snaps into anger.
JESSICA
It wasn't during a session!
The outburst quiets the room. Beat.
In a flash, Mike and Judd drop the interrogation. The
confirmation of sex switches them back to grown teenagers.
JUDD
So, where was it?
MIKE
We want details.
JESSICA
I... I don't see how that will help
Gavin.
MIKE
So, was it in your office? On the
couch?
JESSICA
No!
(MORE)
-----------------------------------------------------------------------------------------------------
74.
JESSICA (CONT'D)
(giving up)
After a dinner, we returned to my
house...
JUDD
Oh, this is hot.
JESSICA
Gavin seems to have developed a
pattern of repeating situations that
he has seen on television.
MIKE
Role-playing. I like it.
The boys are quite smitten with the tale.
JESSICA
I... I didn't realize it at the time,
but he was behaving as if he was Dr.
Roy.
JUDD
And you got off on that, right?
Sexy.
MIKE
And so when he was the rough cop...
you two..
JESSICA
No. He... he had 'somehow' seen
Gone With The Wind, and as he was
Rhett... I was his Scarlet.
MIKE
That's hot.
JUDD
I just came.
And with that not-exactly-serious exclamation...
DISSOLVE TO:
INT. CONFERENCE ROOM -- LATER
Mike, Judd and Jessica are now seated at the conference table.
Mike pours her a cup of coffee.
JUDD
So, what can we do?
-----------------------------------------------------------------------------------------------------
75.
JESSICA
Help him reconnect with the man he
was. Are there things he was
emotionally invested in here at work?
Perhaps old ads that you and Gavin
created?
Mike shakes his head.
MIKE
He hates his job. Our main client
is Phillip Morris. We make all their
teen anti-smoking commercials.
JESSICA
That's a noble cause.
JUDD
You don't know what they make us do.
(to Mike)
Pull up that last spot we had to
make.
Mike pulls a large remote from across the table. Punching
buttons, a screen lowers along the wall. A projector turns
on.
ON THE SCREEN
EXT. SCHOOL YARD - AFTERNOON
IN BLACK AND WHITE, a small click of young attractive TEENS
light up some cigarettes. The boys in the group start tossing
around a football.
The camera whip pans to another side of the playground, where
two AVERAGE LOOKING KIDS - BOY and GIRL watch the cool clique.
The scene features plenty of moving MTV-ish camera work, for
no apparent reason.
AVERAGE LOOKING GIRL
(with resentment in
her voice)
Look at all the cool kids smoking.
AVERAGE LOOKING BOY
Smoking doesn't make you cool. Being
yourself makes you cool.
AVERAGE LOOKING GIRL
But the cool kids are doing it?
AVERAGE LOOKING BOY
Sure, they are.
(MORE)
-----------------------------------------------------------------------------------------------------
76.
AVERAGE LOOKING BOY (CONT'D)
(suddenly serious)
But did you know that smoking could
possibly cause lung failure many,
many years from now.
AVERAGE LOOKING GIRL
My parents always talk to me about
not smoking.
AVERAGE LOOKING BOY
Yeah mine too. And I'm glad because
the more our parents tell us not to
do something...
AVERAGE LOOKING GIRL
(huge smile on her
face)
The more likely we are not to do it.
The image fades to a black graphic with Phillip Morris' logo.
VOICE OVER ANNOUNCER
Parents, talk to your kids about
smoking. Early and Often. A message
from the Phillip Morris Corporation.
The Public Service Announcement fades to black.
IN THE CONFERENCE ROOM
Mike pushes a button and the screen scrolls back up. Jessica
has a look of horror on her face.
JESSICA
No, lets not show him that.
CUT TO:
INT. GAVIN'S APARTMENT - LIVING AREA -- LATER
Mike, Judd and Jessica enter the apartment. Judd detours
back into the bedroom, while Mike and Jess step into the
still ramshackled living area.
JESSICA
There must be something from his
life he has a connection with.
Something that can help bring him
back.
She scans the apartment for anything personal.
MIKE
Hannah was his life. And she left
with most of his stuff. The tv is
pretty much all that's left.
-----------------------------------------------------------------------------------------------------
77.
JESSICA
That could explain his devotion to
it.
Jessica bends down and examines the set. Underneath, she
sees a small pile of 4 VHS tapes.
JESSICA (CONT'D)
Any idea what's on these? They're
labeled: Savannah?
Mike stops his search through a cabinet.
MIKE
Gavin and Hannah took a trip to
Savannah last year. That's where he
proposed to her.
Jessica puts the tapes down.
JESSICA
I don't want to remind him of his
failed relationship. It could send
him spiraling further into despair.
Judd enters, empty handed.
JUDD
The bedroom's a wash. Nothing but
clothes. No pictures. Nothing.
Jessica reaches down and grabs the VHS tapes again.
JESSICA
Let me watch these. Maybe there's
something without Hannah on them.
CUT TO:
INT. JESSICA'S LIVING ROOM -- NIGHT
Gavin's in his position: on the couch engrossed by the
television. Dana and Jess watch him from the kitchen.
JESSICA
He's been okay?
DANA
Fine. I started him off on The
Bridges of Madison County and now
I've moved him on to Jerry Maguire.
He's been as sissy as Tom Cruise.
JESSICA
Good choices. Oh Dana, I'm sorry.
Has he been hitting on you?
-----------------------------------------------------------------------------------------------------
78.
DANA
Not at all. But I'm not sure you
should be here with him. He's been
muttering your name all night long.
JESSICA
We can't let him leave. He could
see something else and go on a
rampage. I can handle him. Thanks.
DANA
Call me if you have any problems.
Dana exits, and hesitantly Jessica enters the room. Gavin
turns to watch her. There's something different about him...
while not completely sane, Gavin projects a calm and normalcy
which we haven't seen.
Jessica turns off the TV. Looks to him. Gavin warmly smiles
back. A moment.
JESSICA
Hello.
GAVIN
You had me at 'hello.'
Jessica laughs, but it quickly gives way to the unease. He's
still not right. She taps her fingernails across a bookshelf.
GAVIN (CONT'D)
Is everything good?
Rolling her eyes.
JESSICA
Yes. But I was wondering if you could,
uh, head to sleep. I've got to stay
up and work on some things.
Gavin stands. Walking to her, and placing his hands on her
shoulders, gently. This is sissy Tom Cruise.
GAVIN
I missed you. I wanted to go running
through the streets to you, but the
other woman--
JESSICA
It's okay. You... you helped me the
other day. With Frank. Do you
remember that?
A wide grin tells her that he does.
-----------------------------------------------------------------------------------------------------
79.
GAVIN
When he wanted your juicer or when
he wanted your globe?
JESSICA
(relaxing)
You do remember. Good. That's a
start. Well, you helped me. And
it's time that I started helping
you.
GAVIN
Just being with you helps me. You
make me a better me.
Jessica shakes her head, but Gavin won't let her dismiss it.
GAVIN (CONT'D)
I'm serious.
JESSICA
Okay, well I want to do more. Just
let me get to work on this project,
alright?
Gavin kisses her check again and turns to leave. Jessica
follows him, closing the door behind him.
DISSOLVE TO:
INT. JESSICA'S LIVING ROOM -- LATER
With the remote in one hand, and a pen and pad of paper in
the other, Jessica zaps the VCR. It springs to life with
scenes of Hannah walking along Savannah's famous River Street.
ON THE SCREEN
EXT. RIVER STREET -- SUNSET
The hand-held camera bobs as it zooms in on a smiling Hannah
licking a big ice cream cone. She giggles as the melting
ice cream drips over her chin and hands.
GAVIN (V.O.)
(with sarcasm and
heart)
Oh what a mess! What are you doing
to that beautiful face?
Hannah laughs again, and holds the cone out for the camera.
HANNAH
It's out of control. Help.
The camera gets close, then spins around as Gavin the camera
operator attempts to film them both.
-----------------------------------------------------------------------------------------------------
80.
GAVIN
Okay, let me help you with that mess.
Despite the shaky camera-work, we see Gavin leaning in and
licking the ice cream off her chin. She playfully fights
him, yet he manages to turn the cleaning into a deep
passionate kiss. This is the very picture of two young people
in love.
DISSOLVE TO:
INT. JESSICA'S LIVING ROOM -- LATER
Dressed in an oversized sweatshirt, sipping a hot cup of
coffee, Jessica sits back, pressing a button on her remote.
The image on the television sputters, then starts.
ON THE SCREEN
INT. HOTEL BEDROOM -- NIGHT
An upscale hotel chain. The camcorder shakes as it is placed
down on a nightstand. Gavin enters the shot and checks the
framing. Sitting down on the bed.
GAVIN
(calling)
Okay, I'm ready!
Hannah enters the room, quickly noticing the video camera.
HANNAH
Is this your 'big surprise'? I had
no idea you were such a kinky little
perv.
She dives on Gavin and they tumble across the bed. Gavin
leans over her, and plants a wet kiss on her lips. Hannah
playfully takes a pillow and smacks him across the head.
She cackles with delight.
After another pillow smack, Gavin rolls off the bed. Hannah
sits up holding the pillow tight for protection.
GAVIN
Oh... that's how it's going to be?
Fine. I suppose I'll just keep the
surprise for myself.
HANNAH
What surprise?
-----------------------------------------------------------------------------------------------------
81.
Out of a pocket, he holds the ring box tentatively. Then
opens to reveal the diamond ring. Hannah's hands go straight
to her face, a mixture of shock and delight.
CUT TO:
INT. JESSICA'S LIVING ROOM -- NIGHT
Jessica tears up while watching the happy couple.
GAVIN (V.O.)
Someone better with words than I
could sing you a romantic sonnet.
Someone with more money could buy a
nicer ring... But there will never
be another man who will love you as
deeply and as passionately as I.
Will you be my --
Jessica zaps the VCR, stopping the scene. With a jolt, she's
off the couch.
Diving into cabinets underneath the bookshelves, she
searches... then pulls an old VHS tape.
Jessica puts the tape into the VCR... this isn't going to be
easy.
ON THE SCREEN
EXT. RIVERSIDE -- DAY
A CROWD dressed in their Sunday best sits in rows of white
folding chairs on a wide green lawn. The image pans to
GROOMSMEN dressed in their tuxedos, who smile and goof for
the camera.
The image cut to a lazy brown river behind the groomsmen.
Then cuts to an alter of flowers and white wood lattice.
Frank beams, looking proudly up the aisle. A MINISTER stands
behind him.
The "WEDDING MARCH" starts, and a procession of BRIDESMAIDS
walk down the aisle, assuming their positions to the left of
the groom.
Then the audience stands and turns to view Jessica walking
down the green hill in a slim white wedding gown. Her FATHER
escorting her.
-----------------------------------------------------------------------------------------------------
82.
INT. JESSICA'S LIVING ROOM
A tear swells in Jessica's eye.
DISSOLVE TO:
INSERT WEDDING VIDEO
EXT. RIVERSIDE BANDSTAND -- EVENING
Frank tries to cut the wedding cake properly, but Jessica
pushes his hand down, causing a huge chunk of cake to fall
on the table. They playfully laugh.
The image CUTS to a shot of Frank and Jessica placing cake
in each other's mouth. With innocent fun, they both attempt
to smother each other with large pieces.
More laughter. Then they kiss.
DISSOLVE TO:
INT. JESSICA'S LIVING ROOM
The videotape ejects from the VCR. Jessica puts the tape
into a large cardboard moving box.
With that, she shuts the top, and duct tapes the box closed.
INT. JESSICA'S GARAGE -- CONTINUOUS
The box slides under a utility table along side other
nondescript cardboard boxes.
Jessica looks down, a look of resignation crosses her face.
Turns off the light.
CUT TO:
INT. GUEST BEDROOM -- MORNING
Gavin snores into his pillow, shaking his head awake. His
hair standing on end. Looking from side to side. He's alone.
CUT TO:
INT. JESSICA'S HOUSE HALLWAY -- MOMENTS LATER
Peeking in various doors, Gavin sees Jessica asleep in a
second bedroom. Carefully, he closes the door; careful not
to wake her.
CUT TO:
-----------------------------------------------------------------------------------------------------
83.
INT. JESSICA'S LIVING ROOM -- MOMENTS LATER
Making himself at home, Gavin steps up to his God: the cold
television set. His eyes catch a VHS tape beside the tube.
Without thinking, he places the tape into the VCR and starts
it up. Turning on the TV, he takes a seat on the couch.
ON THE SCREEN
INT. HOTEL BEDROOM -- NIGHT
Picking up the proposal, mid-stream. Gavin still on one
knee, with Hannah on the bed.
GAVIN
-bride? Will you marry me?
IN THE LIVING ROOM
Gavin's looks as if he's been punched in the gut. All the
color drained from his face.
HANNAH (V.O.)
Oh my God. Oh Gavin!
GAVIN (V.O.)
Honey, I'm dying here I need to hear
a 'yes'.
Gavin gets off the couch, slowly, painfully making his way
to the set. Staggering from the shock like a drunk man trying
to walk a straight line.
He collapses down on to the floor.
Gavin's head bounces on the carpet. Wincing in pain.
Fighting through the delirious fog, he stands again.
HANNAH (V.O.)
Of course. Yes. Yes. Of course,
I'll marry you.
Gavin turns the box off. Just barely standing. A swelling
of tears in his eyes. Welcome back to Reality... a painful
reality.
Then--
JESSICA
Gavin?
Gavin turns to the doorway, to Jessica, with sleep in her
eyes and still wearing a robe.
GAVIN
Yes?
-----------------------------------------------------------------------------------------------------
84.
JESSICA
Nothing. I thought I heard the
television.
Gavin steps away cautiously.
GAVIN
No. I... I was just talking to
myself.
Jessica eyes him suspiciously, but moves past it.
JESSICA
I was thinking today that we should
try a day without television.
GAVIN
Okay.
Jessica steps back into the kitchen. Fixing herself some
coffee.
JESSICA
(calling)
I will have to go in to work this
morning, but I was thinking that we
could meet later for lunch.
Fidgeting, Gavin looks down to the carpet.
GAVIN
I might head home then. For a change
of clothes.
Jessica sticks her head back in the doorway.
JESSICA
Promise me that you won't look at a
tv!
GAVIN
I promise.
Jessica returns to the kitchen; leaving newly reborn Gavin
in the living room. Alone.
CUT TO:
INT. DANA'S OFFICE -- AFTERNOON
Jessica lies back on the couch, a bundle of nerves. Dana
pays her no mind, open various filing cabinets and looking
through folders, then tossing them to the floor in disgust.
JESSICA
To think, he loved her so much, he
went... insane.
-----------------------------------------------------------------------------------------------------
85.
Dana doesn't lift her head out of the files, searching and
searching.
DANA
(lacking any interest)
Umm, yeah, love... it's great. But
the sex is still great, right?
JESSICA
Dana, I'm serious. I think I...
(catching herself)
Obviously, I'm still on the rebound
with Frank. My over-stressed emotions
need a release and to say I'm falling
for this guy would be silly. But,
who knows? Maybe I am?
DANA
Lasts for a couple of hours, right?
Hours?
JESSICA
Have you listened to anything I've
said?
Dana opens a second filing cabinet drawer.
DANA
You look happy. You look happy!
That's a fucking miracle. And just
from having sex with a patient.
Well, I want in on the action.
JESSICA
I'm talking to myself.
Dana smiles as she looks over another file. She's found the
one.
DANA
Do you remember that white-trash guy
from last year? The one with the
lip piercing?
JESSICA
(still on her own
train of thought)
I need to know if my feelings are
based in reality. If I can convert
him back, then I'd know if he's the
man I think he is.
DANA
(on her own train of
thought)
The pyromaniac.
(MORE)
-----------------------------------------------------------------------------------------------------
86.
DANA (CONT'D)
Hell yeah, I would ride that man.
I'd have to change the batteries in
the fire alarms.
JESSICA
Or if he even really likes me.
DANA
I even think it's Fire Safety Month.
Jessica stands, now confident in what's required.
JESSICA
You're right. I have no choice.
Jessica exits, as Dana moves on to the couch, wrapping her
arms around the file.
DANA
Yeah, the pyro. He could sure light
my fire.
CUT TO:
INT. COX ADVERTISING - MIKE'S OFFICE
Gavin walks through the cubicles as various OFFICE WORKERS
try to not stare at him. He steps into Mike's office. Judd
has his feet up on a desk.
Upon seeing Gavin, Mike is out of his chair and around the
desk.
MIKE
What are you doing here?
GAVIN
I work here. Or did? If I still
have a job, it's time to get back to
normal.
Mike leads Gavin around the desk, offering up his own chair.
Gavin plops down, rubbing his temples.
JUDD
Normal?
GAVIN
Last month, I tried to kill myself.
JUDD
Don't worry, it was about as
successful as your engagement.
-----------------------------------------------------------------------------------------------------
87.
GAVIN
Well, I lost it a bit after that...
as I think you guys know... and I've
been seeing this therapist?
MIKE
You mean 'been screwing' your
therapist?
JUDD
Nice work, my brother! We met her
the other day. Look at you, going
all schitzo and landing a honey.
Gavin buries his head in his hands.
GAVIN
I didn't know what I was doing! I
guess I flipped out there for while...
Gavin stands and walks over to the wall, which is glass and
on the other side, several employees continue to stare at
him.
GAVIN (CONT'D)
What have I done?
JUDD
Fuck that, your doc is fine!
MIKE
She's got to be good at her job too,
huh? Fixed you back to normal.
Gavin doesn't respond, looking down at the floor.
JUDD
Just your luck. She loved you when
you were bonkers, now you're back to
being sane, who knows what she'll
think.
GAVIN
Right. She... she didn't really
fall for me, did she?
MIKE
I'd say she did. And good for you.
She seems great, nicer than Hannah
ever was.
JUDD
Yeah, don't blow it with this one.
GAVIN
Blow it? But you said it yourself.
(MORE)
-----------------------------------------------------------------------------------------------------
88.
GAVIN (CONT'D)
She likes me, or rather, the insane
version of me.
JUDD
Then keep being nuts!
CUT TO:
EXT. OLYMPIC CENTENNIAL PARK -- DAY
From a STREET VENDOR, Gavin purchases two large ice cream
cones. On a bench, Jessica watches, smiling as he brings
the delights over.
JESSICA
Thank you.
Gavin's wheels are spinning... how to react?
GAVIN
You had me at 'thank you.'
Jessica lets out a sigh.
GAVIN (CONT'D)
Something wrong?
JESSICA
No, not at all. It feels good to
feel good. I just want you to be
'you.'
Gavin looks away. Still unsure how to respond.
GAVIN
I am me... You can ask anybody.
(improvising)
Like Jub-Jub here.
Gavin holds his arm out to an imaginary friend.
GAVIN (CONT'D)
Jub-Jub is a chimp... from Africa.
Jessica's face shows the wear of having to deal with Gavin's
insanity. Serious.
JESSICA
Tell me about her.
GAVIN
Who? Jub Jub's all dude.
JESSICA
The woman who broke your heart.
-----------------------------------------------------------------------------------------------------
89.
Gavin's smile vanishes.
GAVIN
She was beautiful, smart, funny...
and thank God, I'm rid of her.
JESSICA
Why?
GAVIN
Because how could I spend the rest
of my life with someone who could do
that to me? I couldn't. Her leaving
also brought about the best thing
that's ever happened to me?
JESSICA
What's that?
GAVIN
It gave me the opportunity to meet
you.
Gavin holds Jessica's hands, but she pulls them away.
JESSICA
My divorce isn't final. You've got
some issues you need to work out--
GAVIN
I just want you to know that I love
you.
With that, he leans in and plants a kiss on Jessica' lips.
CUT TO:
INT. PAROLE OFFICER'S OFFICE -- EVENING
Dana sits on the edge of her seat, opposite a stern PAROLE
OFFICER's desk, cluttered with paper.
PAROLE OFFICER
I'm still lost as to why this therapy
session can't take place here at the
ward.
DANA
Hello? The patient known as Pyro
burned down the fire station on
Chamblee. Get it, 'Chamblee'? I
need to see him in the real world.
For say, three to four hours a night --
I mean 'day.'
-----------------------------------------------------------------------------------------------------
90.
She pops a lollipop into her mouth. Delicious.
CUT TO:
EXT. JESSICA'S DOORSTEP -- NIGHT
Gavin walks Jessica up to the door, then turns her around to
face him. She hesitates to look him in the eye.
JESSICA
I did have a pleasant time... but I
want you to come in tomorrow and
meet with Dana. She's a good listener
and should be able to get you on the
right path.
GAVIN
I want to keep seeing you.
JESSICA
Maybe we shouldn't... until you're
better.
Gavin's eyes start to tear; he fights them back.
GAVIN
If that's what you want. I don't
know if I have the ability to be
alone again.
JESSICA
You'll still have Jub-Jub.
GAVIN
Who?
JESSICA
Your friend.
She motions to his left... a spot where the imaginary friend
might be. Gavin turns away.
Walking to his car, he turns back to make eye contact with
Jessica. Weak smiles are exchanged.
Gavin enters his car and drives away.
From a window, Jessica watches him leave.
DISSOLVE TO:
INT. JESSICA'S KITCHEN -- MORNING
The kitchen table is littered with letters and magazines.
Picking up each envelop: bill, bill, junk mail, bill, Jessica
stops on a plain white envelope.
-----------------------------------------------------------------------------------------------------
91.
INSERT - The return address reads: Simmons, Warren, and
Lindsay, Attorneys At Law.
Tearing the envelope open, pulling out the documents. Across
the top of the lead sheet: DIVORCE PROCEEDINGS. She drops
everything back on to the table.
The phone rings.
JESSICA
Hello?
INTERCUT:
INT. INTEROFFICE AREA
LIZ THE RECEPTIONIST
Hi Jessica, it's Liz. Is there anyway
that you could come in early today?
JESSICA
Where's Dana?
LIZ THE RECEPTIONIST
She's here with a patient, but she
said it's going to be a long session,
a couple of hours.
JESSICA
Alright, I'll come straight in.
Jessica hangs up, then picks up the legal notice again.
Flipping through the sheets, a line with an "X" for a
signature. Jessica picks up a pen, starts to sign. Then
stops, putting the pen down.
CUT TO:
INT. GAVIN'S APARTMENT - LIVING ROOM -- DAY
With the wastepaper basket in his arm, Gavin looks at the
items at the bottom.
The old toothbrush.
The long hair.
The dirty sock.
He picks up a business card,
INSERT - Jessica Kingfield, Family Psychiatrist.
Hand written in pen- Tuesdays at 11:00.
-----------------------------------------------------------------------------------------------------
92.
He turns it over, then places it in his shirt pocket.
CUT TO:
INT. INTEROFFICE AREA -- DAY
Entering the office from a backdoor, Jessica lugs a large
briefcase.
JESSICA
Hi Liz.
Liz can not hear, she's wearing headphones connected to an
iPod, moving to the music. Her back is turned and she can't
see Jessica either.
JESSICA (CONT'D)
Liz?
Liz does not respond. Giving up, Jessica walks through the
waiting room and into her office.
INT. JESSICA'S OFFICE -- CONTINUOUS
Locking the door behind her, Jessica staggers in. An
emotional wreck. Sitting down at her desk. Placing her
head in her hands.
The phone rings.
JESSICA
Hello?
INTERCUT WITH:
INT. FRANK'S NEW APARTMENT
In the ultimate, mid-life bachelor pad of bare walls and
still unpacked boxes, Frank cradles the phone between his
ear and his shoulder while eating from a can of chili.
FRANK
Jess? It's me.
JESSICA
Frank? I received the papers
yesterday. Just give me a dayto
look over them, and I'll send them
back to you.
FRANK
I just thought I should tell you...
you were right.
-----------------------------------------------------------------------------------------------------
93.
JESSICA
What do you mean?
FRANK
About Fiona. It was just a mid-life,
seven-year-itch kinda thing.
JESSICA
And what brilliant turn of events
lead you to realize this?
FRANK
She left me. I'm all alone.
(breaking up)
I had a great life. You and me.
And I fucked it all up.
Jessica sighs.
CUT TO:
INT. INTEROFFICE AREA -- DAY
Liz the Receptionist places charts back into a filing cabinet.
Stops suddenly. She starts sniffing the air.
LIZ THE RECEPTIONIST
Hey. Does anybody smell that?
Pulling the earphones down to her shoulders, Liz takes in
the smell.
Following her nose, she finds smoke billowing under a door.
Opening it to reveal--
INT. DANA'S OFFICE -- CONTINUOUS
A growing inferno. All the walls are in flames. As is most
of the furniture.
In the middle of the blaze, under a bear skin rug, Dana and
her crazy-looking PYRO MANIAC patient snuggle on the floor.
Smoking cigarettes.
LIZ THE RECEPTIONIST
Oh my God!
Dana exhales a long puff of smoke. Turning to Pyro:
DANA
You're cured.
CUT TO:
-----------------------------------------------------------------------------------------------------
94.
INT. JESSICA'S OFFICE/INT. FRANK'S APARTMENT
Running her fingers through her hair. Grasping the phone
tightly.
JESSICA
Why are you telling me this?
FRANK
Look, I was wrong.
JESSICA
(anger)
Do you think we'll get back together,
Frank? Am I suppose to just forget
about all the pain I've suffered and
take you back? Is that it?
FRANK
I just thought... Somehow I thought
it would make you feel better to
know that I realize it now. I never
should have left you.
Unsure how to react, Jessica places her head in her hands.
Why now?
CUT TO:
INT. WAITING ROOM
Dana, Pyro and Liz gather two waiting PATIENTS up. Escorting
them toward the door.
DANA
All right people, let's move. This
is Towering Inferno.
(to Liz)
Where's Jessica?
LIZ THE RECEPTIONIST
She hasn't come in yet.
They exit.
CUT TO:
EXT. OFFICE COMPLEX -- DAY
A CROWD stands in the parking lot, pointing up to the
building.
On the 4th floor, a window of billowing flames.
-----------------------------------------------------------------------------------------------------
95.
The window shatters, sending glass down to the ground, and
flames shoot out.
CUT TO:
INT. JESSICA'S OFFICE/INT. FRANK'S APARTMENT
Still on the phone.
FRANK
I screwed up, Jess. I blew it. I
guess I'd like to know that you're
doing alright.
JESSICA
It's okay Frank. We needed this,
probably for a long time.
FRANK
I don't want you to hate me.
JESSICA
I don't hate you.
(beat)
You know what? Just saying those
words make me realize that they're
true.
ALARMS ring out.
FRANK
What's going on?
JESSICA
It must be a fire drill. Dana said
something about it being Fire Safety
Month. Look, thanks for calling.
FRANK
What? I can't hear you.
JESSICA
Good-bye, Frank.
Hanging up.
INT. STAIRWELL -- DAY
ALARMS blare out at high volume. A wave of PEOPLE race down
the stairs.
-----------------------------------------------------------------------------------------------------
96.
EXT. OFFICE COMPLEX -- DAY
Dana, Pyro and Liz assist the patients out of the building.
Leading them into the parking lot.
INT. JESSICA'S OFFICE -- DAY
Jessica packs papers into her briefcase. Stopping. Digging
through her briefcase, she finds the divorce papers. She
pulls a pen from her desk. This is final. She signs.
Drying her eyes on a tissue, Jessica gathers some papers
from her desk and makes her way to the door.
Grabbing the handle.
JESSICA
Ahh!
Shaking her hand from the burn. She uses her jacket to open
the door.
A wall of flames blocks her path. She slams the door shut.
Moving to the window, searching for a way to open it.
Impossible.
EXT. OFFICE COMPLEX PARKING LOT -- DAY
The crowd gathers a safe distance from the building, staring
up at the growing fire. A BYSTANDER shouts, pointing up to
the building.
BYSTANDER
There's somebody up there!
On the 4th floor, Jessica slams a chair against the glass.
DANA
It's Jessica!
CUT TO:
EXT. STREET -- DAY
Gavin's Miata fights through traffic. His cell phone rings,
and he pulls it to his ear.
GAVIN
Hello?
INTERCUT WITH:
-----------------------------------------------------------------------------------------------------
97.
INT. JESSICA'S OFFICE
JESSICA
Gavin! Are you near a TV?
GAVIN
No, I'm driving in to see your partner
for my session.
JESSICA
Look, I need you to stop. Find a
television. Look for -- the movie
Backdraft or... anything!
GAVIN
What's wrong?
(beat)
Jessica? Jessica?
Gavin looks at the cell phone. Trying again.
GAVIN (CONT'D)
Jessica, are you still there?
Nothing.
Gavin throws the cell phone down into the passenger seat.
Jerking the wheel hard, he pulls his car into --
EXT. OFFICE COMPLEX PARKING LOT -- CONTINUOUS
The parking lot is crowded with people looking up at the
flames.
Gavin jumps out of his car, and fights through the crowd.
Seeing Dana.
GAVIN
Jessica's in there!
Dana smacks him on the back of his head.
DANA
Get in there and rescue her you big
boob!
Gavin shakes his head.
GAVIN
It's too dangerous. I wouldn't know
what I was doing. It would be insane.
Dana spins Gavin around, looking him squarely in the eye.
-----------------------------------------------------------------------------------------------------
98.
DANA
It'd be 'insane'? Excuse me, Mr.
Fantasyland. Everybody on this
miserable planet has their heart
broken at one point or another. And
you know what they do: they get over
it and start searching for someone
else to share their miserable life
with. You know what I call 'insane'?
Getting lucky enough to find somebody
special like Jessica. Somebody that
you could spend the rest of your
life with, and yet not being there
for them when they need you to most.
Gavin looks up to Jessica screaming at the window.
He runs toward the building. Gavin throws a door open and
charges in.
Pyro steps behind Dana, giving her a big bear hug.
DANA (CONT'D)
(sigh)
I can't believe he fell for that
load of crap.
(to Pyro)
You know, next time, how about a
little anal?
INT. JESSICA'S OFFICE
Jessica slams her chair against the window, but it won't
break. She pounds against it. Screaming.
INT. STAIRWELL
Filled with smoke, Gavin rushes up, coughing and covering
his eyes.
INT. JESSICA'S OFFICE
The door has begun to blister and burn. Flames build under
the crack.
Seeing this, Jessica slams the chair harder against the
window, finally showing signs of cracking.
-----------------------------------------------------------------------------------------------------
99.
INT. WAITING ROOM
Gavin kicks open the door, but the room is a wall of flames.
GAVIN
This is nuts.
Pulling his jacket off, he covers his head and hands, running
through the inferno.
INT. INTEROFFICE AREA
Jumping and avoiding the burning areas, Gavin reaches the
door to Jessica's office. He kicks. Nothing.
Kicks again. Nothing. It won't budge.
GAVIN
Jessica!
INT. JESSICA'S OFFICE
Finally cracking and bending the shattered glass outward,
Jessica slams the chair again.
GAVIN (O.S.)
Jessica!
Turning, she runs to the door.
JESSICA
Gavin?!
INT. PSYCHIATRIST INTEROFFICE AREA
Surrounded in flames, Gavin hits the burning door with his
jacket. Fighting the fire.
GAVIN
Stand away from the door! I'm coming
in!
INT. JESSICA'S OFFICE
Jessica stumbles backward to her desk. She grabs a cup of
coffee. Moving to the door. Tossing it on the flames. It
does nothing.
-----------------------------------------------------------------------------------------------------
100.
She walks back to a small coffee maker on a shelf and grabs
the pot. Moving back to the door.
JESSICA
I can try to put it out with--
The door shatters into a million pieces as the large globe
burst through.
Gavin kicks down the remaining pieces and runs to hug her.
Jessica runs to him, forgetting the coffee pot still in her
hands.
They smash into each other; the coffee pot explodes up in
the air spilling a quart of coffee over them.
Gavin pulls her in, embarrassing her deeply.
They separate, slowly looking into each other's eyes.
Finally, Gavin sees what's happened to her outfit: stained
with coffee.
GAVIN
Oh, I'm sorry. I've ruined your
blouse.
JESSICA
Don't worry about it, I've got another
shirt down in my car.
GAVIN
My apartment's just around...
He stops and wraps her in a tight hug.
GAVIN (CONT'D)
Are you okay?
JESSICA
I'm fine. I'm fine.
(kissing him)
Oh God. Thank God, you watched some
stupid superhero movie. You braved--
Gavin moves backward, out of Jessica's hold. Serious.
GAVIN
I... I didn't watch any tv.
JESSICA
I don't remember Jerry Maguire ever--
-----------------------------------------------------------------------------------------------------
101.
GAVIN
(interrupting)
I suppose I should have told you...
but at your house, you had that old
tape of Hannah and me. It hurt to
see it again... but I'm back to being
myself. My heartbroken and depressed
self.
JESSICA
But you... you came up here? Through
the fire.
GAVIN
Yeah, well... I guess you do crazy
things when you're in love.
JESSICA
Love?
GAVIN
I can't think of any other reason
why I'd rush into a burning building.
Jessica moves to the couch, a guilty look on her face.
JESSICA
I hope you don't feel like I took
advantage of your situation.
Gavin sits down next to her, rubbing his hand against her
check.
GAVIN
No. In some ways, our relationship
is probably healthier than the one I
was just in. Most women won't come
right out and tell you what they
want. You didn't just tell me, you
showed me.
JESSICA
Too many relationships are built
around this crazy guessing games of
does he like me, does he want to do
this or that. I find it can create
problems the longer a relationship
lasts.
They both let out a mutual sigh: this has been a wonderful
therapy session.... As the walls on either side of them begin
to light up with flames.
GAVIN
If we get out of here alive, would
you be interested in us, you know,
continuing to see each other?
-----------------------------------------------------------------------------------------------------
102.
JESSICA
Oh, yes! Of course.
(beat)
You mean in a relationship, right?
GAVIN
Yes, in a relationship.
He leans in and gives her another long passionate kiss.
They smile, lost in each others eyes.
So lost, that they don't notice --
A crew of FIREMEN stand in the doorway, watching.
FIREMAN #1
No rush, when ever you guys are ready.
They both laugh.
CUT TO:
EXT. OFFICE COMPLEX -- LATER
The doors open wide and the crowd gathers round, cheering.
Jessica smiles in the sunlight, as we pull back to reveal--
She's being carried in the arms of Gavin, soot and ash
covering his face.
The crowd lets out a cheer. Dana, Pyro and Liz jump with
joy. The two ladies run forward and hug their friend.
News camera crews rush up, fighting for the best angle on
the rescued couple.
Why... it could be a scene from a movie.
CUT TO:
INSERT - TELEVISION IMAGE
NEWSCASTER (V.O.)
...daring rescue of two people trapped
in the fire.
A newscamera view of the previous scene. Gavin places Jessica
down. A second fireman runs up and places a blanket around
them.
CG: Rescued Couple/Dunwoody Office Fire
-----------------------------------------------------------------------------------------------------
103.
INT. JESSICA'S LIVING ROOM -- NIGHT
Jessica walks in from the kitchen, carrying a bottle of wine.
JESSICA
Gavin, I don't know if you should be
watching TV. I wouldn't want you to
fall into a relapse and start
emulating something else you saw on
television.
Gavin grabs her, pulling her down on the couch.
GAVIN
Too late.
With that, he pulls her face close, then goes in for a kiss.
Which mimics--
INSERT - TELEVISION IMAGE
Gavin kissing Jessica on the front steps of the burning
building.
Back on the couch, as she kisses Gavin, one hand searches
the coffee table. Finding the remote, she switches the
television off.
FADE OUT: