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ALL SCRIPTS



                         

                         

                                         MARGARET

                         


                                        Written by

                                     Kenneth Lonergan





                                                   November 20, 2005

                         

          1 EXT. MANHATTAN. BROADWAY. UPPER 70S. DAY. 1

          From across Broadway we see a little girl waiting at the
          curb. She steps off the curb toward us --
          A TRUCK BARRELS into frame -- The long lens' flattened
          perspective makes it look like she's just been crushed. But
          the truck flashes by and she's fine. More traffic passes to
          and fro through the frame.

          CREDITS BEGIN OVER:

          2 EXT. ANOTHER CORNER. DAY. 2

          The LIGHT CHANGES and a crowded corner full of New Yorkers
          step off the curb and into the crosswalk -- Before the first
          foot lands on the street we go to SUPER SLOW MOTION as the
          mid-day work crowd crosses the street.

          3 EXT. NEW YORK CITY STREETS. DAY. 3

          MONTAGE -- Slow motion shots of New Yorkers, mid-day, all
          kinds, going all different ways, all over the city.
          CREDITS END with some high school kids with book bags,
          walking among the crowds.

          4 INT. HIGH SCHOOL CLASSROOM. DAY. 4

          An 11th-grade math class at the Ralph Waldo Emerson School,
          one of the few remaining Manhattan '60s-inspired progressive
          schools. About twenty kids, mostly white secular Jewish. A
          sprinkling of black and Hispanic kids.
          The teacher, MR AARON, late 20s, is returning test papers.

                         MR AARON
          Abrams... Allende...
          One after the other the students get up to collect their
          tests, glance at the results and drag themselves back to
          their chairs.
          On LISA COHEN, just 17. Not the best-looking girl in her
          class but definitely in the top five. She listens listlessly,
          somewhat bad-temperedly.

          MR AARON (CONT'D)
          Bernstein... Cohen...
          At "Cohen" LISA gets up and heads for the desk.
          LISA'S POV, closing in slowly on MR AARON who glances up at
          her as she approaches. Their eyes meet. Aaron has the classic
          handsome young teacher's no-nonsense expression on his face
          as she reaches out her hand --

                         

                         

                         

                         
           2

                         4 CONTINUED: 4

                         LISA
          Thank you, Mr Aaron.
          She walks back. On her test he's written: B- "SEE ME1"

          5 INT. HIGH SCHOOL CLASSROOM. DAY. LATER. 5

          AFTER CLASS -- The last students go out as Mr Aaron gestures
          for Lisa to take a seat.

                         MR AARON
          Take a seat, Lisa. I just wanna talk about
          your test for a minute.

                         LISA

                         (SITTING)
          Sure.

                         MR AARON
          Now...I know you had a little help...

                         LISA
          Well -- I mean -- I didn't cheat, if that's
          what you mean.

                         MR AARON
          I'm just saying I know you had a little
          help.

                         LISA
          A lot of people did.

                         MR AARON
          Be that as it may --

                         LISA
          I mean I'll take it over again if you want,
          but like, what would be the point?
          It's not like I'm ever gonna actually need
          to know this stuff in my daily life...

                         MR AARON
          Well, Lisa, that's just not necessarily
          true. Haven't you ever developed an 
          interest in something you didn't initially
          think you were going to develop an interest
          in?

                         LISA
          Um, no, not really.

                          
          Mr Aaron looks down for a moment to hide his amusement. Lisa
          looks at him with secret adoration. He looks up.

                         

                         

                         

                         
           3

                         5 CONTINUED: 5

                         LISA (CONT'D)
          Anyway, it was open book. So what's the big
          difference-between using a book and like, I
          don't know, using somebody else's mind
          who's like, really good at math? It's not
          like this person did the whole test for me.

                         MR AARON
          Oh no?

                         LISA
          No. I did some of it.
          She smiles at him. He is no longer smiling back.

                         MR AARON
          Well, next time I'd appreciate it if you
          did all of it. OK?

                         LISA
          You are so fair.

          6 INT. SCHOOL HALLWAY. DAY. 6

          TRACKING LISA from behind as she walks through the halls past
          her fellow students. She walks through a door --

          7 EXT. ALLEY. DAY -- CONTINUOUS. 7

          -- where kids are smoking. Lots of butts on the ground. The
          walls covered with graffiti. Lisa goes to her friend BECKY 
          and takes out her cigarettes. A kid named KURT smokes nearby.

                         BECKY
          What did he say to you?

                         LISA
          Nothing. . .Mr Aaron and I have an
          understanding about my math problem.
          Becky laughs. Lisa laughs.

                         LISA (CONT'D)
          He is so appealing.
          A long-haired kid comes out, followed by a somewhat preppier
          girl, KIRSTEN, and her look-alike friend LESLIE.

                         KIRSTEN
          OK, Mr Ferrar is such an asshole.

                         KURT
          What'd he do, call on you?

                         KIRSTEN
          Fuck you., Kurt.

                         

                         

                         

                         
           4

                         7 CONTINUED: 7

                         LESLIE
          Kirsten is really upset.

                         KURT
          I'm sorry.

                         KIRSTEN

                         (TO LESLIE)
          Let me have one of those, will you?
          Leslie gives Kirsten a cigarette and lights it for her.

                         BECKY
          Kirsten, I didn't know you smoked.

                         KIRSTEN
          I don't. -I'm just really angry. (to Leslie)
           Check out what he. said to me last week.
          She drops her voice. They whisper and then both laugh. Lisa
          watches them.

                         LESLIE
          Are you serious?
          Lisa overhears MONICA, an elegant 12th-grader, talking to
          some other girls seated on the steps.

                         MONICA
          .I just don't think you can really know a
          guy until you've slept with him.
          Lisa, listening, is not so sure, but wouldn't know.

          8 INT. AMERICAN HISTORY CLASS. DAY. 8

           The class is taught by two teachers; MR KLEIN, 50s, and MR 
          LEWIS, 30s. On the blackboard are scrawled the words 
          "STRIKERS" "PINKERTONS" and "PREZ. McKINLEY."

                         KLEIN 
          .So the President of the United States,
          William B. McKinley, authorized the use of
          private detectives to break the strike, and
          they went out there and shot them down!
          Just like they did in Virginia, just like
          they did in Pennsylvania. Because they did
          not care! They did not care!

                         LEWIS
          (low, rumbling)
          And that's basically it-That's basically
          all there is to say.

                         KLEIN
          All right? Go ahead, uhhhhh: Becky.

                         

                         

                         

                         
           5

                         8 CONTINUED: 8

                         BECKY
          Well, Mr Klein...I mean, was there ever a
          good President of the United States?
          There is some laughter from the students.

                         KLEIN
          I don't know, Becky. I think that's a good
          question. What do you think? You. Lionel.
          What do you think? Did we ever have a good
          President?

                         LIONEL
          Um...I don't know. I guess most of them
          have just been totally corrupt.

                         - LEWIS
          Lisa?

                         LISA
          Can I just say, I'm not necessarily like a
          big fan of all the Presidents of the United
          States, especially the current one, but I
          still don't think its necessarily all that
          useful to categorize every President as
          universally corrupt, because that just
          seems very general to me. Especially if
          you're going to judge them by the standard
          of -- whatever they're supposed to
          traditionally be like in some mythical
          version of America that probably never
          existed to begin with.
          ANTHONY, an intellectual smart-ass, leans back in his chair.

                         ANTHONY
          Lisa has raised a salient point.
          There are some laughs from the class.

          9 EXT. SCHOOL. DAY. 9

          School is letting out. LISA walks away from the building. A
          short energetic kid named DARREN falls in step with her.

                         DARREN
          Hey, how'd you do?

                         LISA
          Oh hey Darren. It was fine. Thank you so
          much.

                         DARREN
          So he didn't give you a hard time or
          anything?

                         

                         

                         

                         
           6

                         9 CONTINUED: 9

                         LISA
          Well, he knows I'm not planning to like, go
          into Mathematics or anything...He was
          totally cool about it. He's so cool.

                         DARREN
          Oh yeah, everybody loves Mr Aaron.

                         LISA
          What's that supposed to mean?

                         DARREN
          Nothing. The man is very lovable.
          They stop at the corner.

           - DARREN (CONT'D)
          What are you doing now?

                         LISA
          I was gonna go look for a cowboy hat.

                         DARREN
          Why would you want to buy a cowboy hat?

                         LISA
          Because my Dad is supposed to take me and
          my brother to this ranch in New Mexico to
          go horseback riding, and I don't think it
          would be right to appear on horseback in
          New Mexico without the appropriate
          equestrian paraphernalia, Darren. You
          wouldn't understand these things.

                         DARREN
          That is a definite possibility.

                         LISA
          Anyway... Thanks again...

                         DARREN
          Before you venture forth on your bizarre
          quest for a cowboy hat...?

                         LISA
          Yes, Darren?

                         DARREN
          .what are you up to later? Like tonight.

                         LISA
          I don't know.

                         DARREN
          You wanna go to a movie?

                         

                         

                         

                         
           7

                         9 CONTINUED: (2) 9

                         LISA
          What do you mean, like on a date?

                         DARREN
          No, not on a date, just go to amovie.
          I don't know if it's a fucking date!

                         LISA
          All right. Calm down. What do you wanna
          see?

                         DARREN
          I don't know, I don't even know what's
          playing! I don't know if it's a date!
          Let's just forget it! I hate the fuckin'
          movies anyway. They're just bullshit.

                          
          They're all bullshit!

                         LISA
          OK, take it easy, I was just asking! I'm
          sorry!

                         DARREN
           What if it was a date, anyway? Would that

                          
          be so horrendous?

                          LISA 
           Oh my God. Are you like -- are you asking 
          me out? (Pause) Are you? (Pause) Hello...?
          Earth to Darren.

                          

                         DARREN
          I don't know. Yeah. I mean...I feel like
          we're already really close...

                         LISA
          Oh my God...

                         DARREN
          .and I think we'd be a really good match -
          - What?

                         LISA
          Nothing. This is -- Nothing.

                         DARREN
          So -- Yeah. I would. I mean, yes. I am.

                          
          Yes I am.

                         LISA
          Wow. I mean -- I am really flattered. But I
          would definitely not want to do anything to
          mess up our friendship.

                         DARREN
          I view this as a way of strengthening our
          friendship.

                         

                         

                         

                         
           8

                         9 CONTINUED: (3) 9

                         LISA
          It would definitely change it... 

                         DARREN 
          I know: It's a fairly dangerous move. 

                         LISA 
          Well...I would definitely have to think 
          about this... 

                         DARREN 
          Absolutely. Give it some thought. 

                         LISA 
          OK, I will. 
          Pause. He is looking at her like he wants something.

                         LISA (CONT'D) 
          Why do you look like that?

                         DARREN
          Like what?

                         LISA
          What do you want from me?

                         DARREN
          Not a thing!

                         LISA
          All right. I'll see you later.

                         DARREN
          All right.
          She turns and walks away, pleased by the conversation.

          10 EXT. LISA'S STREET -- WEST '80S. DAY. 10

           Lisa walks down her street and lets herself into the prewar 
          apartment building.

          11 INT. COHEN APARTMENT. DAY. 11

          She lets herself into the narrow apartment. A long hall
          covered with framed pictures, photographs and play posters
          opens onto a cramped living room crammed with books, plays,
          and magazines. A stereo, TV and computer are stuck in the
          corners. Beyond this is the kitchen and another hallway
          leading to the bathrooms and bedrooms.

                         LISA
          Hello...!
          Lisa drops her bag-and goes into the kitchen. She opens the
          refrigerator. Her brother CURTIS, 11, comes in.

                         

                         

                         

                         
           9

                         11 CONTINUED: 11

                         CURTIS
          Hi.

                         LISA
          Is Mom home?

                         CURTIS
          She went to the store.
          Lisa gets out some cold pizza and sits down with it.

                          CURTIS (CONT'D)
          Use a plate.

                         LISA
          Don't be such a little fuckin' goody two-
          shoes. -

                          CURTIS
          Fuck you.

                          LISA
          Please don't say "fuck," Curtis.

                         CURTIS
          You just said it.

                         LISA
          Yeah, that's because I know what it means.

                         CURTIS
          So do I.

                         LISA
          Uh, no you don't, Curtis. Take my word for
          it.

                         CURTIS
          What does it mean?
          She looks at him and speaks very slowly and deliberately.

                         LISA
          It's when a man puts his penis inside a
          woman's vagina and moves it around really
          fast until they both have an orgasm and he
          ejaculates sperm inside her body.
          Pause.

                         CURTIS
          No it's not.

                         LISA
          Yes it is.

                         

                         

                         

                         
           10

                         11 CONTINUED: (2) 11

                         CURTIS
          Gross.

                         LISA

                         (RESUMES EATING)
          It is gross.
          She eats. He watches her.

                         CURTIS
          Do you want to play a game?

                         LISA
          No.

                         CURTIS
          Please!

                         LISA
          I don't feel like it, Curtis. Quit bugging
          me.

                         CURTIS
          Can I have some pizza?
           She gives him a piece of pizza. He sits. They eat together. 

          11A INT. LIVING ROOM. DAY. 11A 

           Curtis is practicing the piano. 

          12 INT. LISA'S MOTHER'S BEDROOM. 12

          Lisa, on her cell phone, rummages in her mother's bureau.
          During the following she finds a small supply of cash and
          steals forty dollars.

                         LISA
          (On the phone)
          What are you up to tonight? . Nothing: 
          Darren wants me to go to the movies with
           him. You want to come? I guess around
           eight?

          13 EXT. BROADWAY. DAY. 13

           POV LISA: slowly passing by Broadway clothing store windows.
           No cowboy hats. She walks down Broadway window shopping,
           enjoying herself.

          14 EXT. ANTIQUE CLOTHING STORE. DAY. 14

           Through the window, we see Lisa talk to the pretty, mid-20s 
           SALESGIRL with an embroidered cowboy hat. 

          14A TIME PERMITTING 14A

                         

                         

                         

                         
          11

          15 EXT. BROADWAY. DAY. 15

          As Lisa slowly passes-by and looks in various store windows.
          She stops and looks at some shoes.
          REFLECTED IN THE WINDOW, behind her, a city BUS pulls up to a
          bus stop and wheezes as the doors open.

          16 EXT/INT STREET/BUS. SIMULTANEOUS. 16
           The BUS DRIVER is wearing a cowboy hat. He is in his 30s and
          kind of good-looking. Past the disembarking passengers we see
          Lisa's back as she scans the shoe store.
          ON LISA -- She turns around and sees the Bus Driver. She sees
          his cowboy hat and just as the doors shut --

                         LISA

                         (TO DRIVER)
          Hey!
          The bus lurches away. Lisa takes off after it.
          IN THE BUS -- CLOSE on the Bus Driver, oblivious to Lisa, who
          we can see out the door and window, falling behind.
          ON THE STREET -- The bus falls behind a slow-moving car and
          Lisa catches up.
          IN THE BUS -- Lisa appears at the bus doors, waving and
          calling out. The Bus Driver sees her, smiles and waves back.
          ON THE STREET -- Lisa is running alongside the bus.

                         LISA (CONT'D)
          Hey! Where'd you get your cowboy hat?
          IN THE BUS -- The Bus Driver can't hear her, but smiles at
          her with good-natured flirtatiousness.
          ON THE STREET -- The LIGHT at the curb turns YELLOW.
          THE SLOW-MOVING CAR in front of the bus floors it to make the
          light.
          THE BUS DRIVER sees his way is clear and steps on the gas.
          He turns and waves goodbye to Lisa. She points at her head
          and then at him. He smiles, not quite getting it.
          The LIGHT turns RED.
          Still looking at Lisa, the BUS DRIVER lifts the hat off his
          head in a farewell salute as.--
          LISA sees the bus pass under the RED LIGHT --

                         

                         

                         

                         
           Goldenrod Revised 10/23/05 - Page 12

                         16 CONTINUED: 16
          An Upper-West Side WOMAN, 40s or 50s (Later identified as
           MONICA PATTERSON) holding some grocery bags steps off the
          curb between two cars to cross Broadway.

                         VERY FAST:
          THE BUS DRIVER turns his head to look straight forward.
          POV BUS DRIVER -- Monica is directly in front of him.
          POV MONICA -- The bus roars up at her.
          THE BUS DRIVER slams on the BRAKES.
          POV LISA -- Monica is clipped by the huge bus and pulled
          tumbling underneath.
          LISA SCREAMS. Pedestrians all over turn around.
          MONICA is pulled and crunched in a horrible twisting tumble.
          Everything stops.
          TRACKING LISA fast as she runs across the street toward the
          accident. As she gets closer she sees Monica's leg sticking
          out from under the bus.
          Then with some confusion, she realizes that Monica herself is
          right in front of her, and that her blood is spreading
          everywhere. Monica is reaching out vaguely, unable to speak.
          She is making choking sounds.
          Lisa stands over her for a second, frozen. She crouches down
          and tries to do something but doesn't know what to do, where
          to put her hands. Other people start converging.
          IN THE BUS -- The Bus Driver puts the bus in Park, opens the
          door and rushes out.
          WE TRACK him as he comes around to where a crowd has already
          formed. He hangs back on the outside, but we break through
          till we find LISA kneeling next to the disoriented MONICA,
          holding her hand. They are both covered in blood. Several
          other people are shouting and talking all at once.

                         1ST MAN
          Somebody call an ambulance! Call an
          ambulance! Everyone calm down!

                         KID
          I'm calling one right now...!
          The Kid is already dialing his cell phone. Other people are
          doing the same.

                         2ND MAN
          Get an ambulance!

                         

                         

                         

                         
           Salmon Revised 10/23/05 - Page 13

                         16 CONTINUED: (2) 16

                         1ST MAN
          Someone's calling one!

                         LISA
          Ma'am, can you hear me? Can you hear me?

                         MONICA
          I don't know. Where am I? What is going on?

          LISA 1ST MAN
          You're on Broadway and 75th Don't try to talk!
          Street in New York -- You You don't have to talk.
          were in a bad accident --

                         2ND MAN
          Never mind, let her talk!

                         MONICA (CONT'D)
          Who are you?

                         LISA
          My name is Lisa.

                         MONICA
          Am I dead?

                         LISA
          No, you're not dead. You were in a
          traffic accident, but you're gonna be OK --

                         MONICA
          What do you mean? What happened?

                         LISA
          You were run over by a bus.

                         MONICA
          You've got to be kidding me. A bus?

                         LISA 

                          

                         (ALMOST LAUGHS)
          Yeah -- ! 1ST MAN
          Is anyone'a doctor? Could
          MONICA we get a doctor?

                          
          So where am I now? Who are you?

                         2ND MAN
          LISA Is there a doctor anywhere? 

                          
          We're on Broadway and 75th Street.
          You don't know me -- 1ST MAN
           We're in the middle of the
          MONICA Upper West Side and there
          I don't understand. Is it still are no doctors?

                          
          happening?

                          

                          

                         

                         

                         

                         
           Salmon Revised 10/23/05 - Page 13A

                         16 CONTINUED: (3) 16

           LISA 2ND MAN
           No -- I mean yes -- The accident All right, never mind. 

                          
          is over, but I think you're a
          little confused --

                         MONICA 

                          
          I'll say I'm confused.

                         

                         

                         

                         
           Goldenrod Revised 10/23/05 - Page 14

                         16 CONTINUED: (4) 16

                         1ST MAN
          Here, lemme try to see if I can -- 
          He tries to detach Lisa's hand from Monica's.

                         MONICA
          NO! Don't let go of me!

          LISA 2ND MAN
          I'm not, I'm not gonna She needs a tourniquet or
          let go -- she's going to die.

          MONICA 1ST MAN
          Don't let go of me! OK, let me just -- Jesus 
           Christ! 

                          2ND MAN 
           Oh my God! 

                         MONICA (CONT'D)
          Oh my God what's happening to me!

          LISA 1ST MAN
          You're gonna be all right! I'm sorry! I'm just
          The ambulance is on its way! trying to -- we're trying
          Just hold on until they get to put a tourniquet on you. 
          here!

                          2ND MAN
           We need to get a tourniquet 
          MONICA on you. (To 1st MAN) Do you .
          Thank you, honey. Just don't have a belt? You can use
          let go of me. your belt.

          LISA 1ST MAN
          I won't. I swear. They just I can't even see where
          to put a tournquet on you. to -- (Takes off his

                          BELT)

                          

                         MONICA (CONT'D) 
          What do you mean? Are they doctors? Who are
          they?

          LISA 1ST MAN
          No -- they're not doctors. I can't even see -
          They were just passing by.

                         MONICA
          Well, get 'em the fuck away
          from me!

                         1ST MAN
          Ma'am, we're only trying to help you!

                         2ND MAN
          Never mind that! Try it higher up. Try to 
          put it higher up! 

                         

                         

                         

                         
           Goldenrod Revised 10/23/05 - Page 14A

                         16 CONTINUED: (5) 16

                         1ST MAN
          You wanna do it? You know what to do.
          Why don't you do it?

                         

                         

                         

                         
           Goldenrod Revised 10/23/05 - Page 15

                         16 CONTINUED: (6) 16

                         LISA
          (To the 1ST MAN)
          Are you kidding me!

                         MONICA
          I can't see anything. Are my eyes open or
          closed?
          This silences everyone. Lisa looks at the 1st Man. He shakes
          his head, panicked; he doesn't know what to say.

                         LISA
          They're open.

                         MONICA
          (starts to cry)
          What do you mean?

          LISA 2ND MAN
          You were in a terrible I'll try it. You want me to
          accident! But you're try it?
          going to be fine, so
          just hang on! 1ST MAN
           Hold on a second, I think I
           got it.

                         2ND MAN
          Just put it higher up! Just move it - 

                         KID 
          Try putting it higher up!

                         1ST MAN 
          There's nowhere to put it! I can't even --
          Lisa looks at the incredible amount of blood still spreading
          everywhere, all over her, all over the street.

                         LISA

          WILL SOMEBODY CALL THEFUCKING AMBULANCE!?!

          1ST MAN 2ND MAN
          Calm down! We already called Take it easy!
          them! So just calm down!

                          LISA
          KID Well they're obviously
          I called them two minutes not coming fast enough
          ago, and somebody else so maybe you should
          probably called them too! call them again! Why
           not call them again!

                         MONICA
          Could somebody call my daughter?

                         LISA
          Sure! We can call her. What's her name?

                         

                         

                         

                         
           Goldenrod Revised 10/23/05 - Page 15A

                         16 CONTINUED: (7) 16

                         KID
          You want my phone?

                         1ST MAN
          OK, OK, hold on.

          LISA 2ND MAN -
          Tell me her name and give me You got it. Just pullit 
          her -- around. Here -- 

          MONICA 1ST MAN
          It's Lisa. It's OK --

                          

                         KID
          I got a cell phone, you want me to call
          her?

                         

                         

                         

                         
           Goldenrod Revised 10/23/05 - Page 16

                         16 CONTINUED: (8) 16

                          LISA
          It's -- No -- that's my name. Is that your
          daughter's name? 

                          MONICA 
           What? What are you talking about? 

                          LISA 
          (On 2nd "what")) 
          I'm s -- I'm not trying to be confusing.
          My name is Lisa: Is that your daughter's
          name?

                         MONICA
          Jesus Christ, would you call her? Just call
          her!

                         1ST MAN 
          I got it. I got it! 

                         LISA
          I can't call her if you don't give me
          the number --

                         2ND MAN 
          Ma'am? You're gonna be OK. 

                         KID 
          You're gonna be OK! 

                         LISA 
          What's your daughter's number? 
          Monica starts breathing a horrible rattling choking.

                         MONICA
          Oh sweetie, I don't think I'm gonna make 
          it.

                         LISA
          Oh no please hang on. The ambulance is
          gonna be here any minute!
          Monica dies.

                         LISA (CONT'D)
          Oh please hang on! Please hang on!

                         1ST MAN 
          OK. It's OK. She's gone. 
          The 1st Man tries to pull her away.

                         LISA 
          NO ! Let GO. of me !

                         

                         

                         

                         
           Goldenrod Revised 10/23/05 - Page 16A

                         16 CONTINUED: (9) 16
          She holds onto the dead woman's hand and sobs. We see the BUS
          DRIVER standing just beyond it. O.C., a SIREN wails
          irrelevantly, stuck in traffic.

          17 EXT. BROADWAY -- ACCIDENT SITE -- LATER. DAY. 17-

          There are several cop cars now, an ambulance, a police
          barrier, cops everywhere and a crowd of onlookers. Lisa is
          giving a statement to DETECTIVE MITCHELL. She is completely
          drenched in blood. Her clothes, boots,' everything. A FEW
          YARDS AWAY the Bus Driver, very shaken, is giving his
          statement to another cop (MOS), but also trying to hear what
          Lisa is saying. Lisa keeps looking over at him.

                         MITCHELL
          OK, Lisa? Lisa? I just want to ask you a
          couple of questions, OK?

                         

                         

                         

                         
           17

                         17 CONTINUED: 17

                         LISA
          OK, sure.

                         MITCHELL
          Now I want to ask you where you-were, and
          what you saw when the accident took place.
          Just tell me everything you saw, even if
          you think it might not be important. OK?
          Think of it like a movie. Like you're
          watchin' a movie in your head, and all you
          gotta do is tell me exactly what you see in
          the movie. OK?

                         LISA 
          Yes. Thank you for the -- yes. 

                         -MITCHELL
          OK? So, where were you, on the corner?
          Standing by the corner? Were you in the
          crosswalk -- ?

                         LISA
          (on 2nd "corner")
           No, I wasn't on the corner. I mean I was,
           but I was running. I was trying to catch
          the bus.

                          MITCHELL 
           OK, so you're on the corner? Northwest 
          corner? 

                          LISA 
          If that's what corner it is.

                          MITCHELL 
           So, you're standing across the street. 
          Northwest corner. 

                          LISA 
           Yes, except I wasn't standing I was 
          running. 

                          MITCHELL 
           So the bus goes by and you start running. 

                          LISA 
           No! I was already running! I was trying to 
           catch the bus and I happened to pass the 
           corner! I wasn't standing on the corner! 

                          MITCHELL
           Whoa whoa whoa whoa. Slow down a sec. So
           you're tryin' to catch the bus --

                         

                         

                         

                         
           18

                         17 CONTINUED: (2) 17

                         LISA
          (starts to cry)
          Yes! Yes! I was trying to catch the bus! I 
          was trying to catch the bus! 

                         MITCHELL
          I'm sorry Lisa, but we gotta ask you this
          while it's still fresh in your mind. I know
          this is hard for you. I'm just tryin' to do
          my job, OK?

                         LISA
          I understand! I don't mind, I'm just upset! 

                         MITCHELL 
          OK, Lisa, hang in there. You're doin'
          great. 

                         LISA
          Could somebody call my mother?

                         MITCHELL
          We already called your Mom; but I'm gonna
          have 'em put another call into your mother
          right now, OK?

                         LISA
          Yes. Please stop patronizing me.

                         MITCHELL
          I'm not tryin' to patronize you. I'm just
          tryin' to get the information down while

                          
          it's fresh in your mind. I know some of
          these questions might seem like they don't
          make a lotta sense right now --

                         LISA 
          They do make sense. Just ask me!

                         MITCHELL
          Well, that's what I'm doin'. Now: I'm gonna
          ask you: From where you're standing could
          you see the traffic light? (Pause) Could
          you see if it was red? Green? Yellow? Just
          picture it in your mind. What color was the
          light?
          Lisa looks over at the Bus Driver. He looks back at her.

                         LISA
          I guess it was green? I didn't really see 
          it. I think it was just an accident.

                          
          Behind the Bus Driver somebody moves from where they were,
          and Lisa gets a clear view of the woman's covered body.

          17A TIME PERMITTING 17A

                         

                         

                         

                         
          19

          17B EXT. UPPER WEST SIDE - LISA'S STREET. DAY.

           Lisa is being walked home by a big YOUNG COP.

                          YOUNG COP
           You go to school around here? 

                          LISA 
           Yes. 

                          YOUNG COP 
           What's that a private school? 

                          LISA 
           Yes. 

           - YOUNG COP 
           What are you studyin'? 

                          LISA 
           I don't know. 

                          YOUNG COP 
           You don't know what you're studyin'? 

           LISA YOUNG COP 
           I know what I'm studying. That don't say very 
           much about your 
           teachers...! 

                          LISA 
           American history! 

          18 INT.. COHEN APARTMENT. DAY. 18

          Curtis, watching TV, looks up as LISA comes passes through
          the room. CURTIS sees she is covered in blood.

                         CURTIS
          What happened to you?

                         LISA
          Nothing: I saw a woman get her leg cut off
          by a bus.
          She goes down the hall and into her room. JOAN, her mother,
          40s, appears from the kitchen.

                         JOAN
          Hello?

          19 INT. LISA'S ROOM. DAY. 19

          The room feels small and distorted. Odd. She starts to take
          off her blood-soaked jacket, but her purse is over her
          shoulder. She drops the purse and takes off the jacket.

                         

                         

                         

                         
           20

                         19 CONTINUED: 19
          She doesn't know what to do with it. She hangs it on the
          closet door.
          She sits on the bed and then gets up and looks at where she
          sat. There's an imprint of blood on the white bedspread.

                         LISA
          Good one, Lisa.
          She starts breathing heavily. She goes into her bathroom --

          20 INT. BATHROOM. CONTINUOUS. 20

          She kneels down next to the toilet and opens it. She waits.
          She throws up into the toilet. Joan knocks on the door.

                         JOAN
          Lisa?

                         LISA
          Just a second...!
          Joan comes into the bathroom.

                         LISA (CONT'D)
          Just a second!
          She throws up again.

                         JOAN
          Oh my God, what happened to you?!?

                         - LISA
          It's OK, Mom, it's not my blood...!

                         JOAN
          What do you mean? Whose blood is it?
          What, happened?!

                         LISA

          NOTHING!
          Joan kneels down and tries to help her. Lisa screams and puts
          her arms around her mother and cries.

          21 INT. LISA'S ROOM. DAY. 21

          Lisa is putting on a bathrobe. Her hair and body are still
          matted and streaked with blood. Joan is picking up the bloody
          clothes and boots.

                         JOAN
          I don't know if I'm going to be able to get
          these clean again.

                         LISA
          Just throw them out.

                         

                         

                         

                         
           21

                         21 CONTINUED: 21

                         JOAN
          Let me see if I can get them clean.

                         LISA

                         (STARTS CRYING)
          Whv? Just throw them out!

                         JOAN

                         (GENTLY)

          OK.

          21A OMIT 21A

          22 INT. SHOWER. 22

          Lisa stands under the faucet letting the water take the blood
          out of her hair and-hands. She looks very young and little in
          the shower, little feet and face.

          23 INT. LISA'S ROOM. SIMULTANEOUS. 23

          O.C. we hear the shower. Joan scrubs at the bloody boots.

          24 INT. KITCHEN. NIGHT. 24

          Joan, Lisa and Curtis eat dinner. Lisa has combed wet hair.
          She is very subdued.

                         JOAN
          Does anybody know who she was?

                         LISA
          I don't know. I guess she lived around
          here. She had all these Fairway grocery
          bags.

                         CURTIS
          What did they do with her leg?

                         LISA
          I have no fucking idea.

                         JOAN
          Hey. Come on...

          25 INT. LISA'S ROOM. NIGHT. 25

          Lisa is getting made up to go out. Joan knocks and comes in.

                         JOAN
          Lisa? Are you sure you don't want me to
          call in...?

                         LISA
          Oh, no thanks Mom. I mean thank you:
          That's really sweet. But I'm supposed to go
          see Becky anyway.

                         (MORE)

                         

                         

                         

                         
           22

                         25 CONTINUED: 25

                         LISA (CONT'D)
          I don't really want to sit here thinking
          about it all night. Go to work. I'll be 
          alright.
          Joan doesn't look so sure.

          26 EXT. MOVIE THEATER - UPPER WEST SIDE. NIGHT. 26

          Darren, under the marquee, sees Lisa and Becky coming toward
          him. He's not happy to see Becky.

                         LISA
          Hey.

                         BECKY
          Hey, Darren.

                         -DARREN
          Hey.

                         LISA
          Did you get the tickets?

          27 INT. MOVIE THEATER. NIGHT. 27

          Lisa, Darren and Becky sit, the light from the movie
          flickering on their faces. Darren is mad. Becky is enjoying
          their discomfiture. Lisa is having trouble concentrating. She 
          gets up and walks out. Darren and Becky look at each other --
          not sure if she just went to the bathroom or left altogether.

          28 INT. THEATER. NIGHT. 28

          An upscale Off-Broadway theater. The cast is taking a curtain
          call. Joan, the lead, is in the middle.

          29 INT. JOAN'S DRESSING ROOM. NIGHT. 29

          Joan is taking her stage makeup off. There's a knock.

          STAGEHAND (O.S.)
          Joan? You got some flowers.

                         JOAN
          Can you bring 'em in?

          30 INT. THEATER LOBBY. NIGHT. 30

          A very well-dressed, 55ish, interesting-looking man is
          waiting in the middle of the room. This is RAMON. He is
          watching Joan, across the room, say good-night to a group of
          friends and admirers.

                         JOAN
          Thank you guys so much for coming...! It
          was really great to see you...!

                         

                         

                         

                         
           2nd Pink Revised 11/17/05 - Page 23

                          30

                         30 CONTINUED:

                          A 
           She breaks away and crosses toward Ramon. He speaks with

                          
          Colombian accent.

                         JOAN (CONT'D)
          Hi -- are you Ramon?

                         RAMON
          Yes. Hello. You were wonderful -- again.

                         JOAN
          You're so sweet, thank you. And thank you
          for the beautiful flowers...!

                         RAMON
          Oh you're very welcome. I hope you didn't
          mind...

                         JOAN
          No, I'm very flattered. And you've seen the
          show before...?

                         RAMON
          Yes, two times.

                         JOAN
          Gosh. That's very -- That's a lot!

                         RAMON
          Oh no. It's a beautiful performance. And I
          think it's still in previews...?

                         JOAN
          Yeah, we're on kind of a weird schedule...

                         RAMON 
          I think you will have a big success.

                         JOAN
          Well, at the moment we're just trying to
          focus on what we're doing...

                         RAMON
          I don't know if you are busy, but will you
          allow me to -buy you a drink? There's a
          place right down the street... If you like
          to ask your friends... or if you didn't eat
          dinner...
          Joan sees Lisa sitting across the room waiting.

                         JOAN
          Oh -- No -- thank you. I can't. I'm just on
          my way home.

                         

                         

                         

                         
           2nd Pink Revised 11/17/05 - Page 23A

                         30 CONTINUED: (2) 30

                         RAMON
          OK, it's no problem. Tomorrow I'm going to
          London for a few days on business. Perhaps
          when I come back...

                         JOAN
          Um -- Well --

                         RAMON
          If it's not convenient, it's no problem.

                         

                         

                         

                         
           2nd Pink Revised 11/17/05 - Page 24

                         30 CONTINUED: (3) 30

                          

                         JOAN

                          
          No no no, it's OK, um -- Yeah.

                         RAMON 

                          
          I will send a word backstage? Or if you
          like to -- 

                         JOAN 

                          
          Oh -- no, anything's fine. I'm sorry. I

                          
          really have to go --

                         RAMON 

                          
          It's no problem.

                          

                         JOAN
          Anyway, thank you so much for the flowers!

                         RAMON
          It's a privilege to meet you. 

                          
          They shake hands. She heads over to Lisa as Ramon heads for
          the stairs to leave the theater.

                         JOAN
          I thought you were at the movies...!

                         LISA
          Yeah... It wasn't very good. Who's that? 

                         JOAN
          I don't know. He sent me flowers.

                         LISA
          Go out with him.

                         JOAN
          You think?

                         LISA
          Um, yeah...!
           Ramon disappears up the stairs. Joan and Lisa look at each 
          other.

                          JOAN
           Hi, sweetie... !

                          LISA 
          She kisses and hugs Lisa, squashing her a little. Lisa gets
          a little tearful. Joan squeezes her tighter.

          31 INT. THEATER BAR/RESTAURANT. NIGHT. 31

          Lisa is out with Joan and some of the other actors from the
          show. They are laughing and having a good time.

                         

                         

                         

                         
           2nd Pink Revised 11/17/05 - Page 24A

                         31 CONTINUED: 31

                         VICTOR

                         (TO JOAN)
          Do Shirley Temple! Shirley Temple!
          Joan does a very excellent Shirley Temple imitation.
          Everyone laughs. Lisa laughs and smiles proudly. Joan
          glances at Lisa, checking to see if this frivolity is really
          helpful or not such a good idea.

          32 INT. COHEN APARTMENT. DAY. 32

          At the door, Lisa is ready to go to school. Joan, in a
          bathrobe, kisses her goodbye.

                         LISA
          'Bye Mom.

                         

                         

                         

                         
           25

                         32 CONTINUED: 32

                         JOAN
          I love you.

                         LISA
          I love you too.
          Lisa goes out. We stay with Joan, who looks fretful.

          33 EXT. BROADWAY. DAY. 33

          Lisa walks down the street in SLOW MOTION. She passes
          through a gang of boys who hassle her as she goes by.

          34 EXT. SCHOOL. DAY. 34

          Still in slow-motion, she arrives at school. Becky, smoking
          outside, sees her and approaches, throwing away her cigarette
          as we resume normal camera speed.

          35 INT. HUMANITIES CLASS. DAY. 35

          Lisa sits in class dully. The class is reading paperbacks of
          King Lear. The teacher, JOHN, is a rather high-strung
          slightly harsh enthusiast with glasses and a beard.

                         JOHN
          Matthew, if you would read France... And
          Anthony, you read Burgundy...

                         ANTHONY
          (With mock relish)
          Ah. Burgundy.

                         JOHN
          And I guess I'm gonna hog the part of Lear
          again...

          36 INT. HUMANITIES CLASS. MOMENT LATER. 36

          John is walking back and forth, play in hand. The students
          are all reading along.

                         ANTHONY
          "Most royal majesty,
          I crave no more than hath your highness
          Offer'd, nor will you tender less."

                         JOHN
          "Right, noble Burgundy,
          When she was dear to us, we did hold her
          so; But now her price is fall'n."

          37 INT. UPPER WEST SIDE DINER. DAY. 37

           Lisa and Darren sit in the diner eating club sandwiches. Two
          NEIGHBORHOOD LADIES, 70s, sit in a booth nearby.

                         

                         

                         

                         
           26

                         37 CONTINUED: 37

                         DARREN
          If you didn't want to go to the movies
          alone with-me Friday, you could have just
          told me that. You didn't need to bring
          Becky along as your bodyguard.

                         LISA
          I didn't bring her as a bodyguard. 

                         NEIGHBORHOOD LADY 1
          Oh, he's wonderful. He drives all the way
          to see her every Saturday.

                         DARREN
          Then why did you?

          NEIGHBORHOOD LADY 2 LISA
          That's a long drive. I forgot I told Becky I
           would do something with her
          NEIGHBORHOOD LADY 1 Friday night, so I invited
          You know he has three sisters? her along. I didn't think
          The older ones don't speak. it was gonna sully our
          They haven't spoken in four- whole relationship.
          teen years.

                          DARREN (MUTTERS)
          NEIGHBORHOOD LADY 2 What relationship?
          You don't say.

                          LISA
          NEIGHBORHOOD LADY 1 What are you muttering?
          Oh that whole family's crazy.

                          DARREN
          NEIGHBORHOOD LADY 2 Nothing. I'll try to
          Fourteen years! improve my diction. (Pause)
           What's the matter?

                         NEIGHBORHOOD LADY 1
          And she has a little dog that LISA
          used to belong to the father, Nothing.
          very ugly face. But does she
          love that dog. When I saw that DARREN
          dog I says that's the ugliest Something obviously is... 
          dog I ever saw. She says
          good! Nobody'll steal him. LISA
          Everything's just fucked
          NEIGHBORHOOD LADY 2 up...
          Who's gonna steal him?

                          DARREN
          NEIGHBORHOOD LADY 1 Like what?
          Who's gonna steal him?

                          LISA
          NEIGHBORHOOD LADY 1 Just everything.
          That's what I said.

                          DARREN
          NEIGHBORHOOD LADY 2 But what specifically is
          What's the name of it? fucked up?
          NEIGHBORHOOD LADY 1 LISA (very low)
          It's called a bull terrier. Nothing.

                         

                         

                         

                         
           27

                         37 CONTINUED: (2) 37

                         NEIGHBORHOOD LADY 2
          No, what's the name of the dog?

                         NEIGHBORHOOD LADY 1
          Barnaby.
          The two ladies keep on talking.

                         LISA 
          (Very low, eyes down) 
          So...I've been thinking about your 
          suggestion...

                         DARREN
          Uh huh...?

                         LISA
          I guess I_don't think it's a very good
          idea.

                         DARREN
          Why not?

                         LISA
          I guess I don't feel that way about you.

                         DARREN
          But those kinds of feelings can develop. I 
          definitely feel like there's a connection
          there.

                         LISA

                         (VERY LOW)
          I know there is.

                         DARREN
          I just think you're scared. I'think you're
          scared of your own feelings. I think you've
          been hurt in the past by other guys and I
          think what it would feel like to have a
          real feeling is really terrifying to you.

                          
          She wipes her eyes because tears are running down her cheeks

                         DARREN (CONT'D) 
          What's the matter? (Pause) What's the 
          matter?

                          
          She won't look at him. O.C. AUDIENCE APPLAUSE takes us to:

                          38 

          38 INT.-BAR/RESTAURANT. NIGHT.

          Joan and Ramon are having a drink at a small table.

                         RAMON
          My family are from Colombia... My.father
          worked in the diplomatic service...

                         

                         

                         

                         
           2nd Pink Revised 11/17/05 - Page 28

                         38 CONTINUED: 38

                         JOAN
          Really. Wow. 

                         RAMON
          I grew up five years in Panama, four years
          in Holland, then nine years in Paris. After
          I finish university, I moved back to
          Colombia. So: when I'm speaking French,
          they think I'm Spanish. When I'm speaking
          Spanish, they think I'm french.

                         JOAN 
          And what do you do, Ramon? 

                         RAMON
          I have a company: We design computer
          software to help companies in South
          American countries.that use an incompatible
          software, so the computers can't talk to
          each other. It's a big problem in Central
          and South America, where there is not
          usually so much coordination in computer
          communications. So right now there's a big
          opportunity for us, because for the big
          software companies it's still in the
          backwoods. That's changing already, but in
          the last ten years we have done extremely
          well. It's the next ten years we're going
          to see what happens.

                         JOAN
          Uh huh? God...

          A39 INT. BAR/RESTAURANT. LATER. A39

           Joan and Ramon are leaving the restaurant:

                          RAMON
           Can I give you a lift? 

                          JOAN
           Oh -- no -- Thank you, I'm just gonna grab
           a cab, but thank you.

                          RAMON 
           May I call you sometime? 

                          JOAN 
           OK, sure, that would be great. 
          Pause.

                         RAMON 
          May I have your telephone number? 

                         

                         

                         

                         
           2nd Pink Revised 11/17/05 - Page 28A

          A39 CONTINUED: A39

                          JOAN 
           Oh my God, I'm sorry, of course. Duh! Hold 
           on a minute: Do you have a pen? 
           Ramon takes out his cell phone. 

                          RAMON 
           What's the number? 

                          JOAN 
           Um -- 212... 

          39 OMIT. 39

          40 INT. COHEN APARTMENT. NIGHT. 40

           Joan lets herself in to the dark silent apartment.

          41 INT. JOAN'S BEDROOM. NIGHT. 41

           Joan lies awake, restless. She starts masturbating. She kicks
           off the covers and hikes her nightgown up. Just as she's
           getting worked up there's a KNOCK on the door and it partly
           opens.

                         LISA
          Mom...?

                         JOAN

                         (STARTLED)
          Just a second!

                         LISA
          (opening the door)
          Can I come in?

                         JOAN
          Just one second, honey. Hold on! (covering
          herself up) Come in.
          Lisa comes in and sits on the edge of the bed.

                         LISA
          Can I talk to you?

                         JOAN
          Sure. What's up.

                         

                         

                         

                         
           29

                         41 CONTINUED: 41

                         LISA 
          How was the show...? 

                         JOAN
          It was OK. Are you all right? 

                         LISA
          Not really. 

                         JOAN
          What's wrong?

                         LISA
          Mom...I have to tell you something.

                         JOAN

          OK.

          42 EXT. NIGHT. FROM ACROSS THE STREET. SIMULTANEOUS. 42


                          
          A slow pan across the building. We pick out Lisa talking to

                          
          Joan in one little window.

          43 INT. JOAN'S ROOM. NIGHT. A MINUTE LATER. 43


                          
          They sit there. Long pause.

                         LISA 
          So what do you think I should do? 

                         JOAN
          Well...it doesn't sound like it was
          anybody's fault... 

                         LISA 
          But don't you think I should say something
          to them now? 

                         JOAN
          I don't know, sweetie. I mean, that bus 
          driver probably has a family to support
          .He could probably lose his job...So I
          think you should really think about that
          before you say anything ... You might end up 
          feeling even worse... 
          Lisa was not expecting this response and doesn't like it.

                         LISA

          OK...
          Joan isn't sure what she's done wrong.

                         JOAN

          OK...?

                         

                         

                         

                         
           30

                         43 CONTINUED: 43

          KLEIN (O.C.)
          Think of the implications of what you're
          saying!

          44 INT. HISTORY CLASS. DAY. 44

          ANGIE, a Syrian-American girl, has her hand up.

                         KLEIN
          .I'm saying what is the frame of
          reference for the average Arab on the
          street? Angie!

                         ANGIE
          Yeah, my family is from Syria? And I just
          want to say that Americans have no idea
          how much people hate them all over the
          world. OK?

                         BECKY
          We don't?

                         ANGIE
          And all my relatives in Syria think that
          what we did in Afghanistan was terrorism.
          Not to mention Iraq...

                         ANTHONY
          Syria is a theocratic military 
          dictatorship.

                         ANGIE
          Um, no it's not: Sorry.

                         ANTHONY
          Syria is not a theocratic military 
          dictatorship?

                         LISA
          Um, I think we have a pretty good idea how
          much people hate us now actually, Angie.

                         ANGIE
          No we don't.

                         LEWIS
          One at a time --

                         LISA
          They blew up our city, OK? So yeah, I think
          we have a pretty good idea, and personally
          I don't give a shit.
          There is some laughter from the class.

                         ANGIE
          You should!

                         

                         

                         

                         
          2nd Blue Revised 10/28/05 - Page 31

                         44 CONTINUED: 44

                         LISA
          -- because the people who blew up the World
          Trade Center were a bunch of sick monsters -

                         ANGIE
          Oh they were monsters?

                         LISA
          Yes!

                         ANGIE
          Why? Because they're Arabs?

                         LISA
          No, because they killed three thousand
          people for no reason.

                         KLEIN
          Hey, hey, one at a time...!

                         ANGIE
          Maybe they think they had a reason!

                         KLEIN
          LISA Hey, hey, hey!
          Like what? They didn't
          even have any demands! ANGIE
          They just wanted to kill Why did we drop bombs
          people! on innocent people in
           Afghanistan? We're still
          What do you think we doing it! Why did we
          should've have done? invade Iraq?
          THE CLASS BECKY (on "we're")
          They don't care about Because, they declared war
          civilian casualties! And on us, Angie!
          Iraq has nothing to do with
          Afghanistan! It has to do with ANGIE
          oil! No they didn't! Iraq
           didn't declare war on
          LEWIS anybody! They didn't co
          Come on guys, one at a time! anything to us!
          Anthony. 

                         ANTHONY 
          They did have a reason. 

                         ANGIE 
          Thank you.

                         ANTHONY
          They want to establish a medieval Islamic
          caliphat in the Middle East and destroy
          Western civilization.

                         ANGIE

                          
          Oh, where did you read that?

                         

                         

                         

                         
           2nd Blue Revised 10/28/05 - Page 31A

                         44 CONTINUED: (2) 44

                         ANTHONY
          It's on their website. 

                         ANGIE 
          Okay, forget it. 

                         KLEIN
          Angie!

                         ANGIE
          No! Forget it!

                         KLEIN
          Go ahead with what you were saying!

                         ANGIE
          No! Why should I?

                         

                         

                         

                         
           Green Revised 10/7/05 - Page 32

                         44 CONTINUED: (3) 44

                         LISA
          But why are you defending somebody who
          murdered three thousand people!

                         ANGIE
          I'm not! Why are you defending a country
          that unilaterally invaded two Muslim
          countries and supports the Israeli 
          occupation of Palestine?!
          The class ROARS.

                         LISA
          Oh give me a break!

                         ANGIE
          -- and drops bombs on women and children
          and then calls other people terrorists for
          doing the exact same thing!

                         KLEIN LISA
          OK -- OK -- Because it's not same
          thing!

                         ANGIE
          Yes it is!

                         KLEIN
          Lionel! Go ahead.

                         LIONEL
          Yeah, I just want to ask like, why is OK to
          drop bombs on men, but it's not OK to drop
          bombs on women and children? Isn't that
          just reverse sexism?

                         KLEIN
          I don't know. That's an interesting point.
          I agree it's a bullshit term.

                         LISA
          This is totally stupid.

                         KLEIN
          (Looking for hands)
          Uhhhhhh...Monica!

                         MONICA
          Yeah, I think this whole class should
          apologize to Angie, because all she did was
          express her opinion about what her
          relatives in Syria think about the fact
          that we bombed the shit out of a
          practically medieval culture --

                         ANGIE
          Thank you!

                         

                         

                         

                         
           2nd Blue Revised 10/28/05 - Page 33

                         44 CONTINUED: (4) 44

                         MONICA
          -- and everybody started screaming at her
          like she was defending the Ku Klux Klan!

                         LISA
          They are the Ku Klux Klan! They like to
          throw acid in women's faces!

                         MONICA ANGIE
          Who does? The Afghanistans? Why don't you drop bombs --
          Afghanies? The Iraqis? Then why don't you drop
           bombs on the Ku Klux Klan?
          LISA Because they're white?
          Yes! No! The Taliban!
          Do you wish they were LIONEL
          still there? There's six people with
          their hands raised before
          ANTHONY you, Lisa!
          The correct term is Afghans.

                         MONICA

                         (TO LISA)
          But I'm not even saying I disagree with
          you! I'm only saying I think it's pathetic
          the way people in this class treated Angie
          just for saying something they don't agree
          with.

                         KLEIN
          Because that's censorship, right? Right?

                          MONICA LISA
          Yeah! (a joke:) Right on! It's not censorship...!
           This class is not the
           ANGIE government!
          Thank you... !

                          ANTHONY
           That's not technically LEWIS
          true. It's censorship.

                         LISA
          Oh my God, no it's not!

          45 INT. COHEN APARTMENT. DAY. 45

          Lisa is sitting in the living room, ready to go out. Joan
          enters, coat on, purse in hand.

                         JOAN
          Ready?

          46 EXT. LOCAL POLICE PRECINCT. DAY. 46

          Joan and Lisa go into the station.

                         

                         

                         

                         
          34

          46A INT. LOCAL POLICE PRECINCT - INTERVIEW ROOM. DAY. 46A

           Mitchell walks Joan and Lisa into the interview room.

                          MITCHELL
           We actually work outta Highway One? Up in 
           the Bronx? So for somethin' like this we 
           just borrow a local precinct... 

                          JOAN 
           Uh huh... 

          47 INT. INTERVIEW ROOM. DAY - LATER. 47

           Lisa and Joan sit with Mitchell. 

                          - MITCHELL 
           Would you say you had a clear line of 
          vision?

                         LISA
          Yes.

                         MITCHELL
          OK, just describe what you saw to me in
          your own words?
          Lisa glances at Joan. Joan smiles at her encouragingly.

                         LISA
          She just stepped out in the street?

          48 OMIT.

          49 EXT. SANTA MONICA -- KARL'S HOUSE. DUSK.

           WIDE: A shabby bungalow house off Route 1 in Santa Monica.
          The phone is ringing inside.

          50 INT. KARL'S HOUSE/INT. COHEN APARTMENT. SIMULTANEOUS. 50

          KARL answers. He is 45ish with longish hair. A displaced.New
          Yorker who never quite calmed down. WE CUT BETWEEN THEM.

                         KARL 

                          

                         LISA 

                          

                         KARL 

                          

                         LISA
          How are you?

                         

                         

                         

                         
           35

                         50 CONTINUED: 50

                         KARL
          I'm great. I'm looking at a beautiful 
          sunset over the ocean. Doing a little 
          work. . .How are you? 

                         LISA 
          I'm OK. 

                         KARL 
          Practicing your horseback riding? 

                         LISA

                         (LAUGHS)
          Oh yeah, I'm really riding a lot. I'm
          gettin' these really bad saddle sores.

                         _ KARL
           OK. Well. I would actually seriously
           recommend you go over to, uh, to Claremont
           Stables and see about getting some lessons.

                          LISA 
           No, I was actually really thinking about 
          doing that... 

                          KARL 
           So how's everything going? How's school? 

                          LISA 
           School's OK. I'm kind of fucking up in 
          geometry... 

                          KARL 

          OK...? 

                          LISA 
           But my teacher's really cool. So I guess 
          it's not too serious... 

                          KARL 
           Yeah. Math was never my strong suit either. 

                          LISA 
           Well, I am definitely following in your 
           footsteps in that regard-How are you? 

                         KARL
          I'm fine. I'm good. Things are picking up a
          little bit, which is good. How's the
          boyfriend situation?

                         LISA 
          Oh the same. They're all kind of the same. 

                         

                         

                         

                         
           36

                         50 CONTINUED: (2) 50

                         KARL
          Uh huh? Well, next time you come out here
          I'll try to hook you up with some more
          interesting people than you seem to be
          meeting at the moment.

                         LISA
          Thanks, Dad, I don't really go for the
          California type.

                         KARL 
          Well -- I don't either, per se. It 

                          
          somewhat depends on who it is, obviously...

                         LISA 
          Hard to argue with. I think I'll stop 
          generalizing,now...! 

                         KARL
          OK. Well, that's about all on my end, babe.
          I'll give you a call in a week or two. Give
          my love to Curtis, and say hello to your
          Mom.

                         LISA 

                          
          OK, I can't wait for our trip.

                         KARL 

                          
          Yeah. I think we're gonna have a really

                          
          good time.

                         LISA KARL 
          OK. Well, I love you. .It's gonna be really fun. 
           Um -- Love you too. 

                         LISA
          Bye Dad.

                         KARL 

                          
          Bye sweetie.

                          51 

          51 EXT. KARL'S HOUSE. DUSK.

           Karl steps onto his deck. We hear the Route 1 traffic O.C.

          52 INT. LISA'S ROOM - LATER. 52

          Lisa lies on the bed next to the hung-up phone.

          53 INT. THEATER. NIGHT. 53


                          
          Joan is on stage with fellow actor victor.

                         JOAN
          It's true. Two years of college. Two years
          at the magazine. Two years with you.

                         (MORE)

                         

                         

                         

                         
           37

                         53 CONTINUED: 53

                          JOAN (CONT'D)
           (Bursts into tears) I'm kind of a two-year
           gal...! 
           IN THE LAUGHING AUDIENCE -- Lisa watches, unamused. 

          54 INT. CAB (MOVING) NIGHT. 54

          Joan and Lisa sit silently in the rattling cab.

                         JOAN
          What did you think of the play?

                         LISA
          It was OK.
          Silence.

                         - JOAN
          Well, thank you, honey. 

                         LISA
          What do you want me to say? JOAN
          I thought it was OK! Nothing! You said it!
          Next time I'll lie!

                         JOAN (CONT'D)
          Don't come next time!

                         LISA
          I won't!

          55 INT. STUDENT LOUNGE - OUTSIDE THE THEATER OFFICE. DAY. 55 

          PAUL, a droll handsome senior, is holding court, feet up on a
          desk, an unlit cigarette in his hand.

                         PAUL
          Yeah, like I would be in a movie, only I
          would be doing exactly what I'm doing right
          now: like I'd be sitting here smoking a
          cigarette, and I'd have my feet up on. the
          desk, but the camera would be on me and I'd
          just be acting, except I wouldn't do
          anything differently from how I'm doing it
          right now.
          Nearby, BECKY and LISA are looking at a poster for "Guys and
          Dolls." It says "ONLY 3 WEEKS BEFORE THIS EARTH-SHATTERING

          MUSICAL EXTRAVAGANZA HITS THE EMERSONIAN STAGE! 

                         BECKY
          I still don't get why you didn't even
          audition. You're such a good singer. 

                         

                         

                         

                         
           38

                         55 CONTINUED: 55

                         LISA 
          I still might do lights or something. But 
          I'm not gonna make a fuckin' ass out of
          myself parading around in a play so I can
          ask everyone how great I was for three
          years afterwards like my fuck-ass mother.

          56 EXT. ALLEY. DAY. 56

          Everyone is smoking. Lisa is holding forth to some girls.

                         LISA
          Did I tell you guys I saw a woman get her
          leg cut off by a bus?

                         GIRLS
          What? Really? Are you kidding?

                         LISA
          Check out my boots.

                         GIRLS
          Oh my God! What happened? Where were you?
          What did you see, etc?

                          
          Becky looks at Lisa, surprised and hurt that this is the
          first she's hearing about this.

          56A INT. THEATER RESTAURANT. NIGHT. 56A

           Joan is at a table with Ramon again.

                          JOAN
           You do know I have two kids, right?

                          RAMON 
           Yes. I'd like to meet them. 

                          JOAN
           You are really smooth.

                          RAMON 
           I would love to meet your kids. I have two 
           boys myself. I'm not smooth. (Pause) Would 
           you like to have a nightcap? 

                          JOAN
           Oh, God. 

                         57 OMITTED 57

          58 INT. BECKY'S ROOM. NIGHT. 58

          Becky and Lisa are smoking pot. They are dolled up.

                         

                         

                         

                         
           39,

                         58 CONTINUED: 58

                         BECKY
          Are you aware that things have gotten to
          the point where I now have to hear things
          about you from other people and I can't
          even correct them because I no longer have
          any first-hand information about you
          myself?

                         LISA
          What are you talking about?

                         BECKY
          Nothing. I just feel like we used to be
          really close -- like, up until a few days
          ago. And I'm not really getting that from
          you anymore.

                         LISA
          Becky. Give me a break.
          Pause.

                         BECKY
          I can't believe you just said that to me.
          That was really hard for me to say, and
          that's you response?

                         LISA
          Can we just go please?

                         BECKY

                         (SARCASTIC)
          Fine. Would you like to smoke any more of
          my pot before we leave or have you had as
          much as you want now?

                         LISA

                         (SARCASTIC BACK)
          Oh, I'd like to have a little bit more
          please.

                         BECKY 
          Fine. Get fuckin' out of my house! 

                         LISA
          Fine. But this is totally stupid because
          we're both going to the same party.

          59 INT. PARTY HOUSE -- BATHROOM. NIGHT. 59

          The door opens and we catch a glimpse of a big party in a
          brownstone full of circulating kids. LISA and PAUL cram into

                          
          the bathroom and shut the door again.
          A MOMENT LATER - She is sitting on the toilet. He is on the
          hamper unscrewing a small vial of coke-.

                         

                         

                         

                         
           40

                         59 CONTINUED: 59

                         LISA
          It's very hard to be cool under these
          circumstances.

                         PAUL
          You don't have to be cool. All youhaveto
          do is snort it up your nose. 

                         LISA
          I'll try...!
          He gives her the spoon. She snorts it.

                         PAUL
          And then you wanna do the other nostril
          because you always want to be symmetrical.
          Very important.
          She snorts some up the other nostril. Paul does some too and
          closes the vial. _

                         PAUL (CONT'D)
          Symmetry.

                         LISA
          You are so funny...! (Pause) So what do we
          do now?

                         PAUL
          Now we make out.

                         LISA
          Paul...! What about your girlfriend?

                         PAUL
          I'm sorry. It just sounded like you just
          asked me about my girlfriend.

                         LISA
          Oh, never mind...
          They make out. He immediately starts feeling her up. She
          pushes his hand away.

                         PAUL
          You're not serious.

                         LISA
          Oh... No.
          He moves his hand back. She lets him.

          60 INT. PARTY HOUSE -- STAIRWELL. NIGHT. 60

          Lisa comes down around the stairs at a mellow drunken pace.
          She sees Darren sitting by himself on the floor at the end of
          a dark hallway. She walks over' to him and crouches down.

                         

                         

                         

                         
           41

                         60 CONTINUED: 60

                         LISA
          Hey... You know I really love you, right?

                         DARREN
          Not really.
          Pause. She kisses him softly and they make out for a minute.

                         LISA
          I guess I'm not very consistent.

                         DARREN
          I don't mind.
          He kisses her again. She draws back slightly.

                         - LISA
          I gotta go home.

                         DARREN

          OK...

          61 INT. RAMON'S BATHROOM. NIGHT. 61

          Joan sits on the toilet seat naked, smoking, hair tousled, a
          little overexcited. Ramon KNOCKS. She jumps.

          RAMON (O.C.)
          Joan? Are you all right?

                         JOAN
          Yes! Fine! Be out in a sec.
          She gets up, flushes the cigarette, looks in the mirror,
          tousles her hair, snaps off the light and opens the door.

                         62 OMIT 62

          63 INT. GEOMETRY CLASS. DAY. 63 

          The. last students file out except Lisa. Mr. Aaron is erasing
          the blackboard.

                         MR AARON
          Yes, Becky? Um -- Lisa?

                         LISA
          Are you still mad at me about the test?

                         MR AARON
          What's going on, Lisa?

          64 INT. GEOMETRY CLASS - A FEW MINUTES LATER. DAY. 64

          Lisa and Mr Aaron sit at his desk.

                         

                         

                         

                         
           42

                         64 CONTINUED: 64

                         LISA
          .Because maybe my mother is right, and
          the bus driver is completely devastated as
          it is. And I'm just gonna be this little
          rich girl who calls up the cops to ease her
          conscience, and then ends up ruining
          somebody's life, when I'm the one who was
          distracting him in the first place.

                         MR AARON
           What does your being rich have to do with 
          anything? 

                          LISA 
           You know what I mean. 

           - MR AARON 
           No, I don't. 

                         LISA
          Oh my God, I don't mean literally rich. My
          Dad makes like one bad TV commercial like,
          every two years, and my Mom lives from
          like, voice-Over to Voice Over. I mean rich
          compared to the bus driver.

                         MR AARON 
          OK...But I still don't see what any of that 
          has to do with what you do or don't want to 
          tell the investigating officers about the
          accident you witnessed.

                         LISA
          Nothing, I guess. I'm sorry. When you're
          raised to be a knee-jerk Liberal you tend
          to think about these things.
          Lionel and a girl open the door.

                         MR AARON
          Lionel? Tamara? It's gonna be five minutes.

                         LIONEL 
          I just thought you'd want to know there's
          like a lot of people out here and it's 
          getting kind of hard to breathe.

                         MR AARON
          You better close that door now, Lionel.
          Lionel closes the door.

          MR AARON (CONT'D)
          All right: I have to let those guys in.
          I don't want to leave you hanging...If
          you're really hurtin'...we could get a cup
          of coffee after school...

                         

                         

                         

                         
           43

                         64 CONTINUED: (2) 64

                          LISA
           I'd do that.
           Mr Aaron sighs a little.

          64A TIME PERMITTING. 64A

          65 EXT. COFFEE SHOP. DAY. 65

           Through a window we see Mr Aaron and Lisa talking (MOS).

          66 INT. LIVING ROOM. NIGHT. 66

          Lisa is watching TV. Joan comes in dressed for the opera.

                         JOAN
          Does this-make me look fat?

                         LISA
          Um, a little.

                         JOAN
          Well, there's nothing I can do about it.

                         LISA
          Where are you going?

                         JOAN
          The opera...!

                         LISA
          Why are you going to the opera?

                         JOAN
          It turns out he's a really big opera
          fan...! Anyway, don't you think it's kind
          of fun? We should all go sometime.

                         LISA
          Uh, no thanks.

                         JOAN
          Why not? I bet you'd like it.

                         LISA
          I don't like that kind of singing.

                         JOAN
          But you like classical music.

                         LISA
          Yes. That's true. But I don't like opera
          singing.

                         

                         

                         

                         
           44

                         66 CONTINUED: 66

                         JOAN LISA
          But when have you ever -- It's like their entire reason
          for existing is to prove how
          loud they can be. I don't
          really find that all that
          interesting.

                         JOAN
          Yeah. I know what you mean. But it's not
          all like that. You like The Magic Flute.

                         LISA
          OK. I guess I'm wrong. I guess I do like
          opera singing. I just didn't realize it.

                         JOAN
          What is the matter with you?

                         LISA
          Nothing at all! Why are you pushing this? I
          don't want to go to the opera!

                         JOAN
          Yes! OK! It's called an invitation. I'm not
          pushing anything! All you have say is "No
          thanks!"

                         LISA
          I did! And then you were like, "Why not?"
          So then I told you, and then you started
          like, debating me! Like you assume I've 
          never thought this through for myself!
          Which I have! Many times!

                         JOAN
          OK, well, that was a really Contemptuous
          assumption on my part. I don't actually
          like the opera that much myself. But I'm
          trying to expand my mind. Maybe that's
          wrong! (Pause) I'm sorry. I guess I'm a
           little nervous about you guys meeting
          Ramon. 

                          LISA 
          Why? What's the big deal? Why are you so
          influenced by what me and Curtis think?
          What Curtis and I think.

                         JOAN
          Because obviously if I'm seeing somebody
          new it would important to me that you guys
          would like him and that he like you. Why
          wouldn't I be nervous about that?

                         LISA
          I guess you would. Withdrawn.

                         

                         

                         

                         
           45

                         66 CONTINUED: (2) 66

                         JOAN
          Hey...Why does everything I say annoy you?

                         LISA
          Jesus Christ, I'm just sitting here!

                         JOAN
          Here: you be me, and say anything, and I'll
          respond the way you've been responding to
          me this whole conversation.

                         LISA
          No...! 

                         JOAN
          Go ahead: say something to LISA
          me and I'll say something No! I'm not gonna do
          to you the way you say that.
          everything to me -- Why not?

                         LISA
          Because it's dumb! I'm horrible! I get your
          point!

                         JOAN

                         (LIKE LISA)
          "OK, uh, whatever."

                         LISA
          Was that supposed to be an imitation of me?

                         JOAN ("")
          "Um, OK: Withdrawn."

                         LISA
          Well, for someone who's supposed to be a 
          professional actress that's a pretty lame-
          ass impersonation of someone in your own
          family.
          Lisa shakes her head and watches the TV. Pause.

                         JOAN 
          Are you coming to my opening night?

                         LISA
          I will if I have to.
          Pause.

                         JOAN
          You're a little cunt, do you know that?

                         LISA
          Yes. You're a big cunt.

                         

                         

                         

                         
           46

                         66 CONTINUED: (3) 66

                         JOAN
          OK. Let's not start talking to each other
          that way.

                         LISA
          You just called me a cunt, Mom!

                         JOAN
          OK, I'm sorry I said that. LISA
          But if you're really Why? It's refreshing!

                         SAYING --

                         JOAN
          -- If you're really saying you're not aware
          that you've been really annoyed with me, or
          really irritable with me -- and it doesn't
          matter if_I express it exactly accurately:
          you know what I'm trying to say --!

                         LISA
          Not really.

                         JOAN
          if you're saying you're completely
          unaware of that, then I have to say I don't
          think you're being honest about it. Now
          maybe I'm doing something really horrible
          to you without being aware of it, but I
          have a show opening in two weeks, I'm very
          nervous about it, I'm seeing a new person
          and I'm obviously anxious about you and
          Curtis liking him -- whether you think I
          should be or not! -- you were involved in a
          horrible traumatic accident, you're going
          on this crazy horseback riding trip with
          your father --

                         LISA
          Oh my God!

                         JOAN
          -- which sounds like a recipe for disaster
          to me! And on top of everything else, Lisa,
          ever since I told you about Ramon you've
          been treating me like I'm insane!

                         LISA
          Um, I think you're exaggerating slightly.

                         JOAN
          Now what am I supposed to do?!

                         LISA

                         JUST -- 

                         JOAN
          What am I supposed to do?!

                         

                         

                         

                         
           47

                         66 CONTINUED: (4) 66

                         LISA
          Just stop whining about everything! It
          doesn't matter. Norte of that matters at
          all! You've been in a million plays, you
          always get freaked out because of what some
          dumb critic is gonna say about your dumb
          play, I don't frankly give a shit about
          Ramon or who you're going out with
          this week --

                         JOAN
          I never go out with anyone! LISA
          Don't talk to me that way! Right! I don't care!
          I've barely had a date in the
          last two years!

                         LISA (CONT'D) 
          But I don't care about any of this! It
          doesn't matter! Your boyfriend doesn't
          matter! Your play doesn't matter, except
          to you! I don't care about New Mexico,
          because to tell you the truth I'm probably
          not even going --

                         JOAN
          What do you mean?

                         LISA
          -- and you want to know something else,
          Mom? There are more important problems in

                          
          the world than our relationship! There's a
          whole city out there full of people who are
          dying! So who cares if I like your fucking
          boyfriend? It's so trivial! Why are you
          bothering me about all this? It doesn't
          matter!!!

                          
          Pause. The intercom buzzer buzzes. Joan hesitates.

                         JOAN
          Well -- should I have him come up now?
          Or should I have him wait downstairs...?

                         LISA
          Do whatever you want. I don't care! 

                         JOAN
          I don't even know what we're talking about.

                         LISA
          I know you don't. That's the problem.

                         JOAN
          Oh give me a break.

                         

                         

                         

                         
          48

          67 EXT. LINCOLN CENTER. NIGHT. 67

          Ramon and Joan walk toward the Metropolitan Opera House.

                         RAMON
          Everything is all right?

                         JOAN
          Oh, yeah. I'm so excited to be going to the
          opera! I don't think I've really gone more
          than one or two times!

                         RAMON
          Well, I wish it wasn't Norma but it's still
          fun to go.

                         - JOAN

                         (A JOKE:)
          What if we just went to see something else
          instead?

                         RAMON
          You don't want to hear Norma?

                         JOAN
          No -- I don't mean that. I just meant
          wouldn't it be funny if we just walked into
          one of the other events, like if we just
          went to see the Daniel Goldfarb play
          instead.

                         RAMON
          I think you will enjoy this.

          68 INT. METROPOLITAN OPERA. NIGHT. 68

           Joan and Ramon sit in the audience listening to Norma. Joan
          leans in toward Ramon and whispers:

                         JOAN
          It's beautiful...!

                         RAMON
          (smiling at her)
          Shhh.

          69 INT. LISA'S ROOM/PAUL'S ROOM. NIGHT. 69

          Lisa dials a phone number off a slip of paper. The line
          rings. WE CUT BETWEEN THEM.

                         PAUL
          (answering the phone)
          Yo.

                         LISA
          Hey, Paul.

                         

                         

                         

                         
           Goldenrod Revised 10/23/05 - Page 49

                         69 CONTINUED: 69

                         PAUL
          Hey.

                         LISA
          It's Lisa Cohen.

                         PAUL
          Yeah, how's it going?

                         LISA
          OK. (Pause) What have you been up to?

                         PAUL
          Seeing some questionable movies. Not
          deciding where to go to college...

                         LISA
          Sounds good...(Pause) So...I was just
          thinking...This is gonna sound really
          queer, but...by any chance would you want
          to meet somewhere and like, take away my
          virginity?

                         PAUL
          Um...all right.

                         LISA
          Really? God, I'm so flattered.

                         PAUL
          To what do I owe this inconceivable honor?

                         LISA
          Actually it's because of my deep passionate
          feelings for you, Paul.

                         PAUL
          That's pretty much what I figured...(Pause)
          So, do you want to come over here? Should I
          come over there...?

                         LISA
          Well, my Mom just went out for the
          evening...Except my little brother's
          getting dropped off at some point, come to
          think of it, so I'm actually supposed to be
          here when he gets home.

                         PAUL
           All right. (Pause) Do you want to give me
           your address?

                          LISA
           (blushing almost to death)
          It's 252 West 85th Street...

                         

                         

                         

                         
          Green Revised 10/7/05 - Page 50

          70 INT. DARREN'S ROOM/LISA'S ROOM. NIGHT. 70

          Darren lies on his bed, depressed. He dials the phone.

                         LISA
          (on the phone)
          Hello?

                         DARREN
          Hey. What are you up to?

                         LISA
          Hey, nothing. Writing my King Lear paper.

                         DARREN
          Really? That's impressive.

                         LISA
          Not really.

                         DARREN
          I've just never known you to be so devoted
          to your studies before.

                         LISA
          Well, I don't want to fail Humanities.

                         DARREN
          You're not gonna fail Humanities.

                         LISA
          No, probably not.

                         DARREN
          So what did you do tonight?

                         LISA
          Actually, Darren...I don't really feel like
          talking right now.
          Pause.

                         DARREN

          OK.

                         LISA

          OK?

                         DARREN
          Yeah. I'll talk to you later.

                         LISA

          OK.

                         DARKEN
          OK, bye.

                         

                         

                         

                         
           Green Revised 10/7/05 - Page 50A

                         70 CONTINUED: 70

                         LISA

                          
          Bye.

                         

                         

                         

                         
           51

                         70 CONTINUED: (2) 70
          Darren hangs up and starts crying.

          71 INT. HALL. NIGHT. 71

          Lisa, dressed up a little and wearing some makeup, opens the
          door for Paul. He's not dressed up at all. He's smoking.

                         PAUL
          Hey.

                         LISA
          Hey, come in.
          She steps aside. He passes her and comes in.

                         PAUL
          I think I-just alienated one of your
          neighbors by smoking in the elevator.

                         LISA
          Oh really? What did they say?

                         PAUL
          She basically said there was no smoking in
          the elevator.

                         LISA
          That's original...
          TRACKING them as they come into the living room...

                         LISA (CONT'D)
          So this is the living room.

                         PAUL
          Very livable.

                         LISA
          We like it...My Mom hasn't read any of
          these books, by the way.

                         PAUL
          Have you?

                         LISA
          Some of them. Not all of them.
          Paul looks at The Rise And Fall Of The Third Reich.

                         PAUL
          This book is a very cool book.

                         LISA
          Yeah, I think the Third Reich may be a
          little bit too much for me right now.

                         

                         

                         

                         
           52

                         71 CONTINUED: 71

                         PAUL
          It's pretty hard to put down once you get
          started. -

                         LISA
          Do you want anything to drink?

                         PAUL
          I'd take a beer.

          72 INT. KITCHEN. NIGHT. 72

          Lisa has two beers out and is looking through drawers.

                         LISA
          OK, I have no idea where the bottle opener
          is. -

                         PAUL
          Here, lemme have them.
          He takes the beers and opens them on the edge of the counter.
          He makes two marks in the counter doing this.

                         LISA
          Thanks.

                         PAUL
          Whoops. I think I just permanently damaged
          your kitchen counter. Sorry.

                         LISA
          Oh -- that's OK. Don't worry about it.

                         PAUL
          Won't your "Mother" be "Upset?"

                         LISA
          How come everything you say always sounds
          so ironic? You don't even have to do
          anything and it just comes out sounding
          like, totally ironic and funny.

                         PAUL
          It's just a gift.
          She laughs nervously. They drink beer.

                         LISA
          So...do you want to see my room?

                         PAUL
          Sure.

          73 INT. LISA'S ROOM. NIGHT. 73

          They come into her room. She closes the door.

                         

                         

                         

                         
           53

                         73 CONTINUED: 73

                         LISA
          This is my room. Ta da.

                         PAUL
          Very nice.
          She realizes she has some stuffed animals on the bed.

                         LISA
          And these are my stuffed animals.

                         PAUL
          Always important to meet the stuffed
          animals.

                         LISA
          These are some drawings I did...Not that I
          should be showing them to you, because I
          know you're like a really good artist,
          right?

                         PAUL
          I would like to be a really good artist.
          At this point I think it would be more
          accurate to say I'm good at drawing.

                         LISA
          Yeah, I just do it for fun. But I've always
          really liked it...
          He looks at her pictures.

                         LISA (CONT'D)
          So...can I ask you a question?

                         PAUL
          Yes?

                         LISA
          This is probably gonna sound very immature,
          but how can you be so relaxed, knowing what
          we're about to do? Or is it just like no
          big deal to you? (Pause) OK, that was a
          really stupid question and I'm like totally
          embarrassed right now. I'm actually more
          embarrassed than I've ever been in my life.
          If you want to go home now that's totally

          OK.

                         PAUL
          Easy there. Don't be embarrassed. It's
          basically like, the world's greatest

                          
          activity, but it's not actually worth
          getting nervous about.

                         

                         

                         

                         
           54

                         73 CONTINUED: (2) 73

                         LISA
          Yeah: I don't usually get nervous because I
          think it's worth it: I usually get nervous
          because I can't help the way I feel.
          Although I do think that if anything is
          worth getting nervous about, it's this. But
          maybe that's just really idealistic of me.

                         PAUL
          There is that philosophy.

                         LISA
          You are so funny...!

                         PAUL
          Do you have an ashtray?

                         LISA
          Oh you can just chuck it out the window.
          Paul struggles to open the window and tosses his cigarette.
          He closes the window and comes across the room to kiss her.

                         LISA (CONT'D)
          Are we starting?

                         PAUL
          I was thinking about it, yeah.

                         LISA
          And am I being really dorky right now?

                         PAUL
          You're not suave.

                         LISA
          I'm sorry. I guess I'm a little nervous.
          Please ignore.

                         PAUL
          Don't be nervous. I promise this is gonna
          be a great experience for you. You're
          gonna have like four, five hundred orgasms
          at least.
          He kisses her. They make out.

                         PAUL (CONT'D) 
          OK, let's talk about your kissing. Don't
          panic. It's just a technical thing.
          Lisa collapses with her face in the bed out of shame.

                         LISA
          What are you like the nicest guy in the
          world?

                         

                         

                         

                         
           55

                         73 CONTINUED: (3) 73

                          PAUL
           No...

          74 INT. LISA'S ROOM. NIGHT. LATER. 74

           It's dark. Their clothes are off, but we don't see much. She
           is giving him a handjob.

                         LISA
          Like that?

                         PAUL
          (Not quite but close enough)
          Yes...

                         LISA
          in I supposed to go really fast at the end
          or something?

                         PAUL
          Yeah, but we're gonna move on before

                         THAT-HERE:
          He shifts around and tries to go down on her.

                         LISA
          You don't have to do that.

                          

                         PAUL

                          
          I know. I want to.

                          
          Pause. She slides up away from him.

                          

                         LISA
          Don't do that, OK? I'm just embarrassed.
          Let me do it to you.

                         PAUL
          All right.

          75 INT. LISA'S ROOM. LATER. 75

          He is positioning himself on top of her.

                         PAUL
          Are you ready?

                         LISA
          Yeah.

                         PAUL
          OK. This is a little tricky: It's probably
          gonna hurt a little, at first, but then
          it's gonna get better...Just be patient.
          There are certain technical difficulties on
          my end that have to be addressed or it's
          not gonna happen.

                         

                         

                         

                         
           56

                         75 CONTINUED: 75

                         LISA
          OK: You sound insane.
          They laugh.

                         PAUL
          OK, ready?

                         LISA

                         (SUDDENLY FRIGHTENED)
          Yeah.

                         PAUL

          OK?

                         LISA

                         (IN PAIN)
          Mm hm.

                         PAUL
          OK, hang on...

                         LISA
          Ow!

                         PAUL
          OK -- There we go. Does it hurt now?

                         LISA
          Kind of, yeah.

                         PAUL
          OK, just try to relax. It'll get better in
          a second...

                         LISA
          Did you bring a condom?

                         PAUL
          Uh huh...

                         LISA
          Shouldn't you put it on?

                         PAUL
          I will in a second.

                         LISA
          This is really kind of hurting.

                         PAUL
          OK -- one second.

                         LISA
          I love you.

                         

                         

                         

                         
           57

                         75 CONTINUED: (2) 75

                         PAUL
          What?

                         LISA
          Nothing.

                         PAUL
          OK -- hold on -- Shit --

                         LISA
          What?

                         PAUL
          OK, one second -- Ohh! Sorry -- Sorry --
          He comes inside her. Silence. He carefully rolls over.

                         PAUL (CONT'D)
          Sorry about that. Kind of got away from me.

                         LISA
          Did any of it get inside me?

                         PAUL
          I don't know.

                         LISA

                         (FEELING AROUND)
          Yeah. It definitely did.

                         PAUL
          Honest to God? It's probably OK. The odds
          are overwhelmingly that it's OK.
          O.C. the doorbell rings.

                         LISA
          That's my little brother.
          She gets a bathrobe and goes out. We TRACK HER through the
          whole apartment. She opens the door for CURTIS.

                         LISA (CONT'D)
          Hi, Curtis.

                         CURTIS
          Hi.
          We TRACK her back to her room. She shuts the door. PAUL has
          put on his underwear and is smoking a cigarette.

                         PAUL
          Hey.

                         LISA
          Hey. (sits down) Can I have a drag? (takes
           a drag of his cigarette) Thanks.

                         (MORE)

                         

                         

                         

                         
           58

                         75 CONTINUED: (3) 75

                         LISA (CONT'D)
          (gives it back to him) I'm actually kind of
          mad at you...

                         PAUL
          Why? (Pause) Why? (Pause) Because we didn't 
          use birth control?

                         LISA
          I guess so. 

                         PAUL
          It was at the ready...

                         LISA
          Well, I don't really want to get AIDS, you
          know? And I really don't want to have an
          abortion, because I know when you have one
          at my age it, can be really hard to get
          pregnant later on, and I definitely want to
          have children some day.

                         PAUL 

                          
          Didn't you ever hear of the "Morning After

                          
          The Guy Came Too Fast Pill?"

                          

                         LISA
          Oh, the "I'm A Total Fucking Moron" Pill? 

                         PAUL 
          Well...that's the Canadian name. 

                         LISA
          Yes. I prefer not to put too many chemicals
          inside my body if I can avoid it. I'm sure
          it's fine...Or not...!

                         PAUL 
          Try to listen to me. Right about now is
          when you're traditionally supposed to freak
          out. So why don't you just not? You're not
          gonna get AIDS, because I don't have AIDS --

                         LISA
          How do you know? Have you been tested?

                         PAUL
          No, but I'm pretty sure I don't have it,
          because of my demographic. And the odds are
          you're probably not gonna have to have an
          abortion either. And since this was your
          first time, it might as well be a basically
          happy memory instead of a shitty one.

                         LISA
          I'm sorry. I'm not completely in control of
          my emotions. (Pause) Anyway...Thank you for
          deflowering me.

                         

                         

                         

                         
           59

                         75 CONTINUED: (4) 75

                         PAUL
          You're welcome.

                         LISA
          Did it freak you out that I said I love
          you?

                         PAUL
          No...It didn't freak me out.

                         LISA
          You don't have to say it back, because I
          know you probably have like no feelings at
          all for me.

                         PAUL
          I think I_just proved I have some feelings
          for you.

                         LISA
          You should probably go now...

          76 INT. LIVING ROOM. NIGHT. 76

           Lisa walks Paul past Curtis who is practicing the piano. 

                          PAUL
           Yo.

                         LISA
          That's my brother.

                         PAUL
          What's up?

                         CURTIS
          Hi.
          Lisa walks Paul to the front door.

          77 INT. LISA'S ROOM. NIGHT. 77

          She changes into her pajamas.

          78 LISA'S BATHROOM. NIGHT. 78
           She washes her face and brushes her teeth.

          79 INT. LIVING ROOM. NIGHT. 79

           She comes out and settles down next to Curtis to watch TV.

          80 INT. METROPOLITAN OPERA. NIGHT. 80

          The audience applauds the opera cast thunderously. Near Joan
          and Ramon a male opera enthusiast is standing.

                         

                         

                         

                         
           60

                         80 CONTINUED: 80

                         OPERA FAN

                         BRAVIL BRAVIL

          81 EXT. LINCOLN CENTER. NIGHT. 81

          Joan and Ramon walk arm in arm away from Lincoln Center.

                         JOAN
          Oh, I loved it! It was so exciting!

                         RAMON '
          Good! We should go again!

                         JOAN
          But how about those people yelling "Bravi!"
          and "Brava!"

                         RAMON
          How do you mean?

                         JOAN
          It's just so pretentious. "Bravi!" "Bravi!"
          Why can't they just say "Bravo?"

                         RAMON
          Well, it's the plural.

                         JOAN
          I know --

                         RAMON
          It's the plural of "bravo." It's what they
          say to acknowledge the ensemble.

                         JOAN
          No, I know, I know it's correct, it just --
          don't you think there was something a 
          little pretentious about those people? 

                         RAMON
          Pretentious?

                         JOAN
          I don't mean they didn't really enjoy
          it...But you know how you can really be
          enjoying something -- but you're also kind
          of looking around out of the corner of your
          eye -- because you know people are watching
          you enjoy it...? Does that make sense at
          all?

                         RAMON
          Yes, but I wouldn't say that it was
          pretentious. In Italian you say "Bravo" for 
          a man and "Brava" for a woman, and "Bravi"
          for the whole company.

                         

                         

                         

                         
           61

                         81 CONTINUED: 81

                         JOAN
          Uh huh? OK, I see what you mean.

                         RAMON
          You use the masculine for the male singer
          and the feminine for the female singer.

                         JOAN
          Yeah...Anyway, I really enjoyed it. Thank
          you.

                         RAMON
          We'll have to go again.

                         JOAN
          It was so glamorous...!

          82 INT. SCHOOL THEATER -- LIGHTING BOOTH. DAY. 82


                          
          Lisa is on a headset. Below, on the stage MATTHEW is singing
          to a girl. 

                         MATTHEW

                         (SINGS)
          "My time of day is the dark time..."

                         LISA
          Cue thirty-six, go.

          GARY THE THEATER TEACHER (O.C.)
          OK, hold up a second.

                         LISA

                         (INTO HEADSET)
          OK, we're gonna do that one more time
          please. Let's back it up please...

                         MATTHEW
          Why are we stopping?

          83 INT. SCHOOL THEATER. NIGHT. 83

          All the kids in the show are sitting more or less in a
          circle. GARY the theater teacher, 30s, has the floor.

                         GARY
          Now I know there's been a lot of shit going
          on between a lot of the people in this
          room..But I wanna tell you something:
          You've worked too fucking hard for this
          show to be derailed now by the kind of
          bullshit I know has been going on around
          here. Now, I'll bet you there's not one
          person working on this show who hasn't got
          somebody they want to say something to,
          including me. So I'm gonna start. Matthew?

                         

                         

                         

                         
           62

                         83 CONTINUED: 83

                         MATTHEW

                         (SLOWLY)
          By "Matthew," I assume you mean me?

                         GARY
          Yes. I mean you.
          Matthew comes slowly into the middle of the circle.

                         MATTHEW
          Yes?

                         GARY
          You are probably one of the most talented
          kids who's ever performed at this school.
          But you're too Goddamn lazy, you think you
          can just waltz through this part, and it's
          pissing me off. Because this show cannot
          come together until you learn your fucking
          lines. OK? _

                         MATTHEW
          So you'd like me to memorize them.
          Everyone laughs.

                         GARY
          Yes, I'd like you to memorize them!
          Now. (Brightly) Your turn!

                         MATTHEW
          But I'm not mad at anyone. I just want
          everyone to think I'm a great guy.
          Everyone laughs.

          83A INT. SCHOOL THEATER. NIGHT. LATER. 83A

          BECKY and LISA are in the circle,'both crying.

                         LISA
          But I'm jealous of you...

                         BECKY
          Why would you be jealous of me...!

                         LISA
          Because of everything! 'Cause you always
          get such good grades and your family never
          has to worry about money, and your parents
          are still together, and I'm really jealous
          of your other friends!

                         BECKY
          Well, I'm really sorry if I hurt you!

                         

                         

                         

                         
           63

          83A CONTINUED: 83A

                         LISA
          Me too!
          They embrace tearfully. Many of the kids are moved. Some are
          not. Becky leaves Lisa in the circle. Lisa wipes her eyes.

                         LISA (CONT'D)
          Darren...?
          Darren unglues himself from his perch on a table, and sits in
          the circle with her.

                         LISA (CONT'D)
          I know that I'm not who you want me to be
          to you. And I know how much I've hurt you.
          But I still can't believe it means we can't
          be friends anymore! So much has been
          happening to me this semester --

                         DARREN

                         (WITH UNDERSTANDING)
          I know. I know.

                         LISA

                         (IN TEARS)
          -- and it's like I can't even talk to
          you about it because I hurt you so bad!

                         DARREN
          Yes you can. Of course you can. You can
          talk to me about anything.

                         LISA
          I don't love anybody more than you!
          You're practically my best friend!

                         DARREN
          I love you too. I really do...!
          They hug and cry. LESLIE raises her hand.

                         GARY
          Leslie?

                         LESLIE
          Can I just say, I think this show is like
          two and a half seconds away from being
          fucking amazing, and if we could all just
          work together, instead of being AT each
          other all the time, I think we could all
          just be incredible.
          Everyone applauds, except ANGIE, who raises her hand.

                         

                         

                         

                         
           Green Revised 10/7/05 - Page 64

          83A CONTINUED: (2) 83A

                         ANGIE
          Yeah. (Long pause) Yeah. I'm gonna say it.
          I feel really fucked over by some of the
          people in this room. I'm not saying I'm not
          gonna do my job, but for some reason, a lot
          of the actors in this show seem to think
          that this whole show is about them. And I
          think I speak for a lot of the techies when
          I say that I feel really unappreciated and
          basically fucked over. And I don't know if
          I can get over it. I don't. That's all.
          Nobody says anything. PAUL raises a hand. His pretty
          GIRLFRIEND is seated next to him.

                         GARY
          Yes, Paul?

                         PAUL
          Yeah, I'm just playing in the band, you
          know? This is hicrh school. You know? I
          don't really feel a strong need to like,
          all be on the same team with everybody.
          I just want to come to rehearsals, do the
          show, go up on the roof and smoke some pot,
          and then like, go on home. I don't really
          wanna cry and hug anybody.
          There are laughs and some cheers.

                         GARY
          Oh you wanna hug me a little, don't you
          Paul?

                         PAUL
          OK, Gary, man, I'll give you a little hug.
          No kissin' though.
          Gary charges over and hugs Paul. Everyone laughs and claps.
          Gary grabs Paul's face and kisses him on the cheek. Everyone
          is laughing.
          Lisa looks at Paul, who settles back with his girlfriend. He
          sees Lisa looking at him and gives her a little salute. Lisa
          catches DARREN's eye. He is looking at her with the unwelcome
          gaze of love. She looks away. His heart hardens against her.

          84 INT. COHEN KITCHEN. DAY. 84

          Lisa is at the breakfast table, looking through a stack of
          back issues of The New York Times. She finds the item she

                         WANTS:

                         

                         

                         

                         
           65

                         84 CONTINUED: 84

          UPPER WEST-SIDE WOMAN KILLED IN BUS
          ACCIDENT. Monica Patterson, a long-time
          Upper West Sider, was struck by and killed
          by a city bus Friday afternoon on Broadway.
          The bus driver, Gerald Maretti, was not at
          fault, police said...

          85 INT. COHEN APARTMENT. LIVING ROOM./INT. HIGHWAY ONE POLICE 85


          STATION. DAY.
          Lisa is on-the phone. Curtis is watching TV.

                         MITCHELL

                         (ON PHONE)
          Accident Investigation. Detective Mitchell.

                         LISA
          Hi, my name-is Lisa Cohen. I was a witness
          in a bus accident case a few weeks ago...

                         MITCHELL
          Yeah, hi, Lisa, what can I do for you?

                         LISA
          Well, this is probably gonna sound a little
          weird, but are you allowed to tell me how
          to get in touch with that woman's family?
          I'm obviously probably too late to go to
          the funeral, but I really wanted to send
          some flowers or something.

                         MITCHELL 
          Yeah, I can -- 

                         LISA 
          Or is that like classified information? 

                         MITCHELL 
          No no. Family's been notified...Lemme see 
          what I got. 

                         LISA 
          She mentioned she had a daughter...

                         MITCHELL 
          Lemme just... OK: I don't have anything for
          a daughter. The only contact I have is a
          cousin, Abigail Berwitz. I got a number in
          Arizona...

                         LISA
          So did you have the trial, or whatever?
          Or did you make the -- did they have a
          ruling yet?

                         

                         

                         

                         
           66

                         85 CONTINUED: 85

                         MITCHELL
          Yes. It was, uh, No Criminality found.

          OK?

                         LISA
          No Criminality.

                         MITCHELL
          Right.

                         LISA
          Wow. That's a -- great system you got.
          OK. Wow.

                          MITCHELL

           OK?

                          LISA
           Yeah.

          86 INT. LISA'S ROOM./INT. ABIGAIL'S HOUSE. DAY. 86

           Lisa is on the phone.

                         LISA
          Yes, I'm trying to reach Abigail Berwitz?

                         ABIGAIL
          This is Abigail.

                         LISA
          Hi, my name is Lisa Cohen. You don't know
          me...I...

                         ABIGAIL
          Yes? Hello?

                         LISA
          Hi. Sorry. Yeah. I was actually calling
          about your cousin, Monica Patterson?

                         ABIGAIL

          OK...?

                         LISA
          I was actually there when she had --
          during the accident. I didn't know her, but
          I was the one who was with her when she
          died...

                         ABIGAIL

          OK...?

                         LISA
          Yeah. I was sort of holding her hand at the
          time...

                         

                         

                         

                         
           67

                         86 CONTINUED: 86

                         ABIGAIL
          Yes? What can I do for you?

                         LISA
          OK. Well, ummm, I saw her obituary in the
          paper, but I didn't see anything about
          a funeral. I assume they had one, because --

                         ABIGAIL

                         (ON "ASSUME"))
          No. As far as I know they're doing
          something or other next week. But --

                         LISA
          I'm sorry: and I was also wondering, she
          said something about her daughter?

                          

                         ABIGAIL LISA
          No. Her daughter -- She wanted someone
          No -- Her's daughter's to get ahold of her?
          not alive -- She -- I'm sorry:
          passed away quite
          a long time ago.

                         LISA
          Oh my God. Was it...Was she sick? Or was

                         IT --

                         ABIGAIL
          She had leukemia.

                         LISA
          Oh my gosh. And -- do you mind if I ask:
          Was her name Lisa?

                         ABIGAIL
          Yes...?

                         LISA
          OK, see, that explains it. See, I think
          she thought --

                         ABIGAIL
          Could I just interrupt? How did you get
          this number?

                         LISA
          Oh -- the police -- I asked the Accident
          Investigating investigator who to contact
          if I wanted to --

                         ABIGAIL

                         (ON "IF")
          Well they really shouldn't be giving out my
          number. (blurts out) This is harassment!

                         

                         

                         

                         
           68

                         86 CONTINUED: (2) 86

                         LISA

                         (SHOCKED)
          I'm sorry! -I'm not trying to harass

                         YOU --

                         ABIGAIL
          I have been getting calls about this for
          three weeks! One of Monica's neighbors gave
          the police my number and all of a sudden I
          am the focal point for all these
          arrangements! And I gotta tell you people,
          I didn't have any kind of relationship with
          Monica whatsoever, unless you want to count
          the fact that she held up my children's
          inheritance for fifteen years. I guess
          we're just supposed to forget about all
          that now. And I am more than willing. But
          the perso n you should be calling is Emily
          Morrison, who was Monica's friend and is
          the person who has been dealing with all of
          this in New York. But it has nothing to do
          with me.

                         LISA
          I'm sorry! I didn't really know who to

                         CONTACT --

                         ABIGAIL
          Now I can give you her number, but I would
          very much appreciate it if the calls would
          stop.

                         LISA
          Yes -- Please. Can you hold on while I get
          a pen?

                         ABIGAIL
          Yes, all right.

          87 INT. EMILY'S APARTMENT/COHEN APARTMENT. DAY. 87

          EMILY MORRISON, 40s, is on the phone in her Upper West Side
          apartment. She's on the phone with Lisa.

                         EMILY
          I guess it would be all right ...It's only
          going to be a few close friends, and some
          clients I imagine...

                         LISA
          Oh so was she a lawyer?

                         EMILY
          Monica? No. She was a social worker. She
          used to be, anyway. She had -- several
          careers.

                         

                         

                         

                         
           69

                         87 CONTINUED: 87

                         LISA
          Were you really good friends with her?

                         EMILY
          Yes I was.

          88 INT. COHEN APARTMENT. DAY. 88 

           Joan is reading audition sides. Lisa passes through, dressed 
           somberly. 

                          JOAN 
           Where you going, sweetie? 

                          LISA 
           I'm going to that woman's funeral. 

                          JOAN 
           Are you sure you don't want me to come? 

                          LISA 
           Why? I don't even know her. 

                          JOAN 
           I would be coming for you. 

          89 INT. EMILY'S CENTRAL PARK WEST APARTMENT. DAY. 89

          EMILY opens the door for LISA. In the b.g. about thirty
          people are gathered. A mix of Upper West Siders, social
          workers, and Monica's multi-ethnic clients.

                         EMILY
          Hi. Are you Lisa?

                         LISA
          Yeah. Thank you so much for letting me
          come.

                         EMILY
          Why don't you come on in? We're about to
          start. Do you want anything to drink?

                         LISA
          Oh -- Um -- no thanks.

                         EMILY
          We have bad hors d'oeuvres and good hors
          d'oeuvres.

                         LISA
           Oh - that's quite all right, thank you. 

          90 INT. EMILY'S LIVING ROOM. DAY. 90

          Everyone is seated on Emily's chairs and borrowed chairs.

                         

                         

                         

                         
           70

                         90 CONTINUED: 90

                         EMILY
          Well-thank you all for coming.

                         WOMAN MOURNER
          Thank you for doing this, Emily.

                         THE MOURNERS
          Yes, thank you, Emily.

                         EMILY
          As you all know, Monica was not a religious
          woman. Anybody who ever had to sit through
          a wedding or a funeral with her knows how
          she felt about formal occasions. So Harry
          and Elise and I, when we were talking about
          this, decided we would just have everyone
          over and let.anyone who wanted to.talk.
          about Monica just talk about her. Maybe
          share some remembrances of her. Some of us
          know each other, some of us don't. But
          we're all here because we loved Monica.
          (She stops. Gets a hold of herself) And 
          because we want to pay tribute to her in a
          way that might conceivably not enrage her.
          Everyone laughs slightly.

                         EMILY (CONT'D)
          I don't want to tell anyone what to think,
          or how to feel. And I don't want to kid
          myself about the stupid, meaningless way
          she died, because it would really make her
          throw up. But I don't want it to become the
          summation of her life. Because it's not.
          When her Lisa died I said to her, "How can
          you stand it?" And she said. "First of all
          I can't. But I don't want to take away the
          twelve years she did have, and turn them
          all into leukemia. Because they weren't."
          So despite the fact that she got -- ripped
          off, I do think it's important to remember
          that Monica got a lot out of life. She was
          the most fully developed person I
          personally have ever known. She was also
          impossible to get along with, but that's
          another story.
          Everybody laughs. 

                          EMILY (CONT'D)
          As most of you know, she had more than her
          share of trouble over the years. But that
          never diminished her compassion or stopped
          her from embracing life to the absolute
          fullest -- measure.

                         

                         

                         

                         
           71

                         90 CONTINUED: (2) 90

                         2ND MOURNER
          She sure did.

                         EMILY
          So. Now I've said my little piece. And now
          I want to talk a little bit about the first
          time we met. She was twenty one.
           Emily stops so as not to cry. There is a long, charged silence. 

                          WOMAN MOURNER
           It's OK, Emily.

                          EMILY
          I know...! (She waits) And I was nineteen! 
           Even though it's impossible for my children 
           to believe I.was ever that young. 
           Emily's college-age kids, a boy and a girl, smile warmly at 
          her from across the room.

          91 INT. EMILY'S APARTMENT. LATER. DAY. 91

          Everyone is milling around. Lisa is talking to Emily.

                         LISA
          Emily, thank you so much for letting me be
          here.

                         EMILY
          Don't be silly, honey. You were sweet to
          come by.

                         LISA
          Didn't she have any family?

                         EMILY
          No, she was the last one. Except for some
          cousins in Arizona. You talked to Abigail.
          She's the one who gave you my number...

                         LISA
          Yeah...

                         EMILY
          Well, she's a living nightmare. They never 
          got along at all.

                         WOMAN MOURNER
          Excuse me. Good bye, Emily. Thank you so
          much for doing this.
          Emily and the Woman Mourner hug each other goodbye.

                         

                         

                         

                         
           72

                         91 CONTINUED: 91

                         EMILY
          Listen. I still can't believe this is
          happening...! (she starts crying) I mean 
          what the fuck is wrong with her? 

                         WOMAN MOURNER
          I don't know!

                         EMILY
          I don't understand why she didn't kill 
           herself when Lisa died! And then Barry, and 
          then after all that with her mother, and 
          then her father, she gets hit by a fucking
          bus? It's like a joke! But that's Monica.
          Always the worst luck. Always. (noticing
          LISA) OK, sweetheart. Thank you for coming.
          Please don't stand there staring at me, OK?

                         LISA
          (startled, embarrassed)
          I'm sorry! I just wanted to say goodbye.

                         EMILY
          It's OK. Thank you for coming. You're
          very sweet.

                         LISA
          (to Woman Mourner)
          Goodbye.

                         WOMAN MOURNER
          Goodbye. 
          As Lisa-goes out she hears:

          WOMAN MOURNER (CONT'D)
          Who is that?

                         EMILY
          That's a girl who was passing by at the
          time of the accident. She was right-there
          when she died, and she wanted to come to
          the funeral. I told her there was no
           funeral, but she wanted to come anyway. I 
           wouldn't have done that at her age, would
           you?

                          WOMAN MOURNER
           No...

          92 TIME PERMITTING. 92

          93 TIME PERMITTING. 93

          94 TIME PERMITTING. 94

                         

                         

                         

                         
          73

          95 EXT. LISA'S ROOM. NIGHT. 95

           Lisa is on the phone.- The Times article about the accident is 

                          
           on her bed. O.C. we hear Curtis practicing his scales.

                          LISA 
           No -- M A R E T T I .. What about 
           Brooklyn? . Thank you. 

                          
           She writes down the number and hangs up. Looks at the number.

                          
          Dials the phone. It rings once. She hangs up.

          96 INT. ENGLISH CLASS. DAY. 96

          Lisa is very disengaged from the discussion. John is walking
          back and forth, reading aloud from King Lear.

                         JOHN

                         (READING)
          "We are to the gods as flies to wanton
          boys. They kill us for their sport."
          (Pause) We are to the gods as flies to
          wanton boys. They kill us for their sport."
          What do you make of that? Lisa? Lisa?

                         LISA
          I don't know.

                         JOHN
          Take a stab. What do you think Shakespeare
          is saying about human suffering here?

                         LISA
          I don't know. Sorry.

                         JOHN
          You know what, Lisa? That's not good
          enough. That's not good enough.
          Shakespeare wrote something: What's your
          response? And don't tell me you don't have
          one because I don't buy it.

                         LISA
          I don't really have a lot to say. It seems
          pretty self-evident to me.

                         JOHN
          (Pause. Then:)
          Matthew?

                         MATTHEW
          I think it is self-evident. I think he's
          saying that human beings don't mean any
          more to the gods than flies do to little
          boys who like to torture them for fun.

                         (MORE)

                         

                         

                         

                         
           Green Revised 10/7/05 - Page 74

                         96 CONTINUED: 96

                         MATTHEW (CONT'D)
          Like as far as the gods are concerned we're
          just ants. Nothing. (like a newscaster
          turning to his colleague) Darren?
          The class laughs.

                         DARREN
          (responding in kind)
          Thank you, Matthew. Yeah, I agree. Only
          it's not Shakespeare saying it: It's
          Gloucester. Maybe another character would
          have a different point of view.

                         JOHN
          OK: That's a valid point. Just because
          Shakespeare has one of his characters say
          it doesn't mean he personally agrees with
          it. Yes: David?

                         DAVID
          Yeah, maybe Shakespeare isn't saying the
          gods don't care about us. Maybe he's saying
          there's a higher consciousness that we
          can't see. That the gods' perception of
          reality is so much more developed than ours
          that compared to their perception, our
          perceptions are like comparing flies to

                         BOYS

                         JOHN
          OK...I don't think that's what he's getting
          at...I think what he's getting at here is a
          very dark view of the arbitrary nature of
          human suffering.

                         DAVID
          But maybe he's not. Maybe he's comparing
          human consciousness to divine
          consciousness, and he's saying that even
          though it seems to us that human suffering
          is just arbitrary, that's just because
          we're limited by our viewpoint. 

                         JOHN
          Well -- let's look at the text. Let's test
          David's hypothesis. "We are to the gods as
          flies to wanton boys. They kill us for
          their sport." I have to agree with Matthew,
          that seems pretty unambiguous.

                         DAVID
          Yeah, because he's saying there's a higher
          purpose that we can't see. He's saying that
          what seems like them killing us for sport
          could just be because our consciousness
          isn't developed enough to see what the
          higher wisdom of their killing us is.

                         

                         

                         

                         
          2nd Blue Revised 10/28/05 - Page 75

                         96 CONTINUED: (2) 96

                         JOHN
          OK, but -- I still don't think that's what
          he's trying to say. Um...

                         DAVID
          No, like if you say they kill us for their
          sport, when our perception of the gods is
          so meager that we can't even tell what
          they're doing, then how can we be so
          arrogant as to think that they would bother
          to kill us for their sport?

                         JOHN

                         (LOST)
          I don't know ...Um -- Monica?

                         MONICA
          I don't think that's what he's saying at
          all. I think he's saying the gods don't
          give a shit about human beings and they
          just kill and torture us for fun --

                         MATTHEW
          Yes. Much like flies to wanton boys.
          Anybody? Anybody?

                         MONICA
          Yeah...1

                         DAVID
          But if the gods' consciousness is so much
          more developed than ours that we seem like
          flies to them, then how can we be sure what
          they have in mind for us or why they do
          anything?

                         JOHN
          David, I think you've made your point.
          But it's not what Shakespeare meant.
          Scholarly opinion is pretty consistent that
          he's trying to say something about
          human suffering here --

                         DAVID
          Scholarly opinion...:

                         JOHN
          And in this particular play what I think
          he's trying to say is pretty black --
          pretty bleak --

                         DAVID
          But what are you saying? A thousand
          Frenchmen can't be wrong?

                         

                         

                         

                         
           2nd Blue Revised 10/28/05 - Page 76

                         96 CONTINUED: (3) 96

                         JOHN
          No, I'm not saying that. But I would
          like to move on --

                         DAVID
          I think he is saying that, because he's
          comparing human consciousness to flies, and
          he's saying that we can't see the truth
          around us because our consciousness is
          undeveloped.

                         JOHN
          No David, that's not what Shakespeare
          meant! He says it somewhere else in the
          play, but I don't want to get hung up on
          this any more because it's not what
          Shakespeare meant, and I would really like
           to move on. 
           David laughs derisively.

                         97 OMIT 97

          98 INT. LISA'S ROOM. NIGHT/KARL'S HOUSE. DUSK. 98

          Lisa is on the phone with Karl. WE CUT BETWEEN THEM.

                         LISA
          Hi Dad.

                         KARL
          Yeah! Hi! How's everything been going?

                         LISA
          OK. How are you?

                         KARL
          Not too bad. Pretty good. I'm sitting here
          listening to some music. Having a glass of
          delicious beer.

                         LISA
          That sounds pleasant.

                         KARL
          Yeah. Yeah. How are you? How's the
          boyfriend situation?

                         LISA
          Well...there's this one guy I sort of had
          something going with. But he kind of has a
          girlfriend, so...

                         KARL
          Uh huh?

                         

                         

                         

                         
           2nd Blue Revised 10/28/05 - Page 76A

                         98 CONTINUED: 98

                         LISA
          I realize I'm incredibly enthralling...

                         

                         

                         

                         
           77

                         98 CONTINUED: (2) 98

                         KARL
          You are. You're a beautiful girl. And 
          you've got brains. That makes you 
          dangerous. 

                         LISA 
          Don't forget mature. 

                         KARL 
          Well -- I'm hoping you're not too mature. 

                         LISA 
          No...Don't worry. 

                         KARL 
          OK good. That was a good answer,. 

                         LISA 
          Anyway, I do think it's a pretty long- 
          standing relationship... 

                         KARL
          OK, then you know what? You do nothing. You
          do absolutely nothing. And one of two
          things will happen. Either he's gonna start
          doing back flips to get your attention, or
          you're gonna send him a crystal clear
          signal that if he doesn't do back flips
          he's not gonna get your attention. OK?

                         LISA 
          Well, I think he already knows I like him. 

                         KARL 
          Uh huh? OK... 

                         LISA 
          .I think I might have spilled the 
          beans on that one a little -- 

                         KARL
          That's OK. Because now, if now you stop
          acknowledging him, you just suddenly give
          him nothing, he's gonna go berserk. Unless
          he's just not interested. In which case,
          you gotta take your lumps. OK? Which is
          tough.

                         LISA 
          Well, thanks, Dad. I'll be sure to try out 
          the technique next time I see him. 

                         KARL 
          Yeah. Lemme know what happens. 

                         LISA 

                          

                         

                         

                         

                         
           78

                         98 CONTINUED: (3) 98

                         KARL
          OK. Well, everything's OK here...A little 

                         SLOW -- 

                         LISA 
          Actually, Dad? I definitely want to hear
          how things are with you in a minute, but I
          actually have something kind of serious I
          want to ask you about ...I'm kind of
          soliciting people I respect-for their views
          on this...

                         KARL
          OK. What's up?

          99 EXT. KARL'S HOUSE. DUSK. 99

          Wider, through the glass doors of Karl's bungalow as he
          listens to the story.

          100 INT. LISA'S ROOM. NIGHT./KARL'S HOUSE. DUSK. 100


                         LISA
          . so do you think I should go back to the
          police, or what?

                         KARL
          OK, well, first of all, I'm very glad you
          told me. Second of all, I think you should
          let me call my friend who's a lawyer, just
          to get some idea of what the ramifications
          would be.

                         LISA
          You mean to protect myself before I go
          back?

                         KARL 
          There's nothing wrong with knowing what 
          you're getting into. I'm gonna call my
          friend Lorne, I want to see what he says.
          ANNETTE, Karl's, girlfriend, 40, lets herself into the house.

                         ANNETTE LISA
          Hey...! Actually, Dad? Please
           don't call anybody.
          KARL Seriously. I appreciate
          Hi babe. your taking charge and
          everything, but --
          ANNETTE Hello?
          Did you get my message?

                         KARL
          Um -- I got a message.

                          

                         

                         

                         

                         
           79

                         100 CONTINUED: 100

                         ANNETTE
          About the flowers? For my mother?

                         KARL
          I don't know. Yes. Hold on. (To
          LISA) I'm sorry, Annette just
          walked in.

                         LISA 
          That's OK.

                         ANNETTE
          Who are you talking to? 

                         KARL
          I'm -- It's -- could I just -- 

                         LISA
          Anyway, I guess I would just like to know
          later that I would have done the right
          thing by myself, if you see what I mean.
          Because I don't think I have so far.

                         KARL
          Uh huh?

                         ANNETTE LISA
          Who is that? Not that I'm trying to
           make this woman's
          KARL horrible death into my own
          Uh Huh? It's Lisa. personal moral gymnasium... 
           to quote George Bernard
          ANNETTE Shaw.
          Good. Will you please ask her

                         KARL
          I'm sorry, Lisa. Hold on one 
          second. 

                         LISA

          OK.

                         KARL 

                         (TO ANNETTE) 
          Yes. 

                         ANNETTE
          Will you please ask her if there's anything 
          we don't know about that she won't eat? For
          the trip? Because I have to tell the ranch,
          because they do all the meals ahead of time

                         KARL
          Yes: I will: We're just in the middle of
          something.

                         

                         

                         

                         
           60

                         100 CONTINUED: (2) 100

                         ANNETTE
          Karl, I was supposed to call them last
          week. You said you were gonna call her and
          you didn't. So then I called her, and she
          never called me back. So what do you want
          me to do?

                         KARL
          OK, you know what? I want to talk about 
          this, not right now. 

                         ANNETTE
          -- and if there's anything she can't eat
          and they put it in the hampers, she's not
          gonna have anything to eat. The last time 
          she came out here we went to three
          different places and she couldn't eat
          anything on the menu.

                         KARL
          I'm going to ask her. I will. We're right
          in the middle of something.

                         ANNETTE
          OK. Tell her I said hi.

                         LISA
          Hello?

                         KARL

                          (TO LISA)
           Hi.

          101 INT. LISA'S ROOM. NIGHT. 101

           Lisa puts a new cowboy hat in her luggage. She tries to zip
           the bag but it won't zip. (This is a dream) 

          102 INT. LISA'S ROOM. NIGHT. LATER. 102

          Lisa is asleep. The room is dark. She stirs. She realizes
          JOAN is sitting on the edge of her bed, her back to Lisa.

                         LISA
          Mom? What's wrong?...Did you have a bad
          show? What time is it?.
          Joan starts coughing. Blood starts coming out with every
          cough, first a little, then a gruesome amount --
          LISA WAKES UP -- breathing hard short breaths. The room is
          dark and quiet. She calms down and gets up.

                         

                         

                         

                         
          Yellow Revised 10/9/05 - Page 81

          103 INT. BATHROOM. 103

          She comes in without turning on the light. She turns on the
          faucet. In the dim bathroom the water looks strangely dark.
          She switches on the light --
          BLOOD is streaming out the faucet and filling the basin.
          She looks up. MONICA the dead woman is standing behind her in
          the mirror. Lisa jumps --

          104 INT. LISA'S ROOM. 104

          Lisa wakes up sharply, breathing hard, drenched in sweat.

          104A INT. LISA'S ROOM. DAY. 104A

          She dials Maretti's number. It rings...

                         MARETTI

                         (ON PHONE)
          Hello? (Pause) Hello...?
          She hangs up.

          105 INTERCUT. SUBWAY (MOVING) DAY. 105
          Lisa rides the subway past Brooklyn stations.

          106 EXT. BAY RIDGE. DAY. 106

          Lisa emerges from the subway station. The Verrazano Narrows
          Bridge dominates the background.

          107 EXT. MARETTI'S STREET. DAY. 107

          Lisa turns the unfamiliar corner. Little kids play in the
          street. She checks the address on the piece of paper.

          108 EXT. MARETTI'S HOUSE. DAY. 108

          She rings the doorbell. Inside she hears kids playing. The
          door opens. It's MRS MARETTI, around 35.

                         MRS MARETTI
          Hi, can help you?

                         LISA
          Hi. I'm sorry to bother you. My name is
          Lisa Cohen. I was involved in the same
          accident that Mr Maretti was involved in a
          few weeks ago...

                         MRS MARETTI
          Oh my God, were you? Oh my God, what a
          thing, huh?

                         

                         

                         

                         
           82

                         108 CONTINUED: 108

                         LISA
          Yeah...I was just wondering if I could talk
          to him fora minute. Is he home?

                         MRS MARETTI
          Ummmmm, yeah, sure. Whyn't you come in.

          109 INT. MARETTI'S HOUSE. CONTINUOUS. 109

          Lisa follows Mrs Maretti into the small apartment. O.C. we
          HEAR two small BOYS running around and shouting. MARETTI is
          watching TV. Mrs Maretti goes over and speaks to him, low. He
          sees LISA and slowly gets up.

                         LISA
          Hi. I'm really sorry to bother you...We
          never met. My name is Lisa Cohen...

                         MARETTI
          Yeah...What can I do for you? 

                         LISA
          Well...do you remember me? From the bus
          accident?

                         MARETTI
          I don't know.. .What' s this about?

                         LISA
          Well, would it be OK if I talked to you for
          a minute?

                         MARETTI
          What do you want to talk about? I don't
          understand.

                         LISA
          I'd just like to talk about the accident
          for a minute. I don't want anything, and
          I'm not here to do anything bad. I just
          wanted to talk to you about it.

                         MARETTI
          How did you get my address?

                         LISA
          It's in the phone book. I was gonna call
          first...

                         MARETTI
          Well, it woulda been better if you woulda 
          called. We're about to sit down...
          Mrs Maretti has drifted back toward them.

                         

                         

                         

                         
          Yellow Revised 10/9/05 - Page 83

                         109 CONTINUED: 109

                         MARETTI (CONT'D)
          I don't get what, uh...Yeah all right.
          Let's go outside.

                         LISA
          I'm sorry: Could I use your bathroom?

                         MARETTI
          No, let's just go outside.

                         MRS MARETTI
          Oh Gerry, let her use the bathroom.

                         MARETTI
          No, I don't want her to use the bathroom.
          I don't understand what this is.

                         MRS MARETTI
          It's right over there, honey. (turning)
          Will you kids settle down, please! I'm not
          kiddin'!
          Lisa goes in the bathroom.

          MARETTI MRS MARETTI
          What's the matter with you? Who is she?

          MARETTI MRS MARETTI
          She's some girl who was at the Nothin's the matter with me,
          accident -- let her use the fuckin'
          bathroom.

          110 INT. BATHROOM. DAY. 110

          Lisa latches the door of the cluttered little bathroom. She
          sits on the toilet and tries to pee. After a minute a tiny
          amount of pee comes out.

          111 -INT. THE LIVING ROOM -- A MOMENT LATER. 111

          Lisa comes out. The Marettis are waiting for her as before.
          O.C., we hear the boys yelling at each other.

          112 EXT. MARETTI'S HOUSE. DAY. 112

          Maretti, Mrs Maretti, and Lisa come out.

                         MARETTI
          (to MRS MARETTI)
          Honey, just do me a favor, wait inside.

                         MRS MARETTI
          No. I wanna hear what this is.

                         LISA
          Well ...If it's OK, I'd rather talk to Mr
          Maretti in private.

                         

                         

                         

                         
           Yellow Revised 10/9/05 - Page 84

                         112 CONTINUED: 112

                         MRS MARETTI
          No it's not OK.

                         MARETTI
          OK. We're just tryin' to...OK: What?
          Lisa looks at them, wishing Mrs Maretti would leave.

                         LISA
          OK. I hope this isn't going to insult you
          too much...

                         MARETTI 
          Insult me...? 

                         LISA 
          .I was just wondering if you felt bad at 
          all about what happened. 

                         MARETTI 
          Do I feel bad about the accident? 

                         LISA
          Yeah.

                         MRS MARETTI
          You know, honey? Are you just upset about
          the accident...?

                         LISA
          Yes! I'm upset about the accident! I'm very

                          
          upset about the accident! I was covered in
          blood! I've never been covered in blood 
          before, and I wanted to talk to you about 
          it for a minute! Why is that so strange!?

                         MRS MARETTI
          Gerry... why don't we all go inside and sit 

                          
          down?

                         LISA

                         (ON "WHY") 
          Could I please talk to you alone?

          MRS MARETTI.
          OK, what is goin' on here?

                         MARETTI
          Nothin's goin' on here. So whyn't you calm
          down? Look: Go ahead inside. Let me find
          out what this is. Meantime whyn't you make
          sure those kids aren't killin' each other,
          all right?

                         MRS MARETTI
          All right.

                         

                         

                         

                         
          Yellow Revised 10/9/05 - Page 84A

                         112 CONTINUED: (2) 112
          As Mrs Maretti goes inside:

                         MARETTI

                         (MORE JOVIALLY)
          No, you know what? Let 'em kill each other.
          Give us all a rest. (To LISA) All right,
          Lisa. What.

                         

                         

                         

                         
           Yellow Revised 10/9/05 - Page 85

                         112 CONTINUED: (3) 112

                         LISA
          I just...Well, I just want you to know...

                         MARETTI
          Yes? What? Speak!

                         LISA
          Well... you probably already know,
          obviously, that I told-the police on the
          police report that I thought the whole,
          thing was an accident...

                         MARETTI
          Uh huh. Right. Because it was an accident.

                         LISA
          Well -- I mean, I know you didn't do it on
          purpose.

                         MARETTI
          On purpose...? 

                          LISA 
          But it wasn't like... 

                          MARETTI 
          What. (Pause) Speak. Talk! What!

                         LISA
          Well ...I mean ...We were looking at each
          other...

                         MARETTI
          Who was looking at each other...? You and
          me?

                         LISA
          Well ...Yeah ...I mean. . .not like...
          romantically or anything...

                         MARETTI
          Romantically...!

                         LISA
          OK, scratch that. 'Cause that's not 
          even... relevant... 

                         MARETTI

                         (ON "EVEN") 
          You're not comin' through very clearly!

                         LISA
          OK. I can see the way this is.

                         MARETTI
          The way what is? What! Speak to me! What?

                         

                         

                         

                         
           Yellow Revised 10/9/05 - Page 85A

                         112 CONTINUED: (4) 112

                         LISA
          I am --

                         MARETTI
          Don't drag me outta my house on a Saturday
          afternoon and then make me stand here
          pullin' teeth to find out what you're
          talkin' about.

                         (MORE)

                         

                         

                         

                         
          Yellow Revised 10/9/05 - Page 86

                         112 CONTINUED: (5) 112

                          MARETTI (CONT'D)
           I've got my kids inside: You're an
           attractive young lady, you show up at the 
           house -- Please! Get to the point or go
           home. Because I don't care enough, frankly, 
           to stand around here tryin' to figure out 
           what you're doin' here! (Pause) What! What! 
          What! What!

                         LISA
          All right! Well...the way I remember the
          accident is that you were wearing this
          cowboy hat --

                         MARETTI
          Yes, it's my cowboy hat that I wear
          sometimes to amuse myself on the bus, yes.
          I was probably wearing my cowboy hat, yes.
          What.

                         LISA
          If you could just let me...! From my point
          of view, I was out that day trying to buy a
          cowboy hat, so I was waving at you, becase 
          I was looking for one... and you were kind 
          of waving back...And I know the police 
          already decided it was No Fault, or No
          Criminality or whatever they call it --

                         MARETTI
          No Criminality, that's right.

                         LISA
          -- I guess partly because of what I told
          them. And I know I was distracting you,
          but -- I did see the bus go through the red 
          light. And that's when it hit that woman.

                         MARETTI
          OK. I'm gettin' a little confused over 
          here.

                         LISA
          Only nobody said that to them. And I just
          wanted to like, acknowledge with you that
          that's what happened.

                         MARETTI
          OK. First of all, I don't really know what
          you mean by wavin' at you...What were you,
          tryin' to catch the bus...?

                         LISA
          No...Yes. But I wanted to ask about your --

                         

                         

                         

                         
           Yellow Revised 10/9/05 - Page 86A

                         112 CONTINUED: (6) 112

                         MARETTI
          Maybe I was wavin' at you like, wavin' to
          say, you know, "Step away from the bus,"
          if the bus was in motion, I would've waved
          you away for your-own safety, but that's
          all that would be.

                         

                         

                         

                         
          Yellow Revised 10/9/05 - Page 87

                         112 CONTINUED: (7) 112

                         LISA
          You don't remember looking at me and waving
          at me?
          Mrs. Maretti comes out again.

                         MARETTI
          No. Not really. No.

                         LISA
          Well ...I think we both remember something
          different. 

                         MRS MARETTI
          Your brother's on the phone.

                         MARETTI
          Tell him I'll call him back.
          Mrs Maretti goes back inside.

                         LISA
          I'm not trying to get you in trouble.

                         MARETTI
          I know you're not, because you couldn't get
          me in trouble. Uhhhh, there's no 
          criminality found...the report is, uh,
          final. And that's it.

                         LISA
          So you're just gonna leave it?

                         MARETTI
          I'm gonna leave it, because that's all that
          it was. If something else would have
          happened, I'd take it to whatever that was.
          It was tragic, it was a tragedy. But
          there's only a certain speed the brakes can
          react. That's a physical limitation of the
          machine. I don't know what else to tell
          you. It was a shock. It's shock. But 
          that's it. Can't bring her back. Cannot
          bring her back.

                         LISA
          I'm not talking about bringing her back.
          .I'm talking about telling the accident
          investigators what really happened.

                         MARETTI
          But you already talked to them! 

                         

                         

                         

                         
           Yellow Revised 10/9/05 - Page 88

                         112 CONTINUED: (8) 112

                         LISA
          I know that. But I lied.

                         MARETTI
          You lied.

                         LISA
          Yes. And I can understand if you don't want
          to get in trouble, but.--

                         MARETTI
          Then how come nobody else saw it?

                         LISA
          I can't help what other people saw --

                         MARETTI
          You would think somebody else would see it.

                         LISA
          I just know what I saw!

                         MARETTI
          Then why didn't you say something right
          then?

                         LISA
          Because -- when they were asking me what
          happened -- it seemed like you were kind of
          looking at me -- like we were saying to
          each other, "Let's not say anything about
          what happened."

                         MARETTI
          Oh, now I really don't know what you're
          talkin' about.

                         LISA
          I can't prove that you were doing that --
          Mrs Maretti comes back outside.

                         MARETTI
          What did I say anything to you? Did I
          threaten you?

                         LISA
          No! And I am not blaming you for any of
          this! All I'm saying is that I didn't
          really tell the cops what happened, and I 
          didn't want to go back without --

                         MARETTI

                         (AFTER "HAPPENED") 
          But you told 'em what you saw! You told 'em
          what you saw! And so did I! Only I'm the
          one behind the wheel!

                         

                         

                         

                         
          Yellow Revised 10/9/05 - Page 89

                         112 CONTINUED: (9) 112

                         MRS MARETTI
          Gerry! Take it easy!

                         MARETTI
          (To MRS MARETTI)
          No, it's all right. Leave it alone. (To
          LISA) You wanna ruin my life, start tellin'
          'em about looks, and you waved at me and I
          had on my cowboy hat, go ahead! You're
          gonna go back to school and do your
          homework and I'm gonna lose my job! And 
          who's gonna feed my kids? You? Are you
          gonna do it? And for what! She's dead! 
          She's dead! And there's nothin' I-can do to 
          bring her back! 

                         LISA
          I just want to say what really happened.

                         MARETTI
          Hey do whatever you fuckin' want.

                         MRS MARETTI
          Gerry -- !

                         MARETTI
          But those cops are gonna laugh in your
          fuckin' face because this was not my fault! 

                         LISA
          It was both our fault.

                         MARETTI
          What'd you say?

                         LISA
          It was both our fault.
          Maretti scrambles in his pocket for a pen.

                         MARETTI
          Yeah. Don't say that to me.again without a
          lawyer. Gimme your phone number.

                         MARETTI
          What's your number? Gimme LISA
          your number. Oh, you wanna Mjy? No! Why do you want it?
          come to my house like some
          anonymous person, I can't
          get in touch with you? MRS MARETTI
          What's your fuckin' number, Gerry! Take it easy!
          Lisa Cohen!

                         LISA
          Fine! It's -- um -- 212- 555 --

                         

                         

                         

                         
           Yellow Revised 10/9/05 - Page 89A

                         112 CONTINUED: (10) 112

                          MARETTI
          Hold on. (writes) 555 --

                         

                         

                         

                         
           Yellow Revised 10/9/05 - Page 90

                         112 CONTINUED: (11) 112

                         LISA
          0157. Why do you need it?

                         MARETTI
          Do whatever you're gonna do. I hope you got
          a good lawyer.

                         LISA
          I don't know why you're --
          Maretti turns and goes in the house.

                         MRS MARETTI
          You know this was very traumatic for him!

                         LISA

                         (FURIOUS)
          It's almost as bad as getting your deg cut

                         OFF

                         MRS MARETTI
          Does your mother know you're here?

                         LISA
          Yes.

          112A INT. SUBWAY (MOVING) DAY. 112A

          CU on Lisa as she rides back toward Manhattan.

          113 INT. EMILY'S KITCHEN. DAY. 113

          Emily sits with Lisa at the kitchen table.

                         EMILY
          Why didn't you say anything before?

                         LISA
          I guess I was afraid. I didn't know what to
          do.•

                         EMILY
          You didn't know what to do? The woman is
          killed right in front of you and you didn't
          know what to do?

                         LISA
          I know it doesn't sound very impressive.

                         EMILY
          Impressive! (Pause) All right: I know
          you're trying to do the right thing now.
          What does your mother say?

                         LISA
          My mother hasn't really been that helpful.

                         

                         

                         

                         
           91

                         113 CONTINUED: 113

                         EMILY
          What do you mean?

                         LISA
          I mean she's got a lot going on right now
          and she just hasn't been that interested, I
          guess.

                         EMILY
          What could she possibly have going on?

                         LISA
          Her show is opening.

                         EMILY
          What do you mean, her show? What show?

                         LISA
          She's in a play.

                         EMILY
          My friend is dead because some guy was
          looking at your ass and you lied to the
          police about it, and your mother can't be
          bothered because she's in a play?

                         LISA
          Well, it's kind of a big deal for her.
          She has a really big part.

                         EMILY
          I'm sorry. I don't know your mother, but,
          that is pretty shocking.

                         LISA
          I guess she's really worried about getting
          a bad review or something.

                         EMILY
          OK. I'm gonna talk to my friend who's a 
          lawyer, and I'm gonna call Monica's cousin -
          you talked to her -- And you're gonna go
          talk to the police. Do you want me'to-go
          with you?

                         LISA
          No thanks.

                         EMILY
          Do you think maybe you should ask your
          mother to go with you?

                         LISA
          I think I can handle this part myself. 

                         EMILY 
          Oh, I am so angry. I am so angry. 

                         

                         

                         

                         
           92

                         113 CONTINUED: (2) 113

                          LISA
           He didn't do it on purpose.

                          EMILY
           Fuck him! I'm gonna run over his best 
           friend and then coerce some teenage girl
           into lying to the police about it! He had 
           his chance. Fuck him! Now are you gonna see 
           this through or not? 

                          LISA 
           I will if you will. 

                          EMILY 
           OK! Thank you. OK? 
           Emily impulsively and somewhat tearfully embraces Lisa, who 
           is flooded with relief.

          113A TIME PERMITTING.

          114 INT. THEATER -- BACKSTAGE/ONSTAGE. NIGHT.

          Joan waits in the wings. Her CUE LIGHT goes ON and OFF.
          TRACKING her onstage as she enters.

                         JOAN

                         (SHARP)
          Hey! Let me tell you something, Eliot --
          She is interrupted by entrance APPLAUSE.

                         JOAN (CONT'D)
          You want to fire me, go ahead and fire me.
          Only don't tiptoe around me like.some-kind
          of deranged ballerina every time I see you
          in the fucking hall! Now: Do you have 
          anything to say to me, Eliot?

                         VICTOR
          Um -- you're not fired...?
          This gets a pretty big laugh from the audience.

                         JOAN
          Oh. (Abashed, friendly) What are you guys
          talking about?
          Another big laugh.
           IN THE AUDIENCE -- LISA, CURTIS and RAMON sit together,
           dressed up for opening night. Ramon nudges Lisa. 

                         RAMON 
          She's good, eh? 

                         

                         

                         

                         
           93

                         114 CONTINUED: 114

                          LISA 
           (Grudging but proud) 
           Yes... 

          115 INT. COHEN APARTMENT -- LIVING ROOM. MORNING. 115

           Lisa is on the computer. Joan is standing behind her. 

                          JOAN 
           Did you find it?

                          LISA
           Just a minute! 

                          JOAN
           Can we just forget it? If they were any 
           good somebody would have called me last 
           night. 

                          LISA 
           No we can't forget it, because I can't take 
           this anymore. What do you care what they 
           say about you anyway?

                          JOAN 
           I don't. It's just a lousy feeling. Can't 
          you understand that? If they wrote mean
          things about you in the newspaper you
          wouldn't like it. Even if you didn't agree
          with it, or base your self-esteem on it.
          Why can't you understand that?

                         LISA
          I do understand it, because we have this
          conversation every time! You're great in
          the play, you're a great actress, everybody
          thinks you're great, everything about you 
          is great, you're really really pretty -- 

                         JOAN
          Oh shut up. 

                         LISA
          So let me just find the review and then we
          can both kill ourselves, OK?

                         JOAN
          Fine. 
          Lisa finds The New York Times review online. 

                         LISA

                         OK:

                         JOAN
          Did you find it?

                         

                         

                         

                         
           Green Revised 10/7/05 - Page 94

                         115 CONTINUED: 115

                         LISA
          Yes.

                         JOAN
          Is it bad?

                         LISA
          Let me read it. (she reads) OK, it's really
          good.

                         JOAN
          It is?

                         LISA
          Oh my God. Listen to this:

                         JOAN
          Don't read it to me.

                         LISA
          ".. .but it is the frankly extraordinary
          Joan Kaplan who transforms the savage wit
          of David Holmes' acid comedy-drama into
          something approaching sheer luminosity..."

                         JOAN
          Get out.

                         LISA
          "But don't be misled by her feather-light
          touch and expert comic timing. With the
          canny (Has trouble enunciating:) bray...

                         JOAN
          Bravura?

                         LISA
          Yes. "-- of an actor at the JOAN
          Top of Craft, Ms. Kaplan takes Top of Craft...?
          us on an emotional roller
          coaster that is both hilarious
          and heartbreaking, maddening
          and magical."

                         JOAN (CONT'D) 
          Shut up!

                         LISA
          OK. This is the best review I've ever read.

                         JOAN
          Just for me, or for everyone?

                         

                         

                         

                         
           Green Revised 10/7/05 - Page 94A

          115 CONTINUED:. (2) 115

                         LISA

                         (READING)
          No, he likes the play, he likes the cast,
          but the main thrust of it is basically what
          a genius you are, and how your time has
          come.

                         

                         

                         

                         
           2nd Blue Revised 10/28/05 - Page 95

                         115 CONTINUED: (3) 115

                         JOAN
          Fuck him, what does he know? (A la Noel
          Coward) Maddening and magical, eh? If only
          I knew what that meant.

                         LISA
          Oh my God you're a huge star.

                         JOAN
          Oh my God!

                         LISA
          Can I make coffee now?

                         JOAN
          Yes. Thank you honey.
          Lisa heads for the kitchen as the PHONE RINGS.

                         LISA
          Here come the offers.

                         JOAN
          (Picks up the phone)
           Hello?... . I know, can you believe it?

          115A INT. COHEN APARTMENT - KITCHEN. DAY. 115A

           Lisa is eating breakfast and listening intently to the radio.
           She hears Joan talking on the phone O.C.

           RADIO NEWSCASTER JOAN (O.C.)
           -- when the seventeen year- No, Lisa read it . No,
           old Palestinian was stopped I never read them unless
           by Israeli police from boarding I know there's nothing
           a-school bus yesterday carrying mean in them ... Victor,
           forty pounds of explosive under I wish you wouldn't
          her jacket -- speak to me that way:
          You know I'm Top of Craft.
          Lisa closes the door or turns up the radio.

          116 INT. ENGLISH CLASS. DAY. 116

          John is reading from a paperback poetry anthology. On the
          blackboard it says "19TH CENTURY POETS -- GERARD MANLEY
          HOPKINS -- 1844-1889." SLOW PUSH IN on Lisa.

                         JOHN
          Spring and Fall to a young girl
          by Gerard Manley Hopkins. 
          "Margaret are you grieving
          Over Goldengrove unleaving?
          Leaves, like the things of man, you
          With your fresh thoughts care for, can you?
          Ahl as the heart grows older
          It will come to such thoughts colder

                         (MORE)

                         

                         

                         

                         
           2nd Blue Revised 10/28/05 - Page 95A

                         116 CONTINUED: 116

                         JOHN (CONT'D)
          By and by, nor spare a sigh
          Though worlds of wanwood leafmeal lie,

                         (MORE)

                         

                         

                         

                         
           96

                         116 CONTINUED: (2) 116

                         JOHN (CONT'D)
          And yet you will weep, and know why.
          Now no matter, child, the name:
          Sorrow springs are the same.
          Nor mouth had, no nor mind, expressed
          What heart heard of, ghost guessed:
          It is the blight man was born for,
          It is Margaret you mourn for."
          Silence.

                         JOHN (CONT'D)
          Any thoughts? Lisa?
          Lisa looks up slowly.

          117 OMITTED. 117

          118 EXT. HIGHWAY ONE POLICE STATION - THE BRONX. DAY. 118

          Lisa gets out a taxi in front of the station.

          119 INT. HIGHWAY ONE POLICE STATION. DAY. 119

          Lisa walks up to the desk of a 2ND A.I.S.DETECTIVE.

          2ND A.I.S. DETECTIVE
          Could I help you?

                         LISA
          Um, yeah. Is Detective Mitchell here?

          2ND A.I.S. DETECTIVE
          No he's not.

                         LISA
          Oh. Um -- I talked to him on Monday and he
          said he'd be here after three...

          2ND A.I.S. DETECTIVE
          Yeah, he's not back yet. Could I help you
          with something?

                         LISA
          Um, well, do you know when do you expect
          him?

          2ND A.I.S. DETECTIVE
          What's this about?

                         LISA
          I was involved in an accident a few weeks

                         AGO --

          2ND A.I.S. DETECTIVE
          Uh huh?

                         

                         

                         

                         
           97

                         119 CONTINUED: 119

                         LISA
          And I filled out a report with Detective
          Mitchell, but wanted to amend the report,
          so I thought I should --

          2ND A.I.S. DETECTIVE
          What do you mean amend the report? How do
          you want to amend it?

                         LISA
          Well, there was something I didn't tell
          him, and I wanted to tell him, because --

          2ND A.I.S. DETECTIVE
          So wait, I don't understand. You wanna
          change your statement?

                         LISA 
          Yes! Yes! I want to change my statement.
          (Pause. Calmer) Yes.

          2ND A.I.S. DETECTIVE
          Well, you'd usually have to talk to the 
          investigating detective on the case...

                         LISA
          Yes. I know. That's why I asked to see 
          Detective Mitchell. Who said he'd be here 
          now. Which he's not. So... 

          2ND A.I.S. DETECTIVE

                         (ON "SO") 
          You remember the case number? 

                         LISA
          No. Sorry. It was that woman Monica
          Patterson, who got run over by the bus, on
          Broadway -- it was in a lot of the
          newspapers...

          2ND A.I.S. DETECTIVE
          OK, yeah, sure OK. Sit down, sit down. 

                         LISA

                         (SITTING)
          Thank you. I --- 

          2ND A.I.S. DETECTIVE
          You know the case is closed.

                         LISA
          I assume it was. But part of the reason 
          it's closed is because of my statement.
          And the statement I gave --

          2ND A.I.S. DETECTIVE
          Because of your statement?

                         

                         

                         

                         
           98

                         119 CONTINUED: (2) 119
          Another male detective walks by, behind LISA. The two men
          exchange a glance referring to Lisa being a cute girl.

                         LISA
          Yes.

          2ND A.I.S. DETECTIVE
          What do you mean it was closed because of
          your statement?

                         LISA
          I mean --

          2ND A.I.S. DETECTIVE
          The DA's office closes the case. You don't
          close the case. The DA's office closes the
          case.

                         LISA
          I'm sure it does. I obviously didn't mean
          I personally closed the case, like,
          legally. I meant that what I said was
          probably instrumental in getting the case
          closed, because I was the --

          2ND A.I.S. DETECTIVE
          What's your name, honey?

                         LISA
          Lisa Cohen.

          2ND A.I.S. DETECTIVE

                         OK --

                         LISA
          Don't call me honey, OK?
          Pause.

          2ND A.I.S. DETECTIVE

          OK.

                         LISA
          Are you not gonna help me now that I said
          that?

          2ND A.I.S. DETECTIVE
          Look -- what's your name?

                         LISA
          Lisa Cohen!

          2ND A.I.S. DETECTIVE
          OK Lisa, first thing, you're gonna calm

                         DOWN --

                         

                         

                         

                         
           99

                         119 CONTINUED: (3) 119

                         LISA
          I'm calm right now!

          2ND A.I.S. DETECTIVE
          OK. Just checking. Second thing -- Oh!
          Here he is: Your knight in shining armor.
          MITCHELL has just come in. LISA gets up.

                         MITCHELL
          This guy been givin' you a hard time?

                         LISA
          No...

                         MITCHELL
          What's this guy been sayin' to you?

                         LISA
          Nothing. I don't know if you remember
          me... I'm Lisa Cohen. I called you on 
          Monday?

                          MITCHELL
          Sure I do. What's up?

          120 INT. HIGHWAY ONE POLICE STATION - MITCHELL'S DESK - LATER 120

          Lisa sits across from Mitchell.

                         MITCHELL
          So now you're sayin' he ran the light. 

                         LISA
          Yes. He wasn't even looking at the road.
          And I was definitely trying to get his
          attention...

                         MITCHELL
          No, I get the picture. So you're flirtin'
          with this guy, he's wavin' at you, he runs
          the light, hits the decedent, she dies on
          the scene...the both of youse lie to me on
          both of your statements, and then
          somewheres in there you turn around, decide
          the guy belongs in jail. That right? That
          about right?

                         LISA
          I don't have any control over if he goes to
          jail or not. I certainly have my hopes. I
          just want to set the record straight, so
          that if he gets away with this I won't have
          been a part of it.

                         

                         

                         

                         
           100

                         120 CONTINUED: 120

                         MITCHELL
          And what do you think I should do with you?
          Just gimme•a clue. 'cause I'm just a little
          bit lost over here...:

                         LISA
          Do whatever you want. I know what I did. 

                         MITCHELL
          OK. Well. Before we do anything, Lisa,
          anybody will tell you that just because he
          ran a red light is not a criminal offence. 

                         LISA
          Even if he kills someone?

                         MITCHELL

                         (SIMULTANEOUS) 
          Even if you cause an accidental death, 
          that's right. For this to be a criminal
          offense, the law says you need two 
          aggravating circumstances. Like he ran a red
          light and he was speeding. Or he ran a red
          light and he was --

                         LISA
          (On 2nd "red")
          So he's not liable to be prosecuted for
          manslaughter? Or second degree murder?

                         MITCHELL
          No. He could be charged with reckless
          driving, and fillip' out a false police
          report. Which, that's no joke --

                         LISA
          That's unbelievable! What does he have to
          do? Kill her on purpose?

                         MITCHELL
          Yes. Because that's the definition of
          murder. Killin' somebody on purpose.
          You're not sayin' he ran her over on
          purpose, are you?
          Pause.

                         LISA
          No.
          Pause.

                         MITCHELL
          All, right, look. Lemme take another
          statement, and, uh...We'11 look into it,

          OK?

                         

                         

                         

                         
           101

                         120 CONTINUED: (2) 120

                         LISA
          You're kidding.

                         MITCHELL
          No. I'll go over it with my sergeant,
          probably pull this guy in again.
          Reinterview him. Put a little pressure on
          him. See what he says.

                         LISA

                         (VERY GRATEFUL)
          Thank you...! Thank you.

          120A INT. SCHOOL - GYMNASIUM. DAY. 12 OA 


                          
           Lisa and her coed class watch BONNIE, the young, tall

                          
           beautiful, no-makeup gymnastics teacher.

                          BONNIE 
           OK, so we're just gonna start with a_couple 
           of simple stretches. 

                          
          She stretches. Lisa notices the boys looking at Bonnie.

          121 EXT. CENTRAL PARK. DAY. 121 

          Lisa and Becky are smoking pot on a rock or bench.

                         LISA
          (holding in smoke)
          .Yeah, because the Central Park
          Conservatory or whatever it's called put up
          about five hundred miles worth of these 
          cheap shitty-looking fences all over the
          park. Which is totally antithetical to
          what the park was originally designed for.
          She exhales and hands Becky the joint.

                         BECKY
          We are totally gonna miss the game. Oh my
          God it's John...! It's John!
          They try to hide the joint from JOHN, the English teacher,
          who approaches them and stops. Pause.

                         LISA
          Hi John.

                         BECKY
          Hi John. (Pause) Want some?
          They giggle.

                         

                         

                         

                         
           102

                         121 CONTINUED: 121

                         JOHN
          Come on, guys. You can't be smokin' a j.
          on your way to a school soccer game! Now
          come on!

                         LISA
          Sorry.

                         BECKY
          We're really sorry.
          John glares at them, then turns and walks away.

                         LISA

                         (STAGE WHISPER)
          OK: How about how he's like, "Smokin' a j."
          Like, "You can't be smokin' a j."
          They all burst out laughing. 
          CU on the angry embarrassed back of John's reddening grown-up
          neck as he keeps walking away.

          122 EXT. CENTRAL PARK -- WEST OF THE GREAT LAWN. DAY. 122

          Lisa walks through the park, somewhat stoned, enjoying the
          sunshine. She sees MR AARON approaching on a bike. He bikes
          up to her and stops.

                         LISA
          Hi, Mr Aaron...!

                         MR AARON
          How are you, Lisa?

                         LISA
          I'm pretty damn good. How are you?

                         MR AARON
          I'm all right, I'm all right-Tell me
          something. Whatever happened with that
          situation?

                         LISA
          Oh...•I'm working on it. I'll tell you all
          about it sometime...(squinting at him in
          the sunshine) Hey, what kind of a bike is
          that?

                         MR AARON
          Um, a Trek.

                         LISA
          I'm supposed to take a horseback riding
          trip with my father over Christmas break
          and I was just wondering, does it bear any
          resemblance to riding a bicycle?

                         

                         

                         

                         
           103

                         122 CONTINUED: 122

                         MR AARON
          As far as I know, no, it doesn't, no...

                         LISA
          But you must have ridden a lot of horses.

                         MR AARON
          What makes you say so?

                         LISA
          Aren't you from Texas or Wyoming or
          someplace like that?

                         MR AARON
          Someplace like what?

                         - LISA
          You know: Not New York.

                         MR AARON
          I'm actually from Indiana. But don't let me
          overwhelm you with superfluous details. 

                         LISA
          God, so what are you doing at a New York
          private school teaching geometry to a bunch
          of overprivileged liberal Jews?

                         MR AARON 
          Is that a real question, or a Lisa 
          question?

                         LISA
          What's a Lisa question?

                         MR AARON
          A question designed to prolong the
          conversation without there being any
          particular interest in the actual
          answer...?

                         LISA
          About half and half. 

                         MR AARON 
          In that case -- 

                         LISA
          Before you go, I am actually thinking of
          getting one of these. Can I try it? Just 
          for one second?

                         MR AARON
          All right.

                         LISA
          Thanks.

                         

                         

                         

                         
           104

                         122 CONTINUED: (2) 122
          Aaron gets off the bike. She climbs on. The seat is too high
          for her.

                         MR AARON
          You want me to adjust the seat?

                         LISA
          No thanks. This actually feels really,
          really good. God, I'm kidding! You are so 
          easy to tease!
          She bikes away awkwardly, turns around and bikes back toward
          him, wobbling badly.

                         LISA (CONT'D)
          I like your bicycle...! Can I have it?

                         MR AARON
          No!
          She tries to stop in front of him but skids and he catches
          her hard by the arms to stop her.

          MR AARON (CONT'D)
          OK. Off.

                         LISA
          Can I just ask you how is it possible that
          I am totally in love with you and you have
          almost no interest in me whatsoever? It's
          not like I'd ever say anything if you ever
          deigned to like, you know, be with me.

                         MR AARON
          Lisa...!

                         LISA
          I can tell you like me. It's not like I'm a 
          virgin, if that's what you're worried
          about. I'm not even close. 

                         MR AARON
          I can't even be having this conversation
          with you.

                         LISA
          Yeah, you keep saying that, but I notice
          you're still standing here.

                         MR AARON
          You're absolutely right. Goodbye.
          He gets on the bike.

                         LISA
          It's not my fault if I revere you as a god!

                         

                         

                         

                         
           105

                         122 CONTINUED: (3) 122
          He laughs or smiles briefly in spite of himself.

                         LISA (CONT'D)
          Oh my God. I made you laugh. I am so happy
          right now.

                         MR AARON
          I'll see you in class.
          We pull away with him as she watches him go.

          123 INT. COHEN APARTMENT - FRONT HALL. NIGHT. 123

          Lisa walks in as Joan is putting on her coat.

                         JOAN
          Hi. Where have you been? I didn't know.if
          you wanted dinner.

                         LISA
          Oh -- no thanks. I'll order something.

                         JOAN
          Someone named Emily called. And Detective
          Mitchell called from the Accident
          Investigation Squad. Is that the one you
          talked to?

                         LISA
          Yeah, did he say anything?

                         JOAN
          Just to call him back. What's going on? Did 
          you ever go back and see him? 

                         LISA
          I'd rather not talk about it when you have
          one foot out the door. I'll tell you later,
          if that's OK.

                         JOAN
          Of course it is. Who's Emily?

                         LISA
          She's the friend of the woman who died, the
          one who had the funeral...

                         JOAN
          Oh yeah, OK. Well, her number's by the 
          phone.

                         LISA
          OK. How's Ramon?

                         JOAN
          Oh God. I don't know. I mean I really like
          him. He's really nice.

                         (MORE)

                         

                         

                         

                         
           Green Revised 10/7/05 - Page 106

                         123 CONTINUED: 123

                          JOAN (CONT'D)
          But I'm not sure he actually ever
          understands a word I say.

                         LISA
          Give him a chance, Mom, you just met-the
          guy.

                         JOAN
          But don't you know what I mean? I just feel
          kind of lonely when I'm with him. You know?

                         LISA
          You feel lonely when you're with him?

                         JOAN
          Yeah. You never felt that way when you were
          with someone?

                         LISA
          I guess so. I feel that way all the time.
          You get used to it.

                         JOAN
          Well ...I don't know how serious I want to
          get with somebody who makes me feel that
          way.

                         LISA
          So don't get serious. That's my advice.
          Pause.

                         JOAN
          All right. I'm gonna go.

                         LISA
          Have a good show.

                         JOAN
           Thank you. (calling) Goodbye Curtis!

          124 INTERCUT -- LIVING ROOM. SIMULTANEOUS 124
          Curtis, busy with his computer, doesn't answer.
          BACK IN THE FRONT HALL -- Joan shrugs it off.

                         JOAN
          'Bye sweetie.

          125 INT. BUILDING HALLWAY. NIGHT. 125

          She hits the elevator button. Sees her reflection in the
          little round elevator window. She looks old to herself, and
          haggard. She touches under her chin.

                         

                         

                         

                         
          107

          126 INT. ELEVATOR. CONTINUOUS. 126

          Joan gets in. The door shuts. She leans her head against the
          wall and bursts into tears., The elevator stops with a DING.
          She wipes her eyes quickly. A woman NEIGHBOR comes in.

                         NEIGHBOR
          Hello...!

                         JOAN

                         (SMILES)
          Hello.

                         NEIGHBOR
          Congratulations on the show...!

                         JOAN
          Thank you.

                         NEIGHBOR
          That was such a wonderful review...! And
          I read somewhere it might be going to
          Broadway?

                         JOAN 
          Supposedly. In March.

                         NEIGHBOR
          God! Exciting...!

                         JOAN
          Yeah, it's going well. Knock wood.

          127 INT. COLUMBUS AVENUE RESTAURANT. DAY. 127

          Lisa, Emily and DAVE, a good natured intelligent 35ish
          lawyer, are at a window table.

                         EMILY
          Lisa, Dave is one of my best friends.
          He's a terrific lawyer and if he doesn't
          know what to do himself he'll certainly
          know someone we can talk to.

                         LISA
          OK, great.

                         EMILY
          So Dave, just tell Lisa everything you told
          me, if you don't mind repeating

                         YOURSELF --

                         DAVE
          Not at all. I love to repeat myself.

                         LISA
          Are you guys gonna order something?

                         

                         

                         

                         
          108

          128 INT. COLUMBUS AVENUE RESTAURANT. DAY. LATER. 128

          They are drinking coffee. Lisa smokes.

                         DAVE
          When someone is killed it's what you call a
          Wrongful Death Suit, which is a statutory
          case, which just means there's a statute
          passed by the legislature which gives you
          the right to bring the case.

                         LISA
          As opposed to what?

                         DAVE
          As opposed to common law, which is law made
          by judges. Which is why the damages are
          limited.

                         LISA
          I don't understand.

                         EMILY
          Look, just skip that part. We don't care
          about that.

                         LISA
          I thought we were trying to get the
          police to arrest this guy...!

                         DAVE
          No -- the police are not, uh -- 

                         LISA EMILY 
          Why not? They told me they Dave doesn't think the 
          were gonna look into it police are gonna -- 
          again.

                         DAVE
          I'm just telling you that even if they do,
          there is no way in this world they are
          gonna recommend to the DA that they charge
          this guy. That's why --

                         LISA

                         (ON "THAT'S") 
          So what can we do?

                         DAVE
          Well. I'm --

                         LISA
          Sorry.

                         

                         

                         

                         
           Pink Revised 9/25/05 - Page 109

                         128 CONTINUED: 128

                          DAVE EMILY
          That's OK -- That's OK, honey...

                          DAVE
           I'm just getting to that. You can't
           do anything unless you're a relative --

                          EMILY
           She didn't have any relatives, except for 
           those idiots in Arizona --

                          DAVE

                          (ON "EXCEPT")
           -- or -- hang on a minute -- unless you're
           executor of her estate --

                         EMILY
          I am the executor of her estate.

                         DAVE
          -- which is Emily. I know.

                         EMILY
          So good.

                         DAVE
          Yes. This is good. Because the executor of
          the estate Cdn bring a Wrongful Death suit,
          but the beneficiary has to be a relative.
          So let me explain about that. In a Wrongful
          Death suit you can sue for Pain and
          Suffering, Pecuniary Losses, Lose of
          Support or Services.. .And also what's
          called Care, Comfort and Society: --like
          advice, counseling of the parent that the
          kids aren't gonna get anymore...

                         LISA
          You can really sue for that?

                         DAVE
          Yeah, and that's probably what we would do,

                         LISA
          So -- I don't understand. Who are we suing?
          The bus driver?

                         DAVE
          Well, no, because the bus driver wouldn't
          have any money. You basically sue everybody
          and hope something sticks. The person who
          pays will be the MTA's insurance company.

                         LISA
          But do you think the driver would get
          fired?

                         

                         

                         

                         
           Pink Revised 9/25/05 - Page 109A

                         128 CONTINUED: (2) 128

                         DAVE
          No. Not necessarily.

                         

                         

                         

                         
           110

                         128 CONTINUED: (3) 128

                         LISA
          Even if all the facts came out at the
          trial?

                         DAVE
          Maybe. I don't know.

                         EMILY
          But how much could they be liable for?

                         DAVE EMILY
          It depends: How badly do you think we
          could ever hurt them?

                         DAVE
          -- if she was alive, in great pain for an 
          extended period of time, they give more
          money for that.

                         LISA
          I'd say she was alive for ten minutes.

                         DAVE
          And I gather in a lot .of pain?

                         LISA
          Her leg was cut off.

                         DAVE
          Yes -- obviously. And -- but was she
          conscious? Awake, the whole time?

                         LISA
          I'm sorry, Emily. (To DAVE) Yeah, awake.

                         EMILY
          That's OK.

                         DAVE 
          Well, if she was in a lot of pain for that
          long ...I don't know. . .maybe 300,000 or a
          half a million dollars to get a sustainable
          verdict? A brain damaged baby would be• 
          three million. But the truth is, Lisa, 
          after all's said and done, it's not a very
          good case.

                         LISA
          Why not?

                         DAVE
          Because it's your word against his, and
          because you already lied on your first
          deposition. A red light case is a fifty-
          fifty proposition already. And with only
          one eyewitness, with two conflicting
          statements? I wouldn't take-that case. 

                         

                         

                         

                         
           Pink Revised 9/25/05 - Page 111

                         128 CONTINUED: (4) 128

                         EMILY
          Nobody really cares about getting a lot of
          money here.

                         DAVE
          I understand that --

                         EMILY
          We just want this prick to Buffer. and we
          want the bus company to take resonsibility
          for hiring this guy.

                         DAVE
          I understand. But no matter how you slice
          it, the fact that Lisa lied on her first
          statement is a disaster for your lawyer.

                         LISA
          Can't I explain why I lied the first time?
          It's not like I'm trying to get any money
          for myself.

                         DAVE
          That's true-Since she have no financial
          interest she can't be impeached for bias.

                         EMILY
          Impeached for what?

                         DAVE
          She can't have her credibility attacked on
          financial grounds because the jury knows
          you're not getting any money if you win.

                         LISA
          So that's'something, isn't it?

                         EMILY
          But do you really think we know what that
          means?

                         DAVE
          I'm sorry. That's what its called.

                         EMILY
          But who are you talking to? You know we
          don't know what that means. It's like
          you're not really concentrating.

                         DAVE
          I -- don't know. I am concentrating. I'm
          just thinking out loud.

                         EMILY
          OX. All right. I'm sorry...I

                         (TO LISA) 

                         (MORE)

                         

                         

                         

                         
           Pink Revised 9/25/05 - Page 111A

                         128 CONTINUED: ( 5) 128

                          EMILY (CONT'D)
          He wasn't always a lawyer you know. He
          used to be a very nice little boy.

                         

                         

                         

                         
           Pink Revised 9/25/05 - Page 112

                         128 CONTINUED: ( 6) 129

                         DAVE
          Anyway.. the only thing I could think of is
          it i@ the MTA. So they're not gonna want a
          lot of publicity.

                         LISA
          Anyway, the whole point is to get this guy --

                         EMILY
          Is to fucking get this guyl

                         LISA
          No, its to get him out from behind the
          wheel of a bus!

                         DAVE
          Did she know she was dying? I only ask
          because the terror of knowing you're dying
          raises the damages.

                         LISA
          I think she had a pretty good idea.

                         DAVE
          If she had lived for a couple of days it
          would make the case better...I know this
          sounds horrible, but this is what it comes
          down to...

                         EMILY
          I know. We know, Dave. That's OK.
          Silence. Emily starts to speak:

                         DAVE
          I actually did have one more thought...I do
          know one guy who's, uh... You know what? Yo
          know what I want to do7 I want to make a
          few phone calls, and then, just let me get
          back to you.

                         EMILY
          I would just like somebody to take
          responsibility for what happened.

          128A TIME PERMITTING. 12 BA

          129 INT. COHEN APARTMENT -- KITCHEN. DAY. 129

           Lisa is on the kitchen phone.

                          LISA
           Yes, Detective Mitchell please? . My name
           is Lisa Cohen? C 0 H -- Yes, I'll hold.
          (On hold) Fuck you...

                         

                         

                         

                         
          Pink Revised 9/25/05 - Page 112A

          130 INT. SQUAD ROOM. DAY. 130

          Mitchell picks up the phone. WE CUT BETWEEN THEM.

                         

                         

                         

                         
           113

                         130 CONTINUED: 130

                         MITCHELL
          Detective Mitchell.

                         LISA
          Oh, hi, it's Lisa Cohen calling.

                         MITCHELL
          Hi Lisa, what can I do for you?

                         LISA
          Well, I was just wondering what ever
          happened, if anything, with the case.
          You said you might re-interview the bus
          driver...

                         MITCHELL

                          
          Yes, we did:.We brought him back in --

                         LISA
          You did? What happened?

                         MITCHELL
          Well, he basically stuck to his original
          representation, and that was pretty much
          it. I brought it up with my sergeant, but
          he agrees with me we still don't have
          enough to charge this guy, so there's
          really not a lot more we can do at this
          point.

                         LISA
          But how did you ask the questions?

                         MITCHELL
          Excuse me? 

                         LISA
          He's obviously not gonna change his 

                          
          statement if you just ask him like really
          politely: Why would he? We already know
          he's a liar.

                         MITCHELL 
          Hey, you know, Lisa, in the old days we'd
          just throw him in the back with a rubber
          hose and we'd get whatever answer we want
          out of him. But fortunately we don't do 
          that kind of thing anymore --

                         LISA
          Yeah, not to white people.

                         MITCHELL
          Excuse me?

                         

                         

                         

                         
           114

                         130 CONTINUED: (2) 130

                         LISA
          You don't do it to white people. Anyway, 
          I'm not saying you -- 

                         MITCHELL 
          We don't do it to who?

                         LISA
          Oh my God...

                         MITCHELL
          First of all, I don't know why you're
          bringin' the guy's race into it. There's
          forty thousand cops in this city --

                         LISA
          Yes, thank you, yes.

                         MITCHELL
          -- and I hate to disillusion you, but most
          of 'em are pretty good guys, just tryin' to
          do their job. Bottom line is the DA's not
          gonna take this case. (Pause) Now you could
          talk to my sergeant if you want to, but --

                         LISA
          Yes, I would.

          131 INT. COHEN HALLWAY/KITCHEN. DUSK. 131

          Joan, dressed to go to work, drops her keys in her purse as
          she comes down the hall and lingers in the kitchen doorway to
          find LISA on the phone, listening, then:

                         LISA
          So there's no way to appeal --

          SERGEANT V.O. 
          (over the phone, flat)
          There's nothin' to appeal. There's no case.

                         LISA
          But how do you know Detective Mitchell
          interrogated him aggressively enough if you
          weren't there?

                         JOAN
          What's going on?
          LISA waves her away.

          132 EXT. RAMON'S TERRACE. NIGHT. 132

          Joan and Ramon are having drinks and looking at his great
          view of the Upper West Side. Joan is smoking.

                         

                         

                         

                         
           115

                         132 CONTINUED: 132

                         JOAN
          -- so funny: it's the same show, but now
          they all read how great it is, we get these
          big standing ovations every night, and it's
          the exact same show as before.

                         RAMON
          But why do you put yourself down? It's a
          wonderful show and a wonderful performance.

                         JOAN
          No, it's not -- I'm not putting myself
          down. It's just that the audience always
          reacts differently if they've been told
          it's good. A lot of actors have that
          experience.

                         RAMON
          Mm hm?
          She takes a few steps away.

                         JOAN
          I love this view...(Pause) You know,
          Ramon...this may sound very stupid to you,
          but do you ever worry that we don't have
          very much in common?

                         RAMON
          What do you mean?

                         JOAN
          Well, I don't mean to sound dissatisfied,
          or disgruntled. But I feel like we're 
          always misunderstanding each other. Do you
          feel that way at all? Or am I just
          completely off the beam?

                         RAMON
          I don't think we should talk about that,
          Joan.

                         JOAN
          You don't? Well...I think it's kind of 
          important or I wouldn't have brought it up. 

                         RAMON
          Joan... I like you very much. But let's not
          talk about what you are like, and what I am
          like. That never makes a good result. Talk 
          about it with your friends.

                         JOAN
          My friends...!

                         RAMON
          Yes.

                         

                         

                         

                         
           2nd Pink Revised 11/17/05 - Page 116

                         132 CONTINUED: (2) 132
          He sips his drink. Joan doesn't know what to say. Pause.

                         RAMON (CONT'D)
          May I show you some pictures of my boys?

                         JOAN
          Sure. Just don't tell me what they're like.

          132A INT. RAMON'S LIVING ROOM. NIGHT. 132A

          Ramon and Joan are in his modernistic, scrupulously clean
          carpeted living room, on the sofa, looking at pictures.

                         RAMON
          That's a little place we used to go on
          holiday, two hours outside of
          Cartagena...My family is all there still,
          but Rodrigo is studying in London, and
          Hector is in Geneva.

                         JOAN 
          Uh huh... 

                         RAMON 
          I'm sure they will go back eventually,
          because they like to do something for their 
          country. But it's a worry, because it's 
          very bad there now.

                         JOAN 
          Yeah...I haven't really been following it.

                         RAMON
          It's a big, big mess. Last year I helped to
          found an organization to work with children
          whose families have been killed, or the
          parents have been kidnapped, so they don't
          know if they are alive or dead. We try to
          find homes for them, preferably in
          Colombia, because if we lose our young
          people, that's it: That's the future. We
          have raised a lot of money, but there's
          only so much we can do. You don't like to
          say it's hopeless, but it's hard to see the
          solution.

                         JOAN
          Yeah. God...I wish I knew more about
          it...Do you mind if I ask you something?

                         RAMON
          Of course not.

                         JOAN
          Why are you interested in me?

                         

                         

                         

                         
           2nd Pink Revised 11/17/05 - Page 116A

          132A CONTINUED: 132A

                         RAMON
          You don't think I should be?

                         JOAN
          I just feel kind of ignorant about your
          whole world...

                         RAMON
          You think it would be better if we knew
          about all the same things?

                         JOAN
          Not really, not exclusively. It's just
          unusual. Don't you think it's unusual?

                         

                         

                         

                         
           2nd Pink Revised 11/17/05 - Page 117

          132A CONTINUED: (2) 132A

                         RAMON
          Not for me.

                         JOAN
          I guess you travel a lot. I've only been
          out of the country a few times in my whole
          life.

                         RAMON
          You should travel more.

                         JOAN
          I know. I've always wanted to. It's hard
          when you're in the theater...

                         RAMON
          Still, you should try. It's a big world.
          You're an artist. You should see more of
          it.

                         JOAN
          I know. You don't have to keep saying that.
          I've always wanted to travel. It's just a
          little difficult with two kids and no
          husband, but it's hard to make a lot of
          money in the theater. I was on a TV show a
          few years back and I socked away some money
          because of that, but my ex-husband --

                         RAMON 
          Karl.

                         JOAN
          Karl, yes, you remembered, very good.
          Karl's very generous with the kids when he
          can be, but he's struggling too: He's a
          director: he directs commercials, and now
          he's trying to produce them... Anyway, I'm
          not ignorant because I enjoy it.

                         RAMON
          I don't say you're ignorant... Do you think
          Lisa will be interested in acting? 

                         JOAN
          I don't think so. I think's she's got a
          lot of contempt for it. Of course that may
          be the age.

                         RAMON 
          She would prefer the world with no plays? 
          No films?

                         JOAN 
          Oh... Who knows. 

                         

                         

                         

                         
           2nd Pink Revised 11/17/05 - Page 117A

          132A CONTINUED: (3) 132A

                         RAMON
          Would you like to see a picture of my
          mother?

                         JOAN 
          Sure.

                         RAMON
          These are all my aunts and uncles...See?
          Big family...

                         JOAN
          Mmm.
          She looks at him as he turns the pages.

          133 EXT. MIDTOWN OFFICE BUILDING. DAY. 133

          Lisa and Emily meet in front of Dave's office building.

          134 INT. DAVE'S LAW FIRM - STAIRCASE/OFFICE. DAY. 134

          Dave walks Lisa and Emily into his office.

                         DAVE
          So after I talked to you guys I called
          this P.I. I know and I asked him to --

                         

                         

                         

                         
           Pink Revised 9/25/05 - Page 118

                         134 CONTINUED: 134

                         EMILY
          You called a what? A what?

                         DAVE
          Private Investigator -- to see if he could
          find anything out about your bus driver --

                         LISA
          Really?

                          DAVE EMILY
          Yeah: So he -- Dave!

                         DAVE
          Wait, let me tell you what he said! So he
          called this guy he knows who used to be a
          cop for the MTA. Did you know the MTA have
          their own police? The MTA police? They have
          their own uniforms...

                         EMILY
          Yeah? Yeah? Yeah?

                         DAVE EMILY
          And -- Just a minutel Jesus Christ! What do we
           give a fuck about the MTA 
          police and their uniforms?! 

                         DAVE
          -- so this guy got someone to let him
          sneak a look at your guy's file. And it
          turns out he's had two previous accidents --
          less than two years apart -- one of them on
          the job, one in his own car --

                         EMILY
          What?

                         DAVE
          -- where there was some allegation that he
          was drinking, which was dropped, but, that 
          he's never been cited or disciplined, just
          moved around to different shifts --

                         EMILY
          Are you fucking kidding me?

                         LISA
          Why does this not shock me?

                         DAVE
          Because Surprise Surprise his brother-in-
          law is a very big muckety-muck in the
          Transit Workers Union --

                         

                         

                         

                         
           Pink Revised 9/25/05 - Page 119

                         134 CONTINUED: (2) 134

                         EMILY
          (i.e., "I get it.")
          O-Kay...l

                         DAVE
          And if you read the paper, you'll know
          they're going through a protracted labor
          dispute at the MTA right now, and according
          to my PI, the management doesn't want to
          aggravate the situation by firing this guy.
          Especially since the police have concluded
          he was not at fault.

                         LISA
          This is making me sick.

                         DAVE
          I know, but what it means, Lisa, is that we
          have a case.

                         LISA
          We do?

                         DAVE
          What it means, in fact, is that we have a
          very good case, because we can sue for
          what's called "Negligent Retention." Which
          means they should have known the guy was a
          bad risk and was irresponsible and they
          negligently retained him until he finally
          killed somebody.

                         EMILY
          And you can prove that?

                         DAVE
          Sure, because we can subpoena their
          Personnel records, which we already know
          contain damaging information, because my
          investigator got a look at them beforehand.
          Which you're not-supposed to do, but we did
          it anyway.

                         LISA

                         YOU'RE AWESOMEL

                         EMILY
          And that means...

                         DAVE
          That means we're in great shape and I think
          we should go in there and sue their fuckin'
          asses off.

                         EMILY
          But you wouldn't be our lawyer, right?

                         

                         

                         

                         
           Pink Revised 9/25/05 - Page 120

                         134 CONTINUED: (3) 134

                         DAVE
          No no. Oh no.

                         LISA
          Why not?

                         DAVE EMILY
          I'm not a personal injury It's not his area.
          litigator. I don't know
          enough about it. I would
          lose.

                         EMILY
          But you could recommend someone?

                         DAVE
          Sure. I know a guy who's very good. His
          name is Russel Deutsch. He's not a
          sleazebag. Very experienced. Let me give
          you his number...

                         EMILY
          Dave, thank you so much.

                         LISA
          Really. My God.

                         DAVE
          But you gotta get that crazy cousin on
          board because she's gonna be your
          beneficiary.

                         EMILY
          She's not gonna want to come to New York, I
          can tell you that right now.

                         DAVE
          If you win she gets anywhere from three to
          five hundred thousand dollars. She's gonna
          come to New York.

          135 EXT. MIDTOWN -- 6TH AVENUE. DAY. 135

          Lisa and Emily walk up the busy avenue.

                         LISA
          What's with Monica and her cousin?

                         EMILY
          Oh, Monica's father left some money to
          Abigail's kids and he made Monica the
          executor of the estate, because he didn't
          want Abigail and her idiot husband to get
          their hands on the money before the kids
          were grown up.

                         (MORE)

                         

                         

                         

                         
           Green Revised 10/7/05 - Page 121

                         135 CONTINUED: 135

                          EMILY (CONT'D)
          For which Abigail rewarded her by badgering
          her about it on the phone for fifteen
          years: Always trying to borrow money
          against the estate, accusing her of making
          lousy investments with it, nasty phone
          calls, nasty letters, every month for
          fifteen years until Abigail's daughter
          turned twenty-one and got married. Then
          Monica goes to the wedding, in fucking
          Arizona, and Abigail literally won't speak
          to her. She's a dream.

                         LISA
          So that's who we're getting the money for?

                         EMILY
          It's not who we're getting it for, it's who
          we're getting it from.

          136 INT. DEUTSCH'S OFFICE. DAY. 136

           Emily and Lisa sit with RUSSEL DEUTSCH, 50s. His law office
          is slightly smaller and less nice than Dave's.

                         DEUTSCH
          First thing we do is we file a summons and
          a complaint against the MTA. They get
          .twenty days to respond, and when they do we
          can make our Discovery requests: Accident
          reports, personnel records, et cetera. But
          you gotta realize it's gonna take some
          time. The law says you have to get a court
          date within a year. Usually it takes about
          six. Depending.

                         LISA
          Six years!

                         DEUTSCH
          Depending, yes.

                         EMILY
          Now, I mentioned to Dave I have a friend
          who writes for the Metro section of the
          Times...

                         DEUTSCH
          Yes: Now this, if it could really happen,
          this changes everything in our favor. If
          they think there's gonna be adverse
          publicity, especially in The New York
          Times, they're gonna want to settle right
          away, soon as possible, and as quietly as

                         POSSIBLE --

                         EMILY
          So they'd.make it a condition that

                         

                         

                         

                         
           122

                         136 CONTINUED: 136

                         DEUTSCH
          It's usually done, you get the money but
          you can't talk about it. Nobody knows the
          terms.

                         LISA
          So what good does that do?

                         DEUTSCH 
          You get the money. (Pause) is that bad?
          (Pause) I thought that's what we're all 
          here for. (Pause) This is how our society 
          punishes people for doing bad things.

                         LISA
          By getting money from their employers'
          insurance. companies?

                         DEUTSCH 
          Yes. It's called Punitive Damages.
          Pause.

                         LISA
          Could we insist they fire the driver? As
          part of the settlement?

                         DEUTSCH 
          Yes, sure, why not? 

                         LISA
          But is that something people do?

                         DEUTSCH 
          Sure. It's one of your conditions.

                         EMILY
          Great.

                         LISA
          And you think we're gonna win? They're
          gonna settle?

                          DEUTSCH 
           Oh they're gonna settle.

                          LISA
           This is --
          Emily and Lisa take hands and squeeze.

          137 INT. COHEN APARTMENT -- LIVING ROOM. LATER THAT DAY. 137

           JOAN is reading LISA's C average REPORT CARD and an 
           accompanying letter. Lisa comes in and stops short. 

                         

                         

                         

                         
           123

                         137 CONTINUED: 137

                         JOAN 
          I want to talk to you. 

                         LISA
          What'd I do now?

          138 INT. EMILY'S APARTMENT -- FRONT DOOR. DAY. 138

          Emily opens the front door for Joan and Lisa.

                         JOAN
          Hi. I'm Joan. It's nice to meet you.

                         EMILY
          Nice to meet you too. Come on in.

                         - LISA

                         (SARDONICALLY)
          Hi Emily.

          139 INT. EMILY'S APARTMENT -- LIVING ROOM. DAY. 139

          Emily, Joan and Lisa settle on the sofa and chairs.

                         JOAN
          .I had a friend who used to live on this
          block, at 262...?

                         EMILY
          Oh...?

                         JOAN
          Yeah, I don't know if you know her.
          Cheryl Rowan? She's a physiotherapist?

                         EMILY
          No, I don't know her.

                         LISA
          I think about a thousand people must... 

                         JOAN
          What?

                         LISA
          Nothing...

                         EMILY
          Lisa says you're in a play, Joan?

                         JOAN
          Oh -- Yeah...

                         LISA
          You should go see it, it's really good.

                         

                         

                         

                         
           124

                         139 CONTINUED: 139

                         JOAN
          Well, the play is great, and it's a really
          nice cast..-.

                         LISA
          She's just being modest. She's gonna win
          every award in New York.

                         JOAN
          Oh -- all that stuff's a long way off.

                         EMILY
          I don't go to the theater very much.

                         JOAN 
          Well, it's just nice, because you can work
          a long time in the theater and play really
          good parts without getting a lot of
          recognition. And even though you don't 
          necessarily do it for that as your primary
          motive, it is very nice when people do
          notice something you've done.

                         EMILY 
          Uh huh...

                         JOAN
          I was on a television show a few years ago,
          and I had been doing theater all my life,
          and suddenly all my relatives started
          calling me up to congratulate me because
          they thought I finally Made It. And it was
          really just this dumb show that paid the
          bills for a while...

                         LISA
          That show was so stupid.

                         JOAN
          It wasn't that bad...! Anyway: I realize
          this is horribly embarrassing for Lisa, but
          I really wanted to meet you, Emily, because
          you've frankly become such a big part of
          Lisa's life, and I don't want to be
          intrusive, but this whole court case seems
          to be suddenly dominating everything and I
          can't get Lisa to tell me anything about it

                         LISA
          That's not true...!

                         JOAN
          Well, I can't...! And I want you to know,
          Lisa, that I'm very, very proud of you for
          pursuing this the way you have.

                         (MORE)

                         

                         

                         

                         
           125

                         139 CONTINUED: (2) 139

                          JOAN (CONT'D)
          But I can't let you pursue it to the point
          where it's taking over your life or
          interfering with your school work. (To
          EMILY) It's really come down to a question
          of homework. Lisa is on a half-scholarship
          at her school. And I know she feels a real 
          sense of responsibility about what happened

                         LISA
          Yeah, I do.

                         JOAN
          I know you do. I know you do. But you can't
          not do your homework, and you can't throw
          away your scholarship because of it.

                         LISA
          I'm not. My grades slipped a little.
          They'll get better. Anyone can do their
          homework. You just sit down and do it.
          I've been distracted. I'll stop.

                         JOAN
          All right --

                         LISA
          We didn't need to have a big conference
          about it.

                         JOAN

                         (EMBARRASSED)
          It's not a big conference, I just want to
          know what's going on. And I wanted to meet
          Emily... (to EMILY) I know it's a little
          awkward!

                         EMILY
          Don't apologize. If Lisa hasn't been
          keeping you apprised of what's been going
          on, I think she should. You should.

                         LISA
          There's nothing to keep her apprised of.,
          We're just waiting for them to schedule the
          Discovery conference.

                         JOAN
          Now what is that?

                         LISA
          Mom? It really doesn't matter.

                         

                         

                         

                         
           126

                         139 CONTINUED: (3) 139

                         EMILY
          A Discovery conference is a meeting with
          the court where they sign an order.
          authorizing our lawyer to begin getting the
          personnel records, interviewing witnesses,
          talking to Monica's cousin...

                         JOAN
          OK, now where does she fit in?

                         EMILY
          She gets the money.

          140 EXT. MIDTOWN HOTEL. DAY. 140

          ABIGAIL BERWITZ, 40s, gets out the taxi as the driver comes
          around with her matching luggage.

          141 INT. DEUTSCH'S OFFICE. DAY. 141


                          
          Abigail sits with Deutsch.

                         DEUTSCH 
          How would you describe the relationship
          overall? Did you talk on the phone a
          lot? Were there a lot of visits --

                         ABIGAIL
          I would say we talked on the phone a couple
          of times a month at least. Sometimes more
          than that...I would call her, she would
          call me...

                         DEUTSCH 
          And what were the nature of these
          conversations?

          ABIGAIL.
          Oh, family stuff, mostly. Her family, my
          kids...

                         DEUTSCH
          And she would advise you about your family?
          That kind of thing?

                         ABIGAIL
          Oh, I would say so, yes.

                         DEUTSCH 
          Would you have any phone records? Or --

                         ABIGAIL
          I have all my phone bills, if that's what
          you mean. I didn't record the actual
          conversations...

                         

                         

                         

                         
           127

                         141 CONTINUED: 141

                         DEUTSCH 
          No no --

                         ABIGAIL

                         (PRODUCES BILLS)
          You'll see we talked on the phone quite
          frequently.

                         DEUTSCH
          OK, that's terrific. I see you came
          prepared...1

                         ABIGAIL
          Well, I wanted to bring everything.

                         DEUTSCH 
          Now when they take your deposition you're
          gonna say the same thing you just told me.
          Talk about the relationship...

                         ABIGAIL
          Uh huh?

                         DEUTSCH 
          Kind of advice she used to give you...

                         ABIGAIL

          OK...?

          142 INT. MIDTOWN RESTAURANT. DAY. 142

          Emily, Lisa and Abigail sit over their lunch. Abigail is
          drinking a white wine. 

                         ABIGAIL
          Now, Emily, where did you find this lawyer?

                         EMILY
          He was recommended by a friend.

                         ABIGAIL
          I'm asking because my husband knows a real
          good New York lawyer, and I'm not entirely
          comfortable with someone that no one has
          ever heard of --

                         EMILY
          My friend's heard of him. He says he's very
          good..

                         ABIGAIL
          I'm sure he does. But I have a 
          responsibility in this situation, and I
          would feel a whole lot more comfortable
          with somebody who didn't just drop in out
          of the clear blue sky...

                         

                         

                         

                         
           2nd Green Revised 11/20/05 - Page 128

                         142 CONTINUED: 142

                         EMILY
          He didn't drop in out of the clear blue
          sky. He was recommended by my friend.
          But even if we switched lawyers we'd still
          have to pay him. But it all comes out of
          the settlement, so it's really up to you.

                         ABIGAIL
          No, if you all think he's good...

                         EMILY
          I don't know whether he is or not. My
          friend thinks he is.

                         ABIGAIL
          All right. Now Lisa, what is your
          involvement in all this? What's your angle?

                         LISA
          I just wanted to...I was just there.

          143 INT. EMILY'S DINING ROOM. DAY. 143

          Emily comes into the dining room with a cup of coffee. Lisa
          is standing over the table looking at some of Monica's photos
          and belongings which are spread out all over the table. Emily
          starts putting the pictures away in their envelopes.

                         LISA
          Oh my God, is that you?

                         EMILY

                          
          That's me.

                         LISA

                          
          And that's you and Monica obviously. Oh my

                          
          God. Is that her daughter?

                         EMILY

                          
          Uh huh.

                         LISA
          God... So how old was she when she died? 

                         EMILY

                          
          Twelve.

                         LISA
          God. I can't even imagine. 

                         EMILY
          Neither could we. 

                          
          Emily sits down and starts sorting through pictures to put

                          
          them in the box. Lisa sits down too.

                         

                         

                         

                         
           2nd Green Revised 11/20/05 - Page 128aA

                         143 CONTINUED: 143

                         LISA
          You know Monica asked about her when she
          was dying?

                         

                         

                         

                         
           2nd Green Revised 11/20/05 - Page 128A-129

                         143 CONTINUED: (2) 143
          Emily looks up.

                         EMILY
          No. I didn't.

                         LISA

                          
          Yeah. I think she was confused... like, I

                          
          think she thought I was her daughter for a
          minute. And then she was asking me to call
          her, like to tell her what happened: You
          know, like she didn't remember she was
          dead.

                         EMILY
          What do you mean? What did she say?

                         LISA
          She just asked if somebody could call her
          daughter. But then it got confusing because
          I said, "Sure, what's her name?" And she
          said her name was Lisa. And I said, "No,
          that's my name." Because it took me a
          minute -- I didn't realize we had the same
          name...
          Emily does not respond.

                         LISA (CONT'D)
           But I couldn't tell if what I was saying

                          
          was registering with her.
          Emily does not respond.

                         LISA (CONT'D)
          But then when I found out her daughter was
          dead, ever since then I keep having this
          really strong feeling that some way, for
          those last five minutes I kind of was her
          daughter. You know? Like maybe that's the
          reason I was there: Like in some weird way,
          this obviously amazing woman got to see her
          daughter again for a few minutes, right
          before she died.

                         EMILY

                         (VERY DRY)
          I see. And is she still inhabiting your
          body? Or did she go right back to the
          spirit world after it was over?

                         LISA
          I didn't mean she ws literally inhabiting
          my body. I don't believe in all that stuff
          at all.

                          

                         EMILY

                          
          I don't give a fuck what you believe in.

                         

                         

                         

                         
           2nd Green Revised 11/20/05 - Page 129aA

                         143 CONTINUED: ( 3) 143

                         LISA
          Oh my God! Why are you so mad at me!? 

                         EMILY 
          Because this is not an opera!

                         LISA

                         (FLUSHING)

                          
          What? You think I think this is an opera?

                         

                         

                         

                         
           2nd Green Revised 11/20/05 - Page 129A-130

                         143 CONTINUED: ( 4) 143

                         EMILY
          Yes!

                          

                         LISA
          You think I'm making this into a dramatic
          situation because I think it's dramatic?!?

                         EMILY
          I think you're very young.

                         LISA
          What does that have to do with anything?
          If anything I think it means I care more
          than someone who's older! Because this kind
          of thing has never happened to me before!

                         EMILY
          No, it means you care more easily! There's
          a big difference! Except that it's not you
          it's happening to!

                         LISA
          Yes it is! I know I'm not the one who
          was run over --

                         EMILY
          That's right, you weren't. And you're not
          the one who died of leukemia, and you're
          not the one who just died in an earthquake
          in -- Algeria! But you will be. Do you
          understand me? You will be. And it's not
          an opera and it's not dramatic --

                         LISA
          I'm well aware of that!

                         EMILY
          And this first-blush phony deepness of
          yours is worth nothing.

                         LISA
          Oh wow.

                         EMILY
          Do you understand? It's not worth anything,
          because it'll be troweled over in a month
          or two. And then when you get older, and
          you don't have a big reaction every time a
          d gets run over, then, then we'll find
          out what kind of a person you are! But this
          is nothing! I'm sorry, but I didn't start
          this conversation and I don't play these
          games.

                         

                         

                         

                         
           2nd Green Revised 11/20/05 - Page 131

                         143 CONTINUED: ( 5) 143

                         LISA
          (drawing herself up)
          I am not --

                          EMILY
           And don't look so outraged! Because I'm not

                          
          saying anything very outrageous! I'm
          telling you to knock it off! You have every
          right to falsify your own life, but you
          have no right to falsify anyone else's.
          It's what makes people into Nazis! And I'm
          sorry, but it's a little suspicious that
          you're making such a fuss about this when
          you didn't know her, and you're having
          troubles with your own mother --

                         LISA
          Oh my God!

                         EMILY
          But this is nm life we're talking about,
          much more than it is yours! Because it's my
          real friend who got killed, who I'm never
          going to see again, really! Whom I have
          known since I was nineteen years old
          myself. OK? And I don't want that sucked
          into some kind of adolescent self-
          dramatization!

                         LISA
          I'm not fucking dramatizing anything!

                         EMILY
          (not having it)

                         OK --

                         LISA
          I was there, and you weren't! And if I
          happen to express myself a little
          hyperbolically, Emily, that's just the way
          I talk! I can't help it if my mother is an
          actress! Why are you being so fucking
          strident?

                         EMILY
          Strident?

                         LISA
          Yeah.

                         EMILY
          OK. Um, you should leave.

                         LISA
          Why? Because I called you strident?

                         

                         

                         

                         
           132

                         143 CONTINUED: ( 6) 143

                         EMILY
          Yeah: Strident? You should leave. Thanks.
          I don't wanna be called strident and you're
          deliberately misunderstanding me!

                         LISA
          No I'm not! You're insulting me enough as
          it is: You don't have to call me stupid
          too!

                         EMILY
          Well I can't stop you doing this so I think
          you had better go.

                         LISA
          OK! I will.

                         EMILY

          NOW!

                         LISA
          OK! Let me get my purse!
          Lisa grabs her purse and coat. Emily half-walks, half-drives
          her toward the door.

                         LISA (CONT'D)
          Does this mean we're dropping the whole
          inquiry?

                         EMILY
          It means you're leaving. I don't know what
          else it means.

                         LISA
          All I meant by saying you were strident was
          that you were being emphatic! I obviously
          misused the word!

                         EMILY
          Look it up when you get home.

                         LISA
          Jesus Christ. You're amazing.

                         EMILY
          Yeah. Uh huh. I'm amazing.

                         LISA
          (bursts into tears)
          Why are you doing this... .!

                         EMILY
          Lisa, I'm not doing anything! I'm a human
          being! Monica was a human being! So was
          her daughter! And so is your mother!

                         (MORE)

                         

                         

                         

                         
           2nd Green Revised 11/20/05 - Page 133

                         143 CONTINUED: ( 7) 143

           EMILY (CONT' D)
          We are not supporting characters in the
          fascinating story of your life!

                         LISA
          I never said or thought you were...! And I
          really didn't mean to call you strident! I

                          
          totally misused the word! I wasn't trying
          to insult you, Emily, I really wasn't! I
          feel so bad about what happened and I'm
          trying so hard to do something about it!
          And I don't understand why if I say
          something wrong you can't just give me a
          break! I didn't mean I thought her daughter
          took over my body. I'm not an idiot. It was
          just this feeling I had because she was
          holding onto my hand so hard before she
          died, and because we had the same first
          name!

                         EMILY

          OK... 

                         LISA 
          But I'm not trying to dramatize anything, 
          Emily. I really know about that trend, and 
          I really don't think I've been doing that. 

                         EMILY 

                          
          OK. I believe you. And look up "strident."

                          

                         LISA
          I will.
          They kiss and make up, but it's still a little ugly.

          143A INT. COHEN LIVING ROOM. NIGHT 143A

          Lisa, Joan and Curtis are watching Joan being interviewed on
          TV. We don't see the screen.

                         JOAN
          I've been in the theater my whole life and
          nothing like this has ever happened to
          me...

          INTERVIEWER ON TV(O.C.)
          Now, any talk of the play becoming a film?

          JOAN ON TV (O.C.)
          Oh, I'm sure. But I would never get cast in
          that. I'm not a movie star.

          INTERVIEWER ON TV (O.C.)
          But you're a theater star...

          JOAN ON TV (O.C.)
          I don't know about that either...

                         

                         

                         

                         
           2nd Green Revised 11/20/05 - Page 133A

          143A CONTINUED: 143A

           INTERVIEWER ON TV (O.C.)
          You are!

           JOAN ON TV (O . C . )

                         (CHARMINGLY)
          I guess...!

                         JOAN
          Oh God.
          Joan buries her face in her hands. Lisa watches scowling.

                         

                         

                         

                         
          134

          143B INT. COHEN KITCHEN. NIGHT. 143B

          Joan is serving Lisa and Curtis dinner.

                         JOAN
          Lisa? Do you think Emily would like to
          come see the play? I thought you could
          both come and them maybe we could go out
          afterwards.

                         LISA
          All right. Let me ask her.

                         JOAN
          Dig in everybody...
          They start eating.

                         LISA
          I was thinking about spending next year
          with Dad.

                         JOAN

                         (SHOCKED)
          Oh?

                         LISA
          Yeah. You're all worried about my grades.
          They have really good public schools in
          Santa Monica, and if Iofficially lived
          with him, you wouldn't have to worry about
          my scholarship. 

                         JOAN
          Have you talked to him about this?

                         LISA
          We've had some general discussions.

                         JOAN

                         (TO CURTIS)
          Do you want to go too?

                         CURTIS

                         (SURPRISED)
          Me?

                         JOAN
          Yeah. Do you want to move to LA too?

                         CURTIS
          No.

                         JOAN
          Well, just let me know if you do.

                         

                         

                         

                         
           135

          143B CONTINUED: 143B

                         LISA
          Why are you being like this?

                         JOAN
          Why am I being like what?

                         LISA
          Why are you about to start crying?

                         JOAN
          Because it's your intention to make me
          start crying!

                         LISA
          No it's not --

                         - JOAN
          You want to move to LA. Move to LA.

                         LISA
          But why can't this even be mentioned
          without you taking it personally? I'm just
          introducing a possibility!

                         JOAN

          OH!
          Joan upsets everything on the table and starts to go. She
          comes back and upsets more things on the table.

                         JOAN
          Here's a possibility that you
          can make your own fucking
          dinner! Here's a possibility LISA
          that you can do whatever you Jesus Christ!
          want to do, because I don't What is with you?
          even care anymore, you heartless
          little fuckin' bitch!

                         LISA
          Fine! Keep it up! It really makes me want
          to stay here!

                         JOAN
          You think you're so fucking perfect!?
          She breaks something else and walks out.

                         LISA
          No.

                         CURTIS
          Good one.

                         LISA
          Shut up.

                         

                         

                         

                         
          Green Revised 10/7/05 - Page 136

                         144 OMIT 144

          145 INT. HISTORY CLASS. DAY. 145

          On the blackboard Klein finishes writing: SHOULD TEENAGERS

          RULE THE WORLD? YES OR NO?

                         KLEIN
          OK. Go ahead: Kirsten. Lionel: Put your
          drum away.
          Lionel stops drumming on his desk with his fingers.

                         KIRSTEN
          I think that teenagers should definitely
          rule the world, because teenagers aren't
          corrupted by adult life yet, and they're
          idealists and they care. And I know a lot
          of people feel that teenagers are really
          naive, which they are, many of them. But
          they still haven't had a chance to get
          burned out by the disappointments and the
          harsh realities of learning how to play the
          game. So yes, I would vote yes.

                         KLEIN
          All right: Lisa?

                         LISA
          I would tend to agree with all of that,
          except I do think that teenagers don't
          always necessarily think things through
          very carefully, and they don't have enough
          experience to know what the right thing to
          do is all the time. I also think they tend
          to adhere to ideologies really easily
          without having actually bothered to think
          them through for themselves.--

                         LEWIS
          Such as what?

                         LISA
          Such as what? Such as, gee, I don't know:
          the Hitler Youth?

                         KLEIN
          OK... Hitler Youth.

                         LISA
          Or what about all these teenage suicide
          bombers? Not that I want to get into the
          whole Palestinian thing again, but assuming
          you don't think suicide bombing is a good
          thing, wouldn't you say that's an example
          of being idealistic without using your
          critical faculties? 

                         (MORE)

                         

                         

                         

                         
           Green Revised 10/7/05 - Page 137

                         145 CONTINUED: 145

                          LISA (CONT'D)
          And maybe running the risk of having your
          youthful enthusiasm be co-opted by adults
          for purposes of their own that you might
          not even ultimately agree with?
          Angie's hand shoots up. So do several others.

                         LEWIS
          OK, Angie?

                         ANGIE
          Yeah, I don't want to get into the whole
          Palestinian thing again either, because
          I realize I'm completely outnumbered --

                         ANTHONY
          Not unlike the Palestinians themselves.

                         ANGIE
          That's not really funny, Anthony.
          ANGIE (to LISA) KLEIN
          -- and I'm not even going to Segal: Cut the comedy.
          comment on the fact that you
          just compared a 19-year-old ANTHONY
          Palestinian to a member of I thought it was funny...
          the Hitler Youth, which I
          personally find so offensive LISA
          I don't even know where to •That's right! Because
          start -- Oh, it's not because they both like to kill
          they've been occupied and Jews.
          humiliated and bombed out of
          their homes for the last KLEIN
          fifty years? Hey! Hey! Lisa! Hey!

                         LEWIS LISA
          Come on, guys... Yes! That's partly why
           they like it! There's
          ANGIE still a million Pale-
          If anyone's acting like stinians who don't blow
          Nazis it's the Israeli up children on busses
          government! because they're so
          "frustrated!"

                         LEWIS
          OK, OK! Monica?

                         MONICA
          Well, I don't know if this is good or bad,
          but speaking of ideology, it's interesting
          that the suicide bombers -- just for
          example -- care enough about what they
          believe in to sacrifice their lives for it.

                         WHEREAS

                         

                         

                         

                         
           2nd Blue Revised 10/28/05 - Page 138

                         145 CONTINUED: (2) 145

                         ANGIE
          Yes. Yes!

                         LISA
          I think it's fine if you want to sacrifice
          your life for what you believe in. I
          actually think that's really noble. It's a
          little different when you're willing to
          sacrifice someone else's life, you know? I
          personally don't think that's such a big
          ideological achievement!

                         ANGIE
          Um, even if there's no other way to get you
          out of my country?

                         LEWIS LISA
          Raise your hands! They haven't tried any
           other ways! It's not
          ANGIE like killing civilians
          Yes they have! They're is their last resort!
          trying it right now! It's their first resort!
          Because it's easy and
          they like it!

                         ANGIE (CONT'D)
          Oh they like it? They're just bad people
          and they like it?

                         LISA
          Yes! There are bad people in the world! I
          think they liked blowing up the World Trade
          Center! They kill their own sisters when
          they get raped! It's called barbarism!

                         MONICA LISA
          Who kills their own sisters? It's practically all people
           do is kill each other!
          LIONEL If they didn't like it they
          You guys are not the only wouldn't do it! Period!
          ones in this class!

                         KLEIN & LEWIS
          Hey!
          Silence.

                         LEWIS
          If you ladies can't make your points
          without yelling or interrupting each other
          or raising your hands, I'd say it was a
          pretty good argument for "No."

                         LISA
          Why, adults don't yell and interrupt each
          other?

                         

                         

                         

                         
           2nd Blue Revised 10/28/05 - Page 138A

                         145 CONTINUED: (3) 145

                         LEWIS
          Lisa! 

                         LISA
          Sorry.

                         LEWIS 
          Let's try to put this in a broader
          perspective. The question was not actually
          who's to blame in the Arab Israeli conflict

                         ANGIE
          The Israelis.

                         

                         

                         

                         
           139

                         145 CONTINUED: (4) 145

                         LISA
          OK, you're a moron.

                         LEWIS
          (he's had enough)
          Lisa!

                         ANGIE KLEIN
          You're not even Jewish, Lisa! The next Goddamn person who
           opens their mouth without
          LISA raising their hand is.
          I'm fuckin' half-Jewish, and outta this class!
          who cares what I am? I'm anti- 
          murder, not pro-Israel. LEWIS
           Lisa? Lisa? You can leave!

                         LISA
          Fine. Thank you.
          Lisa passes the blackboard, grabs some chalk and checks "NO. "

                         LISA (CONT'D)
          By the way, she just proved my point.

                         ANGIE LEWIS
          No I didn't. Lisa, GO!
          Lisa leaves. Lewis turns to the class.

                         LEWIS

                         NOW:
          An O.C. burst of APPLAUSE takes us to --

          146 INT. THEATER LOBBY. NIGHT. 146

          Ramon CLAPS as Joan comes out to greet him, Lisa and Emily.

                         RAMON
          That's the best show yet! Every time it's
          a better performance.

                         JOAN
          God, thank you! Hi, Emily, thanks so much
          for coming...

                         EMILY
          Oh, thank you for the tickets.
          Pause. Joan waits for Emily or Lisa to say something nice.

                         JOAN
          Shall we go?

          147 INT. RESTAURANT/BAR. NIGHT. 147

          Joan, Lisa, Emily and Ramon are having drinks.

                         

                         

                         

                         
           140

                         147 CONTINUED: 147

                         LISA
          -- and I guess I lost my cool a little,
          but I just love it'when people start
          comparing the Israelis to Nazis...

                         JOAN
          But who is running these discussions...?

                         RAMON
          Well, but Lisa, you have to remember, it's
          always easy for the dominant side to be
          content with the status quo.

                         JOAN
          Mmm.

                         - EMILY
          How do you mean, Ramon?

                         RAMON
          I mean the oppressor is always in favor of
          law and order because it's his law and his
          order. He uses violence to maintain his 
          position and calls it the rule of law. But 
          when the person underfoot uses violence to
          change his status he's called a criminal
          and a terrorist, and the violence of the
          State is called upon to put him down, and 
          once again it's called the rule of law. In

                         COLOMBIA --

                         EMILY
          I see. And what would you like them to do?
          Pause.

                         RAMON
          "They" meaning --

                         EMILY
          The Jew oppressors. What would you like
          them to do?
          Pause.

                         RAMON
          I didn't use that expression. EMILY
          But since you ask - No, you didn't. (i.e.
          "You didn't have to.")

                         LISA
          Um, I just spent the whole day arguing
          about this: I didn't really mean to bring
          it up again.

                         

                         

                         

                         
           141

                         147 CONTINUED: (2) 147

                         EMILY
          (turning on her)
          Don't handle me.

                         LISA
          I'm not handling you.

                         JOAN

                         (GENERALLY)
          What did you think of the play?

                         RAMON LISA
          And I think it's ironic in Don't bother, Mom.

                          
          the extreme that the victims
          of Nazis find it essential EMILY
          -- find it essential to If the Israelis were like
          use the Nazi tactics to Nazis there wouldn't be
          sustain their occupation. any Arabs left, and I'm
          leaving.

                         LISA
          (agreeing with Emily)
          That's what I think!
          Emily tries to unhook her purse from the back of her chair.

                         JOAN
          That seems excessive, Emily, come on --

                         RAMON
          That's the response. That's the Jewish
          response.

                         EMILY
          It's the what?

                         RAMON
          It's the Jewish response. You don't like
          what I am saying or what I do, so you --

                         EMILY
          That's my Jewish response.
          Emily throws her drink in his face and walks away.

                         JOAN
          Oh my God...!

                         RAMON
          It's all right...(Wiping off his face)
          That's all right... It's a perfect little
          .encapsule...It's the Jewish response.
          A horrible silence as they watch Ramon clean his shirt.

                         

                         

                         

                         
          142

          148 INT. JOAN'S ROOM. NIGHT. 148

          Joan is getting ready-for bed. Lisa appears in the doorway.

                         LISA
          Sorry about all that tonight.

                         JOAN
          Yeah. Your friend is a delight.

                         LISA
          She's a really passionate person. She
          really cares about things.

                         JOAN
          She's rude, Lisa. Ramon was my guest, not
          hers. And-so.was she, as a matter of fact --

                         LISA
          So what? Why is it so JOAN
          important that people be No -- I'm not ar -- I'm
          polite all the time? Why not arguing about this with
          is that the big priority? you! I'm not interested in
          an exchange of ideas. As it
          happens Ramon said a few
          things I wasn't too crazy
          about either, so I guess
          that's the end of that...

                         LISA
          Oh is that supposed to be Emily's fault
          too?

                         JOAN
          I don't want to talk to you right now.
          Please go away.

          149 INT. RAMON'S OFFICE. DAY. 149

           Ramon is on the phone in his big midtown corner office.

                          RAMON
           (on the phone)
           Joan, I won't defend myself. All what I 

                          
           meant was, that was the typical response
           you will get from someone who will take
           that position that that woman was taking. 
           But if you like to break up with me because 
           I used the wrong adjective, what I'm going 
          to do? I'm not going to beg you.

          150 INT. COHEN KITCHEN/KARL'S HOUSE. DAY. 150

          Joan enters slowly and checks the water on the stove. Lisa
          is eating a carrot and reading a magazine. Silence.

                         

                         

                         

                         
           143

                         150 CONTINUED: 150

                         LISA
          Well...? How's that anti-Semitic piece of
          shit Ramon?-

                         JOAN
          Oh God, I don't know.
          The PHONE RINGS. Lisa picks up.

                         LISA 
          Hello?

                         KARL

                         (ON PHONE)
          Yeah. It's Dad.

          151 INT. KARL'S HOUSE. DAY.- 151


           WE CUT BETWEEN THEM.

                          LISA
          Hi, Dad, how are you? I'm really looking
          forward to our horseback riding trip...

                         KARL
          Yeah. That's why I'm calling. I don't think
          it's going to happen.

                         LISA
          Really? What's the matter?

                         KARL
          Nothing's the matter. Nobody seems to
          really want to go, and I don't really feel
          like spending three thousand bucks on
          something nobody has the slightest interest
          in. So I think it's obviously better for
          everyone if we just cancel.

                         LISA
          I never said I didn't want to go.

                         KARL
          Well, I can't seem to get a straight answer
          about what anybody wants to eat, um,
          Annette is giving me a hard time about her
          schedule, I talk to Curtis and all I get
          are monosyllables, so --

                         LISA
          I think-he's really looking forward to it --

                         KARL
          Uh huh? Well, you know, that hasn't really 
          been my impression. So, uh...I also think 
          it would be good to shelve the idea of your
          coming out here next year.

                         (MORE)

                         

                         

                         

                         
           144

                         151 CONTINUED: 151

                          KARL (CONT'D)
          It looks like things are gonna start
          picking up for me in the Fall, which means
          I'm probably not gonna be around the house
          all that much, and since you and Annette
          detest each other, I don't, uh, I don't
          think that's what I want to come home to
          after a fourteen hour day.

                         LISA
          We don't detest each other

                         KARL
          OK, well, it doesn't really strike me as
          something you're that serious about anyway,
          so what do you say we just table it for the
          time being?

                         LISA

          OK.

                         KARL
          OK. So tell Curtis, uh, that New Mexico's
          off...Ummm, and I will talk to you, ummm,
          whenever.

                         LISA

          OK...

                         KARL
          Yeah.
          He hangs up. LISA hangs up too.

                         JOAN
          What's wrong?

                         LISA
          Dad's cancelling the trip.

                         JOAN
          What? Why?

                         LISA
          He's says nobody wants to go and he doesn't
          want to spend the money.

                         JOAN
          Did you say you didn't want to go?

                         LISA
          No, I know there was some problem with
          Annette about arranging for food because I
          don't eat dead animals, but.I didn't think
          it was.going to wreck the whole trip.

                         JOAN
          Oh boy.

                         

                         

                         

                         
           145

                         151 CONTINUED: (2) 151

                         LISA
          I thought you said it sounded like it was 
          going to be a disaster. Personally I'm
          relieved. I'm not moving out there, either,
          by the way, obviously. Which is fine too.

          152 INT. KARL'S HOUSE. DAY. 152

          Karl sits holding the phone in a savage depression.

          153 INT. MR AARON'S APARTMENT. DAY. 153

          Lisa sits on a sofa. She takes a sip of coffee.

                         LISA
          Thank you for letting me come up. I don't
          know who else to talk to.
          She's talking to MR AARON, who looks very uncomfortable.

                         MR AARON
          That's all right...

                         LISA
          You've always been very sympathetic to my
          craziness, and I may not show it all the
          time, but I actually really appreciate it.

                         MR AARON
          It's no problem, Lisa. What's been going
          on?

                         LISA
          I just need to talk to somebody who doesn't
          completely misunderstand who Iam. Or not
          even who I am, but what's going on inside
          me, or all around me. Sound confused
          enough? Anyway, for whatever reason, I
          always felt like we understood each other
          on some level, even though I'm like a mass
          of conflicting impulses and you're
          basically the most grown-up, rational man I
          know.

                         MR AARON
          Well...I doubt that's actually true
          but thank you...

                         LISA
          You seem pretty fuckin' rational to me.
          Like that seems to be your leading feature.
          I mean you obviously have a lot of pretty
          deep feelings...So when you're rational -
          just to finish my thought -- it's like this
          really interesting way of governing
          yourself. 

                         (MORE)

                         

                         

                         

                         
           146

                         153 CONTINUED: 153

                         LISA (CONT'D)
          And you don't have to get all uncomfortable
          again: I'm not talking about what you think
          I'm talking about, because I know that
          subject is-off-limits. I'm talking about
          your soul, I guess, and how you feel you
          have to keep it in check all the time by
          being sensible. Do you know what I'm saying
          at all?

                         MR AARON
          Well...We all have feelings, Lisa. I happen
          to believe that who you are comes out of
          how you deal with those feelings. Somebody
          makes you mad, you don't just pick up a gun
          and shoot them...Or if you do, that says
          something about who you are, and how you've
          been raised...

                         LISA
          Well, I don't want to disillusion you, but
          we happen to be living in a world where
          that is what people do. More often than
          not.

                         MR AARON
          That's not true, Lisa. I think it's very
          sad that you see it that way. There's
          eight billion people alive in the world and
          you think they don't all want to kill
          someone once in a while? But they don't.
          Most of them. Or they see some person they
          -- (Pause) I think most people do try to be 
          civilized by some standard. Even if it's a
          standard you and I might not agree with...

                         LISA
          No, I get it. That's actually the most
          hopeful thing anybody's said to me for a
          long time. I don't know why I take such a
          dire view of things, I really don't.
          She removes her jacket. She's wearing a small clingy T-shirt.

                         LISA (CONT'D)
          Just a little hot...A little warm .Is
          this all right?

                         MR AARON
          Sure.

                         LISA
          Do you allow smoking in your apartment?

                         MR AARON
          You can smoke.
          She gets her cigarettes out and lights one. He gets up and
          brings her an ashtray. They meet at the sofa and sit.

                         

                         

                         

                         
           147

                         153 CONTINUED: (2) 153

                         LISA
          I like your apartment.

                         MR AARON
          Thank you.
          She blows some smoke out and waves it away.

                         LISA
          Sorry.

                         MR AARON
          That's all right.

                         LISA
          This is terrible.

                         MR AARON
          What is? What's terrible?

                         LISA
          I just like you so much...(Smooths her ash
          on the ashtray.) Sorry. What a moron.

                         MR AARON
          (taking her hand)
          Hey. Lisa. I'm your friend. And that's not
          gonna change. That's not gonna change.

                         LISA
          Thanks. Thank you.
          She kisses his hand a couple of times.

                         MR AARON
          Lisa...

                         LISA
          Please just let me for a second. I like you
          so much. I like you so, so much.
          She kisses his hand more elaborately. He lets this go on.
           She lifts her head up and they kiss for real. After a moment
          she slides her hand onto his leg.

                         MR AARON
          OK, look...

                         LISA
          Don't stop me yet, OK?
          They kiss some more. She bends down to unzip his fly.

                         MR AARON
          Please don't do that.

                         

                         

                         

                         
           148

                         153 CONTINUED: (3) 153

                         LISA
          Just let me for one second...
          She bends her head over his lap. He lets her.

          154 INT. MR AARON'S APARTMENT. LATER. 154

           CLOSE on their faces as they are have having sex on the sofa.
           She freezes up and starts freaking out.

                          MR AARON
           Are you all right? 

                          LISA
           Nothing. It's OK. 

           - MR AARON
           Maybe we should stop. 

                         LISA
          Don't stop. It's OK. 

                         MR AARON
          Are you all right?

                         LISA
          Yes, yes, you don't have to keep asking me 
          that.

                         MR AARON
          I think we should stop.

                         LISA
          No, keep going...!
          She keeps pushing against him.

          155 INT. MR AARON'S APARTMENT. LATER. 155

          AT THE DOOR. She is leaving. He is burning with guilt and
          shame. Silence. Then:

                         LISA
          All I can say is I better get a pretty
          fuckin' good grade in geometry this year.
          (Pause) Lighten up! I'm kidding.

                         MR AARON
          Sorry. I really didn't expect anything like
          this to happen. I'm really not sure how to
          react.

                         LISA
          Don't worry. I'm not gonna tell anybody if
          that's what you're worried about. I totally
          initiated the whole thing. 

                         (MORE)

                         

                         

                         

                         
           149

                         155 CONTINUED: 155

                         LISA (CONT'D)
          Anyway, it's just sex. You're acting like a 
          little kid. I'll see you in school.
          She walks out. He is very flummoxed.

          155A INSERT: A NEW YORK TIMES METRO SECTION ARTICLE: 155A

          DRIVER IN BUS CRASH HAD RECORD OF PREVIOUS
          ACCIDENTS. The driver of a city bus which
          killed an Upper West Side woman last month
          had two previous driving violations on his
          record, according to --

          156 INT. DEUTSCH'S OFFICE. DAY. 156

          Lisa and Emily sit in the office with Deutsch.

                         DEUTSCH
          Well, they want to settle.

                         LISA & EMILY
          They do...?

                         DEUTSCH 
          I have a meeting with their lawyer this
          afternoon, and they want to discuss a
          settlement. So we should get Abigail on the
          phone and talk about what-we're gonna do.

                         EMILY
          Fantastic.
          Lisa gets tears in her eyes and smiles, embarrassed.

                         LISA
          Sorry.

                         EMILY
          That's OK.

                          157 

          157 INT. DEUTSCH'S OFFICE/INT. ABIGAIL'S HOUSE. LATER.

           They sit around the SPEAKER PHONE. Abigail's husband, ROB
           BERWITZ, is also on the other end.

                          ABIGAIL
           Mr Deutsch? Mr -- 

                          DEUTSCH ROB 
           I'm right here. I just had the thought --

                          ABIGAIL (CONT'D)
           Mr Deutsch -- I'm just gonna give my 
          husband the floor because he had a few

                         QUESTIONS --

                         

                         

                         

                         
           Green Revised 10/7/05 - Page 150

                         157 CONTINUED: 157

                         ROB
          Mr Deutsch, I had the thought, if they're
          willing to settle so quickly, maybe we're
          better off waiting a little bit, maybe
          rattling the sabre a little bit more...

                         ABIGAIL
          Yes, if they're so quick to agree to a
          settlement on this basis --

                         DEUTSCH
          What you gotta realize -- What you gotta

                         REALLY --

                         EMILY
          Abigail, Russel doesn't think -- Sorry, go

                          
          ahead.

                         DEUTSCH 

                          
          No, no...

                          

                         EMILY
          My friend had a lot of trouble getting the
          one story placed in the paper as it is --

                          

                         DEUTSCH
          .Could I interject?

                         ABIGAIL
          But if they responded so strongly based on
          one story...

                         ROB
          Maybe we're cuttin' our own throats here.

                         DEUTSCH
          They are responding to the story in the
          paper...

                         ABIGAIL
          .That's just common sense.

                         DEUTSCH
          But what you gotta understand is they're
          offering to settle now because they want to
          get the story out of the paper.

                         EMILY LISA
          That's why Russel thinks -- Besides, the main point is
          not to jack up the price.

                         ABIGAIL
          I'm sorry --

                         ROB
          -- We didn't hear that last.

                         

                         

                         

                         
           Green Revised 10/7/05 - Page 150A

                         157 CONTINUED: (2) 157

                         DEUTSCH
          (to EMILY and LISA)
          Ladies, let me just -- Abigail. Rob.

                         (MORE)

                         

                         

                         

                         
           Green Revised 10/7/05 - Page 151

                         157 CONTINUED: (3) 157

                          DEUTSCH (CONT'D)
          If I could finish my thought -- They're
          jumpin' at the bait right now, but if
          another six months goes by we run a serious
          risk of losing our momentum. You see what I
          mean? Now I'm gonna hit 'em very very hard,
          I guarantee you. That's why I wanted all of
          us together on the phone, so we could talk
          about your other terms, besides the

                          
          damages. I promise you, we'ere gonna be

                          
          very very aggressive --

                         ABIGAIL
          What other terms would there be?

                         ROB
          What do you mean, like some kind of a fund?

                         DEUTSCH
          A what?

                         ROB

                          
          Some kind of fund? For the kids?

                         DEUTSCH
          I don't understand what you mean by a
          fund...

                         ROB ABIGAIL
          (to ABIGAIL) Mr. Deutsch? Do you mean
          What does he mean, "besides some kind of trust fund,
          the damages?" a fund that would be set
          up by the bus company for
          EMILY our kids? For tax purposes?
          What fuckin' fund?

                         LISA
          These people are retarded.

                         ABIGAIL
          Because I have to tell you we have just
          lived through that nightmare with Monica
          and our children, and it was not a pleasant
          experience. We just want a clean, straight
          damages is fine. A regular payment.
          We'll pay the taxes on it. At least we'll
          have something in our hand...

                         DEUSTCH
          I don't really know what kind of fund
          you're talking about...

                         LISA
          We're not talking about --
          Hi, this is Lisa? We're ABIGAIL
          talking -- We're talking Hello, Lisa.
          about -- Hello?

                         

                         

                         

                         
           Green Revised 10/7/05 - Page 152

                         157 CONTINUED: (4) 157
          Pause.

                         ABIGAIL
          We're still here.

                         LISA
          We're talking about the driver, getting
          the driver fired --

                         ABIGAIL
          Oh, yes --

                         LISA
          -- as part of the conditions.

                         EMILY
          Yes, Abigail, it's very important to us
          that the company know that's an absolute
          pre-condition to making any kind of
          settlement whatsoever.

                         ABIGAIL
          Oh yes. Absolutely. If you think he's at

                         FAULT --

                         ROB
          Just as long as they don't think they can
          buy us off just by gettin' rid of this guy.
          You see what I mean?

                         DEUTSCH
          Absolutely.

                         ROB
          What we're most concerned about here is the
          amount.

                         EMILY
          Yes, we're getting that, Rob.

                         ROB
          But you see what I mean?

                         DEUTSCH
          Yes -- Rob? Yes I do.

                         ROB
          I just want to go on record as saying I
          think this whole meeting is premature.

                         ABIGAIL
          Absolutely. We're not lawyers --

                         DEUTSCH
          Abigail? Rob? I just wanna make something
          clear. One conversation does not commit you
          to anything.

                         (MORE)

                         

                         

                         

                         
           Green Revised 10/7/05 - Page 152A

                         157 CONTINUED: (5) 157

                          DEUTSCH (CONT'D)
          And I'm not gonna agree to anything without
          consulting you. But I'm working for you.

                         (MORE)

                         

                         

                         

                         
           153

                         157 CONTINUED: (6) 157

                          DEUTSCH (CONT'D)
           So if you're telling me not to take the
           meeting I'm not gonna take the meeting.

           ABIGAIL - ROB
           No. We're not saying that. No no no -- Go for it.

          158 INT. COHEN APARTMENT. DAY. 158

          Lisa has just told Joan the news. Joan is on the sofa.

                         JOAN
          Lisa, I'm really proud of you!

                         LISA
          Thank you.

                         JOAN
          Really, really proud...!

                         LISA
          Thank you.
          Pause. Joan gets to her feet and starts tidying up.

                         LISA (CONT'D)
          Are you upset about something...?

                         JOAN
          No. This house is really beginning to get
          to me. And I'm a little confused what to do
          about Ramon. I mean, you were there: What
          do you think?

                         LISA
          Uh, gee, Mom maybe you should really think
          about it some more. Because it would
          probably hurt Ramon's feelings if you broke
          up with him and I think you better think
          about it before you do something like that
          to him.

                         JOAN
          I know I'm supposed to understand what
          you're doing right now, but if there's some
          kind of hidden message here I'm not getting
          it.

                         LISA
          No shit. You're on your own, Mom.

                         JOAN
          Thanks a lot.

                         LISA
          You're welcome.
          The PHONE RINGS. Joan picks it up.

                         

                         

                         

                         
           154

                         158 CONTINUED: 158

                          JOAN

                          (INTO PHONE)
          Hello? -Yes . WHAT DO YOU MEAN??

                          LISA
           What's the matter?

                          JOAN

                          (LISTENING) 
          Yes? . Yes? (To LISA) Ramon had a heart
          attack.

                          LISA
           What? Is he gonna be -- 

                          JOAN 
          uiet! 
          CURTIS appears. They both watch Joan at the phone. Instead
          of dissolving, Joan listens, straightens up and calms down as
          the person on the phone talks.

          159 EXT. RIVERSIDE CHAPEL. DAY. 159

          Mourners are going inside the funeral parlor.

          160 INT. FUNERAL PARLOR. DAY. 160

          Joan and Lisa look around the room.

                         LISA
          OK, I'm really not trying to be funny, but
          isn't this a Jewish funeral home?

                         JOAN
          I guess they do both. 
          They notice a few too many good-looking women crying a little 
          too hard. Lisa and Joan look at each other. 
          RODRIGO, a handsome slender kid of 20, comes up to Joan. His
          accent is British, with a slight Colombian cadence.

                         RODRIGO
          Excuse me. Joan?

                         JOAN
          Yes. You must be Rodrigo. Oh my God, oh I'm
          so sorry.
          She impulsively embraces him.

                         JOAN (CONT'D)
          Rodrigo, this is my -- 

                         

                         

                         

                         
           155

                         160 CONTINUED: 160

                         RODRIGO
          I want to tell you, Joan, my Dad talked
          about you all the time.

                         JOAN
          He did?

                         RODRIGO
          Yes. The night he met you, he called me in
          England and woke me to tell me about it, he
          was so excited. I never heard him talk
          about anyone like that since my mother
          died.

                         JOAN 
          Really? 

                         RODRIGO 
          I don't know if this is appropriate... 

                         JOAN
          No it's OK...!

                         RODRIGO
          .but he went out a lot. Do you know the 
          last time I spoke to him he told me from 
          the moment he met you he knew he wanted to
          marry you, because for the first time since 
          he lost my mother, he finally met a woman
          he could really connect with.

                         JOAN
          (at a total loss)
          Well -- he was a very sweet man. And I know
          he loved you and your brother very much.

                         RODRIGO

                         (GETTING TEARFUL)
          Yeah, I know he did. Thank you.

          161 INT. LISA'S ROOM. DAY. 161

          Lisa is at her computer. Joan is by the doorway.

                         JOAN
          Thanks for coming with me today. I really
          appreciate it.

                         LISA
          Oh, you're welcome.

                         JOAN
          I don't want to be macabre, but Ramon and I
          were supposed to go to hear The Tales of
          Hoffman the week after next and I still
          have the tickets. Would you be interested
          in going? Or should I give them away?

                         

                         

                         

                         
           2nd Pink Revised 11/17/05 - Page 156

                         161 CONTINUED: 161

                         LISA
          Um, I'll go.

                         JOAN
          OK. It's Monday night. We can dress up.

                         LISA

          OK.

                         JOAN
          What did you make of that?

                         LISA

                         (STILL TYPING)
          People don't relate to each other, Mom.
          They're totally disconnected. And if they
          have any time for each other at all, it's
          either like a biological imperative or like
          some weird cultural anomaly. That's what I
          make of it.

                         JOAN
          Well...I think it's pretty unfortunate that
          you think that. Because I feel like you and
          I used to relate to each other really well.

                         LISA
          I'm not trying to hurt your feelings.
          It's just a general observation.

                         JOAN
          OK...Hey, could I get a hug?

                         LISA
          Sure.
          Lisa rises and hugs Joan. It's not a good hug.

                         JOAN
          I just feel totally at sea. 
          They break apart.

          162 INT. DINER. DAY. 162

          Mr Aaron and Lisa sit in a booth. Mr Aaron looks grim.

                         MR AARON
          I've thought about this a great deal, and
          I'm going to come forward.

                         LISA
          Oh brother.

                         MR AARON
          What does that mean?

                         

                         

                         

                         
           2nd Pink Revised 11/17/05 - Page 156A

                         162 CONTINUED: 162

                         LISA
          "You're gonna come forward." And do what?
          You didn't kill anybody.

                         (MORE)

                         

                         

                         

                         
           157

                         162 CONTINUED: (2) 162

                         LISA (CONT'D)
          You just had sex with me after I
          practically begged you to. You're a guy.
          "I'm gonna come forward."

                         MR AARON
          Well, that's what I'm comfortable doing.

                         LISA
          Suit yourself. I'll deny everything and
          you're gonna look like a total psycho.

                          
          And then my Mom'11 have you arrested, and
          then spend the rest of her life feeling bad
          about it. So why don't we just skip the
          whole thing and forget about it?

                         MR AARON
          I'm not sure I know how to do that.

                         LISA
          You'll learn.

          163 INT. LISA'S BATHROOM. NIGHT. 163

          Lisa looks at a pregnancy test stick. Both lines are red.

          164 INT. JOAN'S ROOM. NIGHT. 164

          Joan looks up as Lisa comes in.

                         LISA
          Good news!

          165 INT. LISA'S BATHROOM. NIGHT. 165

          Joan and Lisa are looking at the little stick.

                         JOAN
          OK. What do you want to do?

                         LISA
          What do you mean? Aren't JOAN
          you going to tell me. It's your body. It's your
          what to do? (half- baby. What do you want to do?
          laughing) Baby... .?

                         JOAN
          Yes! Now who is the father?

                         LISA
          It could be a lot of people.
          Joan looks at her. Lisa haltingly holds her ground. Joan
          takes a sympathetic step toward her. Lisa shrinks back. Joan
          stops. Her expression hardens.

                         JOAN
          Who.

                         

                         

                         

                         
           158

                         165 CONTINUED: 165

                         LISA
          I'm never gonna tell you, Mom! It's against
          my principles! Such as they are.

                         JOAN

                         (ON "SUCH")
          No, but you want to send that bus driver to
          jail for running a red light! And you won't
          tell me about these boys?

          166 INT. GYNECOLOGIST WAITING ROOM/HALL/RECOVERY ROOM. 166

          Joan waits. She looks around the small room. There are two
          couples and two lone women. A NURSE appears.

                         NURSE
          Mrs. Cohen?
          TRACKING Joan as she gets up and follows the Nurse down a
          hall...

                         NURSE (CONT'D)
          .she's still a little woozy from the
          anaesthetic...
          Joan goes into the recovery room. Lisa is on the table in a
          crumpled paper robe, looking like a small crumpled piece of
          paper herself. Joan sits down.

                         LISA
          Hi.

                         JOAN
          Hi honey.

                         LISA
          I'm sorry, Mom.

                         JOAN
          Let's talk about it later.

          167 INT. DEUTSCH'S OFFICE. DAY.

          Deutsch sits with Emily and Lisa. The Berwitzes are on the
          speaker phone.

                         DEUTSCH 
          I'm very pleased to be able to inform you
          all that I had a long meeting with the
          lawyer for the bus company, and they've
          agreed to settle out of court for three
          hundred and fifty thousand dollars.

                         ABIGAIL & ROB
          What! Fantastic! That's wonderful!

                         

                         

                         

                         
           159

                         167 CONTINUED: 167

                          DEUTSCH 
           I'm assuming this is agreeable to

                          EVERYBODY --

                          ABIGAIL ROB
          Yes, fantastic That is fantastic! 

                          DEUTSCH (CONT'D) 
          But I gotta -- obviously I gotta bring
          the offer to you, get your approval --

                         ROB

                          
          Mr Deutsch...?

                         DEUTSCH 

                          
          Now, I know there was a concern after our

                          
          last call that we were jumping the gun a
          little bit --

                         ROB
          That's OK --

                         ABIGAIL
          We're only --

                         EMILY
          Abigail? Rob? If we could just listen to

                          
          what Russel has to say, and then talk about
          it once he's told us the whole story and
          given us his recommendation...

                         ROB
          Yes. Sorry. Fire away.

                         DEUTSCH 
          I was gonna say I know there was a concern

                          
          after our last call that we were jumping
          the gun a little bit --

                         ROB
          That's OK --

                         ABIGAIL
          We were just --

                         EMILY
          Would you let him talk please?!

                         DEUTSCH 
          It's OK.

                         ABIGAIL
          We're sorry.

                         DEUTSCH
          I want to tell you I think it's a very good
          offer.

                         (MORE)

                         

                         

                         

                         
           160

                         167 CONTINUED: (2) 167

                          DEUTSCH (CONT'D)
          I think they're very anxious to settle, but
          I also do think that at this moment they're
          under the maximum amount of pressure we can
          really bring to bear, and I don't believe
          they're gonna come up any higher --

                         ABIGAIL 
          Hey. Three hundred and fifty thousand 
          dollars...

                         ROB
          OK, now let me just --

                         ABIGAIL

                          
          .that's nothin' to sneeze at.

                         ROB ABIGAIL
          I just want to introduce Now, 1 think -- Can
          the thought -- you all hear me?

                          

          DEUTSCH, EMILY, LISA
          Yes!

                         ABIGAIL
          Yeow! Was that everybody? OK:

                         LISA
          What about --

                         ABIGAIL
          -- Emily? What do you think?

                         EMILY
          I think it sounds like we should do it.
          But I'd like to discuss some of the --

                         ABIGAIL

                         (ON "BUT")
          Hey, if that's the vote...

                         ROB
          Unless you think there's something to be
          gained from holding out for more.

                         DEUTSCH 
          I think it would be a big mistake.

                         ABIGAIL
          Robbie, what do you think?

                         ROB
          Sold!

                         ABIGAIL
          Sold!

                         

                         

                         

                         
           161

                         167 CONTINUED: (3) 167

                         DEUTSCH
          OK. Now the only down side to this as it
          stands -- and the reason I asked Emily and
          Lisa to be here is because I know this may
          be a serious wrinkle for you all -- is that

                          
          the bus company will absolutely not discuss
          the removal of the driver.

                         LISA & EMILY
          What?

                         LISA
          What do you mean?

                         ROB
          The driver?

                         LISA EMILY
          Then forget it. Tell them to What do you mean they
          forget it. won't discuss the removal
           of the driver?

                          

                         DEUTSCH
          Please. Ladies. Let me ROB
          finish what I'm saying. Whoa -- hello!

                         ABIGAIL
          It's just a blast in our ears.

                         EMILY

                         (TO LISA)
          Let him finish.

                         LISA
          Finish what? Forget it!

                         DEUTSCH

                         (TO EMILY)
          Thank you. I want you to understand, Lisa,
          I pressed them very very hard on this, but
          they will not discuss disciplining of a
          company employee as part of the settlement
          because it could be seen as an admission of
          guilt on the part of the MTA --

                         LISA
          What does giving us three hundred thousand
          dollars mean?

                          

                         DEUTSCH
          Settling out of court does not imply an
          admission of guilt. It simply does not
          carry the same stigma. On top of that you
          may not know, Lisa, they're involved in a
          very tricky labor dispute at the MTA right

                         NOW:

                         

                         

                         

                         
           162

                         167 CONTINUED: (4) 167

                         LISA
          Yeah, we know all about that! Just tell
          them to forget it.'

                         DEUTSCH 
          I know that's your reaction...

                         LISA
          It's the only reason we're here.

                         ROB
           Can I jump in here? Russel? 

                          DEUTSCH 

                          (TO LISA)
           .but it's really not your decision.

                         ROB ABIGAIL
          Hello? Are you still with us? Please!

                         LISA
          It's Emily's decision.

                         EMILY
          No.

                         DEUTSCH 
          No.

                         ROB
          Hello?

                         LISA
          It's not?

                         ABIGAIL
          They're not listening, Robbie.

                         DEUTSCH 
          It's Abigail's decision because she's the
          next of kin.

                         LISA
          But she didn't even know about it!

                         EMILY
          That doesn't matter.

                         ABIGAIL
          Could we get back in this conversation
          please?

                         DEUTSCH
          Yes. I'm sorry. Obviously there's some very
          strong emotions going either way on this --

                         

                         

                         

                         
           163

                         167 CONTINUED: (5) 167

                         ABIGAIL
          Listen, Emily? I don't know what you're
          thinking, but Rob and I are thinking we
          should take Russel's recommendation while
          we can. Because if they won't fire the
          guy, they're not gonna fire him. And six
          months or a year from now we're gonna --

                         ROB
          Exactly.

                         ABIGAIL
          we're gonna be in a situation where
          we're beggin' them for half this much,
          which is gonna hurt 'em half as much as
          now, and they're still not gonna fire this
          guy! Or maybe he'll have already quit and
          the whole thing will be moot by then.. Do
          you see what I mean?

                         LISA
          The entire point of the lawsuit was to get
          the guy fired so he doesn't kill somebody
          else -- !

                          DEUTSCH 
          Lemme just clarify --

                         LISA
          -- it was not to get you three hundred and
          fifty thousand dollars you didn't know you
          were entitled to, for somebody you didn't
          even like... !

                         ABIGAIL
          This is a distortion --

                         LISA
          And the only reason you're getting the
          money at all is because I started this
          whole fucking thing in motion! I'm sorry
          for swearing, but you should be willing to
          trade in all the money for getting this guy
          off the street --

                         EMILY
          For getting him, Abigail!

                         ABIGAIL
          Well I'm sorry, but I have a responsibility
          to Monica and I take that responsibility
          very seriously. You are talking about an
          offer that is gonna be withdrawn if we
          don't do something about it right now.

                         (MORE)

                         

                         

                         

                         
           164

                         167 CONTINUED: (6) 167

                          ABIGAIL (CONT'D)
          And rather than being abused over the
          telephone and cursed at for having the
          courtesy to involve you in these
          discussions, Lisa, I would hope you would
          be guided by our judgement. Unless I'm
          wrong about that.

                         LISA
          None of that matters --

                         ABIGAIL
          Unless I'm wrong about that. Just what is
          your interest in this?

                         LISA
          Because I'm the one who killed her! I'm
          the one who killed her! But at least I
          know I did it, and that guy has no idea!
          And he's wandering around blaming everybody
          else and all I want is for somebody to let
          him know that what he did was wrong! And
          if they don't fire him and all you want is
          the money and the police won't do anything,
          how is he gonna know he's wrong? You can't
          take the deal, Abigail! It wasn't so you
          could get any money, it was because we
          wanted to get him fired! It doesn't matter
          about the money! You wouldn't have gotten
          it before!

                         ABIGAIL
          Well it may not matter to you, but where I
          come from three hundred and fifty thousand
          dollars is an awful lot of money, and to my
          mind is a positive result of all this
          tragedy and not just negative. Not just
          getting someone fired for one mistake, no
          matter how bad it was --

                         LISA
          Oh SHOVE IT UP YOUR ASS!
          She knocks the speaker phone off the desk and runs to the
          door in floods of tears.

                         DEUTSCH & EMILY 
          Lisa!

                         LISA
          You sleazy fucking lawyer! And you're a
          moralistic cunt!
          She runs out.

                         

                         

                         

                         
          165

          168 EXT. STREET. DAY. 168

          TRACKING in front of Lisa as she walk-runs down the busy
          street. A city bus appears behind her and goes by. She cranes
          to see the driver. It's not her guy. She keeps going.

          169 EXT. SCHOOL. DAY. 169

          Lisa stands against a car, smoking, as the kids flow out of
          the building. Mr Aaron comes out, talking with BONNIE, the
          gymnastics teacher. They walk away from the school together.
          Lisa catches up with them.

                         BONNIE
          Hey, Lisa. What's Up?

                         - LISA
          Hey, did you guys know I had an abortion
          last week?
          Pause.

                         MR AARON
          No. I didn't know that.

                         LISA
          Yeah, it cost four hundred dollars.

                         BONNIE
          Um, should I...

                         MR AARON
          No, no, don't go anywhere.

                         LISA
          Yeah, don't go anywhere.
          Bonnie doesn't know what to make of this. Mr Aaron looks
          steadily at Lisa.

                         MR AARON
          Do you want to tell us about it?

                         LISA
          Yeah. I do.

                         MR AARON
          OK. -Go ahead.

                         LISA
          Well...
          She doesn't speak. Pause.

                         BONNIE
          Do your parents know about this, Lisa?

                         

                         

                         

                         
           166

                         169 CONTINUED: 169

                         LISA
          Yes.

                         BONNIE
          Have you told the father, honey?

                         LISA
          No...There's a couple of people it could
          be.

                         MR AARON
          I think you better tell them. Whoever they
          are.

                         LISA
          No...No...Never mind ...I'm sure he's sorry
          anyway, whichever one he is.

                         MR AARON
          I don't see what difference that makes, if
          he's sorry. And I think whoever it is
          should know about this.

                         LISA
          I'm sorry. I shouldn't have brought this
          up. Please don't tell anyone.

                         BONNIE
          We're not gonna tell anyone. But you're
          gonna have to tell whoever it could be --

                         LISA
          (On have to")
          That's OK. I gotta go. Thanks for
          listening. It's -- It doesn't matter about
          the father, because the whole thing was my
          fault. I'm sorry...!
          She shakes her head and runs away.

                         BONNIE
          What was that...?

          170 INT. COHEN APARTMENT. DAY. 170

          Lisa comes in. Curtis is doing his homework at the table.

                         CURTIS
          Mom's looking for you.

                         LISA
          What for?

                         CURTIS
          She thinks you're going out with her
          tonight.

                         

                         

                         

                         
           167

                         170 CONTINUED: 170

                         LISA
          Where are we going?

                         CURTIS
          I don't know.
          Lisa heads for her room. Joan appears, half-dressed.

                         JOAN
          Lisa? Honey? Did you forget we're going to
          the opera?

                         LISA
          Yes.

                         JOAN
          I didn't-remind you because I didn't want
          to nag you.

                         LISA
          It's OK.

          171 EXT. BROADWAY -- NEAR LINCOLN CENTER. DUSK. 171

           Lisa starts to cross the street against the light. Joan takes
          her arm.

                         JOAN
          Don't get run over.
          A cab rattles by. Lisa looks down the street. A BUS is
          approaching.

                         LISA
          Wait. I want to see if that's him.

                         JOAN
          What.
          They wait. The bus gets closer, heading straight toward them
          and stops at the bus stop. Lisa grabs her mother's arm.

                         LISA
          It is him. Mom, that's the one...
          Joan and Lisa look at him. He's staring out ahead of him as
          people board the bus. He SEES Lisa and Joan but can't see
          their faces and doesn't recognize Lisa: He just sees two
          dolled-up women under the street light. He smiles dazzling at
          them and drives past with a short wave.
          Joan looks at Lisa. She looks like she's about to throw up.

                         JOAN
          Come on. We're gonna miss the curtain.

                         

                         

                         

                         
          168

          172 EXT. METROPOLITAN OPERA -- OUTDOOR TERRACE. NIGHT. 172

          Lisa is out on the terrace smoking a cigarette, looking out
          over Lincoln Center. Joan comes out and stands next to her,
          but Lisa won't look at her or interact.

                         JOAN
          Well, so far it's not the greatest opera I
          ever heard.

                         LISA
          What do you mean? It's OK.
          The end-of-intermission chimes sound. People start going in.
          Joan turns and goes in too. Lisa keeps smoking.

           172A INT. METROPOLITAN OPERA - GRAND STAIRCASE. NIGHT 172A 

           Lisa comes down the stairs and goes into -- 

          173 INT. METROPOLITAN OPERA -- ORCHESTRA. NIGHT. 173

           Lisa hurries down the long aisle. The LIGHTS DIM. The 
           audience applauds the entering conductor. She picks her way 
           past the other patrons in the row, whispering "Excuse me" and
           takes her seat just as the MUSIC STARTS. Joan looks at her. 
           Lisa stares straight ahead. 

           The curtain rises. On stage, the two women start singing the 
          barcarole "Belle Nuit." It's very beautiful.
          Joan looks next to her at Lisa. Lisa is trying not to cry,
          but tears are dripping slowly down her face. She sniffs and
          wipes them away, but they keep coming.
          Joan looks at her again, but Lisa still won't look at her.
          Joan takes Lisa's hand and Lisa breaks down completely,
          clutching Joan's hand back, squeezing it hard. Joan starts
          crying too out of sympathy.

          As the duet goes on they sit side by side holding hands, Lisa
          crying and holding on and wiping her eyes with her free hand
          and Joan crying too, but not as hard, grateful finally that
          the spell has been broken.

          The duet ends and we CUT TO BLACK.

                         THE END



Margaret



Writers :   Kenneth Lonergan
Genres :   Drama


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