VALENTINE'S DAY
Written by
Katherine Fugate
Current Revisions by
Abby Kohn & Marc Silverstein
FADE IN:
EXT. FLOWER MART - DOWNTOWN L.A. - 4:30 A.M.
The sun isn't even up yet, but a sea of Amazonian red roses
shine under the lights of the downtown flower mart.
More than 80 VENDORS begin their day, readying their stalls
at the downtown flower mart where Angelenos come to buy the
freshest, most extravagant flora in town. It's always
springtime here.
INT. REED BENNETT'S HOUSE - MID-WILSHIRE - 5 A.M.
REED BENNETT (late 20s) wakes up easily, naturally.
Handsome, rugged. Smile on his face, happy to be alive. He
looks at the clock beside him. 5 a.m. Softly, he turns his
head. MORLEY CLARKSON (late 20s), lays sound asleep beside
him.
Reed gets up. Pulls on pajama bottoms. Then reaches under
the bed, and pulls out a small box. Opens it. The perfect
engagement ring inside.
He sits on the bed, looking at her sleeping face. Softly
pulls her left hand out from under the pillow.
Reed now holds her naked left hand. When Morley wakes up.
Catches the scene. She starts to say something, but:
REED
I know you don't like a big, mushy,
romantic scene. No skywriting. No
writing your name in flower petals.
She laughs.
REED (CONT'D)
Just you and me. Together. And
frankly, that's all I want. That's
all I need. I love you Morley.
Will you marry me?
He looks at her, expectantly. And breathes a sigh of relief
as she SMILES.
EXT. REED BENNETT'S HOUSE - 5:40 A.M.
Reed, now wearing a dark blue mechanics style jacket with the
words "Rita Flora" on the back, athletically barrels down the
stairs. Energy high. Excitement on his face.
He gets inside a DELIVERY VAN.
2.
INT. RITA FLORA DELIVERY VAN - CONTINUOUS
Reed hops into the passenger side. ALPHONSO, 40s and from El
Salvador, is at the wheel. He looks at Reed, studying him.
ALPHONSO
She said no. I knew it.
REED
You did?
ALPHONSO
I just mean -
REED
She said yes.
ALPHONSO
That's great!
REED
Why would she say no?
ALPHONSO
I don't know why I said that. I
prepare for the worst. Part of the
immigrant mentality. But - she
said yes!
Reed regains his enthusiasm.
REED
She said yes. She said YES. I'm
still trying to process. Morley is
actually going to marry me. I'm
getting married. And today I can
be the kind of cheeseball who tells
random people at the ATM about it
because it's Valentine's Day and
people are all about love today.
Alphonso pulls the VAN away, NEARLY HITTING A PASSING CAR.
ROAD RAGER (V.O.)
WILL YOU USE YOUR FREAKING TURN
SIGNAL YOU FREAKING PANSY?
Alphonso turns to Reed, who smiles as they pull away.
INT. KTLA - 5:58 AM
The set of the KTLA news is a flurry activity as the morning
show is about to go on the air.
3.
KELVIN, late 30s, African-American, walks briskly through the
set, holding a piece of paper.
He spots SUSAN, 50s, across the stage, and makes a bee-line
for her. As he approaches, he holds up the paper. He's
clearly annoyed.
KELVIN
What the hell is this?
Susan half-smiles, seeming to enjoy his frustration.
SUSAN
That's your assignment, Kelvin.
KELVIN
My assignment? Since when do I get
assignments?
SUSAN
Since there's nothing else going
on.
Susan turns and walks through the stage, Kelvin follows.
KELVIN
I'm the sports anchor, Susan.
There's always something going on.
SUSAN
The Super Bowl was last week.
There are only two NBA games
tonight. No one gives a crap about
hockey. Like I said, there's
nothing going on.
KELVIN
Actually I was working on something
big -
Susan stops, getting a little annoyed.
SUSAN
What were you working on Kelvin?
Was another one of the Cincinnati
Bengals arrested? You got a tip on
another referee fixing basketball
games? Oooh - maybe you've got an
exclusive one on one with Michael
Vick's dog trainer?
KELVIN
Ummm - no -
4.
SUSAN
It's Valentine's Day. All I want
is your basic man on the street
remote about what this day means to
people. I want happy. I want
romance. I want love.
KELVIN
And you should have that. But,
seriously Susan - I'm not the right
guy. I hate Valentine's Day.
Least favorite holiday. It's not
even a holiday, really, we don't
get the day off. So we have to go
to work AND buy shit for people we
might not even know in two weeks?
No thanks.
Susan laughs -
SUSAN
Come on -
KELVIN
I'm serious. It's the single man's
worst nightmare. I shut down
dating from New Years Eve til
Presidents Day just to avoid the
whole thing. Saves me a lot of
cash and heartache.
Susan looks at him, almost sympathetically.
SUSAN
Well, be that as it may - you're a
professional. I know you don't
like soccer but you give those
Galaxy scores with a smile on your
face. You'll do fine.
She turns and leaves him standing there.
EXT. FLOWER MART - DOWNTOWN L.A. - 6:00 A.M.
Open for business and already crowded with wholesale BUYERS
readying for the busiest day of the year.
Rows and rows of commercial floral delivery vans.
Alphonso parks the van. Reed hops out. Behind him, two more
delivery vans bearing the RITA FLORA name park beside him.
Two LATINO DRIVERS stand outside, waiting for him.
5.
REED
You three pick up all the roses
from Sam and load them in the
trucks. I have to find something
for Morley. Something spectacular.
INT. AIRPLANE - 6:00 A.M.
Jumbo jet. Long, overnight flight. All the passengers are
asleep, fervently lost in their individual dreams.
A FLIGHT ATTENDANT rubs her sleepy eyes. Gets up.
She pins a heart on her lapel: Happy Valentine's Day.
Smacks it and it blinks red. She begins her hourly rounds.
Couple after couple asleep. Until she stops at one. A white
woman, KATE, (30s), in a military uniform, has fallen asleep
on the shoulder of HOLDEN, (30s) an African-American man.
He leans into her, comforted by her warmth.
The Flight Attendant pulls up the single blanket, wrapping
them both tighter into a cocoon.
EXT. FLOWER MART - VENDOR - 6:30 A.M.
As Reed walks the aisles empty-handed, he's jostled by all
the other buyers, loaded down with fresh flowers.
Unperturbed by the rudeness, Reed keeps smiling, wishing all
the Vendors, by name, a good morning.
Finally, Reed finds a heavyset Italian ex-New Yorker with
coffee spilled down his shirt, GUISEPPE (50s).
Reed walks right behind the counter and smacks a kiss on
Guiseppe's cheek.
REED
Guiseppe. I need you.
GUISEPPE
Great. But could you stand camera
right? You're blocking my good
angle.
Guiseppe points to a three-man CAMERA CREW shooting close-ups
of all the flowers. KELVIN, now wearing a suit, on-air make-
up, is quite debonair.
REED
Morley said yes so I'm gonna need
something --
6.
Guiseppe looks at him.
GUISEPPE
She said yes?
REED
Yes. What is the deal with you
guys? She wants to marry me - I
swear.
Guiseppe hugs him.
GUISEPPE
That's great news.
REED
But I can't just give her roses
today. I need to find something
amazing.
GUISEPPE
I think I have the perfect thing.
REED
Yeah?
GUISEPPE
It's in back.
IN THE BACK
Guiseppe - followed by Reed - goes deep into the
refrigerator. Pulls out something in a LONG, BLACK CLOSED
BOX.
REED
What's in it?
He starts to open it. But Guiseppe stops him with a loud
gruff.
GUISEPPE
No! Don't open it until it's just
the right time.
REED
The right time?
GUISEPPE
Just trust me, Reed. I had this
handpicked and flown over from
Thailand, just in case you needed
magic.
7.
REED
Really?
GUISEPPE
Well, also, Damon Wayans shops here
and I thought he might like it -
but you got here first.
Reed delicately takes the box.
REED
Thank you, Guiseppe. You're the
best.
BACK OUT FRONT
Reed, with the black box, and Guiseppe return. Kelvin
approaches, smiles politely at Reed, then says to Guiseppe:
KELVIN
Sir? If we can just get a few
words from you on camera, then
we'll be done.
Kelvin turns to the camera crew. They start rolling.
KELVIN
(into mic)
We're here at the downtown Flower
Mart in Los Angeles with wholesale
dealer Guiseppe Carletti, where
Valentine's Day starts at three
a.m. Guiseppe, on average, how
many red roses are sold on
Valentine's Day?
Guiseppe is staring into the camera. Reed nudges him.
GUISEPPE
The Captain and Tennille were
married on Valentine's Day.
Used to non-sequitur camera shock, Kelvin tries again.
KELVIN
Approximately 110 million red roses
are sold in America on Valentine's
Day, am I right?
GUISEPPE
So were Meg Ryan and Dennis Quaid,
but that didn't end so well. Never
understood why. She's hot, that
Meg Ryan.
(MORE)
8.
GUISEPPE (cont'd)
I wouldn't mind delivering her
flowers, if-you-know-what-I-mean.
Guiseppe nods suggestively to camera. Reed steps in,
protective.
REED
110 million. That's correct,
Kelvin. And California produces
about sixty percent of them.
KELVIN
And your name, sir?
Reed smiles easily into the camera.
REED
Reed Bennett. Owner of Rita Flora
on La Brea and Sixth.
KELVIN
Ah, as a florist, you must hear
quite a few stories on Valentine's
Day. Do you believe in love?
REED
Hell, yes. Love is still the most
shocking act left on the planet.
Reed smiles. Electric. Kelvin knows a sound bite when he
hears it. Smiles in the camera:
KELVIN
Back to you, Cynthia.
Signals the end. The camera turns off.
KELVIN
Thank you.
GUISEPPE REED
Of course. You're welcome.
Follow Kelvin as he moves off with his crew:
KELVIN
That's a start. Now, where else do
they keep the deluded people?
The guys walk off.
Guiseppe and Reed watch them go. Guiseppe, baffled, turns to
REED:
9.
GUISEPPE
Did I just tell the news that I
wanted to give it to Meg Ryan?
INT. DR. HARRISON COPELAND'S CONDO - MORNING
On JULIA PERSINGER (late 20s), beautiful, quirky, sitting up
in bed, smiling as she watches:
DR. HARRISON COPELAND (40s, distinguished), a Reproductive
Endocrinologist (fertility expert) put on his tie.
The TV SET is on in the background.
Beat, as Harrison turns and takes her in. He clearly loves
her. She catches him looking at her, smiles.
JULIA
Don't leave today.
HARRISON
I told you yesterday, I have to fly
up to San Francisco.
JULIA
But it's Valentine's Day.
HARRISON
I know. And your face was the
first thing I wanted to see this
morning. But I have two in vitros
at the clinic today. You can't
tell follicles when to burst.
She moves around the condo now. Blacks and greys. Very
male. As Julia reaches for her clothes, sexy red lingerie:
HARRISON (CONT'D)
What about you? Are you really
going to that dinner tonight?
JULIA
I don't know. It technically is
only for single people. But since
you're gonna be gone I've got
nothing else to do. And it's
really important to Kara. It's a
tradition.
HARRISON
You don't really hate Valentine's
Day, do you?
10.
Julia is now a whirl, getting dressed. Shoes flying, skirt
pulled on. Tugging a brush through her hair. Trying to
catch up and get ready to leave when he leaves.
JULIA
A recently divorced, handsome
doctor such as yourself doesn't
know what it's like to be single.
But for us unhitched gals, well, it
sucks. It's like some sort of
cosmic bitch-slap for singlefolk.
The Universe saying, "Hey you!
Remember what it felt like when
you still had braces and cystic
acne and no one wanted to ask you
to winter formal? Well, nothing's
changed!"
Harrison smiles.
HARRISON
I would take you to winter formal.
And I definitely would have
prescribed you some Retin A for the
skin.
She smiles back at him, but her attention is pulled to the TV
screen.
REED (O.C., ON TV)
...Love is still the most shocking
act left on the planet.
Julia smiles big.
KELVIN (ON TV)
...Thank you, Reed Bennett of
Rita Flora.
JULIA
I love that place. They have the
most beautiful flowers.
Harrison takes this in. Smiles at the joy on her face.
EXT. LARCHMONT BLVD - MORNING
THREE HIGH SCHOOL GIRLS, all wearing the standard Marlborough
uniform, burst out of Starbucks on Larchmont, full of
adolescent energy. They sip their chai lattes as they amble
down the street.
HIGH SCHOOL GIRL #1
Flowers make me sad.
11.
HIGH SCHOOL GIRL #2
I know. They die.
HIGH SCHOOL GIRL #1
Right? What kind of gift is that?
HIGH SCHOOL GIRL #2
One that's trying to send a
message. Everything dies. Get
used to it.
As the girls continue to talk, we close in on JANICE (18) who
lags behind them, looking at her PHONE.
CLOSE ON: THE PHONE
She has ONE NEW TEXT. From someone named ALEX. It reads:
"TODAY IS THE DAY!"
She SMILES, somewhat shyly, as she reads this, then begins to
type her response.
EXT. LOYOLA HIGH SCHOOL - LACROSSE FIELD - MORNING
The Loyola High School boys lacrosse practice is winding
down. ALEX, 18, still in uniform, with helmet off, stands on
the sideline watching the second string run some drills.
His PHONE, which sits in his helmet on the ground, BUZZES.
He picks it up, reads the return text from JANICE:
"YES!!!!!"
He smiles in anticipation.
EXT. APARTMENT - DAY
A 1940s four-plex on Spaulding. The typical just-moved-to-
L.A.-in-your-20s crash pad.
INT. APARTMENT - SAME
These apartments all have the same floor plan - all of the
rooms off of a long, narrow hallway. In one of the bedrooms
we find JASON and LIZ (both mid 20s) curled up under a sheet.
The decor says 25 year old messy guy.
JASON
Hello.
Liz smiles shyly at him.
12.
LIZ
Hi.
JASON
I'm used to seeing you every
morning -- but not exactly like
this.
She laughs.
LIZ
Would you prefer I were naked and
wrapped in a sheet when you drop
packages at my desk?
JASON
As a matter of fact, I would. I
don't think that would be breaking
any kind of office regulations.
He puts his arms around her, and they start to kiss
passionately.
LIZ
This, however, might start to draw
attention...
Jason laughs.
JASON
How is it possible that we didn't
start hanging out until three weeks
ago?
LIZ
I don't know. Maybe you were
scoping out some of the other
assistants...
JASON
I don't think so.
They kiss again. They are all smiles, as Liz glances at the
clock.
LIZ
So, I guess I better get going
soon...
JASON
Uh, OK. Great.
She hesitates for a moment, waiting for something.
13.
LIZ (CONT'D)
Well... OK... I guess I'll just see
you there...
She hesitates again, looking at Jason. He looks back at her.
Again - she's waiting for something. He's clearly not sure
what. And whatever it is doesn't come. She finally gets up.
INT. CAR - DAY
Liz drives a little Hyundai - pulls up to a stoplight on
Beverly Blvd.
Liz looks out the window - and sees Jason, on his Vespa,
waving to her. She gives him a thin lipped smile.
He motions for her to roll down her window. She does.
JASON
Hi.
LIZ
Hi.
Jason smiles again at Liz. She forces a smile back. It's
awkward as they wait for the light. It FINALLY turns green.
LIZ
Bye!
They mercifully pull away.
EXT. EDGAR & ESTELLE'S HOUSE - BACK YARD - MORNING
French doors open into the backyard. ESTELLE (70s), her
flaxen white hair, pale skin and full lips telling the story
of a once great beauty, is still sleeping in the bed.
EDGAR (70s), a tall old-fashioned gentleman in a sweater with
arm patches, walks slowly through the overgrown English
garden, cutting flowers with a pair of garden shears.
INT. EDGAR & ESTELLE'S HOUSE - BEDROOM - MORNING
Edgar places the flowers, now in a drinking glass, with a box
of Chanel No. 5 perfume on the nightstand beside his sleeping
wife.
He kisses her on the forehead, waking her gently. She stirs,
smiles at the man she's been married to for 51 years. Sees
the flowers and perfume.
14.
ESTELLE
Edgar, we said we weren't going to
celebrate Valentine's Day anymore.
EDGAR
I lied.
Estelle reaches under her pillow. Pulls out a brand new
pipe, wrapped in a red ribbon. Hands it to him.
ESTELLE
So did I.
INT. EDGAR & ESTELLE'S HOUSE - KITCHEN - MORNING
EDISON (10) sits at the kitchen table. A multi-pack of kids'
mini-boxes of cereal sits in front of him next to an empty
cereal bowl.
The kitchen TV is on in the background. Edison takes his
eyes off the TV and looks down at the store-bought box of
VALENTINES laid out in front of him. He finds the biggest.
He signs it, "I love you. Edison." On the outside, he draws
a simple heart and sets it apart from the others.
DOWN THE HALLWAY
Edgar and Estelle walk, both dressed now. She in her
lipstick. He with slicked hair. Both adhering to the old
ways of being "dressed" for the breakfast table. She leans
into him. He links her arm into his.
They stop in the doorway, watching Edison write out his
Valentines. A sadness passes over Estelle.
ESTELLE
The boy misses his mother. Every
year, she was his Valentine.
Edgar looks at her, sympathetic.
EDGAR
We're doing the best we can.
Together, they enter the kitchen. Loving smiles now.
IN THE KITCHEN
Where Edison refers to his class list and starts addressing
the rest when Edgar and Estelle walk in. They both kiss
their grandson, when Estelle notices the empty cereal bowl.
15.
ESTELLE
What about your breakfast, Edison?
EDISON
Not hungry. I'm in love.
EXT. MALIBU BEACH - MORNING
Running down the beach fluidly is SEAN JACKSON, 35, clearly
an athlete who's stride leaves not an ounce of wasted motion.
He approaches a massive HOUSE right on the beach, runs up the
deck stairs and into the house.
INT. MALIBU BEACH HOUSE - MASTER BATHROOM - LATER
Sean, just out of the shower, enters the impressive bathroom
in a towel. He grabs his toothbrush, begins to brush his
teeth. Looks to his right at the other sink of the two sink
vanity. It's devoid of any personal items except for ONE
TOOTHBRUSH sitting in a cup.
Sean stares at it. Finally he grabs the lone toothbrush and
tosses it into the trash can at his feet. Continues brushing
his teeth.
INT. MALIBU BEACH HOUSE - MOMENTS LATER
Sean, now dressed, enters from the kitchen holding a protein
type shake. The TV is tuned to ESPN - the morning edition of
Sportscenter.
ON THE TV - The ANCHOR sits at the familiar Sportscenter
desk, with a graphic of SEAN OVER HIS RIGHT SHOULDER.
ANCHOR
With the NFL season officially
over, the only lingering question
is - what will Sean Jackson do?
IN THE HOUSE - This clearly gets Sean's attention. He sits
on his couch, watches.
ON THE TV - The anchor continues:
ANCHOR (CONT'D)
A devastating loss in the Super
Bowl last week leaves his future
with the Chargers in question.
Over FOOTAGE OF SEAN, AT QB, VARIOUS HIGHLIGHT PLAYS.
16.
ANCHOR (V.O.) (CONT'D)
His contract is up, and at 35, he's
not getting any younger. Do the
Chargers want him back? If not,
will he test the waters of free
agency? Or will he make this
easier on everyone and just retire?
IN THE HOUSE - As Sean watches, that last line hits him hard.
ANCHOR (O.S.) (CONT'D)
We expect an answer to all these
questions and more over the next
few days...
Sean flips the TV off, not happy. He picks up the PHONE,
dials.
INT. OUTPOST HOME - MORNING
A spare modern home up Outpost. From overhead we find KARA,
37, sleeping alone in perhaps the largest bed available for
purchase. She looks like a 2 year old on a normal size bed.
The PHONE RINGS, startling her awake. She crawls across the
bed to her nightstand and hits the SPEAKER BUTTON ON HER
PHONE.
KARA
Hello?
SEAN (ON SPEAKER)
Kara - it's Sean.
KARA
Hey. What's going on?
Kara sits up. She leans over and grabs her LAPTOP from the
nightstand, opens it up.
INTERCUT WITH EXT. MALIBU BEACH HOUSE - SAME
Sean now stands on his deck overlooking the ocean.
SEAN
Can't you stop these assholes on
ESPN from talking shit about me?
KARA
Um, no, not really. I'm a
publicist Sean, not a dictator.
Sean's pacing his deck, thinking. Kara types away on her
laptop.
17.
SEAN
OK. Then I need to make a
decision. I can't take this
anymore. Are you free today?
KARA
Yeah, pretty much.
Kara keeps typing, half-engaged in the conversation.
SEAN
I can hear you typing. Are you
checking your email while we're
talking?
KARA
No. I'm checking my Evite.
Sean actually cracks a smile.
SEAN
Oh right. Your "I Hate Valentine's
Day Dinner". You still do that?
KARA
It's a tradition. Me and all my
friends get together and share our
mutual disdain for the holiday.
It's fun.
SEAN
It sounds fun.
KARA
No it doesn't.
SEAN
It sounds like a nightmare.
Kara laughs.
SEAN (CONT'D)
Expecting a big turnout?
KARA
I'll tell you in a second.
Kara punches in the Evite address. The site comes up.
ON THE SCREEN - We see Kara's nicely designed Evite - the
title "I HATE VALENTINE'S DAY DINNER" scrolling across the
top.
18.
We move to the NUMBER OF ATTENDEES LINE. The number
following it - 0.
WITH KARA - As she squints her eyes, not sure she's reading
it right. She stares in shocked silence.
SEAN
So?
KARA
I gotta call you back.
Kara, slams her computer shut, hits the speaker button on her
nightstand again, hops out of bed quickly.
She grabs her CELL PHONE out of her purse, dials.
INT. RITA FLORA - LA BREA AVENUE - MORNING
La Brea Avenue. Reed has turned a typical floral shop into a
hip coffee spot, selling muffins and coffee to go. Fresh
flowers on every bistro table. The place is PACKED.
Long lines of CUSTOMERS buying flowers from an already tired
STAFF. Reed is deftly managing the lines at the very busy
coffee counter. He hands coffee and muffins to A COUPLE.
REED
Here you go. I gave you two banana
nut for the price of one -- little
engagement special.
They couple SMILES as they take their goods.
REED (CONT'D)
Who's up next? In honor of
Valentine's day - and my engagement
- a good proposal story means a
free specialty drink.
He is obviously skilled at entertaining the crowd. As he
goes to steam another latte - MORLEY walks in. As soon as
the staff-members see her -- they BURST INTO APPLAUSE. Reed
turns to see her and joins in the cheering.
REED (CONT'D)
The future Mrs. Bennett, ladies and
gentlemen.
STAFF MEMBER
We're so happy for you two!!
As they clap and congratulate her, she smiles very
uncomfortably.
19.
MORLEY
I wasn't really expecting this...
She looks pleadingly at Reed.
REED
Morley really does not like people
making a fuss over her -
He kisses her -
REED (CONT'D)
So I just thought we'd carry her on
our shoulders around the store like
one time - two times tops -
They laugh.
REED (CONT'D)
I'm kidding.
(handing his apron to a
CLERK)
Can you take over for me for a
minute?
He ushers Morley into the back.
REED (CONT'D)
Nice to see you. Fiance. That
word is weird, right? Have you
said it yet?
MORLEY
Not yet.
REED
So, did you just come by to bask in
the glow of our fiance-ness? Try
saying it once--
She reaches into her purse -
MORLEY
You actually just left your cell
phone charging on the kitchen
counter - so I thought I'd drop it
off.
She goes to hand him the phone with her LEFT HAND.
REED
That was sweet. Thanks.
20.
MORLEY
Of course. I know you need it when
you're making deliveries.
Redd looks at her hand. NO RING. She looks up - sees the
hurt in this face.
MORLEY (CONT'D)
Don't be upset. It's a beautiful
ring. Beautiful. It's just - so
big. And sparkly.
REED
That's bad?
MORLEY
It's just - a lot. I mean for work
and stuff.
REED
Yeah?
MORLEY
You know how women get - they see
the ring - and then next thing you
know you're giving the whole
engagement story to a complete
stranger. Who wants that?
Morley looks up at Reed - who is suppressing a smile.
REED
I don't know - that sounds kind of
nice. Maybe I should wear the
ring?
She LAUGHS.
MORLEY
I've always wondered why men don't
have to wear engagement rings.
They're engaged, too.
REED
Good point. I feel slighted.
MORLEY
You are welcome to try mine. If
you can pull of an emerald cut
diamond with pave band - you are
more of a man than I even thought.
He laughs, and kisses her.
21.
MORLEY (CONT'D)
Well, I should let you get back to
the masses out there.
Morley turns to go, and is wrapped into a BEAR HUG by
Alphonso.
ALPHONSO
Congratulations.
MORLEY
Thank you.
He kisses her on the cheek.
MORLEY (CONT'D)
Oh. Thanks.
And on the other cheek.
MORLEY (CONT'D)
Okay. I should probably get going.
ALOOFNESS
I am so happy for you guys.
She smiles as he pulls away. Reed laughs.
REED
See you at home. Fiance.
She takes off.
INT. AIRPLANE - MORNING
Kate wakes up, startled to find herself wrapped in someone
else's arms. She jerks up, immediately alert and contained.
KATE
Excuse me, sir.
Holden's awake, and has been for over an hour.
HOLDEN
It's just a shoulder. On a
fourteen-hour flight, it's the
least I could do.
KATE
You should have moved me. I
apologize for the inconvenience.
Kate adjusts her uniform, puts herself back together.
22.
HOLDEN
Are you on active duty?
KATE
Yes, sir.
HOLDEN
Loved one in Los Angeles?
Kate doesn't answer. Doesn't like the personal questions.
HOLDEN
I'm sure he'll be happy to see you.
KATE
I hope so. I've been on duty for
two years now.
Holden smiles.
HOLDEN
Will you be staying long?
KATE
I only have 24 hours leave in Los
Angeles.
HOLDEN
Ah, so you're a romantic.
KATE
Excuse me?
HOLDEN
Fourteen hours to and from Iraq for
one night with your husband? I'd
call that romantic.
She doesn't know how to take that. So she says nothing.
INT. JULIA'S APARTMENT - MORNING
A two-bedroom Art Deco apartment on Sycamore, one block from
La Brea. Warm, inviting.
Julia, just out of the shower, walks through her living room
in a towel. She grabs her phone, sees she has a message.
She puts it on speaker:
KARA (ON SPEAKER)
Hey, Julia, it's Kara. So, I'm
freaking out a bit. I'm really
hoping you're coming to my dinner
tonight.
(MORE)
23.
KARA (ON SPEAKER) (cont'd)
It's turning out to be a little -
smaller - than I had hoped. OK.
Call me.
Julia deletes the message. She thinks about it, picks up the
phone and dials.
JULIA
(into phone)
Harrison? Where are you?
INT. PORSCHE - PACIFIC COAST HIGHWAY - MORNING
From inside his convertible Porsche, Harrison answers.
HARRISON
(into phone)
I can't talk now, honey. I'm about
to pull into LAX. I'll call you
when I land.
He hangs up. Then pulls up to the MALIBU COLONY GATES. His
face pained at the lie.
INT. COPELAND HOUSE - KITCHEN - MORNING
Harrison walks in, carrying his daughter OLIVIA (10) on his
shoulders, to find ALEXANDRA (40s), pouring orange juice.
OLIVIA
Daddy was up all night delivering
TWINS! Two babies from the same
mommy.
He puts Olivia down, walks over to his wife. Kisses her.
HARRISON
Sorry it took so long. We didn't
deliver until almost four, so I
slept at the condo.
She smiles, used to it.
ALEXANDRA
How'd the delivery go?
HARRISON
Good. All things considered.
Olivia picks up a LARGE VALENTINE. Hands it to him.
OLIVIA
This is for you.
24.
He opens it. The childish pencil writing of, "I love you.
Olivia." He looks at her, looks at his wife. Then suddenly,
breaks. A few tears. No warning. Then he shrugs it off.
OLIVIA
Don't you like it, Daddy?
HARRISON
Of course I do. Daddy's just
tired, that's all.
He walks over to Alexandra. Kisses her deeply.
ALEXANDRA
What was that for?
HARRISON
Nothing. I'll see you tonight.
INT. TATTOO PARLOR - SUNSET STRIP - MORNING
Kelvin and his crew shoot close on a tattoo on a burly arm.
Half a woman's name -- ELIZAB -- still shows. As the TATTOO
ARTIST is completing the "eth" he says:
TATTOO ARTIST
(as he works)
All day. Names on shoulders,
hearts on ass cracks.
KELVIN
So it's busy?
TATTOO ARTIST
Busiest day of the year. And it's
the gift that keeps on giving.
KELVIN
Why is that?
TATTOO ARTIST
Because I take off more names than
I put on. You know why? Because---
He stops his work, points to tattoo on his arm: LOVE IS
PISS.
TATTOO ARTIST
That used to say Lucille.
Kelvin looks at his CREW. Makes the "cut" sign.
25.
INT. RITA FLORA - LA BREA AVENUE - MORNING
Julia enters Rita Flora, smiles when she sees Reed behind the
counter. She sidles up to him.
JULIA
I saw you on TV this morning.
"Love is the most shocking act left
on the planet." That should be on a
bumper sticker.
But she smiles, teasing. He goes to the espresso machine,
starts making Julia's coffee himself. He hands her the
coffee. Refuses her money.
REED
Happy Valentine's Day.
JULIA
Thank you - but don't try to
deflect. How did it go?
Reed peeks up at the line - growing longer by the second.
But can't resist Julia's expectant face. He turns to a
CLERK:
REED
Henry, you got this?
HENRY nods. Reed steps aside, to talk to Julia more
privately. Before he can start, she looks at his face.
JULIA
Oh, shit...
Reed looks at her.
REED
Does anyone have any confidence in
me? She said yes.
Julia smiles big and HUGS him.
JULIA
Yay! That's amazing. How much did
she love that ring?
He hedges. Not wanting to disappoint her.
REED
She thought it was a beautiful
ring, just not the right ring.
Julia bites her lip, instantly sensitive for him.
26.
REED
It just wasn't her speed. It's
fine.
JULIA
I guess. But I feel like if
Harrison and I ever got engaged or
anything, I'd be happy with a cigar
band.
Reed looks a little taken aback.
REED
Wow. Things are going well with
him, then?
JULIA
Yeah. He had to go to San
Francisco today. I was thinking of
surprising him. You know, fly up
there and rock his world on the
Golden Gate Bridge. Too much?
REED
I don't think so.
JULIA
Really? So if a girl did that for
you, you wouldn't be freaked out?
REED
No. I love spontaneity.
Julia considers this, then smiles.
JULIA
That's true. I remember in college
you made me drive around all night
with you looking for the perfect
donut. That was spontaneous.
REED
And sickening. Humans are not
meant to ingest that much fried
dough.
JULIA
No they're not.
Reed smiles. ALPHONSO interrupts them.
ALPHONSO
No mas raffia, boss.
27.
REED
Take the flight, Julia.
Valentine's Day is like New Year's
Eve. You don't think, you just go
for it.
He smiles, and leaves her thinking.
INT. CAA - MAILROOM - DAY
In the bowels of the agency, Jason, and his buddy, DANNY,
sort a gargantuan pile of mail.
These aren't just any mailroom guys - these guys are good
looking, dressed well, agents in the making.
DANNY
She wouldn't even give you a ride
in to work?
JASON
No, she would. She just thinks
it's better to keep it discreet,
you know?
DANNY
So why are you telling me?
He has a good point, but before Jason can respond, JED, a
third mailroom guy enters, carrying TWO GIANT FLOWER
ARRANGEMENTS.
JED
Dude, I hate Valentine's Day. Why
can't these pansy guys just go
upstairs and deliver their flowers
to their girlfriends themselves?
Jason looks confused - and a little horrified.
JASON
Wait - what?
JED
These guys just drop the stuff of
at the curb - they don't want to
take the time to -
JASON
No - wait - it's Valentine's Day?
But it's Monday. I thought it was
always on a Thursday.
28.
DANNY
Dude, that's Thanksgiving.
JED
You're 25. You've thought that for
25 years? That's really weird.
Jason looks a little panicked.
JASON
Shit. I didn't even say Happy
Valentine's Day.
Danny and Jed start to laugh.
DANNY
And you have nothing planned?
JASON
No. But we've only been together a
couple of weeks. Maybe she doesn't
expect anything.
Jed and Danny share a look.
JED
You're screwed.
Off Jason, not liking the sound of that.
INT. CAA - DAY
Liz sits at her tiny, neat assistant's desk. She taps away
at her computer when ERIN, her boss, approaches. Liz tenses.
ERIN
Can I see the phone sheet?
Liz hands it to her.
LIZ
I still haven't heard back from
Dominic about the conference call.
ERIN
I talked to him. He's in London.
He wants to do the call tomorrow
morning.
Erin starts to walk into her office.
ERIN (CONT'D)
That's tomorrow morning London
time.
(MORE)
29.
ERIN (CONT'D)
So, I need you to be here tonight
to patch it through. As long as
you're here by about 10 tonight it
should be fine.
Erin waits by the door to her office, waiting for an answer.
LIZ
Tonight?
ERIN
Yeah. We've been trying to make
this happen for weeks, so we really
can't wait any longer. You don't
have plans tonight, do you?
Liz hesitates momentarily, and then smiles at her boss - the
picture of efficiency.
LIZ
No. No plans. I'll be here.
Erin nods, and heads back into her office. The phone rings.
Liz dutifully picks up.
INT. CHEVROLET - MORNING
Edgar drives his grandson Edison to school. Edison holds his
Valentines firmly in his lap. The biggest one -- with the
single red heart on the envelope -- is on top.
EDISON
(BEAT)
Tell me the story about the
postbox.
EDGAR
(SMILING)
I've told you that before.
EDISON
I know. It just makes more sense
now that I'm in love.
EDGAR
I was nineteen. Your grandma was
eighteen. I was an architect. I
worked in the front office with a
big window. Your grandma would
come out every morning and post the
mail. Then she'd sneak a smoke.
Edison puts his hand over his heart.
30.
EDISON
Smoking is bad, I know. I solemnly
swear never to smoke. Go on.
Edgar can't help but smile.
EDGAR
I thought she was the prettiest
girl I'd ever seen, so I got up my
courage and waited by the postbox
to say hello.
EDISON
Only you didn't say a word because
you were afraid.
EDGAR
That's right. So she pushed me
aside, and said, "Move, big fella."
EDISON
But you kept coming back every day
until she agreed to go out with
you.
Edison looks at him, very seriously. Digesting it all. Edgar
pulls the car over in front of Rita Flora.
EDISON
You don't have to come in. I can
do this myself.
He's out of the car, heavy backpack bobbing behind him.
INT. RITA FLORA - LA BREA AVENUE - MORNING
Edison, a long line behind him, finally reaches Reed at the
counter.
EDISON
I want to send a dozen red roses to
the best girl at my school.
Edison drops a stack of wrinkled dollar bills on the counter.
Reed picks up the money. Counts it.
REED
Thirteen dollars.
EDISON
You can have all of it. Crescent
Elementary. You can MapQuest it.
He hands him the Valentine with the heart on the envelope.
31.
EDISON
5th period - like between 1 and 2pm
- would be ideal. Just hand me the
flowers when you get there. I'll
take care of the rest.
Reed takes the Valentine. Looks at Edison's very serious,
very in love face. Makes a decision.
REED
You got it.
INT. MARLBOROUGH SCHOOL - DAY
Janice sits in a classroom with about 10 other girls, all
focused on the teacher, MS. GILROY (27, fragile), who is
wrapping up class.
MS. GILROY
Remember girls, registration for
the AP exam must be in by next
week, so don't flake. Promise me.
This class is way too hard to take
just for fun.
The BELL RINGS and the girls swiftly pack up their things and
begin to head out. Ms. Gilroy stops Janice as she leaves.
MS. GILROY (CONT'D)
That last comment wasn't directed
at you. I just realized it could
have sounded that way.
JANICE
That's fine. I didn't take it that
way.
MS. GILROY
OK. Even though, since you've
already taken the AP test, you are
kind of taking this class for fun.
JANICE
I take all my classes for fun Ms.
Gilroy.
Ms. Gilroy doesn't know how to deal with this weird alien
child.
32.
MS. GILROY
Right. Anyway, I'm putting
together a little study group for
the girls and I was wondering if I
could pick your brain at some point
about what I should focus on. You
know, since you've recently taken
the test. And I - never did.
JANICE
Sure - of course.
MS. GILROY
Great. How about today after
school?
JANICE
Oh, I can't. I nanny after school.
MS. GILROY
OK. Tomorrow morning?
JANICE
I teach yoga before school on
Wednesdays and Fridays. You should
come. I think it would be helpful.
Ms. Gilroy isn't sure how to take that.
MS. GILROY
I'll consider that. I'm guessing
evenings are out of the question?
JANICE
Yeah, I take a few classes at UCLA.
MS. GILROY
Alright then. Wow you're busy.
How about today at lunch?
Janice smiles.
JANICE
Normally that would work - but
today I'm going to have sex with my
boyfriend for the first time - or,
I mean, to be accurate, I'm going
to have sex for the first time, he
will be too, so -
Ms. Gilroy's face freezes.
MS. GILROY
Umm. OK. Uh -
33.
JANICE
Yeah. It's Valentine's Day. And
my parents work during the day. So
it's really the only time it can
happen.
Ms. Gilroy is now speechless. She begins shuffling papers on
her desk.
JANICE (CONT'D)
But tomorrow at lunch I'm free.
MS. GILROY
(wanting this to end)
Great!
JANICE
Great. I'll see you then. So
excited.
Janice hustles out, leaving Ms. Gilroy dumbfounded.
INT. CAA - DAY
Sean walks into the CAA building, heads for the RECEPTIONIST.
SEAN
Sean Jackson here for Drew Goss.
The receptionist nods, dials a few numbers.
As Sean waits, JASON comes walking by, wheeling his cart of
packages and mail. He drops some mail off at the front desk.
He nods at Sean (who he clearly recognizes), Sean nods back.
As he passes, Jason breaks out in a big smile.
RECEPTIONIST
(to Sean)
They'll be right down.
INT. CAA - AGENT'S OFFICE - SAME
Sean and Kara sit across from DREW, Sean's 28 year old
superagent.
DREW
So the Chargers have - passed.
SEAN
What?
DREW
They've decided not to pursue
resigning you.
34.
KARA
I'm working on a press release
saying it was a mutual parting.
Sean looks at them both, head spinning.
SEAN
OK. But - why? We got to the
Super Bowl. I was second team All-
Pro -
DREW
They wanna go in a different
direction. They've got their
sights set on that kid from Alabama-
Sean rubs his head, thinking.
SEAN
Whatever - I don't...So - now what?
DREW
Now what? It's simple. Now we
pick a different team. I've gotten
calls from the Bills, the Vikings -
Sean begins shaking his head.
SEAN
Uh-uh. You're telling me I've got
to move? To Buffalo? Are you
insane? Me in Buffalo?
DREW
OK - then we'll pursue some other
teams -
SEAN
It's not that man, it's just - I
don't know. Maybe I'm done.
DREW
Absolutely not. And I'm not saying
this as an agent who makes money
off of you. I'm saying this as a
fan - you can still play.
Sean cracks a smile.
SEAN
I know I can. I know. But -
He turns to Kara.
35.
SEAN (CONT'D)
Kara, you get it, right?
KARA
I do.
SEAN
Drew - I know you've only been my
agent for a few years, so you might
not know - but this job has cost me
a lot. Relationships. I wanted to
be a father, man. But -
DREW
You can still do all that stuff and
play football Sean.
SEAN
Not in this league you can't. Not
if you want to do it right. It's
too hard. Trust me.
Sean looks at them both.
SEAN (CONT'D)
I need to think about this.
Sean gets up, heads out the door.
EXT. RITA FLORA - LA BREA AVENUE - MORNING
Reed and Alphonso are packing a delivery van with orders.
REED
Do you think it should bum me out
she's not wearing the ring? I
tried to go with simple and
classic, but I don't think I nailed
it. It's weird - I feel like I'm
always really trying to get it
right with her - and I always miss
the mark a little.
ALPHONSO
No, I don't think it should bum you
out.
REED
Why not?
ALPHONSO
I think it should bum you out when
you stop trying.
36.
They walk back into the store.
INT. RITA FLORA - LA BREA AVENUE - MORNING
Where Reed sees another long line. Harried staff taking
orders. He walks up behind the counter. Grabs another order
slip.
REED
Next?
It's Harrison. Only he's walked around the line to the
front.
HARRISON
May I speak to the manager?
REED
I'm the owner.
HARRISON
Perfect. I hate to pull this card -
but I'm a doctor and I need to get
back to the hospital - and I wanted
to take care of this order myself.
REED
No problem. Come over here and
I'll write you up.
Reed walks him over to a side table.
REED
What can I do for you?
HARRISON
I need you to deliver two
arrangements for me. Two dozen red
roses for each -- lady. And I need
your discretion. Do you
understand?
This isn't the first time Reed's gotten an order like this.
REED
I understand.
HARRISON
I appreciate that.
Harrison hands him two slips of paper.
HARRISON
Here are the addresses.
37.
Reed starts writing up the order. Then freezes.
REED
Let me see if I am understanding
this correctly. This first order
is for Alexandra Copeland in
Malibu. That's your wife?
HARRISON
That's right.
REED
And this second order is for Julia
Persinger at Crescent Elementary
school? Now, is Julia your
daughter?
Harrison is uncomfortable. Not a complete jerk.
HARRISON
No. Now, look. I thought we had
an understanding.
REED
We do. I just wanted to make sure
we're understanding the same
understanding.
HARRISON
We are.
He hands Reed a credit card. Reed takes it. Slides it
through the machine. Doing his best to conceal his anger.
INT. CRESCENT ELEMENTARY - JULIA'S CLASSROOM - MORNING
The room is full of 10 YEAR OLDS. Edison amongst them.
There are several girls behind him, most notably MADISON, a
very pretty blonde girl. Edison pays close attention to
Julia, at the head of the class.
JULIA
Okay. Now we're going to put all
our Valentines into the envelopes
we made yesterday.
She points to one wall, full of colored construction paper
envelopes with names on them.
JULIA
But before we do that, a little
history.
(MORE)
38.
JULIA (cont'd)
Back in Ancient Rome, Claudius the
Cruel banned all marriages because
he only wanted his soldiers to
believe in war. But a priest named
Valentine secretly married everyone
anyway because he believed in love.
But when Claudius the Cruel found
out, he arrested Valentine and
threw him into prison. Then, on
February 14th, the day Valentine
was to be execu --
Julia stops, looks at the young faces. Thinks better of it.
JULIA
-- Well, on February 14th,
Valentine sent a letter to his true
love and signed it, "Farewell.
From your Valentine."
Edison throws up his hand.
EDISON
You were going to say executed!
Executed equals killed! They
killed Valentine because he married
people in love?
JULIA
It seems so, Edison. But isn't it
nice that every year people who
believe in love, like he did, send
Valentines in his honor?
Edison nods in agreement. Meanwhile, Madison turns to GWEN,
sitting behind her.
MADISON
Did you bring the extras like I
told you?
GWEN
Yes.
Madison picks through them, taking an especially gooey one.
She signs it: I love you, From Edison.
GWEN
I thought you liked Edison? You
put his initials on the bottom of
your shoe.
Madison looks at Edison's back. His head bent over gently.
Her eyes narrow. Clearly, he's done her wrong.
39.
MADISON
He didn't like me back. I hate him.
Madison looks around the class. Lands on RANI, a shy Indian
girl.
MADISON
(under her breath)
Perfect.
She writes "Rani" on the envelope and slips the "I love you,
Edison" Valentine inside.
JULIA
Okay. Start delivering your
Valentines. We'll open them after
lunch.
The class gets up. As Julia watches, the children drop
Valentines into the brightly colored envelopes on the walls.
EXT. CORNER OF MELROSE & HOBART - DAY
A CITY BUS pulls up to the corner and Alex hops out in his
Loyola school uniform. He holds a rather large duffel bag.
He checks his phone, which has a new text message from
Janice. It reads: ALMOST THERE!
Alex quickly takes off down the street.
EXT. MELROSE HILL HOUSE - DAY
Alex walks up the front lawn of a well-kept 1910 Craftsman.
He squats down in front of a LARGE POTTED PLANT on the porch
and fishes out the SPARE KEY.
He unlocks the door, replaces the key, and enters the house.
INT. MELROSE HILL HOUSE - DAY
Alex makes his way to Janice's bedroom and starts unpacking
his bag.
He pulls out a bunch of CANDLES, quickly setting them up
around the bed. He pulls out a newly bought CANDLE WAND and
hastily opens it, lighting all the candles as fast as he can.
He takes out a box of CONDOMS and puts them on the
nightstand.
Then he undoes his tie, unbuttons his shirt and strips down
to his boxers. He hops on the bed, trying to position
himself suggestively for Janice's entrance.
40.
He finds that he's staring at himself in the MIRRORED CLOSET
across the room. And he looks really lame. He tries another
pose - on his side, propped up by his elbow - way too
Playgirl. He tries sitting cross-legged - now it looks like
he's meditating amongst all the candles.
Finally he gets up and throws a sheet over the mirror. As
he's trying to get it to stay up, he hears the FRONT DOOR
OPEN. He scrambles back to the bed and lies down.
He tries to contain his excitement as he hears footsteps come
down the hall. Then, as the footsteps get to the bedroom
door he sees not Janice but her mom GRACE (40, pretty)
walking past the open door.
Alex panics and slides off the bed, knocking over a candle.
ALEX
Shit!
Grace runs to the doorway, shocked to see Alex, in his
boxers, trying to get up.
GRACE
Alex?
ALEX
Mrs. Smart I'm so sorry.
Alex quickly tries to blow out all the candles and gather his
clothes. It's not going well.
GRACE
What are you doing?
ALEX
I - uhh - I - was trying to take a
nap.
GRACE
With all these candles?
ALEX
It relaxes me.
Grace looks at Alex, now with all his clothes in his arms,
bag over his shoulder, still only in his boxers.
GRACE
I'm sorry to interrupt you then.
Go back to sleep.
41.
ALEX
No, it's fine. I need to go
anyway.
Alex hurriedly tries to push past Grace into the hallway,
squeezing through the door. But in doing so he loses his
footing and FALLS FACE FIRST in the hall, bag and clothes
flying everywhere.
He quickly tries to scramble to his feet, but as he does his
boxers CATCH ON THE DOORSTOP on the baseboard, RIPPING HIS
BOXERS OFF as he hops to his feet.
Grace tries to avert her eyes at the sight of Alex's bare
ass, and he quickly grabs his clothes and bag and scurries
outside, completely naked.
EXT. MELROSE HILL HOUSE - DAY
Janice pulls up in her beat up Camry and parks in front of
her house. She checks herself in her rearview mirror,
putting on a little lip-gloss, fluffing her hair.
Then, behind her in the mirror she notices ALEX RUNNING DOWN
THE SIDEWALK, NAKED, covered by the bundle of clothes in
front of him. Her eyes open wide.
He reaches her car and hops in - out of breath.
JANICE
What happened?
ALEX
Mom.
JANICE
Your mom?
ALEX
Yeah. My mom was at your house.
JANICE
Oh.
(she looks at his
NAKEDNESS)
Shit! My mom! What'd you say?
ALEX
That I was taking a nap.
JANICE
Naked?
42.
ALEX
No - the naked part came after I
told her that.
JANICE
Wait - what?
ALEX
Seriously, there's no explaining
this. Just drive. She could be
coming out any second.
Janice starts the car and pulls out.
INT. JANICE'S CAR - DAY
Janice and Alex sit in her parked car outside of Loyola High
School, Alex now fully dressed.
ALEX
What about after school?
JANICE
Come on Alex, you know I nanny.
ALEX
Right. Can you skip your class
tonight?
JANICE
Skip class? Do you know me at all?
ALEX
Sorry. And I work tonight until
11. Crap.
They both sit there in silence, thinking.
ALEX (CONT'D)
Look, maybe we're just putting too
much pressure on it being today.
The whole point initially was to do
it before we went off to college -
and we still have 6 months before
that.
JANICE
I'm thinking about going to the
summer program at Yale - you know,
to get a head start. That's June.
ALEX
OK, so 4 months. That's still a
long time.
43.
Janice doesn't like the sound of that.
JANICE
No, no, no. It's gotta be today.
When someone asks me when I first
had sex, I don't wanna say "Oh, I
don't quite remember, some random
day between February and June of my
senior year." It's gotta be
special Alex. And today is
special.
Alex looks at Janice, sees how serious she is about this.
ALEX
OK. Just - give me some time.
I'll figure this out. I promise.
Janice looks at him, softening. She nods. He leans in and
gives her a kiss, then hops out of the car and heads toward
school.
INT. CAA - DAY
Liz sits at her desk, typing wildly fast. Jason approaches,
wheeling a cart with packages. He approaches Liz with some
trepidation.
JASON
Hey.
She looks up.
LIZ
Oh. Hey.
She goes right back to work. Hardly a warm greeting.
JASON
Didn't I see that shirt yesterday?
He's trying to make a joke. She doesn't laugh. He's clearly
gotta try harder.
JASON (CONT'D)
Look, I didn't know that today was
Valentine's Day. I thought it was
the second Thursday --
Her look says she's not buying it.
44.
JASON (CONT'D)
I swear. I know it sounds stupid -
but I always do stupid stuff. Ask
my mom -
He picks up her phone -
JASON (CONT'D)
Here. You wanna call her? Maybe
she'll tell you about the time I
got trapped in a volleyball net --
She cracks a smile. He's clearly trying.
JASON (CONT'D)
Happy Valentine's day.
She softens.
LIZ
Thank you.
JASON
So, can I take you out tonight?
LIZ
Well, I kind of already said I'd -
JASON
I will hook up something great -
She considers this.
LIZ
Yeah, OK. That sounds good.
JASON
Cool.
He turns to go, with his cart.
LIZ
You're not gonna deliver those?
JASON
These are actually decoys. I just
wanted to have a reason to come
talk to you.
She laughs.
LIZ
Really well engineered plan. I
totally fell for it.
45.
He smiles as he heads back to the elevator.
EXT. SUNSET BLVD. - ECHO PARK - DAY
A LARGE INFLATABLE RAT is parked in front of a PEP BOYS,
stopping traffic.
Kelvin and the camera crew interview a petite round CHOLA
(18). Eyebrows single slashes of orange liquid liner.
CHOLA
I was hot like jalapena, sexing him
up whenever he wanted. I would
have done anything for that vato,
but still he whored around.
She points to the rat. A sign around its neck: CISCO
MARTINEZ IS A CHOLO RAT WHORE.
KELVIN
(points to the rat)
Has he seen it?
She looks back at the open bay of the Pep Boys, where all the
employees are laughing and pointing, except one: CISCO (name
embroidered on his work shirt) who pretends not to notice as
he angrily works on a Buick, cranked up on hydraulics.
Chola smiles. Extremely pleased.
CHOLA
No. I don't think he has.
Knowing full well, he has.
INT. VINE AMERICAN PARTY STORE - DAY
Kara slowly makes her way around the store, an explosion of
Valentine's Day decorations. She halfheartedly fills her
cart with red streamers, hanging hearts, etc.
She starts to make her way to the back, but the aisle is
blocked by the cart of a YOUNG COUPLE who are goofing around,
trying different Valentine's Day hats and glasses on each
other.
Kara waits patiently for them to notice her, but it's not
happening. Then they start MAKING OUT as Kara spectates.
She can't believe this. It's like the longest kiss on
record.
Finally, Kara's had enough. She takes her cart and RAMS IT
INTO THEIRS, WHICH IN TURN RAMS INTO THEM, breaking their
embrace. Kara gives them a small smile as she passes.
46.
KARA
Sorry.
As Kara turns down the next aisle, her PHONE RINGS. She
picks it up.
KARA (INTO PHONE) (CONT'D)
Hey Jan.
JAN (O.S.)
I've got Kelvin Briggs for you.
KARA
From KTLA? Tell him I'll call him
back.
JAN (O.S.)
He's called 15 times already.
KARA
Fine. Put him on.
Kara throws a few balloons in her cart.
JAN (O.S.)
Kara, you're on with Kelvin.
KARA
Hey Kelvin. What can I do for you?
INTERCUT WITH EXT. SUNSET BLVD. - ECHO PARK - DAY
Kelvin stands a few feet away from his crew, on the phone.
The HUGE RAT is in the background.
KELVIN
Well, the press release just came
off the wire...
KARA
And...
KELVIN
And I know that Sean's not gonna
want this to drag on for too long.
He's gonna make a decision soon.
So here's what I'm thinking. When
he does decide - whatever he
decides, whether to play for
another team or god forbid retire -
I think you should give the
exclusive to me. Local player
gives big story to local sports
guy. It's a win-win.
47.
Kara smiles at his forwardness.
KARA
Yeah, but both wins are for you.
KELVIN
Well, not necessarily -
KARA
Look Kelvin, I don't know what to
tell you. I'm sure this is just
gonna be your usual, run of the
mill press conference. I don't
think there's any exclusive to be
had here. But I appreciate the
ambition. Happy Valentine's Day.
Kelvin grimaces.
KELVIN
Yeah right. I can't wait for this
day to be over.
Kara smiles.
KARA
You and me both. Bye Kelvin.
She hangs up. Kara makes her way to the register, starts
unloading her stuff. As the cashier starts to ring it up-
CASHIER
Wow. Someone's having a big -
KARA
Seriously, don't.
The cashier goes back to his job, chastened.
INT. SEAN'S MERCEDES - DAY
Sean drives down Little Santa Monica, classical music
BLARING. He's lost in thought.
Oblivious, he turns LEFT too quickly -- REAR ENDING A RITA
FLORA VAN.
He gets out and approaches the van - as ALPHONSO gets out of
the driver side, not happy. Sean is instantly apologetic.
SEAN
I'm so sorry man.
48.
ALPHONSO
You should pay more attention, guy.
SEAN
I know. I don't know what's wrong
with me today.
Sean pulls out his wallet, hands Alphonso a card.
SEAN (CONT'D)
Just call my business manager -
he's got all my info.
Alphonso takes the card.
ALPHONSO
Must be nice.
Alphonso turns to check out the damage to the back of the van
- in the collision the back doors have popped open. Sean
notices the back FILLED WITH FLOWERS.
SEAN
Man. That many people get flowers
delivered?
ALPHONSO
It's Valentine's Day. Kind of a
big day, flower-wise.
SEAN
No - I know. I just mean - why
would you get flowers delivered
when you could just go buy them and
give them at home? It seems more
personal that way.
Alphonso's having a tough time with the damaged doors.
ALPHONSO
People like to get flowers at their
place of work. They like a public
declaration. It's like - love
doesn't exist until you acknowledge
it in front of people.
Sean TAKES THIS IN. Alphonso finally gets the doors to stay
shut, heads back to the driver's side.
ALPHONSO (CONT'D)
Keep your eyes open friend.
He shuts the driver side door. Sean stands there and watches
Alphonso pull away - a SMILE GROWING ON HIS FACE.
49.
He whips out his cell phone and dials.
SEAN (INTO PHONE)
Hey Kara, it's Sean. I made my
decision.
Sean hops in his car, takes off.
INT. RITA FLORA VAN - DAY
Alphonso drives down little Santa Monica. He checks his
rearview mirror - sees:
EXT. BACK OF THE VAN - DAY
THE DOORS OPEN AGAIN.
SEVERAL flower arrangements fall out, hitting the ground in a
kaleidoscope of glass and color. Cards hitting the pavement.
We narrow in on one card: EDISON'S ENVELOPE with the simple
red heart.
EXT. LITTLE SANTA MONICA - BEVERLY HILLS - CONTINUOUS
Alphonso pulls over quickly. Picks up his cell phone.
EXT. SANTA MONICA BLVD. - BEVERLY HILLS - DAY
Quickly, Reed and Alphonso are transferring all the floral
arrangements from Alphonso's bum van to Reed's van. Reed is
upset, thrown off his game.
REED
This is ridiculous. There's easily
several hundred dollars worth of
damage here. We're already behind
on our delivery schedule. And then
I find out that Julia's boyfriend
is married. I mean, what am I
supposed to do with that? I
shouldn't tell her, right? Who
wants to hear that?
(he looks at Alphonso,
HOPEFUL)
I should probably just stay out of
it, right?
Alphonso grimaces. Thinks. Says:
ALPHONSO
I think you have to tell her.
Reed deflates.
50.
REED
Really? Why?
ALPHONSO
Because it's the right thing to do.
INT. CRESCENT ELEMENTARY - JULIA'S CLASSROOM - DAY
The kids all file back into class after lunch. Edison walks
up the aisle and passes Rani, who sits at her desk, listening
to her iPod. As he passes -
EDISON
Whatcha listening to Rani?
Rani pulls out one earbud, smiles.
RANI
Neil Young, Live at Canterbury
House. Thanks for the tip.
EDISON
Anytime.
Edison takes a seat. Rani quickly pulls out her other earbud
as Julia rushes in with an OVERNIGHT BAG. Throws it under
her desk and turns to the class.
JULIA
Sorry I'm late. Now, get your
Valentines and let's open them.
The kids run to their Valentines envelopes on the wall. Tear
them down and run back to their seats. Excitement building.
Although Julia has a stack on her desk from the students, she
prefers to watch the kids open theirs.
Madison has the largest stack of Valentines, the most popular
student in the room. Rani only has a few. They've all been
opened, but Rani has no reaction. Madison and Kara watch
Rani, perplexed.
When, Madison stands up and loudly says to the class:
MADISON
Did everyone check carefully inside
their envelopes for ALL of their
Valentines?
Julia looks at Madison, suspicious. But the students do what
Madison says. Rani turns her envelope upside down and out
falls the big Valentine, caught on a staple. She opens it.
51.
Looks over at Edison, his back to her. Rani can't believe
it: Edison. Her face takes on the glow of the windswept
sun.
Rani gets out of her chair, starts walking towards him, her
smile growing, when...
From behind her, Madison and Kara start laughing.
Rani turns, looks back at Madison and Kara, who are laughing
cruelly. Rani realizes. The sun fades.
JULIA
Rani? What is it?
RANI
Nothing, Miss Persinger.
JULIA
Bring the Valentine up here,
please.
Rani hesitates, then starts to crumple it in her hands.
JULIA
Now, please.
Rani reluctantly approaches and hands it to her. Julia reads
it. Looks at Edison.
JULIA
Edison?
Shocked as hell, he says:
EDISON
Yes, ma'am?
JULIA
Did you send this Valentine to
Rani?
Edison is horrified and now upset. Realizing Rani is the
butt of a joke.
EDISON
No, ma'am. I did not.
JULIA
Madison. Kara. Come up to the
front of the class, please. And
bring your Valentines with you.
52.
Madison and Kara get up. Bring their Valentines. Julia puts
her trash can on top of her desk.
JULIA
You sent Rani this Valentine and
signed it from Edison, didn't you?
Both look at her. But say nothing.
JULIA
When there's that much silence, I
know you're thinking up a lie.
KARA
(BURSTING)
She made me do it!
Madison looks at Kara, furious.
Reed enters the classroom quietly, carrying a single
arrangement of two dozen red roses.
Julia doesn't see him. Many of the students do, however, and
Reed puts a finger to his lips. Shhh.
JULIA
Madison. Take all of your
Valentines and bring them up here.
If you're good you might get them
back at the end of the day. Kara,
I'm afraid this goes for you, too.
KARA
But I told the truth!
Both girls angrily and tearfully give up their Valentines.
JULIA
It's not nice to play with people's
hearts like that.
When a cough comes behind Julia:
REED
Julia?
Julia turns, surprised. Happy to see him.
JULIA
Reed? What are you doing here?
Edison, recognizing Reed, thinks he's delivering the roses he
ordered that morning. He stands up, excited.
53.
REED
This order came in at the store
today. I thought I'd deliver it
myself.
Reed puts the roses on Julia's desk. Edison looks confused,
Reed was supposed to give him the flowers. She opens the
card, hoping. Smiles.
JULIA
It's from Harrison.
REED
Your boyfriend?
JULIA
Yes.
Edison sits back down, shocked. Not his flowers. He is not
happy.
Reed looks at her shining face, knows he should tell her the
truth. He looks at the classroom -- all the kids staring at
the interaction of their teacher with the flower man.
REED
Julia. There's something I have to
tell you. Can I see you outside?
INT. CRESCENT ELEMENTARY SCHOOL - HALLWAY - DAY
Reed looks at Julia, trying to find the words. But Julia's
got plenty of her own.
JULIA
Wait. Me first. I got a 4:15
flight to San Francisco. I'm gonna
surprise him.
But Reed doesn't look so happy.
JULIA
What's with the face? You were
into this idea before.
REED
I was. I mean...I don't know. I
met Harrison when he came in and
placed the order.
JULIA
You did? Wow. He must've been on
his way to the airport. Isn't he
great?
54.
REED
(HALTINGLY)
Sure, sure. But, you know, people
are so - complex, right? And
there's always more to the story --
JULIA
You think he's too old for me. But
- listen - I've had a lot of bad
experiences with guys my age, and
even though -
When EDISON bursts through the doors. Frantic. He grabs
Reed's shirt. Calls him by the store's name.
EDISON
Mr. Flora. What about my roses?
Reed's blank, trying to place him out of the environment.
EDISON
I gave you thirteen dollars!
Reed puts an arm on Edison's shoulders.
REED
Oh, yeah. I remember now. They
must still be on the truck, little
man. Don't worry, they'll get here
soon.
EDISON
You promised me. Fifth period. I
chose you because you were on TV
this morning when I was writing my
Valentines. It was a sign.
Julia kneels down, consoles him.
JULIA
Edison. If Reed says your roses
will be here, then they will. He's
very trustworthy.
She smiles, steers Edison into the classroom. As the
classroom door shuts -
REED
Don't get on that plane today.
It's a mistake.
Julia stops.
55.
JULIA
What? You said you liked
spontaneous.
REED
I do, but--
Reed looks at her, trying to say it. But she seems so happy,
so hopeful, he just can't. So he says nothing. Julia smiles
at his concern.
JULIA
Look Reed, I get it. You've had
six girlfriends since we've known
each other - you're always in a
relationship. You understand how
these things work. My track record
- on the other hand - could kindly
be referred to as spotty. But this
one feels different. So don't
worry. I'll be fine. Now I gotta
get back to class.
She goes in, shutting the door. Leaving Reed alone, with no
idea what to do.
INT. CAA - MAILROOM - DAY
His buddies work at breakneck speed around him as Jason talks
on his cell phone.
JASON
So you can take us? Thank god -
that's great.
He grabs a pen.
JASON (CONT'D)
At four? As in four in the
afternoon? Even my Nana doesn't
eat dinner at 4. So, it's 4 or
11:20? I think I might keep
looking.
He hangs up. Danny and Jed look at him with pity.
JASON (CONT'D)
What? Not every table at every
restaurant can be booked? What
about the shitty restaurants?
Nobody's gonna book those.
56.
DANNY
Maybe don't pitch it to Liz like
that.
Jason shoots him a look.
JASON
It's fine. And I just nabbed
tickets for the outdoor movie at
Hollywood Forever Cemetery.
DANNY
Girls love cemeteries on
Valentine's Day.
JED
What about the gift?
JASON
I thought of that. I'm gonna go
get her a grande white mocha this
afternoon. She loves those.
Jed and Danny share a look.
JASON (CONT'D)
What? I'm supposed to get her a
Prius? We haven't even been
together three weeks.
JED
Dude, whatever. Dump her, I don't
care. I'm just saying - if you're
gonna do Valentine's day...
Jason considers this.
INT. RITA FLORA DELIVERY VAN - DAY
Reed drives. Alphonso sits in the passenger seat, scanning a
clipboard. Reed makes an abrupt left turn.
ALPHONSO
Where are we going?
REED
Just making a quick stop at my
house -
ALPHONSO
But we're really behind -
Reed pulls the van over in front of his house, puts it in
park.
57.
REED
I know but -
Reed reaches into the back of the van and pulls out
GIUSEPPE'S BLACK BOX.
REED
- we're in the neighborhood and I
wanna put these flowers out before
my bride-to-be comes home. You
know - surprise her. I'll be fast.
ALPHONSO
Fine.
Reed opens the door, takes the black box, and hops out.
Then, through the window -
REED
Oh, by the way. I didn't tell
Julia about Harrison.
Reed starts to walk away. Alphonso calls after him.
ALPHONSO
What? She needs to know, Reed.
Reed stops, halfway up his walk.
REED
I tried. I couldn't do it to her.
I just - don't think it's my place.
Alphonso just looks at him, not hiding his disapproval.
ALPHONSO
We're really behind.
REED
Be right back.
AT THE FRONT DOOR
Reed goes to the door, pulls out his keys. But as he tries
to put them in, the door just SWINGS OPEN. Reed looks
confused. Warily enters the house...
INT. REED BENNETT'S HOUSE - SAME
Reed looks around as he enters. Calls out:
REED
Hello?
58.
Nothing. As he starts toward the kitchen, he hears from
UPSTAIRS:
MORLEY (O.S.)
Reed?
Reed is perplexed. He turns and heads toward the stairs.
UPSTAIRS HALLWAY
Reed reaches the top of the stairs, still holding the black
box, and turns into the:
INT. BEDROOM - SAME
Morley sits on the bed.
REED
Hey.
MORLEY
Hey.
Reed just stands there, looking at her, not knowing what to
say. She does not look happy.
REED
What are you doing home?
Morley doesn't say anything. As he starts to approach her,
he sees the CLOSET DOOR IS OPEN. AND THE CLOSET IS EMPTY.
He stops.
He looks at Morley. Then to her packed suitcase on the
floor. It's all starting to make sense.
MORLEY
I'm sorry Reed.
Reed stands there, in shock, holding the black box.
REED
It's not the ring. It's me.
She looks at him, and though it appears to pain her, she
doesn't argue.
MORLEY
I'm so sorry. I should have been
honest this morning. It just - it
took me by surprise, and I didn't
want to hurt you.
(MORE)
59.
MORLEY (cont'd)
No one prepares girls for how to
handle that scenario. They prepare
us to say yes, not how to
gracefully say no.
Reed is clearly trying to remain upbeat.
REED
Look, it's fine. If you're not
ready, that's OK. We can take the
whole marriage thing off the table.
Maybe I shouldn't have surprised
you like that - we've only been
together a year - maybe we should
have talked about it --
She stops him.
MORLEY
You didn't do anything wrong. And
it shouldn't have been a surprise
to me. I should have been thinking
about our future, too. But I
wasn't. I was just coasting,
knowing in my heart that we were
not gonna go the distance. And
that is not fair to you. You
deserve a lot better than that.
Morley takes the engagement ring from her pocket, hands it to
Reed. He studies the ring for a moment, then finally looks
up at Morley.
REED
Did you even consider marrying me?
Even for a minute?
MORLEY
Of course. But when you ask
someone to marry you - do you want
her to consider it? Or should she
just know the answer?
Off Reed, letting that sink in.
INT. RITA FLORA DELIVERY VAN - DAY
Reed gets back into the van, still holding the black box.
Alphonso looks at him. He's clearly upset. They sit there
for a long, quiet moment.
60.
REED
You're not gonna believe this.
Morley was in there. She's leaving
me. We're not getting married.
Alphonso looks at him. Doesn't say anything. But he doesn't
look surprised. Reed starts to lose it.
REED
So this you believe? You don't
believe it when she says yes but
you believe it when she moves out?
Alphonso shrugs, not saying anything.
REED
You knew?
ALPHONSO
I had a feeling.
REED
What feeling?
ALPHONSO
That it just wasn't right. An
inkling.
REED
An inkling? Why didn't you say
something?
ALPHONSO
I didn't know for sure.
Reed takes this in, trying to process. Then something dawns
on him.
REED
But I do.
ALPHONSO
Pardon?
REED
With Julia. I know something isn't
right.
ALPHONSO
Yes you do.
Reed starts the van, puts it in gear.
61.
REED
I've gotta stop her.
ALPHONSO
Yes!
REED
Wait - I thought we were behind?
ALPHONSO
For this? Screw it.
Alphonso smiles. Reed quickly pulls away.
INT. CRESCENT ELEMENTARY SCHOOL - JULIA'S CLASSROOM - DAY
THE BELL RINGS - the school day is over. Students race out
of the classroom. Free. Julia smiles from the front of the
class.
JULIA
Have a lovely Valentine's Day guys.
She quickly grabs her overnight bag from under her desk,
starts for the door. Clearly in a hurry.
Edison watches her leave, perturbed.
INT. CRESCENT ELEMENTARY SCHOOL - HALLWAY - SAME
As Julia walks down the hallway, her CELL PHONE RINGS. She
grabs it.
JULIA (INTO PHONE)
Kara!
INTERCUT WITH INT. D/D/K PR - SAME
Kara sits at her desk, in her huge corner office overlooking
Beverly Hills, staring at her computer screen.
KARA (INTO PHONE)
Why haven't you called me back?
JULIA
I am so sorry. Today's been nuts.
KARA
So I'm assuming you didn't RSVP for
my dinner because you come every
year and it's a given that you'll
be there, right?
62.
Julia keeps walking, not understanding the seriousness of
Kara's question.
JULIA
Actually, unfortunately, I will
not. Be there. I'm flying up to
San Francisco to surprise Harrison.
Silence. Kara just sits there, trying to hold it together.
Julia stops at the front door of the school.
JULIA (CONT'D)
Are you OK sweetie?
KARA
No one's coming.
JULIA
What? That can't be true.
KARA
Well, it is.
JULIA
What about Dana?
KARA
New boyfriend.
JULIA
What about Elise?
KARA
Back with old boyfriend.
JULIA
NO! Rick?
KARA
Gay cruise to Cabo.
Julia stands there, trying to think of what to say.
JULIA
So everyone responded "no"?
KARA
No. There's still a bunch of
people who've looked at it but
haven't responded.
63.
JULIA
Well then I'm sure it's fine. You
know how bad people are about
RSVPing.
EDISON comes down the hall, walking past Julia and picking up
this last bit of their conversation.
JULIA (CONT'D)
And it's not like they don't know
the drill. We've been doing it for
years - Anarkali at 8. People will
come.
We see Edison take note of what Julia has said as he walks
out of the school.
Kara just sits there. She has nothing to say.
JULIA (CONT'D)
I'm really sorry honey.
KARA
I know. Have fun.
Kara hangs up. Rubs her face as she tries not to cry.
WITH JULIA - as she hangs up her phone, feeling terrible.
EXT. CRESCENT ELEMENTARY SCHOOL - DAY
Edison races out the doors, past other STUDENTS, pulling away
from the crowd. He frantically looks and finds a car he
recognizes. Spots it.
Grabs open the passenger side door. Gets inside.
INT. JANICE'S TOYOTA CAMRY - DAY
Inside the car, Edison reaches over to the ignition, tries to
start the car for Janice, his nanny.
EDISON
Go, go.
JANICE
Not until you breathe. Like I
taught you.
Edison sees she's serious. He forces himself to breathe,
using the kundalini yoga warm-up technique of closing one
nostril with the thumb and deep breathing in, out.
64.
EDISON
Okay. I'm breathing.
JANICE
Now why don't you tell me what's
going on?
EDISON
She doesn't know I love her. I
have to make it right. You have to
help me or I'm lost. I'm just
lost.
JANICE
Edison. You're not lost.
EDISON
Yes, I am. She didn't get her
flowers. She doesn't know -
JANICE
Look, I'm sure this little girl -
EDISON
She's not a little girl.
JANICE
OK. I'm sorry. That was
patronizing. I know how you hate
to be patronized.
EDISON
I do. I hate it. Now will you
help me?
JANICE
I will. After soccer.
EDISON
I don't like soccer.
JANICE
Nobody likes soccer.
Edison looks at Janice, resigned.
EDISON
Fine.
Janice starts the car and pulls out.
65.
EXT. THE GROVE MOVIE THEATRE - DAY
Kelvin and his camera crew interview a MALE employee of The
Grove movie theatre. He's in uniform, a mix between a band
uniform and a bellhop, complete with red hat. The "dancing"
water fountain is behind him in the background.
GROVE EMPLOYEE
It's pretty busy at the movies,
yeah. We have to patrol more.
People like to have sex in the back
row. Sometimes with other people.
Sometimes with themselves.
Exasperated, Kelvin turns and looks directly into the camera.
Then he composes himself, continuing the interview:
KELVIN
What do you think of Valentine's
Day?
GROVE EMPLOYEE
V-Day rhymes with D-Day.
Coincidence? I think not.
INT. OK - DAY
Jason stands at the counter of the upscale gift store,
talking with a MALE CLERK, 20s and hip.
CLERK
How much cash do you want to drop?
JASON
I don't really know.
CLERK
What do you want the gift to say to
your woman?
JASON
I'm not really sure.
The CLERK is really trying to understand.
JASON (CONT'D)
I have no idea what I'm doing.
I've been going out with this girl
for like two and a half weeks. But
then today I was getting a little
bit of a brush-offy vibe.
(MORE)
66.
JASON (CONT'D)
And I say going out, but if you
want to get really technical about
it, we've never actually said we
were going out - so it may still
just be in the hanging out
category. We've slept together
once- and I realize I'm oversharing
- but I guess that might not really
mean anything. And then we work
together, so that's another
wrinkle.
The clerk takes this in.
CLERK
It's OK, man. Let me help you.
You're taking her out tonight,
right?
Jason nods.
CLERK (CONT'D)
Sweet. So what you need to do is
read the vibe when you get there.
Jason nods again.
CLERK (CONT'D)
If you can tell that she is not
feeling you at all -
The clerk reaches into the case and grabs a SMALL SILVER
CASE.
CLERK (CONT'D)
You bust this out. Silver business
card holder. Definitely sends a "I
can tell this isn't gonna work out,
but we still work together and I
want to be respectful" message.
JASON
Okay...
The clerk reaches into the case again -
CLERK
But if it's going good, and she's
flirting you up, you whip out this
one.
He shows Jason a TINY SILVER LOCKET.
67.
CLERK (CONT'D)
Feminine. Delicate. I've hit this
up on like four girls.
JASON
So, you want me to buy two gifts?
CLERK
I'm hooking you up, bro. Don't
worry. Bring back the one you
don't use and I'll totally refund
it.
Jason smiles.
JASON
That is a fantastic idea.
The clerk beams.
INT. RITA FLORA DELIVERY VAN - DAY
Reed and Alphonso fly up Highland toward the Burbank Airport.
ALPHONSO
Try her again.
Reed quickly dials his cel phone. Puts it to his ear.
REED
Shit. Straight to voicemail again.
Reed shoots Alphonso a look, steps harder on the gas.
INT. LAX - SAME
CLOSE ON: Julia's cel phone as it sits in a plastic bin, on
the conveyor belt at the security check point.
Pull back wide to reveal: Julia, shoes off, ticket in hand,
walking through the metal detector. Happy as can be despite
the madness of the travellers around her.
EXT. GRIFFITH PARK - DAY
Griffith Park. Glorious. Picnics. A carousel. Janice is
sitting on a crowded grassy hill watching Edison play soccer.
Edison is not into it, missing a pass. He wants the game
over. A PLAYER on his team comes up and shoves him for the
error. Edison just takes it.
68.
EDISON
(to the Player)
Can't you see my heart is broken?
The PLAYER can't quite believe his ears. Then runs past him
with the rest of the team to the other side of the field.
Edison stays right where he is, the lone man on the center of
the field. Finally, the COACH calls time out. Walks up to
Edison. Friendly hand on his shoulder.
COACH
What's the matter, Edison?
EDISON
Sporting events, such as these,
feel trivial at the moment, Coach.
The Coach has no response for that.
WITH JANICE
As she sits on the grassy hill. Her PHONE BUZZES. She looks
at it: a NEW TEXT from Alex. It reads: LOOK BEHIND YOU.
Janice turns around, but sees nothing but the beginning of a
wooded area about 10 feet behind her. She texts back: WHAT?
She watches Edison meander around the field for a second
before she gets another text: LOOK CLOSER.
She turns around again, this time scanning the wooded area.
Then she sees Alex, standing at the tree line, waving her
over.
She looks quite confused. She checks on Edison, who's still
moping through his soccer game, then gets up and walks over
to Alex.
JANICE
What the hell is going on?
He gives her a mischievous look and beckons her into the
woods.
EXT. GRIFFITH PARK - WOODED AREA - SAME
Janice follows Alex farther into the woods.
JANICE
Where are we going?
69.
ALEX
So, you know how I said I'd figure
something out?
JANICE
(WARY)
Yeah...
As they come up to a small clearing -
ALEX
Well -
Janice sees how Alex has figured it out - he's fashioned a
BED IN THE MIDDLE OF THE WOODS with pillows, blankets,
sleeping bags, etc. He's put some colorful flowers all
around. It's actually kinda cool. But Janice is not
impressed.
JANICE
This is your big idea?
ALEX
Yeah.
JANICE
You want me to do it here? In the
woods?
ALEX
It's rustic. And romantic. It's
romantically rustic.
JANICE
With random people 20 feet away?
ALEX
No I checked. I've been screaming
obscenities for an hour. There's
no way they can hear us.
JANICE
So, let me get this straight. You
really thought that I was going to
come back here in the woods and
have SEX WITH YOU, outdoors, while
I left alone the 10 year old boy
who I'm responsible for? Just left
him alone out there? You thought
that would be fun for me? You
think that's romantic?
Alex realizes the holes in his plan.
70.
ALEX
(MEEKLY)
I promised I'd figure it out.
Janice looks at him, seething.
JANICE
You know - for a valedictorian you
are a HUGE IDIOT!
With that Janice turns and leaves.
EXT. LAX - AFTERNOON
The Rita Flora van flies into LAX, passing the Encounter
restaurant, the alien arches beaming red instead of blue.
INT. LAX - UNITED TERMINAL - AFTERNOON
Reed runs into the United Terminal. Looks up at the
departing monitors. Finds Julia's 4:15 flight. Gate 82.
Reed runs through the terminal, squeezing past irritated
passengers until he's stopped short.
SECURITY
Only ticketed passengers beyond
this point, sir.
Reed turns around. Sees: AT THE UNITED TICKET COUNTER
Long lines. Reed can't wait. He sees the OVERSIZED ITEMS
AND LIVE ANIMALS section, apart from the regular lines, where
there is only one customer. He runs over there.
OVERSIZED ITEMS CHECK-IN
REED
I need a ticket on any flight that
leaves from Gate C. Preferably
your cheapest.
UNITED TICKET AGENT
This line is for oversized items
only.
REED
But you can sell me a ticket,
right? If you wanted to.
UNITED TICKET AGENT
I'm sorry, sir. This line is for --
71.
REED
Look, I know what this seems like.
I'm just some other shlemiel who
cheated on his girlfriend, and now
he's here with his sob story,
begging you to let him go chase the
girl down and tell her how it was
all a big misunderstanding and that
the email with all the naked
pictures was actually just a gag by
one of his fraternity buddies.
The ticket agent looks vaguely disturbed.
UNITED TICKET AGENT
That's a terrible story.
REED
Right? So let me tell you my
story. The girl I'm running to
catch isn't even my girlfriend.
But I have to tell her that her
boyfriend - they guy she's about to
get on a plane and surprise - is
married. And it's a crappy thing
to hear. But I have to do it
because it's the right thing to do.
Because she's a great girl and
she'd even take a cigar band from a
guy - and I know I'm getting a
little off track here, but my point
is - I have to go get her.
Compared to the earlier story, the ticket agent likes this
one. He starts punching the keys of his computer.
AT GATE 82
Julia, wearing a simple black dress and flats, stands,
overnight bag on the ground next to her. She shifts feet.
Excited. She's never done anything like this before.
UNITED GATE AGENT
Now boarding group three. All
those in group three may now come
forward.
Julia moves into the line. Then feels a hand on her arm.
She turns. It's Reed.
JULIA
Reed? What are you doing here?
Reed, out of breath. Spits out:
72.
REED
I need to talk to you.
Julia looks around, still trying to process this odd scene.
JULIA
Okay. So...
But then he hesitates. Here she is. But how do you start?
Where do you start? So he just says it.
REED
He's married.
JULIA
What?
REED
Your boyfriend. Harrison.
JULIA
He was married. He's divorced now.
REED
No, Julia. He lives in Malibu with
his wife, Alexandra. He came into
Rita Flora today and sent you both
red roses.
JULIA
What does that prove? He could've
just been doing it to be nice.
UNITED GATE AGENT (O.S.)
We are now boarding all sections.
All sections, please come forward.
Julia just looks at him. Hurt.
JULIA (CONT'D)
Why are you doing this?
Reed thinks about that, then -
REED
Do you think Morley and I belong
together?
JULIA
What? What does that have to do
with anything?
REED
It just - does. Do you?
73.
JULIA
I don't know. I guess - if you
love her and she loves you then -
REED
You're not answering the question.
Honestly - as my friend -
JULIA
Fine. No. Not really. Don't see
it. Don't see you two together.
REED
Well that's why I'm doing this.
Because apparently everyone and
their mother knew I shouldn't
propose to her, but no one had the
guts to say anything - and now
she's gone and I'm left with this
stupid ring and an empty closet and
I don't want you to make the same
mistake I did. Don't pursue a dead
end Julia. It hurts like hell.
Julia stares at him, trying to process this. She's not
having it.
JULIA
You are unbelievable. You expect
me to buy that - that you're trying
to help me? You're just doing this
because - for once - I have
something and you have nothing.
And you just can't take it. You
want me to feel as bad as you do.
UNITED GATE AGENT (O.S.)
Last call for all sections. Now
boarding all sections on United
Flight 954 to San Francisco.
Reed doesn't know what to say. He wasn't expecting that.
Julia picks up her overnight bag.
JULIA
Honestly - as a friend - this is a
really shitty thing to do to
someone.
REED
Don't get on that plane. Julia.
Think. Didn't you know?
Somewhere? We always know, right?
74.
He grabs her hand. But somehow, it's the touch that breaks
her. She pulls away from his grasp.
JULIA
It's Valentine's Day and I'm going
to meet my boyfriend. Now let me
go.
She walks away. He watches her as she hands her ticket to
the Agent. The stub shoots through the machine at the other
end. She doesn't turn around. Disappears down the tunnel.
Reed throws his ticket in the trash can. Walks out.
INT. AIRPLANE BATHROOM - AFTERNOON
Inside the cramped bathroom stall, a nervous female hand
pulls out a lipstick. Her hands shaking.
Pull back to reveal a face looking into the mirror, putting
it on: It's Kate, not Julia.
Kate pulls out a sealed tube of mascara and some blush. She
carefully puts them on. Now looking quite feminine and
beautiful in her military uniform.
INT. AIRPLANE - AFTERNOON
Kate returns to her seat. Holden, watching a movie, has to
pause his screen and let her back into her seat. As he does,
he notices:
HOLDEN
You look pretty.
KATE
Thank you.
HOLDEN
Are you nervous?
KATE
Yes.
HOLDEN
He'll be waiting for you, I
promise.
She looks at him, slightly vulnerable now.
KATE
The hardest thing about coming home
is realizing people have moved on.
(MORE)
75.
KATE (cont'd)
They've lived a part of their lives
without you, memories you'll never
have with them.
HOLDEN
Do you get to call him?
KATE
Sometimes, when we're in range.
But the time difference makes it
hard. Plus, what can you really
say in three minutes - with your
whole platoon full of guys standing
around?
HOLDEN
Maybe just that you love him?
Kate looks at him, touched by his earnestness.
KARA
Yeah. I say that.
EXT. WILSHIRE BOULEVARD - BEVERLY HILLS - AFTERNOON
Kelvin, with his camera crew, stands on the street corner,
interviewing a chubby male CUPID, wearing white diapers,
white wings with gold bows and arrows slung over his shoulder
and eating a submarine sandwich.
CUPID
I make a lot of dough today.
Delivering love grams to office
buildings and such. It's a great
day for a fat guy. So, yeah, I
love Valentine's Day.
KELVIN
So you're saying today is about
money?
CUPID
It sure as hell is. You ever NOT
spend money on Valentine's Day? I
even delivered a break-up gram
today. Now that was cold, sure,
but I still got paid!
Kelvin calls cut. To his crew:
KELVIN
I think we got it.
The CAMERAMAN starts to pack up his stuff.
76.
CAMERAMAN
Where to next?
As Kelvin thinks about it, he looks across the street to a
LARGE OFFICE BUILDING. He's got an idea.
KELVIN
You know what - I think we're done.
Just pack up the van. I'll be
right back.
With that, Kelvin takes off across the street.
INT. D/D/K PR - KARA'S OFFICE - AFTERNOON
Kelvin comes blowing into Kara's office, trailed by JAN,
Kara's assistant.
KELVIN JAN
Kara, I'm sorry to bother you- I told him you were very busy-
Kara looks up from her desk, EYES WET WITH TEARS. Kelvin and
Jan stop in their tracks.
KELVIN
I'm sorry. I didn't mean to -
KARA
It's OK. Sit down.
(to Jan)
It's fine.
Jan backs out of the office. Kelvin takes a seat on the
couch. Kara tries to pull herself together.
KELVIN
So - I know you said there wasn't
much chance, but I -
She cuts him off.
KARA
Let me ask you a question Kelvin.
What are your plans for tonight?
Kelvin seems confused.
KELVIN
Umm - I really just came here to
try and get the exclusive with Sean
- but -
77.
KARA
No - I know. And I'm not asking
you out or anything. It just seems
like literally everyone on earth
has something to do tonight so -
Kelvin looks at her, gauging her seriousness.
KELVIN
I'm working. 5pm, 10pm and 11pm
newscasts. I usually only do one
of those, but everyone wanted off
tonight and I'm more than happy to
oblige. It's one of the perks of
having a night job - there's always
excuse not to participate in all
this ridiculousness.
Kara gives a small smile, satisfied by the answer. She gets
up, walks over to the couch, sits next to Kelvin.
KARA
I haven't had a date on Valentine's
day in almost 10 years. I mean -
it's mostly by choice. I put all
my energy into this job, into
taking care of my clients - and I
know I don't put myself out there
at all - but still - 10 years.
Isn't that pathetic?
KELVIN
I don't think so. I don't think
I've ever had one. Again, by
choice, but -
KARA
The thing that I hate most about
this day - honestly - is that I'm
embarrassed. I'm embarrassed that
it makes me feel as bad about being
alone as it does.
Kara starts to tear up again. She puts her head in her
hands, now really crying. Kelvin sits there, not knowing
what to do. He puts his ARM AROUND HER, and she sinks into
him, sobbing now.
After a few moments, her crying subsides. She pulls back
from Kelvin, wipes her eyes, now embarrassed.
KARA (CONT'D)
I'm really sorry. I don't even
know you.
78.
She gets up and goes back to her desk. He gets up as well,
in a bit of shock.
KARA (CONT'D)
Anyway - I'm sending word out now
that Sean's press conference will
be at 6 at the Century Plaza.
KELVIN
Oh. OK.
KARA
Sorry you came all this way for
nothing.
KELVIN
No. It was - no problem.
Kelvin looks at her, mind searching for something else to
say. He comes up with nothing. So he just turns and goes.
INT. EDGAR & ESTELLE'S HOUSE - LIVING ROOM - DAY
Edison and Janice stand in the kitchen. Edgar and Estelle
both sit at the kitchen table, phone in Estelle's hand.
EDISON
(still upset)
Tomorrow is not gonna work.
ESTELLE
They weren't taking any new orders,
dear. She'll get them tomorrow.
EDISON
But tomorrow is too late! It has
to be today!
Edison runs out of the room, the sound of his bedroom door
slamming echoes down the hall. Silence in the kitchen.
EDGAR
He'll be fine. Today is a lot of
pressure for anyone, let alone such
a young boy.
JANICE
Tell me about it.
Estelle looks at Janice, reading her face.
ESTELLE
Everything OK with you and Alex?
79.
Janice looks at them, deciding whether to open up. She pulls
out a chair, sits at the table.
JANICE
I don't know. Not really.
ESTELLE
What happened?
JANICE
It's what hasn't happened,
actually. OK - you guys promise -
no judgement?
ESTELLE
Sweetie it's us - of course not.
Janice takes a breath and then dives in.
JANICE
Alex and I were supposed to have
sex today. For the first time.
Both of us for the first time.
Edgar and Estelle share a look, careful not to show any
judgement.
JANICE (CONT'D)
And it was supposed to be -
magical. But I'm realizing now how
hard it is to plan something
magical.
ESTELLE
That it is.
JANICE
I just wanted something special to
carry us through, you know? He's
going to Stanford, I'm going to
Yale - it's going to be nearly
impossible to stay together. These
things never work out. I know
that. But I just thought if we had
something really amazing connecting
us that we might have a better
shot.
Janice stops, takes stock of what's she's been saying.
JANICE (CONT'D)
And now - saying it all out loud -
I just feel stupid.
(MORE)
80.
JANICE (CONT'D)
Like - what, I'm going to sleep
with just one person in my entire
life? That's just - preposterous.
Who does that?
A small smile comes across Edgar's face. He looks to
Estelle, then back to Janice.
EDGAR
We did.
Janice looks at them in disbelief.
JANICE
No.
Edgar nods proudly.
JANICE (CONT'D)
That's amazing.
EDGAR
Now, granted, it was a different
time. People married earlier, and
weren't as promiscuous as they are
now. They were more promiscuous
than the movies of the time would
lead you to believe, but still...
Edgar looks to Estelle, trying to bring her into the
conversation, but she looks - odd. She's staring off, not
meeting his eye. Edgar continues.
EDGAR (CONT'D)
And we went through several periods
where we were apart - months where
I was away on business or Estelle
was off on location - and we
managed to make it through.
As Edgar keeps talking, tears begin to well up in Estelle's
eyes. He's oblivious, while Janice becomes aware something
is wrong.
EDGAR (CONT'D)
Now, I'm not saying it was easy, or
even that it's something that you
should do. But just that it's
possible. And it's the thing I'm
most proud of. Being faithful to
one woman is the greatest
accomplishment of my life.
81.
Edgar finishes, smiling, but Janice is now focused on
Estelle, who has tears running down her face.
ESTELLE
Janice. I hate to do this to you
again, but can you take the boy out
for awhile?
JANICE
Um, I don't know. I have class
tonight...
Janice looks at Estelle, sees what she's going through.
JANICE (CONT'D)
You know what, it's fine. I'll -
skip it.
Janice gets up and heads toward Edison's room. Estelle takes
Edgar's hands. He looks confused and scared.
EDGAR
Honey, what is it?
She looks at him, not saying anything. He looks back at her,
waiting.
Then, he just - knows. He gets up and walks out of the room.
INT. EDISON'S ROOM - SAME
Janice opens the door to Edison's bedroom, but he's nowhere
to be seen.
JANICE
Edison?
She opens the closet, checks under the bed - nothing. Then
she notices it - THE OPEN WINDOW.
EXT. WILSHIRE BOULEVARD - AFTERNOON
Edison walks briskly down Wilshire, heading east, backpack on
his back. A few passersby give him an odd look, this kid out
for a stroll by himself, but he doesn't even notice. He's on
a mission.
INT. EDGAR & ESTELLE'S HOUSE - HALLWAY - AFTERNOON
Janice stands outside the closed door to Edgar and Estelle's
room, about to knock. Through the door she can hear the
muffled sound of an unmistakably serious conversation going
on inside. She thinks better of knocking, pulls her hand
down. She'll have to deal with this herself.
82.
She moves quickly down the hall and out the front door.
INT. EDGAR & ESTELLE'S HOUSE - BEDROOM - AFTERNOON
Edgar is packing a suitcase. His hands shaking. Estelle
stands in the doorway.
ESTELLE
You were in Mexico, building those
new apartment complexes, and I was
alone with a two-year-old. Michael
used to come over, just to help.
You have no idea how much you need
to talk to an adult after days of
being with a child, and --
EDGAR
Michael? You had an affair with my
business partner?
ESTELLE
It was only one night. One night,
Edgar. And we both regretted it.
EDGAR
I called you every day, even when I
was so exhausted I couldn't even
stand up long enough to take a
shower. I still called.
His movements are shaky. Estelle moves forward, puts her
arms around his waist.
ESTELLE
I've only loved one man in my life.
You.
EDGAR
Then why do this? Why tell me now?
ESTELLE
Because I wanted you to know the
truth.
He closes the suitcase, snaps the locks. Faces her.
EDGAR
Sad fact is, Estelle, the truth
makes everything else seem like a
lie.
The look on his face is so final. He walks out the door.
83.
INT. KTLA - HAIR/MAKEUP - EARLY EVENING
Kelvin sits in the makeup chair, tissue covering his suit.
The HAIR AND MAKEUP TEAM put on the finishing touches.
Susan appears at the door, takes in the scene.
SUSAN
Happy to be back doing what you
love?
Kelvin looks at her in the mirror, smiles.
KELVIN
I don't know. Today wasn't so bad.
Susan takes a few steps in, perplexed.
SUSAN
Really? Well, I'm glad you enjoyed
yourself. Because it was pretty
bad on my end.
KELVIN
How's that?
SUSAN
Are you kidding? I ask you for
love and romance and what do you
give me? A guy removing tatoos?
Sex in movie theatres? A giant
rat?
Kelvin looks at her in the mirror, trying to figure out what
to say.
KELVIN
Look, Susan - I tried. I wanted it
to come out differently - but this
is just what presented itself.
SUSAN
Bullshit. You found what you
wanted to find.
Susan backs up, annoyed.
SUSAN (CONT'D)
You were right. I thought you were
capable of more - but I guess not.
You should definitely just stick to
sports.
84.
With that, she leaves. Kelvin shares a look with the Hair
Guy, guilty.
INT. JULIA'S CAR - EARLY EVENING
Close on Julia, still in her black dress, as she drives. Her
face is quiet, still. Almost as if she's trying to hold onto
this moment -- before anything is truly known and she's
forced to change.
INT. HOSPITAL - NURSES' STATION - EARLY EVENING
Labor & Delivery. Julia walks up to the nurses' station. A
FILIPINO NURSE smiles at her.
JULIA
Excuse me. I'm looking for Dr.
Copeland?
NURSE
He's not here right now.
JULIA
Can you tell me where he is?
NURSE
Are you a patient? Is something
wrong?
Julia just looks at her.
JULIA
May I ask you something, woman to
woman?
NURSE
Okay.
JULIA
Is Dr. Copeland married? Not
divorced or separated or living
apart. Or anything like that. But
flat out married to a woman named
Alexandra that he lives with in
Malibu?
The Nurse looks at her, realizing.
NURSE
Yes. 15 years. And he has a
daughter.
Her shoulders drop, she releases her breath. Starts to turn
away. But the Nurse stops her.
85.
NURSE
Crustacean. 7 pm.
Julia looks up at the clock. It's 6:35 p.m.
JULIA
Thank you.
EXT. CEDARS SINAI MEDICAL CENTER - LOS ANGELES - EARLY
EVENING
Julia, in her car, still in her black dress, flies out of the
parking structure for the LA hospital. Letting us know now,
she's in Los Angeles, not San Francisco.
Overnight bag in the seat beside her. She never got on the
plane.
EXT. LOS FELIZ HOME - NIGHT
A simple triplex. Fenced in by chain link. Not a great
neighborhood.
When the Rita Flora Delivery Van pulls up. Reed is still
driving. Alphonso is ASLEEP the passenger seat.
INT. RITA FLORA DELIVERY VAN - LOS FELIZ - NIGHT
Reed looks at Alphonso, totally PASSED OUT. He smiles,
shakes him gently on the shoulder. Alphonso stirs.
REED
Get out. Go inside and be with your
wife.
ALPHONSO
It's fine. She knew I'd be working
late.
REED
So, surprise her. Someone around
here should have a happy
Valentine's day.
Alphonso looks at him a moment, and nods.
ALPHONSO
I can't believe you let her get on
that plane.
REED
I did everything I could to stop
her.
86.
ALPHONSO
But it doesn't make sense. She
didn't even want to go.
REED
And how do you know that? Another
inkling.
ALPHONSO
Yeah. But maybe I'm off. I'm real
tired. Alphonso Junior just got
the Guitar Hero with the drumset
for his birthday. That was a
mistake.
REED
Go. Be with your family.
He pats Reed on the shoulder, gets out of the car. Walks up
the path to his front door.
INT. CRUSTACEAN - BEVERLY HILLS - NIGHT
Beverly Hills. A giant lobster hanging in the center. The
height of expensive Valentine's Day prix fixe dinners.
Harrison sits at a candlelit table with his wife, Alexandra.
ALEXANDRA
Olivia's going to need braces.
HARRISON
Genetic. You needed them. I
needed them. She needs them.
Julia walks in, her simple black dress is now BULGING. She's
suddenly NINE MONTHS PREGNANT. She waddles, putting her
hands behind her hips, thrusting her fake belly out.
She spots Harrison and Alexandra, in a corner booth. Almost
loses her nerve. But she keeps going.
Midway, Harrison sees her. His eyes widen slightly, then he
quickly recovers his smooth composure.
Julia reaches the table. And then DOUBLES OVER.
JULIA
Oh my god. Oh my god! Not now.
NOT NOW, GOD!
Alexandra immediately gets up and goes to her.
87.
ALEXANDRA
Are you OK?
JULIA
I don't know. I've never had a
baby before.
Julia DOUBLES OVER again.
JULIA
Ooooh! That was a big KICK!
Alexandra looks a little confused.
ALEXANDRA
Oh, is he just kicking, or are you
having contractions?
JULIA
What? Oh, umm, both. Kicks and
contractions. But mostly
contractions. Like BAD ones.
ALEXANDRA
Are you here alone?
Julia looks at Harrison.
JULIA
Yes. I'm alone. Again.
ALEXANDRA
OK. You're gonna be OK. My
husband is a doctor. He delivers
babies all the time.
Harrison is frozen in his seat. Alexandra looks at Harrison.
ALEXANDRA
Harrison! A little help...
He starts to gets up. Reluctantly.
JULIA
Oh, no. I don't want to interrupt
your romantic meal with your WIFE.
I'll be just fine.
She goes to walk off, and then:
JULIA
PEAS AND CARROTS! OH MY GOODNESS!
She holds her tummy in mock pain.
88.
ALEXANDRA
Harrison! Help the woman. Would
you like to sit?
Julia is writhing around in front of their table.
JULIA
I'm so sorry. I really don't want
to interrupt your sexy Valentine's
day thing here -
Julia JOLTS again, making a big show of grabbing her belly.
Even doing some dramatic breathing.
JULIA
Man, this little guy just will not
let up.
Harrison finally takes charge:
HARRISON
Ma'am, what often helps in the
early stages of contractions is a
brisk walk. Why don't I take a
little stroll with you, and I can
time your contractions as we go.
That way I can give you a better
sense of where you stand.
Julia looks right at him. Stops the act.
JULIA
That's OK. I think I know exactly
where I stand. Goodbye Dr.
Copeland.
Julia turns and heads off, walking confidently towards the
door, Harrison shrinking behind her.
She stops at the hostess stand, where the hostess holds TWO
GIANT SHOPPING BAGS, full of takeout containers.
HOSTESS
And we'll just charge these to ...
JULIA
To my friend over there.
She turns and WAVES to Harrison who, though confused, WAVES
BACK. The hostess hands her the BAGS.
JULIA
Thank you. And Happy Valentine's
day.
89.
She pulls the pillow out of her shirt, hands it to the
hostess, and leaves with a SMILE GROWING ON HER FACE.
INT. POLO LOUNGE - NIGHT
Jason and Liz sit at a TINY table for two, squished in a line
next to countless other tables for two. The tables are in
military rows, way too close to one another, with a BIG TABLE
NUMBER marking each one.
They both look a little uncomfortable.
JASON
Sorry we had to wait so long. That
was ridiculous.
LIZ
No problem.
JASON
I thought if we got here at 6 it
would be pretty empty.
A WAITRESS approaches.
WAITRESS
So, would you like our four course
sweetheart's menu, or our eight
course eternal love menu?
JASON
I don't know, eternal love sounds
kinda nice...
Liz checks her watch.
LIZ
I was thinking more like a salad.
JASON
(to waitress)
Maybe you have like a one course
`just dating' menu?
The waitress doesn't laugh.
JASON (CONT'D)
I think we need some more time.
Jason takes a sip of his water, tries to relax.
DUDE NEXT TO HIM
Dude - that's my water.
90.
JASON
Sorry. My bad. They really pack
us in there, huh?
The DUDE glares and slides his water closer. Jason looks to
Liz, forces a smile, checks out his menu.
JASON (CONT'D)
I heard the steaks are great here.
LIZ
You know what? I think I'm just
gonna have a cocktail. Is that OK?
Jason' tries to cover his disappointment.
JASON
Are you sure?
LIZ
Yeah. I mean, the menu looks
great, and the place is lovely, and
I so appreciate you taking me out -
but, the thing is, I didn't know we
were going out tonight - and I
actually committed to getting back.
I was hoping I could do both, but
it's getting late -
Jason is stung.
JASON
I didn't realize you had other
plans -
LIZ
No, it's just work --
JASON
No. It's cool. I actually have
some other plans, too.
An awkward beat. Then, Jason reaches into his pocket.
JASON (CONT'D)
But I did get you something. And
I'd really like for you to have it.
He pulls out a SMALL WRAPPED BOX. He hands it to her,
expectant.
LIZ
You didn't have to.
91.
She opens it. It's the BUSINESS CARD HOLDER.
JASON
It's for business cards. For when
you get promoted. I thought it was
the perfect gift - you know - co-
worker to co-worker.
Liz looks a little sad.
LIZ
Oh. OK. Well, co-worker to co-
worker, thank you.
She reaches across the table and SHAKES HIS HAND. The date
has officially crashed and burned.
INT. CENTURY PLAZA HOTEL - HALLWAY - NIGHT
In the hallway outside a conference room, Sean peers through
a cracked door into the room. It's PACKED with reporters
ambling about, eating donuts, etc.
He closes the door, leans against the wall, takes a deep
breath.
Kara and Drew approach, ready to go. Sean straightens up
when he sees them.
KARA
So. You sure you don't want to run
by us what you're gonna say?
SEAN
No, I got it.
DREW
We'd really like to know. Just so
we don't look like fools up there.
SEAN
No man. It's a surprise.
KARA
I'm a publicist Sean. I don't like
surprises.
SEAN
I'm fine. I took the podium as the
losing quarterback in the Super
Bowl. I can handle this.
She looks at him, nods. He begins to pace around, getting
prepared.
92.
KARA
OK then. You ready?
Sean nods, amped.
INT. CENTURY PLAZA HOTEL - CONFERENCE ROOM - NIGHT
Sean stands at the podium, flanked by Kara and Drew. As Sean
collects his notes, Kara scans the crowd.
She finds KELVIN - NEAR THE BACK. They meet eyes. He gives
a small smile. She returns it.
Sean looks at his notes, then puts them down. Doesn't need
them.
SEAN (INTO MIC)
I'd like to thank everyone for
coming here tonight. And I'm not
gonna waste y'alls time with some
long winded thing here - I'm just
gonna get to it. The cliche is -
when someone's retiring who really
doesn't want to retire - they say
it's because they want to spend
more time with their family. But I
don't have a family. And with
everything football has given me -
the biggest thing it's taken away
is that. Because of who I am,
because of my job, I can't lead the
life I want to. So, with that in
mind, I'll just say the thing I
came here to say.
Sean looks out over the crowd, gets a huge smile on his face.
SEAN (CONT'D)
I'm gay.
Stunned reaction from the crowd. Drew looks to Kara, who
clearly had no idea he was going to say this.
SEAN (CONT'D)
And there's someone out there,
hopefully watching this, who tried
to deal with me having to lie for
years and finally got fed up. This
is for you. I hope you can forgive
me.
(THEN)
Any questions? And be cool now -
I'm not above kicking any of y'alls
asses.
93.
The reporters all look at each other, no one quite sure what
an appropriate question would be. Finally, a hand goes up in
the back. It's Kelvin.
KELVIN
Kelvin Briggs - KTLA. I guess I'm
a little unclear. Are you
retiring?
SEAN
Oh, shit. Right. That.
(he laughs)
No. I'm not retiring.
Boisterous reaction from the crowd. Bulbs flashing like
crazy.
SEAN (CONT'D)
I'm gay and I'm gonna play. How
about that?
Sean smiles at the podium as the floodgates open - a
cacophony of questions. KELVIN AND KARA MEET EYES across the
crowd, both clearly moved Sean's declaration.
INT. CENTURY PLAZA HOTEL - HALLWAY
Sean exits into the hallway, Kara in tow, insanity still
going on in the conference room behind them.
KARA
OK. I'm gonna head back to the
office now. We'll set up
interviews - maybe late night shows
- and then -
SEAN
Kara - stop. There's nothing to
do. It's already done.
Kara looks at him, taking this in. She gets a huge smile on
her face.
KARA
SEAN!
She envelops him in a big hug. He hugs her back.
INT. LAX - NIGHT
Holden and Kate both exit the jetway into the gate. A bit
bleary-eyed but happy to have landed.
94.
As they walk through the terminal, they come upon a GROUP OF
PEOPLE SURROUNDING A TV. They stop to check it out.
ON THE TV - ESPN.
ANCHOR
So, Sean Jackson is not retiring.
And he also wants you to know
something else...
They cut to the clip of Sean's press conference -
SEAN (ON TV)
I'm gay.
WITH THE CROWD IN THE AIRPORT - as they react
enthusiastically. Kate and Holden stare at the screen.
KATE
Wow. Good for him.
Holden smiles.
HOLDEN
Yeah.
They continue through the terminal.
EXT. BAGGAGE CLAIM - LAX - NIGHT
Holden walks out through the sliding glass doors of Baggage
Claim. A Driver at his side, pushing his expensive leather
bags on a cart.
AT THE CURB
Holden turns, looking for Kate. He finds her, standing in
the long taxi line. Holden says to the Driver:
HOLDEN
Just a minute.
LAX DRIVER
Certainly, sir.
Holden walks over to Kate. Taps her gently on her back. She
turns around, surprised to see him.
HOLDEN
This is quite a line.
Kate looks at him. Her reserve back. A confidant on the
plane has now become a stranger in the city.
95.
KATE
It's moving. Slowly but surely.
HOLDEN
I've got a car -
He looks back toward his patiently waiting driver.
KATE
That's nice of you, but I'm up in
the hills - it would be too far out
of your way ---
HOLDEN
That's not what I mean. You take
it. I'll wait for a cab. You've
come so far for just a few hours -
Kate starts to tear up.
HOLDEN
Don't worry. It's paid for. It'll
take you wherever you want to go.
She looks at him, amazed at his generosity.
KATE
Thank you.
She envelops him in a huge hug.
INT. JANICE'S CAR - NIGHT
Janice drives slowly, weaving in and out of the neighborhood
streets off 6th Street. She peers out the window, looking
for Edison, growing more concerned by the second. She pulls
out her phone and dials.
JANICE
Come on Edison, pick up.
She waits.
EXT. WILSHIRE BOULEVARD - NIGHT
CLOSE ON: Edison's backpack, CEL PHONE RINGING in the side
netted pocket.
WIDEN TO: Edison still walking alone, considerably slower
than he did at the outset. With all the traffic noise, he
doesn't hear his phone ring.
96.
It's getting dark, and this part of Wilshire looks a little
sketchy when the sun goes down. But as he approaches La
Brea, he gets a second wind and puts it into high gear.
EXT. ANARKALI INDIAN RESTAURANT - NIGHT
Kara pulls up in her Land Rover, gets a ticket from the
Valet. She goes around to the passenger side and pulls out
her BIG BAG OF DECORATIONS, shuts the door and heads into the
restaurant.
INT. ANARKALI INDIAN RESTAURANT - CONTINUOUS
The New Delhi temple interior of this family-run Indian house
is full of exotic fabrics. Red archways. Traditional Indian
music plays. Murals of romantic Indian love scenes.
IN THE KITCHEN
Ten year old student RANI (Edison's classmate) picks up more
empty water glasses when her father, DEECHUM, Indian (30s),
stops her.
DEECHUM
Rani. What is wrong? You've been
moping all day.
Her brother, SHANTUM (14), enters, grabs more napkins.
SHANTUM
It is Valentine's Day, Father.
DEECHUM
Is this about a boy? When it is
time, your mother and I will find
you a nice Indian boy.
Rani walks out, into the restaurant, passing ALEX - the
delivery boy - who's heading out with another delivery.
ALEX
Cheer up, Rani. I'll be your
Valentine.
He gives her a sweet big brother smile.
IN THE RESTAURANT
Kara is now standing on the booth, back to us, aggressively
tying off her home-printed banner -- I HATE VALENTINE'S DAY --
between the two columns of the booth.
She takes a string of hearts, now cut in half, and hangs them
framing the booth.
97.
She takes a look at it, satisfied, and plops down onto the
seat. Reaches for a glass of wine, drains it.
She looks at the door. And waits. No one.
She sits. The banner FALLS OFF OF ONE OF THE COLUMNS BEHIND
HER. It just hangs there.
She doesn't turn around. Doesn't even bother to fix it.
EXT. HOLLYWOOD FOREVER CEMETERY - SANTA MONICA BLVD. - NIGHT
Night. CLOSE on the headstones of dead Hollywood stars. Mel
Blanc, Douglas Fairbanks, Tyrone Power, Bugsy Siegel.
The cemetery - where some of old hollywood's biggest stars
are buried - is filling with couples who spread blankets on
the lawn, ready to watch the movie projected outside. A SIGN
advertises tonight's movie: PILLOW TALK
Jason walks past the tickets line, tickets in hand.
As he passes, Edgar makes it to the front of the line.
EDGAR
Just one please.
TICKET VENDOR
I'm sorry sir. This line is just
for will call. We are completely
sold out.
EDGAR
You don't understand -
TICKET VENDOR
Here's our brochure - maybe you can
come back for another event.
Before Edgar can respond again, Jason swoops in.
JASON
It's OK. He's with me.
Edgar looks up, Jason holds up TWO TICKETS. He follows Jason
out of the ticket line.
EDGAR
Thank you very much, young man.
JASON
No problem. I had an extra.
98.
EDGAR
It's Valentine's Day. There's got
to be a story there.
Jason hands TWO TICKETS to the USHER at the entry gate, and
they walk in together.
JASON
Not a good one.
EDGAR
Not a good story, or not a good
ending.
JASON
I don't know. Neither.
Edgar gives him a doubtful look.
JASON
This girl I was dating ditched out
on me. Like the worst Valentine's
Day story ever.
EDGAR
Oh really? Today I found out my
wife cheated on me.
Jason looks at him - touche. Edgar holds up a silver flask.
EDGAR
Bourbon?
Jason smiles. Definitely.
INT. RITA FLORA - LA BREA AVENUE - NIGHT
It's still busy, mostly men rushing in before they drive
home. Reed walks in, still clinging to his BLACK BOX. Not
the upbeat Reed we're used to. He watches as his clerks move
quickly and efficiently.
Edison enters, exhausted from his walk. He's so out of
breath he can barely talk. But he trudges right up to Reed,
who can't believe his eyes.
EDISON
(between gulps of air)
You. Owe. Me. Flowers.
Reed looks at him, full of guilt. He looks down to the box
in his hands, gets an idea. Smiles.
99.
REED
Where to?
Edison looks at Reed. His face lights up.
INT. ANARKALI INDIAN RESTAURANT - NIGHT
Kara's now a few glasses of wine in. The remains of the meal
she ate surround her. And she's still by herself.
She checks her watch - the look on her face says it's time to
call it quits.
She gets up on the booth, her back to the door, and starts to
take down the string of hearts. Then from behind her:
VOICE (O.S.)
Did I miss the party?
Kara turns around to find KELVIN. Standing there. WITH
FLOWERS. She can't help but smile. He can't either.
EXT. HOLLYWOOD FOREVER CEMETERY - NIGHT
Both Edgar and Jason are a little inebriated now. The film
playing in the background.
EDGAR
So tell me about your girl. Where
is she?
Jason looks at him.
JASON
She said she had to go back to
work. But that's probably bullshit
- I mean, it's probably not the
truth -
EDGAR
I know what bullshit means, son.
JASON
So she's probably just blowing me
off.
As Edgar takes this in, he looks up to the screen to see:
ON THE SCREEN: A scene with a young 20 something starlet
talking to Rock Hudson on the telephone.
Edgar smiles, nudges Jason. Gestures to the screen.
100.
EDGAR
That's my girl.
Jason looks to the screen - his mouth drops open.
JASON
You're kidding. She was HOT.
Edgar nods, still looking at the screen.
EDGAR
She still is.
JASON
Wow. You sure you wanna let that
go?
Edgar looks at the screen, thinks about that.
EDGAR
You know - I have this story I tell
my grandson about how we met. I
tell it the same every time - it
goes like this: I was nineteen.
Estelle was eighteen. I was an
architect. I worked in the front
office with a big window. She
would come out every morning and
post the mail. I thought she was
the prettiest girl I'd ever seen,
so I got up my courage and waited
by the postbox to say hello. Only
I didn't say a word because I was
afraid. So she pushed me aside,
and said, "Move, big fella." But I
kept coming back every day until
she agreed to go out with me.
JASON
That's a nice story.
EDGAR
It is. Too bad it's, as you say,
bullshit.
JASON
What?
EDGAR
I mean, don't get me wrong, all of
that happened. But the part I
leave out is what happened after.
Our first date was a crushing
failure.
(MORE)
101.
EDGAR (cont'd)
I was so nervous I stalled out my
car, forgot my wallet, made
horribly awkward conversation - I
thought she'd never want to see me
again.
JASON
But she did.
EDGAR
After a few weeks, yes. But I had
put so much pressure on that one
date that it was bound to fail.
Our second date we went on a walk.
That's it. It wasn't until we
stripped away all expectation that
we really began to fall in love.
Edgar looks back at the screen, at the beautiful image of his
young wife. Jason does, too, thinking about what he's heard.
INT. ANARKALI INDIAN RESTAURANT - NIGHT
Kara and Kelvin now sit at the booth talking, the flowers
between them. She still can't stop smiling.
KARA
So wait - how did you find me?
KELVIN
Your assistant Jan and I have
become pretty close today - so -
Kara laughs.
KARA
Right.
They look at each other, not knowing what to say next. But
it's not a bad silence - sort of a good hopeful awkward one.
KELVIN
So - I have to know. Did you know
about Sean? I mean - before today.
Kara tries to hide her smile.
KARA
I did. I had my suspicions for a
while, but he finally told me a few
years ago. I think I was one of
the only people he ever told.
(MORE)
102.
KARA (cont'd)
And I guess I always assumed he'd
retire at some point and just fade
away - get a chance to lead the
life he wanted - but -
(she thinks about it)
I don't know. Seeing him up there,
doing what he did - it just made me
realize -
KELVIN
You can have both.
KARA
Yeah. You can have both.
Kara and Kelvin look at each other, a definite connection.
Which is broken by the door opening. JULIA ENTERS.
JULIA
I am so sorry I'm late.
Kara looks up - can't believe it. Julia comes over and joins
them, still holding the shopping bags from the restaurant.
KARA
What are you doing here? What
happened?
JULIA
I - it doesn't matter. I'm here
now.
Kara can tell by the look on her face that it's not good.
JULIA
Look, I just - I really don't wanna
talk about it.
She starts to unpack the shopping bags - exquisite DESSERTS
from Crustacean, about 20 of them.
JULIA
Anyway - my contribution to the
party. Molten lava chocolate
hearts. Normally 100 bucks a pop.
But I got a great deal.
Kelvin helps her unpack the remaining desserts. As he does -
JULIA
Hi. I'm Julia.
She extends her hand. He shakes it.
103.
KELVIN
Kelvin.
JULIA
So - Kelvin - how do you come to
this sad affair?
KELVIN
I'm actually Kara's date.
Julia looks to Kara - who looks as surprised as she does.
The DOOR OPENS again, TWO WOMEN RUSH IN, FLUSTERED. It's
DANA AND ELISE (BOTH 30'S). They approach the table.
Kara and Julia can't believe their eyes.
JULIA
What the hell?
KARA
(to Dana)
Yeah, I thought you were going out
with your new boyfriend.
JULIA
(to Elise)
And I thought you got back together
with your old boyfriend.
Dana and Elise share a look. Then, in unison -
DANA AND ELISE
SAME GUY!
JULIA AND KARA
WHAT?
DANA
Yeah. You know how restaurants
have two seatings on Valentine's
Day?
ELISE
That's what James was trying to
pull off.
Julia and Kara look at each other in disbelief.
DANA
Now please. If you don't mind.
Lead me to the alcohol.
104.
Julia obliges, pouring them some wine. Kara looks to Kelvin,
who shoots her a smile. She smiles back, taking in her
party, which actually didn't turn out half bad.
INT. JANICE'S CAR - NIGHT
Janice sits at a stoplight, scanning the intersection, hoping
for some kind of miracle.
As she waits there, a VAN pulls up to her left and stops at
the light. We can clearly see EDISON SITTING IN THE
PASSENGER SEAT, Reed driving.
Janice continues to look around the intersection, oblivious
to Edison right next to her.
But when the light turns green, the van starts to pull away.
Janice looks to her left at the last second, catching a
glimpse of Edison (who doesn't see her). Her eyes go WIDE.
JANICE
SHIT! NO! You're not supposed to
get into vans!
But as the van passes, she sees the RITA FLORA logo, and
relaxes a bit. She changes lanes and gets behind the van,
following up La Brea.
EXT. ANARKALI INDIAN RESTAURANT - EVENING
The van pulls up, Reed and Edison hop out. As Reed goes to
the back to grab the flower, Janice's car pulls up.
She jumps out and makes a bee-line for Edison, who starts
apologizing before she can even talk.
EDISON
I'm sorry -
JANICE
You can't do that to me -
EDISON
I know - I know -
JANICE
I'm responsible for you Edison. Do
you understand that?
EDISON
I do. But you weren't - no one was
- no one was helping me. I just
had to do it myself.
105.
Janice looks at him as Reed approaches with the BOX, takes in
the scene.
REED
Everything OK?
Edison looks to Janice, hopeful. She softens.
JANICE
Everything's fine.
(THEN)
Do you want me to come in with you?
EDISON
No. Thanks. I made it this far.
I want to do this alone.
JANICE
OK. Do you have your cel phone?
Edison nods.
JANICE (CONT'D)
Good. Text me when you're done and
I'll pick you up here.
Edison nods. He takes the box from Reed.
EDISON
Thanks Mr. Flora.
Reed smiles.
REED
Anytime.
Edison walks to the front of the restaurant and enters.
Janice walks back to her car. But Reed just stands there,
not sure what to do. Instead of going to his van, he heads
toward the front door of the restaurant.
EXT. ANARKALI INDIAN RESTAURANT - BACK ALLEY - SAME
Janice pulls around to the back alley behind the restaurant.
She puts the car in park and sits back - turns up the stereo.
Her PHONE BUZZES.
JANICE (CONT'D)
That's quick. This can't be good.
She grabs the phone - it's not from Edison. It's a NEW TEXT
from Alex:
Now?
106.
She looks up to see Alex, standing at the back door of the
restaurant, delivery bag in hand. She smiles. He does as
well.
EXT. HOLLYWOOD FOREVER CEMETERY - NIGHT
Edgar now alone, waiting for the climactic scene in the
movie. Watching closely as:
ON THE CRYPT
The film plays. And it's Estelle. A young Estelle.
Beautiful. A life barely lived. Rapturously kissing Rock
Hudson when a BODY stands in front of the crypt, blocking the
images for the entire audience. Who immediately shouts:
AUDIENCE
Get the hell out of the way! Move
it! Now!
When the body steps fully into the light so we can see her
clearly. It's Estelle.
ESTELLE
Edgar! Edgar! I know you're here!
We come every year! Edgar!
More angry voices from the Audience.
AUDIENCE
Who the hell is Edgar? Get her the
hell outta there! What the --?
When the voice returns his call:
EDGAR
Estelle? Estelle? Over here!
Estelle peers into the darkness to find Edgar, waving the
silver flask.
Edgar starts running to her. The best he can for an older
man. She too, makes her way to him....
And they run, dodging headstones. People. Picnic baskets.
And they meet. Tears in her eyes. In his. She looks at
him. Hopeful. When he takes her into her arms. And kisses
her. In perfect sync with the movie playing behind them.
INT. JANICE'S CAR - NIGHT
Janice and Alex make out with abandon in the back seat of her
car. Janice pulls back, looks at Alex.
107.
JANICE
Are you sure you don't need to
deliver that food?
ALEX
What? No. I mean - eventually.
But we've got time.
Alex goes back to kissing her. She stops.
JANICE
Because you know how annoyed I get
when deliveries take a long time,
and I would hate -
ALEX
Seriously? Are we talking about
this?
JANICE
You're right. I'm - just a little
nervous.
ALEX
Sure. Sure. To be expected.
They go back to kissing. Janice stops again.
JANICE
I'm sorry. Can you put that bag
outside or something. It kind of -
smells.
ALEX
What? I thought you loved the food
here.
JANICE
I do. It doesn't smell bad. It
just smells. Like Indian food.
And I didn't envision my first time
would go down with Saag Paneer
wafting around.
Alex gets it. He reaches into the front seat, grabs the bag,
opens the door and places it outside.
He goes back to kissing her. She stops him again.
JANICE (CONT'D)
Sorry - again. Can we shift a
little? This seat belt is really -
jamming -
108.
They shift over a little.
JANICE (CONT'D)
- there. Better.
ALEX
You good?
JANICE
I'm good.
Just as they're about to start kissing again, Janice stops
Alex one last time.
JANICE (CONT'D)
OK. This isn't working.
ALEX
You're right. Should we try my
back seat? It's a little bigger -
JANICE
No, Alex. Not this. THIS.
He doesn't get it.
JANICE (CONT'D)
Us. We're not working.
ALEX
What are you talking about? We're
great.
JANICE
I know. I know you and I are
great. But - where we are - what's
about to happen - that's not great.
ALEX
I don't understand.
JANICE
Alex - we're both about to embark
on something huge. Separately.
And I just think we need to be able
to do that - figure out who we are -
experience new things. Separately.
I just don't want us to look back
60 years from now and have any
regrets.
Alex slumps back in his seat, crushed. Silence.
109.
JANICE (CONT'D)
I wanted to do this because I
thought it would be something that
would keep us together.
ALEX
I know.
JANICE
But now I see that it's just
something that's going to hold us
back.
Alex just looks at her.
JANICE (CONT'D)
I'm really sorry Alex.
Alex doesn't know what to say. He just opens the door and
gets out of the car.
INT. ANARKALI INDIAN RESTAURANT - NIGHT
Determined, Edison walks into Anarkali carrying the black
box. The diners smile back at the little boy.
Edison spots Julia at the back table. He approaches, and as
he nears, Julia turns and sees him -
JULIA
Edison? What are you doing here?
AT THE FRONT DOOR
Reed enters the restaurant. Takes a few steps in to watch
Edison deliver his flowers. But then he sees who Edison is
approaching - JULIA. Reed can't believe his eyes.
WITH EDISON AND JULIA
As Edison stops in front of Julia, box in hand. Now the
whole party is watching. He holds it out to her.
EDISON
This is for you.
JULIA
For me?
EDISON
Yes.
JULIA
Are you sure?
110.
EDISON
Very sure.
Julia reluctantly takes the box, not sure what to say. She
opens it, looks inside, and looks for a good long time at its
contents before she closes the box and smiles at Edison.
JULIA
Well, that's amazingly nice Edison.
I'm not sure why you're doing this,
BUT-
EDISON
Because I love you.
Julia looks at Edison, heart breaking. She kneels down to
his level, looks him in the eye, talks to him quietly.
JULIA
Listen - I'm sure you're pretty
serious about this - but you don't
really love me. I'm your teacher.
EDISON
But I do.
JULIA
OK. I don't think - you just -
Julia's really floundering.
EDISON
You're saying I have no shot with
you.
Julia laughs out loud.
EDISON
Oh I get that. The age difference
alone would be difficult to
overcome. I just - I want to give
you flowers. I feel like you
deserve so much more than you're
getting.
This really hits Julia hard. He's right. As she tries to
process this, she sees REED TAKE A FEW MORE STEPS INTO THE
RESTAURANT. THEY LOCK EYES.
JULIA
Honestly, Edison, this is the
nicest thing anyone has ever done
for me. Sadly, I mean that.
(MORE)
111.
JULIA (cont'd)
But I really think you should be
giving this to someone else.
Edison looks confused.
EDISON
Who?
JULIA
Someone who's more - appropriate.
Someone who can appreciate these
more than I can.
Julia looks to the back of the restaurant where RANI STANDS,
watching the scene. Edison looks to Rani, then back to
Julia.
EDISON
Rani? But I don't love her. She's
just my friend.
JULIA
OK. What makes Rani your friend?
EDISON
I don't know. She has Tom Waits on
her iPod. That's pretty cool for a
fifth grader.
Julia smiles, then looks to Reed.
JULIA
Well, sometimes, those things you
like about someone as a friend -
they're the things that turn them
into someone you love.
Reed looks at Julia, affected by what she's said. Edison
considers this.
INT. CAA - NIGHT
The wide corridor - lined with assistant's desks - is dark
and quiet. Except for one, where Liz sits alone, on the
phone.
LIZ
(into phone)
Okay. It sounds like we have
everyone. I'll add Erin. One
moment.
She pushes a few buttons on her phone.
112.
LIZ (CONT'D)
(into phone)
Hi, Erin. They're ready for you.
She pushes a few more buttons, stays on the phone for a
moment, and then puts the receiver back down, the conference
call LIT UP RED on her phone.
She stares out the window - until she hears a STRANGE
SQUEAKING. She looks a little alarmed - and turns to see
Jason, wheeling a cart full of mail down the corridor.
She is stunned. She watches him NONCHALANTLY deliver mail to
empty desks, until arriving at hers.
LIZ (CONT'D)
Hey.
JASON
(no big deal)
Oh. Hey.
She's not sure what to make of him.
LIZ
Doing a little overtime?
JASON
Look, you don't get ahead in this
town without taking a little
initiative.
LIZ
Wait, you're really here to -
But before she can finish her sentence - he pulls a STARBUCKS
CUP out of his cart.
JASON
White mocha, right?
She looks at him, and SMILES WIDE.
LIZ
Yes.
He hands it to her.
LIZ (CONT'D)
Thank you.
JASON
I'm sorry about tonight.
113.
LIZ
Me, too.
JASON
I just - I like you. And I didn't
know what to do about today - what
was too much and what was too
little.
She looks at him.
LIZ
This is perfect.
She reaches up and KISSES HIM. A LONG, PASSIONATE KISS.
JASON
So, you have to be here for a
while?
She points to the phone - where the line is still LIT UP.
LIZ
Until they're done with the call.
You want to hang out with me?
JASON
Yeah.
He sits on the floor of her cubby, back against her filing
drawers. She grabs her mocha and sits next to him.
LIZ
I like you too.
Jason beams.
INT. ANARKALI INDIAN RESTAURANT - NIGHT
Reed watches as Edison stands across from Rani at the front
of the restaurant.
EDISON
I'm really sorry about what those
girls did to you today.
RANI
That's OK. They're not that smart.
EDISON
They're not, right?
Edison stands there awkwardly, holding the black box.
114.
EDISON
Well anyway, here.
He hands her the bouquet. She takes the box, opens it.
Pulls out the SINGLE FLOWER. It's a RARE THAI PARROT FLOWER.
Deep, vibrant purple, like no other flower you've ever seen.
And amazingly shaped like a PARROT. It's stunning.
Rani can't believe her eyes.
EDISON
I don't usually go for girls my
age, but you're pretty
sophisticated.
RANI
Thank you.
Silence.
EDISON
I don't really have anything else
to say.
RANI
Me either.
Rani smiles at Edison. He smiles back.
WITH REED - as he approaches Julia at the other side of the
restaurant.
REED
So. You're here.
JULIA
Yep. Back at the Valentine's Day
singles dinner. A loser once
again.
(off the reaction of the
other party guests)
Sorry guys.
Reed takes her arm, gently guides her a bit away.
REED
You are not a loser. You just -
deserve better.
Julia smiles, a bit taken aback by the compliment.
REED
So why didn't you go?
115.
JULIA
Honestly? Because somewhere, deep
inside, I did know. I knew that it
wasn't right. But I also knew that
you were getting married, and that
what you and I had, our friendship
as we knew it, was going to end.
So I just blinded myself to all the
signs. Because I didn't want to be
left with nothing.
Reed looks at her, a small smile crosses his face. He takes
one imperceptible step towards her.
REED
And now that I have nothing?
Julia stands her ground, matches his smile.
JULIA
Then I guess we can both have
nothing. Together.
Reed now breaks out into a wide grin. Julia does too, she
can't help herself.
BEGIN MONTAGE:
Music cue: This Will Be Our Year - The Zombies
INT. KTLA NEWS ROOM - NIGHT
Kelvin sits behind the news desk, doing his 10 o'clock
report.
KELVIN
I'd like to take a moment and
comment on the story we reported
earlier - Sean Jackson's coming
out. A ground-breaking day in
sports, for sure - Mr. Jackson's
name likely to be remembered along
side the likes of Jackie Robinson,
Muhammad Ali, Billie Jean King.
But let's let future generations
decide where to place this. Today,
of all days, I would like to look
at this act not as one of defiance,
or wall-busting, or history making -
but simply as this: what a man
will do for love.
Off camera - Susan watches, pleased. And standing a few feet
away from her - KARA, beaming ear to ear.
116.
INT. EDGAR & ESTELLE'S HOUSE - DOORWAY/HALLWAY - NIGHT
Darkness. A FIGURE uses a key, enters the home, walking
softly inside the sleeping household.
The FIGURE quietly makes its way down the hallway towards the
back of the house. Reaches a closed door. Pushes it open.
INT. EDGAR & ESTELLE'S HOUSE - EDISON'S ROOM - NIGHT
Posters of the Space Shuttle and the Solar System on the
walls. Edison is sound asleep. His hair covers his face.
A HAND touches him gently. Edison slowly stirs. The Hand
shakes him a bit harder this time. Until he opens his eyes.
SHOCK on his face. Not believing what he's seeing. He
reaches over and turns on a lamp, shaped like a rocket ship.
The Figure is: KATE. Still in her soldier uniform.
EDISON
Mommy! You're here!
She pulls him into her arms. Breathing in his scent.
Kissing his eyes, his face, his ears. Anything she can.
IN THE DOORWAY
Stands Edgar and Estelle, in their pajamas, holding hands.
They silently watch the reunion of their daughter and their
grandson. Then quietly turn and give them space.
INT. JANICE'S HOUSE - BEDROOM - NIGHT
Janice sits up in her bed, which is still surrounded by the
candles Alex brought. They are all lit. She's paging
through the YALE COURSE CATALOG.
Her PHONE BUZZES. She picks it up - there's a NEW TEXT
MESSAGE FROM ALEX:
I'll always love you.
She smiles, closes her phone. Curls up in bed.
INT. ALPHONSO'S HOUSE - NIGHT
Alphonso and his WIFE are dead asleep, buffered by their kids
- ALPHONSO JR. (6) AND CARMEN (4) who sleep between them.
117.
EXT. BEVERLY BLVD - NIGHT
Jason and Liz drive down Beverly, BOTH ON HIS VESPA. As he
weaves in and out of traffic, she holds on for dear life,
laughing the whole time.
EXT. MALIBU HOME - NIGHT
Sean sits on the deck, watching the moon reflect off the
ocean. He seems relaxed, at peace.
He hears the sliding door from his house open, turns to see:
HOLDEN - standing there with his bags. Sean can't believe
his eyes. He rushes to him and hugs him - holds him tight.
They both tear up.
SEAN
You saw?
Holden nods, still hugging Sean.
HOLDEN
This isn't going to be easy.
SEAN
I don't care.
Holden looks at Sean, taking him in.
HOLDEN
So what next?
SEAN
How do you feel about Buffalo?
Holden smiles, follows Sean back in the house.
EXT. RITA FLORA - NIGHT
From outside, we can see into the lit up cafe side of the
store. It's empty except for one table - Reed and Julia sit
across from each other, talking.
As they laugh, completely at ease with each other, the camera
moves up, looking down 6th street, downtown LA coming into
view.
We then tilt up to the night sky, stopping at the bright
white moon, which looks like a heart. Not really. It just
looks like the moon.
THE END
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