FADE IN:

	TIGHT CLOSE - JOE THERRIAN - MORNING

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

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

	TIGHT CLOSE - SALLY THERRIAN

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

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

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

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

	EXT. POOL AREA - DAY

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

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

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

	The CAMERA hovers over the answering machine.

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

			JOE
		Go where?

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

	The machine cuts her off.

	NEW ANGLE

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

	WIDE SHOT

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

	THE CAMERA FOLLOWS THEM

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

			JOE
		America, could you just...

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

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

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

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

			JOE AND SALLY
		Good boy, Otis.

	The phone RINGS again.

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

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

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

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

	EXT. POOL AREA - CONTINUOUS

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

			SALLY
		No luck.

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

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

			SALLY
		Happy anniversary, baby.

			JOE
		Happy anniversary.

	They smile.

			STEVEN
		And change sides...

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

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

			JOE
		It's yours.

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

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

	INT. BEDROOM - LATER

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

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

			SALLY
		Hardly...

			JOE
		Accept a compliment.

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

	They move toward the bed.

			JOE
		What did you get me?

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

	She pushes him on the bed.

			JOE
		Kiss my eyes.

	She does.

			SALLY
		My wrists.

	He does.

			JOE
		Kiss the back of my knees.

			SALLY
		Through the sweats or not?

			JOE
		Not.

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

			SALLY
		What?

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

	Sally shakes her head.

			SALLY
		No.  Did you?

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

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

			JOE
		We're great.

			SALLY
		I mean, you're really back.

			JOE
		For good.

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

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

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

			JOE
		What?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

			SALLY
			(sanguine)
		Really?

	INT. BEDROOM - LATER

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

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

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

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

	NEW ANGLE

	Sally kisses his cheek on her way to the door.

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

			JOE
		I'll say as little as possible.

	Sally exits the bedroom.

	HOLD ON JOE

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

			SALLY
		I love you.

	INT. FOYER - EARLY EVENING

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

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

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

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

			JERRY
		You have to sign your taxes anyway.

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

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

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

	Jerry hugs Joe.

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

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

			JUDY
			(offers)
		We have a gift?

			JOE
		Thanks, I'll take that.  Champagne?

			JUDY
		Lovely.

	Joe moves toward the kitchen.

			JERRY
			(a moment, to Sally)
		We closed.

			SALLY
		Fantastic.
			(takes his hand)
		Out here.

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

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

	She stands awkwardly in the middle of the foyer.

	EXT. PORCH - CONTINUOUS

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

			SALLY
		I love you, you're a genius.

	Behind them, in the foyer, Judy wanders aimlessly.

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

			SALLY
		I adore him.

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

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

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

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

			JERRY
		You only made half your quote this year.

			SALLY
		Well, you're a tower of support.

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

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

			JERRY
		Whatever you say.  Listen, I love you.

	Otis is barking.

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

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

			JERRY
		Not millions.

			SALLY
		He's directing now.

			JERRY
		They're paying him scale.

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

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

			JERRY
		There's still time to undo this.

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

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

			SALLY
		The Roses?  And of course they said yes.

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

			SALLY
		Whatever you say.

			JERRY
		Did you tell Joe to behave?

			SALLY
		Yes.

			JERRY
		Did he promise?

			SALLY
		Scout's honor.

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

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

			SALLY
		You're out of your mind.

			JERRY
		Just do what I say, alright?

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

			JERRY
		Beats a lawsuit.

	INT. LIVING ROOM - CONTINUOUS

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

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

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

			JOE
		Oh.  Well.  Good.

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

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

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

			JOE
		Yes, she is.

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

			JOE
		It's a novel.

			JUDY
		Still.  Well.  Let's drop it.

			JOE
		Yes.

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

			JOE
		No.

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

			JOE
		Yes I did.

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

			JOE
		Don't I find what?

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

			JOE
		Not long.

			JUDY
			(benign)
		Don't be silly.

			JOE
		Joking.

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

			JOE
		Do I put you off?

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

			JOE
		And I you.

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

			JOE
		Ah.

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

			JOE
		Mmm hmmm.

	INT. FOYER

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

			SALLY
		You know Jerry.

			CAL
		Yes, of course.

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

			JERRY
			(hugs her)
		You, I know.

			SALLY
			(to Evie)
		Hey, beautiful girl.

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

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

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

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

	Much laughter and clapping.

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

			CAL
		Absolutely.

			JOE
		Had a little help?

			CAL
		Absolutely not.

			JOE
		It has your ring.

			CAL
		I'm not that good.

			JERRY
		Cal, my wife Judy.

			JUDY
		Nice to meet you.

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

			JUDY
		No, I don't think so.

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

			SOPHIA
		He thought so.

			JERRY
		Sally always manages to get robbed.

			SALLY
			(a mortified grin)
		Enough about me.

			SOPHIA
		Evie has a little something for you.

	Evie shakes her head.

			SOPHIA (CONT'D)
		You do.

			EVIE
			(even)
		I don't think so.

			SALLY
		Since when are you so shy?

			EVIE
			(her mother's daughter)
		Never.

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

	Joe reaches for the gifts.

			JOE
		I'll take them.

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

			SALLY
			(to Sophia)
		In the kitchen.

			JOE
		Who'd like to go and find Otis?

			EVIE
		Me!

			JACK
		I guess.

			JUDY
		The infamous dog?

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

			JUDY
		Ours.

			JOE
		It's Jerry's worst idea.

			CAL
		What's that?

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

			SALLY
			(small smile)
		Yes.

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

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

 				INT. FOYER - FRONT DOOR - CONTINUOUS

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

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

	Jack does.

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

			JACK
		Uh, uh.

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

			RYAN
			(not amused)
		No, actually.

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

			JACK
		No?

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

			JOE
		Well, Jack and I are very relieved.

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

			MONICA
		Please, Ryan.

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

			RYAN
		Not for me, thanks.

	An awkward moment.

			MONICA
			(checks with Ryan)
		Something soft.

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

			RYAN
		I'm sure, yes.

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

			SALLY
		Hi.  Monica and Ryan?

			MONICA
		Sally?

			SALLY
		Yes.  And you've met Joe.

			RYAN
		Yes.

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

			MONICA
		We could hardly say no.

			SALLY
		Oh?

	Joe slips the coke into Monica's hand.

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

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

			SALLY
		You're keeping a record, are you?

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

			MONICA
		Ryan.

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

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

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

			MONICA
		Ryan!

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

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

			MONICA
		He always has two or three going...

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

	NEW ANGLE

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

			MAC
		You lose this?

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

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

			MAC
		The gate was open.

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

			JOE
		It's taken care of.

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

	A silence.  Awkward smiles go all around.

			SALLY
		Hors d'oeuvres or something?

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

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

			MONICA
		Yes.

			SALLY
		I so wish I'd known.

			MONICA
		Well, whoever did this is amazing.

			SALLY
		I did it.

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

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

	Sally takes the gifts from her.

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

			SALLY
		Of course.

			MAC
		She already has.

			CLAIR
		It's alright, isn't it?

			SALLY
		Of course it's alright.

			MAC
		Clair is a hovering mother.

			CLAIR
		I'm not.

			SALLY
		This is Monica and Ryan.  Mac and Clair.

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

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

			MONICA
		And for us... Truly.

			CLAIR
		Well...

			MONICA
		You will never know.

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

			SALLY
		Why didn't you bring him?

			CLAIR
		What?

			SALLY
		Why didn't you bring him?

			CLAIR
			(searches)
		He's allergic.

			SALLY
		Oh.

			CLAIR
		To dander.  Otis.

			SALLY
		Oh.

			CLAIR
		Didn't I say?

			SALLY
		Well, probably.

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

			SALLY
			(muted)
		Oh.

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

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

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

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

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

			MAC
		Fuck you.

	EXT. POOL AREA

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

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

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

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

			MAC
		Nothing you do is accidental...

	MEDIUM FULL SHOT

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

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

	TIGHT CLOSE

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

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

			JOE
			(affectionate)
		Fuck you.

			GINA
		I never put myself in harm's way.

			JOE
		Anymore.

			GINA
		No, not anymore.  Happy anniversary,
		scout.

	NEW ANGLE

	Sophia bursts from the kitchen.

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

			SALLY
		And here they are!

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

			MONICA
		Cal Gold?

			SOPHIA
		The very one.  And you are...

			SALLY
		Monica and Ryan.

			RYAN
		Rose.

			SOPHIA
		Sorry?

			RYAN
		Ryan Rose.

			SOPHIA
		Yes.

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

			SALLY
		He's a novelist.

			SOPHIA
		Ah.

			SALLY
		Like Joe.

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

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

			SOPHIA
		I hope they're watercolors!

			SALLY
		Nevermind.

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

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

			MONICA
		I'd be thrilled.

			SOPHIA
		Then he'll be thrilled.

	She ushers them toward the living room.

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

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

			SALLY
		Thanks for coming.

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

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

			GINA
		What a nose.  You missed your calling.

			JOE
		Can I open it?

			GINA
			(defers)
		Sally?

			JOE
		Please?

			SALLY
		He's impossible.  Go on then.

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

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

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

			JOE
		I love you,  Gina Taylor.

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

						   CUT TO:

	INT. GUEST ROOM - CONTINUOUS

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

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

	INT. LIVING ROOM

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

			SOPHIA
		You look so well, Clair.  A wraith.

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

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

			CLAIR
		Don't you miss it?

			SOPHIA
		Never.

			CLAIR
		Really.

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

			CLAIR
		Really?

			SOPHIA
		So where is young Jonah?

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

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

			SOPHIA
		What is that thing?

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

			SOPHIA
		You should have brought him.

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

			SOPHIA
		Oh.  Do you have any pictures?

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

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

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

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

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

	INT. KITCHEN/HALLWAY - CONTINUOUS

	Clair leads Sally towards the bedroom.

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

			SALLY
		Borrow whatever you like.

			CLAIR
		I'll change back before we leave.

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

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

			SALLY
		I'd say it was down.

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

			SALLY
		You want a Tylenol, or something?

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

			SALLY
		Why would she care?

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

			SALLY
		You need to knock off the pills, Clair.

			CLAIR
		Just don't fucking tell her.

			SALLY
		It's not going to come up.

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

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

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

			PANES
		Oh, you know, I am.

			JOE
		Has she called?

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

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

	Sally starts down the hallway.

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

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

			SALLY
		Are you lovesick?

			PANES
		Suicidal.  It's much less codependent.

			SALLY
		Will champagne help?

			PANES
		Not enough.

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

			SALLY
		Panes is here!

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

	Everyone stops, turns, toasts.

			EVERYONE
		Panes!

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

	Panes gives them another little wave.  Doorbell rings.

	TIGHT CLOSE - SKYE DAVIDSON

			SKYE
		Hi.

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

			JOE
			(his face lights up)
		Skye!

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

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

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

			JOE
		How do you do, Skye?

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

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

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

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

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

	There's a long moment.

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

	Sally and Panes have been watching from the living room.

			PANES
		She's even better looking in the flesh.

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

	INT. KITCHEN - MOMENTS LATER

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

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

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

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

			PANES
		It could be worse.

			SALLY
		How?

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

			SALLY
		Fuck you, Panes.

			PANES
		You see, that's worse.

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

			PANES
		Like your business managers?

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

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

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

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

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

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

			SALLY
		Like the last time.

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

			SALLY
		Like the last time.

			PANES
		I wasn't finished.

			SALLY
		Okay.

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

			SALLY
		It's our anniversary, Panes.

			PANES
		I didn't hear me say tonight.

			SALLY
		We're just feeling our way back.

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

			SALLY
		You know it's true.

	Skye bursts into the kitchen, Sally and Panes freeze.

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

			SALLY
		I'll be right out.

			PANES
			(over Sally)
		Come on in.

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

	Joe enters the kitchen, watches.

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

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

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

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

			PANES
		Not at all.

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

			PANES
		No, never.

			SALLY
			(overlapping Panes)
		Everyday.

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

	Panes steers Sally out of the kitchen.

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

	They go.  Skye is left in the kitchen alone.

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

	INT. FOYER - MEDIUM CLOSE

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

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

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

	She moves past them.

			SALLY
			(a moment; sotto)
		Shit!

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

			SALLY
		Shit.  It's my Galiano.

			PANES
		What does that mean?

			SALLY
		About five thousand dollars.  With my
		discount.

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

	INT. LIVING ROOM - CONTINUOUS

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

	Joe places Gina's photo on the mantelpiece.

			GINA
			(regards him)
		Directing suits you.

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

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

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

			GINA
		Just did.  Jealous?

			JOE
		When does he graduate high school?

			GINA
			(laughing)
		Oh, very jealous.

	Joe laughs.

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

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

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

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

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

			JOE
		You really need to be fucked.

	INT. BEDROOM - CONTINUOUS

			SALLY
		So how are you really doing, Panes?

			PANES
		Why don't you go fuck yourself?

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

			PANES
		I'm worried about your Galiano.

			SALLY
			(slaps him)
		You're a shit.

			PANES
		No, really, five thousand with your
		discount.

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

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

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

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

			SALLY
		Yes.  Fine.

			PANES
		That's it?  Yes.  Fine?

			SALLY
		I don't want to talk about it.

			PANES
		Why not?

			SALLY
		I never like to talk about my work.

			PANES
		Alright.  Well, that's something new.

			SALLY
		No.  Not something new.

			PANES
		Well, something's wrong.

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

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

			SALLY
		Thanks.

			PANES
		So tell me, how's it going?

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

			PANES
		You're my best friend.

			SALLY
		That's not an answer, is it?

			PANES
		Yes, you're a monster.

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

			SALLY
			(a moment)
		Thank you, Panes.

			PANES
		You don't need to thank me.

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

			PANES
		I guess.

	But neither of them moves.

	INT. LIVING ROOM - CONTINUOUS

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

	MEDIUM CLOSE

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

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

			MONICA
		Monica.

			JEFFREY
		And you know our friends, how?

			MONICA
		We live next door.

			JEFFREY
		Oh.  You're them.

			MONICA
		Excuse me?

			JEFFREY
		We've heard lots about you.

			MONICA
			(lost)
		You have?

	EXT. POOL - CONTINUOUS

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

			JUDY
			(smiles over at Ryan)
		Hi.

			RYAN
		Hi.  A little close in there.

			JUDY
		Yup.

	INT. MUSIC LIBRARY - CONTINUOUS

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

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

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

			JOE
		You're an interior decorator, right?

			MONICA
			(nods)
		Sally did all this herself?

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

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

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

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

			JOE
		Uh-huh.

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

			JOE
		Oh.

			MONICA
		A little out of my element.

			JOE
		No you're not.

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

			JOE
		Hm.

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

			JOE
		Very well put.

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

			JOE
		What?

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

			JOE
			(pissed)
		Elitism?

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

			JOE
		And you know, he really does not.

			MONICA
		And Ryan works at home.

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

	Her eyes well with tears.

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

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

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

	Monica starts to laugh.

			MONICA
		Alright.

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

			JOE
		Easy tiger.

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

			JOE
		Scout's honor.

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

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

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

			JOE
		We're way past inappropriate.

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

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

	He moves towards the doorway, Monica at his heals.

			JOE
		I need to leave you now.

			MONICA
		I will treasure this.

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

	INT. DAILIES ROOM - LATER - DAY

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

			SALLY
		Panes?

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

			MAC
		What?

			SALLY
		Trust him.

			PANES
		It's Shostakovich.

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

			SALLY
		Sandy...

			SANFORD
		The Wind Up Bird Chronicle.

			SALLY
			(turns to him)
		Ryan?

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

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

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

			JUDY
		Good idea.

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

			MAC
		Down by Law.

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

	INT. LIVING ROOM - CONTINUOUS

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

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

			CAL
		Why last?

			MONICA
		The Katzenjammer Kids.

	There's a hush.

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

	Pause.

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

	He writes it down.

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

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

	People hoot, throw their cocktail napkins.

			GINA (CONT'D)
		What?

			SKYE
		Utopia Parkway...

	They all start talking on top of each other again.

	INT. LIVING ROOM - LATER

	The teams have come together.

			JOE
		Who's keeping time?

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

			JOE (CONT'D)
		Two minutes.

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

	She offers the hat.

			JOE
			(offers the hat)
		You darling.

	Panes reaches into the hat.

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

	Joe whispers to him.

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

			JOE
		Come on, Panes...

			JERRY
		Go!

	Panes mimes a belly laugh.

			JEFFREY
		What the hell is that?

			SALLY
		What is it Panes?

	Panes sighs.

			SOPHIA
		Two words.

	He belly laughs.

			JUDY
		Funny.

	A finger to his nose - elongate the word.

			SANFORD
		Funnies?

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

			RYAN
		The Katzenjammer Kids.

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

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

	Jerry reaches into the hat.  Looks at the clue.

			MAC
		Go.

			JERRY
		Hey!  Would you?

			MAC
		It was fifteen seconds.

			JERRY
		I don't think so.

			MAC
		Are you always this much fun?

			SALLY
			(a grin)
		Take your time, Jer.

			JERRY
		I'm ready.

	He gives the clue "a song."

			CAL
		Song.

	He gives "cycle."

			GINA
		Cycle.

			CAL
		Two words.  Second word.

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

			TEAM
		Think.  Pain.

			CAL
			(among others)
		Ponder.

			JERRY
		Come on, folks.

			CAL
		First word.

	Jerry does the sign for the "short word."

			TEAM
		To, the, but, or...

	Jerry shakes his head.  Goes to the third word.

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

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

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

	he does the finger sign again.

			TEAM (CONT'D)
		Fuck.  Folk.

	Jerry gives them "on the nose."

			TEAM (CONT'D)
		Second word.

			MAC
		Thirty seconds.

	Jerry turns, gives them a dirty look.

			JOE
		Jer.  Over here.  Over here.

			TEAM
		Second word.

	He strokes his beard again.

			SKYE
			(blurts out)
		From Jewish Folk Poetry.

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

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

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

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

			JERRY
		Well it's fucking time.

					TIME CUT TO:

	CLOSE SHOT

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

	Gina giving clues starts to laugh.

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

	Gina loses it, cracks up.

			MAC
		Time.

					TIME CUT TO:

	Jeffrey's on his feet, giving the clue.

			SALLY'S TEAM
			(unison)
		Quote.  Play.

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

	Cal gives her a little wave from the other side.

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

	Cal blows her a kiss.

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

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

	MEDIUM CLOSE - AMERICA

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

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

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

			MAC
		Time!

			JERRY
		What was it?  What the fuck was it?

			SALLY
			(small grin)
		Ryan's novel.

			JERRY
		Ryan's novel?

			JUDY
		Ryan's novel, Jerry.

			AMERICA
			(sings out)
		Dinner!

			SALLY
		Still champions.

			JOE
		Panes is not on your team anymore.

			PANES
		What did I do?

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

			AMERICA
		Dinner.

			SALLY
		Dinner.

			JOE
		It's an unfair advantage.

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

			JOE
		Okay, knock it off.

			SALLY
		Truce?

			JOE
		Truce.

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

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

		EXT. POOL AREA - MAGIC HOUR

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

	INT. DINING ROOM - MAGIC HOUR

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

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

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

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

			ASTRID
		Ten, fifteen minutes ago.

			SALLY
		Why didn't you come in?

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

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

	The furball bares teeth and growls.

			ASTRID
		She's insanely jealous.

	INT. LIVING ROOM - MEDIUM CLOSE ASTRID - NIGHT

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

			CLAIR
		That's revolting, Astrid.

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

	Panes finds room next to Skye.

			PANES
		Is there space here?

			SKYE
		Yes.

			PANES
		Do you need anything else?

			SKYE
		No, no thanks.

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

			PANES
			(finally)
		I was impressed.

			SKYE
		Oh?

			PANES
		The charades.

			SKYE
		Thank you.

			PANES
		That was my clue.

			SKYE
		Oh?

			PANES
		The Shostakovich.

			SKYE
		Really??

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

	Skye giggles appreciative response.

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

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

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

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

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

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

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

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

			JOE
		The dumb waiter was our...

			GINA
		Escape hatch.

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

			SALLY
		Not properly watered.

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

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

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

			JOE
			(childishly)
		So?

			GINA
			(laughs)
		I love you, Joe Therrian.

			SALLY
			(at a loss, small)
		Me too.

	Sophia watches from across the living room.

	NEW ANGLE

	INT. LIVING ROOM - NIGHT

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

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

			SALLY
		Would it make a difference?

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

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

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

			SALLY
		You're fucking desperate.

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

			SALLY
		One guess.

	INT. LIVING ROOM

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

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

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

			CAL
			(clinks his glass)
		Here, here.

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

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

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

	Panes and Mac do an interpretive dance symbolizing the
	marriage.

	Cal and Sophia carry sleeping children down the hall.

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

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

	MEDIUM CLOSE - SKYE

	She looks out at the guests...

	NEW ANGLE

	They look back at her.

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

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

			SAM
			(sings out)
		Still living.

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

			SAM
			(sings out)
		And talented.

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

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

			PANES
		Let the woman speak.

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

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

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

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

			JOE
			(pleased, surprised)
		Dolphins.  Great.

			SALLY
		It's ecstasy, Sal.

			SKYE
		I think there are sixteen there.

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

	Skye's pleased she's made him happy.

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

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

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

	There are awkward excuses.  Some of the guests leave.

	INT. LIVING ROOM - MOMENTS LATER

	The core group remains.

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

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

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

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

	INT. KITCHEN - CONTINUOUS

	Cal carries the envelope into the room.

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

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

	INT. LIVING ROOM - CONTINUOUS

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

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

	EXT. POOL - LATER

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

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

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

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

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

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

			MONICA
		Do you want to go home, Ryan?

			RYAN
		Yes.

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

			RYAN
		I'm not going to leave you alone.

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

			RYAN
		They're nothing like us.

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

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

			RYAN
		Are you making an ass of yourself?

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

			RYAN
		I don't need a drug.

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

	She gets up.

			RYAN
		Ready to go?

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

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

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

			CLAIR
		This water is great!

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

	MEDIUM CLOSE UP - JUDY

	She stands at the side of the pool.

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

	There is a melee of diving and screaming.

						   CUT TO:

	EXT. BACKYARD LANDING

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

			MAC
		You got your DP?

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

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

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

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

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

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

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

			CAL
		It's going.  It's going.

			JOE
		And how's the diva doing?

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

			JOE
		I meant Sally.

			MAC
		I meant Sally.

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

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

			JOE
		Oh don't.  Everyone says that.

	INT. MUSIC LIBRARY

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

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

			SOPHIA
		Yes.

			SALLY
		She's such a great photographer.

			SOPHIA
		Hm.

			SALLY
		So where should I put it?

			SOPHIA
		I thought it was okay where it was.

			SALLY
		It's much more personal in here.

			SOPHIA
		A notch above the storage room.

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

			SOPHIA
		The both of you.

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

			SOPHIA
		So how much do you hate her?

			SALLY
		Big time.

	They both laugh, then...

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

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

			SOPHIA
			(a moment simply)
		I trust you.

			SALLY
		Oh Soph...

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

			SALLY
		And the food sucks, I know.

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

			SALLY
		Sophia!  I'm not even pregnant!

			SOPHIA
		Well good.  Thank God.

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

			SOPHIA
		Oh honey, let's.

	They've started to walk through the house.

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

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

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

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

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

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

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

	Sally drops out of frame.

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

			SALLY
		And Cal's this massive adult?

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

			SALLY
		You weren't exactly horrified.

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

			SALLY
		Neither does Joe.

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

	Sally stares at her friend suddenly mute, eyes wide.

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

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

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

			SALLY
		Not nice.  Not kind.

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

			SALLY
		Why are you doing this?

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

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

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

	They hug a bit weepy.

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

	EXT. POOL SIDE - CONTINUOUS

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

			JOE
		Isn't Skye amazing?

			CAL
		She's got great tits.

			JOE
		She's a constant surprise.

			CAL
		And you've only just met.

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

			CAL
		Absolutely.  And she's got great tits.

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

			CAL
		The camera loves her.  A great actress.

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

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

	EXT. MEDIUM SHOT - CLAIR

	Clair is climbing up the pool steps.

			CLAIR
		Has anyone seen Mac?

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

			CLAIR
		I'm so good.

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

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

			JOE
		No, what?

			CAL
		The movie.

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

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

			JOE
		Who, Sally?

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

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

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

			JOE
		What?

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

			JOE
			(stares at him)
		Leo?

			CAL
		Any thoughts on casting yet?

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

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

			JOE
		October-ish.

			CAL
		I have a small window of time.

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

			CAL
		Scratch the two, write in a four.

			JOE
		Scratch the two, write in a four.

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

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

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

	INT. BEDROOM CLOSET - TIGHT CLOSE - SALLY

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

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

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

	INT. DAILIES ROOM - NIGHT

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

	INT. MOVIE SET

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

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

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

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

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

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

	INT. CORRIDOR - CLOSE SHOT - SALLY

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

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

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

			MAC (O.S.)
		Jesus Christ.

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

	INT. HALLWAY - CONTINUOUS

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

	INT. DAILIES ROOM - CONTINUOUS

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

			MAC
		I'm in mourning.

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

			MAC
		Not this time.

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

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

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

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

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

			CLAIR
		Things always look much worse in the
		morning.

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

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

			MAC
			(really stoned)
		What what's about?

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

	INT. GUEST ROOM

	MEDIUM CLOSE

	Jack and Evie are asleep across the bed.

	NEW ANGLE

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

	EXT. POOLSIDE - JOE'S POV

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

			JOE
		Are you okay?

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

			JOE
		Let's go for a walk.

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

	EXT. BACKYARD LANDING - NIGHT

			MONICA
		I've never done this before.

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

			MONICA
		I'm a little in the puke zone.

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

			MONICA
		What am I, five?

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

			MONICA
			(a grin)
		Okay.

	He pulls out another one.

			JOE
		Lemon or raspberry?

			MONICA
		Lemon.

			JOE
		Lemon it is.

	The two suck on their lollipops for a moment.

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

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

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

			JOE
		I'm sorry.

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

			JOE
		That's a lot of those.

			MONICA
		Medallions.

			JOE
		A lot of cakes.

			MONICA
		Yes.

			JOE
		And he doesn't smoke?

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

			JOE
		How long have you been married?

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

			JOE
		You must have been a baby.

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

			JOE
		Come here.

	Joe holds Monica.

			MONICA
			(a moment)
		That's very nice.

			JOE
		I like you.

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

			JOE
		Sorry?

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

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

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

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

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

	She appears beside them.

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

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

			MONICA
			(horrified)
		I'm sorry.

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

			MONICA
		I'm so sorry.

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

			MONICA
			(at a loss)
		I...

			SALLY
		How long ago was it?

			JOE
		Stop being such a bitch, Sal.

			MONICA
		I'm so sorry.

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

			SALLY
		Don't be so sure.

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

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

			JOE
		Well he can't have gone far.

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

			JOE
		He'll find his way back.

			SALLY
		There are fucking coyotes out there.

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

	Monica retreats, backs off a step or two.

			SALLY
		Fuck you.

			JOE
		Or shitty!!  Otis!!

						   CUT TO:

	INT. KITCHEN - CONTINUOUS

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

			RYAN
		How long have you worked for the
		Therrians?

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

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

			AMERICA
		Oh yes.

			RYAN
		Did you know the contractor?

			AMERICA
		Very well.

			RYAN
		Was it a contractor?

			AMERICA
		It's the way they do things.

			RYAN
		To code?

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

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

			AMERICA
		You should talk to Mr. Joe.

	Monica bursts into the room.

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

			RYAN
		You're not serious.

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

			RYAN
		God willing.

			MONICA
		We have to find the dog, Ryan.

			RYAN
		Why?

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

			RYAN
		Excuse me?

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

	EXT. CANYON - MOMENTS LATER

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

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

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

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

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

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

			SKYE
		Do Peter Sellers again.

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

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

			PANES
		Set to the poem of Yetveshenko!

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

			PANES
		Do you really, you really, like
		Shostakovich?

			SKYE
		Yeah.

			PANES
		Would you, like, marry him?

			SKYE
		If he were still alive, maybe.

			PANES
		How about someone who really really liked
		Shostakovich?

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

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

			SKYE
			(laughing)
		Very.

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

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

	EXT. CANYON - CONTINUOUS

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

			SALLY
		Otis!!!!

			JOE
			(on her heels)
		Otis!!!!

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

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

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

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

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

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

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

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

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

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

			SALLY
		Otis!  Come!  Good boy!  Come!

			JOE
		Otis!

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

			JOE
		Love?

			SALLY
		You walked out on a five year marriage.

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

			SALLY
		It's not like this all the time.

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

			SALLY
		And how hard it hit?

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

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

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

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

			JOE
		That is not true.

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

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

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

	Joe is silent.

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

			JOE
		It's a novel.

			SALLY
		About me!

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

			SALLY
		What are you saying?

			JOE
		Hello?  Last birthday was?

			SALLY
		I don't look my age, Joe.

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

			SALLY
		It's a shit novel anyway.

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

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

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

			SALLY
		Who?  Who?  Who thinks that?

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

			SALLY
		Mac?  Mac says it?  Cal?

	Joe doesn't respond.

			SALLY (CONT'D)
		Cal, too?

			JOE
		Sally, for Christ's sake.

			SALLY
		Anyone else?

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

			SALLY
		Don't.

			JOE
		Don't push me away.

			SALLY
		I had an abortion two weeks ago.

			JOE
		Don't do this.

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

			JOE
			(threatens)
		Don't do this!

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

			JOE
		You changed your mind.

			SALLY
		I wanted you back.

	Joe slaps her hard across the face.

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

			JOE
		What?!  You aborted our child?!

			SALLY
		I'm a monster.  Exactly.

			JOE
		You're not ready.

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

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

			SALLY
		Yes.

			JOE
		I'll never forgive you.

			SALLY
		I know.

			JOE
		I have no idea who you are.

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

	INT. POOL - CONTINUOUS

	SILENT UNDERWATER SHOTS

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

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

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

	Oblivious, Judy and Clair turn somersaults.

	Mac begins to panic.  He is drowning.

	He begins to sink.  Panic gives way to acceptance.

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

	MEDIUM-CLOSE SHOT UNDERWATER

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

	EXT. POOL - CONTINUOUS

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

			CLAIR
		Oh my God.  Honey???

	There's a moment.  Mac begins to sob.

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

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

			CLAIR
		Honey?

	Mac raises his hand, arrests her from coming nearer.

			MAC
		I'm fine, babe.

			JERRY
		Give him a minute, Clair.

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

			JERRY
		Anytime, sport.

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

			CLAIR
			(helpless)
		Honey?

	They all stand around watching him.  Mac gets up.

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

			JERRY
		Probably not.

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

			JUDY
		There's a test, you know.

			JERRY
			(embarrassed)
		Forget it, Judy.

			CLAIR
			(still scared)
		Honey?

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

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

	INT. BASEMENT - MEDIUM FULL SHOT

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

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

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

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

	INT. MUSIC LIBRARY - MEDIUM FULL SHOT

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

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

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

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

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

	EXT. BACKYARD LANDING

	Jerry and Judy are making out.

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

			JERRY
		You're crazy baby.  I love you.

			JUDY
		Are you my big hard hero?

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

			JUDY
		Oh yeah...

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

			JUDY
		Oh yeah?

			JERRY
		Let me heal you, baby.

			JUDY
			(mantra)
		Oh Jesus oh Jesus oh Jesus.

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

			JERRY
		Oh yeah.

	INT. MASTER BEDROOM - CONTINUOUS

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

	EXT. POOL AREA

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

			SOPHIA
		...no, no, start again.

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

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

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

	INT. LIVING ROOM - LATER

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

	There are sounds of the search party approaching.

	NEW ANGLE

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

			JOE
		What is it?

			GINA
		Let's go upstairs, okay?

	Joe looks from Gina to the others.

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

	They move out of the room.

			SALLY
			(on the way upstairs)
		Is it Otis?

	Skye and Panes look at the other guests.

			SKYE
		What happened?

	INT. MASTER BEDROOM

	Gina closes the door.

			JOE
		The suspense is killing me.

			GINA
		Harry called.

			JOE
			(growing dread)
		And?

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

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

			GINA
		She's in ICU.

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

			JOE
			(laughs; shakes his head)
		Stupid tart.

			GINA
		She left a note.

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

	Tears start down Sally's face.

			GINA
		You need to call your dad.

			JOE
		Leave us alone right now.

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

			SALLY
		Would you leave us alone right now?

			GINA
		I love her too, Joe.

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

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

	Gina exits.

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

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

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

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

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

			SALLY
		I'll be with you.

			JOE
		I don't want to go tonight.

			SALLY
		You don't have to.

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

			JOE
			(bereft)
		Stupid tart.

	INT. KITCHEN - LATER

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

			MAC
		How's he doing?

			SALLY
		Not good.

			GINA
		He's gonna miss his flight.

			SALLY
		Yeah.

	Al the guests are a little stunned.

			GINA
		Is he not going?  I booked a flight.

			SALLY
		He's not going tonight.

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

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

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

			SALLY
		And you're not the wife.

			GINA
		It's not a contest.

			SALLY
		Damn straight.

			CAL
		Should I go up?

			SALLY
		I don't think so.

			CAL
		You want us to stay?

			SALLY
		Maybe not.

			MAC
		So much for ecstacy, right?

	They all laugh a little.

			SOPHIA
		Let's get the kids.

			CLAIR
		Oh my God, the sitter.

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

	INT. MUSIC LIBRARY - CONTINUOUS

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

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

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

	INT. GUEST BEDROOM - CONTINUOUS

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

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

	Sally kisses Cal's cheek.

			CAL
		Hang in.

	INT. MASTER BEDROOM - CONTINUOUS

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

			SALLY
			(resigned)
		Oh perfect!

	EXT. BACKYARD LANDING - MEDIUM FULL SHOT

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

			JERRY
		I call that a perfect day.

			JUDY
		A perfect night.

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

			JUDY
		Hm.  We should do it again.

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

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

			JERRY
		Hm.  Do you like fucking out of doors?

			JUDY
		Not as a rule.

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

	EXT. HOUSE - CONTINUOUS

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

	INT. FOYER - CONTINUOUS

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

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

			SALLY
		Count on it.

	EXT. HOUSE - CONTINUOUS

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

	INT. KITCHEN - FROM MONICA AND RYAN'S POV

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

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

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

			RYAN
		What?

			MONICA
		Let's just go home, okay?

	INT. KITCHEN - CONTINUOUS

	A much embarrassed Panes and Skye enter.

			PANES
		Coffee?

			JOE
		Sure.

			PANES
		I'll do it.

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

			SALLY
		You don't need to do that.

			SKYE
		I don't mind...

			SALLY
		Relax.  You've done enough.

	EXT. KITCHEN - CONTINUOUS

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

	INT. KITCHEN - CONTINUOUS

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

	INT. FOYER - CONTINUOUS

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

	INT. LIVING ROOM - CONTINUOUS

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

	INT. EMPTY KITCHEN - CONTINUOUS

	INT. GUEST BEDROOM - CONTINUOUS

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

	INT. EMPTY DEN - CONTINUOUS

	INT. MASTER BEDROOM - CONTINUOUS

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

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

			JOE
		Can I come in?

	Sally looks up at the nakedness.

			SALLY
		Sure.

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

			OE
		My plane leaves in a few hours.

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

			JOE
			(simply)
		No.

			SALLY
		Okay.

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

			SALLY
		I guess.

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

			SALLY
			(a little choked laugh)
		Me too.

			JOE
		That's under lock and key.

			SALLY
		Me too.

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

	Sally opens the gift.  Takes out a Calder mobile.

			JOE
		Happy anniversary.

			SALLY
		It's a Calder.

			JOE
		I know.

			SALLY
		He's my favorite.

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

			SALLY
		Ah...

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

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

			JOE
		Oh, Sally Mae...

	He can't say anymore.

			SALLY
		I know.

			JOE
		Will you make love with me?

			SALLY
		Sure.

	She reaches out with both arms.

	INT. BATHROOM - TIGHT CLOSE

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

	INT. FOYER - NINE A.M.

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

	EXT. HOUSE - CONTINUOUS

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

	INT. MASTER BEDROOM - MEDIUM CLOSE

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

	EXT. HOUSE - LATE MORNING

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

					DISSOLVE TO:

	EXT. HIGH SHOT - CONTINUOUS

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

						 FADE OUT.

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