MARLEY & ME
Written by
Don Roos
March 7, 2007
BLACK
Some microphone feedback followed by:
SEBASTIAN (V.O.)
Okay, here we go... everybody watching?
Our screen goes WHITE as a POWERPOINT PRESENTATION BEGINS...
SEBASTIAN (V.0.) (CONT'D)
I'd like to tell you all a little lov e
story...
But the images n screen are JOURNALISTIC PHOTOS OF
PEOPLE RIOTING I STREETS
SEBASTIAN (V.0.) (CONT'D)
Whoops... wrong file...
LAUGHTER O.S. and we begin PULLING BACK TO REVEAL:
A RECEPTION HALL (BEGIN CREDITS) - DAY
The lights are dim. We're looking at a blank, pull-down
movie screen in a darkened ballroom.
SEBASTIAN (O.S.) (CONT'D)
Hang on, I got this--
Someone O.S. starts CLINKING a fork against a wine glass. Is
joined by others, and then we HEAR calls of "Kiss! Kiss!"
ON A BRIDE AND GROOM
sitting at the main table, In silhouette, seen from behind,
lit only by the votives sprinkled along the table: JOHN
GROGAN and his bride of two hours, JENNY. In response to the
crowd, they kiss.
Standing right by them is SEBASTIAN -- tall, good looking,
rugged type --John's best man.
SEBASTIAN (CONT'D)
Alright, now I'm ready--
And now, on THE PORTABLE SCREEN, Sebastian'S MONTAGE BEGINS:
John with his Mom in front of the college dorm, etc.
SEBASTIAN (O.S.) (CONT'D)
Here's John, first week of college.
Nice hair, right?
(MORE)
2.
1
1 CONTINUED:
SEBASTIAN (O.S.) (CONT'D)
NOT
You think that feathering 'S easy?
true. Takes a very well p
wrist action...
CHUCKLES from the crowd.
SEBASTIAN (O.S.) (CONT'D)
I'm just saying...
SEVERAL PHOTOS OF JOHN
Throughout college...
SEBASTIAN (O.S.) (CONT'D)
Was John a star athlete?
A shot of him fumbling a frisbee,
SEBASTIAN (O.S.) (CONT'D)
Umm, no. Was he a ladies man?
With mid-eighties hair, bad glasses.
SEBASTIAN (O.S.) (CONT'D)
You tell me.
(THEN)
HIM
What he was, was John, and we loved
for it.
2
2 INT. DORM ROOM - DAY (HOME VIDEO)
AN
Taken r. Sebastian. up l ^a
n�ghte Sebastian turns the camera on himself, holds
Sharpie pen, smiles.
SEBASTIAN (O.S.)
And he was always looked after by his
guardian angel and best friend.
3
3 EXT. CAMPUS - DAY (HOME VIDEO)
John walking down the quad, with "DUMBASS" written on his
forehead. People passing him are smirking.
JOHN
(to CAMERA, which is
SEBASTIAN)
People are staring at me - is my fly
down?
SEBASTIAN
No, no, it's cool.
3. 3
3 CONTINUED:
JOHN
All right, enough with the -
(as he gets another giggle)
- all right, what? What are you
looking at?
SEBASTIAN
Oh, wait, there's something on your
forehead.
John brushes it.
SEBASTIAN (CONT'D)
You got it. Leaf or something.
JOHN
(DUBIOUS)
A leaf. On my forehead.
SEBASTIAN
Yeah, it musta had some sap on it.
They pass a cluster of CO EDS who laugh at John.
SEBASTIAN (O.S.) (CONT'D)
And then there's Jenny.
4
4 PHOTOS OF JENNY
Looking, indeed, very cool, very put together.
SEBASTIAN (O.S.)
Studious, hard-working, quiet.
PHOTOS OF A WILDER JENNY
In short-shorts, wet T-shirt, throwing water balloons at a
frat house. Standing on an empty keg of beer, rolling it
like it's a log.
SEBASTIAN (O.S.) (CONT'D)
Well, okay, sometimes not so quiet.
VIDEO OF JENNY
Ordering a bunch of guys around, telling who to go where, as
the camera ZOOMS OUT, we see they're playing touch football -
except she tackles. Hard. And then does a little victory
dance over the fallen. Jenny's the captain, in charge...
4-
4
4 CONTINUED:
SEBASTIAN (O.S.) (CONT'D)
Okay, maybe a little high-spirited,
maybe voted Miss Kegger once or twice
too often on Fraternity ROW, but a good
girl underneath it all. Now could they
not fall in love?
TWO PHOTOS JUXTAPOSED
One of John "flexing" beside a lake, another of Jenny
screaming at a football game with a beer in her hand.
SEBASTIAN (O.S.) (CONT'D)
Now, in any decent love story, you
gotta have the great first meeting.
5
5 INT. CAR - MOVING - DAY (VIDEO FOOTAGE)
Sebastian is obviously the passenger shooting John, who's
driving.
SEBASTIAN
(ON TAPE)
All right, I'm zooming in. Whoa. Not
a flosser.
JOHN
Turn it off.
And as he REACHES for it - WHAM'. He hits another car! The
camera goes flying. Fumbles. SCREAMS. YELLS.
JOHN (CONT'D)
Jesus Christ!
SEBASTIAN
They're okay! They're getting out.
Sebastian manages to right the CAMERA and unsteadily films
John getting out of the car, heading towards the car he hit.
The passenger door opens and Jenny comes out. She's covered
in frosting and the remains of a birthday cake which she was
carrying in her lap. The damaged car is full of balloons.
JENNY
Are you a complete idiot?!
SEBASTIAN (O.S.)
And so one of the truly great love
affairs of the late eighties began.
In the home video, Jenny advances on John, hurls the rest of
the cake at him, starts flailing at him with her hands.
5.
5
5 CONTINUED:
The driver of the car, another co-ed, gets out and yells at
CAMERA (Sebastian).
SEBASTIAN (O.S.) (CONT'D)
Brought together by their love of fast
cars, spirited Baskin-
Robbins Dreamy Drizzle Ice Cream cake.
6 DIFFERENT PHOTOS NOW 6
John and Jenny both at typewriters.
SEBASTIAN (O.S.)
From there, they went on to work
together at the school newspaper.
SHOT OF JENNY IN THE NEWSPAPER OFFICE
Shot of Jenny standing at the head of a table full of
reporters.
SEBASTIAN (O.S.) (CONT'D)
Although, technically, they didn't work
together so much as John worked for
Jenny who was the editor of said
paper...
SHOT OF JENNY AND JOHN KISSING
In her office, through the semi-closed Venetian blinds.
SEBASTIAN (O.S.) (CONT'D)
Let's just say there were some flagrant
workplace violations.
7 EXT. COLLEGE CAMPUS - DAY (HOME VIDEO) 7
John and Jenny, both in cap and gowns, drinking from plastic
champagne glasses. John displays the top of his cap to
CAMERA: the words "NEED JOB" are spelled out in white
adhesive tape.
SEBASTIAN (O.S.)
The point is their love grew, blah blah
blah... And that love continues
tonight.
8 INT. RECEPTION ROOM - DAY 8
The wedding GUESTS APPLAUD, the lights come up, and Sebastian
concludes his toast.
6.
8
8 CONTINUED:
SEBASTIAN (O.S.)
And now, please join me in raising a
glass to my future neighbors down in
Florida, and to the dawn of both a
marriage end a brilliant journalistic
team, the new Woodward and Bernstein,
this time with sex. Bad sex, probably,
but - anyway: to John and Jenny
Grogan.
AND NOW PUSH IN ON JOHN AND JENNY
She's had an ffect on
He's not so much break applause.e
him. They kiss as
DISSOLVE TO:
9
9 SNOW FALLING
PULL BACK TO REVEAL we're looking out a window.
JENNY (O.S.)
MmzmII[lm. That feels so good.
CONTINUE PULLING BACK TO REVEAL...
INT. HOTEL BATHROOM - NIGHT
The two of them sit on the edge of the bathtub, soaking their
sore feet. Jenny's still in her wedding dress, bunched up so
as not to get it wet. John has got the pant legs of his tux
rolled up.
Jenny takes a swig from a bottle of champagne, passes it to
John. He looks at her.
JOHN
How do I get vou?
JENNY
What?
JOHN
I'm serious. In what world does a guy
like me get someone like you?
JENNY
Are you kidding?
(leans on him)
You're part of the plan.
JOHN
The plan.
7-
9
9 CONTINUED:
JENNY
Step one. Meet an incredibly sweet,
smart, sexy guy.
JOHN
Done. Step two?
JENNY
Marry him.
JOHN
Check. Step three?
She smiles, puts her face right up to his...
JENNY
Now that one's a surprise...
They kiss and as we push past them, into the snowy window, we
END CREDITS and...
DISSOLVE TO:
10 EXT. FORT LAUDERDALE STREET - DAY 10
A HEAT MIRAGE. A battered Toyota Tercel comes over. a rise.
We follow the car through town, get
SUPER: "1990"
11 INT. CAR - DAY 11
Jenny driving. John clutching his portfolio on his lap. She
cuts a look at him.
JENNY
You okay?
JOHN
Oh yeah.
12 EXT. FORT LAUDERDALE SUN-SENTINEL NEWSPAPER BUILDING - DAY 12
As jenny pulls up out front of the building.
INT. CAR - SAME
She turns to John.
JENNY
You know you got this.
8.
12 CONTINUED: 12
JOHN
I know, I got it.
JENNY
Who are you?
JOHN
I'm John Grogan.
JENNY
Wrong. You're John Friggin Grogan
who's about to get a job.
She leans over and gives him a big, long kiss.
JOHN
Um, okay, see now I don't wanna get out
of the car.
JENNY
JOHN€”
JOHN
i really just wanna sit here and make
out with you.
JENNY
--Get out of the car.
He nods, starts to get out, then pauses.
JOHN
Who am i again?
(QUICKLY)
Kidding.
13 EXT. FORT LAUDERDALE SUN-SENTINEL NEWSPAPER BUILDING - DAY 13
As John crosses his fingers, waves and enters the building...
ARNIE (V.0.)
Sebastian says you won some award?
14 INT. EDITOR'S OFFICE - DAY (1990) 14
ARNIE KLEIN -- fifties, never smiles, flowered shirts -- the
editor of the Sun-Sentinel of Fort Lauderdale, Florida, is
flipping through John's portfolio.
JOHN
Yes, sir, I got a Mitchy.
(off Arnie's look)
(MORE)
9.
14
14 CONTINUED:
JOHN (CONT'D)
Like a Pulitzer, but for western
Michigan.
ARNIE
A Mitchy. Min-hmm. So, tell me, why
did you want to leave the estimable -
(he flips to a story, reads
THE HEADING)
- Kalamazoo Gazette?
JOHN
Well, as you know, Sebastian and I were
in college together, and he was always
talking about South Florida... mostly
about the women of South Florida, but
anyway, after my wife and I got married
we thought it might be nice to come
DOWN HERE--
ARNIE
For the women?
JOHN
Uh, no-- for the... the... uh...
ARNIE
For the work?
JOHN
Yes. That.
ARNIE
Your wife's Jenny Havens, right?
JOHN
Well, Jenny Grogan now--
ARNIE
She take the job at the Post?
JOHN
YEAH--
ARNIE
I tried to get her over her
JOHN
OH--
ARNIE
Damn fine writer.
(THEN)
(MORE)
10.
1
4
14 CONTINUED: (2)
ARNIE (CONT'D)
What's the matter, the Post didn't want
Yo m?
JOHN
Well, she does features. I'm more a
straight news writer. This is a better
paper for that.
ARNIE
Straight news writer, huh. Meaning you
think you're a reporter?
JOHN
Meaning I know I am.
ARNIE
And the six other sweaty-palmed college
grads I'm interviewing today, you think
you're better than them?
JOHN
No, sir. In fact, I'm pretty sure I'm
not. But I do know that I always seem
to surprise myself. Ten years ago, I
was doing bong hits and playing Donkey
Kong, never dreamed I'd get into
college. But I did, and I graduated
with honors. Two years ago, my buddies
told me that the most Jenny Havens
would ever say to me was, You're sweet,
but I don't like you in that way.. But
she did like me in that way-- and my
buddies can suck it because I married
her. I certainly never thought I'd win
some award with a dumbass name--
ARNIE
(POINTING)
The "Mitchy."
JOHN
(POINTING BACK)
Exactly sir. But i surprised myself
and I won it. And if you give me the
chance, I'm pretty sure I'll surprise
you, too.
Arnie considers him a moment.
ARNIE
That's quite a speech, son. You
rehearse that, or come up with it on
the fly?
11. 14
14 CONTINUED: (3)
JOHN
Elevator, on the way up.
(THEN)
How'd I do?
Arnie just looks back at him.
15 INT. PARKED CAR - DAY 15
Jenny is writing in her NOTEBOOK when we see John crossing
the street through the passenger window. She looks at him.
Afraid to ask.
JENNY
So?
JOHN
He's got me on a little thing they like
to call... Desert Storm--
JENNY
YOU GOT THE JOB!
She gets out of the car and the two embrace right there on
the street. She takes out her notebook, crosses something
off on her "list."
JENNY (CONT'D)
okay... "Jobs." Done.
JOHN
So what's next? Lunch?
JENNY
(KISSES HIM)
House.
16 EXT. 345 CHURCHILL ROAD - DAY 16
A HORN HONKING as a ca g nos by on the Dixie Highway in the
b.g. We tilt down to a very mixed neighborhood, to a modest
house, THE SOUND OF A TV BROADCAST OVER...
17 INT. 345 CHURCHILL - KITCHEN - DAY 17
News footage of Iraq's invasion of Kuwait on television. John
and Jenny sit at the table reading a different newspapers. He
glances at her...
JOHN
You like the quote about the speed
bumps?
12. 17
17 CONTINUED:
JENNY
(LOOKS)
"If they save even one life--"
JOHN
-"it would be worth it. And with that,
Janet Dickerson's mother's eyes filled
with tears."
(THEN)
That one just felt exactly right,
y'know?
JENNY
Yeah, no, it's good. What happened to
the Desert Storm piece?
JOHN
That's it. The injured girl's dad's in
Kuwait. What, that's not in there?
JENNY
(looks at the article)
Uhhhh... they must've cut it... And
they kinda misspelled your name. John
Egan...
JOHN
What-- you're kidding--
He reaches for the paper, but she holds it away.
JENNY
Forget it. It's good, John. It's got
facts, some color. It's a solid piece.
JOHN
Thanks. I'm almost done with yours.
This idea of voting machines sounds
REALLY EFFICIENT--
JENNY
Well, except on the other page I talk
about what could happen--
He goes back to reading. She sips her coffee.
JOHN
Oh, it continues...
An awkward moment as he now searches for the new page, has to
fold back the paper. No escaping the fact that ie article is
longer and more important than his. She finally gets up...
13.
17
17 CONTINUED: (2)
JENNY
You know what? The rest is just okay,
really pretty boring...
JOHN
No, no, I'm enjoying it...
He tortures himself and keeps reading. She moves to the sink,
starts to rinse out her cup...
JOHN (CONT'D)
Wow, they really gave you a lot of
space, didn't they?
She sets the cup on the counter, looks at the WILTED PLANT on
the sill.
JENNY
Damn. I killed another one. How am I
ever going to take care of a kid, I
can't even keep a plant alive?
John looks up from the paper. "Kid?" She comes gives him a
kiss.
JENNY (CONT'D)
I'll see you later, Mr. Gorgan.
She headsout, leaving John staring terrified at the plant.
SEBASTIAN (V.0.)
A kid, huh...
18
18 EXT. SUN-SENTINEL OFFICE - DAY
Sebastian and John fill up at the coffee pot, start to move
through the office throughout...
SEBASTIAN
Well, what'd you expect? You bought a
house, man. A house with a mare
room...
JOHN
What's wrong with a spare room?
SEBASTIAN
It's empty, John. That's what's wrong
with it. And you know what else is
empty? Her womb.
14. 18
18 CONTINUED:
JOHN
I'm starting to worry that we're
already at Step Six.
SEBASTIAN
What?
JOHN
You know Jenny, she's got her whole
life organized and planned out...
Sebastian smiles at a secretary, turns back to John.
SEBASTIAN
You want my advice? Get her a PuPPY•
JOHN
A puppy.
SEBASTIAN
Something other than you she has to
take care of.
(points at him)
You have a kid, you're a dad. You're
not you anymore. You have a dog,
you're a master. You're still a guy.
With a life.
JOHN
And a dog...
SEBASTIAN
Whatever, man. You're still free.
You've stopped the clock.
JOHN
What clock?
SEBASTIAN
Okay... you know in movies when
there's, like, a bomb and it's ticking
down, ten seconds left, and there's
some guy with a wire cutter going, "red
wire... blue wire... which one do I
cut?" And the guy finally just makes a
wild-assed guess and SNIP. Silence.
The world is saved.
JOHN
Okay... is the bomb strapped to a
dog... because I'm not sure I'm
FOLLOWING--
15
18 CONTINUED: (2) 18
SEBASTIAN
John, you buy this dog, you're saving
your world. Because that ticking you
hear, is not a bomb, it's her
biological clock.
John looks back at him.
JOHN
Huh.
ARNIE .(O.S.)
Sebastian!
They both turn as Arnie sticks his head out of his office.
ARNIE (CONT'D)
Your travel's approved. Get outta here.
SEBASTIAN
In motion.
JOHN
Where you going?
SEBASTIAN
Colombia. I got a guy down there, says
he can put me next to Pablo Escobar--
I'm doing this piece, I follow a single
coca leaf from Colombia, to the streets
of Miami.
JOHN
Yeah, you and I once talked about doing
something like that. We were gonna call
it, "From Plant to Pusher." Remember?
SEBASTIAN
Not really.
ARNIE
HEY-- GORGAN--
(JOHN LOOKS)
--there was another fire at the county
dump. Some kinda methane leak.
JOHN
Actually, it's Grogan--
ARNIE
I want two paragraphs for the blotter.
16.
I8
18 CONTINUED: (3)
John nods, looks off at Sebastian who now sits down at his
cluttered desk, pulls a DUFFLE BAG from under his desk. John
watches with envy as Sebastian starts stuffing cameras,
recorders, a bowie knife, into the duffle...
JOHN
So uh, what kind of puppy?
Sebastian looks up at him.
JOHN (CONT'D)
To, y'know, cut the wire.
SEBASTIAN
Get her a lab. They're supposed to be
just like little kids. But easier to
train.
19
19 EXT. DOG BREEDER'S HOUSE - MORNING
As John and Jenny get out of the car. She looks at the house.
JENNY
This isn't the ihop...
JOHN
A little surprise first...
20
20 INT. DOG BREEDER'S HOUSE - DAY
John is leading Jenny, her eyes closed, through a house
towards the kitchen. LORI, 55, leathery and smoking, is
going in front.
LORI
Sorry about the smell.
JENNY
When can I look?
JOHN
Just hang on...
Lori opens a door to a laundry room.
JOHN (CONT'D)
Okay. Now.
Jenny opens her eyes and sees a utility room. Nine yellow
yipping Lab puppies tumble out of a cardboard box towards
John and Jenny.
17.
20
20 CONTINUED:
JOHN (CONT'D)
Happy Birthday.
JENNY
Oh my God... they're adorable...
(THEN)
Wait a minute, my birthday's a month
from now.
LORI
That's okay, they can't leave for
another three weeks anyway.
JENNY
John, we never even talked about this.
JOHN
You're right. Let's go.
He's kidding. And besides, Jenny's already on the floor,
letting the puppies climb all over her.
JENNY
Look at you guys...
LORI
I got papers on the mom and the dad, so
you can register these.
JOHN
Is the father here too?
LORI
(HESITATING BRIEFLY)
Oh, yeah, somewhere. Anyway, girls are
$400, boys are $375. Except this
little guy here.
AND
She points to one male puppy, who is clearly the goofiest
most excited.
LORI (CONT'D)
You can have him for $325.
JENNY
How sweet. He's on clearance...
LORI
Well, he's a little too stocky for the
breed, so he probably won't show.
JENNY
He's so sweet...
Marley & He Shooting Draft 18.
20
20 CONTINUED: (2)
JOHN
He likes you.
JENNY
John, I don't know if I'm ready for a
PUPPY--
LORI
You have to wait three weeks for the
litter to get weaned, before you can
bring 'em home anyway.
JOHN
Plenty of time to get ready.
JENNY
I won't even be here. I'm gonna be with
my sister then...
JOHN
No problem. I can take him. Be good
bonding time. Get him all trained in
time for you to come home.
A chuckle from Lori.
JOHN (CONT'D)
Let's give 'em all the scare test.
LORI
(STOPS CHUCKLING)
The what?
JOHN
I hear the best dog in the litter is
the one who doesn't spook easily. They
turn out to be the most people-
centered.
LORI
(SLIGHTLY WORRIED)
Uh, how are you gonna--
John turns away, and then suddenly turns back with a loud
step and a "BOO"! All of the puppies scatter. Lily barks.
But Clearance Puppy just leaps onto his shoes, his tail
wagging.
LORI (CONT'D)
Well, that's your guy.
John scoops him up. Clearance Puppy licks his face. John
hands him to Jenny. She lets him lick her face...
19.
20 CONTINUED: (3) 20
JENNY
I would've picked you anyway--
JOHN
Meant to be.
He watches her cuddle the puppy and knows he's done the right
thing.
21 EXT. LORI'S HOUSE -- DAY 21
Lori waves goodbye, check in her hand, as John and Jenny walk
to the car. Jenny carries a Polaroid of Clearance Puppy.
JENNY
You really sure about this? I mean, a
puppy's a lot of work.
JOHN
How hard could it be?
We hear A COMMOTION is coming from the woods, something
crashing through the brush, breathing heavily. They both
freeze as the sound comes their way.
JENNY
What's that?
Just then they are nearly knocked off their feet by a huge,
rampaging Labrador, soaking wet, covered with mud and burrs.
It circles them, barking WILDLY, a crazed look in its eye. It
jumps up on John, muddies his shirt, then barrels past Lori
into the house, knocking over a chair on the porch as it
goes. A beat.
JOHN
I think we just met the dad.
22 EXT. AIRPORT - DAY 22
John kissing Jenny good-bye. They finally part...
JENNY
Call me as soon as you get him home.
Oh, hey, we need a name.
JOHN
How 'bout I just call him "Clearance
Puppy" until you get back. I only hope
he doesn't say his first word without
you.
20.
23
23 EXT. LORI'S HOUSE - NIGHT
John steps out of his car and the puppy, now twice the size
he was three weeks ago, bounds over to him. A harried Lori
follows, a rope leash and instruction. sheet in hand.
JOHN
Whoa! He got big... This is the right
one, right?
LORI
You should see him pack away the puppy
chow.
JOHN
So, what if I run into any problems?
LORI
(BACKING AWAY)
Oh. Sure, call me. All sales are
final, though. Not just for him. I
tell that to everyone.
(QUICKLY)
You want help getting him in the car?
JOHN
No, that's okay, I'll just...
John opens the door, indicates that Marley should jump in.
Instead, the puppy runs around the car, barking, jumping up
on the bumpers. John finally catches him, lifts him up, puts
him on the front passenger seat atop some towels.
JOHN (CONT'D)
There we go.
(TURNS)
Well, anyway, thanks for--
But Lori's already inside her house, the door closed.
24 INT. JOHN'S CAR - NIGHT 24
John and the puppy on the drive home. The puppy atop a pile
of towels. John looks at him.
JOHN
Hey... guy.
The dog just stares at him quizzically. Uncomfortable alone
with the dog, John turns on the radio. BOB MARLEY plays and
the puppy THUMPS HIS TAIL.
21.
24
24 CONTINUED:
JOHN (CONT'D)
You like Bob Marley?
The dog THUMPS HIS TAIL AGAIN. John turns up the music.
THUMP. THUMP. THUMP faster this time.
JOHN (CONT'D)
GOOD BOY--
(trying it out)
Bob?
(nothing, then)
Marley.
THUMP THUMP THUMP.
JOHN (CONT'D)
Marley. Okay-- Marley. Cool.
But now the pup starts wriggling towards John, John tries to
put him back...
JOHN (CONT'D)
No-- stay boy... stay.
(the dog crawls into his lap)
Okay, not really safe, bud--
Marley gets stuck with half his body draped over the console.
He remains like this, his tail thumping... John gives up.
JOHN (CONT'D)
Alright, fine, but just this time.
THUMP. THUMP.
25
25 EXT. 345 CHURCHILL ROAD - NIGHT
door. The dog
John pulls up in the driveway and opens the
jumps out.
JOHN
This is our house...
The dog immediately pees on the ground.
JOHN (CONT'D)
And now it's yours.
26
26 INT. KITCHEN - NIGHT
As John crouches down, shows him his bowls...
JOHN
This one's water. This one's food.
22.
26 CONTINUED: 26
Marley starts pawing the food bag.
JOHN (CONT'D)
C'mon, man, you've already had kibble
and half a seat belt.
(moment, relents)
All right. Special treat. But just
today...
He opens the bag and Marley tackles it. Several cupfuls
spill onto the floor. John goes to the pantry to get the
dustpan and brush. When he returns, he finds Marley has
eaten the food in the bowl AND every last scrap of spilled
food. And now he's squatting to pee again...
JOHN (CONT'D)
No, no, no!
He picks up the puppy and rushes him outside.
27 EXT. 345 CHURCHILL - BACKYARD - NIGHT 27
As John sets him down on the ground, steps back.
JOHN
Okay, now. Pee.
He motions with his zipper.
JOHN (CONT'D)
C'mon, man, do your thing.
(Marley just stares)
Alright, I'm gonna show you this one
time...
From behind, we see John peeing.
JOHN (CONT'D)
Except you gotta lift your leg.
(lifts his leg)
See, this is how you guys do it...
Marley looks at him, squats and pees...
JOHN (CONT'D)
Or you could do it like that. Just not
in front of other guy dogs.
28 INT. JENNY'S SISTER'S HOUSE - NIGHT 28
Jenny's on the phone. Her young NIECE and NEPHEW wait for
her, a board game on the floor between them. She motions
that she'll just be a second...
23.
28
28 CONTINUED:
JENNY
Marley. I like that...
29 INT. 345 CHURCHILL - NIGHT 29
John's on the phone, talking to Jenny as he follows Marley
around the room, trying to keep shoes and socks and cords out
of his mouth...
JOHN
Are you sure? Because it can be
temporary...
INTERCUTTING: JOHN & JENNY
JENNY
No, it's good.
(THEN)
He must be exhausted.
JOHN
Oh, yeah, he's pooped.
Marley lets out a SQUEAK as he tugs at a couch cushion...
JENNY
(HEARS IT)
Oh, he sounds so sweet!
JOHN
Yeah...
(snapping his fingers at the
dog, shaking his head "no")
He's very cute. Just like a little kid
only furrier.
JENNY
Put the phone by his ear...
John chases after the dog who burrows under the couch, his
tail sticking out so that John can't get him...
JOHN
Uh, okay, he's listening.
John just holds the phone awkwardly as Jenny coos baby talk.
JENNY
(into the phone)
Hey, Marley! Who's my good boy?!
Mommy can't wait to meet you...
24.
29
29 CONTINUED:
JOHN
Anyway, don't worry, he's doing great.
Like he's lived here his whole life.
All eight weeks of it. And you know
what else? I think he's going to be
pretty easy to train. I mean, he's
curious which means he's smart, right?
JENNY
Of course he is. I can't wait to see
him.
JOHN
Just him?
JENNY
Jealous?
JOHN
I'm not the one sleeping in a box.
JENNY
I love you. I'll see you Friday.
30 INT. GARAGE - NIGHT 30
John, dressed to go out, is setting down Marley in his wooden
box on the garage floor.
JOHN
I'll see you in the morning, okay?
Marley looks at him with a heartbreaking expression. John
hesitates.
JOHN (CONT'D)
Aw, come on, don't. You'll be fine,
alright. And tomorrow, we're gonna
tear it up. I'm thinking kibble, park,
chew toy, the whole nine yards. Okay?
we good?
Marley doesn't-look so good, looks kind of sad. John turns
and gets out of there.
31 EXT. DRIVEWAY - NIGHT 31
John gets into his car. He can hear WHIMPERING.
JOHN
Big day tomorrow! Rest up, pal!
He listens a beat; Marley quiets down. He gets in his car.
25.
32 INT. BAR - NIGHT 32
Journalist hang out.'John and Sebastian at the bar. Many know
Sebastian, he's constantly nodding at people throughout:
SEBASTIAN
So I'm there in this cave, right?
Blindfolded. And I can feel the
machine guns, there's like nine of 'em
around me... and they tie me to a chair
and then Escobar comes in and says--
are you ready?
(SPANISH ACCENT)
I read your piece on Kadahfi, And I
think you captured his narcissism just
right.
(LAUGHS)
Can you believe that?
JOHN
Some of it.
SEBASTIAN
Man, I wish you could've been there.
JOHN
Yeah, but then I wouldn't have been
able to do the piece on the water main
break at the library. That would have
sucked.
SEBASTIAN
(hand on John's shoulder)
Your time will come, amigo.
JOHN
I'll drink to that--
They toast with their beers, Sebastian clocks John looking at
his watch.
SEBASTIAN
You gotta be somewhere?
JOHN
Oh. No, it's the puppy. It's his first
NIGHT ALONE--
SEBASTIAN
You got adoc?
26.
32
32 CONTINUED:
JOHN
Marley. A little lab. Like you said.
Remember? The bomb...
SEBASTIAN
Oh, right. Smart move. You'll see.
(slaps him on the back)
You've just preserved your quiet way of
life for at least another two years.
33
33 EXT. 345 CHURCHILL ROAD -- NIGHT
John pulls up, gets out of his car. Halfway down the block,
we see a POLICE CAR, lights flashing, two OFFICERS talking to
a COUPLE. Another NEIGHBOR, in his robe, stands in the
street watching...
NEIGHBOR
Millers got robbed again.
(then, turns to John)
And that mutt of yours hasn't shut up
since you left.
John looks towards the garage where we hear WHIMPERING.
34 INT. 345 CHURCHILL ROAD - GARAGE - NIGHT 34
The door opens and the puppy gets excited--
JOHN
No no... I just wanted you to know I'm
back.
The puppy whimpers and he goes over to him, reaches into the
box and pets him...
JOHN (CONT'D)
Buddy, you really gotta chill, okay?
Yeah, I know, good to see you, too.
But I'm just inside the house, I'll see
you in the morning. Big day tomorrow.
Get some sleep.
35 INT. 345 CHURCHILL - KITCHEN - NIGHT 35
John gulps orange juice from the bottle. Leaves a quarter-
inch, puts it back in the fridge. And now we hear BARKING
from the Garage.
27.
36 INT. 345 CHURCHILL - BATHROOM - NIGHT 36
Water running. John swallows some preventative aspirin,
picks some nachos off his shirt. He turns off the water.
And we hear WAILING and KEENING coming from the garage.
37 INT. 345 CHURCHILL - BEDROOM - NIGHT 37
John has his head buried under the pillows AS THE WAILING AND
KEENING GO ON. AND ON. AND ON. Finally, John can't take it
anymore. He sits up, pulls earplugs out of his ears.
38
38 INT. GARAGE - NIGHT
As the light comes on and Marley's head appears over the top
of the box. John sighs, comes over and scoops him up...
39 INT. 345 CHURCHILL - BEDROOM - NIGHT 39
John gets Marley settled in the box, now by the side of the
bed.
JOHN
Just this one time.
John climbs into bed, shuts off the light. Marley whimpers
and John rolls onto his stomach, reaches into the box and
strokes his back, the puppy lays down, still whimpers...
JOHN (CONT'D)
Oh, come on...
(THEN)
Hey. Remember this?
(half drunk, sings badly)
One love, one heart...
(MARLEY QUIETS)
Let's get together and feel alright...
John nods off, one arm hanging over the side of the bed into
the box, his hand resting on Marley's back as the puppy now
snoozes peacefully and we then...
FADE OUT.
AN ALARM CLOCK SOUNDS.
40 FADE IN: CLOSE-UP OF MARLEY'S FACE 40
Tail rising in the b.g., wagging.
REVEAL: BEDROOM - MORNING
28.
40
40 CONTINUED:
As John opens his eyes to see Marley snuggled up against his
face. Marley's eyes looking into his. John reaches over the
puppy and shuts off the alarm.
JOHN
She comes home today.
Hung over, he sits up, looks around the messy room, half due
to John's bachelor housekeeping habits, half due to Marley.
Not only has everything has been chewed, but some time during
the night Marley discovered how much fun toilet paper is.
JOHN (CONT'D)
We should probably clean up.
41 INT. 345 CHURCHILL - DAY 41
John vacuums, struggles to empty the bag, puts a broken vase
in the trash, does the dishes, etc. Marley follows him, tail
wreaking havoc, knocking over everything that isn't nailed
down. John picks up the HUGE CHEW TOY he'd just bought and
examines it as Marley runs into the bathroom...
JOHN
Huh.
It's already completely gnawed up. John looks at Marley who
emerges dragging a roll of toilet paper, rams right into the
screen door, bounces back.
JOHN (CONT'D)
Marley, it's a screen, you're not gonna
GET THROUGH--
Meanwhile, Marley backs up a few steps, gets a head of steam,
then rams into it again, this time goes right through it.
JOHN (CONT'D)
--there.
42 INT. BATHROOM - LATER 42
John gets drenched as he gives Marley a bath.
43 INT. GARAGE - DAY 43
John drags Marley into the garage.
JOHN
I'll be back in an hour. Be good.
29.
44
44 EXT. GROCERY STORE - DAY
A bit of THUNDER as John comes out with a bag of groceries
and a bunch of flowers. He gets to the car just as the rain
hits.
45
45 EXT. AIRPORT - DAY
As John and Jenny kiss outside the terminal. She holds a
stuffed "Pluto."
JENNY
How's my puppy?
JOHN
I'm okay. A little tired, but
OTHERWISE--
She nudges him. He gives her another kiss.
JOHN (CONT'D)
He's waiting for you.
46 EXT. 345 CHURCHILL - DRIVEWAY - DAY 46
John and Jenny get out of the car. We hear WHIMPERING in the
garage.
JENNY
Marley!
She takes off for the side door of the garage.
47 INT. 345 CHURCHILL - GARAGE - DAY 47
They open the door and freeze.
JENNY
Oh my God.
It's a mess. It's almost incredible that it's all due to a
single puppy. The box is in shreds; so are the blankets. A
puddle of urine on the floor. A large piece of dry wall has
been chewed off near the big garage door. The garbage cans
are overturned. Marley is whimpering in the corner.
JOHN
Wow. Okay, this is not how I left it.
JENNY
How long has he been in here?
3•/06/07 30.
47 CONTINUED: 47
JOHN
An hour, at the most.
(looks around, then)
Jeez... he Alg drywall. That's just not
right.
JENNY
(she picks him up)
Look. He's shaking--
Another bit of THUNDER and the puppy whimpers louder.
JENNY (CONT'D)
Does thunder scare you, Mister? Hm?
He licks her face, snuggles into her. She gives him the
Pluto stuffed animal. She hugs him...
JENNY (CONT'D)
Look at us.
She looks up at John and smiles. He returns the smile.
Mission accomplished.
48 INT. 345 CHURCHILL ROAD - DAY 48
As Marley bursts out of the back bedroom with one of Jenny's
bras in his mouth.
JENNY
Marley, no!
Jenny chases him into the kitchen, past John who holds up the
newspaper...
JOHN
He gave me an extra paragraph...
Marley bursts through the back screen door...
49 EXT. 345 CHURCHILL ROAD - BACKYARD - DAY 49
A seemingly continuous shot, except that it's now A SIX MONTH
OLD MARLEY who comes through the screen into the backyard now
clutching a set of curtains in his mouth, still attached to
the rod, and it's now JOHN who stumbles through the broken
wire mesh to chase after him...
JOHN
Marley, no!
John chases him across the backyard. Marley goes under the
fence and John starts to go over into...
31.
50
50 EXT. THE NEIGHBOR'S BACKYARD - DAY
And now it's a NINE MONTH OLD MARLEY who comes up from under
the fence clutching a THANKSGIVING TURKEY in his mouth. And
now it's Jenny AND John who go over the fence chasing him...
JOHN
Marley, no!
They wave to the NEIGHBOR standing on his patio watching.
JOHN (CONT'D)
Hi, Tom-- Sorry...
JENNY
Happy Thanksgiving...
Marley goes through a hedge and out onto...
51 EXT. STREET - DAY 51
Where Marley emerges into FRAME a FULL GROWN DOG, rapidly
pulling Jenny by the leash along the intercoastal waterway.
We track with him until a WOMAN WALKING A POODLE IS NOW IN
FRAME and Marley gets the two women entangled as he starts
humping the smaller dog...
JENNY
Marley, no!
52
52 INT. SUN-SENTINEL - ARNIE'S OFFICE - DAY
John sits across from Arnie. He looks thrown:
JOHN
I don't understand, why me?
ARNIE
I'm in a bind, John.
JOHN
But I'm a reporter, not a columnist.
ARNIE
It's a step up.
JOHN
Yeah, but it's a step away from what I
wanna do.
ARNIE
It's also better pay, you set your own
hours, pick your own topics...
(MORE)
32.
52
52 CONTINUED:
ARNIE (CONT'D)
and it's only temporary, just until I
find someone permanent.
JOHN
What happened to Jerry?
ARNIE
You may have noticed that in every
other column, he went on about The Pie
Palace?
JOHN
I really haven't read his--
ARNIE
Turns out he's been getting free meals
in exchange for mentioning the joint.
It's also why he became such a fat ass.
John nods. Oh.
ARNIE (CONT'D)
Anyway, it's twice a week. And like I
said, it's only until I can find
someone else to replace him. Then
you're back on, uh... whatever beat you
were on.
53 EXT. 345 CHURCHILL ROAD - DAY 53
17-
John pulls up, gets out of the car. His neighbors, The
year-old GIRL -- short blue hair, pierced eyebrow -- and her
MOM -- in a nurses uniform -- unload groceries from the car.
GIRL
Your dog's funny.
JOHN
(PAUSES)
Uh, thanks.
GIRL
He tried to eat one of our tires.
JOHN
Yeah, well, dogs need rubber. Little
known fact, helps the digestive
tract...
GIRL
Right. Along with the occasional black
Converse high top which I'd still love
to get back by the way.
33.
53
53 CONTINUED:
JOHN
I'll do what I can.
GIRL
'Preciate that.
54
54 INT. KITCHEN - DAY
John sits at the table scribbling on a legal pad. He tears
off the sheet and crumples it up, throws it across the room.
Marley bounds into the room, Jenny behind him, sweating.
JENNY
I think he dislocated my shoulder. He
doesn't heel-- hell, he doesn't even
walk, he sprints, and I had to pull him
off three dogs...
JOHN
Poodle?
JENNY
Yeah, among others. There was a
Yorkie, a Dalmatian and a bichon frise
that may never be right again.
(sees the legal pad)
What're you doing?
JOHN
Arnie gave me a column.
JENNY
You're kidding? Congratulations!
JOHN
Oh, yeah, it's a big honor. I get to
write about zoning laws and yard sales.
JENNY
I bet you make something out of it.
JOHN
It's only temporary until he finds
someone else. I'm just trying to get
something down for Tuesday.
She gives him a kiss, starts out of the room
JENNY
You'll think of something. And John,
I'm serious abut Marley. He wreaks
havoc everywhere he goes. We gotta do
something...
34.
55
55 EXT. PARK - DAY
MS. KORNBLUT, weathered and stern, is studying John. Behind
John, eight puppies and their owners are chatting before the
class begins.
MS. KORNBLUT
Incorrigible? I don't believe in that.
All dogs want to learn. But they can't
when their owners are weak-willed.
JOHN
I'm very strong-willed.
MS. KORNBLUT
And where is your animal?
JOHN
He's over there. With my wife. He was
a little excited. He usually needs a
little time to calm down.
Ms. Kornblut looks at Jenny as she struggles up with Marley.
MS. KORNBLUT
I see. He calls the shots. Which of
you will be the trainer?
JENNY
we thought we both would, since we want
him to listen to both of us at home -
MS. KORNBLUT
A dog can only answer to one master.
Which one of you has the most natural
authority in your own relationship?
JOHN
(BEAT)
I'll watch.
MS. KORNBLUT
I thought so. We begin.
56 EXT. PARK - LATER 56
As Ms. Kornblut gestures, demonstrates the command:
MS. KORNBLUT
Sit!
35.
56
56 CONTINUED:
The students order their dogs to sit, and most of them do.
The ones that don't require only a little effort to get the
idea. Whereas:
Jenny orders Marley to sit; instead Marley jumps up on her
and puts his paws on her shoulders. She presses his butt to
the ground, and he rolls over for a belly rub. She tries to
tug him into place and he grabs the leash in his teeth,
shaking it playfully.
MS. KORNBLUT (CONT'D)
That, class, is an example of a dog
that has been foolishly allowed to
believe he is the alpha male of his
pack. And therefore he cannot be a
happy animal.
JOHN
(from the sidelines)
Yeah, he looks really bummed.
Kornblut hears him, death stares John.
MS. KORNBLUT
You. Joker. Rotate in.
John looks at Jenny who shrugs, holds up the leash for him to
take.
57 CUT TO: A HEAVY CHOKE CHAIN 57
As Ms. Kornblut demonstrates on her wrist.
MS. KORNBLUT
The choke chain. When your animal
walks properly by your side, there'll
be slack. If he pulls, it tightens
around his neck like a noose and
loosens as soon as he stops pulling.
JOHN
Does it hurt them?
MS. KORNBLUT
Well, it's not called a hug chain. But
they learn to like it. Go on, collar
your dogs.
Everyone else quickly, easily gets the choke chain around
their dogs' necks. Of course. Meanwhile:
John kneels down and struggles to put it. around Marley's
neck. Marley, liking its shiny jingling, tries to eat it.
36.
57 CONTINUED: 57
Much tussling, and John finally gets it around Marley's neck -
but Marley still manages to grab it in his teeth.
JOHN
He likes it.
MS. KORNBLUT
That's because he's eating it... Get it
out of his mouth. Class? Give your
dogs the sit command.
All the dogs sit; John forces Marley's butt down.
MS. KORNBLUT (CONT'D)
The leash is held in two places. Loop
around your right hand, left hand at
waist level. Dog always on your left,
of course.
JOHN
That means us, pal.
He rearranges Marley so he's on John's left.
MS. KORNBLUT
Now, when you give the heel command,
step off with your left foot - I don't
want to see any right foot first
steppers - and walk. If your dog gets
ahead, administer a correction by
forcefully bring your left hand down
and towards the right, and he'll
respond. Shall we? One, two, three -
now!
Just as the dogs and owners prepare to step off, Marley
lurches ahead of the pack...
JOHN
Marley, heel!
Marley takes off like a fighter jet, dragging John behind.
MS. KORNBLUT
Correct him!
John gives a mighty yank on the leash. Marley coughs,
hesitates. John loosens the leash - and Marley explodes
forward again. John yanks, Marley stops, John releases,
Marley explodes forward.
37.
57 CONTINUED: (2) 57
MS. KORNBLUT (CONT'D)
Rein in that dog! All right, everyone,
line up again. Demonstration. Mr.
Grogan? Pay attention.
She takes the leash from John and efficiently guides him into
line with the other dogs.
MS. KORNBLUT (CONT'D)
It's a simple question of confidence in
one's own authority. Shall I
demonstrate a simple walk?
JOHN
Be my guest.
MS. KORNBLUT
Class? Even an unruly dog wants to
obey his leader. Marley? Heel.
And she steps off confidently - but Marley is a bit more
confident than she is. He lunges, she pulls, he falls back
on his hind legs, then barrels up and lurches forward.
Ms. Kornblut half-stumbles, half rockets across the park.
She manages to turn Marley around, and the whole process
begins again as they make their way back to the line. Her
face is flushed with embarrassment, anger, and exertion, but
Marley, jowls frothing, is having a ball. It's like a
walking tug-of-war.
With difficulty, Ms. Kornblut manages to return Marley to
John, but not before, as a coup-de-grace, he starts humping
her leg enthusiastically. She struggles, he knocks her down,
and then he buries his face in her crotch and humps her knee.
John and Jenny rush over. John restrains Marley; Jenny helps
up Mrs. Kornblut. She's livid.
MS. KORNBLUT (CONT'D)
That's it! He's out!
JOHN
He usually just does this with poodles.
(looking at her bad perm)
Maybe it's the hair.
MS. KORNBLUT
He's a bad influence on the others.
Leg-humping is a virus. Once it takes
hold in a group - he has to go!
38.
58
58 INT. 345 CHURCHILL ROAD - DAY
As they follow Marley back into the house.
JOHN
Well, that was fun.
(to the dog)
Congratulations, Marley. You flunked
obedience school.
JENNY
You know, John, there is something else
we can do--
JOHN
(looks at her)
No, no, I'm not doing that to him.
JENNY
It's painless. And he'll be a lot more
comfortable. It'll calm him down.
JOHN
Yeah, you know why he'll be calmer?
Because he'll have nothing to look
forward to.
JENNY
What're you talking about? There are
plenty of other things that'll make him
HAPPY--
JOHN
That's where you're wrong. Trust me,
Jen: I know. I'm a guy. And yeah,
lots of things make us happy, but the
only thing we really look forward to is
sex. Runner up: the possibility of
sex.
JENNY
Oh, Please. Every book says he'll live
LONGER--
JOHN
It'll just feel longer.
JENNY
John, he's out of control. It's the
right thing to do.
John sighs, looks at Marley who's now humping the stuffed
"goofy" that Jenny gave him as a puppy.
39.
59
59 INT. JENNY'S CAR - DAY
Jenny at the wheel. John in the passenger seat. Marley in the
back, his front paws balanced on the center console.
JOHN
It won't be so bad, buddy. You'll see.
Sex is overrated.
Marley looks-at him.
JOHN (CONT'D)
Okay, I'm lying, and I think you know
that... so maybe the best thing is to
just not talk about it.
Jenny cuts him a look. He lowers his voice.
JOHN (CONT'D)
Poor son-of-a-bitch.
A guilty John cracks the window just a bit and Marley begins
listing to starboard, leaning against John to catch a whiff
of the outdoor smells. Marley crawls onto John's lap...
JOHN (CONT'D)
Oh, okay, you wanna sit up here...
Marley now jams his nose into the small opening, snorting to
catch the fresh air
JOHN (CONT'D)
Least I can do.
John lowers the window and Marley gets his whole snout out.
JOHN (CONT'D)
Here you go...
John lowers the window again and now Marley sticks his whole
head out, ears flapping behind him, tongue hanging out like
he's drunk.
JOHN (CONT'D)
He's so happy. He has no idea what's
about to happen to him.
Jenny looks over as Marley hooks his paws over the half open
window so that his neck and upper shoulders now hang out of
the car.
JENNY
He's making me nervous.
40.
59
59 CONTINUED:
JOHN
He's fine. He just wants a little
FRESH--
Suddenly Marley slides his front legs out the window until
his front armpits are resting on the glass.
JENNY
John, grab him!
Before John can do anything, Marley is off his lap and
scrambling out the window of the moving car.
JOHN
He's onto our evil plan, and he's
making a break for it!
But now his butt is up in the air, his hind legs clawing for
a foothold...
60
60 EXT. INTERCOASTAL WATERWAY BRIDGE - SAME
As Jenny slows down in heavy traffic, John lunges out the
window after Marley, grabs the end of his tail with one hand
so that Marley dangles upside down, outside the car, by his
tail... He trots along the pavement with his front paws...
61
61 INT. CAR - SANE
Jenny gets the car stopped, HORNS HONKING BEHIND THEM.
JOHN
Uh, little help here...
John's stuck. He can't pull the dog back in the window and he
can't open the door. He can't let go as angry drivers behind
them are now starting to swerve around them. John hangs on
for dear life...
JENNY
I got him!
62
62 EXT. BRIDGE - SAME
As Jenny puts on the flashers and gets out of the car, runs
around to the passenger side... a group of cars drive slowly
by in the other direction, all watching and laughing...
JOHN
(SHOUTING)
What are you looking at?! He's losing
his balls today! Cut the guy some
slack!
41.
63
63 INT. SUN-SENTINAL OFFICE - DAY
John sits at his desk, tries to write a column. Sebastian, in
a flak jacket, pauses at his desk...
SEBASTIAN
Strip mall get approved?
JOHN
Riveting planning commission vote.
Knuckle-biter. 8 to 1.
SEBASTIAN
You up for a beer?
JOHN
Can't, I gotta finish the column.
Maybe tomorrow?
SEBASTIAN
Can't, I'll be in L.A. Part of that
drug piece I'm doing--
JOHN
Right. Another time then.
John watches him move off, a secretary giving Sebastian a big
smile as he passes. John sits there another moment, looks at
his desk. A photo of him and Jenny. One of Marley with a flip
flop in his mouth.
John chuckles to himself, then deletes the column, starts
typing a new one.
64 INT. ARNIE'S OFFICE - LATER 64
John sits anxiously across from Arnie who sits at his desk
reading. The editor's expression is grim as he looks up at
John.
JOHN
I'm really sorry, I'll go back and do
the zoning piece--
ARNIE
The hell you sorry for? It's
hilarious.
John sits back down, looks at Arnie. See, the thing is,
Arnie's face doesn't say "hilarious," but...
Shooting Draft 42.
MARLEY & ME 64
64 CONTINUED:
ARNIE (CONT'D)
I loved it. Getting kicked out of
obedience school, the humping, the
"Great Escape," all of it. Hysterical.
Again, Arnie's face remains dead serious as he passes the
paper back to John.
ARNIE (CONT'D)
Run it. As is.
JOHN
Thank you, sir.
John starts out of the office.
ARNIE
Hey, Gorgan...
(THEN)
Tell him not to feel bad. Sooner or
later, we all lose our balls.
JOHN
I'll be sure to pass that on.
65
65 EXT. CUBAN RESTAURANT - PATIO - NIGHT
Live music, a sexy vibe. John and Jenny sit outside in the
hot Florida night. Dinner over, John raises his glass...
JOHN
To two years.
JENNY
That was fast.
JOHN
Good, though, right?
JENNY
Really good.
He lifts out of his chair and kisses her, a long one.
JOHN
So. What's next?
JENNY
I was thinking desert.
JOHN
No, I mean on your list.
43.
65
65 CONTINUED:
JENNY
My list?
JOHN
ed,
Remember, when we first got marri
you had this whole checklist, with like
the game plan.
JENNY
Right...
JOHN
So what came next?
JENNY
Let's see... a new car maybe?
JOHN
afterthat?
We can do that. What was
JENNY
(BEAT)
You sure you wanna know?
JOHN
Yeah.
JENNY
well, it was between a new roof and a
baby.
He studies her for a long moment, then...
JOHN
I can probably live with a few leaks.
JENNY
Really? Because a leak can turn into
something bigger... and that can be a
big responsibility.
JOHN
I know.
JENNY
I was just thinking that we might want
everything fixed before we went to the
next step.
JOHN
Well, we've already fixed Marley.
Literally.
(CONTINU ED)
44.
Marley & He Shooting Draft 65
65 CONTINUED: (2)
JENNY
You're serious about this?
JOHN
I think so.
JENNY t an
And you know we're not talking abou
actual roof here.
JOHN
Yeah, I got that.
She looks back at him, finally nods. They are. Then..
JENNY
Okay. Maybe, instead of tying to have
a baby, we should stop trying to not
have one.
JOHN
If I'm following you correctly -- and I
think I am -- this is the part where we
go home and get it on, right?
JENNY
Bingo.
66
66 INT. BEDROOM - DAY
him.
As Jenny pushes John back onto the bed, starts kissing
Things getting hot and heavy quickly. As they kiss...
JENNY
Honey?
JOHN
Yeah...
JENNY
Did you eat some kibble?
JOHN
What?
And now they part and we see MARLEY'S HUGE FACE RESTING ON
THE SIDE OF THE BED, watching, panting up a storm.
JOHN (CONT'D)
Marley-- get out of here!
45-
SHOOTING DRAFT
MARLEY & ME 66
66 CONTINUED:
JENNY
KNOW
it's fine, he's a dog, he doesn't
what he's looking at.
JOHN
RESENTS
Oh, he knows, and trust me, he
the hell out of me right now. Go on,
Marley! Get out!
But Marley jumps up on the bed, tries to climb on both of
THEM--
JENNY
Marley!
And now they both start laughing as the dog tries to lick
their faces...
67
67 INT. ARNIE'S OFFICE - DAY
Silence. Arnie reads John's column, his face dead serious.
ARNIE
This is even funnier than the last one.
JOHN
Thank you, sir.
ARNIE
You're good, Gorgan. And not just the
dog stuff. The piece on the women of
Boca last week. What'd you call them?
JOHN
Boccahontis.
ARNIE
Hilarious.
John nods, starts for the door...
ARNIE (CONT'D)
Is it true what you wrote? You and the
wife are trying to have a kid?
JOHN
Well, we're not really trying.
ARNIE
How's that work?
JOHN
Excuse me?
46.
SHOOTING DRAFT
MARLEY & ME 67
67 CONTINUED:
ARNIE
Are you having sex?
JOHN
Yes.
ARNIE
ant?
With the intention of getting pregn
JOHN
i guess.
ARNIE
Congratulations. You're trying.
John just stands there. Arnie looks back at him.
ARNIE (CONT'D)
I assume you've thought this through?
JOHN
Yeah, I mean...
(THEN)
.yeah.
68
68 INT. SUN-SENTINAL OFFICE - DAY
desk.
John walks out of the office, pensive, sits down at his
His PHONE RINGS.
JOHN
Grogan.
69
69 INT. 345 CHURCHILL ROAD - SAME
Jenny on the phone, looking at a dry erase calendar.
JENNY
I just thought I'd let you know that
I'm ovulating.
INTERCUTTING: JOHN & JENNY
JOHN
Oh.
JENNY
Just in case you wanted to come home.
JOHN
QH-
47.
69 CONTINUED: 69
JENNY
Like right now.
70 INT. ELEVATOR - DAY 70
In the f.g., stands a harried thirty-something FATHER with a
screaming INFANT in a Bjorn. John stands just behind the
father who bounces in place trying unsuccessfully to soothe
the baby.
GIRL'S VOICE
Daddy!
And now, another KID, 4-year-old girl, jumps up in and out of
frame...
GIRL
I wanna push the button!
FATHER
Daddy can't lift you right now--
GIRL
(jumps up again)
You said I could push the button!
FATHER
Alright, okay, I'll just--
He tries to pick her up without leaning over...
GIRL
Ow! You're hurting me!
FATHER
Okay, you know what? Never mind, no
button!
A very uncomfortable John now steps forward...
JOHN
You want me to give her a hand?
FATHER
Oh-- would you mind?
John lifts the girl up to the panel. She runs her hands,
from top to button, down the panel, pressing every single
button.
FATHER (CONT'D)
Sarah! Goddammit--
48.
70
70 CONTINUED:
And now the little girl starts bawling in concert with the
baby, while a trapped John backs up into the corner.
71
71 EXT. 345 CHURCHILL ROAD - DAY
John gets out of the car. The young Girl next door gives him
a wave as she starts down the sidewalk with her boyfriend.
JOHN
Hi.
GIRL
Hi.
John watches the young couple go, arms around each other.
72
72 INT. 345 CHURCHILL ROAD - DAY
John enters and is greeted as usual by Marley who jumps on
him.
JOHN
Hey, boy.
(LOOKS AROUND)
Jenny?
JENNY
Out in a sec!
John stands there, Marley looking at him.
JOHN
(to the dog)
So. This is us not trying.
The bathroom door opens and Jenny walks out in a tiny, silky
two-piece thing...
JENNY
Hey, Sailor.
She walks into the bedroom. John looks back at Marley as he
follows her into the bedroom.
JOHN
Catch you later, buddy.
And closes the door on the dog.
73 INT. BAR - NIGHT 73
John and Sebastian sit at the bar.
49.
73 CONTINUED: 73
SEBASTIAN
So the puppy wasn't enough?
JOHN
Well, technically, we're not trying.
But you know Jenny.
SEBASTIAN
But things are good right now, just as
they are, right?
JOHN
Yeah, things are really good.
SEBASTIAN
So why change it up with a kid? I
mean, have you already forgotten my
little cautionary tale...
JOHN
The bomb, right?
SEBASTIAN
Yes. The bomb. And just so we're
clear, the countdown sequence has been
reactivated. By you.
JOHN
Well, it's been a few months and
nothing's happened. Which actually
makes me wonder if--
BARTENDER
Mr. Grogan?
The BARTENDER sets a PHONE down in front of John.
BARTENDER (CONT'D)
Phone call. I loved that thing you did
on your dog watching you and your wife
have sex? Really funny stuff...
JOHN
(EMBARRASSED)
Thanks...
BARTENDER
Seriously, man, your stuff is classic.
JOHN
Well, it's just temporary, but thanks.
John cuts a look at Sebastian, picks up the phone.
50.
73 CONTINUED: (2) 73
JOHN (CONT'D)
Hello.
JENNY (PHONE)
I just wanted to let you know that
there's a naked blonde in your bed.
JOHN
Oh. Why don't you two get started and
I'll be there as soon as I can.
JENNY
Very funny. Can you come home? I'll
make it worth your while.
JOHN
Oh. Alright then. I'll see what I can
do.
He hangs up. Looks at Sebastian.
JOHN (CONT'D)
Uh, I'm sorry, man, but I gotta jam. I
forgot, I had this thing, I gotta deal
WITH--
SEBASTIAN
She's calling you home, isn't she?
JOHN
Yeah. See you later.
John starts out of the bar. Sebastian calls after him.
SEBASTIAN
Tick tick tick!
74
74 INT. 345 CHURCHILL - NIGHT
Romantic Music on the stereo. John comes in, wearily,
absently pets Marley. He goes into the bedroom. The
bathroom door is open. John sits down on the bed.
JOHN
You know, this baby thing. I been
thinking maybe we should take a break.
You know? Obviously, it's not
happening. Maybe that's nature's way
of saying it's not good timing.
No sound from Jenny. He struggles on.
51.
74
74 CONTINUED:
JOHN (CONT'D)
Maybe this is a sign that we're not
ready for this. I mean, have we really
thought this through? Because--
BEHIND
He looks up to see Jenny at the bathroom door. From
her back she brings out a home pregnancy test strip.
JENNY
I'm pregnant.
JOHN
(PAUSE, then)
Great. Wow, that's... great.
JENNY
But you just said
JOHN
Yeah, no, I mean-- okay, this is
definitely awkward now, but...
JENNY
You wanna start over?
JOHN
Can I?
JENNY
By all means.
JOHN
Thank you. Okay, well... I gotta be
honest, I'm a little panicked.
JENNY
Are you panicking because I'm
pregnant... or because you're afraid
I'm going to hit you?
JOHN
Both. It's a twofer thing.
JENNY
Are you scared?
JOHN
No. No. Not at all.
(then, looks at her)
Yeah, yeah I'm pretty scared.
52.
74
74 CONTINUED: (2)
JENNY
(sits down next to him)
Me, too. But we're gonna be okay.
(THEN)
Look at me...
He looks at her. She smiles at him.
JENNY (CONT'D)
We're gonna be okay.
JOHN
(BEAT)
I believe you.
He looks at her stomach, kisses her there...
75
75 INT. ARNIE'S OFFICE - DAY
As John hands Arnie his latest column...
JOHN
That's probably the last one about
Marley for a while. But in about nine
months, I'm gonna have a new subject,
might be just as fun. Jenny's
pregnant.
ARNIE
(FLAT)
I'm very happy for you. Have you
bought her a present?
JOHN
What?
ARNIE
A gift, John. She's carrying a child.
Your child. Don't you think that's
worth something?
JOHN
Uhhh...
ARNIE
You don't wanna make the mistake I did.
Listen to me. There's gonna come a
time, she's fat, she's nauseous, her
ankles are swollen, and she's gonna
look at you, and this is what that look
will mean: "You bastard. You did this
to me. You dick, you ruined me." But
then...
(MORE)
Shooting Draft 53.
MARLEY & ME
75
75 CONTINUED:
ARNIE (CONT'D)
she's gonna remember that little ring,
bracelet, anklet, whatever, that you
bought her, and she's gonna feel
better. Understand?
JOHN
Yeah.
(indicates the door)
Can I just--
ARNIE
Go ahead. There's a jeweler on the
corner. Mention my name.
76
76 INT. 345 CHURCHILL ROAD - NIGHT
Lit with candles. Jenny and John on the couch. She removes
a beautiful gold necklace from a box and holds it up...
JENNY
Oh, John, it's beautiful...
She sets it down on the coffee table, then moves close to
him.
JENNY (CONT'D)
Thank you...
She kisses him.
JOHN
I was just thinking about you when I
walked by the store and saw it in the
window...
JENNY
That is so sweet.
JOHN
Put it on...
She turns back to the coffee table and looks around...
JENNY
Where'd it go? It was right here.
JOHN
You just put it down. It can't have
JUST DISAPPEARED--
And then he stops. Looks off. So does Jenny...
54.
76
76 CONTINUED:
JENNY
Oh God...
Marley stands a few feet away, looking strangely gleeful. A
glint of Gold in the moonlight dangles from his mouth. They
both get up, start to move towards him...
JENNY (CONT'D)
Hey, boy. Come here. Look what I got
for you.
JOHN
We don't want any trouble...
JENNY
Yeah, here's a little something--
(imaginary) treat. Marley
She reaches into her pocket for an moves
looks at her. Is this a trick? He considers. Then he
closer. John tiptoes up behind him, ever so slowly.
JENNY (CONT'D)
I just want to give you a treat and a
big kiss. That's a boy...
Inch by inch, Marley approaches her. But then, behind
Marley, John knocks against a table. Marley freezes.
JOHN
He made me! Go!
Jenny lurches for Marley, going for his collar, and John
leaps at him from behind. Marley skitters away. Ah, a game!
He wags his tail, prances, sticks his rear in the air and his
puts his head to the ground. John feints, tries to maneuver
Marley back into Jenny.
Jenny finally grabs him from behind. John pries open his
mouth. Nothing. He reaches inside, looks up at Jenny.
JOHN (CONT'D)
Uh-oh.
77 EXT. 345 CHURCHILL ROAD - BACKYARD - MORNING
John grimaces in the morning sun as he watches Marley poop.
He takes a hose and squirts at the deposit until it runs into
the lawn. Nothing.
JENNY (O.S.)
Dr. Jay's sending over a laxative.
JOHN
Yay.
78 EXT. 345 CHURCHILL - BACKYARD - DAY
John hoses through Marley's huge orange iridescent poops.
JOHN
Man, you gotta lay off the mangoes.
(A SIGH)
You know, years ago, when I pictured my
life, somehow standing in my backyard
hosing down dog crap in search of my
bride's swallowed and recycled ass-
kissing gift just didn't spring to
mind.
(SUDDENLY EXCITED)
Aha! Jackpot!
79
79 INT. KITCHEN - DAY
Carefully, Jenny lifts the shiny necklace out of a glass
filled with bleach.
JENNY
I think it's shinier than before.
Amazing.
JOHN
Yeah. He did us a favor. And I only
threw up eight times.
JENNY
My hero.
80
80 INT. OB/GYN OFFICE - EXAMINING ROOM - DAY
The NURSE arranges the gown on Jenny.
NURSE
How's that crazy dog of yours?
(smiles at John)
I'm a big fan.
JOHN
Thank you.
NURSE
The heartbeat'll be very fast, like a
little train. That's normal.
Shooting Draft 56.
MARLEY & ME
80
80 CONTINUED:
JOHN
Is it too soon to tell the sex? Not
that I care. He can be any sex he
wants. Male, female, we don't care.
Unambiguous genitalia, if we had our
druthers, but whatever...
NURSE
Shhhhh... hang on...
She listens for a moment with a little microphone hooked up
to a speaker. Nothing.
NURSE (CONT'D)
Sometimes you,can't hear it, depending
on how the baby is lying.- You're ten
weeks, right?
JENNY
Next Monday, yes.
NURSE
Might be a little early for that.
Let's go right to the sonogram. Did
you bring your blank tape?
JOHN
(waving it, smiling)
Ready to roll.
NURSE
Let's get a good picture first. It'll
be on the monitor there.
The Nurse begins running the instrument around Jenny's
stomach. John and Jenny peer at the computer screen.
NURSE (CONT'D)
(NEUTRAL)
Hmmm. This one doesn't seem to be
picking up anything. Excuse me, I'll
be just a minute...
She leaves. Jenny and John smile at each other, but inside
each of them, a small pinpoint of fear starts to expand. We
wait for a few moments. A pressured silence. And then...
smiles down at
DR. SHERMAN comes in, followed by the nurse,
Jenny.
DR. SHERMAN
Hi, guys. Let's have a look at your
baby, shall we?
(MORE)
Shooting Draft 57.
MARLEY & HE
80
80 CONTINUED: (2)
DR. SHERMAN (CONT'D)
(he takes the instrument)
All right, there we go. Good. Now,
look over there. Much better
resolution, right?
Jenny and John, holding hands, look at the computer screen.
They see a sac, which, with a click of the mouse, Dr. Sherman
expands and expands. But it's empty. Jenny tries to smile.
JENNY
Is there anything in there?
DR. SHERMAN
Not what you'd expect to see at ten
weeks.
JENNY
Not quite ten weeks.
Dr. Sherman looks at them directly. Kindly:
DR. SHERMAN
Jenny, I'm sorry, but there's no
heartbeat.
John and Jenny are still, silent.
DR. SHERMAN (CONT'D)
One in six pregnancies ends this way.
it just happens sometimes, that's all.
I'm very sorry. But you're young and
healthy and in a couple of months, you
can try again.
(THEN)
Why don't you come by my office on your
way out and we can talk some more.
He exits. John is still holding the blank videotape. He
tries to hide it from Jenny. He leaves. Jenny and John look
at each other.
JENNY
How could this happen? What'd I do
wrong?
JOHN
You didn't do anything--
JENNY
I must have. Otherwise, how could I
lose it?
58.
80
80 CONTINUED: (3)
JOHN
Jenny, it's not something you have any
control over. It's like the doctor
said, it just happens--
JENNY
Not to me... I did something wrong. I
know it... I did something wrong. I'm
sorry, John...
JOHN
Don't say that--
JENNY
But I am-- I'm sorry--
JOHN
I don't need sorry. You didn't do
anything!
She turns away and begins to cry. John just sits there,
staring at the videotape in his hands.
Outside in the hall, the door to another examining room opens
and they hear a couple laughing, talking excitedly.
Jenny and John look away from each other, their pain made
even worse.
81
81 INT. CAR - DAY (MOVING)
John is driving Jenny home.
JOHN
In a couple of months, we can try
again. Okay?
Jenny just looks out the window.
82
82 EXT. 345 CHURCHILL - KITCHEN - DAY
John helps Jenny through the kitchen door. Marley follows
them, circles them wildly, then stops, puzzled, as he looks
at them. Jenny goes into the living room; Marley follows
her.
JOHN
You want some tea?
(NO ANSWER)
Hey, you know what I was thinking? We
still have those tickets from your
parents for the honeymoon in Ireland.
We can finally do that.
(MORE)
59.
82 CONTINUED: 82
JOHN (CONT'D)
Take some time off. It'll be fun,
clear our heads, right?
(NO RESPONSE)
Jenny?
No answer. He goes into the living room and stops cold:
JOHN'S POV - JENNY & MARLEY
Jenny sits on the couch. Marley stands at her feet, with his
shoulders between her knees, his big head resting in her lap.
His tail hangs flat between his legs. His eyes are turned up
at her, and he whimpers softly.
Jenny strokes his head a few times and then, with no warning,
buries her face in the thick fur of his neck and begins
sobbing. They stay like that for a moment, Marley statue-
still, Jenny clutching him to her like an oversized doll.
John stands there, watching Marley take care of her. No
words, just being there. A lesson here. Her head down,
Jenny raises one arm up towards John and John goes to the
couch and wraps his arms around both of them. We then...
FADE OUT.
DEBBY (V.O.)
Oh. He's... big.
83 INT. 345 CHURCHILL ROAD - LIVING ROOM - DAY 83
With difficulty, John holds back Marley to protect DEBBY ---
19, glasses, bookish, the house sitter -- from his affection.
JOHN
Yeah. Close to a hundred pounds.
(re: the leash struggle)
He just wants to say hi. He won't hurt
you. Just stand still and be calm.
You're a dog person, right?
DEBBY
well, actually -
JOHN
- Ready?
DEBBY
okay?
John releases Marley who springs on Debby, knocking her back.
Shooting Draft 3106/07 60.
MARLEY & ME
83
83 CONTINUED:
DEBBY (CONT'D)
I'm okay! I'm okay!
JOHN
He's not supposed to do that. You have
to knee him. Anyway, it won't happen
the whole time. Just maybe when you
come home.
(handing her a binder)
This is everything you need to know.
84
84 EXT. 345 CHURCHILL - DAY
John and Jenny lug their suitcases across the front lawn to
the car, Marley running around them. Debby's glancing
through the binder.
JENNY'S VOICE
Debby. Welcome to our home! Marley is
a spirited dog who loves interaction.
We've never left him before but we're
sure he'll behave just as he does when
we're at home.
They kiss him goodbye. Get in the cab and go. Debby runs to
Marley, grabs his leash and struggles with all her might to
hold on to Marley.
85
85 INT. AIRPLANE - DAY
Coach. But this is 1991, and the planes fly half-full. John
N
reads about Ireland in the guide book. Jenny sees a woma
with a child. She smiles. No tears.
JENNY'S VOICE
There are just a few things about
Marley you need to know. He eats three
times a day. If he looks starved, feed
him again. Of course all this food has
to go somewhere.
86
86 EXT. 345 CHURCHILL - BACKYARD - DAY
Debby looks at the piles of orange poop everywhere.
JENNY'S VOICE
Use the red shovel and the blue bucket.
Watch your step. Don't worry about the
color. He likes mangoes.
Marley & He Shooting Draft 61.
87
87 EXT. IRISH COUNTRYSIDE - DAY
John and Jenny enjoy the scenery. Sheep in the road surround
their car. Jenny leans out, laughing, and takes a picture.
JENNY'S VOICE
Marley's ears get a lot of wax buildup.
Once or twice while we're gone, please
use cotton balls and the blue ear-
cleaning stuff to clean them out. Wear
old clothes and try not to breathe.
88
88 INT. 345 CHURCHILL - KITCHEN - NIGHT
Debby is throwing up in her mouth a little as she cleans
Marley's ears. Marley loves it.
JENNY'S VOICE
Marley is an excellent watchdog. And
in this neighborhood, that's a good
thing. You can rest easy at night,
knowing he's on the job.
89
89 INT. 345 CHURCHILL - BEDROOM - NIGHT
Debby, ears plugged, shades over her eyes, weeps in
frustration as Marley HOWLS at the moon.
90
90 EXT. IRISH TOWN - NIGHT
John and Jenny stop at a bed-and-breakfast for the night.
It's raining softly.
JENNY'S VOICE
Thunderstorms are his weak point.
Well, one of his weak points. You can
give him sedatives if you think a storm
is arriving. He doesn't like them, so
push them down into his throat as far
as they go.
91
91 INT. 345 CHURCHILL - NIGHT
DEBBY IS
Marley is tearing through the house, terrified.
chasing him with a bottle of tranquilizers.
92
92 INT. IRISH B & B - NIGHT
An Irish widow, MRS. BUTTERLY, leads them to their room.
Marley & He Shooting Draft 62.
92 CONTINUED: 92
JOHN'S VOICE
We do not allow Marley to get up on any
piece of furniture, chew on anything
except his toys, drink out of the
toilet - keep the lid closed and the
brick on the lid -
93
93 INT. 345 CHURCHILL - BATHROOM - NIGHT
Debby is showering - and then starts SCREAMING. Marley has
stuck his head through the shower curtain and is licking the
water. Debby splashes water at him to make him go away.
Marley, thinking she's playing, scrambles into the tub with
her. She grabs the curtain, and it pops off the curtain
rings one by one as in ",Psycho."
JOHN'S VOICE
- actually, you might want to keep the
bathroom door closed in general.
94
94 INT. 345 CHURCHILL - NIGHT
Debby has run out of the bathroom, a towel hastily wrapped
around her. Marley chases her. He leaps - and returns to
earth with the towel in his mouth. Debby SCREAMS.
95
95 INT. 345 CHURCHILL - NIGHT
Debby is standing on a coffee table, nude, swatting at an
unseen Marley with a bunch of tall artificial flowers.
JOHN'S VOICE
Other than that, enjoy him! Thanks so
much. Love, Jenny and John.
96
96 INT. IRISH BEDROOM - NIGHT
Four walls, four different floral wallpapers. Twin beds.
Above one, the Sacred Heart of Jesus. Above the other, the
Sacred Heart of Mary. Crucifixes everywhere you look, and a
HUGE framed picture of Pope John XXIII.
MRS. BUTTERLY
And if you need anything during the
night, I'm right next door. The
blankets are wool. Good heat in them.
JENNY
Oh, they're electric?
MRS. BUTTERLY
No, not in this house. My brother died
in a fire, God rest him.
(MORE)
63.
96
96 CONTINUED:
MRS. BUTTERLY (CONT'D)
In this room, actually. It's been re-
papered. Good night. God bless.
Jenny sits on the bed. The CREAKING is terrible.
JENNY
Look, I know we haven't had sex
since... you know. But there's no way
we're breaking the streak tonight.
JOHN
No kidding. 'Cause it's not just God
watching. God, his mother...
(indicating next door)
.and apparently his best friend.
97
97 INT. IRISH BEDROOM - LATER
They are in separate beds, staring at the crucifix.
JOHN
It's July, but I think I can see my
breath.
JENNY
I can't feel my toes.
John gets out of his bed and into Jenny's. Much SQUEAKING.
JENNY (CONT'D)
My God. Shhh.
JOHN
It's not the mattress. It's the
shrieks of over-sexed souls in hell.
JENNY
You wanna join them?
He looks at her.
JOHN
Are you sure, because we don't have
to...
JENNY
I can't help myself. Knowing it hasn't
happened in this house in 50 years is a
turn-on.
They roll into each others' arms, the bed squeaking.
64.
97 CONTINUED: 97
JOHN
Maybe she's deaf...
98 INT. IRISH B & B - DAY 98
The next morning. John and Jenny, looking flushed and
relaxed, and slightly abashed, come downstairs. Mrs.
Butterly looks at them sourly. So do the other guests.
JENNY
(TO JOHN)
They heard us.
JOHN
No...
He jumps as Mrs. Butterly slams the teapot on the table.
MRS. BUTTERLY
Tea?
(looks him in the eye)
I'm off to Mass.
Mrs. Butterly leaves. John and Jenny look at the other
guests. They smile bravely.
JOHN
Wow. Any of you hear her bed squeaking
last night? I hope she hits confession
before Mass, that's all I can say.
99 INT. ANOTHER B & B - DAY 99
Another widow, another room, another collection of religious
artifacts. John smiles.
100 INT. A THIRD B & B - NIGHT 100
Jenny sits on the bed, smiles at the NOISE, starts taking off
her shoes. John ushers the Owner out of the room.
101 EXT. CHURCHILL ROAD - DAY 101
John and Jenny pull into the driveway. They see Debby, the
house sitter, on the front steps with her bag packed. She's
tired-looking, beat. She reaches for a pair of crutches.
John gets out of his car, a smile on his face.
JOHN
Hey, Debby. So how was--
-Debby hurls the binder of instructions at him.
65.
101
101 CONTINUED:
DEBBY
There were eleven thunderstorms while
you were away. Eleven! And you were
right. He doesn't like thunderstorms!
JENNY
Okay, yeah, wow. Eleven, huh? That is
a lot.
DEBBY
And those goddamned dog tranquilizers
don't work!
JOHN
Did you give him four at a time?
DEBBY
I mean on humans!
She hobbles to the car, tries to get in with her crutches.
They frustrate her and she ends up beating the ground with
them until she throws them down. She's losing it.
DEBBY (CONT'D)
(as she gets in the car)
And just so you know, I am a dog
person. But that's not a dog! That's
evil with a dog face! That's also
humping your leg! Lose my number!!
And she gets into her car and guns it, splintering the
crutches as she peels out. John and Jenny, watch her go,
turn and look at the front door. Marley's face in the little
square window at the top, peeking out at them.
102 INT. 345 CHURCHILL ROAD - DAY 102
A THUNDERSTORM outside. John sits at his desk, tries to work
while Marley walks in circles. John looks at him...
JOHN
It's only thunder...
John goes back to work. We hear more THUNDER, and Marley
starts howling, knocks over a floor lamp... John looks off
towards the bedroom...
JOHN (CONT'D)
Jenny?! Can you help me out here? I
got twenty minutes to file this column!
We follow John as he gets up from his desk, heads towards the
back bedroom...
66.
102
102 CONTINUED:
JOHN (CONT'D)
Jenny?
We follow him into the room, an anxious Marley close at his
heels. She's not here, he turns around just as she steps out
of the bathroom, smiling...
JENNY
Luck of the Irish...
She holds up a pregnancy test with a clear BLUE line, her
exuberant face lit up by a FLASH OF LIGHTNING. John goes to
hug her, as Marley HOWLS in the b.g., we then...
FADE OUT.
SUPER: "Nine Months Later."
103 INT. 345 CHURCHILL - BEDROOM - NIGHT 103
John and Jenny are asleep. Marley goes through his nighttime
ROUTINE:
He chews through a sock. He drinks out of the toilet. He
works on chewing through the plastic dog food tub. Another
night and he'll be in. He chases a fly.
Finally he goes to his bed on the floor of the bedroom. He
settles himself down to sleep. He yawns, he scratches, he
closes his eyes. He snores. And then -
He wakes up, suddenly alert. He looks over at Jenny. He
gets up, sits by her side of the bed, and waits.
Suddenly Jenny sits up, rests a hand on her stomach.
JENNY
WHOA--
She catches her breath, leans over to John.
JENNY (CONT'D)
John. John, wake up.
JOHN
What?
JENNY
I think it's time.
67.
104
104 INT. BEDROOM - NIGHT
Jenny has finished dressing. Suddenly she yelps in pain,
doubles over. John takes her in his arms.
JOHN
It's okay.
JENNY
Ow!
Suddenly, A GROWL. They turn to see Marley glaring at John.
JOHN
It's okay. I'm not hurting her.
Jenny MOANS again and now Marley's eyes narrow. He takes a
step towards John.
JOHN (CONT'D)
Please don't scream, honey. He'll kill
me.
JENNY
You put the car seat in this weekend,
right? They won't let us take the baby
home without the car seat installed.
JOHN
Like I'd forget that.
105 INT. LIVING ROOM - NIGHT 105
Panicking, John is struggling to get the car seat he forgot
out of the box. He starts beating at the Styrofoam. Marley
barks excitedly. John gets an idea, hands him one end of the
box.
JOHN
Come on, Marley. Help me out here. Do
what you do best...
Unsure, Marley licks the box.
JOHN (CONT'D)
No, don't lick it, eat it! Destroy it!
You can chew through drywall, man! I
know you can do this!
Marley catches on. He starts shredding the box.
68.
106 INT. GARAGE - NIGHT 106
John hurls a suitcase and the partially-assembled, partially-
destroyed car seat into the back seat. He yells:
JOHN
Car seat's in!
107 EXT. 345 CHURCHILL ROAD - NIGHT 107
Jenny is tottering down the walk as John pulls out of the
garage, gets her into the passenger seat.
108 INT. CAR - NIGHT (STATIONARY) 108
JOHN
Ready?
JENNY
Yeah. You?
Marley barks from the back seat. They both turn and look at
him. What's he doing here?
109 INT. 345 CHURCHILL ROAD - NIGHT 109
John opens the front door, drags Marley in. John gives him a
GIANT BONE-SHAPED CHEW TOY...
JOHN
Okay. Here... Stay. Be good. Please,
God. No storms. Stay.
110 INT. 345 CHURCHILL ROAD - MORNING 110
The chew toy now almost completely gone. Marley sleeps
beside it as we hear A KEY IN THE LOCK and he gets to his
feet, greets John as he comes through the door.
JOHN
Hey, boy.
111 EXT. BACKYARD - MORNING 111
As John let's Marley out.
112 INT. KITCHEN - MORNING 112
As John sets down a bowl of food, crouches down as Marley
starts to eat.
Marley & Me Blue Revisions 3/07/07 69.
112 CONTINUED: 112
JOHN
Here's the thing: in a couple of hours,
we're gonna bring the baby home. And
you'd be doing me a really big favor if
you didn't freak out.
(stands, sighs)
I'm gonna try and do the same thing.
113 OMITTED 113-
114 INT. 345 CHURCHILL ROAD - MORNING 114
As the sun now streams in through the front windows down onto
Marley, who is sound asleep. We hear A CAR DOOR CLOSE and he
raises his head...
A moment later, THE FRONT DOOR OPENS and John comes in and
Marley greets him, jumps up on his chest.
JOHN
Hey, boy... let's go outside...
115 EXT. BACKYARD - MORNING 115
As Marley relieves himself, John yawning in the b.g.
116 INT. BEDROOM - MORNING 116
As Jenny unpacks her suitcase. Marley bounds into the room
and greets her.
JENNY
Hello, Marley...
She crouches down, gives him a kiss, rubs his back. And
that's when we hear a small, birdlike chirp and the dog
freezes. Where'd that come from?
We hear the coo again and this time Marley lifts one paw in
the air like a bird dog, and points in the direction of the
car seat that we now see sitting on the bed...
JOHN
You know what I think would be a
bummer? If he ate the baby...
.Harley & Me Shooting Draft 70.
116
116 CONTINUED:
She moves to the car seat and turns it around so that now we
see the baby for the first time. She smiles at Marley...
JENNY
This is Patrick, Marley.
Jenny unbuckles Patrick from the car seat and crouches down
beside Marley and lets the dog sniff the baby's toes, then up
his legs, finally his diaper which puts Marley into a Pampers
stupor, the Holy Grail of aromas and Marley's eyes glaze...
JENNY (CONT'D)
See, he's not gonna hurt him.
JOHN
No, but I'm gonna have to put a lock on
the diaper pail.
117 EXT. 345 CHURCHILL - DAY 117
Garbage day, and the trash piled outside the Grogan house
testifies to the change inside. Empty cartons of diapers,
the packaging from a crib, a stroller, the car seats, the
Pack'n'Play...
118 INT. 345 CHURCHILL - DAY 118
Jenny tries to watch the baby, now crawling around on the
floor and file her column over the phone at the same time.
JENNY
I have the quote right here--
Patrick crawls over Marley, who's supremely patient as
Patrick takes a fistful of his eye.
JENNY (CONT'D)
Well, have legal call them again and
get a release for it. They told me it
was on the record-- Marley-- Patrick,
that's his eye-- No, not you, Karla,
just get the release. I'll call you
back.
(HANGS UP)
Be gentle, Patrick!
Jenny leans back in her chair, rubs her face. Then...
JENNY (CONT'D)
(GETS UP)
Laundry.
71.
119
119 EXT. PARK - DAY
John sits on a bench, Marley at his feet reading "What to
Expect in the First Year." He takes a breath, looks up,
watches a COUPLE make out on a blanket.
120
120 INT. KITCHEN - MORNING
The baby in his high chair. Jenny sets a few cheerios on the
tray. Patrick picks them up and drops them, we follow them
down...
THE FLOOR
To where Marley waits, eagerly vacuuming up the cereal. It
continues to RAIN CHEERIOS and we then BOOM BACK UP and see
that Patrick is now eight months old, laughing as he throws
the cereal onto the floor...
121 EXT. BACKYARD - NIGHT 121
John stands there letting Marley out. He looks back at the
house, watches Jenny through the window as she sets Patrick
down in his crib, shuts the light out.
122 INT. 345 CHURCHILL - NIGHT 122
They're both working at their desks. Jenny looks up from her
computer.
JENNY
I need to go in tomorrow for a few
hours, see my editor. Think you can
watch the baby for me?
JOHN
Sure.
John looks around the room. The place is a disaster area.
JOHN (CONT'D)
Remember us?
JENNY
You mean, those younger, skinnier
better looking people? Yeah, I think I
remember them. Vaguely.
JOHN
Well, I miss them.
He turns back to his work. She looks at him, sets her pad
aside, comes up behind him, puts her arms around him.
72.
122 CONTINUED: 122
JENNY
They're still here.
He looks up at their reflection in the window, not so sure.
123 INT. BEDROOM - NIGHT 123
John and Jenny now asleep on opposite sides of the bed. On
the floor beside John, Marley lifts his head and GROWLS. We
then hear a piercing SCREAM coming from outside. The dog is
already out of the room.
John sits up, immediately starts to get out of bed...
JOHN
MARLEY-
JENNY
Honey, don't go out there.
JOHN
Stay here. Call the police.
124 INT. LIVING ROOM - SAME 124
Marley's at the door growling as John, in his boxer shorts,
grabs the dog by the choke chain and opens the door. We hear
another SCREAM coming from a couple houses down and Marley
breaks through the screen, pulling John with him...
125 EXT. 345 CHURCHILL ROAD - SPA 125
As other lights come on, NEIGHBORS start to come out onto the
street. John runs to where we see THE TEENAGE GIRL NEXT DOOR
bent over, sobbing, in her driveway beside her car, driver's
door still open. John lets go of Marley and hurries to her.
GIRL
He said not to scream or he'd stab me,
but I screamed...
And John sees the blood on her shirt. He takes hold of her.
JOHN
Okay okay okay, I've got you...
(THEN)
Where's your mom?
GIRL
At work...
JOHN
Jenny'll call her...
73.
125
125 CONTINUED:
Marley sniffs at the ground, growling more and more
intensely. We hear SHOUTING, "He went that way" as several
neighbors take off running. Marley lifts his head and he,
too, bolts into the night---
JOHN (CONT'D)
Marley! NO!
But he's gone and John has to stay with the girl. We hear
SIRENS as she slides down the car and sits down on the
ground. John sits down beside her, holding onto her...
JOHN (CONT'D)
All this time we've been living here, I
never got your name.
GIRL
Lisa.
JOHN
Well, you're gonna be alright, Lisa,
the police are on the way...
John looks off, wondering where Marley is...
126 EXT. 345 CHURCHILL ROAD - LATER 126
A crime scene. Jenny, clutching the baby, stands on the porch
watching as an AMBULANCE pulls away. John, now in shorts and
a T-shirt, comes jogging up the walk.
JOHN
I can't find him anywhere.
JENNY
Maybe we should get in the car, drive
around.
JOHN
I'll get the keys...
John's coming into the house when a police cruiser pulls to
the curb in front of the house. A POLICEMAN gets out of the
driver's side, then opens the back and leads Marley out. He
bounds up the walk to the two of them who greet him...
JENNY
Marley!
JOHN
Where were you?
74.
126 CONTINUED: 126
OFFICER
We found him outside the 76 station on
Radford. He had the guy cornered in the
men's room.
JENNY
So you caught the guy?
OFFICER
NO--
(INDICATES MARLEY)
jig caught the guy. He also gnawed the
barrel of my shotgun, and ate half my
radio mic.
They look at Marley wagging his tail, panting.
OFFICER (CONT'D)
Anyway, the neighbors all said he
belonged here, but none of them wanted
to drive him, so...
JOHN
Thanks for bringing him home.
OFFICER
Helluva dog.
John nods as The Officer heads back to his car. Jenny
crouches down and gives Marley a big hug and a back rub...
JENNY
My hero.
127 EXT. BOCA RATON HOUSE - DAY 127
An upscale, newer money neighborhood. An OPEN HOUSE sign out
front. John pulls up. He opens the door, holds up a hand to
Marley who sits in the back--
JOHN
Stay.
--and starts to unhook Patrick from his car seat. Marley
bolts out of the car and heads straight for the house...
JOHN (CONT'D)
Marley!
75.
128 INT. BOCA RATON HOUSE - DAY 128
A REALTOR is showing a COUPLE around the large, empty, new
house. She points out the designer kitchen that looks out
onto the patio and pool, a huge yellow lab now leaping in.
A moment later, we see John, clutching Patrick, enter the
backyard, try to haul Marley out of the pool. He gives up,
heads for the house, opens the back door and peers inside.
JOHN
Hi.
The Realtor smiles awkwardly at him.
JOHN (CONT'D)
Can I see a set-up, please?
REALTOR
Certainly.
(looks at the baby)
First home?
JOHN
No, we live up in West Palm, over on
Churchill?
REALTOR
Ooooh. Well, I think you'd find this
neighborhood to be quite a pleasant
change.
And now Marley bolts past him into the house, tracking wet
footprints all over the floor, jumps up onto the REALTOR.
REALTOR (CONT'D)
Oh... my... hello...
JOHN
Hey, who's dog is that?
129 INT. 345 CHURCHILL ROAD - DAY 129
John enters, carrying Patrick, supplies to fix the screen.
JOHN
Jenny?
A wet Marley bounds into the house, heads for the back. John
follows.
76.
130
130 INT. BATHROOM - SAME
THE
Jenny is crouched on the floor when John appears in
doorway.
JOHN
Hey. You alright?
She stands up, smiles the best she can.
JENNY
I'm fine. Where you guys been?
JOHN
I wanna show you something.
JENNY
What?
JOHN
(hands her the set up)
A house.
(before she can react)
It's a little pricey, but I think we
can do it.
JENNY
John, I know we've talked about it, but
I'm not sure this is the right time.
JOHN
And when would the right time be, Jen?
After one of us gets stabbed in the
driveway?
JENNY
JOHN--
JOHN
C'mon, honey, we're cramped in here.
This was supposed to be our three-year
house, remember?
JENNY
I know, but we can't afford to buy a
new one.
JOHN
Sure, we can. With both our salaries--
JENNY
Yeah, about that... I don't think I'm
gonna be able to keep working.
(MORE)
77.
130
130 CONTINUED:
JENNY (CONT'D)
(THEN)
I'm pregnant.
JOHN
What? Are you sure?
She steps away, revealing the counter where FOUR PREGNANCY
TESTS are lined up, all with the same result: Positive.
JENNY
Very.
131 INT. SUN-SENTINAL OFFICE - DAY 131
John sits with Sebastian at his desk.
SEBASTIAN
Already? I mean, how old's the one you
got?
JOHN
About eight months.
SEBASTIAN
Jesus. Haven't you heard of birth
control?
JOHN
Yeah, well, sometimes it doesn't work.
You know what else doesn't work? The
one about how "A dog will stop your
wife's biological clock."
SEBASTIAN
Hey, I'm not the one, keeps getting her
pregnant.
John gives him a look, sees Arnie heading into his office,
takes a breath and gets to his feet.
JOHN
Wish me luck.
SEBASTIAN
I'm sure he'll give you the raise.
JOHN
How do you know?
SEBASTIAN
He always gives me one.
John just shakes his head, starts for Arnie's office.
78.
132
132 INT. ARNIE'S OFFICE - DAY
John sits across from Arnie.
ARNIE
Why should I do this, why are you worth
it?
JOHN
Because I'm doing a good job?
ARNIE
Are you asking me?
JOHN
Well, since I took over, the column has
doubled in readership...
ARNIE
So you are doing a good job.
JOHN
Yes, sir.
ARNIE
So why not make it permanent?
JOHN
You mean, like forever?
ARNIE
That's what the word "forever" means.
Yes.
(THEN)
John, you know how many yo yo's in the
other room would kill to have their own
column? You took a piece of crap About
Towner and turned it into something
fresh.
(SITS BACK)
I hate to break it to you, son, but
you're a good columnist.
JOHN
I just had this idea about myself, you
know, that I was a reporter.
ARNIE
Yeah, well sometimes life comes up with
a better idea. Tell you what. You
make it a daily column and I'll double
your salary. How's that?
79.
133 EXT. 345 CHURCHILL ROAD - DAY 133
A MOVING VAN is parked out front. Marley runs back and forth
as the MOVERS load up the truck, John and and a very pregnant
Jenny supervising. John sees LISA, the girl next door, as she
comes out of her house. She walks over to him.
JOHN
Hey, Lisa.
LISA
Hi.
(THEN)
You're leaving.
JOHN
Yeah.
LISA
well, I don't blame you. I just
thought I'd come over and say--
But Marley comes running over and she crouches down to greet
him. She hugs him a while...
LISA (CONT'D)
I'm gonna miss you.
John watches as she holds on to him a bit longer, thanking
him as well. John turns away, starts back for the van to
give her a moment. She stands up.
LISA (CONT'D)
Where you moving to?
JOHN
Boca.
LISA
Huh.
JOHN
Huh... what?
LISA
Nothing. I just... never pictured, you
know, a guy like you moving to Boca.
JOHN
A guy like me?
LISA
Yeah, you know, young, cool, whatever.
80.
133 CONTINUED: 133
JOHN
So you think I'm young and cool. And
you're not just saying that because I
saved your life?
LISA
Actually, a paramedic named Josh saved
my life.
JOHN
Right. Well, take care, Lisa. Oh,
WAIT--
He reaches into a moving box, pulls out a chewed-up black
Converse.
JOHN (CONT'D)
I believe this belongs to you.
LISA
Thanks. I'll have to chew up the other
one to make it match.
(extends her hand)
Have fun down there.
JOHN
Yeah. It's gonna be great.
134 EXT. BOCA RATON HOUSE - NIGHT 134
Still beautiful, but now we hear the sound of a BABY WAILING
OVER...
135 INT. BOCA RATON HOUSE - NIGHT 135
This is the elegant kitchen we saw, bare and uninhabited,
several scenes ago. Now it's full of the clutter of the
Grogans' life. The new baby, CONOR is screaming. We follow
Jenny through the new house asshetries to soothe him.
JENNY
Shhh, honey. Come on.
John follows now...
JOHN
Is he wet?
JENNY
No. And I can't get a burp out of him.
I think it's colic.
81.
135 CONTINUED: 135
JOHN
Want me to drive him?
JENNY
We can't do that every night.
From the other room, we HEAR Patrick CRYING, "Mommy!"
JENNY (CONT'D)
Oh, Jesus.
JOHN
I'll do the washer.
136 INT. LAUNDRY ROOM - NIGHT 136
John sitting on the washer with his WAILING BABY. Not fun.
John looks to where Marley lies in the corner, watching.
JOHN
Any ideas?
137 INT. KITCHEN - DAY 137
John is opening the cupboards, getting cereal and yogurt into
a bowl for Patrick. Jenny enters with a fussing Conor on her
shoulder...
JENNY
Can you take him? I just need a minute
to myself.
John takes the baby and instantly Conor starts crying louder.
JOHN
Happens every time.
JENNY
You just need to spend more time with
him.
138 INT. CONOR'S BEDROOM - DAY 138
John puts Conor on the changing table, unbuttons his onesie,
checks his diaper. It's wet; he starts changing him. Conor
cries throughout. Jenny enters.
JENNY
It's okay, I'll do it.
82.
138
138 CONTINUED:
JOHN
I'm doing it! It's fine! You tell me
to spend more time with him, I do it,
and then you take over because I'm not
doing it right.
JENNY
I don't want you changing him when
you're mad.
JOHN
I'm not mad!
He hears himself, lets her change the baby. She takes him,
sits down with him in a rocking chair, tries to nurse him...
JENNY
Conor, come on... Conor, please...
She finally stops trying, rocks the chair, looks helplessly
at John.
JENNY (CONT'D)
I don't know what's wrong with me.
Mothers are supposed to be able to give
their baby everything.
JOHN
He's just colicky, Jen. He'll grow out
of it.
JENNY
Okay, here's an idea, you stay here and
I'll go to work while he grows out of
it.
He holds up his hands, what does he say to that. She looks
up at him a moment.
JENNY (CONT'D)
I'm just tired, alright? Go on.
She then resumes trying to nurse the baby. He walks out of
the room. She rocks back and forth, looks up with a dark
expression as she hears his CAR START.
ARNIE (V.0.)
It's post partum depression...
83.
139 INT. SUN-SENTINAL OFFICE - DAY 139
John sits on a stool in front of'a portable SCREEN while a
pretty female PHOTOGRAPHER adjusts her lights. Arnie sits
nearby on a desk watching the portrait...
ARNIE
Her hormones are all on tilt and she's
depressed. It happens. After my
fourth kid was born, I'd wake up, find
my wife just staring at me with a
mallet in her hand. I thought she was
gonna kill me in my sleep. I still
do...
(THEN)
Did you get her the gift?
JOHN
Yeah.
ARNIE
Huh. That usually works.
Arnie gets off the desk, says to the Photographer:
ARNIE (CONT'D)
Alright, Janice, make him look pretty.
The man's an official columnist now.
Arnie moves off and the photographer looks up from her camera
and smiles at John. He smiles back. She keeps smiling... so
does he... she finally indicates his hair...
PHOTOGRAPHER
You have a Barney sticker in your--
JOHN
Oh-- thanks.
He rakes his fingers through his hair, grabs the offending
sticker, looks at her...
JOHN (CONT'D)
I must look like hell... I don't think
I've had a full night sleep in two
months.
PHOTOGRAPHER
Stress?
84.
139 CONTINUED: 139
JOHN
Kids. I got one with colic, and
another, can't make it through the
night without coming into my room every
two hours.
PHOTOGRAPHER
Well, I think you're holding up great.
You look cute.
JOHN
Really?
PHOTOGRAPHER
Yeah, like a cute, exhausted Dad. It's
adorable.
John just nods stupidly, the dagger so deep in his heart,
he'll never reach it. She smiles at him.
PHOTOGRAPHER (CONT'D)
You certainly look a lot better than
Jerry ever looked. I tried to get him
to take a new picture, but he liked the
one they took the day he started the
column, nineteen years ago.
JOHN
Nineteen years, huh...
And just when he thought one dagger was brutal enough, his
expression goes really pensive. And on that look, we see a
FLASH as she takes his picture and go right to:
140 EXT. BOCA RATON HOUSE - NIGHT 140
John pulls into his driveway, turns off the car and just sits
there.
141 INT. JOHN'S CAR - SAME 141
As John looks at the house... the windows all lit up. Inside
Jenny moves about with the baby over her shoulder as Patrick
chases Marley around the room. John sits in the car, unable
to move, just watching the chaos in the window.
Marley jumps up against the glass, stands on his hind legs,
paws to the window and looks out. He barks and now Jenny
comes up behind him, hauls him off the window and now sees
John sitting in the car. She gives him a look that says
"What're you doing? Get in here!"
John quickly gets out of the car...
85.
142 INT. KITCHEN - NIGHT 142
John and Jenny eat dinner in exhausted silence. Patrick
throws his food on the floor where a happy Marley waits.
Conor starts crying O.S. and Jenny gets up like a robot.
JOHN
I'll get him.
John leaves the room. Jenny sits there.
143 INT. JOHN & JENNY'S BEDROOM - NIGHT 143
John and Jenny are in bed asleep. Patrick comes into their
room.
PATRICK
Mommy?
Jenny wakes up on autopilot.
JENNY
Okay, honey, let's go back to bed.
She leads him out of the room. And a second later Conor
starts crying. John lies there a moment, then gets up.
144 INT. CONOR'S ROOM - NIGHT 144
Through the doorway, Jenny, her back to us, gently bounces
Conor on her shoulder. John moves into FRAME...
JOHN
Jen, you okay?
REVERSE - ON JENNY
She's crying, her back to John who's now in the b.g. A
moment, then...
JENNY
I'm fine.
145 INT. KITCHEN - MORNING 145
John comes into the kitchen just as Jenny takes a chewed copy
of "Good-night, Moon" from Marley's mouth...
JENNY
You ruined it! Bad dog!
She leaves the room and John looks at the dog.
86.
145
145 CONTINUED:
JOHN
You just had to eat the book? What,
have you got some kind of death wish?
I'm telling you, you better chill, or
she'll kill you. Right after she kills
me.
146
146 EXT. GROCERY STORE - DAY
As Jenny loads up the back of the car with bags of groceries.
Patrick, sitting in the cart, looks off and points--
PATRICK
Look!
Jenny turns and sees A BUS, with John's picture on the side,
an advertisement for his column. She watches it pass.
PATRICK (CONT'D)
Daddy!
JENNY
Uh-huh. I see him.
And she goes back to loading the car.
147
147 INT. BOCA RATON HOUSE - CONOR'S ROOM - DAY
As Jenny gently sets a sleeping Conor in his crib. She
quietly backs out of the room and shuts the door.
148 INT. HALLWAY - SAME 148
As she peers in on Patrick, also napping in his room.
149 INT. JOHN & JENNY'S BEDROOM - DAY 149
As Jenny comes in, Marley following and sits down heavily on
the bed. She looks at Marley as he lays down beside the bed.
JENNY
Stay.
She now lays down and closes her eyes. A moment of peace.
And then, somewhere in the distance we hear a faint BEEP BEEP
BEEP as some truck backs up. Marley lifts his head, perks up
his ears and listens. Please don't bark, dog. Please don't
bark. BEEP BEEP- And Marley BARKS, bolts out of the room...
Jenny opens her eyes with a start as Marley runs barking
through the house, we hear something CRASH and break O.S.
87.
149
149 CONTINUED:
And now Conor's crying.
150
150 INT. LIVING ROOM - DAY
As Marley jumps up against the window and peers out. Jenny
comes into the room, sees a lamp on its side, a cushion torn
open where Marley now stands. she grabs him by the collar--
JENNY
Why do you do this?! Why do you wreck
everything! Why?!!
She hauls her hand back to hit him, but hesitates, and just
shoves him away from her and storms into the other room for
Conor.
151
151 EXT. BOCA RATON HOUSE - EVENING
As John pulls up, gets out of his car. We hear Marley
barking in the garage.
152
152 INT. LIVING ROOM - EVENING
As John comes in, sees Jenny sitting there on the couch.
JOHN
Why's Marley out in the--
JENNY
I want that dog out of here.
JOHN
Okay. I'll take him out.
She looks up at him.
JENNY
I want you to get him out of here and
keep him out of here.
JOHN
What'd he do--
JENNY
I mean it, John. I want him gone. I
want him gone for good.
153
153 INT. SUN-SENTINEL OFFICES - DAY
SEES THE
A sad John posts a "DOG FOR SALE" sign. A CO-WORKER
sign and smiles.
88.
153
153 CONTINUED:
CO-WORKER
That the dog in your column? Obed ience
school? Necklace in the poop? Good
luck.
PUTS
John watches the guy walk off, scribbles a new
it up. This one reads "E F D TO GOOD HOME."
comes up to John.
SEBASTIAN
You giving up the dog? i thought yo u
loved that thing.
JOHN
Jenny wants him out.
SEBASTIAN
That's harsh, man.
JOHN
I don't know what else to do. She's
really unhappy. Maybe the dog is just
one too many things.
SEBASTIAN
They're all unhappy. Trust me.
Well... who knows? Maybe you'll get
lucky and nobody'll want him.
John just nods, thinks about that. Sebastian glances around,
then takes John aside.
SEBASTIAN (CONT'D)
Listen, there's something I gotta tell
you.
(THEN)
I'm leaving the paper.
JOHN
What?
SEBASTIAN
I just gave Arnie my notice.
John looks over at Arnie's office, the door's closed.
SEBASTIAN (CONT'D)
He's not too happy about it. He called
me an ungrateful quizzling and threw a
stapler at me.
JOHN
You going over to the Post?
89.
153
153 CONTINUED: (2)
SEBASTIAN
I'm going to New York.
Sebastian smiles. John doesn't move.
SEBASTIAN (CONT'D)
The Gray Lady came courting last week.
(THEN)
Times,
I'm talking about the New York
BUDDY--
JOHN
I know who you're talking about.
SEBASTIAN
You don't seem happy for me.
JOHN
I am. I'm just in shock. I mean, I'm
in Florida because of you. Woodward
and Bernstein. Remember? That was the
idea.
SEBASTIAN
Yeah, that was the idea before you
decided to be the Andy Rooney of South
Florida.
JOHN
I didn't decide to be anything--
SEBASTIAN
Exactly.
Boom. That hurts John. They stand there a moment,
considering each other, then.
SEBASTIAN (CONT'D)
Look, man, you're happy doing your
thing and I'm not trying to piss on
that. I mean it, you're good at it. I
just wanted you to be the first to
know. That's all.
154
154 EXT. LORI'S HOUSE - DAY
The house where John and Jenny bought Marley. Lori, the
breeder, looks at Marley, sitting in the front seat, shakes
her head sadly.
90.
Marley & He Shooting Draft
155
155 EXT. PARK - DAY
As John posts some more flyers around the park. He drops a
flyer and Marley, walking beside him, starts to eat it...
JOHN
Smart boy.
156
156 EXT. FARM - DAY
"BROWARD COUNTY DOG RESCUE." A refuge for dogs. John fills
out a form...
JOHN
THE
Yeah, uh... Monday, then. Give us
weekend.
EMPLOYEE
Up to you.
John looks at the dogs in the back, all of them trying to get
his attention.
157
157 INT. SUN-SENTINAL OFFICE - DAY
John is working at his desk when Arnie drops a few stacks of
letters down.
ARNIE
These are all responses to the column
you wrote last week.
John thinks a moment...
ARNIE (CONT'D)
One where you said you may have to give
the dog away.
JOHN
(looks at the letters)
Oh. I assume they all want me to keep
him.
ARNIE
No. They're all saying they'd take
him.
Arnie moves on and John stares at the letters.
158
158 EXT. BACKYARD - DUSK
John walks around the yard picking up Marley's various toys,
putting them into a box.
91.
158 CONTINUED: 158
Marley follows, jumping up, trying to get the toys back out
of the box. John grabs a frisbee, looks at the dog.
JOHN
You can't lo any more of these, ok ay?
Because they s e 're not gonna keep getting
you more, and I won't be there to look
for them...
He looks at Marley standing there wagging his tail.
JOHN (CONT'D)
You're gonna be fine, alright. I'll
just be different. Maybe e
it'll, b better, nobody poking your
yanking your tail. Who knows? Could
be better.
159 INT. KITCHEN - SAME 159
Jenny's been watching. She stands there thoughtfully as John
puts the frisbee in the box and resumes the hunt for the rest
of Marley's stuff, the dog following him.
160 INT. BEDROOM - NIGHT 1 60
Jenny's sitting on the bed waiting as John comes in.
JOHN
He's all packed up. Patrick will want
to say good-bye, but Conor's too young
TO--
JENNY
You can't do this.
JOHN
What do you mean? Three days ago, you
were pretty clear--
JENNY
I know, but you can't do it. I won't
let you. You can't give away Marley.
JOHN
Okay, wait. I'm lost. You told me you
didn't want him around. What's
happened?
JENNY
The fact that you would have done
something like that, for me, that you
love me that much...
(MORE)
92.
160
160 CONTINUED:
JENNY (CONT'D)
well, that blows me away. And we're
not doing this. It was wrong of me to
ask.
He comes over and sits down beside her.
JOHN
G
Maybe not, maybe Marley is one thin
too many.
JENNY
I got overwhelmed, John. I mean, be.
one tells you how hard it's gonna
JOHN
Which part?
JENNY
All of it. Marriage. Being a parent.
It's the hardest thing in the world and
no one prepares you for that. No one
tells you how much you have to give up.
(THEN)
me.
I gave up so much of what makes me
But I'm not allowed to say that.
People think you're a bad person if you
say that. But it's how I feel
sometimes, and I need you to know that.
JOHN
I'M SORRY--
JENNY
It's not your fault. It's just
something I have to figure out. But
Marley going, that won't fix anything.
JOHN
(nods, then)
Okay.
JENNY
(BEAT)
Okay.
She kisses him on the cheek, then gets up and goes into the
bathroom. He sits on the edge of the bed, staring down the
hall...
HIS POV -MARLEY
to how they've
At the end of the hall, panting, oblivious
both just been spared.
93.
161 EXT. MIZNER PLAZA - DAY 161
John and Jenny and Marley and the two boys stroll. Feels
good to be out as a family again. Marley wants to greet all
the Boca mini-dogs as they are being walked or carried by
their owners. Jenny leans up against John.
JOHN
I made reservations at Sunny's.
Thought we could all sit outside.
JENNY
Sounds perfect.
(takes his arm)
Thank you.
162 EXT. SIDEWALK CAPE - DAY 162
They are seated at an outside table, shaded by a large round
umbrella. John hooks Marley's leash to two of the table legs
as a waiter brings drinks. Jenny holds up her beer.
JENNY
To a perfect day with my boys.
BEHIND THEM
A blonde Boca Trophy wife, with a poodle on a jeweled leash,
shrieks excitedly as she meets up with another woman, same
type, with another small fluffy'dog. The little dogs yip.
CAMERA BOOMS DOWN to underneath the table to Marley who has
spotted the poodles and is now locked and loaded.
ON JOHN AND JENNY
As suddenly their table suddenly leaps away from them and
starts moving down the sidewalk, crashing into other tables,
banging-into waiters with trays, making a terrible NOISE as
it scrapes over the faux Italian paving stones.
The four Grogans sit facing each other across, their drinks
suddenly in their laps.
Marley is pulling the table, like a dog with a sled, towards
the now-terrified small dogs. He is chugging forward with
every ounce of rippling muscle he has.
JENNY (CONT'D)
Marley!
John hurries after the dog; Jenny stays with the boys.
Marley & He Shooting Draft 94.
162 CONTINUED: 162
As Marley-with-table approaches the small dogs, they break
free of their leashes and run. Several innocent bystanders
are knocked off their feet.
There's a florist kiosk in the center of the plaza; Marley-
and-table take out most of the merchandise.
Security guards look around wildly. It's pandemonium, but
Marley is in heaven. He makes a circuit of the entire plaz a,
one poor poodle runs for her life.
Finally, back where Marley started, the terrified toy poodle
leaps into Jenny's arms. Marley tries to brake -
JOHN
Marley, no!
- and suddenly, he is jerked back. John has tackled the
table Marley's dragging. Marley YELPS and lands on his bac k,
then quickly rights himself, tail wagging, the happiest dog
in the world.
Everyone surrounding them on the plaza has frozen silent.
They all stare at Marley and the Grogans. The poodle jumps
out of her arms and runs to its distraught owner. Jenny's
head is in her hands, her shoulders heaving...
JOHN (CONT'D)
Jen, you okay?
(NO ANSWER)
Jenny?
And she slowly looks up, LAUGHING UNCONTROLLABLY, her whole
body racking, tears in her eyes. Her LAUGHTER BECOMES--
--A BABY CRYING and we now go to...
163 INT. DELIVERY ROOM - DAY 163
As a NEWBORN BABY is placed on Jenny's chest...
JENNY
Boys, say hello to Colleen...
We PULL BACK TO REVEAL: Patrick, now six and Conor four,
standing beside the bed with John. They all crowd around
"mom" as the NURSE now takes a picture. On the FLASH, we...
95.
164
164 EXT. BOCA RATON HOUSE - DAY
John and the boys plant flowers in front of the house whilehead up like a
Marley, chained to a post, lies in the shade,
Sphynx, the baby, colleen in a portable bassinet beside him.
Jenny comes outside with some sodas for the boys...
JENNY
John, telephone.
CONOR
Mom, look what we did!
165
165 INT. BOCA RATON HOUSE - KITCHEN - SANE
As John comes inside and picks up the phone.
JOHN
Hello?
166
166 EXT. BOCA RATON HOUSE - DAY
As John comes back out of the house, looking stunned.
JENNY
Who was on the phone?
JOHN
Philadelphia Inquirer.
She looks at him.
JOHN (CONT'D)
They're offering me a job.
(THEN)
As a reporter. I guess the editor was
down here on vacation, read my stuff.
JENNY
What'd you say?
JOHN
I said thank you very much, but I'm
happy where I am. I mean, it's a big
change, Florida to Pennsylvania.
JENNY
Yes, it is.
JOHN
Anyway.
John smiles at her, then goes to his sons...
96.
166
166 CONTINUED:
JOHN (CONT'D)
C'mon, guys, back to work...
She watches as he kneels down beside the boys, resumes
digging alongside them.
167
167 INT. ARNIE'S OFFICE - DAY
John reads through a stack of letters...
JOHN
Well, that's part of the job. To get
reader response.
ARNIE
re?
You notice any recurring themes the
JOHN
Yeah. We've got a lot of cranks in
Broward County.
ARNIE
Yeah. Including y�gu the last couple
months.
(he flips through some)
".. .if he doesn't like it here, he
FROM YOUR
should move"... "more whining
resident malcontent"... "is there
anything good about Florida according
to Mr. Grogan?"
JOHN
Arnie, I'm a commentator. We've got
issues here. Over-crowding, crime,
immigration tensions, runaway
DEVELOPMENT -
ARNIE
Florida hasn't soured, John. You have.
(THEN)
What's wrong?
JOHN
I don't know. Maybe it's turning 40
next week, or maybe...
ARNIE
Maybe what?
JOHN
Maybe I'm sick of my column. I don't
really think I'm all that interesting.
97.
167
167 CONTINUED:
ARNIE
Are you kidding? You're the comic
voice of South Florida's middle class.
You're a national treasure. Well, a
regional treasure. Municipal treasure,
for sure. You're just a little burned
out. Why don't you take a coupweeks
off? Consider it my birthday present.
168
168 EXT. BOCA HOUSE - NIGHT
John pulls into the driveway, gets out.
169
169 INT. BOCA HOUSE - NIGHT
John opens the door. He flicks on the lights and 100 people
shout "Surprise!" There are banners hung from the ceiling,
reading "HAPPY 40TH."
Jenny is standing there, holding Colleen. Conor, aged 5 and
Patrick age 7 run to their father.
JENNY
Happy birthday, honey!
And he kisses Jenny. Hugs the kids. Jenny watches him as he i en t e d , distracted.
shakes hands, hugs their friends, disor
170
170 INT. LAUNDRY ROOM - NIGHT
here.
John , closes
John petsdthe dog, rta es
up , g greets John. k
JOHN
Forty. Jesus Christ...
He looks at Marley a moment, then...
JOHN (CONT'D)
Hey, buddy, you and me are the same
age.
(looks at Marley's face)
You got more grey hair than me,
though...
(THEN)
Mind if I just hang here for a minute?
And sits on the floor, his back against the washing machine.
171
171 INT. BOLA RATON HOUSE - LATER
As Jenny brings in a cake with 40 candles on it. John tries
not to be too taken aback by the blaze.
98.
171
171 CONTINUED:
JOHN
Okay, who wants to help me here? Kids?
Marley, you too.
Jenny squats down with the cake, and John and his kids start
to blow out the candles.
JOHN (CONT'D)
One, two -
And then Marley jumps the gun, takes a huge bite of the cake,
lit candles and all.
JOHN (CONT'D)
- three.
172
172 EXT. BOCA HOUSE - POOL - NIGHT
The guests have gone. John sits in a lounge chair, holding
out a fork so that Marley can lick the cake off of it. Most
of the floating lights have gone out. Jenny comes out.
JENNY
Okay, tell the truth, were you really
surprised?
JOHN
Yeah. Thanks, Jen.
She sits down on his lap...
JENNY
You want your present?
JOHN
Is it what you gave me last year?
Because that was real nice--
She hands him an envelope.
JENNY
Happy Birthday.
He opens it, pulls out an AIRLINE TICKET.
JOHN
A plane ticket?
JENNY
To Philadelphia. So you can talk to
the editor of the inquirer.
99.
172
172 CONTINUED:
JOHN
That was months ago--
JENNY
I called the editor last week. They'd
still like to meet you.
JOHN
Jenny, I couldn't do that, uproot us.
We've got our friends, the schools...
JENNY
First of all, you don't even have the
job yet, it's just an interview.
Second of all, you don't have that many
friends.
JOHN
Thank you. What I was trying to say,
is that our life is here.
JENNY
Baby, I got news for you, our life is
wherever we are. And you're not happy
here anymore, doing that column.
You're restless, John. I feel it. I
feel it when you read Sebastian's
articles every day. And I feel it when
you sit out in the driveway an extra
five minutes before you come in.
(THEN)
Maybe it's time for a change.
JOHN
I'm forty, Jen. Seems kinda late for
that.
JENNY
Not so late.
She stands up in the dark, lifts her dress over her head.
JOHN
What're you doing?
JENNY
We're not old, John. We can still
surprise ourselves.
He sits there stunned as she now dives into the pool. She
surfaces and smiles at him.
100.
172
172 CONTINUED: (2)
JENNY (CONT'D)
Hey. You want your other birthday
present or not?
INTO
John can't get out of his clothes fast enough. He leaps
the pool and swims over to her, kisses her.
JENNY (CONT'D)
We're not old.
And then we hear ANOTHER splash.
JOHN
Uh-oh...
And a moment later Marley's head goes bobbing by.
173
173 INT. SUN-SENTINAL OFFICE - DAY
out of his
As John packs up his desk. Arnie sticks his head
office.
ARNIE
Hey, Gorgan.
John smiles to himself, walks over.
ARNIE (CONT'D)
I just wanted to say good luck up
there.
JOHN
Thank you, sir.
ARNIE
Also, there's a good chance that every
piece of advice I ever gave you, may in
fact be total crap.
JOHN
I appreciate it just the same.
They stand there a moment, awkward. Then...
ARNIE
This would be where a mushier guy would
tell you he's proud of you, give you a
hug, and send you on your way.
JOHN
Really glad you're not that guy, sir.
Arnie nods, goes back into his office and shuts the door.
Shooting Draft 101.
MARLEY & ME
174
174 IN. AIRPLANE - DAY (ON THE TARMAC)
The Grogans are in the back of the plane.
JOHN
Look. There's Marley!
THROUGH THE WINDOW they can see Marley's crate arriving at
the plane on a luggage truck. Marley is asleep, heavily
drugged. Conor starts banging on the window.
CONOR
Hey, Marley! We're up here!
PATRICK
He can't hear you with the engine
going.
JOHN
(aside to Jenny)
Not to mention the tranquilizers. I
think he's already reached his cruising
altitude.
175
175 INT. PLANE - LATER
The engines ROAR up and the stewardess begins her pre-flight
safety demonstration. John watches her, smiling, relieved
they made it this far, when he freezes.
A MUFFLED MOAN is coming from beneath his feet. Clearly it's
Marley. Passengers near them frown.
PASSENGER
is that a dog?
JOHN
Maybe, I don't know.
PATRICK
Marley's Sad. Marley's our dog. He's
with the suitcases.
John smiles weakly at the Passenger.
JOHN
What an imagination, huh?
(MOUTHING IT:)
We don't have a dog.
He makes the crazy sign with his finger, gesturing at
Patrick. The MOANING gets worse. John just smiles tightly.
102.
176 EXT. PENNSYLVANIA COUNTRY ROAD - DAY 176
Fall foliage. Beautiful, picture-perfect countryside. The
Grogan family car winds along the roads. Marley has his head
out the window, tongue wagging...
177 EXT. PENNSYLVANIA HOUSE - DAY 177
A two-story country house, no neighbors visible. Trees,
land, woodpile, the whole country living thing. The Grogans
pile out of the car, look at the house. Marley takes off
running...
JOHN
Marley!
Marley jumps into a pile of leaves, scatters them everywhere,
rolls over onto his back and knocks over a rake, which falls
and breaks a basement window.
JOHN (CONT'D)
And... we're home.
178 INT. PHILADELPHIA INQUIRER - DAY 178
As John is introduced to fellow staff and reporters, most of
them at least ten years younger than he is. He's shown his
desk. John sits down at his cubicle, stares out the window
at the city. His EDITOR, black, John's age, approaches with
a much younger REPORTER...
EDITOR
Hey, John. Settling in okay?
JOHN
I'm fine, thanks.
EDITOR
Good. I want you to meet Billy...
He indicates the twenty-something guy beside him. John and
Billy shake hands.
EDITOR (CONT'D)
Billy's gonna show you the ropes.
BILLY
You're the Florida guy, right? The dog
columns...
JOHN
Well, some of them were, but--
103.
178
178 CONTINUED:
BILLY
Cute stuff. C'mon, I'll show you
around.
179
179 EXT. PENNSYLVANIA HOUSE - BEDROOM - DAY
January. John wakes up. Marley is whimpering at him.
JOHN
What?
And then Conor and Patrick burst into the room.
PATRICK
It's here!
180
180 EXT. PENNSYLVANIA HOUSE - DAY
White everywhere. The family and Marley trudge into the
snow, unused to their boots and snowsuits. Marley jumps
around, barks like he's a puppy again.
181
181 EXT. HILL - DAY
The kids slide down the hill in a toboggan. John is at the
bottom to catch them. Up at the house, Jenny calls...
JENNY
Okay, time for lunch!
JOHN
I'll bring this in. Go on up.
The kids and Marley head up to the house. John drags the
toboggan up the hill. He pauses at the top and looks down at
the toboggan run. He gets on the toboggan.
JENNY
Honey, what're you doing?
JOHN
I can't remember the last time I rode
on a toboggan..
JENNY
Exactly.
He starts sliding down the hill. Marley runs for him as he
builds up speed...
JOHN
Marley, no!
104.
181 CONTINUED: 181
But Marley jumps onto John's lap as they get going...
ON THE TOBOGGAN
Flying down the hill. Marley is much heavier than the kids,
and they sail past the place where the kids stopped, through
the woods, barely missing trees and low-hanging branches,
TOWARDS:
JENNY
John! The creek!
The toboggan bumps over the crest of a small hill and sails
through the air, landing with a crash on the iced-over creek.
John and Marley tumble into a snow bank on the opposite side.
A moment. But then Marley jumps up and wriggles in delight.
John painfully unfolds himself, checks for injuries. Marley
comes up and romps with him.
JOHN
Hey... wanna do it again?
JENNY
John!
182 INT. PENNSYLVANIA HOUSE - NIGHT 182
John shuts off all of the lights, heads upstairs. We follow
him up the stairs. He stops near the top, peers through the
bannister into...
183 PATRICK'S BEDROOM - NIGHT 183
From the low angle of the stairs, Patrick lies on his side,
sleeping. And then we see Marley's head rise and reveal
itself as Marley lifts it to look at John standing there.
He'd been laying there on the bed behind Patrick. He looks
at John, knows he's not supposed to be there, but...
JOHN
That's alright, pal. I won't tell.
(THEN)
We kicked ass down that hill, didn't
we?
John smiles at him and continues up to bed.
184 EXT. COUNTRY ROAD - AFTERNOON 184
Early Spring. The snow has melted. Marley, still as a
statue, sits at the side of the road, waiting. Suddenly, he
stands up and starts to wag his tail.
105.
184
184 CONTINUED:
A moment later, a yellow dot appears on the horizon. As it
gets closer, Marley gets more and more excited as we now see
that the dot is a SCHOOL BUS. It pulls to a stop beside
Marley. Conor and Patrick get off and are greeted by Marley.
PATRICK
Hey, boy.
We HOLD WIDE ON THEIR BACKS as the boys start up the road
towards home, Marley bounding between them, nipping at
Patrick's backpack.
185
185 EXT. PENNSYLVANIA HOUSE - DUSK
John pulls up as the boys now throw a football back and forth
while Marley leaps into the air, trying to intercept it. John
gets out of the car, claps his hands, holds them up...
JOHN
Hit me, I'm open!
Patrick throws the ball to John who catches it, mocks stiff-
arms his way to the front steps with the boys now hanging off
him as he gives the play-by-play...
JOHN (CONT'D)
My God, look at Grogan-- two three-
hundred pound linemen literally hanging
off him, but he won't be denied!
And now Marley jumps on them.
JOHN (CONT'D)
Ohhh, out of nowhere, a brutal hit from
the Strong Safety and the unthinkable
happens... GROGAN GOES DOWN...
And he collapses with the boys at the foot of the. steps,
Marley all over them, licking whatever faces he can get.
Colleen comes out the front door, stands at the top of the
steps...
COLLEEN
Mommy says dinner and take off your
shoes.
JOHN
Alright... c'mon guys...
They all get up, start up the steps. Marley follows, takes
one step when his hind legs buckle. John looks back at him.
106.
185
185 CONTINUED:
JOHN (CONT'D)
You okay, boy? C'mon...
Marley tries the second step and again his legs give out. He
looks up at them...
CONOR
What's wrong with him, Daddy?
PATRICK
(QUICKLY)
Nothing's wrong. He's just tired.
Right, Dad?
John sees the way Patrick is looking at him, knows he's
protecting his little brother.
JOHN
That's right. Football just took it
out of him. C'mon, let's give him a
hand.
And now the three of them go to Marley, help him up the
stairs.
186
186 INT. PHILADELPHIA INQUIRER - EDITOR'S OFFICE - DAY
John sits across from the editor.
JOHN
Too much color.
EDITOR
Yeah, I mean, don't get me wrong, it's
a good piece, but... you're reporting
now, John. I want you to tell the
story, I don't want you to be in the
STORY--
JOHN
I'm pretty sure I don't mention myself--
EDITOR
The point is, I still feel you in
there.
John sits there, thinking about that.
EDITOR (CONT'D)
All I'm saying is: less you, more
facts.
107.
187
187 INT. PENNSYLVANIA HOUSE - NIGHT
Marley snores on the floor while John, Jenny and the kids all
watch a movie together. Suddenly, they all take a whiff, then
wince at once...
CONOR
Marley!
They all begin waving their hands in front of their faces.
JENNY
I think someone needs to go out.
JOHN
(GETS UP)
Come on, boy...
Marley gets to his feet, follows John to the front door.
188
188 EXT. PENNSYLVANIA HOUSE - NIGHT
Rain falls as John opens the door and Marley trots outside.
189
189 INT. PENNSYLVANIA HOUSE - SAME
As John comes back into the room a moment...
JOHN
It's pouring out there...
He grabs his slicker and heads back out...
190
190 EXT. PENNSYLVANIA HOUSE - SAME
As John returns, steps outside, but Marley is nowhere to be
seen. John, claps his hand and whistles...
JOHN
Marley!
Now Jenny appears in the front door.
JENNY
What's wrong?
JOHN
He's not coming.
JENNY
Marley!
John starts off into the dark...
108.
190
190 CONTINUED:
JOHN
He can't be too far...
191
191 EXT. DIRT ROAD - NIGHT
As John trudges through the rain looking for the dog.
192
192 EXT. BARNS - NIGHT
Jenny looks in the barn, the garage...
193
193 EXT. PENNSYLVANIA HOUSE - KITCHEN - NIGHT
She looks at
John comes into the kitchen - without Marley.
him with concern... he start out of the room.
JOHN
He'll show up.
194
194 INT. UPSTAIRS - BOYS BEDROOM - NIGHT
John is tucking the boys in.
JOHN
He's just out exploring. You know how
much he likes the woods.
PATRICK
Bobby says dogs, when they're going to
die, they go away to do it. That's
what his beagle did.
JOHN
And that's true... for beagles. But
not labs like Marley. He's just out
there making trouble somewhere. Don't
worry...
195
195 INT. BEDROOM - NIGHT
John's on the phone to neighbors...
JOHN
Okay. Well, if you see him... thanks.
He hangs up, goes to the window.
JOHN (CONT'D)
I'm gonna get in the car, maybe drive
OVER TO--
(he sees something)
Jenny.
Shooting Draft 109.
MARLEY & ME
196
196 EXT. FRONT LAWN - NIGHT
John and Jenny run to'a tree at the edge of the property.
Marley lies on the ground, in a hollow, hidden from view from
the hill above. His belly is swollen, his face drawn. It's
clear he's very ill.
JOHN
It's okay, boy, it's okay...
197
197 INT. VETERINARY TREATMENT ROOM - NIGHT
John stands with DR. PLATT, a female vet. Marley lies on the
floor in a dog bed, an IV is going into his paw.
DR. PLATT
He's on an IV for fluids and a
sedative.
JOHN
So what happened?
DR. PLATT
His stomach twisted. He ate or drank
something quickly, took in a lot of air
and his stomach flipped. I got a tube
down which let out some of the gas. I
think i untwisted it.
JOHN
So he's okay...
DR. PLATT
For now. But once this happens, it
almost always happens again. And if it
does, there's not gonna be anything I
can do. He's too old for that kind of
surgery.
JOHN
What if it doesn't happen again?
DR. PLATT
More than likely, it will.
JOHN
But what if it doesn't?
DR. PLATT
I just think you should prepare
yourself that he might not make it
through the night.
(MORE)
110.
197
197 CONTINUED:
DR. PLATT (CONT'D)
(THEN)
Maybe one percent of dogs ever survive
THIS--
JOHN
One percent? What's that number based
on?
DR. PLATT
Mr. Grogan--
JOHN
I'll tell you what it's based on:
regular dogs.
(getting worked up)
Lady, we are so far from 'regular", you
have no idea.
(INDICATES MARLEY)
My guy here... He once ate an entire
answering machine, and digested it.
Then went back and ate the phone for
dessert. So don't give me numbers like
"one percent," because you don't know
him. But I do, and I'll see him in the
morning.
We TRACK WITH JOHN as he storms out of the exam room, walks
down the hall, goes through waiting room, then he PASSES US
as he goes out into the dark parking lot, walks to his car
and stops.
We stay BEHIND HIM as he leans with one hand on his car, and
doesn't move.
198
198 INT. KITCHEN - NIGHT
Jenny's sitting at the table looking through a thick album
when John comes in. She looks up at him expectantly.
JOHN
We're just gonna have to wait and see.
If he makes it through the night, I
think we'll be alright.
He notices the album.
JOHN (CONT'D)
What're you looking at?
JENNY
Your old columns. He's in a lot of
'em.
111.
198
198 CONTINUED:
John rotates the album for a better look.
JOHN
You saved these?
JENNY
Every one.
He looks up at her.
JENNY (CONT'D)
Even on the crappiest day, when the
boys were driving me nuts and the
laundry wasn't done and a hundred other
things were hard, I knew I had this.
(taps the book)
Five minutes of you. Sometimes they
were funny and sometimes they were sad,
or silly or whatever, but they were all
you. And for those five minutes, you
made me feel better.
She gets up, comes over to him, leans down and kisses his
head. Then, as she starts out...
JENNY (CONT'D)
You should read them. They're pretty
great.
199
199 EXT. PENNSYLVANIA HOUSE - DAWN
The sun just coming up. We hear A PHONE RING OVER.
200
200 INT. KITCHEN - SANE
As John, his head on the table, asleep, pops up at the sound
of the ring and grabs the phone.
JOHN
Hello?
(listens, then)
Alright. Thank you.
He hangs up, sees Jenny now standing in the doorway, tying
her robe, looking at him anxiously.
JOHN (CONT'D)
He's coming home.
201
201 EXT. PENNSYLVANIA HOUSE - EVENING
As John pulls up. He gets out of the SUV, walks around and
opens the back window and now Marley sits up into view.
112.
201
201 CONTINUED:
COLLEEN (O.S.)
Marley's back!
John opens the tail gate just as the kids come rushing onto
the porch, Marley's tail wagging as he's lifted out of the
car and set on the ground, the kids now surrounding him...
202
202 INT. SEBASTIAN'S APARTMENT - NEW YORK CITY - DAY
Loft. Downtown. Full of unpacked boxes. A mattress on the
floor. Expensive electronics sit atop their cartons. John
follows Sebastian on a "tour."
JOHN
Nice place. How long you been here?
SEBASTIAN
Two years, little more.
Sebastian sees John looking at all of the unpacked boxes.
SEBASTIAN (CONT'D)
I'm in and out of town so much I really
haven't had a chance to settle in. I
hired a decorator, but she and I got
into a thing and it got messy--
JOHN
Right.
SEBASTIAN
Beer?
JOHN
I can't, I still got one more interview
to do.
A
Sebastian opens the fridge revealing nothing but beer and
hunk of Parmesan.
SEBASTIAN
What's the piece again?
JOHN
U.N.
SEBASTIAN
Right, you told me that. So you're
down in Philly now, huh?
JOHN
Just outside. More space for the kids.
113.
202
202 CONTINUED:
SEBASTIAN
Whatta you got, five now?
JOHN
Three. Here's a picture of
everybody...
John pulls a photo from his wallet, hands it to Sebastian.
SEBASTIAN
(NODS)
Jenny's holding up.
JOHN
(ignores the callowness)
Yeah, she's great. And that's Colleen
our youngest...
SEBASTIAN
What's with the ladybug get-up?
JOHN
(smiling at the memory)
Oh, yeah, that's a funny story. She
had done this pageant at her preschool
two weeks before, but she didn't wanna
take off the costume, plus Marley went
ballistic for the antenna which is why
it looks like he's trying to eat her
head.
SEBASTIAN
(FLAT)
Yeah, that is funny.
(returns the photo)
So I was thinking later on maybe Thai?
There's this new place in the meat
Packing District. How's that sound? Be
just like old times.
John stands there a moment, feeling the distance between
them.
JOHN
Uh, well, actually I'm headed back home
later today.
SEBASTIAN
Oh.
JOHN
In fact, I should probably get going...
114.
202
202 CONTINUED: (2)
SEBASTIAN
Alright.
(awkward Man-pat hug)
Good seeing you, man.
JOHN
For sure.
SEBASTIAN
(walking him out)
Oh, hey, be sure to check out the
Delegates Lounge at the U.N... Great
Mojitos, really hot interpreters.
JOHN
Thanks for the tip.
And John goes out the door. Sebastian takes out his
blackberry, dials...
SEBASTIAN
Hey, it's Sea-bass. What're you up to
tonight?
(THEN)
Oh. No, that's cool. Another time
then.
He hangs up, stands there in the middle of his big, empty
apartment a moment. He then dials another number.
SEBASTIAN (CONT'D)
Hey, it's Sea-bass. What's going on?
203
203 EXT. PENNSYLVANIA HOUSE - DAY
As a cab pulls away and John carries his suitcase up onto the
porch.
204
204 INT. PENNSYLVANIA HOUSE - DAY
John enters the house, sets down his suitcase.
JOHN
Hello? Anybody home?
He sees a note ("PICKING UP THE KIDS. J"), and peers into:
THE KITCHEN
Where Marley is up on his hind legs, eating something off the
counter. John puts his keys down, but Marley doesn't react.
John sneaks up behind him. Marley keeps eating the grilled
cheese sandwich off the plate...
115.
204
204 CONTINUED:
JOHN (CONT'D)
Marley? Hey, boy.
Marley looks up briefly as if he heard something, but then
returns to eating. John is right behind him. John reaches
out and touches Marley, and Marley jumps, totally guilty.
Then he turns and greets John.
JOHN (CONT'D)
What's the matter, boy? You didn't
hear me? Huh?
He looks at the dog a moment, thoughtful, then...
JOHN (CONT'D)
Let's go for a walk.
205
205 EXT. HILL - DAY
As John walks Marley off leash up a hill. At one point, John
has to stop and wait for Marley to catch up.
JOHN
Come on, boy, just a little further to
the top...
Marley comes up, panting, eyes wet and happy. John looks at
him, can see how tired he is.
JOHN (CONT'D)
You know what, this is a good spot
right here.
John looks out at the valley below, settles down onto the
damp earth beside Marley.
JOHN (CONT'D)
Let's just sit for a while.
The two of them sit there, looking out at the beautiful
countryside below. John strokes Marley for a moment. Looks
at the grey hair, the tired eyes that now look back at him.
JOHN (CONT'D)
Hey. So... you're gonna tell me,
right? When it's time? Because I
don't wanna make that decision on my
own. So you just let me know when
you're ready, okay?
Marley rests his chin on John's arm.
116.
205
205 CONTINUED:
JOHN (CONT'D)
Okay.
206
206 INT. UPPER HALLWAY - NIGHT
Jenny is at the top of the stairs.
JENNY
Marley?
(turns to John)
Have you seen him?
JOHN
He's not up here.
207
207 INT. LIVING ROOM - NIGHT
A
John and Jenny find Marley lying peacefully in front of the
dying fire.
JOHN
I guess I could move his bed down here.
John sits down beside Marley.
JOHN (CONT'D)
Man. He's always slept with us. Now
he can't even make it upstairs.
JENNY
He looks pretty comfortable to me.
(THEN)
I'll go get his bed.
JOHN
Hey Jen? why don't you grab a blanket
for me, too.
She nods, starts back up the stairs. John grabs a pillow
from the couch and lays down beside Marley.
JOHN (CONT'D)
This is a good spot. I may never sleep
upstairs again.
JENNY (O.S.)
Hey. Scooch over.
He looks up and see that Jenny's brought a blanket. She lies
down with them. John puts his arm around them both.
Marley's tail begins gently pounding the floor.
117.
207
207 CONTINUED:
JENNY (CONT'D)
Just like old times.
THUMP. THUMP.
208
208 INT. PHILADELPHIA INQUIRER - DAY
John sits across from his editor.
JOHN
It'd be twice a week. Six hundred
words.
EDITOR
And what's the subject?
JOHN
Everyday stuff. The stuff we all go
through. But funnier.
EDITOR
I don't get it. I thought you came
here to be a reporter.
JOHN
I did, but I think we both know that
isn't me. I'm a columnist. A good
one.
A SECRETARY sticks her head in the office...
SECRETARY
John-- your wife's on the phone. She
says it's important...
JOHN
I'll be right there.
(to the editor)
Think about it.
209
209 INT. PENNSYLVANIA HOUSE - DAY
Jenny on the phone, looking out into the backyard.
JENNY
I can't get him back inside. He's
lying out there in cold... and he won't
move...
210
210 EXT. PENNSYLVANIA HOUSE - DAY
Late afternoon. John's car pulls up.
118.
211 INT. PENNSYLVANIA HOUSE - DINING ROOM - DAY 211
Jenny and Patrick are sitting on the floor. Marley is lying
on the dining room floor, breathing heavily.
JENNY
Patrick came home and we got him here.
Dr. Platt said if he's comfortable,
leave him here for a while and see.
But he's no better.
John kneels down by Marley, who looks at him but doesn't wag
his tail or lick his hand. He runs his hand over his coat -
then over his stomach, the dog flinches.
JOHN
I'm taking him in.
The kids all come into the room, Colleen carrying a stuffed
sheep.
COLLEEN
Is he sick again?
JOHN
Yeah, he is, honey. But I'm going to
take him to the hospital and they'll
try to make him better.
Conor bends down, nuzzles Marley's face.
CONOR
Get better, Mar.
COLLEEN
You can take Lamby, okay?
(she puts the stuffed animal
next to him)
But don't chew her other ear off.
Patrick leans down, hugs Marley tightly and whispers right in
HIS EAR:
PATRICK
Goodbye.
When he looks up at his father, John can see that Patrick's
crying, that he knows what the other two don't.
212 EXT. VET'S - NIGHT 212
John lifts Marley out of the car. Marley seems a little more
alert.
119.
212
212 CONTINUED:
JOHN
You wanna walk?
He sets him down gingerly. Hesitantly, Marley walks over to
the tree that countless dogs have peed on, sniffs it, then
looks around. John looks around, too. It's a crisp spring
night in Pennsylvania. Takes a breath...
JOHN (CONT'D)
Nice night, huh?
Marley looks around, then looks at John. There's something
in his expression. John nods, knows what he's saying.
JOHN (CONT'D)
Okay, boy.
(as Marley moves close)
Okay.
John, his heart breaking, bends down to carry Marley up the
front steps of the clinic.
213
213 INT. VET WAITING ROOM - LATER
John stands as Dr. Platt comes out...
DR. PLATT
I did everything that worked before.
But no luck. There's still surgery,
BUT HE'S--
JOHN
--not strong enough.
DR. PLATT
There's blood in his stomach. The
lining might be compromised. I don't
know what we'll find if we go in there
anyway.
JOHN
Can you give me a minute? I need to...
I need to call my wife.
214
214 EXT. PARKING LOT - NIGHT
John's on his cell phone...
JOHN
(INTO PHONE)
It's me. It's the stomach thing again.
Nothing's working. They could do
surgery, but...
120.
215
215 INT. PENNSYLVANIA HOUSE - KITCHEN - NIGHT
Jenny listens to John on the phone.
JENNY
I know.
Jenny nods as tears come. They stay on the phone, quiet,
just being with each other. Finally:
JENNY (CONT'D)
I love you, John.
216
216 EXT. PARKING LOT - NIGHT
JOHN
(INTO PHONE)
I love you.
217
217 INT. EXAMINING ROOM - NIGHT
John enters. Marley is on the table, zonked out. Dr. Platt
has put a blanket on the cold metal table so Marley is warm.
DR. PLATT
I'll give you some time.
She goes. John stares down at Marley. Takes the stuffed
lamb out of his pocket, places it under a paw. When John
puts a hand on his flank, Marley's eyes flutter open. His
tail THUMPS gently.
JOHN
Hey, buddy.
He pets Marley's head, runs his hands all over Marley's body.
His coat, still shedding. His tail. He takes up each paw,
each ear, remembering and memorizing at the same time. He
leans down, puts his nose on Marley's neck and breathes him
in. Then he goes around, squats down so he's on Marley's
level. He looks into Marley's eyes.
JOHN (CONT'D)
Listen, you know all that stuff we
always said about you? What a total
pain you are? The world's worst dog?
Well, don't you believe it. Don't
believe it for a minute. You loved us,
every day, no matter what. And that's
a pretty amazing thing.
(he leans in)
(MORE)
121.
217 CONTINUED: 217
JOHN (CONT'D)
Look, I don't know where you're going
from here, but you remember this:
You're a great dog, Marley. You are a
great dog.
218 INT. PENNSYLVANIA HOUSE - BEDROOM - NIGHT 218
In the BEDROOM, Jenny sits on the bed, the phone in her hand,
waiting, we BEGIN PULLING AWAY DOWN THE HALLWAY.
219 INT. CLINIC - NIGHT 219
Dr. Platt is in the room now. John, his hand on one of
Marley's paws, kneels on the ground, looking at Marley,
Marley lays on the table, looking right back at him.
DR. PLATT
He won't feel a thing. He'll just slip
away. Are you ready?
JOHN
(looking at Marley)
We're ready.
Dr. Platt inserts the needle into the I.V. and presses the
plunger.
220 INT. PENNSYLVANIA HOUSE - NIGHT 220
As a pajama-clad Patrick slips a tape into the VCR...
221 INT. CLINIC - NIGHT 221
As we now HOLD ON MARLEY'S EYES, slowly beginning to close.
222 INT. PENNSYLVANIA HOUSE - BEDROOM - NIGHT 222
As Jenny sits vigil by the phone, we CONTINUE PULLING BACK.
223 INT. PENNSYLVANIA HOUSE - NIGHT 223
As Patrick sits alone in the dark living room, his face
illuminated by the TV, as he watches SILENT IMAGES from
Grogan family home videos:
TWO-YEAR-OLD PATRICK rides on Marley's back through the house
at 345 Churchill, young Marley's tail knocking over
everything within range, toddler and dog both joyous.
122.
224
224 INT. CLINIC - NIGHT
As Marley's eyes finally close. The CAMERA drifts to John's
hand, stroking Marley's side. Dr. Platt listens to Marley's
heart and says:
DR. PLATT
He's gone.
FROM ABOVE, the dog on the table, the doctor discreetly going
to the side, and John laying his head next to Marley and
putting his arms around him as we now...
225
225 EXT. PENNSYLVANIA HOUSE - DAY
As the five Grogans walk across the-property. Colleen sits
on John's shoulders. They reach a clearing where we see a
small grave has been dug. John sets Colleen down...
COLLEEN
He's wrapped in his blanket...
JOHN
So he'll be warm.
JENNY
You guys want to read your letters?
COLLEEN
Mine is a picture. Of me and Marley.
And grasshoppers. And ice cream.
Mommy wrote what I said. "Dear Marley.
I will never forget you, forever." And
those are kisses.
JOHN
It's beautiful, honey. He'll like it.
Drop it in. Conor?
Conor reads his piece of paper.
CONOR
"Dear Marley. I loved you all my life.
I hope you like heaven and that there's
lots to chew on. Your brother, Conor
Richard Grogan."
John puts his hand on Conor's shoulder as Conor drops in the
letter into the grave.
JENNY
Patrick? Do you want to say anything?
225
225 CONTINUED:
PATRICK
He knows.
JENNY
I'd like to give him something.
Jenny reaches behind her neck and unclasps the gold necklace
John gave Jenny when she first got pregnant.
JENNY (CONT'D)
This little necklace has been on quite
a journey.
John smiles at her, remembering. So much shared history.
JOHN
Your dad gave this to me to celebrate
the beginning of our family. But you
know what? Our family had already
begun.
She looks into the grave, gently sets the necklace atop the
blanket, lets her hand rest there a moment, then stands up.
JENNY
Good-bye, Clearance Puppy.
DISSOLVE TO:
226 EXT. GRAVE SITE - LATER 226
John puts few big stones on top of the tamped-down earth. He
sits on his haunches beside the grave, looks up at the house
across the yard.
JOHN'S POV - THE HOUSE
All lit up. We see the kids sitting by the fire while Jenny
moves about the kitchen getting dinner ready.
John sits there watching them. watching his family. The
family that both he and Marley grew up in.
He gives the fresh dirt a final, loving pat and then, as the
last bit of sun goes down, he stands up, and heads for home.
FADE OUT
|
