Lesson 21

[Laurie Reilly]

Laurie- Act 4 ,Reaction and facing Dilemma. On this I learned, I had to rethink a lot of the beats of ACT 4 that I wrote in earlier lesson, as now the storyline has changed a bit. All good. New outlines. Etc.

ACT 4

Reaction to the turning point.

INT. MARY-LOU KITCHEN, 1992, LATE NIGHT CONT.

Mary-Lou-45 and a bedraggled Annie-35 are sitting at the counter drinking tea when the phone rings. [Placeholder add cutaways to Erin]

MARY-LOU-45

Hello? Oh hi Erin. How are you sweetie? …. It’s a bit late for you to be up, don’t you have school tomorrow? ….She’s ok, she’s right here with me. Well, let me see.

Mary-Lou-45 holds the phone out to Annie-35.

MARY-LOU-45

She wants to talk to you.

ANNIE-35

(whispers)

I don’t know if I can.

Mary Lou-45 continues to hold the phone out to her. Annie-35 takes a shuddering breath and steels herself. Reluctantly she takes the phone.

ANNIE-35

Hi honey. I’ve been thinking about you and Hunter so much….Oh baby don’t cry…I’m ok, I’m going to be fine… well, I’m not sick like that, it’s not …catching…I’m so sorry Erin, believe me, I want to come home so badly, it’s just best if I stay with Aunt Mary Lou… Well, it may be a bit longer then two weeks…I, I don’t know…but I will call you and Hunter as often as I can. Okay? I need to go now. Take care of your Daddy please. I love love love you so mush.

Annie-35 hangs up the phone quickly and looks at Mary Lou-45.

ANNIE-35

Joe told the kids I was ‘ill’ and couldn’t come home for awhile. That it might not be…safe.

Annie-35 is stunned.

ANNIE-35

She’s never going to look at me the same way.

Annie-35 looks up and sees the look of concern on Mary Lou-45’s face.

INT. MARY-LOU SUNROOM 1992, NEXT DAY

Annie-35 is curled on the sunroom couch writing in a notebook. Mary Lou-45 is talking on the phone in a low voice in the next room. Annie-35 looks to the door, but doesn’t get up to try and listen. The conversation ends and Mary Lou-45 knocks, then enters the sunroom

MARY-LOU-45

Did you get some sleep last night?

ANNIE-35

A little, no dreams.

MARY-LOU-45

Journaling? I find that very helpful.

ANNIE-35

Actually, I’m just writing down favorite recipes so I don’t forget them. It, it distracts me. Did anyone call about my Mother?

MARY-LOU-45

Ah, no, no word from uh, Camarillo about your mom. I have to go in to my office for a few hours. But then I will be back this afternoon and we can come up with a plan. Next steps. How does that sound?

ANNIE-35

A plan? I know the plan. You saw the timeline. I know when I meet Sean. It’s two years from now. I know the exact date and place.

MARY-LOU-45

Ookkkaay. Well, a plan for the next two years then. And I mentioned that therapist to you, remember?

Annie-35 nods woodenly.

MARY-LOU-45

Food in the fridge. I will be back by 1:30, 2:00 at the latest.

She exits the sunroom and then the house. Annie-35 looks down at her notebook. There is a recipe there for Chicken Pot Pie, and on the sides she has doodled Joe, Erin, Hunter, Sean and Maggie. Now she writes *ill* and circles it several times.

She takes the notebook with her and wanders into the kitchen and stops near the phone, thinks, then picks up the phone and punches #69. Nothing. She hangs up the phone.

ANNIE-35

(mutters to herself)

They must not have that yet.

She looks down at her notepad and notices the “*” and gets up again and goes to the phone. This time she punches in *69. The phone boop boops and a number is called. And picked up.

STAFF

Camarillo Hospital, Dr. Richards office, can I help you?

Annie-35 freezes and hangs up.

I/E. ANNIE’S CAR SAN DIEGO FREEWAY 1992, DAY, ONE HOUR LATER

Annie-35 is wearing the same purple track suit as she drives, a small gym bag on the seat next to her.

The sign up ahead gives a choice. North to San Bernadino Mountains. South to LAX.

Annie takes the ramp to the airport.

INT. BOSTON TERMINAL PAY PHONE/ 1992, LATER

Annie-35, still in the purple track suit, is talking on the phone.

ANNIE-35

…I thought you believed me….ok, If you do, then why did you call Dr. Richards? You and Joe were going to do some kind of intervention weren’t you?… I get it. I know how it sounds…I’ve come this far to save Maggie, I can’t take the chance that you two weren’t going to drug me up or have me committed….stop. Just stop. I have to do this. You will see. You will see. Ok, Ok, Of course I forgive you. I will call Joe and the kids and let them know I’m fine. I love you and I will check in every … every once in awhile.

EXT. ANNIE AND JOE’S CABIN, 1994

[superimposed date on screen]

Hunter-10 is kicking a soccer ball around, Erin-12 is slumped in a lounge chair reading a book. Mary-Lou-47 and Joe-37 are talking at a picnic table. Divorce papers are on the table. Joe’s tone is sad.

MARY-LOU-47

I’m sorry Joe, she’s not going to come back.

JOE-37

Have you seen her? Is she better?

MARY-LOU-47

I flew back East last month. She’s as well as can be expected. How are you doing? Really?

JOE-37

Shitty. I mean the kids are wonderful. Erin tries so hard to cook and Hunter tries to make me laugh. It’s just…we all miss her so much.

MARY-LOU-47

Does Annie know your smoking again?

JOE-37

No! And please don’t tell her, she’d be pissed. Well the old Annie would be. And the kids don’t know.

MARY-LOU-47

Eh. Give them some credit. You can smell it under the aftershave. That never works.

Joe shrugs. Mary-Lou-47 squeezes his hand.

MARY-LOU-47

I know she misses all of you so much. She said that she used to not be able to get out of bed on the days she wasn’t working at the bakery. Now she walks or hikes 10 miles a day, she volunteers at a soup kitchen, keeps busy.

JOE-37

But she still won’t go into any kind of institution? She hasn’t even given me any paperwork on a formal diagnosis!

MARY-LOU-47

You know how that was for her mother. She doesn’t want to be a zombie. She’s doing her own thing.

JOE-37

Is she even seeing a therapist?

MARY-LOU-47

Not to my knowledge.

JOE-37

Well, then my condition has to stand. I have to protect the kids. If she hasn’t gone through any formal treatment then she can’t…can’t be with them.

MARY-LOU-47

She knows. At least until they are each 14, then they can choose to see her, and I will be present at all times if that happens. In the meanwhile, they should be available to talk to her on the phone at least three times a week.

Joe nods miserably.

JOE-37

I still don’t see why we have to get a divorce. I will wait for her to get..get her head together.

MARY-LOU-47

Joe. She doesn’t want you to wait. She wants you to be free to find someone else.

JOE-37

How can I? I love her. I will always love her. And I know. I know she loves me.

He signs the papers.

[placeholder scene… Annie alone at the holidays in the bakery]

[Placeholder scene, Annie driving by the school. See’s Seans car. Another scene…Annie Seeing his name on a band marque

[placeholder scene- convo with mary lou about money-.]

INT. LUDLOW HIGH SCHOOL GYM, 1995, EVENING

[superimpose date]

The gym/cafeteria is set up as if it is a fancy restaurant. The students are dressed like waiters in black sweatshirts, scurrying around, being silly. A banner declares ‘LUDLOW HS ANNUAL FUNDRAISER’. On stage a High School student is playing the guitar while another sings.

Annie is in the kitchen with an apron on, helping JOANIE, an older woman, take pies and cupcakes out of bakery boxes that say ‘Humble Pie’.

JOANIE

Thank you so much for helping with the fundraiser for my grandson’s school.

ANNIE-37

I’m happy to help. You and Dan have been so good to me.

JOANIE

It’s us that owe you. Your chocolate pecan pie put us on the map! And your chocolate-chip shortbread cookies hmmm you have really expanded the menu at our little bakery- and my waist line.

In the gym an announcement is being made, but the focus is still in the kitchen.

PRINCIPAL (O.C.)

That was Diedra Collins on the vocals and Richard ‘The Rock’ Rickman on the guitar, both seniors here at Ludlow. And now for the main attraction. As you all know our very own Sean O’Neill, the head of our music department, also leads the popular local band, [placeholder] and they are in the house tonight!

The band begins playing ‘My Girl’ by the Temptations and gets the room cheering.

Annie-37 is nervous as soon as she hears Sean’s name and almost drops a cupcake.

JOANIE

Here..let me finish, you’ve done enough. You go have fun now. Just take this plate to our table, so Dan can have some before they are all gone. Wait, take off your apron…oh you look so nice tonight!

Annie-37 removes her apron to reveal a close fitting stunning green dress. She takes a deep breath, closes her eyes for a moment. Then she takes the plate and weaves her way through all the tables. In a sea of HS kids in black, she stands out and Sean-37, from stage, spots her almost immediately. His eyes follow her, and she knows it, but she doesn’t look at him.

She finds the table for four with a sign that says ‘Sponsored by Humble Pie’ near the front. DAN, a heavy set man in his 60’s is clapping enthusiastically.

She sets the plate down, sits, and only then looks up and meets Sean’s eye and gives him a big smile.

INT. LUDLOW HIGH SCHOOL GYM, 1995, MOMENTS LATER

The band plays the last few chords of the song ‘Gimme Some Lovin’. Sean steps back to the microphone.

SEAN-37

We’ll be back after a short break.

Sean says something to his drummer and hurries off the stage, straight to Annie-37’s table. He holds out his hand to Dan to shake.

SEAN-37

Thank you for coming and supporting the school Mr. Burns.

DAN

Wouldn’t miss it, love your band. What was the name of that song you just played?

SEAN-37

Oh that was ‘Gimme Some Lovin’ by the Spencer Davis Group.

ANNIE-37

Hard to believe Stevie Winwood wrote that song when he was only 18.

Sean turns to her impressed.

SEAN-37

Are you a musician?

ANNIE-37

No, just a fan.

DAN

Sean, this is Annie Martin, she’s our number one baker.

Sean pulls up a chair.

SEAN-37

Very nice to meet you Annie. Do you have a student in the school?

ANNIE-37

Ah..No. I’m kinda new to the area. I’ve been here about a year.

DAN

And she’s single. This is the first time we’ve been able to get her out on the town.

SEAN-37

Well, I don’t know if the local school gym counts as out on the town. There are a lot of great music venues in the area though.

ANNIE-37

I do like live music.

She nods at his guitar case on stage where a sticker of Jerry Garcia’s 4 fingered hand is prominent.

ANNIE-37

Sure going to miss him.

Sean is amazed again.

SEAN-37

Yes. Really, really a shame. We were going to do a song in tribute later.

ANNIE-37

My favorite.

Sean is clearly thunderstruck, he stares at her. Joanie comes over and joins them.

JOANIE

Oh, I see you two have met, I was going to introduce them.

DAN

(laughs)

Hell, honey, you’re a little late. I think Sean’s already figuring out his next tattoo.

JOANIE

Yes, but did he try one of her cookies yet?

Joanie holds out the plate to Sean-37 who takes one.

SEAN-37

(to Annie-37)

You made these?

She nods and Sean takes a little bite, then stuffs the whole thing in his mouth.

SEAN-37

Oh My God. I don’t think I have ever put anything that good in my mouth before.

Annie raises her eyebrows and smirks and they all burst out laughing. Sean almost chokes and has to sip from Annie’s water who helpfully pounds his back.

SEAN-37

Seriously. That’s amazing.

His drummer whistles from the stage and gives a tilt of his head to indicate the break is over.

ANNIE-37

Taking requests?

SEAN-37

Anything.

ANNIE-37

How about ‘Spanish Pipedream’ by John Prine?

Sean stands up, shaking his head.

SEAN-37

Where have you been all my life.

Annie-37 smiles and shrugs her shoulders.

ANNIE-37

Eating a lot of peaches I guess?

I/E. ANNIE’S CAR, LUDLOW HS PARKING LOT/ 1995, EVE.

There are only two cars left in the parking lot. Sean-37 is sitting in Annie-37’s front seat as they talk and laugh.

SEAN-37

147. I think, depends on how you count them. How many shows did you see?

ANNIE-37

Only one. Ventura fairgrounds California. July 1982.

SEAN-37

Ah, the Brent years. Oh God, can’t believe Jerry’s now gone too.

ANNIE-37

I’m so sorry. I know it, it is a way of life for many. You just hit spring tour and keep going.

SEAN-37

A misspent youth. How come you didn’t go to more shows if you like the Dead so much?

ANNIE-37

Hmm. Time, money, babies.

SEAN-37

Ah. Yes. Must be hard to-

Annie quickly changes the subject.

ANNIE-37

When you play out with your band, do you ever play your originals? I mean, I assume you have some.

SEAN-37

Yes, well a few. I haven’t played them in public yet.

ANNIE-37

You should. I bet there good.

SEAN-37

Can I kiss you?

Annie nods and they kiss.

[Margaret]

Margaret’S Act 4 First Scenes

What I learned: I needed to make changes to my outline.

INT. EBBA MEETING PLACE – Day

TE #8 Alo gathers the men and gives an impassioned speech, “We can surrender, we can fight, or we can die free men.” The Donek form a suicide plan and want Jabe to assist them.

Beginning: Alo reveals his new plan

Middle: Jabe argues with Alo

End: The Donek ask Jabe to assist them

EXT. EBBA FORTRESS – WALL

TE #9 (Overwhelming Odds). Jabe: “Die or Die? I’ll take my mind’s illusion.” Jabe realizes the Donek must survive to save future generations from remaining “purple”. He plans with Imara to escape so she can find and help Grigo and the other children. (New Plan) A Donek man overhears them and tells Alo.

Beginning: Jabe discusses the plan with Imara

Middle: Jabe and Imara agree on Imara’s escape

End: A Donek overhears and goes to Alo

EXT. EBBA FORTRESS – MORNING

TE #7 The Hedeon are close to breaching the walls. (Escalation) A few Donek try to escape down the snake path to the East and are killed by the Romans. Alo posts a guard to keep the Donek from leaving. The Hedeon breach the first wall. Set fire to the second wall, wait until the next day to attack.

INT. EBBA MEETING PLACE – DAY

The Donek are gathered around Alo, including Jabe and Imara. The people looked grieved, many with tear-stained faces.

ALO

It is time to wipe our tears! Now is the time for action!

The people hurry to wipe their faces, murmur their hope that a plan finally has emerged.

PATIENT DONEK

We have waited, Alo. We are now ready to hear your plan.

Alo raises his hands to silence their murmurs.

ALO

Did we agree we would never be servants to the Hedeon? We are servants to no one but Taaba alone!

Hopeful, the people cheer their agreement with this statement. Once again, Alo lifts his hands to silence them.

ALO

We are now faced with this resolution. What we have said in words must be put into action! We are obliged to be true to ourselves, true to Taaba!

ANGRY DONEK WOMAN

We are ready! Ready to do whatever we need to do!

Alo ignores the Angry Donek Woman, continues his speech.

ALO

We have fled from the Hedeon, we have fought them. This is not a favor that Taaba has granted us, it was our duty to obey. And now, the power of the Orb is with us now to give us courage to do more than fight. We must die bravely, let us leave this world in freedom!

This pronouncement leaves the Donek stunned.

ALO

We will not allow them to capture us, we will not allow them to take our children into servitude.

Jabe steps up.

JABE

What are you saying, Alo? We will fight to the death?

ALO

We will not allow them that pleasure! We will steal their victory from them, become victorious ourselves with our deaths at our own hand.

The Angry Donek Woman chimes her agreement with this plan.

ANGRY DONEK WOMAN

Yes! Give them nothing. Let them find our corpses when they breach our walls.

The realization of what Alo is proposing hits the crowd. They shout their agreements with Alo’s plan. Jabe silences the crowd with his booming voice.

JABE

Heh! Heh!

The crowd silences, listens as Jabe turns to Alo, speaks to him gently.

JABE

We felt it was the will of Taaba to come to this place. The courage of the Orb has helped us fight, hold the line until this day. What you propose is not the will of Taaba, it is the coward’s way. It takes more courage to fight than to make a suicidal pact. What would be accomplished by killing the light shining before the Hedeon. If we die, who will show them the way.

Alo casts steely eyes on Jabe.

ALO

You have abdicated your place of leadership and you would take it back again? Who are you to question what is the will of Taaba? You are a new Donek, a babe compared to my year’s of walking in the will of Taaba. You have no wisdom, no say in this matter.

Jabe turns to the people.

JABE

Surely you see the error in Alo’s way of thinking?

The people do not reply to Jabe. The Patient Donek starts a chant, picked up by the Brave Donek.

PATIENT DONEK

Alo. Alo. Alo. Alo.

Alo silences the crowd. Turns to Jabe.

ALO

You will join us. You will help us accomplish this plan.

Climax:

EXT. EBBA FORTRESS – WALL – DAY

Jabe and Imara watch the siege tower as it slowly moves up the ramp. A Watchful Donek is at the wall, ten feet away. He pretends to not hear their conversation, but listens intently.

JABE

It will be here by nightfall.

IMARA

When will Alo’s plan begin?

JABE

After dinner. Once last meal and then the children will be put to bed. To sleep forever.

IMARA

I can’t leave Grigo to die without knowing.

Jabe turns to Imara.

JABE

No. You cannot. Just as I cannot kill innocents who trust in Alo.

Imara gasps.

IMARA

What? But Alo has decided…

JABE

I have my own decision to make. Die by Hedeon or die by my own hand.

Jabe scoffs.

JABE

Die or die.

IMARA

What will you do?

JABE

I will fight, even if I am the only one. I am not of this world, and will go to Taaba in his time, not mine. The Orb has given me peace to surrender my life, but I will fight the Hedeon to keep it for as long as Taaba wants me to live.

IMARA

I have no choice, I will die, too. By someone else’s hand, be it Donek or Hedeon.

Jabe grabs Imara’s arms.

JABE

No, Imara. You will not die. You must live, live for Grigo. I will hide you until Alo’s killing is over, then I will fight the Hedeon at the Snake Path so that you can leave in safety.

A new hope lights Imara’s face.

IMARA

Yes, that is what I must do. I must try to get to Grigo, tell him the truth of the Orb and of Taaba before I die.

JABE

It is settled, then. Let’s find you a hiding place.

The Watchful Donek leaves the wall, headed straight for Alo.

[Jeanne Sanner]

Jeanne Sanner Act 4 Scenes 1 and 2

What I learned from this lesson: I am gaining a greater insight to the flow of a 90 minute screenplay.

Act 4

Key Scene 1 Outline

1. Andrea has not come out of her room for five days.

2. Laura puts food in her room several times a day.

3. Darin, Laura, Shep, are very concerned.

4. They decide to have an intervention.

Key scene 2 Outline

1. Laura goes into Andrea’s room first and encourages her to put her bathrobe on.

2. Darin goes in next, and asks Andrea for forgiveness.

3. Shep goes in next, tries to get her to return to his instruction

4. Justin (surprise) comes in to say, she will always be special in his life, but it is still better to keep distance for a while.

5. Brad is in rehab, but sends best wishes.

6. Matt sends a get well card.

7. Later, Laura hears the shower running.

ACT 4

INT. COFFEE SHOP – MID-MORNING 5 DAYS LATER

Laura enters, grabs a table. Darin enters and joins her. They

signal for a waitress. Shep enters and joins them.

LAURA

Hi Darin.

DARIN

How is she?

Shep enters, joins them, waitress takes orders. Laura soda,

Darin coffee, Shep water.

65.

66.

LAURA

It’s been five days since she left

her room except to go to the

bathroom.

DARIN

Five days?

SHEP

Five days?

SHEP (CONT’D)

This is really serious.

LAURA

I take food in. She eats very

little. Doesn’t talk. Doesn’t even

say “Thanks.”

DARIN

Has she taken a shower or washed

her hair?

LAURA

No. She doesn’t call any of her

friends. They’re calling me now

since she doesn’t answer.

SHEP

I think it’s time for an

intervention.

DARIN

And if that doesn’t work, we need

to call somebody. Has she tried to

hurt herself?

LAURA

Not that I’m aware of, but I

stopped her from beating her chest

hard the night this all went down.

SHEP

What’s a good time?

LAURA

It better be soon; she ships out

the end of next week.

They get their phones, coordinate time for an intervention.

INT. ANDREA’S BEDROOM – EARLY THAT EVENING

Laura enters Andrea’s bedroom, gets Andrea’s bathrobe, sits

on side of the bed.

66.

67.

LAURA

Andrea? Andrea? I need you to roll

over for a minute. Okay?

Andrea doesn’t move.

LAURA (CONT’D)

Andrea, please. I haven’t bugged ya

for five days; I’ve fixed yur meals

ANDREA

I never asked you to do that, and I

don’t need a guilt trip.

LAURA

I know, and I didn’t mean it that

way.

ANDREA

Well, it sounded that way.

LAURA

Please, just roll over and give me

a minute.

Andrea sighs, rolls over.

ANDREA

There. Now what?

LAURA

I’m not gonna ask ya to get

dressed.

ANDREA

Good, because I don’t plan to.

LAURA

But I’m gonna ask ya to put on yur

robe ‘n let me comb yur hair.

ANDREA

Why? Are we going shopping?

LAURA

You know what Andrea, this is

gettin’ old real fast.

Andrea stays quiet. She gives in.

LAURA (CONT’D)

There’s someone here to see ya.

67.

68.

ANDREA

I don’t…

LAURA

They’re coming in whether ya wan’em

to or not, and I think ya oughta

put on yur robe, and let me comb

yur hair. Now, sit up.

Andrea fusses and complies. Laura helps with the robe, and

she combs Andrea’s hair.

LAURA (CONT’D)

There. Thank you.

Laura a leaves and Darin enters. Andrea looks away.

DARIN

I know you’re mad at me, and I’m

truly sorry, Andi. I was in the

middle; whatever I did, I would

betray someone.

Andrea turns to him.

DARIN (CONT’D)

I shouldn’t’ve betrayed you, and I

never will again. I don’t want to

lose you, Andi, ever.

Andrea lowers her head.

DARIN (CONT’D)

I would really love to have a hug,

and get a fresh start.

Andrea stands up. Wobbles from weakness. Darin catches her,

they hug for a long time. Andrea starts to cry. Darin helps

her back into bed.

DARIN (CONT’D)

Am I forgiven?

ANDREA

It’s easy to forgive the people I

love, especially when I understand.

DARIN

By the way, Brad put himself into

rehab, and believe it or not he

said he hopes you get well soon.

There’s hope.

68.

69.

Darin leans over and gives Andrea a kiss on the cheek and

leaves. Shep enter.

ANDREA

Now this is surprise. I thought you

lived in the park.

SHEP

I hear you’re a lazy bum.

ANDREA

That’s me.

SHEP

So, “What’s the buzz, tell me

what’s a happenin’.

Andrea joins in and sings, What’s the buzz” from Jesus Christ

Super Star.

ANDREA

What’s the buzz, tell me

what’s a happenin’ What’s the

buzz, tell me what’s a

happenin’ What’s the buzz,

tell me what’s a happenin’

SHEP (CONT’D)

What’s the buzz, tell me

what’s a happenin’ What’s the

buzz, tell me what’s a

happenin’ What’s the buzz,

tell me what’s a happenin’

ANDREA (CONT’D)

I didn’t know you were into

musicals.

SHEP

I love Jesus Christ Super Star. And

ol’ JC was a master of forgiveness,

too.

ANDREA

Clever.

SHEP

So what’s really going on with you,

Andrea?

ANDREA

I’ll make you a deal.

SHEP

Okay.

ANDREA

You tell me your real name, and

I’ll tell you what’s going on with

me.

69.

70.

SHEP

So that’s what you’ve been doing

for five days – scheming. Okay, as

long as you keep it a secret no

matter who asks you. Deal?

ANDREA

Deal.

SHEP

(Whispers name)

Just the first name.

ANDREA

Ooooo, I like it.

SHEP

Now your turn.

ANDREA

I love Justin, can’t have him. I

hate my father, can’t forgive him,

Dislike myself, can’t seem to

change me, and I’m tired of trying

to any of them.

SHEP

Wow! No problem. Come back to me,

and well take care of all three.

ANDREA

If only. First, I’m shipping out at

he end of next week.

SHEP

I’ve already figured out how to get

around that.

ANDREA

I’m not quitting my job!

SHEP

Of course not.

ANDREA

I got it. I got it. You’re going

with me.

SHEP

Not a bad idea, but no.

ANDREA

Soooooooo

70.

(MORE)

71.

SHEP

Set an appointment, and I’ll tell

you how we can make it work.

ANDREA

So, you’ve been using my five days

to scheme, too, huh.

SHEP

Deal?

ANDREA

I’ll get back to you on that, but

kudos for the try!

SHEP

I hope you’ll come back, Andrea. I

love working with – strangely

enough, and I really think I can

help, and that’s my greatest joy.

Andrea stays quiet.

SHEP (CONT’D)

Luv ya, Andi.

Shep leaves. Someone knocks on the door, Justin steps in.

Andrea bursts into tears.

JUSTIN

Andi, Andi, Andi.

ANDREA

Oh, Justin. Please hold me. I know

you’re seeing someone else, so I

know the boundaries, but I just

need you to hold me for just a

minute.

Justin goes to the edge of the bed, sits down and holds

Andrea in his arms. They are both quiet for a few.

JUSTIN

I’m glad you know the truth,

Andrea, and I want you to know that

we need to keep a part for a while

longer, but one day, we will be

able to stay in touch again. Okay?

Andrea can’t speak. She nods her head.

ANDREA

You have no idea what you’ve done

for me today, Justin.

(MORE)

71.

ANDREA (CONT’D)

72.

Hope, not for us, I know, but hope

that one day you will be able to

see I have actually forgiven my

father for real.

JUSTIN

I will be looking forward to that,

Andrea.

EXT. ANDREA’S PATIO – CONTINUOUS

Justin leaves. Laura, Darin, Shep, and Justin convene on the

patio.

LAURA

Oh, I hope this made a difference.

JUSTIN

I felt like it did.

LAURA

Justin, I know ya had to think hard

and long, but I’m tickled pink –

meanin’ thrilled that you came.

DARIN

We hugged. That was good, but I

don’t know how far that’ll go.

SHEP

I think we had a “fun” time, but I

didn’t succeed in getting a

commitment to keep seeing me.

LAURA

Only time will tell, and yes, Shep,

I know time is only an illusion.

Everyone laughs.

INT. ANDREA’S BEDROOM – CONTINUOUS

LAURA

By the way, Matt stopped by earlier

and asked me to give you this.

Laura hands Andrea a card.

ANDREA

Thank you, Laura, for everything.

ANDREA (CONT’D)

72.

73.

LAURA

You’re very welcome.

Laura goes to living room.

INT. LIVING ROOM – CONTINUOUS

Laura picks up her book, smiles, and starts reading. Soon,

she hears the shower running.