He's in his mid-thirties, his face relaxed in sleep,
childlike. Nestled soundly a tangle in the arms of his wife.
THE CAMERA STAYS CLOSE. SLIGHTLY BLURRED, SOFT, SLOWLY
SWINGS ROUND
TIGHT CLOSE - SALLY THERRIAN
She's in her mid-thirties, with large deep eyes. She watches
her husband unguarded in sleep. Her pretty face, alert,
she's barely breathing. Traces the just visible lines around
his eyes, and mouth. Brushes fingertips against his
eyelashes.
TIGHT CLOSE - SALLY'S HAND PULLS THE BEDROOM SHADE.
It retracts with a loud WHACK, sun, sky, trees.
STEVEN (O.S.)
And breath...and chataronga...
EXT. POOL AREA - DAY
We're in the middle of a yoga lesson. Joe and Sally stand on
their mats. Steven, their instructor, wanders around the
couple issuing soft-spoken instructions.
A large room with hard wood floors, dominated by a huge
fireplace. The dining room on one side, living room on the
other. Floor to ceiling windows overlook the back porch
garden pool... The house is classic Neutra. All GLASS and
SMOOTH LINES.
The calm is broken by the telephone. Joe and Sally ignore it
until the answering machine picks up. They break their yoga
poses and listen.
The CAMERA hovers over the answering machine.
LUCY (O.S.)
(over answering machine; sweet,
British, slightly desperate)
Joe, it's Lucy. Remember me? It's the
black sheep here. Bah...not funny.
Haven't heard from you, need you, call
me. Love you madly. Hi, Sally. Joe,
I'd love to talk to you before I go...
JOE
Go where?
LUCY (O.S.)
(over answering machine)
It's a damn nuisance you aren't here, big
brother. Sorry I drone on. I miss you.
I lo--
The machine cuts her off.
NEW ANGLE
Joe and Sally have resumed their positions. This wasn't the
call they were waiting for.
WIDE SHOT
AMERICA, forty-one, and ROSA, fifty, struggle up the steps of
the back porch carrying grocery bags and packages, come
through the sliding glass door...
THE CAMERA FOLLOWS THEM
Through the dining room and into the kitchen, watches the two
unpack groceries, flowers, etc., and start to dress the
dining room table. They speak quietly to each other in
Spanish.
JOE
America, could you just...
America closes the sliding doors between the kitchen and the
dining room, giving the couple their privacy.
JOE (CONT'D)
(calls out)
Thank you, America!
STEVEN
Okay, let's just take a deep breath, let
your ribs expand and relax. And reach up
and into downward dog.
Otis, the Bisenji/Sheperd mix, sleeping on his leopard
pillow, stirs, stretches and groans.
JOE AND SALLY
Good boy, Otis.
The phone RINGS again.
VOICE (O.S.)
(over answering machine)
Hello, I have Dr. Harmon calling for
Sally Therrian.
Sally jumps out of the down dog position and runs to the
phone, all angles.
SALLY
Hello, hi, hi...and? Thank God.
Sally stands with the phone to her ear, her back to Joe.
EXT. POOL AREA - CONTINUOUS
Joe watches her from his position, not concentrating on the
teacher waiting a sign. Sally returns to the lesson. They
do their handstands against the wall, on either side of the
front door.
SALLY
No luck.
JOE
Oh, well, we'll just have to try again.
Sound like a plan?
Sally nods, she and Joe, at Steven's instructions, come out
of their handstands and lie on the floor in a stretched
relax, facing one another.
SALLY
Happy anniversary, baby.
JOE
Happy anniversary.
They smile.
STEVEN
And change sides...
America slides open the dining room doors. The dining table
is covered with bundles of freshly cut flowers. Rosa is
singing in Spanish.
AMERICA
(with the authority of long
years of service)
Mr. Joe, we have to have the house. If
you please now...
JOE
It's yours.
The CAMERA glances off photos of the couple: portraits and
candids, their wedding day, with friends, on vacation,
tumbling on the lawn, and the like.
Some framed and hung, some taped to the fridge or simply
leaning on a shelf. It's clear that at least a handful are
by the same photographer, black and whites, grainy and
beautiful.
There are lots of photos of Joe and his sister Lucy,
documenting their relationship from childhood. There's an
ANNIE LEIBOWITZ photo-shoot of Sally carelessly displayed
somewhere.
INT. BEDROOM - LATER
Joe stands behind Sally in front of the full length mirror,
his arms around her, stroking her belly.
JOE
I love you. Most beautiful woman in the
world.
SALLY
Hardly...
JOE
Accept a compliment.
SALLY
I think you're the most beautiful woman
in the world.
They move toward the bed.
JOE
What did you get me?
SALLY
In the morning, after everyone's gone and
there's just us.
She pushes him on the bed.
JOE
Kiss my eyes.
She does.
SALLY
My wrists.
He does.
JOE
Kiss the back of my knees.
SALLY
Through the sweats or not?
JOE
Not.
She pulls down his sweats. She kisses the back of his knees.
He turns, stares up at her.
SALLY
What?
JOE
You didn't kiss anyone else's knees, did
you?
Sally shakes her head.
SALLY
No. Did you?
JOE
(after a beat)
No. I missed that.
SALLY
I missed all of you. We're okay, aren't
we?
JOE
We're great.
SALLY
I mean, you're really back.
JOE
For good.
They begin to make love...the phone RINGS.
JOE (CONT'D)
Don't get it.
SALLY
Well, it might be Clair. They're
threatening not to come...
JOE
What?
SALLY
They can't find a sitter...
(into the receiver)
Hello? Excuse me? Yes, uh, hold on.
(she looks at Joe)
Just a moment.
(puts the call on hold)
It's Skye Davidson. She needs directions
to the house. You invited Skye fucking
Davidson to our anniversary party?
JOE
Okay. I'm sorry, look, I meant to tell
you. It was the only chance I had to
meet her.
SALLY
You invited her to our anniversary party?
I didn't even invite my mother.
JOE
She goes on location tomorrow. Sally,
I'm sorry. Look, I can't keep her on
hold.
SALLY
(pissed)
No, no of course not. It's Skye fucking
Davidson, for fuck's sake.
JOE
(regards her)
You want me to uninvite her?
SALLY
No, no of course not. How old is she?
Twenty-fucking-two?
She gets out of bed, starts into the bathroom. The CAMERA is
with her.
SALLY (CONT'D)
(into the bathroom mirror)
And she's a stinking fucking actress, for
fuck's sake.
JOE
(into the receiver)
Skye!
(his face lights)
I'm so glad you're able to make it...it's
our sixth, actually.
(flattered)
You read the book again? Well, no, the
ending to chapter six...it's just that
it's not filmic.
We tried it in an earlier draft, but, it
just wasn't filmic... Well, sure, we can
absolutely look at that again. If you're
coming from Laurel, you want to take
Sunset west, we're just past Will Rogers
State Park. Three blocks west of that,
you want to hang right. It's about three
quarters of a mile up a big white thing
on the left.
Sally's started the bath, and is watching him from the
doorway. He meets her eyes mid-sentence.
JOE (CONT'D)
Oh? I don't think tonight. I'm sure
they're well behaved. All our friends
have dogs, and they always want to bring
them. We'd be outnumbered, you see? So
we sort of put a ban on it. Sorry.
He rolls his eyes. Sally walks back into the bathroom, she
isn't buying it.
JOE (O.S.) (CONT'D)
I'm looking forward to meeting you, too.
And Skye, I'm thrilled that you're
willing to take this leap with me.
Eternally grateful, really.
SALLY
(into the bathroom mirror)
I'm going to throw up.
JOE (O.S.)
I can't imagine anyone else playing
Genna.
SALLY
(sanguine)
Really?
INT. BEDROOM - LATER
The doorbell rings. There are two closed doors on either
side of the room. The bed shows no sign of consummated sex.
Joe comes through the left hand door, nearly dressed.
JOE
Who the fuck can be here at this time?
It's not even seven!
Sally comes through the other door, one shoe off, one on.
SALLY
Oh Jesus, who else is always early for
Christ's sake?
NEW ANGLE
Sally kisses his cheek on her way to the door.
SALLY (CONT'D)
Promise you'll be nice to the neighbors.
JOE
I'll say as little as possible.
Sally exits the bedroom.
HOLD ON JOE
For a moment, then Sally re-enters, kisses him deeply.
SALLY
I love you.
INT. FOYER - EARLY EVENING
The house is filled with exquisite flower arrangements,
candles everywhere.
JERRY and JUDY ADAMS are on the porch, just beyond the glass
of the front door. Their argument is inaudible. They're in
their mid-thirties, conservatively dressed. She's stunning,
genetically nervous. Jerry carries a briefcase. She's got
the gift.
Sally opens the door. Hugs and buses them, hello.
JUDY
I know we're early, we're so early.
Sorry.
JERRY
You have to sign your taxes anyway.
SALLY
(a grin)
Of course we do.
(to Judy)
We have to sign our taxes.
JOE
(kisses Judy; all charm)
You can never be too early or too thin.
JERRY
Happy anniversary, buddy! Six months
ago, who would have thunk it?
Jerry hugs Joe.
JOE
(sotto)
Well, not me, to be honest.
JERRY
(sotto)
Don't fuck up again. It's got a ripple
effect. Sally suffers, we all suffer.
JUDY
(offers)
We have a gift?
JOE
Thanks, I'll take that. Champagne?
JUDY
Lovely.
Joe moves toward the kitchen.
JERRY
(a moment, to Sally)
We closed.
SALLY
Fantastic.
(takes his hand)
Out here.
They step out onto the porch. Judy's left alone, unsure
whether to follow or not.
JUDY
(finally, to no one, and to no
response)
The house looks beautiful, are those
hydrangeas?
She stands awkwardly in the middle of the foyer.
EXT. PORCH - CONTINUOUS
JERRY
Joe officially owns No. 4, Cheyenne Walk,
Chelsea, London, England. No small
doing.
SALLY
I love you, you're a genius.
Behind them, in the foyer, Judy wanders aimlessly.
JERRY
I suppose. Sally, that's quite a gift.
I'm not sure it's in your best interest.
SALLY
I adore him.
JERRY
The realtor'll be here tomorrow in the
morning. The house had to go on the
market to insure the loan on the London
flat.
SALLY
I know. I know that. Don't spoil it.
JERRY
What you earn has to double in order to
cover expenses in London, it's an
outrageously expensive city.
SALLY
We've only been over this how many times?
JERRY
You only made half your quote this year.
SALLY
Well, you're a tower of support.
JERRY
I worry because you don't. It's my job.
I'm feeling guilty. I would've liked it
if you waited until the two of you were
on more solid ground.
SALLY
(direct, simple)
We couldn't be on more solid ground.
JERRY
Whatever you say. Listen, I love you.
Otis is barking.
JOE (O.S.)
Otis! No barking!
SALLY
(touched)
And Joe's huge in Europe. He's like a
rock star in London. His novels sell
millions.
JERRY
Not millions.
SALLY
He's directing now.
JERRY
They're paying him scale.
The CAMERA catches sight of Joe behind them. He moves
through the foyer and into the living room with a tray of
glasses and Judy in tow.
SALLY
He gets huge advances on his novels.
He's going back to that. You know how he
hates it here.
JERRY
There's still time to undo this.
SALLY
(kisses his cheek)
We'll be fine.
JERRY
(re: barking dog)
Did you invite them?
SALLY
The Roses? And of course they said yes.
JERRY
That was the plan. And you're thrilled
to have them.
SALLY
Whatever you say.
JERRY
Did you tell Joe to behave?
SALLY
Yes.
JERRY
Did he promise?
SALLY
Scout's honor.
JERRY
Before I forget.
(pulls a novel from his
briefcase)
Put it on the bookshelf.
She flips the book -- on the back is a full page picture of
RYAN ROSE.
SALLY
You're out of your mind.
JERRY
Just do what I say, alright?
SALLY
How much bowing and scraping do you want
us to do?
JERRY
Beats a lawsuit.
INT. LIVING ROOM - CONTINUOUS
Joe and Judy sit on opposite sides of the sofa -- slightly
uncomfortable with each other.
JOE
(to fill the silence,
conspiratorial grin)
I love gifts. What did you guys get us?
JUDY
(chokes on the champagne)
Nothing that can't be exchanged.
JOE
Oh. Well. Good.
JUDY
Congratulations on the deal. How
exciting. Is Sally doing Sally? I mean
it's Sally. The character that's based
on Sally. The character that's based on
Sally in the book.
JOE
The novel. No, Skye Davidson is playing
the lead.
JUDY
Oh my God, I'm a huge Skye Davidson fan.
She's very beautiful.
JOE
Yes, she is.
JUDY
(trying harder)
But I am right, yes? She's based on
Sally.
JOE
It's a novel.
JUDY
Still. Well. Let's drop it.
JOE
Yes.
JUDY
I'm not much of a reader, but I do love
autobiographies, even biographies
sometimes. Mostly non-fiction. Did you
read the new Styron?
JOE
No.
JUDY
It's very good.
(a moment)
I understand you won the Booker Prize.
JOE
Yes I did.
JUDY
(another moment)
Is your script much like the novel?
Jerry says it's very good. But you know,
you read the novel, and then you see the
movie - and most of the time you say,
"what's this?" You know? I sometimes
think we're better off not reading the
novel at all. Because, we come with
expectations... and of course, we know
where we're going. Don't you find?
JOE
Don't I find what?
JUDY
I don't know why Joe, we've known each
other how long...
JOE
Not long.
JUDY
(benign)
Don't be silly.
JOE
Joking.
JUDY
Yes I know. I started to say... I
started to say Joe that --
JOE
Do I put you off?
JUDY
You manage to throw me off balance. I
adore you.
JOE
And I you.
JUDY
But I'm always afraid I'll say something
stupid.
JOE
Ah.
JUDY
And so I always manage to, do you see?
Like the book/script thing, do you see?
JOE
Mmm hmmm.
INT. FOYER
CAL and SOPHIA GOLD are there with their children - JACK and
EVIE - eight and six respectively. Carrying gifts and totes
with toys and changes. Jerry and Sally have gathered them up
and ushered them in.
SALLY
You know Jerry.
CAL
Yes, of course.
SOPHIA
I'm the wife. We've met.
JERRY
(hugs her)
You, I know.
SALLY
(to Evie)
Hey, beautiful girl.
She picks up the four-year-old, swings her around. Jack
hides behind his father's legs.
SOPHIA
(a grin)
Jack? Jack, you promised.
The little boy comes out from behind his father's legs,
covers his eyes with his hands.
JACK
(sings)
Happy anniversary to you. We're glad Joe
came home. Don't split up again. Cause
we like the food.
Much laughter and clapping.
JOE
(in the archway)
Jack. Did you compose that yourself?
CAL
Absolutely.
JOE
Had a little help?
CAL
Absolutely not.
JOE
It has your ring.
CAL
I'm not that good.
JERRY
Cal, my wife Judy.
JUDY
Nice to meet you.
CAL
I think we've met, actually. No? At
another one of these things?
JUDY
No, I don't think so.
JERRY
(to Cal)
Congratulations on the Academy Award.
Great performance. Really warranted.
SOPHIA
He thought so.
JERRY
Sally always manages to get robbed.
SALLY
(a mortified grin)
Enough about me.
SOPHIA
Evie has a little something for you.
Evie shakes her head.
SOPHIA (CONT'D)
You do.
EVIE
(even)
I don't think so.
SALLY
Since when are you so shy?
EVIE
(her mother's daughter)
Never.
SOPHIA
(bright smile)
Honey, we have gifts for you and all
sorts of surprises. Where is America? I
know she's here somewhere.
Joe reaches for the gifts.
JOE
I'll take them.
SOPHIA
No, I have a little talking to do with
America. Privately. I'll find her.
SALLY
(to Sophia)
In the kitchen.
JOE
Who'd like to go and find Otis?
EVIE
Me!
JACK
I guess.
JUDY
The infamous dog?
JOE
He's the best dog in the world.
(to Judy)
They're both coming tonight. Not my
idea.
JUDY
Ours.
JOE
It's Jerry's worst idea.
CAL
What's that?
JOE
The neighbors from hell. The kind that
lay in wait. I'd rather move actually.
Wouldn't I?
(to Sally)
Wouldn't I?
SALLY
(small smile)
Yes.
JOE
(to the kids)
Okay. Last one to find Otis is a smelly
old bum.
Joe goes off with the children to find Otis. Cal sits at the
piano, plays.
INT. FOYER - FRONT DOOR - CONTINUOUS
Joe holds Evie in one arm. Jack stands beside him, holds his
hand. MONICA and RYAN ROSE face him across the threshold --
the NEXT DOOR NEIGHBORS. She's in her late twenties - and
beautiful, eyes everywhere - star struck and house struck.
Ryan is somewhat older, a little awkward in company,
swallowing resentment and a little self righteous.
JOE
Well, hello you two.
(putting Evie down; to Jack)
These are the people who live next door.
Say hello.
Jack does.
JOE (CONT'D)
And close the door, Jack. Because if we
leave it open, Otis will run out and you
know what will happen then?
JACK
Uh, uh.
JOE
He'll run next door into their backyard
and he'll bark and bark and bark and eat
their pitbull for his dinner. Is it a
pitbull?
RYAN
(not amused)
No, actually.
JOE
(to Jack)
Oh whatever. We don't want that to
happen, do we?
JACK
No?
RYAN
It's a rottweiler, actually.
(to Jack)
I don't think our rottweiler is in any
danger, Jack.
JOE
Well, Jack and I are very relieved.
RYAN
I thought this was a party. Are we going
to talk about the dog thing?
MONICA
Please, Ryan.
JOE
(kisses her cheek and shakes
his hand)
No, he's absolutely right. You're
absolutely right, Ryan. Dog talk must be
banned. Canine conversations are
completely discouraged... it's really
good of you to join us. Can I get you a
drink?
RYAN
Not for me, thanks.
An awkward moment.
MONICA
(checks with Ryan)
Something soft.
JOE
Right away. Are you sure you wouldn't
like something soft, Ryan?
RYAN
I'm sure, yes.
Sally has watched some of this from the archway, joins them
super-friendly.
SALLY
Hi. Monica and Ryan?
MONICA
Sally?
SALLY
Yes. And you've met Joe.
RYAN
Yes.
SALLY
(a deep breath)
Well, so glad you decided to come.
MONICA
We could hardly say no.
SALLY
Oh?
Joe slips the coke into Monica's hand.
SALLY (CONT'D)
(takes the gift)
Thank you. This was so unnecessary. I
hope you've noticed that Otis isn't
barking as much. We keep him in at
night.
RYAN
At 4:30 today he barked for a solid
fifteen minutes. I have it on tape.
SALLY
You're keeping a record, are you?
RYAN
It's just very distracting when you're
trying to work.
MONICA
Ryan.
RYAN
(to Joe)
I'm sure you understand.
SALLY
Well the neighborhood is full of dogs,
and it's not always Otis.
RYAN
Well today it was Otis. And you should
keep him away from our yard. Because
Sheila will defend herself.
MONICA
Ryan!
SALLY
(cuts off response from Joe; to
Ryan)
Are you working on a new book?
RYAN
(caught short; flattered)
Well, yes, actually.
MONICA
He always has two or three going...
SALLY
Really? Joe can't manage more than one
at a time. With huge gaps in between.
NEW ANGLE
MAC and CLAIR FORSYTHE wave from the door. Clair's arms are
full of presents. Mac carries three video cameras under his
arm. He's got Otis by the collar.
MAC
You lose this?
JOE
(re: Otis)
Ah there's our snookums now.
RYAN
Yes, well, but I haven't won a Booker
either. Or the Whitebread.
MAC
The gate was open.
SALLY
Well, not yet.
(she reacts to Mac)
The gate was open?
JOE
It's taken care of.
MONICA
I think Ryan needs a new publisher. I
think he's outgrown him. They're just
not doing their job.
A silence. Awkward smiles go all around.
SALLY
Hors d'oeuvres or something?
MONICA
Yes, great! It's a beautiful house.
SALLY
Thank you. I understand you're an
interior decorator.
MONICA
Yes.
SALLY
I so wish I'd known.
MONICA
Well, whoever did this is amazing.
SALLY
I did it.
JOE
(comes on them with the
Forsythes in tow)
She rarely cops to it.
(kisses Sally's cheek)
Otis is home.
CLAIR
(re: the gifts)
Where can I put these?
Sally takes the gifts from her.
CLAIR (CONT'D)
What a fucking day! We only just got a
sitter. I don't know her from fucking
Adam. She could be a serial killer. I'm
going to have to call every ten minutes.
You have to let me give out the number.
SALLY
Of course.
MAC
She already has.
CLAIR
It's alright, isn't it?
SALLY
Of course it's alright.
MAC
Clair is a hovering mother.
CLAIR
I'm not.
SALLY
This is Monica and Ryan. Mac and Clair.
Clair takes a glass of champagne off the tray as they make
their way down the hall.
CLAIR
(a wide professionally
ingratiating smile)
So nice...
MONICA
And for us... Truly.
CLAIR
Well...
MONICA
You will never know.
CLAIR
(pleased)
Oh.
(to Sally)
I have a four-thirty call. AM. So we
may have to leave early.
SALLY
Why didn't you bring him?
CLAIR
What?
SALLY
Why didn't you bring him?
CLAIR
(searches)
He's allergic.
SALLY
Oh.
CLAIR
To dander. Otis.
SALLY
Oh.
CLAIR
Didn't I say?
SALLY
Well, probably.
CLAIR
They can tell from the eyelashes, you
know? He's got eyelashes yay long. They
must be a foot long. The older you are
when you have a baby, the more likely
this stuff is to crop up.
SALLY
(muted)
Oh.
The Roses are happy to stand there on the fringe. Next to
someone they've only seen on screen and magazine covers.
Clair's not in the least put off by them. She manages to
smile at them inclusively from time to time.
CLAIR
So they tell me. Not soon enough, of
course.
(kisses her cheek)
How are you, Sal? You look fantastic.
It changes your life, you know. A baby.
It puts everything in perspective,
doesn't it. Doesn't it, Mac? You can't
be the center of your own world, anymore.
MAC
(as grounded as Clair isn't)
It's an object lesson in grace.
(on seeing Cal Gold on the back
porch)
Wow! Look who's here before me! My
leading man is on time for once.
CAL
(at the piano)
Those who can't direct.
MAC
Fuck you.
EXT. POOL AREA
Mac and Cal sit on the porch sharing a joint. Cal is maybe
the only living complete works of Shakespeare and pulls out
his most arcane quotes on occasion.
CAL
Are those our dailies? You're totally
outrageous. It's their anniversary. Is
nothing sacred! Well...so...how am I?
MAC
(laughing)
Oh man, you are so fucking funny in the
kitchen scene.
CAL
I liked the third take, the accidental
disaster with the silverware.
MAC
Nothing you do is accidental...
MEDIUM FULL SHOT
The CAMERA spots GINA TAYLOR through moving bodies. Tall,
beautiful, centered grace. She's got a Leica around her
neck... drops her two large camera bags on the floor.
Several of the other guests greet her, Mac among them.
TIGHT CLOSE
Joe sweeps her up to his arms. It's an intimate,
appreciative embrace. Theirs was a mid-30s relationship,
certainly pre-Sally. Maybe his first important love.
GINA
(re: the cameras)
I'm the hired help.
JOE
(affectionate)
Fuck you.
GINA
I never put myself in harm's way.
JOE
Anymore.
GINA
No, not anymore. Happy anniversary,
scout.
NEW ANGLE
Sophia bursts from the kitchen.
SOPHIA
Oh my God! America told me your
neighbors are coming?
SALLY
And here they are!
SOPHIA
And she was saying how happy you were to
finally have them over. Because you're
both, so, what - introspective? And you
should have done it ages ago. I'm Sophia
Gold.
(rescuing Sally)
Come meet my husband, Cal.
MONICA
Cal Gold?
SOPHIA
The very one. And you are...
SALLY
Monica and Ryan.
RYAN
Rose.
SOPHIA
Sorry?
RYAN
Ryan Rose.
SOPHIA
Yes.
She shakes his hand. He's amazed at the solid grip.
SALLY
He's a novelist.
SOPHIA
Ah.
SALLY
Like Joe.
SOPHIA
Hmm.
(to Sally)
Where are my kids?
SALLY
In the guest room. I've laid out a paint
table for them.
SOPHIA
I hope they're watercolors!
SALLY
Nevermind.
SOPHIA
(to Monica)
Would you like to meet my husband?
It's all Monica can do to keep from putting her hand to her
chest.
MONICA
I'd be thrilled.
SOPHIA
Then he'll be thrilled.
She ushers them toward the living room.
JOE
(re: Sophia, appreciative)
She's such pure evil.
Sally approaches, gives Gina a warm kiss on the chest.
SALLY
Thanks for coming.
GINA
Happy anniversary. You're a good match,
you two.
(to Joe)
Can you help me with this stuff?
JOE
(re: one of her bags)
That for us?
GINA
What a nose. You missed your calling.
JOE
Can I open it?
GINA
(defers)
Sally?
JOE
Please?
SALLY
He's impossible. Go on then.
Joe rips open the gift. It's a framed black and white of
Joe, Sally and Otis lying on the couch. It's clear which
photos in the house are Gina's. It's a breathtaking print,
an amazing caught moment. All light and shadow. A touching
study.
SALLY (CONT'D)
(respectful of the talent)
It's beautiful, thank you so much.
Joe, moved somehow, hugs Gina to him. Kisses her.
JOE
I love you, Gina Taylor.
Sally's uncomfortable, a little jealous... feels intrusive.
Aware that Gina got there first. Knew him when. And always
captures something naked and vulnerable in his face.
CUT TO:
INT. GUEST ROOM - CONTINUOUS
In the center of the room a low table with paints and crayons
and glue and baubles. Two child size chairs either side.
Empty, the table hasn't been touched.
Evie stands against the far wall. She wears a helmet and is
surrounded by toy suction arrows. The arrows make a perfect
outline of her head and body. Jack stands three feet away,
bow in hand -- the archer prepares his next shot.
INT. LIVING ROOM
Cal is at the piano, charming the neighbors. Judy chats with
Mac. Jerry is on his cellphone, holding his Palm Pilot, his
hand pressed against his ear to block out the chatter. Sally
joins Cal on the piano stool. Sophia moves to Clair on the
couch, kisses her cheek.
SOPHIA
You look so well, Clair. A wraith.
CLAIR
(pleased)
You think so!? I've been working out a
lot since the baby.
And I've been working. And that takes
it's toll, you know.
SOPHIA
I'm glad that's all over for me.
CLAIR
Don't you miss it?
SOPHIA
Never.
CLAIR
Really.
SOPHIA
Not for a second. Cal can have all that.
CLAIR
Really?
SOPHIA
So where is young Jonah?
CLAIR
With a sitter. We have a sensational
sitter. Jonah's really comfortable with
her. You know, a second mom sort of.
Like part of the family. Amazing with
kids.
She inadvertently touches the beeper on her belt, and it
beeps. She jumps.
SOPHIA
What is that thing?
CLAIR
So this sitter can always reach me. I'm
still not used to leaving him.
SOPHIA
You should have brought him.
CLAIR
(shrugs)
Dander. He's allergic. Otis.
SOPHIA
Oh. Do you have any pictures?
CLAIR
Pictures. They're always in my tote. I
left my tote in the damn trailer. But!
He's Mac all over again. Imagine Mac
shrunk to two-and-a-half feet. The fact
is they probably didn't even need me for
this birth.
SOPHIA
Are you the funniest person I know, or
what?
CLAIR
I can't think how you gave it all up,
Soph.
Sophia sends her a soft, content smile. Otis comes over and
nuzzles Clair's knee.
CLAIR (CONT'D)
(freeks)
Oh my God, the dog!
INT. KITCHEN/HALLWAY - CONTINUOUS
Clair leads Sally towards the bedroom.
CLAIR
It sounds hysterical, but Otis just
rubbed up against me and I'd kind of like
to change into something of yours. You
know it could be disaster. He's so
allergic. It's terrifying.
SALLY
Borrow whatever you like.
CLAIR
I'll change back before we leave.
SALLY
(pointed)
Whatever you like. I'm afraid it'll all
be too big for you.
(a moment)
Are you alright, Clair?
CLAIR
I'm fine. I'm fine. Well, I'm a little
stressed. And I've been taking pills to
get my weight down since the baby.
SALLY
I'd say it was down.
CLAIR
And the doctor said they might make me a
little jumpy. I've got a ghastly
headache, actually.
SALLY
You want a Tylenol, or something?
CLAIR
I'd love a Xanex.
(a moment)
Sally, please don't tell Sophia that I'm
not breast feeding.
SALLY
Why would she care?
CLAIR
You know Sophia. She's so damned
judgemental. And she's so damned...
perfect. And so fucking... serene. Just
fucking don't tell her. Because you know
Mac thinks she's God. And I can feel him
comparing.
SALLY
You need to knock off the pills, Clair.
CLAIR
Just don't fucking tell her.
SALLY
It's not going to come up.
INT. FOYER - LEVI PANES THROUGH THE GLASS DOOR - DAY
A Peter Sellers look-a-like holding a violin case.
JOE
(opens the door)
Panes! How are you?
PANES
Oh, you know, I am.
JOE
Has she called?
PANES
She'll never call again. She called last
week to tell me she'll never call again.
Where's Sally?
SALLY (O.S.)
Here I am. Panes, my love!
Sally starts down the hallway.
SALLY (CONT'D)
(for Panes; a long supportive
hug; a kiss)
Good, you brought your violin. I want
you to play.
PANES
It's a machine gun. I thought I'd kill
myself.
SALLY
Are you lovesick?
PANES
Suicidal. It's much less codependent.
SALLY
Will champagne help?
PANES
Not enough.
Sally takes Panes into the living room where everyone chats,
drinks, smokes. They all like each other out of habit, if
nothing else. Ryan and Monica are on the fringe, stand at
the edges of conversation. There's always someone at the
piano, and they can all pretty much play.
SALLY
Panes is here!
PANES
(gives everyone a shy, pained
little wave)
Oh great.
Everyone stops, turns, toasts.
EVERYONE
Panes!
MONICA/RYAN
(a little late; into silence)
Panes.
Panes gives them another little wave. Doorbell rings.
TIGHT CLOSE - SKYE DAVIDSON
SKYE
Hi.
She's the young, beautiful actress who'll play the lead in
Joe's film.
JOE
(his face lights up)
Skye!
She's in jeans, but somehow looks dressed to the 9s.
SKYE
You're Joe, aren't you?
(nods knowingly)
I recognized you from the book jacket.
Joe grins from ear to ear. Uncharacteristically star struck
in front of this beauty.
JOE
How do you do, Skye?
SKYE
Oh, I love that.
(throws arms around him)
I'm just great. I'm so happy to be here.
And I apologize for invading you. And
I'm so happy you asked me to. I'm so
touched. I know how private you and
Sally are.
JOE
(uncomfortable)
Yeah, well, it's just us and a few
hundred of our closest friends.
SKYE
(genuine)
When I read your work I felt that you
knew me. Women must tell you that. And
this one in particular speaks to me, do
you know? I am Genna. How many women
must tell you that. And the script is
wonderful. Wonderful and lean and
visual...
JOE
I'm so happy you like it. I'm so
relieved you said yes, and I'm really,
um, what, thrilled, yes actually, to
finally meet you.
SKYE
You're going to be a remarkable director,
a brilliant director.
There's a long moment.
JOE
(finally)
I think you're my first Goddess.
Sally and Panes have been watching from the living room.
PANES
She's even better looking in the flesh.
SALLY
Really? I need a drink. Come hide with
me.
INT. KITCHEN - MOMENTS LATER
America and Rosa are working at the counter, Panes and Sally
come through.
SALLY
Oh, Jesus, Panes. I can't, I can't
believe that bitch is in my house.
PANES
You don't know she's a bitch.
SALLY
She's all over him, are you blind?
PANES
It could be worse.
SALLY
How?
PANES
She could be playing the role in Joe's
movie that should be yours.
SALLY
Fuck you, Panes.
PANES
You see, that's worse.
SALLY
I just wanted tonight to be with the
people we love.
PANES
Like your business managers?
SALLY
They're not just our business managers,
Panes.
PANES
Oh, okay, forgive me. Your neighbors are
here, for fuck's sake.
SALLY
Exactly what I mean. It's all ruined.
PANES
It's not ruined, for fuck's sake. It's
one of your parties.
SALLY
I don't want it to be just one of our
parties.
PANES
"How are you really doing, Panes?"
"Lousy, thank you, I'm falling apart."
SALLY
Like the last time.
PANES
No. No, not like the last time. She was
the rest of my life.
SALLY
Like the last time.
PANES
I wasn't finished.
SALLY
Okay.
PANES
"We can't stand seeing you like this,
Panes. I hate you being alone. Why
don't you stay with us for a while?"
"I'd love to, thanks."
SALLY
It's our anniversary, Panes.
PANES
I didn't hear me say tonight.
SALLY
We're just feeling our way back.
PANES
"Otherwise, we'd insist on your being
here."
SALLY
You know it's true.
Skye bursts into the kitchen, Sally and Panes freeze.
SKYE
(stuck)
Oh my God, sorry. I'm interrupting.
SALLY
I'll be right out.
PANES
(over Sally)
Come on in.
SKYE
I'm in the same room with Sally Nash. Oh
my God. You're my icon. I've been
watching your films since I was a little
girl. Like, four years ago I followed
you all around the Beverly Center - at
least half a day, working up the courage
to introduce myself.
Joe enters the kitchen, watches.
SALLY
I don't think I ever spent half a day in
the Beverly Center.
SKYE
Whatever, do you remember? I've seen all
your movies. When I was in rehab, the
second time, they wouldn't even let us
see your drug addict movie. They said
you were too real. I worship you. And I
couldn't be more flattered, because I
know the part I'm playing in Joe's movie
is based on you as a young woman.
Joe winces, uncomfortable, picks up the bottle of wine and
leaves.
SKYE (CONT'D)
And I'm overwhelmed. And I want to do it
justice. And I hope we can spend time
together. And I'm gushing. It's my
worst quality.
PANES
Not at all.
SKYE
Oh my god. I've been so rude. I'm Skye
Davidson. Has anyone ever told you, you
look like Peter Sellers?
PANES
No, never.
SALLY
(overlapping Panes)
Everyday.
PANES
I'm Levi Panes. Will you excuse us,
Skye? It's time for Sally's meds.
Panes steers Sally out of the kitchen.
SALLY
It's nice to meet you... again.
They go. Skye is left in the kitchen alone.
SKYE
(to America)
Oh my God, she remembers me!
INT. FOYER - MEDIUM CLOSE
Sally and Panes start down the hall in search of privacy.
SALLY
(under her breath)
Thank you, thank you, thank you.
CLAIR
(on the way down; a dream in
white)
My God, your wardrobe is incredible. It
took me forever to decide. Oh, and I
found Dr. X, thank you. You saved my
life.
She moves past them.
SALLY
(a moment; sotto)
Shit!
PANES
(re: the dress)
I'd cut off her red wine if I were you.
SALLY
Shit. It's my Galiano.
PANES
What does that mean?
SALLY
About five thousand dollars. With my
discount.
The CAMERA follows them into the bedroom. They flop down
onto the bed and into FRAME.
INT. LIVING ROOM - CONTINUOUS
More guests have arrived. Sophia and her children play with
Otis. America and Rosa pass round hot hors d'oeuvres.
Joe places Gina's photo on the mantelpiece.
GINA
(regards him)
Directing suits you.
JOE
I'm not so sure. Look again in three
months.
GINA
It must be nice having so many strangers
kiss your ass all of a sudden.
JOE
Ow! Gina, you obviously need to get
fucked.
GINA
Just did. Jealous?
JOE
When does he graduate high school?
GINA
(laughing)
Oh, very jealous.
Joe laughs.
GINA (CONT'D)
I saw Lucy when I was in London, she
seems okay. It's hard to tell with her.
JOE
Shit, I forgot to call her back. She's
off on a trip somewhere. Oh God, my
grandad's flat in London's been sold.
GINA
In Cheyene Walk? Lucy's going to have a
meltdown. Oh, I'm so sorry.
JOE
I should have damn well bought it. Well,
we can't afford it. The movie's going to
eat up a year of my life and I'm getting
paid next to nothing. Do you know how
much Skye Davidson's getting? Four
million.
GINA
Yeah, but I hear she gives a mean blow
job.
JOE
You really need to be fucked.
INT. BEDROOM - CONTINUOUS
SALLY
So how are you really doing, Panes?
PANES
Why don't you go fuck yourself?
SALLY
(laughs)
No. Really. For real. Really.
PANES
I'm worried about your Galiano.
SALLY
(slaps him)
You're a shit.
PANES
No, really, five thousand with your
discount.
He rolls out from under her swat, she misses him.
PANES (CONT'D)
You hurt, you know. You're stronger than
you think.
They lie prone across the bed, about a foot apart.
Contemplating the floor.
PANES (CONT'D)
(finally)
How's the movie going? Your movie. You
are making a movie, aren't you?
SALLY
Yes. Fine.
PANES
That's it? Yes. Fine?
SALLY
I don't want to talk about it.
PANES
Why not?
SALLY
I never like to talk about my work.
PANES
Alright. Well, that's something new.
SALLY
No. Not something new.
PANES
Well, something's wrong.
SALLY
Nothing's wrong. It's great, okay?
Having the time of my life. Mac's a
fantastic director. And what can anyone
say about Cal that hasn't been said. And
it's great working with friends, blah
blah blah.
PANES
(a moment; little smile)
Um. Happy for you.
SALLY
Thanks.
PANES
So tell me, how's it going?
SALLY
Oh you know. No doubts. No second
thoughts. Am I a monster?
PANES
You're my best friend.
SALLY
That's not an answer, is it?
PANES
Yes, you're a monster.
She takes his hand. Sounds of the party come from below.
SALLY
(a moment)
Thank you, Panes.
PANES
You don't need to thank me.
SALLY
(another moment)
We're going to have to go back out there.
PANES
I guess.
But neither of them moves.
INT. LIVING ROOM - CONTINUOUS
SANFORD JEWISON is at the piano playing his own stuff,
oblivious to the din. The CAMERA gets a glimpse of Ryan
through the French doors at the pool, alone, a glass of
Perrier in his hand.
MEDIUM CLOSE
Monica alone, uneasy, starts to pour herself a glass of
champagne. Jeffrey gets to the bottle first.
JEFFREY
Let me.
(pours for her)
I'm Jeffrey.
MONICA
Monica.
JEFFREY
And you know our friends, how?
MONICA
We live next door.
JEFFREY
Oh. You're them.
MONICA
Excuse me?
JEFFREY
We've heard lots about you.
MONICA
(lost)
You have?
EXT. POOL - CONTINUOUS
Judy Adams lost herself a little, steps outside, sits
alone...
JUDY
(smiles over at Ryan)
Hi.
RYAN
Hi. A little close in there.
JUDY
Yup.
INT. MUSIC LIBRARY - CONTINUOUS
A small, narrow room. Not much more than an alcove. With
space for a desk, stereo equipment, and shelves packed with
CDs. The topmost shelf is a line of record albums.
Joe's picking through the CDs. Monica wanders in from the
living room, toting a glass of champagne... watches him for a
moment.
MONICA
Your Eames table is incredible. And the
B&B. I just put that in a client's home,
actually, but in red.
JOE
You're an interior decorator, right?
MONICA
(nods)
Sally did all this herself?
JOE
In fits and starts -- and then, later, of
course, she had to accommodate me. So
things shifted a little bit then, became
more eclectic. And it keeps changing.
MONICA
(somehow at a loss)
Mmm. It says something about the two of
you maybe.
JOE
Yeah, we're in a constant state of flux.
(re: champagne)
I see you've moved up from the soft
stuff.
MONICA
Oh, yes. You know Ryan's been sober
eight years. And it's difficult if I...
you know. It's better if I don't.
JOE
Uh-huh.
MONICA
I'm a little nervous, so...
JOE
Oh.
MONICA
A little out of my element.
JOE
No you're not.
MONICA
Well, yes. Yes, in fact. A little on
the outside, yes. And there's been all
this friction.
JOE
Hm.
MONICA
I don't know why, but these
misunderstandings have a way of
escalating.
JOE
Very well put.
MONICA
I think a lot of this could have been
avoided if Sally made more of an effort.
JOE
What?
MONICA
But you're very private people. You
know, there's a kind of elitism...
JOE
(pissed)
Elitism?
MONICA
The wrong word, maybe. Delete that.
And, you know, the dog barks incessantly.
JOE
And you know, he really does not.
MONICA
And Ryan works at home.
JOE
And your phone calls are nasty and
abusive. And I've come this close to
suing you for harassment. And you're
only here because we're supposed to be
sucking up to you.
Her eyes well with tears.
JOE (CONT'D)
Oh shit. I'm sorry.
MONICA
Well, that's what Ryan thought. I was
more generous, actually.
JOE
Oh shit. I'm sorry. I'm a total fucking
maniac. Delete all that, okay? I spoke
for myself, this needn't rub off on my
wife. Oh shit. I get pissy sometimes.
Much worse than Otis. Otis doesn't bite.
It's just, I really love my dog and he
doesn't really bark a lot.
We live in a canyon. We hear dogs
barking at night, too. And it's not
Otis.
Monica starts to laugh.
MONICA
Alright.
It appears she's consumed more than one glass of champagne.
JOE
Easy tiger.
MONICA
Alright. Please don't tell Ryan I'm
drinking.
JOE
Scout's honor.
MONICA
(grins)
I'll be your best friend.
She feels they've bonded. She pulls a well-thumbed copy of
Joe's novel from her purse.
MONICA (CONT'D)
Would you sign it for me.
(digs for a pen)
I'm sure this is inappropriate.
JOE
We're way past inappropriate.
Monica giggles, presses back the bubble rising in her chest
and moving toward her throat. Manages not to burp.
MONICA
(as he signs it)
I'll treasure this.
He moves towards the doorway, Monica at his heals.
JOE
I need to leave you now.
MONICA
I will treasure this.
JOE
(shouting down the hall)
Sally!!!!
INT. DAILIES ROOM - LATER - DAY
Sally's team prepares clues for charades. Sally writes them
down, throws them in a bowler hat. Her teammates are Panes,
Sophia, Mac, Ryan, Sanford and Jeffrey.
SALLY
Panes?
PANES
From Jewish Folk Poetry, a song cycle...
MAC
What?
SALLY
Trust him.
PANES
It's Shostakovich.
Ryan spots his book on the shelf and pulls it out, delighted.
SALLY
Sandy...
SANFORD
The Wind Up Bird Chronicle.
SALLY
(turns to him)
Ryan?
RYAN
(pleased)
I didn't know you had this.
SALLY
Oh. Well, yes. It's extraordinary. You
think you could sign it for us?
RYAN
Absolutely. You always wonder where your
books end up. Why don't we use it?
JUDY
Good idea.
RYAN
There's not a chance in hell anyone will
get it...
MAC
Down by Law.
SOPHIA
Who's not going to get that in fifteen
seconds.
INT. LIVING ROOM - CONTINUOUS
Joe's team works on it's clues. Teammates: Gina, Cal, Clair,
Skye, Monica, Jerry and Mary-Lynn. Everyone is talking over
each other and fighting for attention. There are a lot of
strong personalities here.
JOE
Can we... one at a time? Hold it down,
and one at a time. You're last, Cal.
CAL
Why last?
MONICA
The Katzenjammer Kids.
There's a hush.
MONICA (CONT'D)
You know. It's the Funnies. The
Katzenjammer Kids. It's my mother's
favorite charade's clue. No one ever
gets it.
Pause.
JOE
Alright. Good. Fine, I vote for that.
He writes it down.
MONICA
With a "Z." K. A. T. Z.
GINA
When the Pawn Hits the Conflicts He
Thinks Like a King What He Knows...
People hoot, throw their cocktail napkins.
GINA (CONT'D)
What?
SKYE
Utopia Parkway...
They all start talking on top of each other again.
INT. LIVING ROOM - LATER
The teams have come together.
JOE
Who's keeping time?
Mac raises his hand on Sally's side, Jerry on Joe's.
JOE (CONT'D)
Two minutes.
SALLY
(deferring first turn to Joe)
It's alright. Be our guests.
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