Last updated Wed Oct 14 06:49:25 GMT 1998
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1 DRIVE TO SAN JOSE, MICHAEL'S CAR 1
(Camera opens to a large, yet sparsely traveled, highway.
It is early morning, Summer. The cars traveling along the
highway make a repetitive noise patter. A brief pause,
then MICHAEL's car passes. We enter Michael's car to
join male main character driving, listening to the radio.
Michael is a black male in his early thirties. Elements
inside the car include radio, bats and equipment in back
seat, stash of Power Bars on passenger seat. Michael is
listening to the news on the radio. Michael is kind of
bleary-eyed, unshaven, and keeps fiddling with the tuning
in a fruitless effort to get better reception. While
fooling with the radio, he inadvertently wanders into the
next lane and has to readjust fast as passing car goes by.
When this happens, we see shot of softball bats shifting
in the back seat, making a clanking noise. Passing
driver honks. Driver of passing car yells, "Get a
life, Pal!")
return to top
2 DRIVE TO SAN JOSE, GIRL'S CAR 2
(Camera shifts to a 2nd car, viewed from the outside. We
hear the sound of girls singing, having a good time. The
girls are singing Kumbaya in an obnoxious fashion. There
is a very different feel in this car from Michael's car.
The occupants are an adult female and four girls, roughly
ages 11 to 13, all various shapes and colors, one girl in
the front seat and three in the back seat. MARY, the
female main character, is seated at the window in the
back seat on the driver's right. Mary is white, about 5
feet tall with shoulder length dark hair. Her best friend,
AMICA, is black, slightly taller than Mary, and seated next
to Mary in the middle of the back seat. Becky is seated at
the other window seat in the back. Michele is in the
passenger's seat in the front. The driver is Michelle's
mom.)
MICHELLE
(Body faced rearward)
Kumbaya, my Lord. KUM-BA-YA!!!
(Other girls join in.)
MOM
(Looking over)
Michelle, sit down!
MICHELLE
Okay.
(Michelle sits down, looks
to the right of of window.
We see Michael's car
coasting backward as it is
being passed by the girls'
car.)
MICHELLE
Hey, Mary! There's your boyfriend!
(Girls in back seat look to
right, out of window.)
BECKY
Oh wow, it's Michael.
MOM
You mean Mr. Adams.
BECKY
Yeah! Michael. Mr. Adams.
MICHELLE
Slow down, Mom!
(Rolls down window) Hey!
return to top
3 GIRLS' CAR FROM MICHAEL'S 3
(We see Michelle's motion from Michael's vantage point.
Hear muffled yells as the girls try to get Michael's
attention. We see Michelle leaning out of window in
background as Michael looks at road, then to his left
as he notices Michelle leaning from other car.)
MICHELLE
Hey, Michael! Hey! Coach G in the
house with the 6-8-G...
return to top
4 GIRLS' CAR 4
MOM
Girl, have you lost your mind?
You'd better sit your tired self
down and roll up that window...
(Michelle complies.)
(Mary is looking quietly
out of window, thoughtful,
smiling. Amica looks over
at Mary.)
AMICA
Dang, Girl!
(Hits Mary on leg)
Look at you, all in *love* and
everything. Like you're about
to have a cow!
MICHELLE
It'll be Michael's cow!
MOM
You mean *Mr. Adams*.
MICHELLE
(Turning around)
Yeah, Mr. Adams. It'll be Mr.
Adams' cow! (Mary hits back of
Michelle's seat.)
(Camera focuses on Mary
as she resumes looking
of of window.)
CUT TO:
return to top
5 SAN JOSE, MICHAEL'S CAR (Same as Scene 1) 5
(Then we see Mary from
outside of window as
the car she is riding
in drifts slowly by
the camera.)
(We see Michael as he
continues driving. He
looks deep in thought
as he stares at the road
ahead. News can be heard
in the background.)
FADE TO:
return to top
6 LOUDSPEAKER 6
(Loudspeaker and sky. Cloudless, sunny day. Hear
sound of softballs being tossed and caught. Four
people playing catch. Can see balls along their
trajectory as they cross view of camera in front
of loudspeaker, which is mounted on an overhead
pole connected to stadium steps. Cannot actually
see the people throwing the balls, although we can
hear the balls being caught in the mitts, making
random sonic reports.)
LOUDSPEAKER
This concludes the preliminary
games of the 1996 Bay Area CYO
junior girls' softball tournament
at the Santa Clara multiple
sports facility. The eight teams
advancing to tomorrow's semifinals,
match-ups and game times are as
follows: In class AA Holy Redeemer
of San Francisco will play St.
Theresa the Little Flower of
Oakland at 8:00 a.m. on field
three. On field two at 9:45 a.m.
Mary Magdalene of Kensington will
play St. Agnes of Rome. The
winners of these two games will
play for the Class AA
championship scheduled 12:00 noon
on field two. For the class AAA
semifinals, the teams and match-ups
are as follows: Regina Coeli of
Concord will play Our Lady of
Sorrows of El Camino on field two at
8:00 a.m. At 9:45 a.m. La
Conquistadora of El Cerrito will
contest Immaculate Conception on
field seven. The winner of these
two games will play for the Class
AAA championship on field one at
12:00 noon. Coaches, please ensure
that your girls are on the field and
ready at the scheduled times...
FADE TO:
return to top
7 AMICA AND MARY 7
(Amica and Mary walking
along toward camera.
Camera is backing away
so that the distance
remains relatively
constant between camera
and girls. They are
walking along a partially
shaded path which leads
to the parking lot.)
AMICA
Well, I think he's got a thing
for Carol.
(Mary makes a face.)
(Pause)
AMICA
I *know* she's got a thing for
him.
MARY
You don't know that.
AMICA
Oh, yes I do, girl. See you
say stuff and you don't even
know what you're talking about.
(Pause)
AMICA
I heard her talking to Ms. Foley
up by the library. Carol said
she was telling her she was
going on a date with *him*.
MARY
Did she say his name?
AMICA
No. She said she was going on
a date with *him*.
MARY
Well, it could have been anybody,
then.
AMICA
You think so?
(Pause)
They make a pretty good couple...
(Mary stops walking.
Amica stops. Camera
motion lags behind the
girls'. Camera
travels a distance,
then comes back to
original distance.)
MARY
No way! They're nowhere *near* compatible.
(Girls resume walking
in silence after
brief pause.)
MARY
Besides, it's unethical for
teachers from the same school
to get romantically involved.
I read it in Cosmo.
(Amica stops walking)
AMICA
Girl, ain't you a trip!
(Amica resumes walking)
AMICA
That man's not *even* thinking
about you...
(Mary stops walking)
MARY
AMICA! You're supposed to be my
*friend*!
AMICA
I *am* your friend and because
I'm you're friend I'm trying to
protect your feelings later by
telling you that man's not
thinking about you now.
(Pause)
He's all grown, girl!
(They continue looking
at each other for a
spell, then continue
walking. Mary looks to
be sulking, while Amica
is entertained.
AMICA
But you do have some things in common...
(Mary looks over at Amica,
first a little hurt,
then thoughtful.)
FADE TO:
return to top
8 CAROL AND MICHAEL 8
(Scene opens to Michael and CAROL walking opposite
direction from Mary and Amica in previous scene,
i.e. right to left, but mostly full-on. Carol is
white, about 27, roughly 5'7" tall, with long dark,
slightly curly hair, weighing about 125 lbs. She
is the head coach for the girls' softball team.
As they walk Carol tends to turn her body toward
Michael when she talks to him. It's a bit of a
habit.)
CAROL
So are you going to to go see her
while you're down here?
MICHAEL
(Shrugs)
I dunno.
CAROL
You miss her, don't you?
MICHAEL
Of course I miss her. A little,
maybe.
CAROL
You and Dianna were great together.
But you ran away. Why did you
turn your back on her? You did,
you know. And don't tell me you
didn't. I was there, too, with
you once. Back when it mattered
between us. Things were running
smoothly and, wham, you were gone.
And then you did it again with her.
You're such a little boy sometimes.
(Michael starts whistling.)
CAROL
No response, huh?
(Michael keeps whistling.)
CAROL
(Continues unaffected)
Well, I find it amazing that you
would voluntarily opt to
disassociate yourself from such
a beautiful woman as Dianna. so
sensitive. So understanding.
Such beautiful, smooth skin.
(Pause)
Dark and slender. Lovely, caring
eyes.
(Pause)
And a heart of gold. It was insanity
for you to leave her, y'know...
MICHAEL
If you're so in love with her,
why didn't *you* marry her?
CAROL
(Stops walking)
That's not funny, Michael.
(Pause, then they
resume walking)
Well, why did you leave her?
She was there for you. You
weren't there for her. And I
know more about it than you
think I do.
MICHAEL
That doesn't exactly surprise me.
CAROL
(Almost to herself)
So why did you leave her? Maybe
she left you. Did she drink?
(Pause)
No, I couldn't believe that.
(Pause. Carol's eyes
light up.)
Maybe something *sexual*?...
MICHAEL
Hmmm, I think we took a wrong
turn somewhere. Sure this is
the way to the car?
(Carol starts to speak,
but Michael puts his hand
up to her mouth.)
MICHAEL
Maybe you should channel your
assertive leadership skills
into something a little more
positive than this, Carol
Lewis.
(Pause)
Now what sort of roster should
we have for tomorrow's game?
What about the starting infield
lineup?
CAROL
I was thinking Cho at 1st, moving
Smith over to 3rd, Born at 2nd
with Garcia playing shortstop.
MICHAEL
K, but I think Mary might be
better at first, being left
handed and all. And Amy's a
decent fielder. Why don't we
let let her play second?
(They resume walking.)
CAROL
(Looks over at Michael,
glaring, then, kind of
to herself)
And to think I once wrote you
poetry.
MICHAEL
(Stops, incredulous)
Carol, what on earth does that
have to do with anything?
CAROL
Did I say it had anything to do
with anything? I don't recall
having said anything I just said
had anything to do with anything.
Did you hear me say that?
MICHAEL
No, I guess I didn't.
CAROL
You don't even remember my poems,
anyway. You don't remember us back
then.
MICHAEL
(Sincerely)
Oh, yes I do. It was a special
time in my life. And those poems,
I can't figure you out sometimes.
It's like you're two different
people.
CAROL
(Stops in her tracks,
like she's been pushed)
What?! Are you saying I'm crazy??
MICHAEL
What I thought I said was that your
poems were special.
CAROL
But then you said I was two people.
Like I was schizo or something.
You just can't take criticism, that's
what I think.
(Pause)
So you're saying I'm not special?
MICHAEL
Carol.
CAROL
(Continues)
So you're saying I'm special?
What are you saying, Michael?
(Carol is gazing at Michael,
annoyed. She then looks
ahead, off camera. She
puts her hands on hips.
CAROL
And where do the two of you think
*you're* going?
CUT TO:
return to top
9 AMICA, MARY, CAROL, AND MICHAEL 9
(Amica and Mary are standing in front of Michael
and Carol. We don't know exactly how much of
Michael and Carol's conversation they've heard,
but it's apparent they've heard enough for a
chuckle or two, later.)
AMICA
*We* are going to the refreshment
stand.
(Amica looks at Carol a
little fresh. Mary looks
up slyly at Michael.
Michael looks down, eyes
smiling, at Mary, then
over to Amica, then back
to Mary. Carol glares at
Amica, then over to Mary,
then finally to Michael.
While all this is going
on the following
conversation takes place.)
CAROL
Well, you *should* be going to
the cars where everyone else is
gathering for the team meeting.
Remember that? The team meeting?
Or were the two of you planning
on skipping it like you did
last weekend? You're not
superstars yet, that you can just
skip team meetings any time you
like.
AMICA
We were just thirsty. We did just
play two games and all. Or don't
you remember?
(Mary and Amica snicker
at this.)
CAROL
(Semi-jokingly)
Don't you get fresh with me, young
lady. And Mary, where are your
cleats?
MARY
(Defiantly)
I pet 'em in the car.
CAROL
Okay.
(Disappointed that she
can't scold Mary for
losing her cleats.)
Come on. You can drink some
water at the meeting.
(Carol gathers the
girls, turning them
around to face the
direction they came.
Amica imitates Carol
with her eyes, facing
away from Carol, who
slaps her on the head
anyway.)
CUT TO:
return to top
10 TEAM TALK 10
(Fade in to close-up of Carol's face, looking
straight at camera. She looks very serious.)
CAROL
(Pause)
Okay, so tomorrow we separate
the women from the girls.
(Reaction shot of girls
sitting around in a
semicircle, looking up,
listening to Carol.
Michael is standing next
to her, leaning against
the car with arms folded,
head down, as if in
prayer.)
CAROL
You played well today. Very
well. Well enough to make it
to the finals in a very tough
year in a typically tough and
competitive league. Tomorrow
we play Regina Coeli in the
finals for the league crown.
This could prove to be the
toughest team we have faced
all year. Michael and I scouted
them today and they were playing
some incredible ball. They were
hot, girls, on fire. An
incredible game where they beat
last years champs. They were
putting it out nonstop, girls.
Did you hear me? Nonstop.
They'll be tough to beat. But
I know we are a better team.
It's only a question of making
them play your game. We can't
lose if you make them play your
game.
(Carol glances over to
Michael, who nods in
agreement, eyes still
closed. We hear a few
"all rights" from the
girls.)
We've got to stick it to them,
girls. You've got to make them
play your game. I have no
doubts as to the outcome if you
do this. I can't drive it home
more forcefully, ladies. You've
got to get up for this one.
You've got to get hot, girls,
get hot! You've got to want it
badder than they do, girls!
You've got to want it! Tomorrow
we're on fire! Tomorrow we stick
it to Regina Coeli, show them
that *we're* the reigning queens.
Right now we've got about five
hours of free time, to savor
today's win. But when you're at
that amusement park this
afternoon, keep that thought of
winning on the back burner. Keep
thoughts of tomorrow's dedication
nice and warm. And, when tomorrow
comes, show everyone how *badly*
you want it.
(Close ups of the girls
as they listen. Brief
shots showing glances
among the principal
characters Michael,
Carol, Mary, Amica.)
CAROL
(Continues after pause)
Now I know that there is no
greater incentive for a team
member of Big Blue to perform
than to live up to her God-given
potential, but I guess I have an
obligation to tell you something.
I was informed by the CYO
administration today that the
winners of this tournament are
invited to the Santa Fe
Invitationals in two weeks...
that's in New Mexico...
(Girls react to this.)
Various voices:
Excellent!
Word...
All right!
Gnarly!
Hella...
Bitchin'!
OHMYGOD!
(Laughter)
CAROL
(Continues over this
merriment)
And I don't know about you, but
I'd sure love a vacation!
(More clapping, laughter)
AMICA
So tomorrow, I say we kick some
serious butt.
(She places her hand out,
palm down.)
(Girls put hands on top
of hers and say the school
cheer in unison)
ALL
Ungh!
CUT TO:
return to top
11 Michael and Mary 11
(Michael is seen sitting in his car, starting the
engine. We see Mary, out of focus, come up to the
car from the passenger's side, then disappear off
camera as she reaches the passenger's door.)
(Mary reaches into
Michael's front seat
passenger window and
unlocks car door from
inside. She opens door,
glances down into seat.)
(Mary contemplates
passenger's seat with
Michael's collection of
Power Bars © still
on it. She pauses, then
in one quick motion wipes
them all onto the floor
with a sweep of her hand.)
(Mary sits down, closes
car door. She looks up
at Michael, giving him a
wide, almost comical,
smile.)
MICHAEL
May I help you?
MARY
(Mary looks over, rubs
her back on the back of
the seat. She glances
down at the sports bars
at her feet, then looks
up at Michael, peering
under her sunglasses.)
MARY
Got a sweet tooth, huh?
MICHAEL
What are you doing?
MARY
What are *you* doing?
MICHAEL
I'm starting my engine.
MARY
Your engine's already started.
(Camera viewpoint from
back seat as camera shows
Michael and Mary looking
at each other. Sound of
engine idling.)
(Carol approaches from
the distance, seen through
front windshield, out of
focus, between Michael and
Mary. Carol comes up to
car, approaching on
driver's side.)
MARY
(Nods toward front
windshield, still looking
at Michael.)
Here comes your girlfriend.
CAROL
(Come's up to driver's
window)
Okay, you two. We are meeting
at the front fountain at Great
America right inside the
entrance at 5:00 sharp. Be
there or be square. You'll
have to fend for yourselves.
(Carol looks at Mary,
pokes head into window.)
And one day, *Pet*, you'll have
to explain to me how a girl your
age gets poison oak on her back...
(Close up of Mary's left
fist punching Michael in
the leg.)
(Michael begins to back
car up.)
MARY
(To Carol)
"C" ya!
(Michael's car drives
from camera view.)
CUT TO:
return to top
12 Drive to Drugstore 12
(Michael's car leaves parking lot of the Santa
Clara Multiple Sports Facility.)
MARY
(Makes radio static
noise with mouth and
hand)
Tssh! 5150X, Bush and Market.
See the man...
MICHAEL
First question: Why do people
keep calling you Pet?
MARY
Teacher's pet. It's a joke from
English class.
(She takes a closer
look at the PowerBars at
her feet.)
Say, Mom would kill me if I ate
like this...
MICHAEL
High in carbohydrate, low in fat.
They're an athlete's friend.
MARY
Yeah...
(Looks up)
Can I have one?
MICHAEL
Knock yourself out.
(Mary leans over and
picks out her favorite
flavor. She then spies
Michael's stash of CD's
beneath the car stereo.
MARY
Oooh, a CD player.
(Picks up a CD)
Working Class! Cool. I *love*
Working Class.
(Close up of CD in Mary's
hands. CD is titled "Turn
a Handstand". On the
cover are four photos of
a young girl in the process
of doing a roundoff.)
(Mary flips over the CD
cover. On the back are
four more photos of the
girl doing a roundoff,
except they are shot from
behind her, whereas the
front pictures are shot
from the front.
Superimposed over the
pictures on the back are
the song titles:)
Shining Heart
Working Class Mirror (main theme)
Stairwells and Stars
Tender Touch
Fantasy Grind
Turning and turning
Logical Connection
She be Ready
Turn a Handstand
Rub a Dub (dub)
Here Big She Come
1331 (Revolution)
Screw the Working Class
MARY
Can I stick it in?
(Close up of Michael
taking CD, putting it
into slot on dashboard.
He fiddles with the
stereo knobs. We hear
reggae.)
MICHAEL
So where am I taking you, anyway?
MARY
Hell in a hand basket?
(Michael looks over.)
MARY
Haha. To the drugstore. I
forgot to bring my lotion and
it still itches.
MICHAEL
Oh, I see. So how *did* you get
poison oak on your back, anyway?
MARY
I got it on my *back*.
(She changes the
subject.)
So, you and girlfriend. What's
the 411 on that?
MICHAEL
What?
MARY
Girlfriend.
MICHAEL
Who?
MARY
Carol, that's who.
MICHAEL
You don't know what you're
talking about.
MARY
(Intrigue in her voice)
I... can tell when something's
going on.
MICHAEL
(Looks over. Pause.)
Oh yeah?
MARY
(Gives him her look.)
Yeah.
MICHAEL
So you're a mistress of romance,
then, huh?
MARY
I can tell things. I can read
the signs.
MICHAEL
So you can, huh? Like what?
MARY
Like how she looks at you. How
she touches your arm. That
little giggle she gets. I'm not
blind.
(Pause)
She wants it.
MICHAEL
(Pause. Drives some more.)
Never for a second have I suspected
you to be blind. You'd be a
horrible ball player if you were.
Hard to get much of a bead on the
ball.
MARY
What's this about beads?
(Then, slyly)
You're trying to change the
subject. You two together or
not?
MICHAEL
Y'know, Mary Agnes, it really
affects my driving when I get
the third degree...
MARY
How'd you know my middle name?
MICHAEL
And your birthday's August 15th.
MARY
(More animated now)
How'd you know that?
MICHAEL
Oh, I can read the signs...
MARY
Amica told you, didn't she?
(Michael starts whistling
to the stereo.)
MARY
What's *your* middle name?
MICHAEL
Oh, later for that. I tell you
and the next thing you know every
kid in school is calling me by it.
MARY
Oh, come on.
(She touches his leg.)
You can trust me. You know you
can.
MICHAEL
(Continues)
And your best friend might as
well work for the six o'clock
news.
MARY
(Moping)
You don't trust me.
MICHAEL
(Drives some more, looking
over every now and then at
Mary. Finally, he says)
It's Luke.
MARY
(Beaming, turning in her
seat to face Michael)
Luke? Luke??? Your parents watch
a lot of movies?...
MICHAEL
Oh, you don't know what you're
talking about...
MARY
(Hand over mouth. She's
the queen of sound
effects.)
"Luke, trust your senses. *Feel*
the power of the Dark Side..."
MICHAEL
(Frowns at Mary, then
looks ahead)
BART passengers we are now
arriving Costless Drugs, for
all your pharmaceutical needs...
CUT TO:
return to top
13 At the Drugstore 13
(Well-dressed black man in dark suit walks across
camera view. He buys paper in front of store,
then walks up to and passes main characters as
Michael and Mary come into camera view. Michael
and Mary continue their direction of travel,
walking away from the camera, toward the front
door of the store.)
MAN
How you doin'?
MARY
(Smiles)
Fine.
(Inside store - Michael
and Mary pass through
the toy department.)
MARY
Hey look what I can do...
(She juggles.)
MICHAEL
Cool. Here, try some more.
(He starts throwing rubber
balls at her.)
(This juvenile activity
continues until a store
employee passes by,
giving them the eye.
They put the balls away
and move on, not before
Mary successfully tags
Michael with a rubber
ball, bouncing it off
of his chest.)
MICHAEL
K now, calamine lotion and other
such sundries are over there
somewhere. You take care of your
little itch while I got get my
mother a birthday card.
MARY
K, Luke!
(Michael frowns. They
separate.)
(Michael walks up to
female Clerk1.)
MICHAEL
(To Clerk1)
Excuse me. Could you tell me
where your greeting cards might
be?
CLERK1
(She has a very strange
smile.)
You want some cards? Playing cards?
MICHAEL
No. Greeting cards.
CLERK1
(Still smiling)
Baseball cards? Index cards?
MICHAEL
I'm sorry. GREETING cards.
CLERK
Greeting cards? You want to know
where they might be?
MICHAEL
Yes, please.
CLERK1
Well, they *could* be just about
anywhere. But actually they *are*
down the stairs, to your right.
Ha ha. Get it?
MICHAEL
Thanks.
(Michael walks to stairs.
Big sign that says
"greeting cards" with big
arrow at stair landing.
(Mary and male clerk at
checkout counter. Mary
places calamine lotion on
counter, smiling at clerk.
CLERK2
Hel-lo! What have we here?
(Looks at lotion)
Got some ID?
MARY
(Smiles, incredulous)
ID?
CLERK2
heady stuff. At least you have
to show me the seriousness of
the rash...
(looks at phone credit
card Mary hands him,
continues)
CLERK2
..."Mary Born", so I can verify
it in my report.
MARY
(Thinking. Pause.)
Okay.
(Turns around, lifts
hair, pulls out back of
T-shirt neck to that
clerk can look down back
of her shirt)
CLERK2
Hel-lo! Got it on your back, huh?
MARY
God! Everybody's getting on me!
(Michael walks toward
camera, reading card he
has selected for his Mom.
He looks up, taking in
this scene at the
checkout counter. He
smiles, walking up behind
Mary in line. This shot
is now from Michael's
perspective. Mary looks
over, smiles up at Michael
(camera). She then turns
around to look at clerk.)
MARY
You know what? I don't have any
money.
(She turns around to
Michael, placing both
hands against his chest,
leaning on him slightly,
lifting her right leg.
She says more intimately)
I don't have any money.
(Clerk gives Mary an
incriminating look.)
MICHAEL
(To Clerk2)
You can put it all together.
CLERK2
You were *that* close to debtor's prison.
(To Michael)
I'd make her let you put it on for
her. I hear she got it on her
back...
(Mary laughs, throwing her
head back.)
(Michael takes out his
ATM card and begins to
swipe it through the
slot.)
(Close up of Mary as she
stands, smiling, not
looking at anything in
particular.)
MICHAEL
(To clerk as he takes
receipt)
Thanks a lot.
CLERK2
(As Michael and Mary
walk away)
Have a good one.
CUT TO:
return to top
14 Drugstore Parking Lot 14
(Michael and Mary are back in Michael's car. Mary
is looking at the bottle of lotion they just
bought. She suddenly starts shaking it. In one
quick motion she tosses it to Michael.)
MARY
Better watch out!
MICHAEL
(Catching bottle)
You're a real prat, aren't you?
MARY
I'm not a brat!
(She slaps Michael's arm,
then turns away from Michael
as she pulls up the back her
T-shirt.)
(Michael tries to read
the tiny instructions on
the bottle of lotion.)
MARY
Uh DUH! Just put some on...
(Michael opens bottle,
puts some in his hand.
We see a close up of Mary
flinching slightly from
the coldness of the
lotion against her
flesh.)
MARY
So she is your girlfriend...
MICHAEL
Oh, Jesus. And what do *you*
know about it?
MARY
I told you. I can tell when
something's going on. And, if
you tell me, I'll know
*everything* about it.
MICHAEL
Well, I'll just have to take your
word about that...
MARY
Besides, I Amica told me.
MICHAEL
Sounds like the blind leading the
lame, to me.
MARY
I'm not lame!
(Mary turns around. Hits
Michael fairly hard!)
MICHAEL
Hey! Ouch, okay, okay. Maybe
you're not lame. But then again
maybe you're *lamer* than lame!
(Mary starts punching
Michael even harder. Then
she begins to tickle him.)
(External shot of this
going on from outside of
car. Woman walks by
pushing stroller, glances
at Michael's car.)
MICHAEL
Mary...Mary...Mary...
(Each time he says "Mary"
a little quieter and a tad
more slowly.)
Okay, you're the boss. Hey, hey
now. Okay, okay. It's getting
late, Sweetheart, and we should
really be getting back.
MARY
Back to where?
MICHAEL
Back to there.
MARY
Okay.
CUT TO:
return to top
15 Great America 15
(Michael's car approaches entrance of Great
America. The parking lot is closed as the park is
filled to capacity. There is a sign explaining
such, but please come back soon to Great America.)
(Michael and Mary,
sitting in car, reading
sign. Now what are they
going to do?)
MICHAEL
(Thinks a bit)
I'm sorry.
MARY
What do you mean?
MICHAEL
Well, I know all of your friends
are in there.
MARY
(Smiles, looks down)
That's all right.
(Pause, then looks over
to Michael)
*Now* what are we going to do?
MICHAEL
Well, I guess I should ty to get
a message to Carol somehow.
MARY
(Looking down again)
Why?
MICHAEL
So she won't worry about you.
MARY
(Looks at Michael)
So she won't worry about us.
MICHAEL
Okay, us.
(Pause)
Happy now?
MARY
(Musing, with a smile. Suddenly)
Hey! Did you hear how they have
Walt Disney's brain like in
suspended animation underneath the
Pirates of the Caribbean?
MICHAEL
Caribbean...
MARY
Shut up... Did you?
MICHAEL
I think it's your brain that's
in suspended animation. Where
the devil did you hear that?
MARY
Amica told me.
(Michael sighs.)
MARY
We talk about a lot of stuff.
(Pause)
Stuff that would probably make
you wet your pants.
(Mary glances at Michael's lap.)
MICHAEL
Yeah, well, I think you and little
Miss Rona Barett would be better
off if you concentrated on your
swings instead of trying to make
my life miserable, matching me up
with poor Carol.
(Mary thinks about this.
Smiles.)
MARY
Hey! That's what we can do!
MICHAEL
What? Go to Disneyland?
MARY
No...
MICHAEL
Go to a flotation tank?
MARY
No, silly. We can go to the
batting cage!
(Pause. She looks at Michael.)
Got any quarters?
(Camera pauses on Mary.)
CUT TO:
return to top
16 Carol Waits 16
(Close up of a wrist watch and arm. We hear
amusement park noises in the background. Medium
shot of Carol lowering her arm, looking up. Carol
is sitting by a large fountain, legs tucked, her
chin resting on her knees. She looks around
impatiently, dejected.)
(Distant shot of Carol in same position. Camera
height is such that we see Carol sitting amidst a
sea of legs passing by between her and camera.
Carol looks like a lost child.)
FADE TO:
return to top
17 Batting Cage 17
(Close up of pitching mechanism detail in batting
cage - from Mary's perspective)
(Mary standing in batting cage, waiting for pitch
from mechanical pitcher. Pitching light comes on.
She swings, misses.)
(We see Michael outside
of cage.)
MICHAEL
No, you're lunging at the ball.
When you do that you lose sight
of it and could only hit it if
you were lucky.
(Mary dodges a bad
pitch.)
(Michael comes into
batting cage.)
MICHAEL
Look, loosen up.
(Mary makes like a rag
doll.)
MICHAEL
Get your balance. Keep your bat
back.
(He positions her
shoulders and arms.)
When the next pitch comes just
watch it go by. Don't swing.
Just watch it go by. All the
way to the backstop.
(Michael puts more tokens
into the machine.)
(Mary watches a pitch go by.)
MICHAEL
Okay, take another one.
(She takes another one.)
MICHAEL
Great. Okay, this time meet
the ball with the bat is it
approaches. Do the same thing
you've been doing, only now meet
the ball with the bat as it
approaches. Keep looking at
the ball. Let the whole world
turn about that pretty head of
yours.
(Close up of Mary looking
up, smiling.)
(Sound fade. During the
following voice-over we
see the following visual
elements:)
o Michael's mouth moving as
if speaking
o Mary swinging
o Balls being launched by
mechanical pitcher Slow
dolly in of Michael
looking (presumably at
Mary) from outside of
the batting cage
o Mary and Michael in
moving car, Mary's lips
moving. Car drives past
a man on the side of the
road holding a cardboard
sign upon which is
written "Luke 1:28"
o Playground scene of
kids playing a pickup
game of softball
MICHAEL
(Vocieover)
Teacher's pet, highly favored.
Diaphanous skin transmitting an
inner glow. She's not like
other women...
(Normal sound fades in.)
(Pitching light goes
off.)
MARY
(Taking off helmet)
I did good, huh?
MICHAEL
You did good.
MARY
(Frowning)
I'm hungry.
MICHAEL
I'm hungry.
MARY
I said it first.
MICHAEL
Okay, your choice...
CUT TO:
return to top
18 Night Life 18
(This scene is a collage of motions accompanied by
slow, syncopated rhythms. Michael and Mary are
driving in San Francisco, seeing the sites, having
a fun intimate time.)
We see white, or a light shade of grey. Hear
phased preecho, then, with the pulse of a bass
beat we see Michael's car traveling along the road.
The music accompanying this scene is dominated by
a slow, strong, syncopated beat. I sounds like a
slow, metallic heartbeat. Sound used in this scene
is further described below. The use of silent
film showing Michael and Mary talking, the strong
lighting in the car at night, and the sparse sound
track give this scene a quiet, somewhat hypnotic feel.
With a second bass pulse we see Michael's car from
a different perspective.
Third pulse. We see inside of car. Mary is talking
amiably. Michael is driving, listening, smiling.
Mary glances around, out of window. We see
subjective shot of what she sees. Mary looks over
to Michael again, nodding, her head is tilted toward
him in a sleepy manner.
Michael glances over while driving, talking. Close
up of Michael's hand gestures.
Close up of Mary's eyes, looking over, looking down,
then up again over to Michael.
The downtown San Francisco skyline, time elapsed,
near sunset. Sun goes down in one more hypnotic
heartbeat.
Close up of Mary's pendant about her neck, swaying
do to the motion of the car.
Michael and Mary going in to see a movie. The
marquis reads "Bittersweet - Starring Allison
Fairchild, Gordon Ralff".
The lights along Columbus near Broadway, reflected
on Michael's car as it drives past.
Mary nodding her head to the beat of the music, her
face turned away from the camera. We can only see
her hair, strongly lit.
A circular camera motion, interspersed with still
shots of Michael and Mary's faces, looking at camera.
This is accompanied by the sound reminiscent of a
siren going by, exaggerated Doppler shift. Final
image is that of Michael and Mary's hands resting on
a restaurant table. This image is repeats about 4
times, fading each time.
FADE TO:
return to top
19 Mary Drives 19
(Darkness. We hear footsteps in gravel.)
(We see legs of Michael and Mary walking in a
parking lot at night. It is very quiet, save
for the footsteps.)
MARY
...and we didn't even do it.
Everybody just figured it was
us.
MICHAEL
Well, as long as you know
yourself, that's what matters.
Other people, sometimes they'll
dismiss you any way they can.
MARY
And they acted like we were sluts
or something. We weren't even
with those other girls.
MICHAEL
Yeah... The world's too
complicated for a lot of people.
It's easier to simplify, to
link people together. Make a
generalization from a specific
instance.
(PAUSE)
You should stay away from those
girls, anyway.
(During the above
conversation Michael has
been fumbling for his
car keys. They reach the
car as he says "instance".
Mary is to Michael's
right. As he pulls the
keys from his pocket she
touches his right arm
with both hands.)
MARY
(Eagerly)
Let me drive!
MICHAEL
(Pause. Michael looks
incredulous.)
My car?
MARY
No, your pet poodle.
(Pause. She leans closer
to him. Their lips are
almost touching.
She whispers,)
MARY
Yeah, your car.
MICHAEL
(In same pose. Michael
hasn't changed his
position.)
But you don't have a license.
You're thirteen...
MARY
(Smiling, quietly)
Like, come on. What could happen?
MICHAEL
You could wreck, kill us both.
Wipe out a family of nuns...
MARY
Oh, uh, please? I have done it
before. Maybe you don't believe
me. I can show you...
(Camera hangs on the two
of them for a second or
so.)
(Close up of their hands
as Michael passes the keys
to Mary, with little
motion.)
(Camera view from back
seat of car. Mary and
Michael get inside car,
close doors. Mary fumbles
with the keys in the
darkness.)
MICHAEL
It's the round one...
(Mary puts key in the
ignition.)
MICHAEL
I've *really* lost it this time...
(Mary cranks the engine.
She looks over and widens
her eyes with a smile as
the car starts.)
(We see Mary through the
front windshield,
contemplating the wheel
and gearshift. She then
places her hands on both.)
MICHAEL
So you say you *have*, ahem, done
it before, right? I mean we are
talking about driving an
automobile, not some poetic
sexual allegory...
(Camera from rear seat
as Mary puts car in gear.
She turns around to look
behind her.)
MARY
Relax. My Dad used to race
cars.
MICHAEL
So you've got it in your genes
or something?
(Mary smiles.)
(We see car pull back
then go forward making
a K turn, a little jerky,
then drive forward to
left of camera.)
(Car is moving more or
less smoothly down the
road.)
MARY
Were you always a teacher?
MICHAEL
No, once I was just a baby.
MARY
(Makes a face)
Do you thing *I'm* a baby?
MICHAEL
No... Hey, pay attention.
MARY
This driving, I knew it wouldn't be so hard.
MICHAEL
Driving is something no one can
really do, but everyone thinks
they can do. You're probably
just as good as anyone else.
Still...
MARY
(Continues)
Being an adult isn't so hard.
MICHAEL
I like you just the way you are...
MARY
(Beams at this. Pause.)
My dad used to take me driving.
He'd let me shift and everything.
I didn't tell you. I wanted to
see you'd have a cow.
(She glances at Michael.)
Are you having a cow?
(Exterior of car. Sound of
wind, rushing leaves as we
see above car, looking down,
as car glides past camera
in successive takes, left
to right. No engine noise.
Car is luminescent, bright,
while background is very
dark. It looks as if the
car is floating in a sea
of darkness.)
(Row of tall evergreens
swaying in the wind.)
(We see from a slightly
high vantage point
Michael's car, stopped,
nudged amidst some trees
along the shoulder of a
back road The white car
contrasts with the deep
background in which one
can barely discern detail.
Dusklike lighting.
Could shoot at dusk, or
use a #29 red filter,
which will make the trees
somewhat dark. This *is*
a black and white film,
you know.)
(Visual Fade)
MARY
(Voice)
(Quiet, breathy)
Oh...
MICHAEL
(Voice)
That's the one, little girl...
CUT TO:
return to top
20 At The Hotel 20
(Darkness. Slight outline of door. We hear a
fumbling at the lock. Door opens into room
Someone comes in (Michael), closes door. We hear
footsteps, see silhouette of Michael against
window. He takes off his shirt. Camera see the
outlines of this motion. There is a click, a
light comes on and we see Michael standing in the
middle of the floor without his shirt, about to
take off his pants. He jumps.)
MICHAEL
Jesus Christ, Carol!
(We see Carol sitting in
chair, quietly.)
It's 10 o'clock.
MICHAEL
(Picks up his shirt
from the floor)
So?
CAROL
So we have a game tomorrow.
MICHAEL
(Begins putting his
shirt back on)
I'm still trying to follow you.
CAROL
So don't you think it's a little
inconsiderate for you to keep
one of the girls out so late when
she has a game at eight tomorrow
morning?
MICHAEL
(Folding shirt)
Oh, I think she'll get to sleep,
all that wine she had at dinner.
When did you get in, anyway?
CAROL
Nine.
MICHAEL
So what's the big deal?
CAROL
What's this about Mary drinking
wine?
MICHAEL
(Unfolds shirt. Decides
to put it on after all.)
Just a joke.
CAROL
Well, it's not a very good joke.
Michael, she is only twelve years
old.
MICHAEL
Thirteen. And don't pretend you
care so much about her well being,
Carol.
CAROL
What?
MICHAEL
(Still putting on
shirt)
I was only kidding about the wine.
CAROL
Well, I would hope so.
MICHAEL
(His head comes out of
T-shirt he has been
putting on, nervously.
He looks kind of like a
turtle.)
What are you, my mother? And
what are you doing in my room,
anyway?
(Turns to dresser while
taking off his watch.)
CAROL
(Stands up. Walks
toward Michael.)
You could use a mother. Maybe
she'd talk some sense into you.
MICHAEL
(Whips around. He's
angry.)
Would you get off my case, Woman?
(Medium shot. Michael
and Carol are an arm's
length apart. Michael
is clenching his fist
like he were holding a
whip. Carol's stance
is closed, guarded.
They pause in this
position.)
MICHAEL
Just like old times, huh?
CAROL
Yes, like old times. And you
still hate me.
MICHAEL
(His expression
softens.)
Oh, I don't hate you, and you
know it.
CAROL
Oh? And how would I know this?
You screw me. You leave me...
(Michael smiles,
incredulous.)
CAROL
(Continues)
Then you simply ignore me and
marry my friend. My best
friend, Michael. My best friend.
And Lord knows what you're
getting yourself into now.
MICHAEL
Lord knows.
CAROL
Don't make fun of me.
MICHAEL
(More serious now)
First off, I didn't screw you
and leave you for Dianna. Sounds
like a bunch of farm animals or
something. There was something
very special between you and me,
and you know it. And we had
already broken things off before
you even introduced me to Dianna.
CAROL
You broke things off.
MICHAEL
But you'd have to agree it wasn't
working out so well.
CAROL
Yeah, so what's your problem?
MICHAEL
Problem?
CAROL
Yeah, problem. Things change,
Michael. People change. Or do
I have to spell it out for you?
I do have a little self respect,
you know.
MICHAEL
Come on, Carol.
(Pause)
You were there. Things...
our relationship... it's just
so, so complicated. But you
know how I felt about you. It's
not that I'm not attracted to
you, or don't like being around
you. We work together, for
Christ's sake. Come on. We've
had this conversation a dozen
times before.
CAROL
No we haven't, Michael. You
must've had it with my evil
twin.
MICHAEL
Ooh, that's a scary concept...
CAROL
Shut up.
(Continues)
This is the first time you've
ever given me the respect to
tell me anything. To tell me
what's going on. What you're
thinking about. Unlike some
people I can't read your mind.
Why can't you just be clear?
Try telling somebody the truth
for a change.
MICHAEL
Well, it's not necessarily such
a great thing to be brutally
honest all the time...
CAROL
What's that supposed to mean?
MICHAEL
Sometimes knowing the truth
doesn't gain you much. And
what you lose you might never
recover.
CAROL
(Pause)
So what are you trying to tell
me? What don't I know now that
if I knew would hurt me?
MICHAEL
(Pause)
Nothing. I guess I'm just
trying to make conversation.
(They hold this close
position for a spell.
Abruptly, Michael walks
past Carol toward the
night stand. He sits on
the bed.)
MICHAEL
Can I have some of your wine?
(Carol looks skyward in
exasperation.)
CAROL
Knock yourself out.
MICHAEL
(Settling down on bed,
pours himself some of
the wine that is beside
him on the night stand.
He uses the same glass
that Carol has apparently
been drinking from. He
takes a sip.)
Did you get my note? At the
amusement park?
CAROL
Yes, I got your note.
MICHAEL
Well, were you amused?
CAROL
It was a big responsibility me
and Rosella chaperoning all
those girls, y'know.
MICHAEL
I know, but we really couldn't
get in. Mary cried her little
eyes out, too. It was a scene.
You should have seen it.
CAROL
Yeah, I bet it was a scene,
Michael. I hope you're not
encouraging her.
(Carol walks toward the
bed. She stops at the
foot.)
MICHAEL
What's that supposed to mean?
(Michael looks at the
glass of wine, holding
it up to the light.)
CAROL
I've got eyes. It's obvious she
has quite a crush on you.
(Pause. Carol looks at
Michael for a spell.)
CAROL
Lots of love in that angel, Huh?
MICHAEL
What?
CAROL
I was just trying to be witty.
I'm surprised you didn't get it.
(Pause. A look of
awareness creeps onto
Carol's face.)
CAROL
Have you gotten it?
MICHAEL
She's a sweet girl.
CAROL
She's a child, Michael.
MICHAEL
So, she's a child, Carol.
And do you mean to tell me
that you're not?
CAROL
I'll smack your teeth in,
Mister.
MICHAEL
(Laughs)
Your expressions. They're so
violent.
CAROL
(Smiling)
So why don't you lay off the
young ones and cultivate an
adult interest in normal
women?
MICHAEL
And you call yourself normal?
CAROL
(Her smile fades.)
You always try to hurt me, you
and your comments. At least I'm
honest when I threaten to hit you,
to smack your teeth in.
(Pause)
And you're trying to tell me
you never felt like strangling
me? Why, I remember once upon
a time...
MICHAEL
(Quickly changes the
subject)
What are you doing in my room,
anyway?
CAROL
(Walks closer to Michael.
By now she's standing
right in front of him.)
This is my room. Your room is
next door.
(Nods)
I switched since this one had a
TV, and you didn't seem to care
enough to be around when we
checked in. They gave you the
wrong key. So what are you doing
in *my* room, Mister?
(Carol is standing
directly in front of
Michael, looking down
at him. Michael is
looking up at Carol,
somewhat intimidated.)
MICHAEL
You change at night.
CAROL
(Looking down at her
nightgown)
Of course I change.
MICHAEL
No, that's not what I mean.
Your persona is so different
in the evening than when you
play the coach, the teacher.
CAROL
It's hard to be oneself when
you're surrounded by children.
CUT TO:
return to top
21 Girls' Room 21
(Girls' room: All hell
is breaking loose.
Rosemary is jumping on
the bed. An overhead
light is swinging,
casting strange shadows.
TV is on to just snow.
Amica and Mary are
lying at the foot of the
bed on their elbows and
stomachs, watching Becky
and Michelle put on a
show by the TV: Becky
and Michelle are dancing.)
CUT TO:
return to top
22 At The Hotel 22
MICHAEL
Those girls aren't children.
return to top
23 Girls' Room 23
(Back to Becky and
Michelle doing their
dance number. It's a
hip-hop piece that the
two of them have
apparently choreographed
at some time. They are
keeping time by snapping
their fingers. They are
very good.)
(Close-up of Mary and
Amica enjoying this,
imitating Becky and
Michelles' motions.)
AMICA
Go girl...
(Close-up of Mary
smiling, yet in thought.)
CUT TO:
return to top
24 At The Hotel 24
CAROL
I'm no child, either.
MICHAEL
You've got a good memory.
CAROL
Michael. This is my room. What
we had ran away. You figure it
all out. Meanwhile, I'm going
to bed.
(She walks to the
bathroom, then walks back
out holding her hairbrush.
She stand in the middle
of the floor looking at
Michael, who is still
sitting on the bed,
blinking.)
(Michael collects
himself for a spell,
then stands up.)
MICHAEL
(Walks toward Carol)
Look, Carol.
(Then to himself)
This is pathetic. Listen, Carol,
I...I always feel like I'm being
mean to you. I guess that's
always been part of the problem.
I don't mean to be. I don't feel
like that. But when we get
around each other, like this, I
guess we bring out the worst in
each other. I don't know. I
guess life needn't be so
complicated.
(They are very close
in position. This
illumination is
overhead.)
CAROL
Michael, why don't you just shut
up and hold me for a while?
(Pause. They embrace in
the middle of the room
for an extended time,
first a little guardedly.
Close up of Carol's face,
eyes closed. Close up of
Michael's face as he
closes his eyes, hugs
Carol a little more
intimately. They hold
this position for a
spell.)
CAROL
Do you remember the first time?
MICHAEL
Yes.
CAROL
(In a quiet, reciting
voice) From out of the
blue, full lips of
earthly grace. I say
these words: Drop down,
see me a while, knowing
since the first time...
MICHAEL
(Swallows)
You remember that?
CAROL
We were like animals.
(Pause)
It wasn't very subtle, was it?
(Michael chuckles.)
CAROL
In the school, even.
(She peers up at
Michael.)
I know what makes you tick,
Mister. Tell me I'm lying.
(They hold this
position a spell
longer.)
(There is a knock on
the door. Close up of
Carol opening her eyes.
Neither Michael nor
Carol move. There's a
second knock. Medium
shot of Michael and
Carol, still in
embrace.)
CAROL
Who's that?
MICHAEL
I dunno. It's your room,
remember?
(Slowly, Carol release
her embrace of Michael
and moves to answer.)
(Carol walks to door and
looks in peephole.)
CAROL
That little shit.
(She unlocks door and
begins to open it.)
(Door opening from
hallway. We see Mary's
back as Carol opens the
door.)
(From Carol's
perspective. Camera
shows Mary's shocked,
amused expression due to
Carol opening what Mary
believed to be Michael's
door.)
CAROL
Yes?
(Mary lifts her hand.
She is holding Michael's
car keys in them. Mary
drops them into Carol's
hand with a contrite
smile. She turns,
walks away.)
(Carol standing at
doorway, looking at keys
in her hand. The door is
still open.)
(Michael comes up, takes
keys out of Carol's open
hand. She casts him a
suspicious glance.)
MICHAEL
I let her drive.
CAROL
(Too amused to be really
mad)
Oh, Michael...
MICHAEL
(More seriously)
I'd best get to my room. I've
got to get some sleep. Think
about things.
CAROL
What things?
MICHAEL
It's getting late.
(Michael kisses Carol
on the temple. They share
a light embrace. She
looks up at him.)
(They hold this position
for a short spell, in the
vestibule. Carol finally
moves out of the way of
the door to allow Michael
to pass.)
(Door opens from outside.
Michael steps out.)
MICHAEL
I'll see you tomorrow morning
then, K?
CAROL
(Searches his face, a
little suspiciously)
Suit yourself.
(Michael walks out
into hallway, past
camera. Carol's eyes
hang on his motion for
a spell, then she begins
to close the door.
Fade begins, ends before
door closes.)
CUT TO:
return to top
25 Before The Game 25
(This scene is primarily a collage of stills
accompanied first by voices and then by music.
The scene begins with darkness. Accompanying the
darkness we hear the girls on the softball team
praying the Hail Mary. We next hear Carol's voice:)
CAROL
(Clapping)
Come on, girls, wake up, wake
up! Are you up for this?
(We see Carol.)
CAROL
Now I just saw some Regina Coeli
girls out by the snack truck
laughing and spraying each other
with sodas. They were having a
good old time, talking about all
the shopping they were going to
do when they got to Santa Fe!
Are you going to take that?
They've just dismissed Big Blue
as a bunch of pushovers.
Doesn't that make you mad?
What are you going to do about
it?
(Generally rowdiness
among the girls. They
break into the team
fight song.)
GIRLS
Let's go Big Blue, get hot!
(clap clap)
Get hot!
(clap clap)
Get it up! Get it on! Put it out!
(clap clap)
Let's go! Go!
(clap)
Go!
(clap)
Go!
(clap)
Go!
(clap)
Go!
(clap)
Go-oh-oh!
(clap)
Go-oh-oh!
(clap)
Go, GO!
GO! Oh! Ho ho, ho ho!
GO! Oh! Ho ho, ho ho!
GO! Oh! Ho ho, ho ho!
GO! Oh! Ho ho, ho ho!
return to top
26 The Game 26
(Fight song segues to an eerie violin solo,
slightly reminiscent of the theme from Dark
Shadows. Photographic stills accompany the
music. Stills begin with a shot of the girls'
hands in a circle, for the team prayer. The
body of stills consists of key moments of
the game. The photographs have a bit of a
staged quality about them. There's something
a little odd. They don't look exactly like
shots you would get by photographing a real
game, but are somewhat stylized. They are
photographed close up so that they capture
the intensity, the concentration in the girls'
faces. The girls are playing hard.)
(Last shot is of stills are of girls
celebrating on field, walking off with arms
raised in victory; and of team in a tight group,
holding pitcher up on their shoulders.
Pitcher is holding trophy, fist in air.
Interspersed with the game photographs are
stills of Carol and Michael talking to each
other, leaning against fence, yelling to the
girls on the field during the game, etc.)
CUT TO:
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27 After the Game
(Opens to Carol talking to parent, ROSELLA, by
side of car. Rosella is in the driver's seat,
the door open. Rosella is a Hispanic woman in her
early 30's. Carol is resting against open car door.
Rosemary, Rosella's daughter, is sitting in back
seat, door open, legs out of the car as she takes
off her cleats. Rosemary's cleats are caked with
mud.)
CAROL
...when we have a meeting next
week. But you've done more than
your share already, Mrs. Ridgewell.
ROSELLA
But it would be so much fun
going to New Mexico. If only I
could get off work.
(Pause. Rosella gazes
off into space as she
continues.)
ROSELLA
Sometimes I think I was meant to
travel. Get out there. See the
world. Do what I was meant to do.
I had this feeling ever since I
was Rosemary's age. Younger
even.
(Close up of Carol
tracking something in
the distance)
(Michael's car driving
across parking lot)
(Close up of Carol still
tracking Michael's car
with her eyes)
(Close up of Michael's
car pulling up to the exit.
Can see Michael in car.)
(Close up of Carol moving
her head as she searches
about herself)
CAROL
(Abruptly)
Where's Mary?
ROSELLA
She got a ride with Michael.
She said she had something she
wanted to do up in the City.
(Rosella resumes looking
off into space.)
I remember when I was just a
little girl, I had this uncle
that lived in New Mexico in...
now what was the name of that
town? Anyway, one summer, he
lived right on the edge of town,
and he let me ride his horse
and everything and the air was
just so... fresh. I'll never
forget that summer. It was
magic. They call it the "Land
of Enchantment", you know.
CAROL
Uh huh.
(Hold on Carol's close
up, then)
CUT TO:
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28 The Drive to San Francisco 28
(Scene opens to Michael's car floating down the
highway.)
(Michael from inside car,
driving, regarding rear view
mirror every now and then)
(Rear view mirror - quick shot
of Mary looking up, then
ducking below camera view from
back seat, smiling)
(Michael driving)
MARY
(Jumps up to rest her
shoulders on back of
front seat)
Don't you believe in car
pooling?
(Exterior shot of car
pulling off of road.
It comes to a
standstill along the
shoulder.)
MICHAEL
You could have gotten us both
killed, girlfriend. Don't do
that when somebody's driving!
MARY
Well, don't have a freaking cow!
I was just trying to scare you.
(Pause)
Did I scare you?
(Exterior shot of car)
(Mary and Michael. Mary
is now in the front
seat.)
MICHAEL
(In a quiet, intimate
voice)
You're really crazy. Do you
know that? What are you doing?
They're bound to miss you back
there. To not know what
happened to you. Probably think
you've been abducted.
MARY
I told them I was getting a
ride with you. They're all gone
by now.
MICHAEL
Are you sure they understood?
Whom did you talk to?
MARY
Rosemary, for one. You can count
on her. She'll tell her Mom.
Hey, what's the big deal, anyway?
Don't you trust yourself?
(Pause)
*I* trust you.
(Pause)
MICHAEL
(Smiling)
Well, if we're going to do this,
we'd better do it right. Let's
find ourselves a pay phone and
call your mom.
MARY
(Contemplates, then smiles)
Okay.
CUT TO:
return to top
29 Mary Phones Home 29
(Camera is across a sparsely busy highway.
Telephoto shot of Michael's car, parked next to a
phone booth, tail lights facing the camera.
Traffic intermittently interrupts camera's view.
As scene opens, Mary jumps out of passenger's side,
slams door, and runs up to pay phone.)
(Close up of Mary
entering phone booth.
She closes the door,
lifts receiver, puts
money in, dials.)
MARY
Hi, Mom!... Yep... Dolores
Mission... almost... Yep...
Guess what?... We get to go
to New Mexico... Uh huh...
Yeah... Just like you and Dad...
It's hot down here... I'm with
Michael.. You know... Um, no...
Listen to this, Mom..
(Plays "Mary Had a Little
Lamb" with touch keypad
of phone.)
MARY
Hey, you got it! We should put
you on "Name That Tune"... A
single, a triple. Almost went
all the way. Next play I scored.
Uh huh. Huh huh... Wait...
(Mary fumbles for change
in her pocket)
MARY
Shit... Sorry..
(Puts hand over phone,
looks to Michael's car,
yells)
MARY
Hey!
(Michael is sitting in
the car, listening to
radio. He looks up as
Mary calls to him, then
sticks his head out of
car window.)
MARY
I need more change.
(Michael opens car door,
gets out, fumbling for
change.)
(We hear car door slam
as we see Mary gesturing
for Michael to hurry.
She speaks to the
Operator.)
MARY
Okay, just a sec...
(Michael approaches.)
(Michael comes up, hands
her a lot of change.
Very brief incredulous
close up of Michael
opening his hand to
reveal a fistful of
Kennedy half dollars
for Mary to pick from.
Mary abruptly takes
change in hand as she
cradles the phone. She
adeptly takes what she
needs, puts change in
phone slot, then takes
Michael's hand as she
switches the phone to
her other hand.)
MARY
Hello, Mom? Still there? Wow,
what a hassle... Michael.
(She looks up to him,
smiles. Michael returns
the look.)
Want to talk to him?
(Michael makes face of
dread, shakes head
emphatically.)
(Mary hands him the
phone. He looks at it
for a spell, then takes
the receiver.)
MICHAEL
Yes, Mrs. Born... All right,
CLAIRE... Yes, the girls played
exceptionally well. Your
daughter is a star... Oh she had
a couple of key plays... School
luncheon?... Oh, yes! I look
forward to it... Face to face...
At last... Okay, then...
Claire... Here let me reconnect
you to your little lamb again.
(Michael hands Mary the
phone. She takes it,
but doesn't let go of
Michael's hand. They
change positions so that
Michael now has his arm
around Mary, still
holding her hand. He
looks around, a little
self-consciously.)
MARY
Huh? Oh, yeah, he's
sweet...
(She looks up at Michael.)
Say, Mom, we're going to be
eating in the city to celebrate...
whoever shows up... Nine o'clock
or so?
(We see Mary's mom,
Claire, for the first
time. She is standing
in a hallway. Claire is
a pretty woman with dark
hair. She is thirty
eight years old.)
CLAIRE
Well, you have a nice time, Dear.
I'm very proud of you. Your Dad
would be, too. I'll see you
tonight, but remember you have
school tomorrow. I love you,
Sweetheart. Okay, bye.
(Claire hangs up phone,
walks away.)
(Mary hangs up phone,
places Michael's arms
around her waist, smiles,
leans back, holding her
arms out to her side,
letting them hang. She
looks up at Michael,
sideways, smiling.)
MICHAEL
Momma's little jewel...
CUT TO:
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30 Gas Station 30
DELETED
CUT TO:
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31 Michael's Car's Options 31
DELETED
return to top
32 Gas Station II 32
DELETED
CUT TO:
return to top
33 Ocean (Carol Drives By) 33
(Carol in car, driving north on Highway 1, along
the California coastline, between Santa Cruz and
San Francisco. Four girls are in car, all asleep.
Carol is looking at roadway. Suddenly she snaps
her head left as she sees Michael's car, parking
along the beach.)
(Close up of Carol's
eyes, full of rage, from
rear view mirror.)
(We see Michael's car
pulling off of road,
into parking spot, from
Carol's perspective.)
(Carol tracking Michael's
car with her eyes, seen
from side of car. At
end of this head motion
Carol is virtually looking
out of her side window,
since her car is now
adjacent to Michael's.)
(Carol's perspective of
Michael's car as her car
passes.)
(Carol looking ahead, now
furious. She accelerates.
Girls are still asleep.)
return to top
34 Ocean (Michael's Car ) 34
(Inside Michael's car.
We see Michael turning
off engine. Everything
is quiet, peaceful. We
can hear the ocean.)
(Mary lying back against
seat, resting her head
on back of seat. Her
eyes are closed. She's
smiling.)
MICHAEL
Why are you smiling?
(Mary nods forward in a
sluggish fashion.)
MARY
Ocean.
(She slowly opens her
eyes, looking at Michael
like she is coming out
of a deep sleep.)
Where's that place you said you
were from?
MICHAEL
Ohio?
MARY
(Thoughtful)
No...
MICHAEL
Cleveland?
MARY
Uh... no...
MICHAEL
Lake Erie?
MARY
...No...
MICHAEL
The Midwest?
MARY
...Uh... Unh unh...
MICHAEL
We're running out of choices,
Mary.
MARY
You know. Sounds like, sounds
like a comic book.
MICHAEL
(Thoughful)
You mean Atlanta?
MARY
Yeah, that place.
MICHAEL
I'm not from Atlanta. My parents
moved there after I grew up.
MARY
Oh. Do you miss... do you miss
where you grew up? Cleveland?
MICHAEL
Um. Sure. I mean it will always
be familiar. But, no, I can't
say I'd ever want to go back and
live there. For one thing it's
way too cold.
MARY
I remember all that snow. Back
there. Back when I lived there.
Michigan. One night we were
walking home from gymnastics
practice. All that snow. But
then, you know there was this
really bright star.
MICHAEL
Bright star?
MARY
Yeah, a really bright star. I
just stared at it. I felt funny.
MICHAEL
Was it a planet?
MARY
No! It was a star. A bright
star. It was kind of weird.
I remember it really well.
Don't know why. But it looked
closer than the other ones.
MICHAEL
Could have been a planet. Could
have been Saturn or Mars, or
maybe Jupiter...
MARY
No! I said it was a star, didn't
I? A bright, twinkly star.
MICHAEL
Which star?
MARY
Not sure. But it was really
really bright. The brightest
one. There were lots of other
bright ones out, but this one,
this one was the brightest.
Blue and shiny.
MICHAEL
Sirius?
MARY
Yes!
(Exasperated. She didn't
get it.)
It was this *really* bright star.
And it was kind of like, well,
you know, the weather. On the
one hand it's really cold, but
you have all those bright stars.
Pretty.
(Looks at Michael)
Are the stars brighter where it's
cold?
MICHAEL
well, the winter stars are
brighter than the summer ones.
So when it's colder, you might
notice them more. Then, too,
there's the question of youth.
MARY
Youth?
MICHAEL
Youth.
(Pause)
When you're younger, things look
bigger, brighter, bolder...
MARY
(In thought, visualizing,
looking out of the
windshield)
When I was young...
MICHAEL
You are young, Dear.
MARY
Well, when I was younger then,
*Dear*, back when we lived in
Michigan. We used to go to the
lake in the summer.
MICHAEL
Which lake?
MARY
(In mock annoyance)
Lake *Michigan*.
MICHAEL
Sorry.
MARY
Anyway,
(going back into
previous state of
introspection)
We used to go to the lake, see?
And I had some friends there.
And there were so many trees.
I remember all those trees.
CUT TO:
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35 Michigan 35
(Shot of trees in wind.
Sunny day, crisp sky.)
CUT TO:
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36 Ocean (Michael's Car II) 36
MARY
But mostly it was the water that
I remember. so much water.
Water. I mean you couldn't
even see across it. It was
kind of like this, like the
ocean out here. Only the ocean's
even a lot bigger. And it's...
different.
(Pause)
I like water.
(She looks at him.)
You like water?
MICHAEL
(Quietly)
Uh huh.
MARY
Yeah. Me too. I like water.
There's a lot of water in the
world.
MICHAEL
Uh huh.
CUT TO:
return to top
37 THE Ocean 37
(The last two lines of
dialogue are heard with
slight echo to a long
disance shot of light
catching the waves of
the ocean, sound of
seagulls.)
CUT TO:
return to top
38 Ocean (Michael's Car III) 38
(There's a long pause.
Mary pulls down her head
band over her eyes,
smiles, peers under it,
looking at Michael.)
MARY
And I like *you*.
MICHAEL
And I like *you*.
MARY
I said it first.
MICHAEL
Uh huh.
MARY
Do you believe in heaven?
MICHAEL
Heaven?
MARY
Yeah, heaven. You know, angels
and stuff.
MICHAEL
Cherubim and Seraphim?
MARY
Whatever. You'd think there
would be water there, but
everybody flies around, so I
guess they wouldn't have much
water, since nobody would ever
swim in it.
MICHAEL
There's water right here, and
we're not swimming in it.
(Mary thinks about
this, then she looks
down at the space
between her and Michael
on the seat. One get
the idea from this that
they are now holding
hands.)
MARY
(Suddenly)
What cities have you lived in?
MICHAEL
(Recollecting. He
says the following very
slowly.)
Let's see. Boston, New York,
Philadelphia, Cleveland,
Richmond, Atlanta, Chicago...
(Pause)
St. Louis, Minneapolis, Kansas
City, Dallas, San Francisco...
(we see Mary part of the
time Michael is saying
this. The list she finds
strangely intriguing.)
MARY
Wow, so many places. Where did
you like living best?
MICHAEL
This place.
MARY
What a nice thing to say.
(Mary and Michael look
at each other a spell.)
MARY
Sometimes when I close my eyes
I see this picture of myself.
MICHAEL
What kind of a picture?
MARY
Kind of an image. An after-
image, I guess, 'cause it's after
I close my eyes.
(Pause)
A negative image, arms
outstretched, reaching out into
space.
(There's a long pause
as Michael and Mary look
at each other. Mary
looks and behaves as if
she has just made
confession and a great
weight has been lifted
from her. She sits
expectantly, leaning
forward slightly. We
hear the sound of the
ocean in the background,
but nothing else.
Finally, Michael leans
forward and the two
begin to pivot their
heads to position
themselves to kiss.
A fade begins at the
onset of this motion.
They lean together
smoothly. The fade
completes as their lips
touch.)
return to top
39 Dangerous 39
(Mary and Michael are in an aisle of a large
grocery store. Michael is pushing a shopping
cart. Mary is walking beside him.)
MICHAEL
Now we only need a couple of
things. My house, dinner, and
then I get you home before your
mom calls the SWAT team.
MARY
(Makes radio static noise
as she holds her hand up
to her mouth. Mary
watches a little too much TV.)
Tssshh! 132 and Bush... I've got
him at gun point... Tsshh! Okay,
gunpoint, 132 and Bush. Come
as Code 3...
MICHAEL
(Frowning)
Okay, enough of that kind of
talk.
MARY
What're you gonna make me?
MICHAEL
Pasta?
MARY
Like it. Dessert?
(Looks up slyly. She
smiles.)
MICHAEL
(Musing. Apparently he
doesn't hear Mary's
dessert question.)
DangerWay. what a name for a
grocery store.
(He places a can of
"TownHome" tomato paste
into the shopping cart
and starts to pick up a
package of whole wheat
pasta.)
MARY
Aaagh!
MICHAEL
Alright alright.
(Replaces the package of
whole wheat pasta on the
shelf. Picks up a
generic package of
"DangerWay Vermicelli".)
Okay now, some fresh tomatoes,
some basil, a little fresh
salmon and we're history.
MARY
Salmon?
MICHAEL
It'll be good.
(Pause)
Trust me.
(They swing by the
produce section.)
MICHAEL
Okay, you get to pick the
tomatoes.
(Mary walks up to the
tomato display. She
pick up three tomatoes
from the top and
juggles them.)
MICHAEL
Is that a test for ripeness?
(She continues to
juggle.)
Okay, talented one, let's say we
go hit the checkout line.
(Close up of Mary still
juggling tomatoes.)
FADE TO:
return to top
40 Carol Calls Claire 40
(Scene opens to darkness.
We hear a phone ring
from the caller's side,
then a click.)
(Fade in. We see Mary's
mom, Claire, picking up
the telephone. She is
seated on the bed.)
CLAIRE
Hello?
(Fade in to Carol, who
is at the other end of
the line. She is
wearing a white bathrobe,
seated on her bed. Her
hair is wet. A towel is
draped around her neck.)
CAROL
Mrs. Born?
CLAIRE
Yes?
CAROL
Hi, this is Carol, Mary's coach
from softball. May I speak to
Mary please?
CLAIRE
Why, she hasn't gotten home yet.
I expect her at nine thirty. I
understood that she was going to
San Francisco to celebrate the
team's win.
CAROL
Oh, I see. Perhaps some of the
girls made other arrangements.
She did ride up with the other
coach.
CLAIRE
Michael.
CAROL
Oh, I see. Perhaps some of the
girls made other arrangements.
She did Yes, that's right. I'm
sure what she told you was right.
No need to be alarmed. Could
you tell her that she left her
cleats behind and that I will
bring them to practice Tuesday?
CLAIRE
Oh dear. That child would lose
her head if it weren't attached.
She is that age.
CAROL
Yes, I suppose she is. Anyway,
I didn't mean to disturb you.
Good night, Mrs. Born.
CLAIRE
Good night.
(She puts down the phone.
She sits there,
thoughtful, slightly
disturbed, trying to
figure out what's going
on.)
(Carol, looking thoughful,
smug, phone still cradled
in her hand. She looks
over to body of phone and
puts the receiver down in
one quick motion. She
then picks up her hair
brush and begins brushing
her hair. She stops her
brushing after a few
seconds and looks up at
camera, guardedly.)
FADE TO:
return to top
41 Parking in Berkeley 41
(Mary and Michael in Michael's car)
MARY
...was like twice as big as the
other one.
MICHAEL
Mary, dear. We really need to
concentrate on finding a parking
place, unless you really want to
drive around Berkeley all day.
MARY
(Eagerly)
Okay.
(Subjective shot of what
Michael and Mary are
seeing, Berkeley area
north of Downtown.)
MICHAEL
(Driving, looking)
Okay, so you take that side...
Woah!
(Exterior shot of
Michael's car making a
U-turn to the other
side of the street)
(From inside car.
Michael about to back
into parking spot.)
(Exterior. Car backing
into parking spot.)
(Interior. Michael
putting car into 1st
gear, turning off the
engine.)
MICHAEL
Tadah!
(Gestures with hand)
A lair of money must be found
which will bed my Desota to the
jeweled door...
MARY
What?
MICHAEL
A poetic allusion.
MARY
What kind of illusion?
MICHAEL
Allusion. Don't they teach you
anything in that advanced
English class?
MARY
(A little defensively)
We learn lots of stuff. Yeah,
we read all kinds of poems and
stuff. Like just the other day
we read this poem. What was it
about... There was this falcon,
right? And it was flying
around, turning and turning,
making these big spirals, right?
So, uh, like, it got lost, okay?
And, like, this guy, I guess he
was the owner or something,
anyway he was, like, calling for
it, you know? But the falcon
couldn't hear it. I guess it
was too far away by then, and
it was lost anyway, right?
Otherwise the guy wouldn't have
been looking for it, I guess.
So they had this ceremony or
something, right? And then
somebody was drowned. There
was all this blood.
MICHAEL
(Looks at her, blankly,
for a spell)
A falcon, huh? There's the guy's
problem right there. He should
have owned a Pontiac.
(Pause. They look at
each other for a while.
Then Michael smiles.)
MICHAEL
Come on up.
return to top
42 Michael's Apartment 42
(Extended shot of Michael and Mary climbing steps.
Close up of their feet as they climb. Lots of
stairs. It appears to take them forever.)
(Muffled sounds of footsteps in hall. Michael,
Mary talking as camera dollies along wall,
presumably adjacent to their motion in hallway.
Camera comes to rest on door. Pause. Sounds of
key opening door. Door opens. Michael turns on
lights.)
(Close-up of Mary scoping out Michael's apartment)
(Subjective point-to-point of what Mary sees of
Michael's apartment. Pictures on the wall,
telephone, etc. Michael lives in a loft. Her eyes
finally rest on Michael.)
MARY
Wow, do teachers really live
like this?
MICHAEL
Sure. Why not?
MARY
(Looks up at him.
Pause.)
I have to pee...
(Michael points the way
to the bathroom. Fade
out.)
(Michael stands by
stairway to bedroom.
He looks up.)
(Shot of what Michael
is seeing.)
(Close-up of Michael's
face.)
(More of loft shot.)
(Shot of Bruce still
looking up. Mary is
standing next to him.
She is looking up with
him in a humorous
fashion.)
MARY
This is way cool...
MICHAEL
Not just cool, but way cool, huh?
MARY
I want to go upstairs.
MARY
Do you want to go upstairs?
(Long Pause)
(Pan shot of stairs from
underneath. Along with this pan
are printed words on screen:
"Mary and Michael go upstairs".)
(Shot of Mary and Michael
standing in front of
Michael's bed, false
stop-action.)
(Shot of ceiling fan in
motion)
(Mary's legs wrapped
around Michael's torso.
They are unbalanced and
appear to be falling.
More false stop action.)
(Ceiling fan)
(Mary and Michael fall
into camera position,
onto the bed. Mary is
sitting on Michael, who
is lying on his back,
arms overhead. They
keep this geometry for
the remainder of the
scene.)
MICHAEL
Now what's so funny?
MARY
You are.
MICHAEL
Why I are?
(Pause)
MICHAEL
Get up, Mary.
MARY
No! Don't *want* to!
(Pause, then a smile)
You get up.
(Looks down, then back at
Michael's face. A long
pause.)
How come you wear a ring?
MICHAEL
Oh, I dunno. Habit I guess.
MARY
How long were you married?
MICHAEL
I don't want to talk about that
right now.
MARY
What do you want to talk about?
MICHAEL
I don't want to talk about
anything.
MARY
Okay.
(Pause)
MICHAEL
Get up, Mary.
MARY
You didn't say it like you meant
it.
MICHAEL
That's not surprising.
MARY
You kissed me today.
MICHAEL
I know.
MARY
We kissed on the lips. Our
tongues touched.
MICHAEL
Uh huh.
MARY
You put your tongue in my mouth.
(Michael laughs.)
You like me, huh?
MICHAEL
You're a regular Einstein,
aren't you?
MARY
You love me...
MICHAEL
I don't know whether or not I
should say...that.
MARY
It doesn't matter what you *say*.
(Pause)
Could you say it in Latin?
MICHAEL
Virgunculam amo.
MARY
Ooh, more...
MICHAEL
Cupitas ei me adurit.
MARY
Huh...
MICHAEL
Advesperascit. Advesperascit.
MARY
Uh... Huh...
MICHAEL
Campanae, nunc campanae audio.
MARY
That really rings my bell.
Exciting day, huh?
MICHAEL
It's been an exciting day.
MARY
Sun goes down. What time of day
do you like best?
MICHAEL
Twilight. Sunset to dusk.
MARY
What time is that?
MICHAEL
It depends on the season.
MARY
What's your favorite season?
MICHAEL
This one.
(Pause)
MARY
I keep dreaming about jet planes.
Jet planes are in my dreams.
MICHAEL
What are they doing?
MARY
Oh, they're just there. Last
night one was following me.
MICHAEL
A jet plane was following you...
MARY
Yeah.
(Pause. Mary's eyes
widen.)
You never finished explaining
why trains make that funny
sound.
MICHAEL
What funny sound?
MARY
You know, Kopple, ugh, Ted
Koppler Drift.
MICHAEL
(Laughs)
Doppler shift?
MARY
Yeah, that sound.
MICHAEL
Okay.
(Pause)
Imagine two stationary objects a
distance apart. One, the source,
is making a whistle, a single
frequency. The waves travel
through air at the velocity of
sound in all directions, like the
waves in a pond, only at the
velocity of sound. The waves
reach the second object, the
observer, so many times a second.
This determines the frequency the
observer perceives. Happens
everyday. Now imagine the source
moving toward the observer.
Because of the motion of the
source, each successive wave
finds itself closer to the
previous one upon generation.
This phenomenon bunches the waves
together and, when the waves
reach the observer, it makes for
a higher frequency than if the
source were stationary. When
the source is moving away from
the observer the opposite is
true and the observer hears a
lower frequency.
(A long pause)
MARY
Want to run that by me again?
No, I'm only *kidding*!
(Pause)
MICHAEL
Now what?
(Pause)
MARY
Can you do this?
(Tightens her neck
muscles which makes her
head shake like she's
having a seizure)
MICHAEL
Better not do that.
MARY
Why not?
MICHAEL
Your head might get stuck. Or
worse yet, you might explode.
MARY
But I want to explode.
(Pause)
I don't believe all that stuff
about somebody watching us.
MICHAEL
What?
MARY
You know. All that crap about
God and Jesus. In school they
say God's watching you and
everything. Nobody cares what
we do.
MICHAEL
I care about you, about what you do.
MARY
Yeah, but that's different. You *know* me.
MICHAEL
I have a feeling we're starting
to know each other a lot better.
(Pause)
MARY
What's so funny?
MICHAEL
You are. What am I going to do
with you?
MARY
What do you *want* to do with me?
(Camera shot of Michael
and Mary from the
position of a
circulation fan mounted
on the ceiling, a little
to the side of the bed.
The camera is mounted
above the fan and the fan
is moving slowly. The
five blades of the fan
regularly interrupt the
image of Michael and Mary
still lying on the pool
table.)
FADE TO:
return to top
43 Signals 43
(Two notes make up this scene, both written in
reverse lettering (white letters on a black
background.) A voice-over accompanies each note.
Original handwriting is use for Carol's note.
First note fades in, stays on screen long enough
to be read, then fades out. There is a pause and
the second note follows suit. The first note is
from Mary's mom to Mary. The second note is from
Carol to Michael:
Note to Mary:
Dear Mary,
Don't forget to take your uniform bottoms out of
the dryer. I know you'll be a winner in New
Mexico. Honey, I'm so proud of you! Your dad
would be too.
I'm glad we had a chance to talk. I see so much
of my mother in you. Just remember our agreement,
okay? Sweetheart, I'm your mother, but no one is
perfect and I can't always be there. Sometimes
you have to set your own rules.
See you soon!
Love, Mom
Note to Michael: (Written in a large, terse had)
Michael,
See me after class~
Carol
return to top
44 Carol Freaks 44
(Close up shots of Carol looking into the camera,
speaking. Various reactions and emotions. She
is speaking to Michael. Each shot is a jump cut,
kind of like Janet's remorse in Rocky Horror
Picture Show, after sleeping with Rocky.
CAROL
What the hell do you think
you're doing?
I'll have your job for this.
Tell me I'm wrong.
Don't give me that. I saw you!
No! Michael, she's a student!
You don't go parking by the
beach, alone!
I don't want to hear it...
I am so *angry* at you!
You would jeopardize you career
for that little tramp?
What's to keep me from going to
the head of personnel, I don't
know.
You can demonstrate, some seriously
questionable judgement sometimes,
you know?
Whew, you really got me worked up.
I was really mad!
(Laughs)
Will you spend the night?...
FADE TO:
return to top
45 New Mexico 45
(Sound of low-flying plane passing overhead to a
black scree. Pause, then the abrupt brightness of
Northern New Mexico landscape. About a minute of
various terrain is shown, all reflecting a
Southwestern quiet. This is accompanied by
ambient synthesizer music. Second to last visual
is of the church on the downtown square in Santa
Fe. Final visual is of the restaurant where
Michael and Carol have planned to meet.
Restaurant exterior is accompanied by the sound of
a church bell, which signals the end of scene.
CUT TO:
return to top
46 The Land of Enchantment 46
(Michael sitting at hotel restaurant booth,
looking down at table, playing with salt and pepper
shakers. The restaurant is sparsely furnished,
with a distinctively Southwestern flavor. Michael
notices girl scouts outside of restaurant window,
wearing very bright, white blouses, selling cookies.
Blouses are so white in the New Mexico sun that
they appear to be glowing. Michael watches the
girls selling cookies for a while, then looks up,
smiles, as Carol arrives.)
(Carol walks toward
camera, smiling. She is
decked out in blue jeans,
boots, silver and
turquoise.)
(Michael, standing,
extends hand. Touches
Carol on shoulder as they
both sit down.)
CAROL
Nice accommodations. You got this
place with the money the school
gave you?
MICHAEL
I got a special package deal.
CAROL
Whom did you have te sleep with?
(Michael recoils slightly
at this.)
CAROL
Loosen up.
(Touches his arm)
Just a joke. I don't know about
you, but this is my first real
vacation in years.
MICHAEL
(Still somber)
Yeah.
(Waitress appears.)
WAITRESS
How are we all doing today? Have
you had time to decide what you
might want? Maybe we can start
off with a couple of drinks...
CAROL
What kind of dry reds do you
have?
WAITRESS
Dry reds we have
(She recites list).
CAROL
Ooh, I think the
(local wine)
sounds good. I'll try that.
WAITRESS
And you, Sir?
MICHAEL
Oh, I'm fine for now.
CAROL
Yes, but in an hour he'll be
finer. Make that two.
WAITRESS
(Repeats Carol's choices
to her, for approval.)
CAROL
That'll work.
(Waitress collects wine
list, leaves table.)
MICHAEL
Well, you're as assertive as
ever today.
CAROL
I'm just committed to seeing that
you have a good time this trip.
MICHAEL
(Sarcastically)
Well, thank you for looking out
for my well-being, Carol.
CAROL
(Looks serious)
Hey, look. As far as I'm
concerned that whole fire drill
we went through at school is
resolved. I didn't try to get
you in trouble. You didn't get
in trouble, the cat that you are.
That wasn't the scene. I was
only expressing my concern about
what looked like a volatile
situation. Okay, so maybe I
overreacted a bit. I was just
trying to express myself.
(Touches Michael's hand)
So why don't you express
*yourself* for a change and ask
me how my flight was?
(Waitress returns with
drinks)
MICHAEL
(Smiling, still looking
down)
How was your trip?
CAROL
Bumpy. Very bumpy. I need a
drink.
(Picks up glass)
Cheers.
(Michael pick up glass.
Doesn't drink.)
(Carol nearly downs whole
glass.)
Hey, this is pretty good. I like
red wine.
MICHAEL
So when do the girls get back
from Chaco Canyon?
(Carol finishes her glass
of wine.)
CAROL
(Looking off to her left.
Gestures waitress with
wine glass.)
Oh, tomorrow sometime. What's
the matter, coach? Afraid to be
alone with me?
MICHAEL
No, but I'm not going to baby sit
you if you drink too much. Not
this time. We are at 7,000 feet.
It's hard enough just to breath.
(A long pause. Carol
sits and stews, looking
at Michael. She is
visibly agitated.)
CAROL
I'm a big girl. But I forget,
that threatens you.
MICHAEL
What do you mean?
CAROL
Oh, come on. What do you think
about when you're with a real
woman? You wonder how the little
girls are making out...
MICHAEL
You don't know anything of what
you're talking about.
CAROL
That's right, I don't. And
that's because you shut me out.
You've always shut me out.
Even before you got married.
Even when we were together.
MICHAEL
Didn't happen.
CAROL
What didn't happen?
MICHAEL
Us being together. I though I
was supposed to have used you to
get to Dianna. Isn't that how it
went?
CAROL
Is it?
MICHAEL
Well, that's what you've told
me...
CAROL
Well, now I'm asking you.
MICHAEL
I don't even want to *have*
this conversation.
CAROL
You brought it up.
MICHAEL
No I didn't. Well, even if I
did, if you ever thought about
anything before jumping off
saying stupid things you'd
realize how crazy it was. But
go ahead and imagine any old
insane thing you want. I won't
stop you.
CAROL
(She is livid with
anger.)
Oh yeah? Well imagine this.
(Throws Michael's glass
of wine in his face.
Waitress arrives at same
time with another glass
of wine. Carol grabs the
glass, takes a mouthful
and spits it out into
Michael's face. She puts
the glass down and storms
away, only to return a
second later to pick up
glass and throw the
remaining wine in his
face, then throw the glass
down on the table. She
storms away.)
WAITRESS
We have and excellent laundry
service.
MICHAEL
Thank you. Is there a therapy
service, too?
(Takes money out of
wallet. Michael gives
the money to waitress as
he gets up and leave the
table.)
MICHAEL
Carol?
CUT TO:
return to top
47 Elevator 47
(We see Carol standing in elevator, looking up,
waiting for doors to close. She looks furious,
like she may be about to cry, but is holding it
in. Michael gets in elevator just as doors start
to close.)
(In elevator)
MICHAEL
I'm sorry.
CAROL
(Biting her lip. Looking
at elevator ceiling.)
Give me another bottle of wine
and I'll break it across your
head.
MICHAEL
Why are you so angry? What did
I do?
CAROL
Nothing.
(Doors open.)
Only don't you ever call me
crazy, Michael. Never again,
if you know what's good for you.
Excuse me.
(She brushes by him to
exit elevator.)
MICHAEL
(Steps out of elevator.
Camera tracks him, but
remains in elevator.
Michael opens arms in
gesture of
expasperation.)
Hey!
(Elevator door closes.)
(Carol is at her hotel
door, fumbling with key.)
(Michael walks up to
Carol.)
MICHAEL
Well if I really wanted this kind
of abuse I would have stayed
married.
CAROL
Shut up, Michael.
MICHAEL
You'd have to admit that you and
Dianna have a few qualities in
common.
CAROL
(Opening door. Turns
around, curious.)
Like what? Like in the sack?
You slept with her, Michael.
Then you married her. You
slept with then married my best
friend, after telling me that
you needed more space.
MICHAEL
Carol! Don't be so... Get a
grip. You're just so...
unreasonable.
(Then, becoming fully
cognizant of what
happened in the
restaurant)
You just threw wine all over me!
What I said wasn't that bad, was
it?
CAROL
(Starts to laugh, despite
her anger)
Did I do that?
MICHAEL
You can be incredibly
unreasonable when you go off.
CAROL
Now there's an idea. Come on in
and help me go off.
(Intimate smile)
I'm sorry I threw all that wine
at you, spit it in your face.
That was a very fluid scene, huh?
Come on in and let's share some
more fluids.
(Carol makes tidying up
gestures to Michael's
shirt and face with her
hands.)
MICHAEL
Deja vu... Carol, maybe we
shouldn't be doing this here.
CAROL
Morals? From you?
MICHAEL
No, it's just, well... Carol, it
would be too complicated.
CAROL
(Pushes Michael, fairly
hard)
You go to hell then. Damn it,
Michael! It's not like I'm
asking you to marry me! This is
my vacation. We're both adults.
What's wrong with a little, well,
say companionship? Hmm? You
think you know me. But you
don't. I'm not trying to trap
you. You think you have to be
so guarded. Why do you have to
be so guarded all the time?
(Makes puppy dog eyes.
Puts arms around
Michael's neck.)
MICHAEL
You make it hard to say no.
CAROL
Well, let me make it a little
harder.
(They kiss)
You're the one that always makes
things so complicated.
(Another kiss)
You have to give into the magic
every now and then. Don't I
show you a good time? Don't I
know how to blow your whistle?
(They look at each other
in earnest for a spell,
then kiss some more.)
(Side view of the two of
them in close embrace
after kissing. Carol
grabs Michael's belt with
one hand as she opens the
room door with the
other.)
CAROL
Come on, Boy. Come on.
(Whistling. Holds hand
like she's offering a
dog a bone.)
(Michael and Carol
disappear into doorway.)
(Camera begins to follow
them into bedroom. Door
closes. Camera stops
outside of closed door.)
(Closed door fades to
shot of translucent
curtains being gently
blown inward, like a
sail, toward camera.
The light source
illuminates curtains
from opposite the camera,
giving them a diaphonous
quality. Subtle wind
noise accompanies this
image.)
CUT TO:
return to top
48 Blackmail 48
(Scene begins with the sound of a door shutting.
Carol is undressing Michael, then taking his hands
and placing them on the buttons of her blouse.
They are kissing. Michael pauses.)
MICHAEL
Carol, Whoah!
(Pushes himself away
from her)
(Pause. She becomes
very serious.)
CAROL
Whoah? What am I? a horse?
MICHAEL
I'm not going to touch that
line.
CAROL
Whoah, huh? I'll show you
"whoah". I'll show you more
"whoah" than you know what to
do with. I'll give you so
much "whoah" you'll think
night is day.
MICHAEL
What are you going off about
now?
CAROL
What am I going off about? You
think I'm stupid? You think I
don't have eyes? You think I'm
an idiot? I'm an idiot for
loving you, yes, but it doesn't
mean I'm blind.
(Walks up to him, puts
arms on his shoulders.)
CAROL
So, are you going to blow my
whistle, or am I going to have
to blow it all over you?
(PAUSE)
CAROL
That's a veiled threat.
(Michael falling onto the
bed)
(Carol pulling off
Michael's trousers in
one motion. Carol is
now wearing an open white
button blouse and no
pants.)
(Carol sits on Michael's
bare chest)
(Shot of Carol from
Michael's perspective)
CAROL
Kiss me.
(Side view of Michael
and Carol kissing.
She is still sitting on
him.)
(Close-up of Carol's
and Michael's hands
intertwining.)
(Carol grabs Michael's
hands forecefully and
pulls them over his
head. They are now
nose to nose.)
CAROL
*Kiss* me.
(They kiss some more.)
(Carol slides her body
higher on Michael's
chest.)
CAROL
Touch me.
(Close-up of Carol's
face, as she becomes
more aroused. She
closes her eyes for a
spell, then opens them
looking down at camera.)
CAROL
I didn't say you could stop.
(Close up of Carol's face
from a low vantage point.)
CAROL
Yes, that's it..
(As Carol becomes more and
more aroused, camera cuts
away intermittently to
New Mexico scenery.
CAROL
It's so beautiful. It's just
so beautiful...
FADE TO:
return to top
49 Enchanted 49
(Carol and Michael are in bed, a white sheet
wrapped around them. They are both on their side,
Carol facing away from Michael. Carol has her
eyes closed, while Michael's head is propped up on
his right hand. He is looking at Carol and has his
left arm around her waist.)
(Close-up of Carol's
face. Close-up of
Michael is interspersed
here and there. Carol's
voice is relaxed, quiet,
slow.)
CAROL
Brightest sun. Always overhead,
it seems. Clouds building by the
mountains, over there...
Illumination almost twice
normal... Indigo sky. Sun still
burning... Distant rain, doing
its rain thing...
(Lightning flash. She
opens her eyes.)
Thunder
(Hear thunder. Another
lightning flash.)
More thunder
(More thunder. Carol
closes her eyes.)
A reticent bird waiting patiently
for her turn to sing...
(Fade out of visual)
More rain in the distance, never
reaching the ground...
(Fade out of sound)
More thunder...
return to top
50 The Girls Return 50
(Shots of sunlit Southwest ruins. The beginning
of each shot is synchronized with the tone of a
synthesizer. Included in the shots are; a large,
ancient pueblo, a cave, some pottery shards,
ancient graffiti. Roughly ten shots in all.
Last shot, deepest audio tone; tonic, is of Mary
and Amica asleep, sharing a seat in a moving
chartered bus.
return to top
51 Mary's Video Show 51
(Scene includes video footage from Chaco Canyon:
The girl's camping trip.)
(VIDEO - Close-up of a
tent, billowing in the
wind)
(Close up of Mary's face,
illuminated by
flickering light)
MARY
This is Amica's and my tent.
Amica is still asleep in there.
(VIDEO - Close up of
rabbit & lizard)
MARY
Here's a little bunny rabbit.
(Michael and Carol
watching. Carol
supresses a yawn.)
MARY
And there's a lizard.
(VIDEO - Shaky video
footage)
MARY
I forgot to turn the camera off.
(VIDEO - More shaky
footage)
(Close up of Carol. She
glances down to her
left.)
(Carol's hand touches
Michael's leg.)
(Close up of Michael's
face reacting to this)
MARY
Here's the canyon. It gets
pretty hot down there.
(VIDEO - footage of
canyon expanse)
(Close up of Michael's
face again)
(Close up of Michael's
hand patting Carol's
hand, which is now
massaging the inner part
of his thigh. He gives
her hand a gentle
squeeze, pats it once
again, then moves it off
his leg, placing it down
into her own lap.
Michael pats her hand
once again, gives it one
final squeeze, then
returns his hand to his
own lap.)
MARY
This is where they would go and
worship and stuff. Kind of like
a church or something.
(VIDEO - footage of
Rinconada Pueblo)
MARY
It's all kind of underground and
maybe it was like a calendar or
something. You know, like the
seasons. They would sit down
there and would also know when
it was Spring.
(Close up of Michael's
other hand, holding
Mary's hand)
MARY
(Extreme close up of her
face. She is smiling.)
And here is the ancient
staircase. Amica and I...
FADE TO:
return to top
52 Break Away 52
(Mary, Amica and Becky standing in front of Hotel
on Santa Fe Plaza. They are all adorned with
trophies from a just-completed shopping spree.
Amica is wearing a cowboy hat.)
(Michael's rental convertible pulls up in front
of them.)
MICHAEL
Get in.
MARY
But we were going to...
MICHAEL
Get in.
(Mary jumps into car.)
CUT TO:
return to top
53 Mary and Bruce (Rental 1) 53
(Michael's car moving
along the open road.)
MARY
Wow, I've never been kidnapped before.
MICHAEL
Why? Are you tired?
MARY
I don't get it.
(Pause. She smiles, leans
back in seat.)
So, where are you taking me?
MICHAEL
Oh, I figured we'd go for a
little spin. While away the
afternoon. Why? Got plans?
MARY
No. We were going to go back to
the Hotel and maybe go swimming
in the pool.
CUT TO:
return to top
54 Amica and Becky by the Pool 54
(Amica and Becky lying
by pool in lounge chairs.
Both have on sunglasses,
hats, and are drinking
some type of fancy ice
tea drink.)
BECKY
Wow, it's really sunny.
AMICA
I hear you.
(Pause - They continue
with their drinks)
AMICA
I hope I don't forget how to play
softball Monday.
BECKY
Hey, we might go horseback riding
on Sunday. Think Mary might make
it?
(Pause - They start up
with their drinks again.
Amica smiles.)
CUT TO:
return to top
55 Mary and Bruce (Rental 2) 55
(Back to Michael's car.
We come into the middle
of conversation.)
MARY
That was good! Make up another
one.
MICHAEL
(Pause)
Nice girls - Nice girls finish
all their supper, then savor the
milky downs of lust like cream
and chocolate melt on a silver
platter... Are you a nice girl?
MARY
(Does a little body
wave.)
Whoo!
(Distant shot of Michael's
car approaching. Camera
tracks car, zooming in.
Car stops just beneath
camera as zoom motion
ends, focusing on Mary.
Michael turns to his
right to look at her
fully. Mary is sitting
up on seat, hands
outstretched, looking up
to sky, smiling.)
MARY
I am *bathed* in light!
(Echo of Mary's voice
saying "light".
Accompanying this are
various shots of nearby
canyon walls.)
CUT TO:
return to top
56 Michael Talks to Camera 56
(This scene begins with scene identifier,
clapboard, sync pulse, i.e. standard scene log
anyone that has watched the making of a film has
seen sometime or other. Scene is shot at an
overlook of a northern New Mexico mountain chain.
Michael is in the foreground, standing facing
camera. Mary is sitting in the background on a
ledge, facing sideways, one leg up on ledge. She
has her head leaning against one of her knees.
Telephoto shot. The mountains loom large in the
background.)
VOICE1
Okay, quiet on the set. Sound?
VOICE2
Sound ready.
VOICE1
Roll sound. Camera?
VOICE2
Camera ready.
VOICE1
Roll camera. Sync it.
ASST CAMERA
Scene 56, take 1. Michael talks
to camera.
(Clapboard)
VOICE1
Hold your pose. Action!
MICHAEL
In this scene the script
resolves all this funny business
by having Michael confront his
present situation and confront
the past as well. This involves
Michael explaining to Mary that
they can't possibly love each
other the way her young girl
infatuation might lead her to
believe. I mean most of the
viewers, those that weren't in
the bathroom or out buying
popcorn, saw the Scene where
Carol and Michael get together
and, you know. Well, that was
Michael taking a step in the
right direction and the film is
about three-fourths over, so we
should really go with that,
giving the whole story a bit of a
bittersweet ending of unresolved
love and...
(CUT)
ASST CAMERA
Scene 35 take 2. Michael talks
to camera.
VOICE1
Action!
MICHAEL
In this scene Michael explains
to Mary that there are many
types of love and that up to
now they've mistaken one type of
love for another. Many types of
love don't even have anything to
do with the emotions the two of
them are feeling and... after a
time, she too will realize this.
Now we understand that at her
tender age Mary hasn't quite
learned the art of masking her
true feelings, but one day soon
she will learn that this is a
part of what it means to be an
adult in today's world and, yes,
you do know she's only thirteen
years old, so she's incapable of
really loving someone in an
amorous sense and is now merely
role-playing with Michael who
is merely a father figure to her
so...
(CUT)
ASST CAMERA
Scene 35, take 3. Michael and
Mary.
(Michael seated on ledge
facing Mary)
VOICE1
Action!
MICHAEL
So how were the ruins at the
canyon? Let's hear the real
scoop.
MARY
(Smiling, looking down)
They were great! So hot in the
day. So cool at night. Stars,
stars, so many stars. I wished
on some.
(Looks up coyly)
I'm glad I'm back.
MICHAEL
I'm glad you're back, too.
MARY
It's different here, huh?
MICHAEL
You noticed that. The air.
It's so rarified, ethereal.
MARY
You using those big words again?
MICHAEL
Ethereal. That's the best word
to describe the feeling.
MARY
Like heaven?
MICHAEL
Like heaven.
MARY
Seven eleven. Take me to heaven.
Caress my tired head. Lie in my
bed.
MICHAEL
Where did that come from?
MARY
It's something Amica and I do.
One of us says a sentence and
the other one has to answer with
a rhyme.
MICHAEL
So Amica did the "Seven eleven"
bit and you must have contributed
the "Take me to heaven" and the
"Lie in my bed" business.
MARY
How did you know?
MICHAEL
(Looks at her for a
spell)
Hey! did you ever go to an
amusement park and get off of a
ride that made you dizzy?
MARY
Yeah?
MICHAEL
And things that you know are
stationary appear to be moving?
MARY
Yeah...
MICHAEL
Well, that's what those mountains
appear to be doing.
MARY
Yeah?
MICHAEL
Yeah. It's like they're moving
like one big ocean. The tips of
the mountains are like little
waves. I can even hear the surf.
MARY
Dude!
MICHAEL
(Continues)
Like frozen oceans, those
mountain tops.
MARY
Why did you leave your wife?
MICHAEL
Whoa! Where did that come from?
MARY
Ms. Foley told Carol she thought
you were lonely.
MICHAEL
Now where did you intercept this
little tidbit of gossip?
MARY
On the stairs.
MICHAEL
(Long pause, then)
Once, once upon a time, I fell
in love. It wasn't the first
time, nor was it to be the last.
But I was at the age that I felt
it had to be, well, special, as
if love in itself weren't special
enough. We decided to promise
the world that the love would
last forever and a day and that
we would find no love greater.
Now a promise like this is an
idle promise, and I'll tell you
why. A person can promise to do
or not to do all sorts of things:
You can promise to make your bed
every morning, to take your
vitamins, to brush your teeth,
not to touch yourself in public.
But love isn't about doing or not
doing. It's about feeling. You
can't promise to feel a certain
way a certain length of time,
least of all forever. Well, you
can, but it's not something you
can control. Such a promise is
an idle promise. It's like
promising that you'll set all
your conscious mind to the task
of ensuring an earthquake never
again occurs in the state of
California. Worse than that,
promising to love someone forever,
unless you realize the romantic
absurdity of that notion, well,
it can ruin the future happiness
of all involved. Say those
feelings just aren't there
anymore. All things have a
beginning and an end. There's
no shame in that. But believing
yourself to be a person of
strong conviction and dedication,
you figure, well, maybe you're
not trying hard enough. You
refuse to admit defeat, to
acknowledge your unhappiness or to
have the strength to set about
finding it again, no matter the
initial pain involved. You
wouldn't believe the number of
people locked in miserable
relationships, going through the
motions. "What else is there to
do? There are bills to pay. We
own a house. I'm a faithful
person. And all that talk about
happiness, well, maybe it's a
little selfish. Maybe people
aren't supposed to be happy..."
(Close up of Mary looking
at Michael, trying to
visualize)
MICHAEL
Life is meant to be joyful. In
my dreams I was happy. Then I
would wake up and the reality
of the situation would hit me.
See her lying there next to me,
just like the morning before and
the morning before that. And
the reality that my heart was a
thousand miles away.
(Long pause)
MARY
Are we going to spend some time
together?
MICHAEL
Yes, Dear.
MARY
Do you think you'd ever dream
about me?
MICHAEL
(Pause)
There isn't a situation that I
haven't thought about you.
Dreams are easy.
(Mary thinks about this.
Smiles.)
FADE TO:
return to top
57 Michael and Mary 57
(Scene begins with dialogue, close ups. Michael
and Mary are at a New Mexican restaurant.)
MICHAEL
So what's it going to be? Chile
relleno? Bean enchilada? Beef
enchilada? Bean and beef
enchilada? Chicken enchilada?
Enchilada dinner which includes
three of any of the above, served
with beans, rice, dinner salad
and sopapillas? Stacked or
rolled? Ah, and then you have
your choice of tortilla. Flour
tortilla or blue corn?
MARY
Ooh, that sounds good.
MICHAEL
But wait. You could also have a
burrito: Bean, beef, chicken,
bean and beef, bean and chicken,
chicken and beef...
MARY
It doesn't say that.
MICHAEL
Carne asada...
MARY
What's that?
MICHAEL
Cubes of tender beef.
MARY
Oh.
MICHAEL
Or you could always have a taco.
And that seems to about do it,
except for the menudo, which we
won't mention.
MARY
You just did.
(Michael watches Mary
expectantly.)
MARY
I... think I'll have that blue
corn thing.
MICHAEL
Excellent choice, little girl.
Red or green?
MARY
(Slightly bewildered)
Blue.
MICHAEL
Red or green chile. Goes on top.
MARY
Ooh. Red.
MICHAEL
Alright. And ten glasses of
water to aid digestion and
replenish bodily fluids in this
high, arid land.
(Flash dissolve to next
dialogue)
(Medium shot. Michael
and Mary are seated in
booth in restaurant.
Very bright walls.
Sparse. There are two
ristras overhead. One
is of standard design,
over Michael's head.
The other is shaped like
a wreath, which is over
Mary's head. There is
food on the table. They
are both eating.)
MICHAEL
When I first came here, several
years ago, I got addicted to
this kind of food in a big way.
Pretty healthy, actually. You
just have to stay away from
beans that are cooked with lard.
And not eat too many fried things.
MARY
(Close up. She's loading
up with chips and salsa.)
Chips are good. How do you think
they're making out at the hotel?
MICHAEL
I doubt if many are back yet.
We're supposed to be meeting
tonight. Anyway I've decided
not to worry about that kind of
thing. A vacation's a vacation.
MARY
I'm not complaining.
(Pullback shot of Michael
and Mary looking toward
camera at the same time.
Flash-like noise, then
fade to white.)
CUT TO:
return to top
58 Overlook 58
(Sunny feeling to this scene. Lots of smiles,
very quiet. Can hear quiet sounds, the sound of
flies. Still air. Incredibly sunny. Michael's
car is parked at a scenic overlook.)
(Michael with binoculars, using car door, car
frame for support. He's looking off into the
distance, standing half in, half out of car.)
(Mary is in the back seat. We can only see her
legs, which are sticking out of the open door.)
MICHAEL
Look, Mary! I can see the field
where you're going to be playing.
MARY
That's nice.
MICHAEL
Wow, I think I see a mountain
goat, too. Over in those
mountains. Oh, wait. It's
gone. I think that's what it
was.
MARY
What?
(It's very curious what
she's doing. Can still
only see her legs, which
she's kicking in a
swimming motion.)
MICHAEL
What do you think Carol's
doing?
MARY
I dunno.
(She sings this.)
MICHAEL
I don't know, either.
(Michael lowers
binoculars. Looks
reflective. Looks over
at Mary.)
(Mary sitting in back
seat. Door still open.
She's smiling at Michael.
Michael sits down in back
seat next to Mary. They
look at each other.)
MICHAEL
It's so quiet here. You can
really hear the sound of your
own body. I can hear the sound
of my heat. It beats in all
directions. Yours too.
MARY
What's that sound like?
MICHAEL
Bumpty bumpty bump...
MARY
Take my pulse. My heart's
beating funny. Can it skip a
beat?
MICHAEL
(Takes her hand)
I don't think we have to worry
about you being a cardiac patient.
Not unless you keep it up with
those tortilla chips.
(Looks at his watch.
Fifteen second pause as
he takes her pulse. He
looks at her while doing
the math.)
Sixty eight.
MARY
You're my lover.
MICHAEL
What am I going to do with you?
MARY
(Slightly offended)
What do you mean?
MICHAEL
(Seriously)
You're so young.
MARY
And you like me being young.
(Pause. She then leans
up to Michael in a
humorous way, opening
her eyes wide,
whispering with a smile.)
You like it.
MICHAEL
(Kind of to himself)
Maybe a little too young.
MARY
No I'm not.
MICHAEL
Yes you are.
MARY
(Smiling)
No I'm not not not.
MICHAEL
(Smiling)
Yes you are are are.
MARY
(Defiantly)
No I'm not. You don't know what
you're talking about.
MICHAEL
You see, darling. Society
doesn't want you to know too much
about sex and romance until
you've properly learned how not
to enjoy it.
(Mary looks at him,
smiles.)
MICHAEL
I could spend a lifetime kissing
that little mouth of yours.
(They looks at each other for a spell.)
MARY
You're my baby boy...
CUT TO:
return to top
59 Carol by the Pool 59
(Carol is seated in a reclining chair by the
outdoor pool at the hotel. It is sunny, serene.
First shot of scene, Carol's first sentence, is
of the sun, from behind very dark filter. Next we
see the sun's reflection in the water of the pool.
Finally, we see the sun's reflection in Carol's
sunglasses. Gradually, as we hear more of Carol's
voice, there is a slow pull back from Carol's face
to reveal Carol sitting by the large pool of water.
Carol speaks in a sedate, relaxed, musing fashion,
to herself. There is a slight echo. Carol's voice
is a voiceover, representing what she is thinking.
In the background can be heard the subtle sound of
the ticking of a stopwatch, and the sounds of
children playing in the pool.)
CAROL
I know just what I'm thinking.
Funny of me to say that.
(Pause)
This is my vacation. This is my
time. I'm lying in a chair by
a pool. I'm lying in a chair,
by a pool at a hotel in which I
am a registered guest. I'm
lying in a chair by a pool in
the state of New Mexico. That's
pretty wild. Twenty four hours
ago I was still in California.
California. What does tha mean,
anyway? Cali - Hot? Fornia...
Hot sex?
(Laughs)
Wonder what the pilgrims would
have done had they ever been
taken on a plane ride. Probably
would have freaked them out.
They would have gone insane, or
died of fright, traveling in an
hour a distance that would
normally take several months and
months.
(Pause)
I think I'm a little drunk.
(Pause)
I have a room upstairs. And in
it I have possessions. I have
access to the bathroom. Just
like that. You can say it's my
bathroom. I have a bed in there.
I had sex this morning. Last
night, too. Whoo. I wasn't even
here yesterday and now I'm just
lounging by the pool, having sex
and everything. What a life.
Someone else may be up in my room
right now, but just the maid, and
only to clean. I can do what I
want in there. I'm an adult.
I've got money, credit cards, you
name it. I want to get married.
He's good with children. Whoa.
Do I feel that way?
(Pause)
This is insane.
(Pause)
No it's not. My feelings are
just as important as anyone
else's... The sun is so warm,
so bright. Maybe it's this
altitude. What was that again?
7500 feet. I'm pretty high up
there, alright... Santa Fe. I
have to have faith in myself. I
know what I want. And no matter
what I tell myself, I'm going to
go for it. I have a job, and
pay all my bills. Who says I
can't do what I want to do? Why
should I be the old lady? The
one that doesn't get the roses,
the flowers? This is my life.
I'll do what I want.
(Sigh)
It's so hard being and adult all
the time. And I'm tired of
living alone.
(Stretch)
Mmmmmm.
(Then, in a singsong
voice)
Sun's going...
CUT TO:
return to top
60 Night Vision 60
(First word said to a
blank screen)
MICHAEL
...Down.
(Michael and Mary in car at night. Fake
street lights going by, illuminating Michael
and Mary's faces.)
MARY
Does Carol remind you of your
wife?
MICHAEL
Ex-wife.
MARY
Does she?
MICHAEL
A little bit, I guess. They were
best friends.
MARY
Really?
MICHAEL
Carol introduced me to Dianna.
MARY
(In thought)
Whom do I remind you of?
MICHAEL
Hey, your grammar. I'm so proud.
Whom do you remind me of? Trick
question. Hmm, let's see.
Harpo Marx? No, that's not
right. Uh, Betty Grable? No,
your legs are much nicer.
(Glances down at Mary's
legs)
Yourself.
(Looks over)
You are one of a kind.
(Continues driving. Then
looks over again.)
You're worth your weight in gold.
MARY
(Smiles)
How much is that?
MICHAEL
Ummm, I'd say about...
(thinks, glancing over
at Mary)
I'd say about $560,000 or so.
MARY
(Trying to comprehend
the amount)
Wow, that's more than most houses.
Would you buy me?
MICHAEL
Hmmm.
(Smiles. Looks over.)
Sure. I'd have to rob a bank or
break the law or something.
MARY
You've already done that.
(Michael looks over, a
little nervously, then
smiles.)
(Pause. Close up of
Mary's eyes, smiling, as
she looks up and out of
the corner. Strong
highlights in her eyes.)
MARY
(Suddenly)
I wrote you a poem the other day.
MICHAEL
You did?
MARY
Yep, in the canyon.
MICHAEL
Iambic pentameter?
MARY
(Thinks, then)
I don't know.
(Pause, then suddenly
aware Michael is joking
with her)
You're being silly.
(She takes off her seat
belt and sits up on her
knees on the seat,
leaning toward Michael's
ear.)
MARY
(Lowering her voice.
She says in a seductively
innocent tone.)
You wanna hear it?
MICHAEL
(Tersely)
Yes.
(Mary leans both hands on
Michael's right shoulder,
bringing her lips close
to Michael's ear. As she
does this, ambient noise
- traffic, engine noise
- increases, so that the
audience can no longer
hear her voice. Words to
the poem display along
the bottom of the screen,
white text against a
black background. As
Mary whispers her poem
there are close ups of
her mouth and Michael's
ear, Michael's eyes, his
hands on the wheel,
Mary's legs on the seat,
oncoming traffic. Mary
finishes the poem. She
pulls her head away,
smiling. The feeling of
Mary's recital is like
that of an extended kiss
on Michael's ear. Mary
looks off to the side,
out of window, still
smiling.)
(Words to Mary's Poem)
If I could give you anything
today/ It would be flowers/
because God didn't bring you
any/ And if I could make you
feel/ A certain way, it would be
happy/ Because that's what/ You
give to me./ And if I think of
you/ Just you/ I smile/ And
smell flowers!
MARY
Oooh. Let's stop here. I need to
call my mom.
CUT TO:
return to top
61 Telephone 61
(This scene fades in to a black telephone set
placed on a table. The telephone is ringing.
Other than the ringing of the phone there is
silence. The implication here is that Mary is
calling home, but whether or not she reaches her
mother, or what they might talk about, is an
exercise left to the viewer.)
FADE TO:
return to top
62 The Ceremony 62
(Scene begins to the sound of a coyote in the
distance. Other than that it's very quiet. The
lighting is day for night, with a moonlit feel.
Michael and Mary are walking along an open
canyon.)
MICHAEL
So we did the amusement park
thing.
MARY
(Contemplating the sandy
soil as she walks)
The amusement park thing.
MICHAEL
Did the phone thing.
MARY
The phone thing.
MICHAEL
(Looks over)
Did the deceive your mom thing.
MARY
The mom thing.
MICHAEL
What's up with the Carol thing?
MARY
The Carol thing.
(Pause as they walk for
a while in silence)
MICHAEL
Did that ocean thing.
MARY
Ocean...
MICHAEL
Now we're here in New Mexico in
the desert.
MARY
The desert thing.
MARY
(Stands still, closes her
eyes, facing skyward)
So if you stand still long enough
and face a full moon, you can get
moonburnt.
MICHAEL
I think that's already happened to
you, lunar nymph.
(Mary gives Michael a
smile.)
MICHAEL
If we don't get back in an hour,
someone's going to have a cow.
MARY
How many hours does a person
live?
MICHAEL
You mean really live?
(Pause)
Hmmm. Dunno. I guess that
depends.
MARY
You say that a lot.
MICHAEL
I say what a lot?
MARY
I guess that depends.
MICHAEL
How do you feel?
MARY
I feel a little chilly.
(They embrace. Michael
kisses the top of Mary's
head. Then places his
cheek against it.)
(In the voices of Mary
and Michael)
MICHAEL
Like two bodies forever falling,
never touching.
MARY
Yes.
MICHAEL
Dreams of relativity.
MARY
I guess.
MICHAEL
How does gravity work?
MARY
I don't know.
MICHAEL
Something to do with time.
MARY
I've got time.
MICHAEL
Moonrise over sleepy earth.
MARY
Sounds nice.
MICHAEL
Night setting.
MARY
Huh...
MICHAEL
Speeding up, we're slowing down.
MARY
Same time?
MICHAEL
Waves rolling in.
MARY
Waves.
MICHAEL
Another echo.
MARY
(Laughs)
Echo.
MICHAEL
The ocean steals
MARY
Steals...
MICHAEL
Our breath away.
(Prose dissolves to the
subdued sound of ocean
surf. Ocean sound
continues for four to
five cycles of waves.)
(The preceding dialogue
is accompanied by
various visuals: Clouds
shot through a deep red
filter, then a close up
of the tips of mountains
to a backdrop of black
sky.)
MICHAEL
(Whisper)
I couldn't wait for you forever.
MARY
(Quiet voice)
That's what we're here for, baby
boy.
CUT TO:
return to top
63 Carol's Night Vision 63
(Hear the click of a light switch. This sound is
synchronized with a head-on shot of Carol sitting
up in her hotel bed in Santa Fe, alone. Her eyes
are opened wide, yet her expression is fairly
blank. The suggestion here is that she is not
really awake, but sitting up in her sleep.)
(Side shot of Carol sat up, looking around sleepily
for what it was that pulled her from her sleep.
then there is another head shot, full-on, of Carol
relaxing in an unconscious, almost collapsing
manner, lying back down in bed, resting her head on
the pillow. She resumes her previous sleeping
position.)
FADE TO:
return to top
64 Omniscient 64
(This scene opens to sunrise: the sun rising over
the mountains. This cuts to an establishing shot
of the hotel the team is staying in. This cuts to
billowing, translucent curtains, then a fade of
Carol sleeping in dawn lighting in her hotel room.
This fades to a shot of Amica and Becky sleeping
in one bed and a girl sleeping on the floor beside
the window. Camera pans across the room to
another girl sleeping between the beds, then of
another girl sleeping on one side of the 2nd bed.
One side of the bed is curiously made and has a
crisp pillow. Camera zooms in on the pillow.)
(The above shot fades to Bruce's Hotel room and to
his made bed. A church bell is ringing.)
CUT TO:
(This scene is accompanied by a Native American
chant.)
(Michael and Mary are sitting in front of
confessionals in a pew. From behind, Michael is
on the right, Mary the left. There is a woman
sitting to their left, praying the rosary.
Another woman is behind them waiting to take
confession.)
(Elements of Visual Progression)
(Establishing shot of church
interior)
(Establishing shot of Mary and
Michael sitting in pew)
(Woman praying the rosary -
Rosary is the same one Mary used
in the dream sequence.
(Shot connecting the position of
Michael, Mary, and the rosary
woman)
(Woman waiting to enter
confessional. She looks over
to Mary, smiles.)
(Michael glancing over at Mary,
smiling.)
(Passing man in black, looks
over briefly.)
(Close up of Mary's motions,
mannerisms. She is very active,
yet sedate, in her looking
around, fidgeting. She looks
ahead, off to the side, off to
the other side, smiles at both
women, glances at passing man in
black, over to Michael, smiles,
looks down at her hands.)
(Mary and Michael holding hands
(Mary looking up and behind at
stained glass window)
(Stained glass window of Saint
Peter)
(Mary's and Michael's hands)
FADE TO:
return to top
65 Last Supper 65
(Slow, horizontal dolly along frosted glass window
outside of restaurant in hotel. Sounds of people
dining. It looks to be the late morning. Bright
and sunny.. There is a skylight in the center of
restaurant.)
(At end of dolly we see Michael and Mary inside of
restaurant seated at table. The restaurant is
sparsely filled with other diners. A few
waitpeople wearing their black pants and white
shirts are milling around. Michael and Mary have
just started to peruse the menu.)
MICHAEL
Now, remember, tomorrow morning
is your first game.
(Looks up with a
cautious gaze)
Careful with the chile.
(Mary makes face of
dread.)
(Michael continues
looking at menu. Kind
of a leisurely Sunday
morning feel to the
pace, established by
Michael's mannerisms.)
(Mary looks around at
the restaurant)
(A lone steel-string
guitarist is setting up
at the forefront of
restaurant. He is about
to sing a folk song in
Spanish.)
(Mary turns head back to
Michael. Touches his
arm.)
MARY
Ooh. He's going to play some
music.
(Michael looks up,
smiling. His eyes then
rest on Mary.)
(Mary returns Michael's
gaze. She then flips her
head down quickly, to
pick up the name of an
entree she's decided
upon eating.)
MARY
What's Pesce...?
(She points at the menu
as she speaks.)
MICHAEL
(Looking at menu)
It's a fish dish. Baked. High
protein. Not much fat. Lots
of carbohydrate garnishings.
Not a bad choice for brunch.
Sounds good.
(Mary flips her hair.
She tucks it behind her
ear, still looking at
menu.)
(Waitress appears,
smiling at the two.)
MARY
(Still pointing to menu)
I'll have the Pesce...
(Botches the
pronunciation again.)
(Waitress corrects her.)
MARY
Yeah, I'll have that thing.
WAITRESS
Sir?
(Michael gives his
selection.)
WAITRESS
Would you like to take advantage
of our champagne brunch?
(Mary glances up,
sheepishly, looking at
Michael.)
MICHAEL
Sure. Two glasses?
WAITRESS
Uh, o-kay.
(Waitress glances over
at Mary as she collects
the menus, then smiles.
She turns to Michael.)
Let's hope some of it finds your
mouth this time.
(Michael smiles at
this.)
MARY
What was *that* all about?
MICHAEL
Carol threw some wine on me the
other day. At this very table.
MARY
(Laughing)
Really? Wow, what a bitch.
Sounds like she made a scene.
MICHAEL
Yes, she made a scene, alright.
Don't grow up to be like her,
okay?
MARY
Oh, don't worry about that.
(She leans forward, whispers)
So they're going to serve us
*champagne*.
MICHAEL
Well, it's a holiday. And like
all festive occasions, it
requires a toast.
(Guitarist starts up.)
MARY
To us?
MICHAEL
(Looking around,
smiling)
To everyone.
MARY
Guess that about covers it,
huh?
(Michael looks up,
smiles.)
MARY
I don't want to go back to
California.
MICHAEL
Oh come on. It's a wonderful
life you have back there.
MARY
But I don't want to be treated
like a kid anymore. Have to go
to school and everything.
MICHAEL
Oh, school's not so bad, it is?
And it's great for your mom.
Safe, reliable child care
officially sanctioned by the
State of California and the
Catholic Church.
(Close-up of guitarist.
He's playing a somber,
very melodic song. He
is singing in Spanish.)
(Back to the table.
They now have champagne,
chips and water.)
MICHAEL
Anyway, if you weren't going to
school you'd probably be off
getting yourself into all kinds
of trouble. Or, worse yet,
you'd have to go to work, which
would be downright awful. You
wouldn't get to read or have any
fun or anything. Unless or
course you were a teacher.
(Mary smiles at this.
She tucks her hair back
behind her ear, touches
Michael on the arm, then
looks up, curious.)
MARY
Today's Sunday, huh?
MICHAEL
Uh huh. All day.
MARY
(Opens eyes wide)
I was going to tell you
something.
MICHAEL
What?
MARY
I can't remember now.
(Pause)
(Close up of Michael,
looking idle)
MARY
(Musing)
So tomorrow's Monday.
MICHAEL
That's right.
(Smiles)
Spiritus Mundi.
MARY
(Smiles in an expectant
manner, knowing that what
Michael has just said
must be a joke, but she's
still waiting for the
punch line. She tucks
her hair behind her ear
one last time. Laughs
nervously.)
I don't get it.
(Close up of guitarist
completing song. Close
up of his fingers as he
plays. Freeze frame of
his fingers as he plays
the final chord of the
song, which resonates
with a high-pitched
transient, generated by
fingers sliding across
steels strings. This
transient is looped with
a gradual fade. The
credits roll in front of
a still frame of the
guitarist's hands, which
gradually fades to black.
The credits continue to a
black background and the
muted sound of ocean surf.)
END
