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THE LUNCHROOM
Episode Twelve
"Everybody Hurts"
Season Three Finale
Part One
Teleplay by
Melinda Waterman
Story by
Bruce Snyder
Created by
Bruce Snyder
EXECUTIVE PRODUCER
Bruce Snyder
EXECUTIVE PRODUCER
Vincent Biga
STORY EDITOR
Melinda Waterman
CONSULTING PRODUCER
Edward Drogos
CONSULTING PRODUCER
Max Majernik
CAST LIST
Will Cooper.................................
Joel Mayberry...............................
Brian Vandele...............................
Brock Warner................................
Reicther....................................
Casey Jennings..............................
Chris Hughes................................
Stacy Cifaretto.............................
Mr. John Parker.............................
GUEST CAST LIST
Kate Davidson...............................
Richard Belzer..............................
Ellen Conner................................
Ms. Diane Ballard...........................
Cathy.......................................
Sarah Thorman...............................
Principal Stevens...........................
Copyright © Bruce Snyder
TEASER
FADE IN:
INT. KATE'S HOUSE - LIVING ROOM - DAY
KATE DAVISON is sitting on the couch. She seems to be
curled up into a little ball, rocking slowly back and
forth. There's a knock at the door. Kate quickly gets up
and walks toward the front door.
KATE
Oh thank Christ!
She opens it to reveal CHRIS HUGHES. He seems worried.
CHRIS
I came over as soon as you called.
What's the matter?
KATE
Well, I was taking a shower when I
heard someone...And-And I think
there may be someone in the house!
CHRIS
A stranger? In the house?
KATE
Yeah. In the closet of my parent's
room.
CHRIS
Oh shit...Um, where are your
parents?
KATE
They're in Chicago for a business
trip.
Chris looks worried.
CHRIS
(to himself)
Fuck.
(out loud)
Are you sure there's someone in the
house?
KATE
Sure as fucking rain.
CHRIS
Um...I...Uh...
KATE
Well?
CHRIS
Well what?
KATE
Do something.
CHRIS
Do something?
KATE
Yeah.
CHRIS
Like what?
KATE
Take some action! I mean there is
an intruder in my house.
CHRIS
Get me a phone. I'll show you some
action. I'll call the cops.
KATE
What, you can't take care of him?
Chris gives her a strange look.
CHRIS
He's an intruder!
KATE
Yeah, but you don't know what he
looks like. He could be a small,
bald, skinny, white, Jewish man.
CHRIS
Hey! I find that offensive.
KATE
Sorry.
CHRIS
All Jews are not bald and white.
Small pause. Kate sighs in frustration.
KATE
What are we going to do about my
little guest upstairs?
Chris thinks.
CHRIS
Let him get comfy until the police
arrive?
Kate seems annoyed.
CUT TO:
EXT. SCHOOL - DAY
Establishing shot. Out front there is a sign that reads
"Today: Auditions for School Musical."
INT. SCHOOL - HALLWAY - DAY
Principal Stevens is walking down the hallway, whistling
as he is about to leave the building. Suddenly MR. JOHN
PARKER appears from the corner.
PARKER
Wait, right there you old bastard!
Parker walks fast toward Stevens. Stevens reaches into
his pocket and tries to get his keys out.
STEVENS
(to himself)
Crap. Where are they?
Parker runs up to Stevens.
STEVENS
(to himself)
Shit.
(out loud)
Oh, John. What can I do for you?
Parker rises a pamphlet up.
PARKER
What the hell is this?
Steven looks at it.
STEVENS
Why, I believe it is a pamphlet for
the new Musical.
PARKER
Why does it say, "Directed by John
Parker AND Diane Ballard?"
STEVENS
Well, it is because, Miss Ballard
will now be co-directing the
project with you.
PARKER
Why?
STEVENS
To be honest, John. A lot of the
staff and board of directors were
very unsure of your abilities to
pull off such a very big and VERY
expensive show.
PARKER
So basically, you hired someone to
help to make sure I don't screw up?
STEVENS
By George, you are smart.
Stevens begins to walk away.
PARKER
Wait, a minute. When was this
decided anyway?
STEVENS
Only a few days ago.
PARKER
Why wasn't I told?
STEVENS
You were told. Three times.
Parker looks confused.
STEVENS
For God's sake man, why don't you
take a look at your mailbox in the
main office.
PARKER
I have a mailbox in there?
Stevens sighs. Just then, MISS DIANE BALLARD comes in.
BALLARD
Oh hey, John! I hope you don't mind
but I switched the audition song
from "Why Can't the English" to
"The Rain in Spain."
PARKER
Um, I kind -
BALLARD
(a bit fast)
Don't worry, I told everyone in
advance that there was going to be
a song change. Also I changed the
lines for the kids who are trying
out for the part of Freddy to what
the character says at the end of
scene 7 of act two. I also changed
the lines for Higgins, Eliza, and
George. I hope you don't mind it's
just that I think these new lines
are a better showcase for the
student's acting talents.
Pause.
PARKER
Ooooookay.
BALLARD
I'm going to head down there right
now.
Ballard heads out the down and into the hallway.
Parker looks a bit upset. Stevens smiles.
STEVENS
Have fun, John.
Stevens gets out his keys and takes a few steps. Parker
quickly runs and grabs his keys.
STEVENS
Oh, I know what your going to do.
Your going to hide my keys because
of this Ballard problem.
Parker walks over to the main door and opens it. He
throws it as hard as he can. Parker smiles and begins to
walk away.
PARKER
Have fun, Bob.
He leaves and heads down the hallway. Stevens shakes his
head and heads closer toward the door.
STEVENS
Oh so young and ignorant. Thinks
I'll be upset over -
He looks worried.
STEVENS
Where the hell are they?
He takes another intense look.
CUT TO:
INT. JOEL'S HOUSE - LIVING ROOM - SAME
Joel is sitting on the couch, with a phone in his hand.
He seems to debating about something. Suddenly, he dials
some numbers.
Pause.
CATHY (O.S.)
Hello?
JOEL
Hey, Cathy. It's me...Joel.
Instant hang-up. Joel kinda seems disappointed.
JOEL
(to himself)
Okay. Okay. Should've saw that
coming.
CUT TO:
INT. CATHY'S HOUSE - CATHY'S ROOM - MINUTES LATER
Cathy is sitting up in her bed, reading the book "Pride
and Prejudice." Suddenly, the phone on her nightstand
rings. Cathy answers.
CATHY
Hello?
VOICE (O.S.)
(English accent)
Yes, hello. Is Cathy there?
CATHY
(confused)
...Yes. This is her.
VOICE (O.S.)
Oh marvelous! Cathy, this is Nigel
...(thinks) um, Nigel Pennyworth.
CATHY
Nigel Pennyworth?
VOICE (O.S.)
Yes, I'm calling from a very elite
British school here in British...I
mean London. I'm calling because
I've been going over your records -
(voice turns to Joel's)
- Cathy, I'm sorry. Please don't
hang up.
CATHY
Good-bye Joel.
She hangs up.
CUT BACK TO:
INT. JOEL'S HOUSE - LIVING ROOM - SAME
Joel seems disappointed again.
JOEL
Damn it all to hell!
He sits a second to think. He raises his head and gets
an idea. He gets up and leaves the room.
CUT TO:
EXT. BRIAN'S HOUSE - LITTLE LATER
Brock walks up to Brian's house and rings the doorbell.
After a few seconds, the door opens and Brock goes
Inside.
INT. BRIAN HOUSE - LIVING ROOM - CONTINUOUS
Brock enters and brushes past Brian. He walks over and
plops down on Brian's sofa.
BRIAN
(under breath)
Just come in. Make yourself at home.
Brock sighs.
BRIAN
What's wrong with you?
BROCK
Oh, nothing really.
(pause)
Except...I'm going to stop talking
to Sarah.
Brian raises an eyebrow.
BRIAN
Oh really?
BROCK
Really. I don't know why, but when
I got up this morning, I was pissed.
I was in a horrible mood, and as I
was sitting in the shower, all of
my hatred was focused on one person.
Sarah. Like I said, I have no idea
why, but it happened and I decided
today after talking to Casey that
it was best I just stop all together.
BRIAN
So you're just going cold turkey?
BROCK
Damn straight. Cold turkey tastes
good.
BRIAN
When are you going to tell her all
this?
BROCK
Right now. Can I use your computer,
I want to see if she is on AIM.
BRIAN
Um, sure. I guess.
Brian begins to walk down his hallway, with Brock following.
INT. BRIAN'S HOUSE - COMPUTER ROOM - SECONDS LATER
Brian and Brock enter. Brock takes a seat at the computer.
BRIAN
Here we are.
BROCK
All right good.
Brief pause. Brock gives Brian a look.
BRIAN
What?
BROCK
Can't you go watch TV or something.
I want to be alone for this.
BRIAN
Oh come on, I want to see what she
says.
BROCK
There will be a snowball fight in
hell before I let you sit here and
see this. Now get out.
BRIAN
Fine.
Brian slowly walks out. Brian whispers something.
BROCK
I heard that.
BRIAN
I said "Duck Blue!"
CUT TO:
INT. SCHOOL HALLWAY - MINUTES LATER
Mr. Parker and Ms. Ballard are walking down a dessert
hallway together. Parker seems a bit annoyed. (NOTE:
During this scene, whenever Ballard asks a question,
Parker responds very quickly.)
BALLARD
John, are you upset?
PARKER
No.
BALLARD
You sure? You seem upset.
PARKER
Positive. This is my non-upset face.
BALLARD
I'd be upset if I were you. I mean
having the bosses dump someone on
you like that.
PARKER
Well, were all a little different.
BALLARD
Someone who might mess with your
direction and vision.
PARKER
That's a possibility.
BALLARD
I'd be mad as hell.
PARKER
Well that's you.
They reach a door, open it and enter.
INT. SCHOOL - AUDITORIUM - CONTINUOUS
Parker and Ballard enter. The place has about thirty or
thirty five students in it. All scattered around, some
in groups, some by themselves. Parker and Ballard walk
up to the front.
PARKER
Excuse me, ladies and gentlemen.
Everyone quiets up and look forward.
PARKER
I want to thank you all for coming
out on a Saturday. Today we're
going to audition as many people as
we can. If we don't get to you
today, don't worry there's going to
be more auditions tomorrow.
(brief pause)
We're going to start off by having
everyone auditioning for Eliza to
go first.
Most of the audience goes back to talking. About ten or
so girls get up and head for the stage.
In the very back, Will is sitting by himself. He is
deeply into reading the script. Suddenly famous actor
RICHARD BELZER appears sitting next to him.
WILL
Shit!
(pause)
Why do you only visit me when I'm
nervous?
BELZER
That's the best time. Your so out
of your mind your ready to believe
anything.
WILL
I'm not that stressed out.
BELZER
Oh yeah? Well, it looks like your
hand's shaking there, twitchy.
WILL
It doesn't mean I'm nervous.
BELZER
Yeah and giving someone the finger
is a sign of respect.
WILL
(off nervousness)
It's just that...I've never had to
act before.
BELZER
You've never acted?
WILL
Not in front of people.
BELZER
It's easy. Just stay calm.
WILL
Easy for you to say. Your not real.
BELZER
Hey, just because I'm not real
doesn't mean I don't have feelings.
WILL
Uh, actually that IS what it means.
Pause. Will looks down at his script. He then looks down
the hall a bit and sees ELLEN CONNER, red head,
honey-voiced, a bit on the chunky side. She is
sitting up near the front, looking at her lines. Next
to her our TWO GUYS and a GIRL. He stares for a few
seconds before Belzer notices.
BELZER
Ah, I see you have wondering eyes.
WILL
What?
BELZER
The girl. I know your looking.
WILL
Was not.
Will digs his face into his scripts. Belzer just shakes
his head.
CUT TO:
EXT. CATHY'S HOUSE - SAME
It seems to a very nice house in the suburbs. Joel walks
up to the house and stands in the front yard. He is
carrying a BOM BOX. He hits play and lifts it into the
air. After a few seconds it starts to play Ozzy
Osbourne's "Shot in the Dark."
JOEL
Oh shit!
He lowers it. He hits stops and opens it up. He quickly
flips the tape over. He hits play again and once again
lifts into the air. This time it plays Thomas Dolby's
"She Blinded Me With Science."
He continues to lift in the air as the song blasts.
INT. CATHY'S HOUSE - LIVING ROOM - SAME
Cathy enters and walks over to the window. She looks out
and gasps.
EXT. CATHY'S HOUSE - SAME
Joel notices that Cathy is looking out. He seems for her
approval but she just shuts the curtains.
Joel seems disappointed.
FADE TO:
INT. KATE'S HOUSE - LIVING ROOM - LATER
Chris and Kate are standing by the stairs. Chris is
wearing a football helmet and has a baseball bat. Kate
is also wearing a football helmet and has a knife.
CHRIS
All right, we go up there. Then
I'll fling open the door and we can
hopefully get him.
Chris is about to go up the stairs but he stops.
KATE
What? What's the matter?
CHRIS
I don't know, it's just...well...do
you have something else besides a
baseball bat?
KATE
I don't know. Why?
CHRIS
Well, to me. This just feels so
clichéd. Using a baseball bat when
there's a stranger in the house.
KATE
Um...I guess I can see where your
coming from.
CHRIS
I'd hate to be a bother. But maybe
something different.
Kate seems a bit annoyed.
KATE
Okay. Um, what do you want?
CHRIS
Oh, well. Um...Guess I should have
thought more about it...Um...Let me
see...
Pause as Chris begins to think.
CHRIS
Oh! Do you have a hockey stick?
KATE
No...
CHRIS
(disappointed)
...Oh.
He begins to think some more. Kate gets impatient.
KATE
What about a gun? My father has a
gun.
CHRIS
No bloody way. Even more clichéd
then the bat.
A RATTLING SOUND comes from upstairs.
KATE
Chris!
CHRIS
All right, all right. The bat will
do...at least for this time.
The two very slowly begin up the stairs.
SWIPE TO:
INT. UPSTAIRS HALLWAY - SECONDS LATER
Chris and Kate walk until the get in the middle of the
hallway when Chris stops.
CHRIS
(whispering)
Which room is it?
Just then a LOUD CRASH comes from the room next to them.
CHRIS
That one it is.
They slowly inch toward the door. Chris reaches for the
handle but as he does we can hear a CAT let out a LOUD
MOAN. Chris seems surprised. He puts his ear up to the
door. He quickly opens the door.
Kate covers her mouth in shock, while Chris looks a bit
disgusted.
CLOSE UP ON A CAT TAIL:
It's motionless.
CLOSE UP ON BOOK SHELF:
It's a small shelf. Near the end we can see a CAT TAIL
under it.
TIME CUT:
INT. KATE'S HOUSE - KITCHEN - MINUTES LATER
Chris and Kate are sitting at the table. In the middle
of the table is a shoebox.
CHRIS
All along...it was the cat.
KATE
I swear to you I saw someone.
CHRIS
Are you sure.
KATE
(angry)
Of course I fucking saw somebody!
Jesus Christ! You think I would
fucking make this up!
CHRIS
Wow, wow. Let's calm down -
KATE
(angry)
I'm not fucking seeing things!
CHRIS
I didn't say you were.
Pause.
CHRIS
So what should we do about...uh,
what's the cat's name?
KATE
His name is Tori.
CHRIS
"His" name was Tori?
KATE
Yeah. After the singer Tori Amos.
CHRIS
What about his gender?
KATE
Gender doesn't really matter when
it comes to Tori Amos.
Chris nods politely.
CUT TO:
INT. BRIAN'S HOUSE - LIVING ROOM - SAME
Brian is sitting in the armchair. The TV is on, but he
isn't paying much attention to it. Instead, he is
glancing behind himself toward the hallway.
BRIAN (V/O)
I let him in my damn house and I
can't even see his personal
conversations.
Brian sighs out loud.
BRIAN (V/O)
The definition of bullshit.
Another pause. We can now hear typing coming from the
computer room.
INT. BRIAN'S HOUSE - COMPUTER ROOM - SAME
Brock is still sitting, typing away. He stops and for a
long time doesn't move. He deeply sighs then types.
BROCK
(typing as well)
"Sarah...we need to talk."
INT. BRIAN'S LIVIING ROOM - SAME
Brian is now staring down the hallway.
BRIAN (V/O)
Man. I wonder what they're saying.
SWIPE TO:
INT. BAR - NIGHT (BLACK/WHITE; BRIAN'S FANTASY)
Brock and SARAH THORMAN are in an old 1940's bar. They
are sitting at bar itself. Brock is wearing a WHITE SUIT
with a BLACK BOW TIE. His hair is slicked back and he
has a cigarette in his hand. Sarah has her hair puffed
up and is wearing an old style dress.
NOTE: During this, Brock should being doing a very bad
Humphrey Bogart impersonation.
BROCK
Sarah...I have something to tell
you. I've been doing a lot thinking
and I've come to the conclusion
that I need to stop talking to you,
and just completely shut you out of
my life.
SARAH
I can't believe you're doing this
again.
BROCK
Second time's the charm.
SARAH
Fine, whatever.
BROCK
Glad to see how much of a friend
you are.
SARAH
Are you sure you want to not see me
again?
BROCK
What? You didn't realize this was
my serious face?
SARAH
Well, you know what they say. Keep
your friends close, keep your
enemies even closer.
BROCK
Yeah, but nothing about two timing
dimes who don't give a damn anymore.
CUT TO:
INT. BRIAN'S LIVING ROOM - PRESENT
Brian shakes his head to clear his mind. He turns around
and flips the channel. It lands on "Dawson's Creek." He
watches a few seconds of it.
CLOSE UP ON BRIAN'S FACE:
He seems to wonder...
CUT TO:
INT. HIGH SCHOOL - HALLWAY - DAY (BRIAN'S FANTASY)
Brock is standing next to a locker. His hair is spiky
and he is wearing a football jacket. Sarah is standing
next to him, wearing a cheerleader outfit.
VOICE OVER (O.S.)
And now back to "Repetitive Teen
Drama."
SARAH
I'm just sick of you always freaking
out when everything gets fixed.
BROCK
Thing's were fixed? I was unaware
that things were ever fixed.
SARAH
They were fixed several times, you
were just never satisfied.
BROCK
I was never satisfied because you
never gave me a god damned chance!
SARAH
But I didn't like you, how was I
supposed to give you a chance?
BROCK
You said you loved me!!!
SARAH
I didn't mean that, I just said it
because it seemed right at the time!
Dramatic Music cues. A tear rolls down Brock's cheek.
CUT TO:
INT. BRIAN'S LIVING ROOM - PRESENT (REALITY)
Brian shakes his head. He starts flipping channels
again. He lands on "Friends." Brian gets a look.
CUT TO:
INT. APARTMENT - DAY (BRIAN'S FANTASY)
Brock is standing up near the door. He is dressed up
like Ross. Sarah is standing near him, looking like
Rachel.
SARAH
I'm sorry, Brock. But I just don't
love you.
Off camera, a STUDIO AUDIENCE "Aws." Brock's eyes get
big and bug eyed.
BROCK
Oh, now you tell me!
Off camera, a studio audience "laughs." Brock puts his
head in his hands and feels a great pain in his chest.
BROCK
Oh God! I think I'm having a heart
attack!
Off camera, the audience lets out a huge laugh.
SARAH
I'm sick of this, I'm leaving.
BROCK
No! You hear me out first.
Sarah turns and gives him the evil.
BROCK
That, is if your willing to listen.
The audience laughs.
CUT TO:
INT. BRIAN'S LIVING ROOM - PRESENT (REALITY)
Brian is once again flipping through the channels. He
stops on a channel showing Woody Allen's "Annie Hall."
CUT TO:
INT. NEW YORK CITY ROOFTOP - EVENING (BRIAN'S FANTASY)
Brock and Sarah are standing near the ledge. Brock is
dressed up like Woody Allen (big glasses; messy hair)
while Sarah is dressed up like Annie Hall (aka Diane
Keaton.)
NOTE: Brock should be doing a bad Woody Allen during
this whole scene.
SARAH
Fine, what do you have to say?
BROCK
I love you, why can you not just
give me a chance! We could be so
happy together!
SARAH
I can't just start loving someone.
BROCK
But you have to give them time!
That's all I needed, time, a chance.
But you never gave it to me, or to
yourself.
SARAH
Maybe I don't want to be in love.
Brock stops and just stares off into nothingness,
confused. Sarah waves her hand in front of Brock.
SARAH
Are you still there?
BROCK
No. In fact, I just died from my
brain exploding from trying to
figure out what you just said.
SARAH
Don't be so weird, it's how I feel
and that's that.
BROCK
But why!? It's the ultimate human
emotion! It brings happiness and so
much more!
CUT TO:
INT. BRIAN'S LIVIING ROOM - PRESENT (REALITY)
Brian is still flipping. He continues to flip until he
lands on "The Sopranos."
CUT TO:
INT. APARTMENT - NIGHT (BRIAN'S FANTASY)
Sarah is sitting on the bed. She has big hair that is
very gelled. She also has too much make-up on. Brock is
dressed up in a blue suit, with his hair greased back.
NOTE: Both have bad Italian accents during this.
SARAH
I just don't, stop being so
dramatic.
BROCK
I'll be fucking dramatic if I want
to god damn it!
SARAH
I'm leaving now.
BROCK
No you're not. I have one last
thing to say.
SARAH
Fine, make it quick.
BROCK
You said you thought you had
something with Scott Greenberg.
Well, you had something with me,
you really did, but you let it slip
through your fingers like the
foolish person you are. If you want
to know if someone really likes you,
let it be through their words and
how they tell you THEY LOVED YOU
EVER GOD DAMNED DAY THEY COULD AND
CHANGED THEIR WAYS OF THINKING FOR
YOU JUST SO THAT YOU COULD DESTROY
IT ALL! EVERY LAST GOD DAMNED OUNCE
OF IT! I hope you get just a morsel
of the pain you've dealt me. I hope
then you'll realized that I really
did love you but from now on, you
are a dirty, slutty, bitch of a
WHORE!!!
SMASH CUT TO:
INT. BRIAN'S LIVING ROOM - PRESENT (REALITY)
Brian looks off into space.
BRIAN
For a gangster he didn't swear as
much as I like.
CUT TO:
INT. BRIAN'S HOUSE - COMPUTER ROOM - SAME
Brock is staring at the computer screen. His hands are
shaking immensely now and he slowly props himself up from
the computer chair and drags his feet as he goes and
opens the door.
INT. BRIAN'S HOUSE - LIVING ROOM - SECONDS LATER
Brock walks in. Brian turns to him.
BROCK
(muttering)
The deed is done...
Brian nods and turns back to the TV. Brock stares at the
floor.
CUT TO:
EXT. CATHY'S HOUSE - MINUTES LATER
Joel is still on Cathy's lawn. He is now sitting when
the boom box in front of him. It is now playing Otis
Redding's "When a Man Loves a Woman." Suddenly the front
door opens and CATHY comes out.
CATHY
What are you doing?
JOEL
Trying to get your attention by
playing romantic songs.
Just then the song suddenly changes to a PAULY SHORE
recording of one his is stand-up acts. Joel seems a bit
embarrassed.
JOEL
I guess, I must've taped over it.
CATHY
Joel, please leave.
JOEL
I can't. I want to be forgiven.
CATHY
You don't even know why I'm mad at
you.
JOEL
That may be, but still I don't want
you to be mad at me.
CATHY
C'mon, Joel -
JOEL
Please! I'm willing to do anything.
Long pause. Cathy thinks.
CATHY
All right. I'll talk to you
tomorrow about this.
JOEL
Yes! Thank you.
CATHY
Now could you get off my lawn. My
dad has business friends over.
Joel looks over at her window to see SIX ASIAN BUSINESS
MEN all at the window staring at Joel.
ASIAN MAN #1
Play "Gorillaz"!
FADE TO:
INT. AUDITORIUM - HOUR LATER
The place is complete dark. On stage there is a girl
singing "I Could've Dance All Night." In the back, Will
is looks to be impatient while Belzer is closely
watching the girl. Will looks over at Belzer, notices
he's not paying attention, and then looks down at Ellen
Conner.
Ellen is whispering something to MAN next to her. Will
smiles and sits back. He slowly looks over to see the
Belzer is looking at him. This wipes the smile off his
face. Belzer just shakes his head.
WILL
You know all day, you've been
sighing, shaking your head
disapprovingly...which makes me
wonder why.
BELZER
Will, wondering only leads to
hurtful truths.
WILL
What's wrong with her?
BELZER
I never said anything was wrong.
WILL
But what's up with all this stuff
you've been doing?
BELZER
It's nothing. Your just imagining
things.
WILL
That's ironic coming from you.
BELZER
Just leave it be, Will.
WILL
I bet she has some kind of disease.
BELZER
Nope.
WILL
Criminal?
BELZER
Nadda.
Will stops and thinks. Belzer then gives him a look.
WILL
Wait, do you me -
Suddenly the lights come up and there is applause.
PARKER
Very, very good Violet.
We see that Parker and Ballard have stood up and now
face the audience.
Will looks back and sees that Belzer is gone.
PARKER
All right, very good auditions. It
seems that we have run out of time
for today. So those of you who didn't
get to go today, we want you to come
back in tomorrow.
(slight pause)
That's it for tonight.
Everyone stands up and begin to leave. Will remains
seated, confused.
FADE INTO:
BEGIN MUSIC MONTAGE
("Don't Panic" by Coldplay.)
INT. KATE'S HOUSE - LIVING ROOM - LATER
Chris and Kate are sitting on the couch. Kate is leaning
against Chris, while he pushes her hair back, comforting
her.
CHRIS
I'll be right back.
He gets up and walks out of the room.
INT. KATE'S HOUSE - KITCHEN - CONTINUOUS
Chris enters and heads over to a cabinet. He opens it
and searches threw it. While searching, he seems to
notice something. He reaches in and pulls out a pill
bottle.
CLOSE UP ON LABEL:
It reads "Davidson, Kathryn."
Chris seems confused.
CHRIS
Kathryn? Who the hell is - God, I'm
a twat.
He continues to study it.
CHRIS
(reading)
"...For manic depression..."
He opens it up and spills a few on the counter.
CHRIS
Son of a bitch.
CLOSE UP ON PILLS:
They are nothing more then M&Ms.
Chris seems surprised. He leans over and looks in on Kate.
CHRIS'S POV:
Kate is rolled up in a ball, chewing on her fingernails.
Chris looks worried.
CUT TO:
INT. BROCK'S HOUSE - BROCK'S ROOM - LATER
Brock is near the back wall. He has taped a PILLOW to
the wall and is hitting it.
BROCK
(muttering)
Mother...fucking...son of bitch!
He starts to hit harder.
CUT TO:
INT. JOEL'S HOUSE - JOEL'S ROOM - SAME
He enters the room, carrying the boom box. He goes over
and puts it on the shelf. He looks over at his bulletin
board. He notices a note and seems to get depressed.
CLOSE UP ON NOTE:
"Return Video Game to Brian."
Joel sighs at this reminder of guilt.
EXT. SCHOOL - MINUTES LATER
Will is standing out by the parking lot. There are
others walking out toward their cars. Will is looking
around.
Parker is walking out into the parking lot, when Ballard
comes up beside.
BALLARD
See ya' tomorrow, my co-directing
buddy.
She giggles a bit. Parker sighs.
Back on Will. He still stands. Suddenly Ellen walks by,
while talking to another GIRL, and accidentally hits
Will in the shoulder.
ELLEN
Pardon me, stranger.
She walks on. Will seems taken aback by this.
WILL
Such an attractive mystery...
We slowly begin LIFT UP. Will continues to stand and the
others are driving off and finding their cars.
FADE OUT.
(THE SONG CONTINUES INTO THE CREDITS.)
END OF EPISODE
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