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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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