Episode 20: "Face the Music...or Not"
Previously
on "The Salingers":
KIRSTEN
(to Charlie)
I think we should see a marriage
counselor.
*****
FELICIA
Is it hard for you to let people help
you, Charlie?
CHARLIE
No, it's not hard to let people help.
It's hard to find people who can help.
*****
OWEN
(to Charlie)
Nobody ever wants me.
CHARLIE
Why would you say that?
OWEN
Because I'm not your son. I'm not
anybody's son. I'm just this stupid kid
everyone has to figure out what to do
with.
*****
JULIA
Sarah's going to be able to make our 5
year reunion. Okay if she rides with us?
GRIFFIN
You mean ride with you. I'm not going.
*****
CLAUDIA
I'm getting married.
SARAH
You're...? D-did you say...?
CLAUDIA
Uh-huh.
SARAH
How does your family feel about this?
*****
Bailey spots something: Maria through a cafe window. And a
guy. They're sitting at a booth... next to each other. He
says something to her and her look softens. They kiss,
Bailey's gaze locked on them.
*****
BAILEY
Why did you lie to me?
MARIA
I didn't.
BAILEY
Oh, I get it. You just make a habit of
kissing guys who aren't your type, right?
MARIA
(pointedly)
Apparently so.
*****
FADE TO:
INT. - SARAH'S APARTMENT - MORNING
CLAUDIA is in her pajamas, standing over a table, reading
Sarah's invitation to her high school reunion. She sighs
as SARAH enters from the bedroom, setting her luggage down
by the front door.
SARAH
(approaching Claudia)
Oh, thanks! I almost forgot this.
She takes the invitation from Claudia and pockets it.
SARAH (CONT'D)
We're supposed to turn these in at the
door to prove that we're really Grant
graduates... like someone would really
try to crash someone else's high school
reunion party.
Claudia flashes a perfunctory smile.
CLAUDIA
Yeah.
SARAH
(noticing Claudia's pajamas)
You have an evening class today or
something?
CLAUDIA
Huh?
SARAH
You're not dressed yet. Are you feeling
okay?
CLAUDIA
Yeah, I'm okay. Just sort of... um...
(brightening)
Hey, did you grab those pictures? The
ones for your Mom?
SARAH
The...? Oh, yeah, I did. Thanks.
Oh! Before I go, here...
She leads Claudia to a window behind the couch.
SARAH (CONT'D)
This window is kinda tricky. It sticks a
little when you try to open it, so you
sort of have to jiggle it from side to
side while pushing it up.
(demonstrating)
Then you have to wedge this stick
underneath it to hold it up. If you
don't, it'll come crashing down.
CLAUDIA
Jiggle window, wedge stick. Got it.
SARAH
Oh, and...
She leads Claudia over to the kitchen sink.
SARAH (CONT'D)
...for hot water, you have to turn the
faucet on all the way and let the water
run for like five minutes.
Claudia watches her, expressionless. Sarah looks around the
room.
SARAH (CONT'D)
(to herself)
Let me think. What else...?
CLAUDIA
It's alright, Sarah. I'll be fine. Go
on, you're going to be late for your
flight.
SARAH
(smiles)
Okay.
(walks to the door)
Hey, you'd better get ready or you're
going to be late, too.
CLAUDIA
(covering)
Uh, actually, even if I left now, I'd be
late. The bus doesn't get here for like
another twenty minutes, so--
SARAH
Well, hey, I'm taking a cab to the
airport. I can drop you at school on the
way.
Claudia's expression sinks.
SARAH (CONT'D)
Hurry up, though, 'cause the taxi's gonna
be here in like five minutes.
CLAUDIA
Really, you don't have to. I mean,
there's no sense in both of us being
late, right?
SARAH
Oh, please. They tell you to show up
early at the airport, and you end up
waiting around for an hour anyway.
(beat)
So c'mon, let's go.
Claudia turns and drags herself into the bedroom.
CLAUDIA
(under her breath)
Yeah, I wouldn't want to be late.
CUT TO:
PO5 Credits
INT. UNIVERSITY OF PENNSYLVANIA - LIBRARY - MORNING
MARIA sits at a table. She holds a hand-written note. As
she reads, she smiles. Giggles. Really into it.
BAILEY walks up. She lifts her eyes from the note.
BAILEY
Hey.
(before sitting down)
You mind if I...?
MARIA
No. I mean, sure.
Bailey sits. An awkward beat as they search for words,
finding them at the same time.
BAILEY/MARIA
So...
BAILEY
You first.
MARIA
No, go ahead.
BAILEY
Okay.
(sighs)
I'm sorry.
MARIA
Me, too.
BAILEY
I was way outta line. I had no business
questioning you like that.
MARIA
It's not all your fault. I should've
just told you, you know? Instead of--
BAILEY
(waving his hand)
No, please - forget it. It's...
(smiling)
Forget it.
(beat)
So... are we cool?
Maria nods, smiling. They sit in silence for a moment, then--
BAILEY (CONT'D)
So... how are things? You know, with
him. Lucas.
MARIA
Good. Things are... good.
BAILEY
Good. 'Cuz good is, well... it's...
MARIA
Good.
BAILEY
Right.
A beat. Bailey looks around and Maria stares a hole into the
table.
BAILEY (CONT'D)
(re: paper)
What's that?
MARIA
(folding the paper)
Nothing.
BAILEY
Yeah? Well, "nothing" is making you
blush.
(grabbing for the note)
Come on.
MARIA
(holds it behind her back,
smiling)
Uh-uh.
Bailey tries grabbing it from behind her. Now it's a game.
They're laughing. Smiling. He grabs it.
MARIA (CONT'D)
(a whispered yell)
Gimme that!
BAILEY
Not a chance.
Bailey holds the note out of Maria's reach, reading it. She
smiles, in spite of herself. Bailey looks confused as he
continues reading.
BAILEY (CONT'D)
(disappointed)
This is... a poem.
MARIA
And I thought you were a business major.
BAILEY
(reading)
"Could I embody and unbosom now that
which is most within me..." Is unbosom
even a word?
MARIA
(snatching back the poem)
Yes, it's a word. Duh.
BAILEY
You writing that for a class or
something?
MARIA
I didn't write it. Lucas did.
What?!? He's already writing her poetry?
BAILEY
Oh.
MARIA
(brightening up)
Here's my favorite part:
(reading)
"As it is, I live and die unheard, with a
most voiceless thought, sheathing it as a
sword."
Big smile from Maria. This isn't lost on Bailey.
BAILEY
Huh. The guy's a regular Ethan Allen
Poe.
INT. JUILLIARD - PAUL RECITAL HALL - MORNING
CLAUDIA moves into the shadows of the auditorium balcony.
She takes a few steps toward the stage but stops to watch her
classmates.
They are tuning up their instruments, organizing their sheet
music, talking amongst themselves. PROFESSOR OLDHAM is
opening his briefcase and preparing himself for the lesson.
Claudia watches, unnoticed in the darkness, then looks at her
own violin case. She walks away, slipping through the exit
without being seen.
BAILEY (V.O.)
What is she thinking? I mean...
CUT TO:
INT. BAILEY'S DORM - DAY
...where BAILEY folds his clothes on his bed, holding the
phone to his ear with his shoulder.
BAILEY (CONT'D)
...I thought she had more sense than that
- getting married just outta high school.
(catching himself)
No offense.
JULIA
(on phone)
Please. I've been telling her the same
thing.
BAILEY
But I guess that's the way it is, right?
You give a girl a ring - or... or a poem -
and it's like all common sense flies out
the window.
JULIA
What?
BAILEY
Even if the guy's a total idiot, suddenly
it's like "true love."
JULIA
Bailey, what are you talking about?
Bailey sighs, stops folding.
BAILEY
(bumbling)
Look, Jul - when a girl gets a poem from
a guy... I mean, that's pretty much it,
right?
JULIA
A poem?
BAILEY
'Cuz... 'cuz if she was like on the fence
about him... I mean, wouldn't that--?
JULIA
Are you the guy in this scenario?
BAILEY
What? No. Of course not. But... but
girls love that stuff, right?
JULIA
Well, Justin wrote me a poem once.
BAILEY
He did? And...?
JULIA
Pretty much the most romantic thing
anyone ever did for me.
(then)
Other than marry me, I mean.
BAILEY
Okay. Okay, but what if the poem was,
well... what if it was kinda weird?
JULIA
Okay, now I know we're talking about you.
BAILEY
No, we're not! Will you stop saying
that?
JULIA
Sorry. Okay. Weird how?
BAILEY
Weird like... talking about bosoms weird.
JULIA
Bosoms?
BAILEY
Or unbosoms. Like, he couldn't "unbosom"
his feelings.
JULIA
Oh.
BAILEY
That he was voiceless -- like a gun in
it's holster or something.
JULIA
Don't you mean like a sword in a sheath?
BAILEY
Yeah, that's it. That's--
(thinks)
Wait, how did you know that?
JULIA
It's from a canto that Byron wrote.
BAILEY
It's--? Are you sure about that?
JULIA
Positive.
Bailey's wheels are turning. He can't help holding back a
smile.
BAILEY
Do you know which canto?
EXT. NEW YORK STREET - DAY
CLAUDIA saunters along the street, coming upon a Bridal shop.
She tilts her head thoughtfully and peers through the window
at the elegantly decorated boutique.
With her violin case still in her hand, she smiles and walks
into the store.
INT. - BRIDAL SHOP - DAY
Claudia begins to browse among the mannequins modeling
wedding gowns. She picks up a sample of white embroidered
fabric when a long white sleeveless gown catches her eye.
She examines the dress when she hears a voice...
WOMAN
May I help you?
Claudia smiles.
INT. FELICIA LOMBARD'S OFFICE - DAY
CHARLIE and KIRSTEN sit across from FELICIA LOMBARD. The
tension's almost palpable.
CHARLIE
(to Felicia)
Look, when I told her I'd sell the
restaurant, I meant it. I really did.
But once we got closer to me actually
doing it, she talked me out of it.
(to Kirsten)
Are you gonna deny that?
Kirsten shakes her head.
CHARLIE (CONT'D)
(to Felicia)
I don't know -- I guess she thought I'd
regret it later or something. But I told
her I wouldn't.
FELICIA
Do you think she believed you?
CHARLIE
Yes. She did.
FELICIA
Then I don't understand. Why didn't you
sell?
CHARLIE
I tried, but... we ran into some problems
at the factory. Right after September
11th. It just didn't make sense to sell
Salingers' if the factory wasn't
performing.
(sighing)
Anyway, when she found out I wasn't
selling, she lost it. I didn't
understand it, especially since she tried
talking me out of it in the first place.
Kirsten looks down.
CHARLIE (CONT'D)
(shakes his head)
I couldn't win. It's like... no matter
what I did, she wanted me to do the
opposite.
INT. JULIA'S APARTMENT - BATHROOM - EVENING
JULIA and SARAH stand in front of a large mirror. Julia's
putting on her earrings as Sarah fixes the strap of her gown.
SARAH
Are you nervous at all?
JULIA
Not really. You?
SARAH
Well, we haven't seen these people in
five years. What's there to talk about?
JULIA
That's the fun part. All that catching
up... seeing how their lives turned
out...
SARAH
But what if it's like 200 graduates all
standing around saying, "Oh, nothin's
really been happening. I've just been
hanging out."
Julia looks at Sarah. Understanding passes between them.
JULIA
Good point.
SARAH
Okay, well. All right. How about this?
Let's say some guy's like... going on and
on about his X-Files collection and you
totally need to be saved.
JULIA
Or just want to leave.
SARAH
Right! We can have a signal. Like...
like... Hmm.
They trail off in thought. What could it be?
JULIA
Oh! How about if we...
Julia tugs on her ear.
SARAH
You do that and I think I should be
stealing second base.
JULIA
Oh.
More thinking.
SARAH
I got it!
Sarah flips her hair and giggles.
JULIA
Oh, great. Then every guy in the room
will think we're coming on to them.
SARAH
Yeah. Bad signal.
More thinking. Harder this time. They're back to square
one.
INT. CHARLIE'S HOUSE - GARAGE - EVENING
CHARLIE and KIRSTEN are digging through boxes, looking for
something. Things are scattered over the floor: books on
cancer and child psychology, piles of plaid shirts, etc.
Kirsten eyes a box in the corner.
CHARLIE
So what're we gonna do?
KIRSTEN
(re: box)
Have you looked through this one?
CHARLIE
(sighs)
Not yet.
She opens the box.
KIRSTEN
So why do you suddenly need this -- what
is it? -- a periscope?
Charlie turns toward her, annoyed.
CHARLIE
Would you please stop changing the
subject? We've gotta talk about this.
KIRSTEN
Why? Your mind is made up, right? What
good is it to--?
Kirsten closes the box in frustration, covers her eyes.
CHARLIE
You see? That's why I don't want to go
anymore.
(beat)
Kirsten, we were starting to get along
before all this. But ever since these
sessions -- it's like we've taken a step
backwards. They're making you upset all
over again... about things you haven't
been upset about for a really long time.
(softer tone)
How is that helping?
KIRSTEN
I can't be upset 24 hours a day, Charlie.
You know that. But you can't mistake
that for me being okay with everything.
Because I'm not.
CHARLIE
Kirsten--
KIRSTEN
We've got to deal with this, Charlie.
Before we can move forward. Because if
things are going to work with us, it
can't ever happen again.
INT. FAIRMONT HOTEL - BALLROOM - NIGHT
Decorations for the reunion are everywhere: banners,
pennants, etc. The space is crowded with alumni, most
gathered in small groups, talking amongst themselves.
JULIA joins with a small group of girls, standing just
outside the circle. Their name tags read: "Remember me?
I'm..." MIRIAM, LESLIE, and JENNIFER.
Jennifer has her wallet out, displaying a long sleeve of baby
pictures. She selects one, removes it, and passes it around
the group.
JENNIFER
...taken right before his second
birthday. Now he's the textbook
definition of "terrible twos."
LESLIE
They only call it the terrible twos. But
it lasts much longer. My daughter's four
now, and still acting like that.
The photo gets passed to Julia. She gazes at it for a
second, then something strikes her...
JULIA
He looks a lot like my younger brother.
The group stops, looks up. Brother?
MIRIAM
So, um...
(looks at nametag)
...Julia. What about your own kids?
Julia tries to stutter out a response.
JULIA
Kids? Me?
(laughs nervously)
No, no. Not yet.
An awkward silence amongst the group. Then...
MIRIAM
Huh.
(to group)
Anyway, we bought the new house when
Tanya was two, and--
LESLIE
The one in Mill Valley, right?
MIRIAM
Uh-huh.
JENNIFER
Isn't that kind of expensive?
MIRIAM
What isn't around here?
JULIA
(jumping in)
Yeah, I lived in D.C. for awhile.
(whistles low)
Man, it was outrageous -- like eight
hundred dollars for a studio.
JENNIFER
A... studio?
JULIA
Yeah. It was a four-flight walk-up, but
it was, um...
She feels their eyes on her, their quizzical looks.
JULIA (CONT'D)
Is... is that Nina? I'm going to, uh...
go see.
The girls look at each other and laugh as Julia walks away.
She walks by another group. SARAH'S in the middle.
SARAH
Actually, New York's great. I mean, it
took awhile to get used to the weather,
but--
GIRL 1
So you and Bailey have a place there?
SARAH
(caught off guard)
Uh, no. No, actually, um... we kind
of... uh...
GUY 1
Hey, where is Bailey? I haven't seen
him.
SARAH
That's 'cuz he's sort of not here.
GIRL 2
What is it with guys? My boyfriend
didn't want to come either.
(to Sarah)
Or -- I'm sorry. He's probably your
husband by now, right?
SARAH
My...?
(laughs nervously)
Oh, no. No, no, no, no, no. He's
definitely not my-- No.
GIRL 1
Sarah, you poor thing. Listen, do what I
did. I told Steve...
(adamant)
...look, Steve -- if you want to risk
losing me -- the best thing that ever
happened to you -- keep doing what you're
doing.
SARAH
No, but you see--
GIRL 1
But if you know you want to be with
forever, just ask me.
(beat)
Next week, what do I find in my Krispy
Kreme? A ring.
The girl knowingly raises her eyebrows at Sarah.
SARAH
(smiles demurely)
God, that... that's really great. It is,
but the thing is... I'm not with Bailey
any more.
Shock. No one breathes. Everyone looks like replicas from
Madame Tussaud's Waxworks.
SARAH (CONT'D)
Hello?
GUY 1
You're... you're kidding, right?
SARAH
No.
GIRL 1
I voted you two most likely to get
married.
SARAH
Yeah, well.
GUY 1
But... you two? Wow. I mean--
Suddenly a guy from another group gestures to Sarah.
SARAH
Hey, uh, Paul what's-his-name is calling
me, so...
Sarah dismisses herself from the group. They look at each
other, still puzzled by her revelation.
Sarah approaches Paul what's-his-name.
SARAH (CONT'D)
God, thank you so much. I felt like I
was in the lion's den.
PAUL
No problem.
(beat)
So... where's Bailey?
INT. UNIVERSITY OF PENNSYLVANIA - LIBRARY - DAY
BAILEY approaches a group of students having a discussion at
a table. He walks tentatively, listening in, waiting for the
right moment to interrupt.
MARIA sits with the group, listening to the debate bounce
back and forth.
GUY 1
If he's really in love with her, why does
he try to kill her?
GIRL 1
Because he can't stand the thought of her
loving the English patient guy.
GUY 1
So he kills her?
GIRL 1
Hey, she killed his heart.
GUY 1
Oh, and that's the same thing.
Bailey reaches the table, holding a book. Maria looks up, as
does the group.
MARIA
(to Bailey)
Hey.
BAILEY
(to Maria)
Hey. You, um... got a sec?
MARIA
(to the group, excusing
herself)
I want play-by-play when I get back.
She and Bailey walks a few feet away, standing between the
tall shelves of books.
MARIA (CONT'D)
What's up?
BAILEY
Something, uh... kinda weird.
He gives her the book.
MARIA
You're reading Byron? That's beyond
weird.
BAILEY
Not that. It's...
(sighs, opens the book)
It's this.
Uh oh. His look tells her something's brewing. She reads the
passage he points out. He studies her face as she reads,
looking for something. A clue.
Instead, he gets her best pokerface.
MARIA
Huh.
BAILEY
Look, I'm... really sorry.
MARIA
Sorry for what?
BAILEY
What do you mean? Didn't you--?
MARIA
Yeah, I saw it. Look, I gotta get back
to my group.
She begins moving toward the table.
BAILEY
Maria, wait.
She stops, folding her arms.
BAILEY (CONT'D)
So... that's it? You're not mad?
MARIA
Why should I be?
BAILEY
Gee, I don't know. Maybe because Lucas
cribbed his poem from a guy who's been
dead for like a thousand years.
MARIA
And why exactly does that matter to you?
Bailey looks down. Silent.
MARIA (CONT'D)
Yeah, maybe he didn't write the words.
Not everyone's a poet. But at least he
found the words he wanted to say.
(beat)
There's something to be said for that.
She hands the book back to Bailey and rejoins her group.
Only now she's a million miles away.
GIRL 1
Well duh - what do you expect? Almasy
was jealous. That's a huge part of
loving someone.
INT. FAIRMONT HOTEL - BALLROOM - NIGHT
JULIA is cornered by PAUL what's-his-name.
PAUL
...Gandalf was cast great, but Bilbo
Baggins, puh-leeze!
JULIA
Well, I never read the book so--
She takes a half-step back.
PAUL
That's my point! The movie was
completely different. See, when they
find the ring...
Julia's heard enough. She gazes across the room, spots Sarah
with a group of girls, and scratches the back of her head...
a little too dramatically.
Sarah notices, but doesn't pick up on anything out of the
ordinary.
PAUL (CONT'D)
...the elves were never that clever!
JULIA
Wow. Okay. Uh, I didn't see the movie
either.
PAUL
That's okay. Now, when the wizards did
battle...
Julia shoots a look across at Sarah. They lock eyes. Julia
scratches the back of her head again. Harder. More
exaggerated. This is one hell of an itch.
Recognition sweeps across Sarah's face. The signal.
She waves bye to the girls, heads across the room to Julia.
Rescue's on the way...
JULIA
God, that's, um... intersting. Sounds a
little bit like the X-Files.
PAUL
Not even close! See the X-Files
perpetuates the myth that--
Sarah arrives. Finally.
SARAH
Jul, hey. I want to show you that...
that thing.
JULIA
(to Sarah)
Right. The thing!
(to Paul)
Nice talking to you, but she's gotta show
me...
PAUL
The thing?
JULIA
Right.
The girls walk away.
PAUL
(calling after them)
Don't even get me started on Star Wars!
INT. SALINGERS' - NIGHT
Empty. KENDALL sits at a booth, receipts and account ledgers
set out in front of him.
CHARLIE enters.
CHARLIE
Cookin' the books, huh?
KENDALL
Yeah, just going over a couple things.
CHARLIE
So how're we doing?
Kendall puts down his pen, turns toward Charlie.
KENDALL
Well, we're up. But not as much we could
be.
CHARLIE
Wait a minute. I thought the new menu
was catching on.
KENDALL
It is... and we're getting good word of
mouth because of it. But the numbers
just aren't there yet.
Charlie slips into the booth. Posture a little too erect.
This is starting to sound like a business meeting.
CHARLIE
Kendall, those changes were your ideas.
(beat)
How much more time are we talking?
KENDALL
Funny you should bring that up, 'cause I
was going over these account records.
This place made far more money in 1998
than any other year. Did you guys do
something different then?
Charlie slinks back into his seat, immediately recognizing:
CHARLIE
Bailey ran the restaurant that year.
(beat)
Maybe you should talk to him.
INT. TULLY'S COFFEHOUSE - NIGHT
JULIA and SARAH sit at a table, sipping coffee from mugs.
SARAH
That wasn't at all like I pictured it.
JULIA
Yeah, I know. When did everyone become
such grown-ups?
SARAH
Exactly. 'Cause I don't feel like that
at all.
JULIA
The funny thing is, I did, five years
ago. I mean, I practically had a whole
plan laid out.
(beat)
But talking to those girls...and seeing
those pictures... Thank God I didn't
tell 'em I was divorced.
SARAH
Yeah, the looks on their faces when they
heard about me and Bailey. God.
JULIA
It's like they never expected things to
change. And they were so disappointed to
hear the truth.
They take a sip from their coffee. There's a lot to reflect
on.
SARAH
But... are you happy?
Julia shrugs.
JULIA
It's just the way my life turned
out...for now.
SARAH
Yeah, but... are you okay with it?
Julia mulls it over.
JULIA
How do you answer that question?
(beat)
I mean, how would you answer that?
Sarah pauses, thinking.
SARAH
Yeah, I'm sorry. I shouldn't have...
JULIA
No, it's... Maybe Griffin had the right
idea about not going at all.
INT. UNIVERSITY OF PENNSYLVANIA - CAFETERIA - DAY
MARIA is walking down the food line, carrying a tray. She
grabs a bag of chips as BAILEY walks up.
BAILEY
Hey.
Maria looks at him, then moves down the line. Picks up an
apple, examining it. Bailey follows her.
BAILEY (CONT'D)
I know you're mad, okay? I get that.
But I've thought about things.
She picks up another apple.
BAILEY (CONT'D)
And yeah -- you were right. I should
have just been straight with you. So...
that's why I'm here.
Maria's eyes wander from the apple for a moment. A quick
moment of indecision before she moves on to the bananas.
BAILEY (CONT'D)
Look, you asked why that stuff with Lucas
matters. And... I guess -- will you stop
that please?
Maria puts the banana down, looks at Bailey. Stern.
BAILEY (CONT'D)
See, the thing is, I don't know why it
matters.
She rolls her eyes.
BAILEY (CONT'D)
But it does. And... and if not being
with you means losing you, then... well,
okay. I'll try it. Being with you, that
is.
Maria looks down, shaking her head. Laughs in disbelief.
BAILEY (CONT'D)
What?
MARIA
Am I supposed to swoon now? Is that how
you imagined it when you practiced your
little speech?
BAILEY
Maria, what are you--?
MARIA
You think you can make everything better
by flashing your stupid little dimples
and tossing me a few lame words? And
they were lame, by the way.
(beat)
You just don't get it, Bailey.
Maria continues down the line as Bailey stands shocked.
INT. CHARLIE'S HOUSE - OWEN'S ROOM - EVENING
CHARLIE enters. OWEN'S on his bed, playing with San
Francisco 49er bobblehead dolls, making them "tackle" each
other. Charlie smiles.
CHARLIE
Whoa. Kinda roughing the quarterback
there, aren't you?
OWEN
Kind of.
Charlie sits down next to Owen.
CHARLIE
I've got something for you.
He produces a small, toy periscope, chipped from age and
wear.
OWEN
Cool!
(beat)
What is it?
CHARLIE
It's a periscope. See, you hold it up to
your eye...
(demonstrates)
...and you can see things through the
top.
Charlie gives it to Owen, who puts it up to his eye, looking
through it.
OWEN
Whoa.
CHARLIE
It, um... it was Dad's.
This catches Owen's attention.
CHARLIE (CONT'D)
You see, when he was little, the family
didn't have a lot of money. So they
couldn't afford a to get him a lot of
toys.
Owen continues studying the toy.
CHARLIE (CONT'D)
But this one... this was his favorite.
So he saved it. And he gave it to me.
(smiling)
Now I'm giving it to you.
OWEN
Why me?
Charlie kneels down so they're at eye level.
CHARLIE (CONT'D)
Because you're wrong, O. You are my son.
Maybe... maybe not in the technical way,
but in every other way... you're mine.
And you're always going to live with me,
okay?
Owen looks at the toy again, then hugs Charlie.
CHARLIE (CONT'D)
And not only that, you're my first.
They release their hug.
CHARLIE (CONT'D)
(smiling)
Someday you'll realize how special that
is. To be the first son.
Owen looks at the toy. Smiles.
INT. BAILEY'S DORM - NIGHT
BAILEY opens his door and MARIA barges in, her words spilling
out like a pent-up volcano.
MARIA
You know what really gets my ass? You
know what's a total myth? That women are
always the ones being portrayed as
indecisive!
(pacing)
"You matter, Maria. You really do. I
don't know why, but you do!" Or "this is
all I can handle right now, Maria."
Bailey walks up to her. She turns toward him.
BAILEY
I mean, God! Can't you just make a
decision and go with--?
He leans in and kisses her. Long. Deep. They release,
looking at each other. Maria's tone softens.
MARIA
(innocently)
That was good.
They smile and kiss again.
INT. JUILLIARD - PAUL RECITAL HALL - MORNING
PROFESSOR OLDHAM stands in front of the Juilliard Orchestra.
He shuffles a few pieces of paper on his music stand and
begins to speak.
PROFESSOR OLDHAM
Before we begin, I'd like to announce
that the women of the Drama division are
performing the all female piece A Voice
of My Own. They've asked us to
collaborate musically with them, so I'd
like to assemble a team of musicians
under the leadership of...
He looks to the first chair seat, which is conspicuously
empty.
PROFESSOR OLDHAM (CONT'D)
Has anyone seen Ms. Salinger?
INT. SARAH'S APARTMENT - MORNING
Claudia's book bag and violin case lay untouched. The window
is open and the light of mid-morning shines on CLAUDIA. She
lies limply on the couch, one hand under her head and the
other hanging off the edge.
She's a million miles away, not asleep, not awake.
INT. BAILEY'S DORM ROOM - NIGHT
"Near You Always" by Jewel plays in the background as BAILEY
and MARIA lie in bed, staring at each other, falling more and
more. Their look says it all.
MARIA
So... did it seem... different? You
know, now that we're not just...
(smiles)
...well, whatever it is we were.
BAILEY
(smiles)
Yeah. It does. It's better.
(beat)
Not that it wasn't great before, but...
MARIA
Yeah. I know. Me, too.
They hold each other's gaze for a moment before kissing
again.
FADE TO BLACK.
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