Episode 21: “Truth Be Told”
Previously on “The Salingers”:
SARAH
I'm taking a cab to the airport. I can
drop you at school on the way.
CLAUDIA
Really, you don't have to.
*****
CLAUDIA moves into the shadows of the auditorium balcony.
She watches her classmates tuning up their instruments,
organizing their sheet music. She walks away, slipping
through the exit without being seen.
*****
PROFESSOR OLDHAM
(to class)
Has anyone seen Ms. Salinger?
*****
BAILEY
The thing is, I don't know why it
matters. But it does. And if not being
with you means losing you, then... well,
okay. I'll try it. Being with you, that
is.
MARIA
Am I supposed to swoon now?
*****
MARIA
(to Bailey)
You know what really gets my ass? That
women are always the ones being portrayed
as indecisive! I mean, God! Can't you
just make a decision and go with--?
He leans in and kisses her.
MARIA (CONT’D)
That was good.
*****
SARAH
(to Julia, re: reunion)
What's there to talk about? What if it's
like 200 graduates all standing around
saying, "Oh, nothin's really been
happening. I've just been hanging out."
*****
MIRIAM
(at reunion)
So, Julia. What about your own kids?
JULIA
Kids? Me? No, no. Not yet.
*****
GUY 1
(at reunion)
Where’s Bailey?
SARAH
He's sort of not here. I'm not with
Bailey any more.
Shock. No one breathes.
*****
CHARLIE
We were starting to get along before all
this. But ever since these sessions --
it's like we've taken a step backwards.
KIRSTEN
We've got to deal with this, Charlie.
Because if things are going to work with
us, it can't ever happen again
*****
CHARLIE
(to Felicia)
When I told her I'd sell the restaurant,
I meant it. But once we got closer to me
actually doing it, she talked me out of
it. It's like... no matter what I did,
she wanted me to do the opposite.
*****
1 INT. FELICIA LOMBARD’S OFFICE - DAY
CHARLIE and KIRSTEN are sitting on the couch. Charlie is
sunken back into his seat, not wanting to be here, not
wanting to hear any of this:
KIRSTEN
...we’ve been through hard times before.
I mean, let’s face it -- we didn’t even
start out all that great.
CHARLIE
Kirsten, that was eight years ago.
Didn’t we get past all that?
KIRSTEN
But it was rough for me, Charlie. You
have to know that. I mean, those other
women...
CHARLIE
Whoa, wait. That was completely
different. I was twenty-four and going
through a lot of stuff, too.
KIRSTEN
I know. It’s just... with all the
trouble at the factory, then at
Salingers’ -- when I barely got to see
you -- those same feelings came up again.
CHARLIE
You’re saying that’s the same as...? I
don’t get that connection at all.
Felicia’s been taking notes on a pad, but stops. Puts down
her pen, looks up at them.
FELICIA
It’s not so much that the acts are the
same, Charlie. It’s more the result of
the acts -- the feeling of being looked
over. Being abandoned.
(beat)
Infidelity played a role in your past
problems. Are you sure there aren’t any
lingering issues?
CHARLIE
(adamant)
No, there’s not.
No response from Kirsten. She sits silently, staring at the
floor. This isn’t lost on Felicia.
FELICIA
Kirsten...?
PO5 Credits
2 INT. NEW YORK - SARAH'S APARTMENT - DAY
SARAH enters her apartment and hears her phone ringing. She
drops her luggage and hurries to pick up the phone.
SARAH
Hello?
(listens)
Oh, hey Heather.
She listens again, then gives a cursory glance around the
apartment. No sign of Claudia.
SARAH
Doesn't look like she's here. Can I give
her a message?
HEATHER
Well... is everything okay? I'm just a
little worried. Claud's professor has
been calling for her, and--
SARAH
Her professor? Why? I mean, couldn't he
just talk to her at school?
HEATHER
There seems to be a little problem with
talking to her at school...
Sarah looks concerned as she listens to Heather continue.
3 INT. BAILEY’S DORM - DAY
BAILEY talks on the phone as COLE rummages through the mini
refrigerator, pulling out a carton of something. He smells
it, makes a face, and puts it back.
BAILEY
(on phone, agitated)
I’m holding for the same person I’ve been
holding for -- Dean Strickland.
(listens)
I’ve left him like a dozen messages, so
if there’s any way--
(listens)
Yes, please page him.
(to Cole)
This guy’s unreal.
Cole emerges from the fridge holding a sandwich.
COLE
You gonna eat this?
Bailey shakes his head.
BAILEY
I mean, I flew out to Chicago for these
people and they can’t even pick up a
phone.
Cole pulls a soda out of the fridge.
COLE
You gonna--?
BAILEY
Go ahead. You’d think he’d take like
five seconds to return a --
(on phone)
Hello? Yes, Mr. Strickland? This is
Bailey Salinger. I interviewed with you
last month, and I was wondering --
(listens)
Oh. Uh-huh.
He continues listening. It’s not good.
BAILEY (CONT’D)
(on phone)
The internship, huh? Yeah, I remember
you mentioning --
(listens again)
Yeah. Yeah, I’ll do that. Thanks.
Bailey hangs up, sinks into his bed. Stares at the ceiling.
COLE
Bad news?
BAILEY
No internship, no experience. No
experience, no job.
COLE
(shakes his head)
Sucks, man.
BAILEY
Tell me about it.
Bailey covers his head with a pillow. Cole takes an orange
from the fridge.
COLE
Hey, are you gonna-- ?
BAILEY
(not looking)
Just eat it, okay?
4 INT. GRIFFIN’S APARTMENT - NIGHT
GRIFFIN and JULIA are in bed. Julia’s reading a book, really
into it. Griffin sits up to look at the title.
GRIFFIN
(reading)
The Unbearable Lightness of Being.
JULIA
(still reading)
Uh-huh.
GRIFFIN
The Unbearable Lightness of Being what?
Julia looks at him. Doesn’t feel like explaining it.
She continues reading, paying him no attention. Griffin
slumps back against his pillow.
GRIFFIN
Don’t you ever get tired of that?
Reading?
JULIA
What?
GRIFFIN
I mean, your job -- you read all those
stories, right? Then you write about
‘em.
JULIA
Yeah, so.
GRIFFIN
Then it’s like... you read books on top
of that. And it’s not like you’re
getting paid any extra.
JULIA
I read for fun, Griffin. Lots of people
do.
GRIFFIN
I know that. But don’t you get tired of
it? I mean, that’d be like me coming
home from the factory and building an
ottoman to relax.
Julia gets the hint, puts her book down. Moves closer to
him.
JULIA
Hmm... I think I see your point.
(smiling devilishly)
Maybe we could figure out something else
- you know -- to relax.
Griffin smiles, and they kiss. Deep. They lie down, and the
kissing continues. Heavier. Then --
A faint baby’s cry. Griffin’s eyes open.
GRIFFIN
Hey, is that...? Did you hear something?
JULIA
No.
They kiss again, Griffin’s eyes still open. The cry becomes
louder.
Matthew.
GRIFFIN
(pulling away)
Julia, wait.
JULIA
Poor little guy. He probably lost his
pacifier.
(getting up)
I’ll get it.
GRIFFIN
(quickly)
No, no. You stay here.
(getting up)
I got it, okay.
JULIA
(smiling, covering herself up)
Okay.
Griffin rushes out of the room. Julia leans back, still
smiling. After a moment she picks up her book again.
5 INT - SARAH'S APARTMENT - DAY
SARAH is in the kitchen, washing dishes. CLAUDIA enters and
sits down on the couch. Grabs the remote and switches the
T.V. on. Sarah comes in, drying a glass with a towel.
SARAH
Hey. How was class today?
CLAUDIA
Oh, you know. Same old same old.
Practice, practice and more practice.
She switches the channel.
SARAH
Hmm. Odd. ‘Cause Heather called.
Claudia freezes for a moment. Sarah sees this.
CLAUDIA
(trying to be casual)
Oh yeah?
SARAH
Yeah. Something about your professor
trying to get in touch with you. But
that can’t be right.
Sarah walks over, studies Claudia’s expression.
SARAH (CONT’D)
I mean, you just came from there, right?
No reply.
SARAH (CONT’D)
Look, Claud. Not going to class... it’s
a mistake. And... if living here’s
making it easier for you to skip out,
maybe -- I don’t know --
(looks down)
-- maybe you shouldn’t.
CLAUDIA
I missed a few classes, Sarah. That’s
all.
SARAH
Look, I know the competition was this
major thing, okay? But it’s over... and
you’ve gotta move on. And God -- you’re
still doing exactly what you want to do.
(beat)
Do you know how many people wish they
could say that?
Sarah knows... all too well. This isn’t lost on Claudia, who
considers her words.
6 EXT. STREET - NIGHT
BAILEY, MARIA, WILL and JEAN are strolling down the street.
WILL
...then Superman says, “But I’ve never
even been to Capetown.”
Bailey cracks up. Jean and Maria just look at each other.
They don’t get it.
WILL (CONT’D)
C’mon, that one was funny.
MARIA
If you say so.
(spots a pizza parlor, points)
I’m just gonna run in and grab a slice.
WILL
Yeah, I can go for that.
(to Bailey and Jean)
You guys want...?
JEAN
Nah.
BAILEY
Geez, Will. You ate like three falafels
already. Aren’t you full?
Will just smirks as he and Maria enter the pizza place.
Guess not.
JEAN
So...
BAILEY
Can you believe I lost like all my
laundry money to that stupid arcade?
JEAN
You had fun. Quit complaining.
Jean pauses as she glances through the pizza shop window,
noticing Maria and Will among the last in line.
JEAN (CONT’D)
So... Bay. As long as we’re waiting for
them... I kinda have something to talk to
you about.
Bailey turns to face her.
BAILEY
Is it that serious?
JEAN
Serio--? No, no. Not at all.
BAILEY
‘Cause your voice just went into dramatic
mode.
JEAN
What? Sorry, I... No, it’s nothing like
that. It’s just... Look, if you don’t
want to do this, I completely understand.
BAILEY
Jean, you’re not going to ask me to rub
someone out, are you?
Jean chuckles, appreciating his attempt to lighten the mood.
JEAN
No, no. It’s just... this friend of
mine, she’s doing this study. I couldn’t
help but think of you.
BAILEY
Doesn’t sound too bad so far.
JEAN
But it’s... it’s a study about orphans.
And... I don’t know how to ask you if
you’d even consider. Like, I don’t know
how comfortable you are with that stuff.
So I just thought--
BAILEY
Orphans?
JEAN
Yeah. It’s part of her doctoral thesis.
An uncomfortable silence.
BAILEY
What does she want to know?
Jean shrugs. Shakes her head.
JEAN
I just told her I’d ask.
7 EXT. PLAYGROUND - DAY
Kids are on the swings, being pushed by their mothers.
Others play in the sandbox as their parents look on from
nearby.
JULIA is sitting on a bench, cradling Matthew in her arms.
He’s cooing. Giggling. Laughing. Soaking up the moment.
Just like Julia.
An elderly lady walks by, taking note of their closeness.
She takes another step, pauses, and turns back.
ELDERLY LADY
That’s nice to see.
JULIA
Excuse me?
ELDERLY LADY
The two of you. Just being happy
together.
JULIA
Well, he’s a happy baby.
ELDERLY LADY
They all are. But only the lucky ones
get the love it takes to stay that way.
Julia smiles, basking in her words.
ELDERLY LADY (CONT’D)
It’s nice to see young people giving that
love to their kids.
Julia looks at Matthew, then the elderly lady. Opens her
mouth, ready to respond...
Griffin walks up, holding two ice cream cones. He’s heard
this, and speaks first:
GRIFFIN
(to elderly lady)
Yeah, she’ll make a great Mom someday.
ELDERLY LADY
Oh, I’m sorry. I thought...
Julia brushes her hair back and looks down at Matthew. The
elderly lady senses Julia’s awkwardness with the situation.
She glances from Julia to Matthew to Griffin. Puts it
together.
ELDERLY LADY (CONT’D)
It’s still nice to see.
She flashes them a kind smile and continues on.
Julia looks up at Griffin. He’s not even phased.
GRIFFIN
(with outstretched arms)
You, uh, want me to take him?
8 INT. CHARLIE’S HOUSE - KITCHEN - DAY
KIRSTEN puts her hand on the phone, takes a breath, and picks
it up. Dials, and after a couple rings...
KIRSTEN
Hi, Charlie. It’s me.
(listens)
No, everything’s fine. Just wanted to
let you know that Felicia cancelled our
session today.
(listening again)
Uh-huh. I’ll let you know if she finds
another slot for us.
(pauses)
Okay. Great.
(nodding)
Talk to you later.
She hangs up the phone and stands there for a moment. Then
she grabs her purse and heads out the door.
9 INT. JUILLIARD - PAUL RECITAL HALL - DAY
CLAUDIA walks up the isle as her classmates are preparing for
their session. One by one they catch sight of her. A few
give nervous waves as she passes by them, most of them
shocked to see her in class.
She takes her seat and begins to set up her music stand.
Business as usual.
A tall girl approaches, stopping when she sees Claudia.
CLAUDIA
Oh. Hey, Rose.
ROSE
(tentatively)
Claudia... hey.
CLAUDIA
(adjusting the stool)
Don’t you hate it when people mess with
these?
ROSE
Uh, yeah.
CLAUDIA
I practically need a step-ladder to...
Claudia notices Rose’s nervous look. Puts two and two
together.
ROSE
I’m sorry. Professor Oldham didn’t know
when you’d be coming back, so--
CLAUDIA
No, that’s okay.
She quickly gathers her things.
CLAUDIA (CONT’D)
You, um, might have to re-adjust it.
She leaves, mustering as much dignity as possible.
10 INT. FELICIA LOMBARD’S OFFICE - DAY
KIRSTEN walks into the office... alone. FELICIA looks up
from her paperwork.
FELICIA
Is Charlie running late?
KIRSTEN
Um... no. Actually, he won’t be coming
today.
FELICIA
Oh. I hope everything’s okay...?
KIRSTEN
No, no. Everything’s fine.
Everything’s...
She sits, clutching her purse in her lap, looking down. Then
she takes a deep breath, looks back up.
KIRSTEN (CONT’D)
When we first started, you said you could
only help us if... we were honest. And
it’s not that I haven’t told you the
truth. It’s more like... I haven’t told
you everything.
Felicia sits back, listening.
KIRSTEN (CONT’D)
So I wanted to come today and talk to you
myself. Without Charlie.
FELICIA
Go on...
KIRSTEN
Well, it’s just... there’s someone that I
-that I used to spend a lot of time with.
A man -- Stewie’s doctor. He became a
really good friend when Charlie wasn’t
there for me and... well, nothing
happened between us -- I mean, it’s not
like we hand an affair or anything,
but...
She looks down, closes her eyes. Then speaks softly.
KIRSTEN (CONT’D)
I kind of wanted to.
(looks back up)
Sometimes I wanted to a lot.
11 INT. GYM - BASKETBALL COURT - DAY
BAILEY and WILL are shooting hoops. They’ve been at it
awhile, evident by their sweat.
WILL
She never should have asked.
BAILEY
Will, it’s okay.
WILL
But she shouldn’t have dumped this on you
out of the blue like that.
BAILEY
It’s not that. It’s that word. Orphan.
I haven’t thought about it since... well,
since it happened.
WILL
Exactly.
Bailey holds the ball for a moment, wandering off in thought.
BAILEY
You know what’s funny?
(beat)
After the accident, I remember doing this
-- shooting hoops, I mean. Like every
day.
WILL
(musing)
Yeah, I remember.
BAILEY
You’d come over, and we’d shoot. Just
like always.
WILL
I know it was kind of lame. I guess I
just thought... if some little part of
your routine could stay the same...
(shakes his head)
I know, it was stupid. As if something
like that...
They silently reflect on this for a moment.
BAILEY
It helped, Will. A lot. So...
Will looks up.
BAILEY (CONT’D)
...so thanks.
Will smiles, nods. A touching moment between old friends.
BAILEY (CONT’D)
It couldn’t hurt just to talk to ‘em,
right?
12 INT. FELICIA LOMBARD’S OFFICE - DAY
KIRSTEN sits across from FELICIA.
FELICIA
I’m not saying you didn’t have a right to
be upset, Kirsten. But your reaction to
the situation -- to Charlie not being
there -- well, I have to believe it
was... compounded.
KIRSTEN
Compounded.
FELICIA
By your feelings for Peter. By wanting
to spend time with him but also feeling
guilty about it.
KIRSTEN
(shaking her head)
Felicia, that’s... My problems with
Charlie started long before Pete and I--
FELICIA (CONT’D)
Kirsten, you said he was there for you...
at a time when your husband wasn’t. It’s
an easy thing to fall into. I’m not
saying that makes it okay, but to say it
didn’t play into your relationship with
Charlie...
Kirsten stands up, paces a bit.
FELICIA (CONT’D)
I know this isn’t what you want to hear.
But I believe some of the agression you
felt toward Charlie stemmed from... well,
your own mixed feelings about Peter.
They’re hard words to say. Even harder to hear.
FELICIA (CONT’D)
One day, you’d want to see him. The
next, you’d feel bad about it. So one
day that means telling Charlie to sell
the restaurant... so you could finally
have time together. The next, selling
the restaurant means not having an excuse
to see Peter.
A long beat as Kirsten processes this. She drops her head,
covering her eyes. On the verge of breaking down.
She sits back down, does her best to regroup.
KIRSTEN
So what now?
(beat)
What do I do?
FELICIA
You tell him the truth. I promise --
it’ll make a difference.
Kirsten takes in a breath. That’s what she’s afraid of.
13 INT. GRIFFIN’S APARTMENT - KITCHEN - NIGHT
GRIFFIN is talking on the phone as JULIA sits at the counter
across from him. Her laptop’s open in front of her and
papers are scattered about.
GRIFFIN
(on phone)
...let me know if you can keep him.
Maybe I can take him one night during the
week to make up or something? So gimme a
call when you get this, okay?
Griffin hangs up. Julia speaks, still looking at her laptop.
JULIA
What’s that about?
GRIFFIN
Nothin’. A buddy of mine’s moving and I
owe ‘em. So I need Daphne to keep
Matthew on Saturday.
Julia looks up, suddenly interested.
JULIA
Oh. Well, why don’t you just let me
watch him?
GRIFFIN
That’s, um... Thanks, but... it’s okay.
JULIA
(smiling)
Why not? Then you can spend some time
with him -- you know -- after you’re
done.
Griffin says nothing, thinks about this.
JULIA (CONT’D)
You’re not going to be helping him move
all day, right?
GRIFFIN
I don’t know. Maybe.
JULIA
Even so--
GRIFFIN
Thanks, Jul. Really. But I’m just gonna
ask Daph. Okay?
It’s posed as a question, but not meant to be one.
JULIA
(raising her eyebrows)
Okay.
Griffin turns, walks toward his bedroom. Leaves Julia behind
to muse over this.
14 INT. SARAH’S APARTMENT - DAY
SARAH and CLAUDIA sit at the small kitchen table, Chinese
take-out containers in front of them.
SARAH
So... what did you say to him?
CLAUDIA
Nothing.
SARAH
Nothing?
CLAUDIA
Sarah, what was I supposed to say?
“Gimme back my chair, you thief?”
SARAH
Maybe not verbatim, but yeah. Something
like that couldn’t hurt.
CLAUDIA
What’s the point? He’s probably doing
the right thing anyway. Pass the Kung
Pao chicken?
Sarah does. Annoyed. She sits there, trying to think of a
new approach. Then--
CLAUDIA (CONT’D)
What do you like better -- indoor or
outdoor weddings?
SARAH
What?
CLAUDIA
I mean, San Francisco’s got sun pretty
much year-round, so even if we planned a
Fall wedding it shouldn’t make a
difference. Right?
Sarah just looks at Claudia. Shakes her head.
CLAUDIA (CONT’D)
What?
SARAH
What made you think of that?
CLAUDIA
Think of what?
SARAH
Weddings. Getting married.
CLAUDIA
It’s kind of hard to forget with this
ring on my finger.
SARAH
(not amused)
That’s not...
(beat)
Don’t you have other things to think
about? Stuff that’s more... immediate
than indoor versus outdoor, traditional
or nontraditional?
CLAUDIA
Come on, Sarah. You can’t get mad
because I’m excited about my wedding.
SARAH
Is that really what it is, Claud?
Because it doesn’t feel like it. It
feels more like...
Claudia glares at her as she pauses. But she’s come to far
to turn back now.
SARAH (CONT’D)
...like an excuse. An excuse to ignore
school.
A beat. There it is. It’s out.
Claudia sighs in disbelief. Sarah tries to back off a bit,
softening it a little...
SARAH (CONT’D)
Look, if I’m wrong about that, I’m sorry,
okay? Really. But if I’m not --
CLAUDIA
Well you are.
(getting up)
Newsflash, Sarah -- believe it or not,
some girls actually look forward to their
wedding.
Claudia stomps off, furious. Sarah can only watch.
15 INT. GRIFFIN’S APARTMENT - NIGHT
GRIFFIN and JULIA lie on the bed together, watching TV.
Griffin’s into the program, but Julia seems distracted.
She’s only half paying attention.
Griffin laughs heartily at a punchline by Homer Simpson.
Julia shoots him a glance.
GRIFFIN
Man, why do they always cut to
commercials right after the best part?
JULIA
Well, you’re going to keep watching,
right?
GRIFFIN
Well, yeah. This one’s really good.
It’s--
(thinks about it)
Duh. Guess that’s the point, huh?
JULIA
Look, it’s getting kinda late, so I think
I’m gonna...
Julia slinks off the bed, moves across the room.
GRIFFIN
Whoa, wait. It’s not over yet.
JULIA
(putting on her coat)
So give me the highlights tomorrow.
GRIFFIN
C’mon, Julia--
JULIA
(quickly)
I’m just really tired, okay?
It comes out a bit more sharply than either of them expected.
They lock eyes for a moment, then--
JULIA (CONT’D)
(covering)
Guess I just... forgot how much a baby
can wear you out.
GRIFFIN
Okay... so then come back. We’re just
watching TV. Doze off if you want.
JULIA
I kind of want to sleep in my own bed
tonight.
GRIFFIN
Look, we’ll hit the hay now, okay?
He grabs the remote, clicks off the TV. Pulls back the
covers.
GRIFFIN (CONT’D)
C’mon.
JULIA
(getting upset)
Griffin, why--?
She stops herself, looks at him.
GRIFFIN
Why what?
She knows he’s not getting it. Knows that it just has to
come out.
JULIA (CONT’D)
I know I’m not Matthew’s mom, okay? I
know that. But that doesn’t mean I don’t
like being with him. ‘Cause I do. Even
strangers can recognize that.
Griffin sits up in bed.
GRIFFIN
Wait -- this is about that park thing?
That old lady?
JULIA
She was so happy just to see us together.
And it felt good. Really good. But when
you told her, it was like... she enjoyed
the image so much better than the truth.
(beat)
I guess maybe I did a little, too.
Griffin’s silent. This is what’s been bothering her?
Julia registers his silence, moves toward the door.
GRIFFIN
Jul, wait.
She stops.
GRIFFIN (CONT’D)
Look, you always said how bad it is to
walk out when you’re mad. So, c’mon --
let’s talk about it.
A moment of indecision as she stands by the door.
JULIA
Not tonight.
Griffin sits on the bed, TV off, covers back, as Julia walks
out.
16 INT. PROFESSOR’S OFFICE - DAY
BAILEY and a female student sit across from PROFESSOR EPPLING
-- a man in his mid-forties -- distinguished, confident,
erudition personified.
PROFESSOR EPPLING
You can fill Lippincott Library with all
the books that’ve been written on the
psychology of orphans from third world
countries... or those from various wars.
But kids who are quote-unquote “normal” --
middle to upper class kids, right here in
the United States -- they’ve been
practically ignored.
BAILEY
Huh.
PROFESSOR EPPLING
(nodding toward the girl)
That’s why Terese’s dissertation has
caught the attention of a few major
psychology journals.
TERESE
(to Bailey)
They’ve agreed to fund the study. But
actually finding the people... well,
frankly, we just haven’t. Then I talked
to Jean and she told me about you and
your siblings, so I just thought--
BAILEY
Whoa, whoa, whoa. My siblings?
(shakes his head)
No one said anything about...
The professor and Terese exchange a glance.
Is that what you’re going after here --
me to ask my brothers and sisters?
PROFESSOR EPPLING
Bailey, listen--
BAILEY
Look, even if I agree to do this -- which
I haven’t -- there’s no way I’m going
to... to...
(beat)
You know what, I’m gonna go.
He starts to get up.
PROFESSOR EPPLING
Bailey, please. We understand your
hesitance. Obviously, discussing
something like this is difficult, but--
BAILEY
Difficult?
He laughs in disbelief, shaking his head.
BAILEY (CONT’D)
Obviously, you don’t understand. ‘Cause
difficult doesn’t even come close.
TERESE
Then tell us, Bailey. Please. Let us
understand, so that maybe we can help
other people in your situation.
Bailey looks at her, thinking. A long beat as he considers
her words. Then...
He sits.
Terese and Professor Eppling say nothing. They know Bailey’s
got the ball.
BAILEY
Look, if I do this, it’s just me.
(beat)
Asking my brothers and sisters is out.
Professor Eppling nods his head, smiles.
PROFESSOR EPPLING
Thank you.
BAILEY
So. What now?
17 EXT. GRIFFIN AND JULIA’S APARTMENT BUILDING - DAY
GRIFFIN takes his mail out of his mailbox. Spins around to
walk upstairs when he sees...
JULIA walking down the steps.
He stops, stands frozen in place. So does Julia. An awkward
moment of recognition.
Julia continues forward... but at a slower pace.
GRIFFIN
You’re home early.
JULIA
Uh-huh.
GRIFFIN
Look, I don’t know what happened last
night, but...
Julia looks up at him.
JULIA
We’ve had worse fights, Griffin.
GRIFFIN
Yeah, but I usually knew what they were
about.
She looks at him. Knows he’s trying.
JULIA
It’s just... some stuff -- it really hit
home.
GRIFFIN
You have to talk to me about more than
just “stuff.”
Julia reflects on this.
GRIFFIN (CONT’D)
What I said to that lady... I wasn’t
trying to do anything...
(searches for the right word)
...mean. I just... I never wanted to
make you feel like you had to be there --
you know -- for Matthew.
JULIA
I know you didn’t. But when you said
those things, it’s like... I saw the man
that you’ve become. This... responsible
adult. I mean, Matthew did in nine
months what I couldn’t do in two years.
And I’m grateful that I was there to see
it. Really. I am.
Griffin looks down, shying away from the compliment.
JULIA (CONT’D)
I think it’s part of the reason things
didn’t work before...
and why they’re working now.
(beat)
But when you said that to the lady, I
realized you said it because of Matthew.
Not because of me.
Griffin smiles warmly at her. She’s missing the point.
GRIFFIN
You two -- you’re my life. Both of you.
(beat)
I love you both, Jul.
She smiles. That’s what she needed to hear.
JULIA
Then that’s enough.
18 INT. BAILEY’S DORM ROOM - NIGHT
BAILEY and MARIA are in bed. He lies back, stares at the
ceiling, his hands behind his head. She rests her head on
his chest.
BAILEY
It was really weird. When they mentioned
my brothers and sisters, I automatically
flew into this total protective mode.
Like I had to shield them from... from
whatever.
MARIA
There’s nothing weird about that. You
love them.
BAILEY
I know, but... maybe speaking for them
wasn’t the right thing to do. Maybe I
owe it to them to ask, even if I know
what they’re going to say.
Maria moves off him, leans on one elbow.
MARIA
Well, are you sure you know what they’ll
say?
A beat. Bailey considers this.
His thoughts are interrupted as the phone rings. He grabs
the handset next to him.
BAILEY (CONT’D)
(on phone)
Hello?
(listens)
Sarah?
This gets Maria’s attention. She slowly sits up, pulling the
covers up with her.
BAILEY (CONT’D)
(looking at Maria)
No, it’s fine... it’s--
(listens for a moment)
What? What do you mean, “missing
school”?
19 INT. CHARLIE’S HOUSE - KITCHEN - NIGHT
CHARLIE sits at the kitchen counter reading the newspaper.
KIRSTEN is at the dining room table behind him, staring
blankly at their tax paperwork. Something’s brewing.
She finally gets up the nerve...
KIRSTEN
Charlie, you have a second?
CHARLIE
(still looking at the paper)
Did you know we had an earthquake last
night?
KIRSTEN
What?
CHARLIE
A 4.2... centered in Daly City.
(looks at her)
You feel anything?
KIRSTEN
Uh, no.
He turns around, once again fixing his glance on the paper.
CHARLIE (CONT’D)
Me neither. Actually did some damage.
She listens, uninterested. Slightly perturbed by this
interruption.
CHARLIE (CONT’D)
Scary, huh? That the whole world can
shake around you and you don’t even know
it.
Kirsten thinks about this. He doesn’t know the half of it.
KIRSTEN
Yeah.
A beat. Then--
CHARLIE
I’m sorry. Were you going to say
something?
Another beat. She says nothing. Charlie turns around.
CHARLIE (CONT’D)
Kirsten?
KIRSTEN
Huh? Oh, no. I mean... it was nothing
CHARLIE
Oh. Okay.
He gets up, folds the paper.
CHARLIE (CONT’D)
Well, it’s getting late. I better get--
(stops, smiles)
I was gonna say “home,” but...
KIRSTEN
Yeah.
CHARLIE
I’m gonna run upstairs. Kiss the kids
goodnight.
Kirsten nods, managing a small smile. She watches as Charlie
makes his way out of the kitchen. Breathes in deeply.
20 INT. GRIFFIN’S APARTMENT - NIGHT
JULIA sits up in bed, her laptop in front of her, typing
away. GRIFFIN walks in, begins changing his shirt.
GRIFFIN
I thought you were done with your
article.
JULIA
(not looking up)
I am.
He finishes pulling his shirt over his head. Climbs in bed.
GRIFFIN
Then what are you doing.
JULIA
Mmm, nothin’.
Griffin give her a curious look, then glances at her screen.
GRIFFIN
(reading)
Monterey Bed and Breakfasts...
(looks at her)
What’s that all about?
JULIA
Well, your birthday’s coming up. So I
was thinking about whisking you away.
You know -- a weekend of shopping and sex
and dining and sex and sleeping and
sex... you get the picture.
GRIFFIN
Huh. Drop the shopping, dining and
sleeping and it sounds like a plan.
She smiles as he moves closer to her. They both look at the
computer.
GRIFFIN (CONT’D)
What’ve you got so far?
JULIA
Well, all depends. This one has a
fireplace but no jacuzzi. Then this
place has both, but no view of the bay.
And this one--
GRIFFIN
Jul, that’s really cool and everything,
but... I think we’ll be okay as long as
it has a bed.
They smile. Kiss.
JULIA
Really, really sturdy beds.
They kiss again. Deeper. Suddenly they hear:
Matthew’s crying, natch. They look at each other.
GRIFFIN
What? You gonna just lay there?
She smiles, gets up. Heads into Matthew’s room. Griffin
adoring her more with each step she takes.
21 INT. BAILEY’S DORM ROOM - NIGHT
BAILEY and MARIA are still in bed. He hangs up the phone,
lies back. Thinks. Maria looks at him.
MARIA
Was that... Sarah Sarah?
BAILEY
(distant)
Yeah. It was.
He’s not there, and she knows it.
MARIA
Everything okay?
BAILEY
I don’t know.
There’s nothing reassuring in this for her. He’s too
preoccupied to worry about that, though.
He sits up. Looks at her.
BAILEY (CONT’D)
I’m going to New York.
MARIA
I know. Your interview...
BAILEY
Not just that.
(beat)
I think I should stay another day or
two... see if I can talk to my sister.
Maria looks down -- there’s no arguing against this.
MARIA
Yeah. You should.
Bailey nods, lies back down. Stares at the ceiling. Maria
nestles her head on his chest.
They lie there, each of them sorting through their thoughts.
Eyes open.
FADE TO BLACK.
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