s8e22



	Episode 22: “Long Night’s Journey Into Day” Previously on “The Salingers”: GRIFFIN (looking at Julia’s laptop) Monterey Bed and Breakfasts... What’s that all about? JULIA Your birthday’s coming up. So I was thinking about whisking you away. *** SARAH Hey. How was class today? CLAUDIA Oh, you know. Same old same old. SARAH Hmm. Odd. ‘Cause Heather called. Something about your professor trying to get in touch with you. * CLAUDIA What do you like better -- indoor or outdoor weddings? SARAH Don’t you have other things to think about? 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... like an excuse. An excuse to ignore school. * BAILEY (on phone) Sarah? -- What? What do you mean, “missing school”? * BAILEY 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. * FELICIA 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...? * KIRSTEN (to Felicia, alone) There’s someone 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. FELICIA Tell him the truth. I promise -- it’ll make a difference. Kirsten takes in a breath. That’s what she’s afraid of. * 1 EXT. SALINGER’S TAHOE CABIN - DAY Julia's car crunches its way through the snow and stops close to the front steps. Griffin and Julia hop out of the car. Julia just stands there, gazing upon the cabin as though it was an old photograph. JULIA Some things never change. Griffin glances up, sees the cabin for the first time. Big. Wooden. Cozy. GRIFFIN Looks even better than those bed and breakfasts in Monterey. JULIA And it's all ours. GRIFFIN Yeah, but here's the part I really like: it's free. Julia can't take her eyes off it. JULIA It's exactly like I remember. Griffin pops the trunk, begins taking out the luggage. GRIFFIN So is there like a... caretaker here, or something? JULIA A what? GRIFFIN Maintenance guy, someone to shovel the snow. You know, that type of thing. JULIA I don't really... We kinda let Charlie handle all that stuff. He hired a service, or something. Griffin closes the trunk. Bags are draped over his shoulders. He carries a few other by their handles. GRIFFIN Does it come with a bellhop? JULIA Oh, here. I can take a few. GRIFFIN It's okay. (adjusts the bags) You really made a production out of a weekend trip. JULIA It's a retreat. That's what we always used to call 'em. GRIFFIN Either way, lotta bags. JULIA I'm just trying to make it special. Different than last time. GRIFFIN What, were you like snowed in? Julia smiles. Snowed under was more like it. JULIA I'm just happy to be here with you. With Bay and Charlie it was... he had cancer. Bailey was in relationship hell, and me, I was... (beat) It just feels nice to come here for a good reason this time. PO5 Credits 2 INT. FELICIA LOMBARD’S OFFICE - DAY Another session. CHARLIE and KIRSTEN are in their normal places on the couch, waiting for FELICIA. CHARLIE Are you sure he’s okay? Maybe we should’ve-- KIRSTEN He’s fine, Charlie. It’s just the sniffles. All babies get them. CHARLIE I know that. But if a bug’s going around, maybe we should talk to what’s his name... Dr. Peterson. Kirsten freezes. That name spoken by her husband. She looks up, noticing Felicia has entered the room. FELICIA Please, don’t let me interrupt. Sounds like you’ve already started... KIRSTEN (covering) Oh, no. We were just-- FELICIA (sits down) Kirsten, it’s fine. It’s a good sign, actually. You’d be surprised to know how many couples just sit there in silence until I tell them to talk. Charlie smiles, but Kirsten looks down, closes her eyes. FELICIA (CONT’D) (turns to Charlie) You were talking, Charlie. So please, continue... CHARLIE I’m sorry. Continue? FELICIA About Dr. Peterson. A blank look from Charlie. FELICIA (CONT’D) Isn’t that what you two were...? Felicia looks to Kirsten, who looks up meekly. Kirsten shakes her head, and understanding passes between them. He doesn’t know. CHARLIE Can someone please tell me what’s going on here? 3 INT. SALINGER CABIN - LIVING AREA - DAY JULIA and GRIFFIN are setting up camp in the cabin. Griffin sets a bag of groceries on the table, peers out the window, notices his surroundings -- trees, virgin snow, wide open spaces. GRIFFIN Not exactly an overcrowded neighborhood, is it? JULIA It’s a cabin, Griffin. GRIFFIN No, I mean... it’s good. Julia pulls a clock radio out of her bag and bends down, looking for the outlet. She plugs it in, pushes some buttons. Nothing. Wiggles the wire. Still no signs of life. Now she’s shaking it. Griffin notices. GRIFFIN What’d that thing ever do to you? JULIA It’s not working. Power light doesn’t even come on. GRIFFIN Well, I’m no genius or anything, but you really think shaking it’ll help? Julia shoots him a look. He approaches. GRIFFIN (CONT’D) Here, lemme see... He takes it from her, looks it over. Pushes a button or two. Dead. Julia folds her arms knowingly. Griffin bends down, wiggles the wire in the outlet. JULIA I tried that. See, I--what are you doing? Griffin puts the clock down. Reaches over and grabs the plug to a lamp. Plugs it in and tries turning it on. Again nothing. GRIFFIN Huh. 4 INT. CHARLIE’S TRUCK - DAY Charlie and Kirsten pull up to the curb in front of their house. Charlie’s look is expressionless, carved out of stone. He throws the gearshift into park, waits for her to get out. Engine still running. No words. Not even a look. KIRSTEN Can we please not do this? (turns toward him) Come on, Charlie. This isn’t going to go away by itself. He doesn’t budge, his gaze still fixed ahead. Kirsten looks at him. Knows how futile talking is at this point. She gets out, closes the door. Begins to peer in through the passengers window when... The truck screeches from the curb. He’s gone. Kirsten stands watching. 5 INT. SARAH’S APARTMENT - EVENING CLAUDIA is slumped on the couch, surfing through the channels, when the doorbell rings. Claudia gets up as SARAH steps out of the kitchen. CLAUDIA You expecting anyone? SARAH (covering) Uh, no. No. Claudia opens the door to see... BAILEY Hey. CLAUDIA (smiles) Oh my God! They hug. Bailey’s wearing a suit, holding a briefcase. CLAUDIA (CONT’D) Oh my God! BAILEY You said that. CLAUDIA I know! BAILEY Mind if I...? CLAUDIA No, no -- come in. He does, setting his briefcase down by the door. Claudia leads him to the couch. Sarah comes over, smiling. BAILEY (to Sarah) Hey. SARAH Hey. CLAUDIA (still elated) So, wow... Bailey, what are you doing here? BAILEY I had an interview. A consulting firm in Manhattan. CLAUDIA Wait, you’re... thinking about working here? BAILEY If they like me, yeah. Maybe. Claudia smiles again. This is too good to be true. BAILEY (CONT’D) Would that be okay? CLAUDIA Would it! She hugs him again. Bailey and Sarah exchange quick smiles, thinking their plan is working. 6 INT. SALINGER CABIN - LIVING AREA - NIGHT Three small candles flicker from the coffee table. The rest of the room is dark. JULIA sits on the couch, thumbing through a magazine. Not really reading since it’s too dark. GRIFFIN paces back and forth in front of the couch, the phone up to his hear. He hangs up, shakes his head. GRIFFIN The recording says electricity might be back later tonight, no later than tomorrow. She puts down the magazine, looks up. JULIA Tomorrow? Wow. GRIFFIN Or tonight. Y’never know. JULIA That’s what scares me. (thinks) We passed a lodge a ways back. Maybe we can just get a room there for the night. GRIFFIN Or... (sits next to her, snuggles up) ...maybe we can just rough it for the night. JULIA You’re kidding, right? GRIFFIN Why not? (smiles) I mean, what do we need an alarm clock for anyway? It’s not like we have to be anywhere tomorrow. We’re on a retreat, remember? He nuzzles into her neck. JULIA I know... but it’s freezing in here, Griffin. The idea is to go out and play in the snow, not sleep in it. GRIFFIN (looking at the hearth) No problem. I’ll get that thing goin’ and we’ll be all set. JULIA (not buying) Okay...and what about food? It would be nice to eat again sometime this century. Unless you’re planning to pop out and hunt for our dinner? She tilts her head quizzically, raising an eyebrow. GRIFFIN Hmmm. I don’t think pizzas are native to this area. Besides, they put up too much of a fight. JULIA Griffin, I’m serious... GRIFFIN (sits up, laughs) Come on, Jul. We won’t die eating junk food for one night. It’ll be fun -- just like Survivor. JULIA (making a face) Ugh. I thought we were supposed to be getting away from bad TV shows. Julia catches his slightly disappointed look. She stops and thinks for a moment, then sighs. JULIA You, um... want some help with the firewood? Griffin smiles. 7 INT. SARAH’S APARTMENT - KITCHEN - NIGHT CLAUDIA sets the table as BAILEY prepares dinner. SARAH holds a bottle of wine, reading the label. BAILEY ...I’ve already got two rejections -- no experience. CLAUDIA So, maybe this time’ll be different. SARAH (to Bailey) Will white wine work? BAILEY Perfect. Sarah begins pouring the wine over the food. BAILEY (CONT’D) None on mine. Sarah smiles. She knew that already. BAILEY (CONT’D) You wouldn’t happen to have any garlic capers? She gives him a blank look. BAILEY (CONT’D) Probably not. Claudia enters the kitchen, puts the extra utensils away. BAILEY (CONT’D) Anyway, that’s pretty much my life these days. Scouring the Internet for jobs, faxing resumes... CLAUDIA I’m sure something’ll work out. BAILEY Yeah. A beat. Bailey and Sarah exchange a look. He sees his opportunity: BAILEY (CONT’D) (to Claudia) So. What’ve you been up to lately? CLAUDIA Oh, not much. Same, y’know... She takes some glasses to the table. BAILEY Huh. I would’ve thought -- you know -- with the orchestra and everything... CLAUDIA Yeah, well... Hey, did Sarah tell you about her last ad? BAILEY Uh, no. No, she didn’t. CLAUDIA It’s a scream. Let me go grab the magazine. With that, she’s gone. Bailey and Sarah look at each other. This isn’t going to be easy. 8 INT. SALINGER CABIN - LIVING AREA - NIGHT A fire burns in the hearth -- the only light in the room. JULIA and GRIFFIN sit near it on the floor, still wearing their coats. GRIFFIN Still cold? JULIA A little. GRIFFIN I could toss in some more wood. But then, we might not have enough for the night. (beat) Guess I should’ve grabbed some more, huh? JULIA Guess so. Griffin thinks for a moment. GRIFFIN Hey, wanna do some jumping jacks? Get the blood goin’? She shoots him a look. GRIFFIN (CONT’D) Probably not. They sit, staring at the fire. Then Julia turns her attention to something on the floor next to Griffin... JULIA You gonna finish your Twinkie? GRIFFIN Actually... yeah. I was sort of saving the other half -- y’know, for later. Julia sighs. Another awkward silence, then -- GRIFFIN (CONT’D) (standing up) I’m gonna try cooking some of the stuff we brought. JULIA Griffin, you can’t. It’s been like ten hours since that stuff’s been refrigerated. GRIFFIN So. It’s like thirty degrees in here, Jul. How cold does it have to be? JULIA And it’s not like you’ve ever cooked over an open flame or anything. (drops her head) That’s all I need right now is... some kind of tapeworm or something. Griffin sits down again, exhales. Then something occurs to him... GRIFFIN That’s pork. JULIA (looking up) What? GRIFFIN Tapeworms. You get ‘em from pork. Julia closes her eyes. He’s missing the point. GRIFFIN (CONT’D) We didn’t bring any pork. JULIA Fine, then I don’t want what you get from chicken. Whatever. More silence. There’s only the crackling of the fire. A moment of indecision before... Griffin hands Julia his Twinkie. 9 INT. SARAH’S APARTMENT - NIGHT BAILEY, CLAUDIA and SARAH are sitting around the table, eating their Chicken Piccata. Candles, cloth napkins, good silverware. This is a special meal for them. CLAUDIA Bailey, this is... this is... great, actually. SARAH Yeah, I never knew you could cook like this. How did you choke down all those meals I made for you? BAILEY Yeah, it’s not like I used to manage a restaurant or anything. CLAUDIA But this is even better than Dad’s. BAILEY He got the recipe from an Irishman, Claud. What did you expect? Claudia smiles warmly, enjoying the joshing. CLAUDIA It’s really great to have you here, Bay. BAILEY Yeah, well... I’m just sorry I couldn’t make it out there for that competition thing of yours. I wanted to go. We all did, but-- CLAUDIA Hey, I understand. I’m a Salinger too, remember? BAILEY So, were the other players really that good? CLAUDIA It’s a competition, Bailey. That’s kind of the idea. BAILEY Yeah, but you-- CLAUDIA (jumping in) So how did your interview go? Sarah looks over at Bailey. See -- I told you. BAILEY What’re you doing, Claud? CLAUDIA What? That’s why you came here, right? And you still haven’t told me how it went. BAILEY And you still haven’t told me how your classes are going. It sounds like an attack. Claudia realizes this dinner might not be so special after all. CLAUDIA It’s the violin, Bailey. I know how to play. BAILEY So is that why you’re skipping classes? ‘Cause you know everything? CLAUDIA What are you, the perfect student? You’ve never cut a class? SARAH C’mon, Claud... Claudia looks at Sarah. She’s giving her the same look as Bailey. Puts two and two together. Pissed about it. CLAUDIA (to Sarah) What did you think would happen? My big brother would swoop in and make everything okay? SARAH We just want to understand why-- CLAUDIA Forget it. Claudia pushes back her chair, stands up, and walks off. CLAUDIA (CONT’D) (to Bailey, as she’s leaving) Hope you get that job. Bailey lets out a long sigh. Looks at Sarah. SARAH See, I told you. 10 INT. SALINGER CABIN - NIGHT** JULIA and GRIFFIN have pushed the furniture up close to the hearth. She lies in front of him on the couch, a mountain of blankets on top of them. GRIFFIN You still hungry? JULIA Hmmm... actually, I’m kind of in that so beyond-hungry-I’m-not-hungry-anymore stage, you know? GRIFFIN (leaning up on one elbow) Oh. That’s good... I guess. Maybe we should get some sleep before it comes back, huh? Before you know it, it’ll be morning and we can go grab breakfast somewhere. No reply. She’s deep in thought. He leans over her, trying to see her face. GRIFFIN (CONT’D) Jul? JULIA Hmm? GRIFFIN You’re pissed, aren’t you? About not going to that motel. JULIA What? -- no. GRIFFIN You sure? You’re just so quiet... JULIA Actually, I was thinking about something. That place we stayed at -- right after you came back from military school-- GRIFFIN -- You mean that roach motel in the Tenderloin? JULIA (laughs) That’s it. Remember the wallpaper was actually stapled to the wall? Griffin smiles, remembering. GRIFFIN Yeah, and the only light was that bulb in the ceiling. JULIA (smiles) I forgot about that. And the carpet -- GRIFFIN (cringes) Oh, God. Don’t remind me. JULIA -- I don’t even want to think about where those stains came from. (beat) God, seems like so long ago. GRIFFIN Forever. They smile, reflecting on this. JULIA What’s funny is, I don’t remember it as this... this ugly place. I mean, it was -- GRIFFIN Completely. JULIA -- I mean, the place only had one picture... and it was glued to the doorframe... crooked. (beat) But -- I don’t know -- it was also kind of... GRIFFIN ...Perfect. JULIA Yeah. Julia rolls onto her back, looking up at Griffin. JULIA (CONT’D) ‘Cause it was just us. You and me. We didn’t need anything else. You know? Griffin smiles down at her, and they kiss. Deep. Forget sleep... 11 INT. FACTORY - CHARLIE’S OFFICE - MORNING LUKE is filing some contracts as CHARLIE enters. Charlie takes off his jacket, hangs it on the coat rack. Sits at his desk. Doesn’t look at Luke, doesn’t say a word. It’s a bit unusual. LUKE (re: the contracts) These things have been piling up. Guess we shouldn’t complain, though. It’s better than the alternative. CHARLIE (not looking up) Yeah. It’s a bit aloof -- even for Charlie. Luke takes note, then continues... cautiously. LUKE Uh, Kirsten called... CHARLIE (looking for something) Have you seen the paper? LUKE By the fax machine. (then) Actually, she called twice. CHARLIE Uh-huh. Charlie still hasn’t looked up. He opens the newspaper, holds it in front of him. Another barrier Luke has to get through if he continues prodding. Which he does... LUKE (moving closer) Look, Charlie. Is everything okay? I mean, I know it’s none of my business, but if you want to talk about anything... CHARLIE I don’t. It’s a little sharp. Luke is slightly embarrassed as Charlie’s softens his tone... CHARLIE (CONT’D) Thanks, but-- The phone rings. They lock eyes for a moment. CHARLIE (CONT’D) (shakes his head) If that’s Kirsten... Luke picks up. LUKE (on phone) This is Luke-- Charlie watches him closely. Is it her? LUKE (CONT’D) (on phone, looking at Charlie) Yeah, he’s right here. He extends the phone toward Charlie. Charlie looks at the phone, then -- LUKE (CONT’D) (to Charlie) It’s Kendall. Charlie takes a breath, grabs the phone. CHARLIE (on phone) Yeah, Kendall, what’s--? What’s that? (listens) Does it have to be tonight? (listens again) Okay. Six-thirty’s fine. He hangs up. Luke looks at him, clearly wanting to ask more questions. CHARLIE (CONT’D) (getting up) I’m, uh... gonna grab some coffee. He walks out of the office. 12 INT. BECHELLI’S COFFEE SHOP - MORNING KIRSTEN and DAPHNE sit at a small table. MATTHEW and STEWIE are seated in high chairs next to them. KIRSTEN I left three messages for him yesterday. If I swallow any more pride I’ll choke. DAPHNE Amazing. I still can’t believe he’s acting like this. Charlie, of all people. KIRSTEN You know how he is when he grabs hold of something. DAPHNE Well, I don’t see what he’s so upset about. I mean, technically, you didn’t even do anything. How can he hold something you didn’t do against you? Kirsten digests this as Daphne takes a sip of her coffee. KIRSTEN That’s the thing. I’m not so sure I didn’t do something. DAPHNE Kirsten, I know things are confusing right now, but I’m pretty sure you’d know... KIRSTEN What I mean is, everything Charlie did in the past -- those other women -- it was terrible. It was, and there’s no excuse for it. But let’s face it -- for him, it was pretty much about the sex, right? DAPHNE It usually is. KIRSTEN Right. And this is going to sound weird, but... because it was just a physical thing -- and because I knew that -- it somehow made it easier for me to move past it. Daphne lets this sink in as Kirsten continues. KIRSTEN (CONT’D) The thing is, it doesn’t work that way for Charlie. He knows it wasn’t a physical thing with Pete. He knows we connected on a different level. (beat) And I’m not sure what’s worse. 13 INT. SALINGER CABIN - DAY JULIA and GRIFFIN enter the cabin carrying new bags of groceries. They’re laughing, smiling. Night and day difference from yesterday. GRIFFIN Did you see that waitress’ face when I ordered another stack of pancakes? JULIA (laughs) What did you expect? Turning breakfast into a four-course meal. GRIFFIN Look who’s talking, Miss “Keep-the Potatoes-Coming.” They both laugh, setting the groceries down. GRIFFIN (CONT’D) God, runny eggs, soggy toast... JULIA ...greasy bacon... GRIFFIN The greasiest. Then again, me and grease always kind of got along. JULIA It’s funny, all that aside, it was still kind of... I don’t know... great. GRIFFIN Yeah. They hold each other’s gaze for a moment, smiling. GRIFFIN Well, I should get some more fire wood. Julia nods, and Griffin heads for the door. As he does, Julia notices “12:00” blinking on her clock. JULIA Oh, hey-- GRIFFIN (turns around) Yeah? She stops for a moment. Looks at him, then quickly back at the clock, considering something. A moment of indecision before... JULIA Don’t be long, ‘kay? He smiles. With that, he’s off. She waits until he’s out of sight, then... Unplugs the clock. Smiles. 14 INT. SALINGERS’ - EVENING KENDALL is behind the bar, tallying up the night’s receipts. CHARIE is on a stool at the other end of the bar, with a steaming cup of coffee, flipping through the account ledgers. CHARLIE Kendall, are these... (flips back and forth between pages) ...are these numbers right? Kendall puts down his pencil, looks up. Knew this was coming. KENDALL It’s kind of a sad story, huh? CHARLIE Tragedy’s more like it. (beat) How are tonight’s numbers? Kendall glances down at the total. KENDALL Not much better. Charlie leans back, tosses his pencil on the open ledger. Oh, man. KENDALL (CONT’D) Things will turn around, Charlie. Eventually. But if we have another coupla weeks like this, we may have to make some hard choices now. CHARLIE And that’s what you wanted to talk to me about. KENDALL I don’t want to have to do this, Charlie. But we might have to start thinking about letting a few waiters and some kitchen staff go. CHARLIE It’s come to that? KENDALL We have to think about the bottom line here, Charlie. Charlie slaps the account book shut. It’s just too much. CHARLIE I don’t need this right now, Kendall. What happened to “the reservations will come pouring in”? KENDALL I’m not gonna try to sugarcoat it. You see the numbers. Yeah, and they don’t lie. Charlie faces the music... CHARLIE Can we run this place on half-staff? KENDALL With the way things have been...? We’ll try. I don’t think we have any other choice. 15 INT. SUBWAY CAR, C TRAIN - NIGHT SARAH sits among of a row of people. BAILEY stands next to her in the middle of the crowed car. He's holding onto the overhead rail for support. BAILEY Man, do these things always whip around the turns like that? SARAH You get used to it after a while. BAILEY Yeah, I guess so. Still, I'd take a cable-car over this any day. Sarah smiles at him. BAILEY Well...so much for our little plan with Claud, huh? She saw right through it. SARAH But you know what? Maybe it wasn't a total disaster. Bailey flashes her a look. BAILEY It's just us here, Sarah. We don't have to do the "silver-lining" thing. SARAH She probably totally hates me right now. BAILEY I'm sure I'm in the doghouse along with you. SARAH Sorry about that Bay, I just... I couldn't think of what else to do. BAILEY No, it was the right thing, but... we just screwed it up. SARAH God, talk about an understatement. They share a small laugh. BAILEY Wonder what she's gonna do now... The subway comes to a rather abrupt halt, and Bailey has to hold on tight to keep his balance. The doors slide open, and most people begin to shuffle out. Sarah stands. SARAH This is us. They file out of the car with the crowd. 16 INT. CHARLIE’S APARTMENT - NIGHT CHARLIE enters the apartment to hear the phone ringing. He quickly sets down his keys and a fast food bag. Steps over the cat and reaches for the phone. CHARLIE (picking up) Hello? -- Oh, hey Ron. -- Yeah, everything’s fine-- RON (on phone) How’s Zig? CHARLIE (looks at the cat) Good. He misses you. Gets excited every time I open the door... ‘til he sees it’s me. RON (laughs) Well, he might have to wait a bit longer. CHARLIE Come again? RON The defense in the case I’m working on filed an appeal. I may be stuck out here another couple’a months. CHARLIE Huh. Charlie sits on the armrest of the couch. RON I know you’ve already been there longer than we agreed to, so I want you to know I’m not expecting you to-- CHARLIE Ron, it’s okay. Really. (beat) Actually, that works for me. 17 INT. JULIA’S CAR - NIGHT GRIFFIN and JULIA are driving down the highway. Julia sits in the passenger seat, looking out of the side window. Grinning. GRIFFIN What’s the smile for? JULIA (snapping out of her reverie) Huh? GRIFFIN You were smiling. JULIA How did you--? GRIFFIN (nodding toward the window) Reflection. JULIA Oh. She smiles again, looking out the window. JULIA (CONT’D) Just thinking. GRIFFIN About...? JULIA Everything. How nice it’s been these past couple days. GRIFFIN Yeah, it turned out okay, huh? Julia nods, reflects again as the dark scenerly flies by the window. JULIA So, what was your favorite part? GRIFFIN Duh. That’s easy. Julia laughs. Big. JULIA Okay, besides that. GRIFFIN Hmm... I’ll have to think about that one. JULIA Know what mine was? GRIFFIN Gimme a hint. She thinks, then-- JULIA Okay. It happened on the couch, too. GRIFFIN On the couch, huh? (beat) Okay, you got me. JULIA It was waking up with you. Waking up in your arms. Griffin looks over. JULIA (CONT’D) And being able to just stay there, ‘cause there was no place we had to be. He reaches over, glides the back of his hand gently over her cheek. Smiling, as they continue down the darkened highway. 18 INT. CHARLIE’S APARTMENT - NIGHT CHARLIE sits at the desk studying the ledger from Salingers’. He hears a knock on the door and glances at the clock -- 9:22 p.m. He gets up, looks through the peephole. Drops his head and closes his eyes as he sees who it is. Opens the door to see... CHARLIE Kirsten... ...and STEWIE, asleep on her shoulder. CHARLIE (CONT’D) What are you doing here? KIRSTEN I didn’t have much of a choice, Charlie, with you not--can we come in? Charlie looks at her, then steps aside. No words as she moves into the room. Kirsten takes a cursory glance around the place. Charlie notices. They stand in silence looking at one another for an awkward moment. CHARLIE Look, I don’t have anything to say, so unless-- KIRSTEN Charlie, please stop. There’s no anger in her words. Just the simple request. KIRSTEN (CONT’D) I know you’re upset. And you have every right to be. I know that. But... I’m having a hard time with this, too. CHARLIE I’m sorry, but that doesn’t make me feel better. KIRSTEN That’s not... Look, I know what I did was wrong. And I’m sorry. I’m really, really sorry. Don’t you think I want to take it back? No response. He stands there, arms folded. A rock. KIRSTEN (CONT’D) But what I keep going back to is... And please don’t take this the wrong way, ‘cause the past is the past. I know that. But... it wasn’t that long ago that the roles were reversed. Charlie looks to the side, shakes his head. A bad tactic on her part. CHARLIE That’s history, Kirsten. Ancient history. KIRSTEN Charlie, please -- I’m not saying that makes us even now. I forgave you... and it’s not fair to bring it up because it’s convenient. CHARLIE Good. So don’t. KIRSTEN I’m just saying... I think I understand more why you did those things in the past. Like, in a weird way, I’m more okay with it. Because I sort of... understand it. Charlie looks at her. An unreadable expression. He looks down, shakes his head. Then speaks in a soft tone. CHARLIE The thing is, I came to the exact opposite conclusion, Kirsten. (looks up) The day I decided to spend the rest of my life with you, I realized... it wasn’t okay. They stand there. Still in the entry hall. Their son still asleep on her shoulder. In a stranger’s apartment. 19 INT. PENN STATION - NIGHT Bailey and Sarah are walking through the main concourse toward the escalators that lead down to the trains. BAILEY You really don't have to do this, Sarah. I don't need, like, a proper sendoff or anything. SARAH Are you kidding? It’s the least I could do. She puts her hand on Bailey's arm. A familiar touch, comforting and heartfelt. BAILEY That's, uh... nice. SARAH Plus, I can't let you leave without saying thank you. BAILEY No, I'm the one who... I should be... I mean... He trails off, searching for the right words, the right phrase. As Sarah watches him stutter out fragments, she understands. It doesn't need to be said. SARAH I think we were both just trying to help. A warm look from Bailey. She's right on target. They reach the top of the escalator. Bailey glances down the steps, then back at Sarah. BAILEY So... SARAH Yeah. Guess this is goodbye. They come together in a friendly hug. BAILEY Promise you'll call and let me know what's going on? SARAH Of course. They slip out of each other's arms. Sarah turns, starts walking away. Bailey takes a step toward the escalator, reaches out for the handrail, and pauses. He pivots around, sees Sarah getting further away. BAILEY Sarah! She walks back over to him. Can't read the look on his face. Bailey glances down for a second, then right into Sarah's eyes. BAILEY We do this a lot, don't we? Say Goodbye. SARAH Bailey... BAILEY No, it's... that's just how it is. But I just want to feel okay about it. Because the one thing I had a hard time with was... (beat) ...how it ended. And I don't wanna bring up any of the bad stuff. A lot of it was my fault anyway -- I get that now. And I think I realize why I acted the way I did. (beat) We never had, like, a real goodbye, Sarah. I mean, yeah, we sort of fumbled through it, really didn't make it a big deal. But, I sort of -- I don't know -- needed to. It just would've felt right, 'ya know? So, if it's okay with you...I'd like to make up for that right now. Sarah holds back a tear. She moves toward Bailey and falls into his arms. They hug, but it's different than before. Deeper. Warmer. Closer. They unlock from each other, and there's a teardrop rolling down Sarah's cheek. Bailey steps onto the escalator, letting it carry him downward. Sarah watches as he slowly glides away, disappearing, fading from view. Cast your vote about tonight's episode in this week's weekly poll: http://thesalingerspo5.homestead.com/ep20poll.html Read and post messages about tonight's episode... PO5 "7th Season" Yahoo Club "The Salingers" Delphi Forum