Episode 25: “Past and Present, Part 2”
Previously on “The Salingers”:
*****
GRIFFIN
(re: letter)
What’s this?
JULIA
What’s what?
GRIFFIN
This letter... from Stanford.
JULIA
My God, that’s probably about my
application.
*****
CLAUDIA
What do you like better -- indoor or
outdoor weddings?
SARAH
Don’t you have other things to worry
about? Stuff that’s more immediate?
CLAUDIA
Come on, Sarah. You can’t get mad ‘cause
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 too far
to turn back now.
SARAH (CONT’D)
...like an excuse. An excuse to ignore
school.
*****
BAILEY
It’s kinda weird -- you’ll finally be
meeting my family.
MARIA
Meeting the boyfriend’s family. It’s
usually a big step.
(beat)
Is that how you see this? As a step?
*****
MARIA
I, uh... got an offer.
BAILEY
A job offer?
MARIA
Penguin Publishing -- the one I wanted.
BAILEY
Why didn’t you tell me?
MARIA
I didn’t know if it was good news yet. I
mean, we really haven’t talked about
what’s going to happen after
graduation... with us, I mean.
*****
EMMITT
(re: Salingers’)
You’re posting bigger losses each month.
There’s no sign of progress... of things
turning around.
CHARLIE
So you’re saying I should sell?
EMMITT
You’ve got to think about what’s at stake
here. Your factory was financed using
Salingers’ as collateral.
*****
BAILEY
(on phone to Kendall)
Any idea where Charlie can be?
KENDALL
Actually, isn’t he meeting with the real
estate guy today?
BAILEY
The real estate guy.
KENDALL
About the restaurant
(to himself, thinking)
Or is that tomorrow?
BAILEY
Wait, what’s going on?
*****
INT. D’ANGELO’S RISTORANTE, PHILADELPHIA - EVENING
The Salinger siblings are seated at a booth, their menus
strewn out in front of them on the table.
Owen occupies himself by stirring his ice water with his
straw. Julia stares off distantly, as does Charlie and
Claudia. They’re lost in thought, words a million miles
away. Bailey can’t help but to notice.
BAILEY
Guys, I, um...
Everyone looks to Bailey.
BAILEY (CONT’D)
I’m sorry. Maybe this study thing wasn’t
such a good idea.
(beat)
I don’t know. I guess I just thought--
JULIA
(softly)
It’s okay, Bay.
CHARLIE
Yeah.
It’s not very convincing, though.
A waiter approaches. Smiling. Borderline giddy. A staunch
opposite to the Salingers.
WAITER
So, have we decided?
Five blank faces look at him. No one’s touched their menus.
CHARLIE
Uh, sorry. Could you give us a couple
more minutes?
WAITER
Take your time.
As he leaves, the silence returns. Until--
CLAUDIA
I’m not hungry anyway.
She pushes her menu away from her.
OWEN
(to Claudia)
Can I have your water?
CLAUDIA
Sure.
JULIA
C’mon, Claud. You’ve got to eat
something.
CHARLIE
Yeah. Why don’t you try the manicotti.
It’s got to be better than Salingers’.
This breaks the gloom for a moment as they laugh at the
inside joke.
CLAUDIA
Kind of ironic, huh? The five of us
sitting at a table.
JULIA
Yeah. Remember how important it was?
CHARLIE
Used to be the only way we’d see each
other.
They reflect on this for a moment.
BAILEY
I guess it still kind of is.
INT. HOTEL LOBBY - NIGHT
The Salingers saunter toward the elevator, looking tired.
Drained. The elevator opens and Charlie, Julia and Owen pile
in.
Claudia’s about to when...
BAILEY
(holding Claudia’s arm)
Claud, wait.
(to the others)
You guys go up. We’ll just be a minute.
Charlie and Julia exchange a curious glance as the elevator
closes.
CLAUDIA
What’s going on?
BAILEY (CONT’D)
Look, Claud... all that stuff about Mom
and the violin... and you not playing if
it weren’t for the accident. Were you
serious about that?
CLAUDIA
C’mon, Bailey. Not now, okay?
She pushes the elevator calling button.
BAILEY
No, Claud. This isn’t...
A beat as he fumbles for the right words.
BAILEY (CONT’D)
Look, it’s just... we all went through it
-- doing things we think they would’ve
wanted us to do. All of us.
(beat)
But they’ve been gone for eight years,
Claud.
Claudia just looks at Bailey, waits for the point. He
realizes he can’t dance around this one.
BAILEY (CONT’D)
What I mean is, I never would have pushed
you so hard if I knew it wasn’t what you
really wanted.
Claudia’s face softens. Not exactly what she expected to
hear. No response as she looks down, considers his words.
This isn’t lost on Bailey.
BAILEY (CONT’D)
It’s not... right? What you want?
She looks back up. Doesn’t know how to answer that.
INT. HOTEL ROOM - NIGHT
JULIA is just getting into bed as CLAUDIA enters the room.
She’s quiet, doesn’t say anything to Julia. Just drops her
purse on the floor and keeps walking toward the bathroom.
JULIA
Everything okay?
No answer.
JULIA (CONT’D)
Claud?
Claudia reappears and sits on the edge of Julia’s bed. Lets
out a huge sigh.
CLAUDIA
Why do you write, Jul?
JULIA
What?
CLAUDIA
I mean, you’ve always written, for as
long as I can remember. Just like me...
with the violin. But do you do it now
because it’s something you’ve always
done...or because you know it’s what you
want to do?
JULIA
(raising an eyebrow)
Well...I guess part of it is that I’ve
always done it, yeah, but...with writing
it’s kind of like...something inside that
just has to come out. You almost don’t
have a choice.
(beat)
It’s kinda hard to explain.
CLAUDIA
But how did you know that it was right
for you?
JULIA
Um...I don’t think it’s always about
knowing that it’s right, Claud. I
mean...sometimes you just have to give
something a go, and then find out later
on if it’s right or not.
CLAUDIA
But what if you find out it’s the wrong
thing?
JULIA
(shrugging)
Then I guess you start all over and find
out what the right thing is. But it’s
better to take a chance and find out for
sure, either way. You know?
Hmmmm. Sounds like Julia is thinking of something specific
here. Claudia fishes for more information.
CLAUDIA
I guess so...
JULIA (CONT’D)
Um...like with me. I uh...found out I
got accepted to Stanford.
Claudia’s face lights up.
CLAUDIA
Wow, Jul. That’s...that’s fantastic!
You must be so excited.
Julia smiles, but not too wide.
JULIA
Yeah. Yeah, it’s pretty great.
Her face falls slightly. Claudia catches this.
CLAUDIA
Wait a minute. I don’t get it. Isn’t
that what you wanted? Isn’t that why you
applied?
JULIA
Well...yeah. In a way. But there’s more
to it, you know? Like, if I go back,
I’ll have to really dedicate myself to
it. To make it work this time. And that
means I’ll have to quit my job, and I’ll
have less time with Griffin...and the
thing is, I really kind of like my job,
and things are going great with Griffin
now, and--this is going to change
everything, so...I’m just not exactly
sure what to do.
CLAUDIA
(nodding)
Yeah...I see what you mean.
The girls sit in silence, digesting this.
INT. HOTEL ROOM - BATHROOM - MORNING
Dressed in his graduation cap and gown, Bailey looks at
himself in the mirror. He moves the tassle on his cap from
the left to the right side as Charlie walks in.
CHARLIE
Hey.
BAILEY
(re: tassle)
Which side does this thing go on?
CHARLIE
Not sure. Just look at everyone else.
Bailey turns to face Charlie.
BAILEY
So -- how do I look.
Bailey stands up straight, and Charlie looks at him, smiles.
Proud. Like a father.
CHARLIE
Like you’re ready to take on the world.
EXT. FRANKLIN FIELD, PHILADELPHIA - DAY
Mid-ceremony. The chancellor stands at the podium, handing
diplomas to graduates as their names echo over the
loudspeakers.
Claudia pushes her way past a group of people toward the
front seats. She’s holding a camera, trying to get in
position to snap a shot of Bailey during his big moment.
EXT. FRANKLIN FIELD - BLEACHERS - CONTINUOUS
Charlie, Julia and Owen sit among the sea of spectators.
They watch, smiling as graduate after graduate takes their
diploma and shakes the chancellor’s hand.
Charlie smiles, shakes his head.
JULIA
What?
CHARLIE
I was just thinking. Remember when
Bailey had Mr. Roach for science and he
had to write that paper on “the various
schools of cosmology”--?
JULIA
(laughing)
--And Bailey thought it had something to
do with beauty salons.
CHARLIE
Yes!
They laugh at the memory, then return their glances to the
field.
CHARLIE
And now he’s the first of us to graduate.
JULIA
Surprising, huh?
Bailey’s name is called. A huge smile as Bailey approaches
the Chancellor, shakes his hand, and takes his diploma. The
very picture of confidence.
Charlie, Julia and Owen clap fervently.
CHARLIE
Maybe not so surprising.
INT. CITY TAVERN RESTAURANT - EVENING
Charlie, Bailey, Julia and Owen sit in the waiting area of
the packed restaurant. Claudia returns to the group from the
host table.
CHARLIE
(to Claudia)
Well?
CLAUDIA
They can’t find the reservation.
(turns to Bailey)
Are you sure you made it here?
He just gives her a look. Of course he did.
CLAUDIA (CONT’D)
Well, they said it shouldn’t be too much
longer.
BAILEY
You know what this is? It’s payback --
for all those times we said that at
Salingers’.
They all smile, but Charlie smiles widest. He understands.
Claudia sits down next to Owen.
CHARLIE
Claud, listen. We’ve talked about it,
and... we’re with Bailey. If playing the
violin isn’t really what you want to do,
you shouldn’t.
CLAUDIA
You guys, look, I... I appreciate that,
but... It’s Bailey’s night tonight, so--
CHARLIE
It’s nothing to feel bad about, Claud.
Believe me. It’s like Dad’s restaurant.
Julia and Bailey exchange a glance.
CHARLIE (CONT’D)
We’ve held on to it for Dad’s sake, but
God -- at some point we have to start
living our lives.
BAILEY
(tentatively)
Uh, Charlie--
CHARLIE
That’s why I’m selling. Maybe now you
understand a little more why I have to.
Bailey, Julia and Claudia all look at each other, know what
each other is thinking. But Charlie doesn’t.
CHARLIE (CONT’D)
(re: their looks)
What? What’s going on here?
JULIA
(to Bailey)
Go ahead. Tell him.
CHARLIE
Tell me? Tell me what?
BAILEY
We, um... we kind of worked that out,
man. The restaurant thing.
CHARLIE
What do you mean, “worked it out”?
Bailey smiles. Just then, they hear “Salingers - party of
five” called out over the speaker.
INT. CITY TAVERN - DINING ROOM - MOMENTS LATER
Owen is looking over the menu, but the rest of the siblings
are wrapped up in their conversation.
CHARLIE
“If one business goes under, it takes the
other with it.” Those are Emmitt’s
words, not mine.
BAILEY
Charlie, would you just listen? You
don’t think I know we used Salingers’ as
collateral for the factory? I’m the one
who helped you make that deal.
CHARLIE
Then why don’t you want me to sell?
BAILEY
I never said not to sell.
CHARLIE
You...? Then... okay, I’m confused. You
want me to sell?
BAILEY
Yeah, I do.
(beat)
To me.
CHARLIE
To you.
BAILEY
Well, to my financial group, actually.
CHARLIE
Your what?
BAILEY
This group I’m working with. They’re
willing to buy your shares of
Salingers’... and Jul’s, Claud’s and
Owen’s.
JULIA
We’ll have to put the money from our
shares back into the factory--
BAILEY
--But there’ll be less risk ‘cause the
businesses aren’t tied together anymore.
Charlie sits back in his chair, takes this in. Then
something occurs to him:
CHARLIE
(to Claudia and Julia)
How long have you two known about this?
CLAUDIA
Just a few weeks.
CHARLIE
Weeks?
He shoots a glance at Bailey.
BAILEY
I know -- I should have said something.
I just didn’t want to get your hopes up
if this group didn’t come together. But
once Kathleen heard the idea, she--
CHARLIE
Kathleen? Kathleen Isley?
BAILEY
Yeah.
CHARLIE
She’s the one behind this financial
group?
(shakes his head)
This is unbelieveable.
BAILEY
Charlie, would you just listen? Kendall
talked to her, and he thought it was
perfect. So she made a few calls and...
well, that’s it.
CHARLIE
But Salingers’ hasn’t exactly been raking
in the money these days. Kendall knows
that.
BAILEY
And that’s part of the appeal.
This concept is lost on Charlie.
BAILEY (CONT’D)
Charlie, that’s what financial groups do
- they buy proven businesses when the
price is low, banking on the idea that
things will turn around when the economy
does.
Another beat, as Charlie digests this.
JULIA
(to Charlie)
It’s perfect. Right?
CHARLIE
(to Bailey)
So... how do you fit in all this?
Bailey smiles the same confident smile he had while receiving
his diploma.
BAILEY
I’m the guy that’s gonna turn things
around.
EXT. PHILADELHIA STREET - EVENING
The Salingers walk toward their hotel. Charlie and Bailey
are still engrossed in their conversation.
CHARLIE
I thought you didn’t want anything to do
with the restaurant? I mean, isn’t that
why you got that diploma today?
BAILEY
Long-term, yeah -- it’s probably not what
I want to do. But it’s not like the
consulting firms I’ve talked to are
banging down my door with offers.
CHARLIE
But the restaurant -- are you sure about
this, Bay?
BAILEY
It’s not like before, Char. I’m not
gonna manage the place -- Kendall’ still
gonna do that. I’m gonna do everything a
professional consultant would do -- look
at our processes, see where we can be
more efficient, suggest new business
ideas. That kind of thing.
Charlie takes in a breath. He’s still not convinced.
BAILEY (CONT’D)
Charlie, look. Before, yeah -- I got
frustrated running the restaurant. But
that’s ‘cause I couldn’t take any
chances... do the things I really wanted
to do. ‘Cause if something I tried
didn’t work out, I was risking your
money. And Jul’s and Claud’s and O’s.
(beat)
But this way, I can really make some
changes. And if I do it right and turn
things around, what consulting firm
wouldn’t want a guy with that kind of
experience?
The Salingers reach the hotel, enter the lobby.
INT. HOTEL ROOM - NIGHT
Darkness, save for the light from the opened bathroom door.
Owen is asleep in one of the double beds, and Charlie sits in
a chair near the window, thinking. Bailey comes out of the
bathroom and notices his older brother, watches him for a
moment.
BAILEY
What?
(approaches Charlie)
What could possibly worry you about this?
Everything works for everyone.
CHARLIE
Except you.
Not what Bailey was expecting. He sits on the edge of the
bed, faces Charlie.
BAILEY
What are you talking about?
CHARLIE
Untying the businesses is less risky,
yeah. And it’s great for me... and Jul,
Claud, O.
(beat)
But what about you? What about your
risk?
BAILEY
Charlie--
CHARLIE
No, if things don’t work out at the
restaurant--
BAILEY
--It’ll be my fault if it doesn’t. And
yeah, it’s risky, but... Charlie, if it
works, it’s gonna work because of me.
C’mon, man. I don’t have to tell you how
satisfying that must be -- to run a
successful business.
Charlie smiles. Yes, he knows.
CHARLIE
Thanks.
BAILEY
Don’t thank me. Just put all your
efforts into what you love most, now --
the factory.
(beat)
And your family.
Charlie looks down, thinks about this. Then looks up at his
brother, nods.
INT. HOTEL ROOM - EVENING
JULIA and CLAUDIA are in their hotel room. Claudia is
standing in front of the mirror, brushing her hair. Julia is
on the bed, rubbing some lotion on her feet.
CLAUDIA
Think Charlie’s still freaking out?
JULIA
Probably.
(beat)
Listen, Claud...um...I know we kind of
got side-tracked at dinner once Bay
brought up the restaurant stuff, but...if
you want to talk about Juilliard--
CLAUDIA
(abruptly)
No. I don’t.
Well, that’s to the point. But Julia doesn’t give up so
easily.
JULIA
The thing is...I’ve been trying to figure
out why you were so upset about losing
that competition, if it’s not what you
want to do with your life. You know?
Claudia stops brushing her hair, her jaw squared.
CLAUDIA
Yeah...I can’t figure that part out
either. Wish I could.
She goes back to brushing her hair.
JULIA
(softly)
You know, Claud...there are lots of ways
you can keep Mom close...besides playing
the violin. I think...I think if you want
to play, you should want it because you
love to do it, not because you think you
should or that you might let someone down
if you stopped. You’ve got to want to
play for yourself--and no one else.
Claudia looks at Julia’s reflection in the mirror. Her eyes
shine with tears.
EXT. SARAH’S APARTMENT BUILDING - AFTERNOON
TODD steps out of a cab and puts his hand out to help CLAUDIA
out. He’s smiling widely as they walk toward the building
entrance. Claudia’s expression is blank.
TODD
So can you believe my dad can get us
tickets to The Producers for tomorrow?
I’ve heard that people have stood in line
for like days to try to get into that
show. And I was thinking, maybe we could
go to Tavern on the Green for dinner.
It’ll be really romantic...
He winks at her and runs ahead to open the door to the
apartment building.
CLAUDIA
(dead-pan)
Uh-huh.
Looking at her curiously.
TODD
Or maybe McDonald’s and a movie would be
better?
CLAUDIA
Sure. That’ll be fine.
Todd stops and lets the door swing shut.
TODD
(waving at her face)
Hello? Anyone home?
She snaps out of it.
CLAUDIA
What? Sorry, Todd. You were saying?
TODD
(his face falling)
Nevermind. What’s going on, Claud?
A nervous gulp.
CLAUDIA
Um...well...I think maybe we should talk.
Let’s go upstairs, okay?
DISSOLVE TO:
INT. SARAH’S APARTMENT - AFTERNOON
CLAUDIA and TODD are sitting on the couch. Todd looks like
he might need CPR soon.
TODD
You’re serious.
CLAUDIA
(nodding)
I mean... I’ve been thinking about it --
a lot. And if we got married now, I’d...
be doing it for all the wrong reasons.
TODD
How can you say that? How is it a “wrong
reason” to marry someone if you love
them, and want to spend your life with
them?
CLAUDIA
That’s not what I mean, Todd. You know I
love you... and I want us to be together.
TODD
Then I don’t get it.
CLAUDIA
It’s just... I feel like... things are so
confusing right now. And if we do it
now, it’s like... I’m running away from
something, rather than to something.
Todd shakes his head in disbelief.
CLAUDIA (CONT’D)
(putting her hand on his)
All I’m saying is... let’s just wait a
little while, okay?
She smiles at him, but all he can muster back is a blank
stare.
INT. MARIA’S DORM ROOM - DAY
MARIA is taking books off her shelf and shoving them into her
backpack. She puts the last of the books in and tries to zip
it up, but it’s too full. She sighs and begins taking some
out when she hears a light knock on her door.
She opens the door, slightly surprised to see...
MARIA
Bailey...
BAILEY
Hey.
They stand looking at each other for an awkward beat.
BAILEY (CONT’D)
Can I...?
MARIA
(moving aside)
Sorry. Come in.
Maria closes the door then leans her back against it. As
Bailey walks in, he looks around the room. Notices all of
Maria’s roommate’s things are gone.
BAILEY
I guess Brenda left, huh?
MARIA
Yesterday. Her Dad picked her up in a
new BMW convertible. Mid-life crisis
thing.
BAILEY
Oh.
Maria continues leaning against the door. Another awkward
moment before Bailey notices her stuffed backpack.
BAILEY (CONT’D)
(re: backpack)
What’s this?
MARIA
I’m gonna sell those back to the
bookstore.
(beat)
No use lugging all those books to New
York.
This gets Bailey’s attention. He turns toward her.
BAILEY
Oh. So... you decided to go.
MARIA
One of us had to decide something. I
sort of took your indecision as a
decision.
Bailey looks down. Doesn’t know how to respond to this.
Maria walks toward him.
MARIA (CONT’D)
Bailey, look. I understand, okay? I
mean, technically we’ve only been
together a few months, right?
BAILEY
Technically.
MARIA
I mean, it would be crazy for either one
of us to give up our plans to go with the
other.
(beat)
Right?
Bailey is about to say something, but he stops himself.
MARIA (CONT’D)
(choking up)
Not that it makes it any less hard.
BAILEY
(softly)
I know.
They stand looking at each other, silence once again falling
between them. But no longer awkward.
INT. GRIFFIN’S APARTMENT - EVENING
GRIFFIN opens the door to see JULIA standing there. He
smiles widely and pulls her inside, hugging her tightly. She
laughs and then they kiss for a long moment.
GRIFFIN
Mmmmm. Welcome back.
JULIA
(smiling)
Thanks. It’s good to be home.
Griffin strokes her hair, and she leans on his shoulder for a
moment.
GRIFFIN
You should have called me. I would’ve
come to get you.
JULIA
That’s okay. Kirsten and Charlie dropped
me off.
They step back, and Griffin notices her bags in the open
doorway.
GRIFFIN
Oh, hey. Let me run these over to your
place.
He walks toward the bags. Julia pulls him back by the hand.
JULIA
Don’t bother.
She spins him around to face her.
JULIA (CONT’D)
I thought maybe you might like some
company tonight...
Griffin smiles widely and they kiss deeply as the scene
fades.
INT. PAESANO RESTAURANT, LITTLE ITALY - EVENING
CLAUDIA is twirling a forkful of linguini against a large
spoon while TODD sits with his plate of Eggplant Parmigian
untouched.
CLAUDIA
(as her pasta unwinds itself
from her fork)
Darn! I’ve never been any good at this.
I don’t know how the Italians do it.
She giggles and tries again, then notices Todd’s not eating.
CLAUDIA (CONT’D)
Hey... you okay?
Todd looks up and forces a smile.
TODD
Sure. How’s the pasta?
CLAUDIA
Good... that is, the little bit I’ve been
able to get on my fork.
Todd nods and manages to take a bite of his meal. He takes a
sip of water and watches Claudia battling her linguini.
TODD
Claud... I’ve been thinking. About what
you said.
CLAUDIA
(her mouth full)
Hmmm?
TODD
About us. About... waiting.
CLAUDIA
(looking nervous)
Oh. That.
TODD
Well... how are we supposed to do this?
I mean... there are all these plans I
thought we could start making this
summer. Like where we want to get
married, and our wedding song and all
that. But now...
CLAUDIA
We can still make our plans, Todd. We’ll
just make them for... a little later.
TODD
Like when later?
CLAUDIA
Well... I don’t know, exactly. But that
doesn’t mean we can’t start thinking
about everything. Right?
TODD
I guess so...
CLAUDIA
You’ll see. It’ll be fine. Think of it
this way -- we’ll just have more time to
plan everything exactly the way we want
it.
She flashes him a huge smile, and he can’t resist. How can
he argue with that?
EXT. CHARLIE’S HOUSE - EVENING
CHARLIE and KIRSTEN pull up to their house. Kirsten is
driving, and OWEN is asleep in the back seat, his head tilted
back, his mouth open. Kirsten turns the car off and Charlie
opens the door, but Kirsten hesitates before getting out.
She puts her hand out to touch Charlie’s arm but then pulls
it back when he turns to face her.
CHARLIE
So...thanks for picking me up.
The tension is peanut-butter thick. Kirsten manages a smile.
KIRSTEN
Of course.
(a beat)
It’s good to see you, Charlie.
CHARLIE
(smiling)
It’s good to see you, too.
They look at each other and then:
KIRSTEN
Well. I better go inside and let Daphne
go home. I’m sure she’s tired.
She starts to get out of the car but Charlie pulls her back
gently. She looks at him, questioning.
CHARLIE
You know, it’s funny. But um...all these
years after my parents’ accident, I
always asked myself why everyone didn’t
just blame me, and hate me for it.
Because I was supposed to babysit that
night, and I was late. That’s why they
were in such a rush that night, and why
they ended up being in the wrong place at
the wrong time and...well...anyway...the
thing is, no matter how angry any of us
got with each other, not once did anyone
ever throw that in my face. Not with
everything that Bay and I have gone
through, or Jul or Claud or any of us.
No one ever held that against me. And
you know what?
Kirsten watches his face as the tears well up in her eyes.
CHARLIE (CONT’D)
I finally figured out why.
He slowly reaches out, and takes her hand in his, then holds
both of his hands over hers.
CHARLIE (CONT’D)
It’s because we’re family. And you
forgive family, no matter what...for
everything. Because you love them...and
because without family...
(shaking his head)
...there’s nothing.
Charlie smiles as a lone tear slides down Kirsten’s face.
She laughs and wipes her eyes. Charlie leans over and hugs
her tightly.
INT. STANFORD UNIVERSITY - ADMISSIONS AND RECORDS - DAY
JULIA waits in line, looking through her paperwork.
CLERK (O.S.)
Next.
Julia steps up to the window, hands the clerk her forms.
JULIA
I’d like to register for the Fall,
please.
INT. HOTEL LOBBY - DAY
CLAUDIA and TODD are standing in the lobby of Todd's hotel,
next to a small pile of luggage.
TODD
Well, my dad is bringing the car up. He
should be here in a minute.
CLAUDIA
Okay.
She takes his hand and moves in closer to him.
CLAUDIA (CONT’D)
It’s too bad we couldn’t get the same
flight home. It would have been nice to
fly back together.
TODD
Yeah...
CLAUDIA
(perking up)
But that’s okay. ‘Cuz we’ll see each
other next week. It’ll be here before we
know it.
She leans in to hug him. He stiffens and pulls back a bit.
TODD
Um, Claudia... maybe that’s not such a
good idea.
CLAUDIA
(pulling away, surprised)
What?
TODD
Seeing each other. I mean, this whole
thing about getting married... about us.
CLAUDIA
But... I thought we sorted all of this
out. I don’t--
TODD
I know. I know we talked about it,
but...
(sighing)
Listen, Claudia... how can I say this? I
asked you to marry me for all the right
reasons -- because I knew I was in love
with you and there was nothing else I
wanted than just to be with you. Always.
CLAUDIA
But... I want to be with you, too, Todd,
just--
TODD
Wait, Claud. Let me finish.
His voice starts to waver a bit and his eyes are moist.
TODD (CONT’D)
I know this might be difficult for you to
understand, but to me... once a person
thinks he has something, for real -- for
good -- it’s... it’s kind of hard to go
back. Impossible, really.
CLAUDIA
(putting her hand up to her
mouth, almost whispering)
Todd, what... what are you saying?
TODD
I can’t go backward, Claud. And I know
you’re not ready to go forward. So I
don’t see any other way. Because...
because you don’t feel the same way about
me, and... I don’t think that’s something
that can wait until later.
Claudia can’t hold it back. The tears tumble down.
CLAUDIA
No, Todd, you don’t understand. Why do
we have to decide this now?
TODD
Because...
(choking up)
Because I’m just not what you need right
now, and I know that.
Todd’s notices his father has pulled up out front in the car.
TODD (CONT’D)
I better go.
Claudia reaches for him and he pulls her close. Her face is
wet from the tears. Todd is crying now, too. They embrace
tightly and kiss, lingering for a moment.
TODD (CONT’D)
(in a whisper)
I love you, Claud.
Claudia nods and whispers back. She tugs at the ring on her
finger, but Todd grasps her hand in his and stops her.
TODD (CONT’D)
No...
He holds her hand with both of his for a moment, and then
turns to go. Claudia watches through her tears, sobbing now,
as he picks up the bags and exits.
EXT. UNIVERSITY OF PENNSYLVANIA - EVENING
BAILEY and WILL are loading Bailey’s things into his Jeep.
They’ve got a process -- Bailey carries the bags out, Will
packs ‘em.
WILL
(taking a box from Bailey)
Is this it?
BAILEY
Yeah. I’ve got some stuff left in the
bathroom, but I’ll just leave it for
Cole. It’s not like he ever bought his
own stuff anyway.
Will nods.
BAILEY (CONT’D)
So... Jean coming to see you off?
WILL
(shakes his head)
Nah. Driving away from her -- it’d be
too much. Don’t think I could handle it,
y’know?
BAILEY
(gazing over Will’s shoulder)
Yeah, I do.
Will turns around to see what’s caught Bailey’s eye. He sees
Maria approaching. He puts his hand on Bailey’s shoulder.
WILL
Take all the time you need.
Will sits in the passenger’s seat, and Bailey walks up to
Maria.
BAILEY
Hey.
MARIA
Hey.
(looking at the packed Jeep)
So... ready to go, huh?
BAILEY
Pretty much... I guess.
Maria looks down, nods. It’s silent for a moment, then--
BAILEY (CONT’D)
Know what I’ve been thinking about?
She looks up.
BAILEY (CONT’D)
The day we met... in the bookstore,
remember?
She smiles. Oh yeah, she remembers.
MARIA
God, seems like a lifetime ago.
BAILEY
You were sitting next to that huge pile
of textbooks, leafing through them...
looking for--
MARIA
--The least used “used” book.
Now they’re both smiling. But just for a moment.
BAILEY
We had no idea then that... well...
MARIA
(choking up)
Yeah, I know.
It’s too much for her. She begins crying softly. Bailey
puts his hands on her arms, lowers his head to look into her
eyes.
BAILEY
Maria, c’mon. It’s not like... like
we’ll never talk again. I mean, who
knows? Maybe... maybe someday we’ll even
--
MARIA
(whispers)
Bailey, don’t.
She looks up, locks eyes with him.
MARIA (CONT’D)
I think we both know this is goodbye.
Why pretend it’s something else?
Bailey takes a breath.
MARIA (CONT’D)
Don’t we deserve that? A real goodbye?
They hug. Long. Close.
BAILEY
God, I’m gonna miss you.
MARIA
I’m gonna miss you, too.
They release their hug. Slowly.
MARIA (CONT’D)
I don’t know why I keep thinking about
this, but... we never even said “I love
you.”
BAILEY
Now would be a pretty funny time to
start.
She nods. Then--
BAILEY (CONT’D)
But I think we both know.
She looks up, and -- through her tears, through her pain --
smiles. Bailey runs the back of his hand slowly over her
cheek.
He turns, walks to his Jeep. Then hesitates. Turns around
one more time.
But she’s gone.
As he climbs into the Jeep, Will puts his hand on Bailey’s
shoulder. Bailey turns the key in the ignition, and the Jeep
comes to life.
INT. GRIFFIN’S APARTMENT - NIGHT
“Landslide” by Stevie Nicks plays in the background over the
next four scenes:
JULIA and GFIFFIN cuddled up in bed. Both awake, content to
lie in each other’s arms.
INT. CHARLIE’S BEDROOM - NIGHT
CHARLIE gets out of bed slowly, so as not to wake KIRSTEN.
Goes to Stewie’s room and carefully picks up his sleeping
son. Carries him back to his bed, placing him between
Kirsten and himself.
Gets back in bed and watches his wife and son, both sleeping.
And he smiles.
EXT. FREEWAY - NIGHT
BAILEY and WILL drive down the freeway. Now they’re
laughing, smiling.
Despite the fact that they’re getting further and further
away from the women they love.
INT. SARAH’S APARTMENT - NIGHT
CLAUDIA lies on Sarah’s couch, her make-shift bed.
She looks across the room to her violin case. A moment of
hesitation before she gets up and opens the case. She begins
to take something out. But it’s not her violin.
It’s a picture of her mother. The picture she’s carried with
her for eight years. She looks at it, smiles. Then--
Places it in the coffee table drawer.
She takes out her violin, looks at it. Reacquaints herself
with it. And begins playing softly. For herself.
“Landslide” fades as we hear the lyrics:
I've been afraid of changing
'Cause I've built my life around you
But time makes you get bolder
Even children get older
And I'm getting older too
FADE TO BLACK.
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