BAILEY’S DORM at the University of Pennsylvania. BAILEY is lying on top of his bed, fully clothed. He has a blank expression, and his gaze does not appear to be fixed on anything in particular. There is a knock at the door, but Bailey doesn’t move. After a moment, he hears a knock again. He turns his head toward the door, but again doesn’t get up. After a third knock, Bailey shakes his head and walks toward the door, talking loudly so the person outside can hear.
BAILEY: (Angrily) When a person doesn’t answer after the first knock, that usually means— (He opens the door, and his eyes open widely as he sees a familiar face.) Maria…
MARIA: (Forcing a smile) Hey.
BAILEY: (Still surprised) Wow…hey. (Rubbing the back of his head) Sorry about that, I…I didn’t know it was you.
MARIA: (Uncomfortably) Oh, that’s okay. I hope you don’t mind me stopping by, but, I, um…I ran into Cole at the Student Union. (After a pause) He told me what happened with you and Holly. (Bailey looks down.) I know how much you care about her, and...I just came by to say I’m really sorry.
BAILEY: (Looking up) I, uh…I thought you were mad at me.
MARIA: (Looking down) Oh, that. It’s the past. (Looking up, smiling comfortingly) Besides…true friends don’t stay mad for long, right? (Touched, Bailey nods, forcing a smile. Still standing in the doorway, they hug. Bailey’s smile fades and a tear forms in his eye.)
PO5 Credits
CHARLIE’S HOUSE. KIRSTEN is in the kitchen, standing by the coffee machine, pouring coffee grinds out of a foil packet into the basket of the coffee maker. CHARLIE enters, buttoning his shirt. He walks over to the cabinet, opens it, and pulls out two mugs. He walks over to Kirsten and sets them down on the counter. Looking down, he sees the empty foil packet, picks it up, and stares at it a moment.
CHARLIE: That’s another thing I’m going to miss about that restaurant…the fringe benefits. I’d always scam a few of these every so often to bring home. Salingers’ was known in this town for serving one of the best cups of coffee around. (Tossing the empty packet into the garbage) I’m going to feel like such a traitor going to one of those big coffee house chains every morning.
KIRSTEN: (Looking over her shoulder at Charlie) Charlie, you’re talking like you’ve already sold the place.
CHARLIE: Well, it’s more than likely going to happen. It’s not going to be an easy thing to do. I might as well start preparing for it now.
KIRSTEN: But you’re talking about it in the past tense. You haven’t even made up your mind yet.
CHARLIE: (Looking up at her) It’s pretty much a done deal, Kirsten.
KIRSTEN: (Turning to face him) But you’re still not sure…really sure, are you?
CHARLIE: Am I sure? (Shaking his head) No, Kirsten. I’m not. I don’t think I’ll ever be completely sure that this is the right thing. You know what this restaurant means to my family. Dad started this business a long time ago, and kept it running all those years. We tried to hold it all together, mostly in memory of my father, but I think we may have reached our limit. It’s time to let go. That restaurant was such a big part of Dad’s life, it’s only fair now to let it die with him.
KIRSTEN: (Sincerely) But it’s more than that, Charlie. Don’t you see? It may have started out being for the sake of your father, but it’s become so much more. When you were short a waitress, there was Julia. When you got sick and needed someone to take over, there was Bailey. That restaurant helped Claudia pay for Julliard…where she’s learning to be a great violinist like your mother was. Sometimes you’d take Owen to work with you, just like your Dad did with you. It’s become a place where everyone really pulls together as a family.
CHARLIE: (Running his fingers through his hair) I would’ve thought you’d be happy I was selling the restaurant. You’re always telling me I work too much, and that I don’t spend enough time with you and the kids. (Extending his hand out) Did I miss something here? Haven’t you been telling me that for, like, the past six months?
KIRSTEN: For selfish reasons, yes. I’m not proud of that. And in theory it sounded like the right thing to do, but now that it’s becoming a reality…I’m not so sure it’s the best thing.
CHARLIE: So, what…now you want me to reconsider? (He pours some coffee into his mug.)
KIRSTEN: (Moving in closer to Charlie, touching his shoulder) I’m not telling you not to sell the restaurant. I just want you to take the time to think it through. You said yourself, you’re not completely sure yet. It’s a big decision. I just don’t want to see you make the wrong one in haste, and then be sorry for it later.
CHARLIE: (Walking away, letting Kirsten’s arm fall) Kirsten, there really is no other choice.
KIRSTEN: (As Charlie exits the room) Well, maybe there is…and you just haven’t thought of it yet.
JUILLIARD. CLAUDIA stands alone in the doorway of a practice room. She listens to HEATHER, who is facing away from her playing a soft melody on the grand piano. She plays the last few chords and Claudia makes herself known.
CLAUDIA: Is this one of the many talents of Heather? I knew you could play, but I didn’t know you were this good!
HEATHER: (Surprised) Claudia! (Heather runs up and gives Claudia a hug. Claudia extends her arms and smiles widely.)
CLAUDIA: I haven’t talked to you since…our last phone call, which was like what…? Two months ago? Gosh, what have you been doing since then?
HEATHER: What haven’t I been doing. I was invited to act in the Oregon Shakespeare festival for the first time! I resurrected my Ariel monologue from The Tempest as well as a few of my other good roles. That was such an amazing experience! There’s even this guy who has been following me play by play over the summer. And… he offered me a job.
CLAUDIA: (Confused) A job? Is he here in New York?
HEATHER: Well, no. That’s the thing. See…he has a spot reserved for me in Washington. The Seattle Theater Company.
CLAUDIA: Heather — you can’t consider a job there, you’re at Juilliard.
HEATHER: (Sadly) I know. It was just so fun actually having someone like that who recognized me.
CLAUDIA: Believe me, a lot of people will recognize you.
HEATHER: (Shrugging her shoulders.) I just don’t know how much longer I can pay for this. I mean, this damn program takes things way to slow, and I’m paying much more than I can afford. I won’t even be in a real play until my Junior year.
CLAUDIA: I know it’s expensive. (Rolling her eyes) It’s really expensive. But so many people would give up the lives they have just to be here - like my friend Sarah. She was so close. So maybe by your Junior year, you’ll be ready. In fact, I know you’ll be ready to blast the pants off the critics.
HEATHER: (Smiling) And just what have you been doing over the summer, little Miss Optimistic?
CLAUDIA: Oh just…things… (smiling devilishly) …with Todd.
HEATHER: (Smiling curiously) What “things” are you talking about? (An intoxicated gaze comes over Claudia’s face.)
CLAUDIA: Well, we spent the whole summer together. He’s such a sweetheart; we got to play at a wedding with his group…you know, those famous romance songs. (Thinking) Other than that, and playing The Star Spangled Banner at the pier, I took it easy for most of the summer. And what about Tina and Val? Have you heard from them?
HEATHER: I have, actually. Apparently our next-door neighbors borrowed our couch, and Tina and Val are trying to fit it back through the door.
CLAUDIA: The big couch? (Heather nods) We’d better go help.
TULLY’S COFFEEHOUSE. MICHELLE and JULIA are sitting across from each other in oversized chairs, playing backgammon and drinking coffee. There is new age music playing in the background.
MICHELLE: So, did you talk to him yet? (She rolls the dice.)
JULIA: (Looking up from the game) Huh? Who?
MICHELLE: (Grinning) Come on, don’t play dumb. You know who. (She counts out her move on the board.)
JULIA: Oh. Geez, I was hoping you were too drunk to remember all that. (Sighing) No, I haven’t talked to Griffin yet. I was going to, but with all the stuff with Matthew and the new court date, I figured it wasn’t a good time.
MICHELLE: Although at the rate this is going, it seems like it’ll never be a good time.
But, I have to agree with you. He sure was upset about that.
JULIA: God, I know. I don’t blame him, though. He’s been waiting all summer to get an answer, trying to keep Daphne happy, and now this.
MICHELLE: Poor Griffin. I hope it won’t be too much longer. I think he should be able to get shared custody, don’t you? He’s certainly proved himself so far.
JULIA: (Rolling the dice) I don’t know. Judges can decide strange things when it comes to kids. But I sure hope so, for Griffin’s sake. And Matthew’s. (She leans back in the chair as Michelle nods. The girls continue to play as the scene fades.)
WANDA’S HOUSE. KIRSTEN, STEWIE and WANDA are sitting on the floor. Kirsten and Stewie are playing with some blocks. Wanda is sitting across from them, watching. Kirsten makes a tower with the blocks, smiling and clapping when Stewie knocks them down.
WANDA: Look at you…two years ago, who would’ve thought that you’d be sitting on the floor, playing with your son. (Catching herself) I’m sorry, I didn’t mean…
KIRSTEN: (Looking up at Wanda) That’s okay. I never thought I’d see the day either. (She affectionately runs her hand over Stewie’s head.) You’re Mommy’s little miracle, aren’t you, sweetie? (To Wanda) Thank goodness for modern medicine.
WANDA: (Smiling, to Stewie) And Daddy’s, too. Although from the sound of it, it doesn’t seem that he appreciates just what a miracle you are.
KIRSTEN: (Shrugging her shoulder) He does. It’s just that Charlie’s been so busy, he doesn’t always have the time to show it. (Wanda looks unconvincingly at Kirsten.) Well…he barely has the time to show it. (Wanda’s still not convinced.) Okay…so maybe he just has so much on his mind right now, he takes us for granted a little.
WANDA: Kirsten…you know, you sound just like me a few years ago.
KIRSTEN: What do you mean?
WANDA: Who are you trying to convince…me or yourself?
KIRSTEN: (Forcing a smile) I don’t know…both, I guess. (Looks back down at Stewie.)
WANDA: Look, you can just tell me to shut my big mouth at any time, but I can’t help it, Kirsten. You’ve been through so many hard times with Charlie…and most of the time he was the cause. But you’ve always forgiven him. You always went back to him…even when you were married to someone else at the time. (Sincerely) Honey, all I’m trying to say is…I don’t think Charlie realizes what he has. He takes it for granted that you and the kids will always be there for him.
KIRSTEN: Of course we’ll be there for him. We’re his family. Family is very important to Charlie. Always has been.
WANDA: Well, maybe that was true once. But think about it, Kirsten. He was there for his brothers and sisters after their parents passed on, but when was he really ever there for you? (Kirsten’s eyes begin to well up.) I’ll tell you when. It was whenever he couldn’t have you. He stood you up at the altar once…then wanted you back when you left. You married someone else…and somehow he still made sure you paid more attention to him than your husband. It’s like that old saying, “Always wanting what you cannot have.” And now he has his own family…with you. The only difference now is that he takes your children for granted too. Does this sound like the same man who put his family first?
KIRSTEN: Wanda, that’s not fair. Charlie has been there for me…many times.
WANDA: Really? Name one.
KIRSTEN: Okay, well…there was… (She thinks, then snaps her fingers.) My depression. Charlie practically stayed with me every moment because he was so worried about me.
WANDA: (Resignedly) Okay, fine. But doesn’t it say something that you have to go back five years to think of an example? What has he done lately?
KIRSTEN: (Thinks a moment) Well, he has been considering selling the family restaurant. Which is strange because they kept that restaurant running for years in memory of their father. And over time, with everyone growing up and going their separate ways, Salingers’ has become a way to keep them all connected. I never thought I’d see the day Charlie would even consider getting rid of it. It’s like he doesn’t care what anything means to anyone anymore. (A tear falls.)
WANDA: (Placing her hand on Kirsten’s) People change, honey. And not always for the better. I’m sorry.
KIRSTEN: (Wiping her eye, to Stewie) Come on, sweetie. It’s time for a fresh diaper. (She lays Stewie down, and begins to change him. Suddenly, she lets out a slight chuckle.) You know what this reminds me of? When we were at the park last week with Pete, this really sweet older couple thought that we were together. I mean together together. They thought Pete was Stewie’s dad. And Pete’s going along with it, like totally disillusioning the poor people. So, after they left, Stewie needed to be changed really badly. I mean, this kid must have been saving it up for days! So I handed him over to Pete like, okay, Dad, it’s your turn! (Chuckles) You should’ve seen his face!
WANDA: (Smiling) Well, I can see the look on yours. You really like this guy, don’t you? (Kirsten grins.)
KIRSTEN: (Shaking her head) We’re good friends, that’s all.
WANDA: Like you and Charlie?
KIRSTEN: What’s that supposed to mean?
WANDA: Well…it just seems that when you talk about Pete, you laugh. And when you talk about Charlie…you cry. Kirsten, I’ve wasted a long time being with someone who made me cry. You said it yourself that night at the restaurant…you’ve never seen me this happy. And it’s all because I’m with the right person now…someone who makes me feel so good about just being me. I’d just hate to see you waste any more precious time and energy in the wrong relationship.
KIRSTEN: Are you saying you think I should leave Charlie?
WANDA: I’m saying you’ve done enough crying for this lifetime.
AN OFFICE BUILDING IN LOS ANGELES. KYLE MORGAN and his manager, JIM COLEMAN, are sitting on a black leather couch in Jim’s large office. There are album covers and framed gold and platinum records decorating the walls. Kyle, a tall, muscular man of about thirty, with long brown hair, is leaning back against the couch sipping a drink as Jim speaks.
JIM: Look, all I’m saying is…you’re getting a little old for the “rebellious youth” act. Your fans are growing up, Kyle…and I think it’s about time your image did, too.
KYLE: (With sarcasm) That’s rich…considering my “act” was tailor-made for me by you. “Nice guys and rock bands don’t mix.” Sound familiar?
JIM: (Pointedly) Yeah, well…it sold you a lot of damn records. So if I were you— (Jim’s telephone beeps, and he presses a button, activating the speaker phone. To the phone) Yes?
WOMAN’S VOICE: Mr. Coleman, I’ve got a Julia Salinger on line three.
JIM: Who?
WOMAN’S VOICE: Julia Salinger…she says she’s from the National Organization for Women.
JIM: Oh, right. Put her through.
WOMAN’S VOICE: Yes, sir.
JIM: (To Kyle, whispering) Don’t say anything. (The line rings, and Jim activates the speaker phone once more, speaking in an overly-friendly voice.) This is Jim.
JULIA: Mr. Coleman, hi. This is Julia Salinger from NOW.
JIM: Ms. Salinger, of course. How are you?
JULIA: Fine, thanks. I’m just calling to confirm the interview we had scheduled with Kyle Morgan. (Kyle shoots Jim a confused look, and Jim holds up his hand.) Does tomorrow morning still work?
JIM: Tomorrow’s fine. I’ll have him contact you when he arrives in San Francisco.
JULIA: Sounds great.
JIM: Just be sure to leave your number with my secretary, and I’ll make sure everything works from this end.
JULIA: Got it.
JIM: (Still overly-friendly) Bye-bye, now. (Jim disconnects the call.)
KYLE: What was that all about?
JIM: (Regaining his regular tone) Come on, Kyle. You could really use some people on your side at this point. Especially some women.
KYLE: Yeah, but…the National Organization of Whiners? Great.
JIM: Your last few records didn’t exactly top the charts, you know. If you can get her to print something good about you, it could be a feather in our cap.
KYLE: (Taking a gulp of his drink) Alright, alright. I’ll see what I can do.
JIM: I’m serious. I really need you to be on your best behavior.
KYLE: God, Jim, what do you want me to do, marry her? For Christ’s sake.
JIM: (Thinking for a moment) No, but…actually, what if we offered her some cash to say she’s your girlfriend? (Grinning widely) Wouldn’t that be a hell of a publicity stunt? “Kyle Morgan, friend of NOW”—I can just see the headlines.
KYLE: Wait a minute, I don’t even know what this girl looks like, Jim.
JIM: Who cares? This could get your career out of the downward spiral it’s been in. If the interview goes well, I’ll make her the offer. It would only have to be for a few months—and we’d just have to take a few photos of you together, playing the happy couple.
KYLE: (Gulping down the last of his drink, then putting it down on the table in front of them) You better be right, Jim. Because if it doesn’t work, the whole thing can explode in our faces.
JIM: (Patting Kyle on the back) When have you ever known me not to be right?
CHESTNUT STREET in Philadelphia. BAILEY is driving his jeep while WILL looks at a map. Two large suitcases are in the back of the jeep.
WILL: (Looking at the street number on a store) Okay, that was 3815, so it should be on the next block. (Will sits back in his seat.)
BAILEY: “Chestnut Hall,” right?
WILL: Yep.
BAILEY: (Pointing at a building on the left side of the street) There it is. (Bailey makes a u-turn and pulls up in front of an apartment building. Will and Bailey get out of the jeep and look up at the tall apartment complex.)
WILL: This isn’t so bad.
BAILEY: As long as you’re not acrophobic.
WILL: (Looking at Bailey) Why? You think this place has spiders?
BAILEY: (Rolling his eyes) That’s arachnophobic. Acrophobia is the fear of heights.
WILL: (Smiling) I know that, man. (Patting Bailey on the back) Lighten up…it was a joke.
BAILEY: (While grabbing a bag from the back of the jeep) Ha, ha. Very funny.
WILL: (Grabbing the other bag) Yeah, well…Chris Rock would have a hard time making you laugh right about now. (Bailey shoots Will a glance.) Look, Bay…I know what you’re going through sucks. I mean, Holly’s an incredible girl—she’s smart, she’s beautiful—and it might be a long time before you find someone like that again…
BAILEY: Will, are you trying to talk me off the ledge or get me to jump? (They walk into the lobby.)
WILL: Will you let me finish. I was saying, yeah—she’s great…but so is freedom, Bay. The ability to do anything you want, anytime…without having someone look over your shoulder every second. (Bailey sighs, and they stop in front of the elevator.) Now, this is what we’re going to do. I’m going to unpack, get settled in, and then later we’re going out.
BAILEY: (Shaking his head) Will, I—
WILL: (Putting his finger in Bailey’s face) Aah! (Bailey stops.) And not only are we going out, we’re going to have fun…got it?
BAILEY: (Looking down, quietly to himself) God, I’m dying to hear her voice.
WILL: (To himself, closing his eyes) Okay, so maybe fun isn’t on the menu for tonight.
BAILEY: Will, I’m serious. (Looking at him) Do you think it was a mistake…to end it?
WILL: (Gently) No. (Shaking his head) It wasn’t a mistake, Bay. You did the right thing.
BAILEY: Yeah? Then why doesn’t it feel like it. (The elevator opens, and they get in.)
WILL: Because it just happened. You know what they say: “Time heals all wounds.”
BAILEY: (After a pause) Yeah, but what about the scars? (The elevator closes.)
JUILLIARD. CLAUDIA sits under a tree on the side of the walkways at Lincoln Center. A large smile comes across her face as she reads a letter signed with the name “Todd.” She rests the letter on her lap as she looks out onto the walkways. Students are walking about and filling luggage racks to be taken to the top floors. Claudia begins to walk toward the Meredith Rose Residence building as she puts the letter in her pocket. As she is walking she sees CURTIS, who is helping a female student carry her luggage. He sets them down when he sees Claudia. She stands still with a slight smile on her face. She has one hand in her pocket as she gives a slight wave to Curtis. He looks at her for a moment, picks up the luggage and continues walking. Claudia lowers her hand with an embarrassed expression.
COFFEE OFTEN CAFÉ, SAN FRANCISCO. JULIA is sitting at a table with KYLE MORGAN. Julia has a tape recorder and a notebook. They are both drinking coffee as they talk.
JULIA: So you’re saying that your lyrics don’t reflect your view of women?
KYLE: I’m saying that my lyrics are stories. Did people accuse Dostoevsky of being a murderer just because he wrote about one? No. So I don’t see why I should be any different. I’m just a storyteller.
JULIA: (Surprised) Wait a minute…you read Crime and Punishment?
KYLE: (Smiling) I hate to break the stereotype of the simple musician, but yes – I read it. (Julia’s face turns red as she smiles, putting down her pencil.)
KYLE: (Pointing to the tape recorder) Is that thing off now? Can I speak “off the record?”
JULIA: (Grinning and checking the recorder) Yep. It’s off. I promise. (She closes her notebook.) Finished.
KYLE: Whew! (He jokingly wipes a hand across his forehead.) Good. (He takes a sip of coffee.)
JULIA: Oh, come on. It wasn’t so bad, was it?
KYLE: (Smiling) I’ll never tell. (He pauses and looks around the room.) So, do you like working for NOW?
JULIA: I love it. It’s a wonderful organization.
KYLE: How do you like living in DC?
JULIA: Oh, I don’t. I mean, not that I don’t like living there; I don’t live there.
I was actually working for NOW in DC, but I had to move back home and luckily—thanks to technology—I was able to keep my job. I’m really glad, though, because I missed San Francisco. (She sips her coffee.)
KYLE: Yeah, I know what you mean. Whenever I’m in LA for more than about a week, I start to jones for the cable cars and foghorns. I’m always happy to come home.
JULIA: (After a slight hesitation) So, you live in San Francisco?
KYLE: (Nodding) Yep. Whenever I can. I mean, this is like my homebase, when the band’s not on tour. I guess it’s in my blood since I grew up here.
JULIA: Really? In San Francisco?
KYLE: Yeah. (He leans in close.) Nobody knows this, but my first band was in high school—the Jackals. God, we were the worst.
JULIA: What high school did you go to?
KYLE: Grant.
JULIA: (Her eyes widening) You’re kidding! I went to Grant—and so did my brothers…what year did you graduate?
KYLE: (Impishly) Ooh, I don’t know if I should tell…don’t want to date myself, you know.
JULIA: Come on…
KYLE: 1989.
JULIA: (Smiling) That’s a year after my brother, Charlie! I wonder if he knew you.
KYLE: (Holding his jacket up to hide his face) God, I hope not. I was a real jerk back then.
JULIA: (Rolling her eyes) Everybody’s a jerk in high school.
KYLE: I bet you weren’t. I bet you were like this really smart girl that all the guys were dying to ask out, but you were so pretty that they couldn’t get up the nerve. I remember girls like you.
JULIA: (Looking down, but still smiling) Yeah, right.
KYLE: And you’re still this really smart girl that has only gotten smarter, and more beautiful.
JULIA: (Embarrassed) Okay, if you keep this up, I’ll be forced to turn the tape recorder back on.
KYLE: (Throwing his hands up) Okay, okay, truce. I promise, no more compliments. (Smiling warmly) But seriously, Julia, you seem like a really nice girl. I hope that you won’t hold everything you’ve heard about me against me. I hope you’ll be able to make your own judgement.
JULIA: (Smiling widely) Well, I guess you’ll just have to wait until the article comes out, won’t you? (They laugh and the camera pulls back to a view of the coffeehouse as the scene fades.)
THE FACTORY. DAPHNE is pushing MATTHEW in a stroller toward CHARLIE’S office. She stops at the open door, where she sees Charlie and GRIFFIN.
DAPHNE: (To Charlie) Knock knock. Is Luke around?
CHARLIE: He’s out on the floor. What’s up?
DAPHNE: I just came to meet him for lunch. (Griffin is kneeling next to the stroller, speaking softly to Matthew.)
CHARLIE: Um, he should be back in just a minute. Come on in and sit down.
DAPHNE: Thanks. (She looks down at Griffin, who is blocking her way. She clears her throat loudly.)
GRIFFIN: (Looking up) Sorry. (He stands up and steps out of the way. Daphne pushes the stroller into the office, and sits down in the chair in front of Charlie’s desk. Matthew mumbles some baby talk and stretches his hands up to Griffin. Griffin leans down again and puts his finger out for Matthew to hold.) Hey pal, how’s it going? (Matthew lets out a loud, happy noise and starts giggling. Griffin smiles.) Yeah, that’s right. (He turns to Daphne.) Can I hold him? (Daphne shrugs.)
DAPHNE: (Reluctantly) Go ahead. (Charlie watches in disbelief.)
GRIFFIN: (Picking up Matthew) Hey, Daph, uh…you know, I can watch Matthew while you and Luke go to lunch, if you want. That way, you can have some…uh…time alone.
DAPHNE: (Icy) No, that’s okay. We’re going to have a family lunch today.
GRIFFIN: It would only be for an hour. (Trying to be nice) Come on…I bet you could use a break.
DAPHNE: (Her eyes flashing) I’m sorry, but this is my time with Matthew. You’ll just have to wait until the weekend when it’s your turn. (Griffin takes a deep breath and hands Matthew to Daphne.)
GRIFFIN: (Irritated) Fine. I’ll just go get Luke then. (Griffin leaves the office, and Charlie is staring at Daphne, shaking his head.)
DAPHNE: (To Charlie) What?
CHARLIE: What would it have hurt to let Griffin take him for an hour, Daph?
DAPHNE: Don’t start with me, Charlie. (She bounces Matthew on her knee.)
CHARLIE: And you make him ask permission to hold his own son? Unbelievable.
DAPHNE: I know what I’m doing, Charlie.
CHARLIE: Do you? ‘Cuz what you’re doing is making things worse every time I turn around. Why can’t you just let it go? (Daphne glares at him and he holds her gaze.)
HOLLY’S APARTMENT. HOLLY is reading at the desk in her room. She looks over at the telephone on her nightstand, then looks back to her book. A moment later, she removes her glasses and walks over to the phone. Hesitantly, she picks up the receiver and dials a number. After three rings, an automated voice says to leave a message.
HOLLY: Bailey, hello. I…I hope you don’t mind my calling. We really didn’t discuss any “rules.” (She laughs uncomfortably and sighs, then speaks in a more serious tone.) I guess I’m calling because…I miss you. I keep trying to tell myself how silly that is because things haven’t changed that much when you really think about it. I mean, I’m here…you’re there…and that’s the way it’s been for the last year, right? (Holly continues leaving her message as the camera cuts to Bailey on campus. He pulls out his cell phone and hesitates a moment before dialing a number.) But I can’t fool myself. Before I knew it was just a matter of time…and then I’d see you again…we’d be together. But now it just feels so…different. That’s to be expected, I suppose. (Bailey hangs up after getting a busy signal, and the camera cuts back to Holly in her apartment.) I guess I just want to know that you’re okay. And – I don’t know why – but I really want to say…I love you. (She hangs up, closing her eyes and shaking her head. The scene cuts to Bailey’s dorm, where the light on Bailey’s answering machine begins flashing.)
SALINGERS’ RESTAURANT. JOE and CHARLIE are at the bar, looking over some paperwork. The restaurant is empty, except for a man vacuuming in the background.
CHARLIE: …so even though weekends have slowed down a bit, we’re pretty well staffed for Saturday. Now, we’re a bit light on Sunday, but if brunch is a hit, Annette and Mario said they’ll be glad to come in.
JOE: Charlie—
CHARLIE: Oh, and Carlos said you can page him if you need anything…and of course, you can always call me.
JOE: Charlie, why are you doing this?
CHARLIE: What?
JOE: Acting like I can’t handle this place. Is that what you think? That I can’t handle this place two days a week without a lifeline? CHARLIE: No, I don’t think that. It’s just— (Joe looks at Charlie, who looks to the side and sighs. He looks back to Joe and talks frankly.) Look, Joe – I just don’t want you to try to do everything, okay? I know you. If it’s busy, call someone…don’t try to pick up the slack yourself. Your health is the most important thing here, so don’t try to be Superman.
JOE: (Nodding) Deal.
CHARLIE: (Smiling) All right. (Charlie begins to walk away, but then he turns around.) Oh, I, uh…I should probably talk to you about something. (Joe look at Charlie.) I didn’t want you to hear this from anyone else, so… (He pauses and sighs.) I’m considering selling the restaurant.
JOE: (Shocked) What?
CHARLIE: (Looking down, shaking his head) Nothing is final, okay? I haven’t made any phone calls, contacted any agents, or anything like that. It’s just… (looking up, speaking softly) …it’s just something I’m thinking about…and I thought you should know. JOE: (After a pause) This is your Father’s restaurant, Charlie.
CHARLIE: (Putting his hand up) Joe, stop. I’ve already heard it from Claudia and Kirsten…and I’m sure I’ll hear it from Bailey when he finds out. (Shaking his head) Please, I…I don’t need to hear it again. (The camera cuts to a long shot of Joe and Charlie, standing at the bar by themselves. The scene fades.)
CHARLIE’S HOUSE. JULIA has just come downstairs and is carrying a large book. KIRSTEN is sitting on the sofa in the living room, watching TV. STEWIE is in the playpen near her, and DIANA is sitting on the floor, coloring.
KIRSTEN: (Looking up) Did you find it?
JULIA: (Smiling and holding up an old school yearbook) Yep. I found some great shots of Kyle in his old band. And you‘ve gotta see Charlie’s old school pictures.
KIRSTEN: (Motioning beside her and smiling) Oh, let me see. (Julia sits down on the couch next to her and opens the book. The girls look through the book. Kirsten laughs.) Oh my gosh, look at how long his hair was.
JULIA: (Giggling) I know. Isn’t it funny how you don’t notice someone changing right before your eyes, but as soon as you look at an old photo, it’s like, wow.
KIRSTEN: (Looking closer at the photo) Look at how young he was. And thin…so, let’s see this Kyle. Where’s his picture?
JULIA: (Flipping through the book) Here. I still can’t believe I got to interview someone famous like him. It was so weird, because he has this terrible reputation, but he was like so nice. So down to earth.
KIRSTEN: (Looking at the picture) Wow, cute. Does he look this good now?
JULIA: (Grinning) Better.
KIRSTEN: (Sighing and leaning back on the couch) You’re so lucky, Julia. You’re young, and you have so many exciting things happening…I feel like all I see is Sesame Street and this house.
JULIA: (Closing the book) I’m sorry…I know Charlie’s been so busy and you guys don’t get out much.
KIRSTEN: You can say that again. I just start to get so stir crazy with the kids all the time, you know? It’s not that I don’t love being home with them, but…sometimes I just need a break. But it’s not like I can just call in sick, and take the day off.
JULIA: (After a pause) Well, what about taking an afternoon off?
KIRSTEN: What?
JULIA: (Shrugging) I’m here, and I don’t have to be anywhere special, so I can stay here and watch the kids. That way, you can get out of the house for a little bit and take a break.
KIRSTEN: (Shaking her head) Oh, Julia, that’s really sweet of you. But I don’t want to impose on you. I’m sure you have tons of other things to do.
JULIA: It’s not imposing, Kirsten. You need a break, and I hardly ever get to see my niece and nephew, so… (she nudges Kirsten) go ahead. (To Diana) What do you think, Diana, can Aunt Julia hang out with you for a while?
DIANA: (Running over to Julia and hugging her knee) Yay! We can play tea party, and dress up and…
KIRSTEN: (Laughing) Okay, okay…don’t scare Aunt Julia away now. (To Julia, smiling widely) If you really don’t mind, maybe just for a couple of hours. I can run some errands.
JULIA: I really don’t mind.
KIRSTEN: Thanks, Julia. (She leans over and hugs her.) Maybe I can even convince Charlie to sneak out of work for a while…
SARAH’S APARTMENT. A phone can be heard ringing. The front door opens and Sarah rushes in to pick it up.
SARAH: (Excitedly) Hello? (Her smile fades as she speaks.) Oh, hi Lynn…I thought we already worked this out. I’m not working today. (She listens.) It’s my day off, that’s why. (Listens again.) No…look Lynn, you’re just going to have to find somebody else because— (Listens.) I’m sorry…maybe next time. (She hangs up. To Claudia.) What part of no didn’t she understand?
CLAUDIA: Why couldn’t you work? (With a smirk) Got a date tonight? C’mon, who’s the guy?
SARAH: I’m not going anywhere! I’m staying here until Albert calls.
CLAUDIA: Wait…Albert is calling? How do you know?
SARAH: He left a message on my machine earlier and I’m eager to know what it was about. (Sarah begins to smile.)
CLAUDIA: Well, did he leave a number? Maybe you can call him back.
SARAH: No…he always gives me the old “Don’t call me, I’ll call you.” (Just then the phone begins to ring. Sarah jumps up and stares a Claudia. Claudia answers.)
CLAUDIA: Hello? Yes she’s here, hold on. (Handing Sarah the receiver, whispering) I think it’s him! (Sarah takes the phone.)
SARAH: Hello? (She listens.) Oh, hi Albert…you have what?
ALBERT: A job! I booked you a shoot in California next week. So listen, I’m going to need you to leave as soon as possible. Are you okay with leaving tomorrow?
SARAH: Tomorrow? Wow…is it…is it a big job?
ALBERT: (Smiling) Well, only if you consider Neutrogena big.
SARAH: Oh my God…you’re kidding? Albert, thank you so much!
CLAUDIA: (Whispering) What is it? (Sarah holds her hand up to Claudia.)
ALBERT: I should be thanking you. A couple more contracts like this and I just might retire.
SARAH: This is incredible. So what do I do?
ALBERT: Call my office and ask Amber to get your flight set up. I’ll be here to pick you up when you arrive, okay? I gotta run…
SARAH: Okay. Bye…and thanks! (Sarah hangs up the phone.) I got a job! (Claudia jumps us and hugs Sarah.)
CLAUDIA: I’m so proud of you! Didn’t I tell you that you just had to stick in there?
SARAH: (Excitedly) Yes. (A worried expression crosses Sarah’s face.) Oh God, I’ve got to buy some Neutrogena.
KIRSTEN’S CAR. KIRSTEN is trying to watch the road and dial a number on her cell phone at the same time. She turns the radio down and listens.
KIRSTEN: Hi, Luke. It’s Kirsten. Can I speak to Charlie? (She listens.) Oh. Okay, I’ll try him there. Thanks. (She hangs up and dials another number. She smiles as someone answers on the other line.) Hey…it’s me. (She listens.) Fine, everything’s fine. I was just wondering if you could sneak out and play hooky for a while…Julia’s watching the kids, so, I can come pick you up.
CHARLIE: Don’t I wish. I’m meeting with a vendor in 20 minutes. Sorry…
KIRSTEN: (Frowning) Darn it. Can’t anyone else do it?
CHARLIE: If they could, I wouldn’t be here.
KIRSTEN: (Sighing) I know, I know. I just thought I’d ask. Okay, I guess I’ll see you later tonight. Love you, too. (She hangs up the phone and dials again. After a moment, she speaks.) Hi Wanda, it’s Kirsten. I had some free time and thought maybe we could go grab a coffee or something, but you’re out so…just give me a call when you have a chance. Bye. (She hangs up and sighs, tossing the phone onto the seat next to her. After a slight hesitation, she picks the phone up and dials again, then hangs up. A few moments later, her phone rings. Kirsten answers.) Hello? (She smiles widely.) Hello there…how’s the busy doctor doing today?
PETE: Just fine, just fine. You know—busy doing doctor things. (He chuckles.) What a nice surprise to hear from you today.
KIRSTEN: (Perking up) Thanks. So…how busy are you?
PETE: Never too busy for you…
KIRSTEN: Well, if you mean that…what are you doing this afternoon?
PETE: Yikes! This afternoon…well, if you can give me a little bit, I think I can rearrange my schedule. (Flirtatious) Why, what did you have in mind?
KIRSTEN: (Exhaling deeply and sounding a bit distant) Oh, I don’t know. Just anything that will help me unwind for a while—get me out of this rut that I seem to be in.
PETE: I know just the place…meet me in front of my office in half an hour.
KIRSTEN: Great! I’ll see you then. (She smiles and hangs up the phone as she drives.)
BAILEY’S DORM ROOM. BAILEY walks in and tosses his keys and cell phone on the bed. He pushes a button on his answering machine and plops down on the bed himself, closing his eyes. The message begins playing.
HOLLY’S VOICE: Bailey, hello. (Bailey sits up quickly.) I…I hope you don’t mind my calling. We really didn’t discuss any “rules.” (Bailey laughs to himself, shaking his head.)
HOLLY’S APARTMENT. Holly is lying in bed with her eyes open. The phone rings, and she picks it up.
HOLLY: Hello?
BAILEY: Holly.
HOLLY: (Sitting up quickly) Bailey! (Smiling widely) I’m so glad you called.
BAILEY: (Happily) I just got your message. I tried calling you today, but your line was busy.
HOLLY: You did? That makes me feel so much better. I was worried that maybe you didn’t want me calling you.
BAILEY: Holly, are you kidding? Look, let’s set the ground rules now – we’ll call each other whenever we want, okay?
HOLLY: (Smiling) Okay.
BAILEY: And we don’t need a reason to call; we can just call when we want to hear each other’s voices. Yes?
HOLLY: Yes.
BAILEY: Did I leave anything out?
HOLLY: One thing: we’ll be there for each other when things are rough…like now. Bailey, you don’t know how much better I feel just hearing your voice…just knowing that you still care. I’m so glad we still have that.
BAILEY: Me too, Hol. Now I know we did the right thing…because we still have our love for each other. (After a pause) Well, I’d better let you get to sleep. I didn’t think about how late it is there.
HOLLY: That’s all right, Bailey. If you hadn’t called, I wouldn’t have slept at all.
BAILEY: (Smilng) Goodnight, Holly.
HOLLY: Goodnight, Bailey. (Bailey hangs up and sits on his bed. He smiles, breathing in deeply. Just then, he hears a key turn in the lock and Cole and Will come in.)
COLE: Hey, Sali – we were hoping you were here.
WILL: (To Cole) Where else would he be? (To Bailey) So anyway, we’re gonna head over to JD’s Tavern for a bite. You want us to bring something back for you?
BAILEY: Uh, that’s okay.
COLE: C’mon, Sali. It’s no trouble.
BAILEY: No, what I mean is, you don’t have to bring me back anything. Just give me a minute to change and I’ll go with you. (Will and Cole look shocked.)
COLE: Wait, you mean…you’re coming?
WILL: (To Cole, playfully hitting him in the chest) Shut up, before he changes his mind. (To Bailey, looking at his watch) Okay, you’ve got 55 seconds. (They all smile, and Bailey gets up to change.)
BERNAL HEIGHTS in San Francisco. PETE and KIRSTEN are sitting on a large rock at the top of Bernal Heights, which gives them a breathtaking, panoramic view of the City: the Golden Gate, the Bay Bridge, Candlestick Park, and the Transamerica Building.
KIRSTEN: Thanks again so much for rescuing me, Pete. I just really needed to get out of the house.
PETE: (Smiling) Hey, you rescued me too, you know. I would have been stuck in all those meetings with the Medical Board.
KIRSTEN: At least you had something interesting to do. And important. (Tilting her head) Now I feel bad that I dragged you away from it.
PETE: Don’t. You’re more interesting and important to me than those meetings.
KIRSTEN: (Looking up) Wish Charlie felt that way.
PETE: Oh come on, you know you and the kids are extremely important to him. He’s just doing the best he can.
KIRSTEN: (Sighing) I know. It’s just…I don’t know what to do anymore. I feel like I’m getting swallowed up into this giant hole, like Alice in Wonderland or something. All I do is take care of the kids, keep the household going, try to help Charlie and his family—but we never seem to have time for the two of us. And then, I feel guilty for even wanting things to be different. It’s just…things are getting so far removed from the way I thought they would be…I don’t even know who I am. (Looking straight at Pete with tears in her eyes) Do you know, I don’t even see myself in mirrors anymore? (Pete listens patiently.) There’s no Kirsten there. I just see “Stewie’s Mom” or “Charlie’s nagging wife…” Not the woman I was supposed to be.
PETE: (Softly, brushing some hair out of her eyes) Tell me about that woman…
KIRSTEN: (Sniffling and smiling through her tears) Oh, she was a really ambitious woman. She had plans to work with children, to help them, and somehow she was going to do all that and raise a family, too. And she was going to be happily married and create this wonderful family life that she never had…but there’s hardly even a trace of that woman anymore. (She looks up at Pete.) I can’t see her anymore, Pete. She’s gone.
PETE: Oh, she’s there, Kirsten. She’s still there, believe me. (After a pause) But you know why you can’t see her? (Kirsten shakes her head, and he speaks softly.) Because you’re not looking through my eyes. (Pete leans forward and takes Kirsten’s face in both hands. He moves close to her face, slowly, and kisses her gently. She closes her eyes, and returns the kiss. They continue kissing tenderly as the scene fades.)
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