
0: EXT. STREET - SUMMER NIGHT
Romantic night - and now moving into camera the couple to prove it. LISA, a really pretty 27 year old woman who has made every sacrifice of mind, body and spirit in order not to feel the way she does at this moment: self-conscious and threatened by a vague set of ordinary emotions which, worst of all to her, serve no constructive purpose whatsoever. Still, here she is, after a lifetime unafraid of anything, with fear poking secretly away at her while her date, Matty, (a "hunk" who is frequently mistaken for a "catch") is in the background causing a small flurry of excitement signing an autograph..He looks and sees her failing to make the turn to his building..

lisa bobbles with distraction and then makes the turn. she is quickly ensnared by her persistent troubling thoughts.
on matty..
as he looks at her and grins with impulse and a veteran's sense of mischief based on deep appreciation of the night, her swirling skirt and the promise of simple pleasures. he comes up behind her ear and responds to her yelp with the absolute truth.
but that quick he has lifted and swirled her. then, maybe as she was just getting into the ride, drops her.
he gestures with his head to a nearby apartment building, the best apartment building in town.

1: EXT. APT. BLDG. - NIGHT
He walks toward the front door - the doorman greets him by name..Lisa hesitates, ambivalent..not her usual decisive self.

matty, unaccustomed to even minor adversity, has a flash of well, not depression..a flash of not feeling fantastic.
the doorman also backs off a few spaces. lisa looks at the two men staring at her.
he means it. he is having a good time giving her space and enjoying the mystery. she moves forward toward the door.
she takes a swing at him, a solid fist and perfectly balanced arc to his stomach...she is surprised by her own action....

2: INT. ELEVATOR - NIGHT

he kisses her.

3: INT. MATTY'S APT. - BEDROOM - MORNING
This is a truly expensive apartment -- we are now in the bedroom where there are a great many trophies in evidence besides our Lisa, who now lies next to her spanking new lover
having more than held up her end of the just concluded lengthy and athletic night of love making. She can't, however, quite match his grin. Matty's in a state of some
wonder - celebrating the fact that his expectations have been exceeded.

matty cracks up..
she scoops up her clothes and groans over how wrinkled her dress is as she moves toward the bathroom. we move with her -¬perhaps noting perfect long smooth muscles in her arms and legs.

4: INT. MATTY'S APT. - BATHROOM - DAY
She stands in front of the sink now and opens the right hand drawer.
Two dozen unused toothbrushes lined up -- all in unbroken glass containers. She takes this in then breaks open the container and is brushing her teeth when there is a.. knock on the door..She opens it..

he moves past her and opens a cabinet where there is a stack of unopened women's sweats.
he hands her a package. she reacts with extreme distaste..
she starts putting on her dress.
she moves past him heading for the front door.

5: INT. MATTY'S APT. - HALLWAY/BEDROOM
This is purposefully a traditional romantic vignette of hurt woman, with a backbone, about to express herself with forceful exit..it's why doors were made to slam.
And then that quick she catches herself - holding the door in pre-slam wind-up then turns toward him, genuinely apologetic.

she grabs her panties and exits.
as she turns away.

6: EXT. STREET - DAY
Lisa -- wrinkled dress -- stops -- takes running shoes from her purse and puts them on..She then moves purposefully..her walk arresting in its precision and power...passing people...she is in a hurry..


7: INT. SUBWAY - DAY
Lisa standing -- her face tight


8: EXT. MIDDLE CLASS STREET - NEAR LISA'S APT. - DAY
As Lisa moves down a lower middle class block to her apt.


9: INT. LISA'S APT. - DAY.
Easily as many trophies as Matty (including two Olympic gold medals).. inevitable rows of team pictures, she cares about team. (Note: how they are displayed is a project for us.) Furniture is very basic..one of those L shaped rooms with the bend of the "L" considered the bedroom -- pullout sofa..She walks directly to a desk on which sits her computer.
CLOSE ON COMPUTER Lisa pauses over the keys. She sniffs the air, oxygen her long time elixir. She does not touch the keys; instead moving off and leaving the scene. We hear the shower start.


10: INT. LISA'S APT. - CLOSE ON LISA - A BIT LATER
As she sits again at the computer. Here's the thing about this moment. In the truest sense of the word we are witnessing an act of private bravery. Lisa's life, as she knows it and has lived it, is on the line. Yet, the signs are small as she weighs her dicey options for survival.
CLOSE ON COMPUTER As Lisa hits the site of the "UNITED STATES NATIONAL SOFTBALL ASSOCIATION." She clicks on "NEW ROSTER OF PLAYERS"..And then reads: "THIS YEAR'S ROSTER IS DELAYED."
ON LISA She is struck by foreboding and simultaneously beats the feeling back. Her fingers take action..she clicks her way to on-line ticketing and confirms "least expensive" trip to Phoenix. A cute tone confirms she has scored for a ticket.


11: EXT. NATIONAL TEAM ATHLETIC COMPLEX - TRACKING WITH LISA
It is off-season but there are college athletes and national players working on some drills which look enormously hard to do. When the players spot Lisa they stop immediately..a subtle flurry of hero worship ensues.. She exchanges a deep hug with one or two of her teammates..


12: INT. ATHLETIC DEPARTMENT - WOMEN'S WING - EDIT BAY - DAY
This is the home of champions. Olympic memorabilia in evidence. NCAA Champion cups, etc. She is drawn to one crowded editing bin cubicle where coaches and a few athletic tech support persons watch a television set in a darkened area. As she passes SALLY, an assistant coach (late 30's-
early 40's -- clearly athletic looking) calls to her.

lisa indicates she'd rather not..sally gestures forcefully that she should see it.
before the student editor scrolls the images, lisa is there sticking out her hand.
the student is flattered and gives her name, jane.
lisa retreats to the background. we alternate between the monitor and lisa, who is a little self-conscious being eyed by others as she witnesses her own past glories.
we see a montage of lisa's steller play in this game ending with a backdoor slide, scoring the winning run, after which she roars in competitive exultation at the opposing catcher.
various shots..lisa making sure everyone is taken care of..she stops one of the players from taking off her shirt ala brandy chastain ..she is also trying to gather her teammates to shake hands with the australian team..she herself providing spirited consolation to the australian girls, simultaneously fighting off her own teammates who are trying to lift her on their shoulders and somehow getting them to lift the coach instead..we additionally see her lifting sally a tearful moment for each.
strangely turned shy by the feelings evoked. enough.
on the video, the stars and stripes are raised..she successfully fights off emotion but comment is required.
as lisa prepares to leave the room.

13: INT. ATHLETIC DEPT. HALLWAY/COACH'S OFFICE - DAY
Sally follows her into the hallway.

lisa nods...and walks toward the office. the nameplate next to the door reads "william smith head coach." sally can't resist getting in her ear to render last minute coaching when she sees lisa tense.
sally peals off and lisa pauses a beat. it's game face time. 16	int. coach smith's office - day	16
she enters the coach's office overplaying her sense of security and confidence by a mile or so.
william smith is a good looking guy who excels at pushing and manipulating others. he is surprised to see lisa.
she exits.

14: INT. AIRPLANE - DAY
As she sits in a full plane returning to Washington D.C...opens an old play book -- she is racting" as if she were untroubled even though no one is watching.


15: EXT. ATHLETIC FIELD - DAY - VERY CLOSE ON LISA
Lisa working out with several girls from the national team..She is fielding hot fungoes in a circle with teammates..little grunts..small off-camera utterances, as they encourage each other..Lisa's phone starts to ring -- she hears the distinctive music, turns, and, not seeing the ball coming at her, takes one hard on the face. She has a bloody lip..The injury is close to an absolute non-event for her. She spits some blood with enviable expertise as she walks to her bag on the sidelines.


16: INT. OFFICE - DAY
GEORGE MADISON, in his mid 30's. If anyone faults him as colorless it is because they have never paused on a foggy
morning to consider the vibrancy of grey.. He is solid: solidly educated, solid in thought and deed and carry through. And, of course, so many mentions of the word "solid" portends that he will soon break apart from the intensity of some serial misfortunes which will make it forever impossible (as a character will soon remark) to ever again be the person he is at this moment.

lisa seizes on the fun of his oddness..she grins, blood from the hit on her lip covering her front teeth.
her teammates gather around on hearing this   she grins a bloody grin and gestures that the call is off the charts goofy. so much so she is enjoying herself.
a woman enters his office with george's secretary, annie, a few steps behind trying to stop her..they are briefly out of focus, as we remain concentrated on the phone call as george attempts to do the same.
he nods - but indicates he has a call to complete. annie gives a short hand whispered message.
george nods, pats the distraught annie on the back.
the woman is surprised, unaccustomed to being thanked.
she exits.
he hangs up and mutters to himself..unconscious to the fact that he is doing so..
he looks down at the folder for the first time.

17: INT. UNIVERSITY HALLWAY - LATE AFTERNOON
As a class breaks the students..(grad students) flow out...signs, blackboard, etc. indicate that it is a PHYSICS
CLASSROOM...George is off to the side sending a text message...We read it.
GEORGE'S TEXT MESSAGE Dad? It's important that we talk. I
need some guidance and maybe Ron should be folded in as well. I'll be in early - Okay - be well.
He finishes and looks off into space and shudders suddenly and unexpectedly..registers surprise. It's a first. He has never shuddered before. Now the Physics professor comes into view. This is TERRY DREISER, she is in the argument for the smartest woman alive - a physicist whose mind holds the promise of one day explaining it all to us. She is surprised to see him..

she holds up the portable data plug which contains all her work...

18: INT. CRAMPED ACADEMIC OFFICE - DAY
As they enter --- her work is all laid out for her.. A waiting work cocoon of perfect reading light..books..two computers and many, many stacks of research..She must move sideways to get into the cramped work area where she puts HER DATA PLUG into its computer port and the screen comes alive with physics..words and computations.

george is puzzled by this.
terry thanks. kiss.
she slides out with some difficulty..he kisses her.
he hot kisses her. she moans, pulls him closer with a long leg..terry has the ability to get instantly hot... and when her very plump brain cells get that blood flow, insights result.
george is getting aroused... but not for long. she breaks off.
he nods and exits as she turns back to her work, then turns realizing a beat late that her turn-on and sudden turn-off was sort of funny/strange..she flashes a good guy smile and shrugs.

19: EXT. GREAT CAMPUS - DAY
As George walks off -- he moves past an outdoor job fair where dozens of corporations are interviewing soon to be MBA's potential employees..an assembly line where the biggest start to package the best.


20: EXT. RUNNING AREA - NATIONAL MALL - EARLY MORNING
A foot race in progress...Lisa pounding the composite surface alongside a girl, RIVA, maybe eight years younger. Lisa, even while running remembers something suddenly..

she turns it on and it is fiercely competitive   "full out" as few experience the term. riva wins barely. camera remains looking straight up the track as each of the women goes to a different side of frame to heave. it is a common occurrence.

21: EXT. OUTDOOR AREA - DAY
The two women have just ordered breakfast.


22: INT. GEORGE'S OFFICE - DAY
George is seated at a side chair.. Annie opens the door and is quickly shoved aside by George's father CHARLES, vibrant with an energy which leaves no doubt he came up through sales and RON, the company's legal counsel, who seems to squirt Protestant genes as he walks with perfect posture.

george hands his father the subpoena..ron reads over charles'
shoulder. they each react instantly   simultaneously shaken...charles doesn't trust himself to speak..he hands the paper to ron and paces off.
annie enters and looks at george   worried about him..she has worked for him for some time. she adores him. ron is clearly grave.
his father makes a strangled half-bark of a noise and george glances at him.
another noise from dad. annie stands just behind him   she is unable to conceal the concerns and emotions born of her ferocious loyalty to george.
charles makes a disparaging noise then:
george continues nonetheless. his earnestness is palpable and, given his audience, ill advised.
charles stumbles with near miraculous smoothness to his original thought.
camera moves to feature annie who is having an out-of-body experience hearing the favorite boss of her life so raked over the coals.
charles hasn't noticed..ron, who witnessed the episode, is about to confront annie but george moves quickly, addressing his father and thereby forces a change of focus.
he is clearly asking ron to overlook annie's swing.
charles crosses to george as ron begins dictating to annie whose fingers fly across the keys with world class speed, even while trying to get the upper hand on her emotions. a legalize preamble begins in the background..note research for exact copy.
george begins to feel his life slipping on its foundations. his father interrupts his dismal reverie.
charles' lips pucker and he moves in for a kiss on george's cheek. as george moves his head out of range.
charles' lips pucker again. george decides to accept this, nonetheless he has found his own bottom line.
as george prepares to exit, annie, even as she continues to type, feels the need to call out to him.
ron gives annie an admonishing look.
ron has paced the the window and looks out as he continues

23: EXT. OFFICE BUILDING/INT. GEORGE'S OFFICE:INTERCUT - DAY 26
George has exited the building and stands momentarily dazed before moving on.

following is intercut between ron at the second floor window and george who stops in the street, others flowing by.
george pauses..actively considering whether he does..finally:
he hangs up and as ron continues in the bg george continues his walk toward his be-clouded future as we lose him in the crowd.
the voice trails off as we leave the scene.

24: EXT. GREAT APT. BLDG. - NIGHT
We recognize Matty's neighborhood...the doorman.


25: INT. MATTY'S BEDROOM - NIGHT
Total darkness..

great mutual expressions of pleasure in a jumble..i.e. "ladies and gentlemen, a ten.." "you're good..." "you're good..." leading to:
in the dark we hear lisa laugh despite herself.
matty sure thing..
he claps his hands simply and quickly, the lights come on. lisa shields her eyes and yelps...
she laughs despite herself. matty, pleased that he has disarmed her, presses the point, broadly reading her mind.

26: INT. TERRY'S APT. - NIGHT

george doesn't follow at all.
she smiles, truly enjoying his remark, takes a breath (something like an athlete getting ready for exertion) and then whispers a final intimacy to him before concluding.
she kneels before his chair, looking up at him. okay, maybe that's not love light in her eyes but it sure contains some kindness and affection as it get to the core truth.
george has to maneuver past some disbelief before he gets it.
george has an adrenaline rush which cracks his composure..maybe even a slight stutter as he says:
calmly, studiously even, george goes to her desk and grabs her data port from the computer...she screams and shouts as a mother would for an endangered child..
he puts the port on her desk and exits. she calls after him.
he exits.

27: INT. STAIRWELL - NIGHT
George, barrelling down the stairs and then, quite suddenly, he stops - stark still and shouts to the heavens. (alt. sudden quiet realization..)


28: INT. GEORGE'S APARTMENT - NIGHT
A decorated upscale apartment. George just propelled by a gust of anxiety, he goes to OTHER ANGLE sitting there, the refrigerator.
As he makes himself a Bloody Mary: vodka, mix, tabasco, and, since we're civilized here, a stalk of celery in glass..


29: INT. GEORGE'S APARTMENT - NIGHT
TIME PASSAGE..FOCUSING ON THE DRINk
We note the time passage by watching the celery stalk wither from the frequent sprayings of alcohol, mix and tabasco, then the last of the mix -- then straight vodka and celery stalk alone at last..


30: INT. GEORGE'S APARTMENT - NIGHT
He is looped. It helps his, perspective...He is even able to go for another round with his phone.

he hangs up. stillness then the phone rings. he does a broad, things are looking up take then answers.

31: INT. ANNIE'S APT/INT. GEORGE'S APT: INTERCUT - NIGHT
Annie is wearing jammies.

he lights up every time he sees you.
they have a small, self-conscious laugh together..hers marked by abiding affection which leads quickly to a misstep.
she starts to cry.
he hangs up..now too drunk to be scared he does something approximating thinking....then goes to "calls dialed" on his cell..find's lisa's name and hits the button. we hear her answer.

32: INT. BUS/INT. GEORGE'S APARTMENT: INTERCUT - NIGHT
Lisa on her phone on the way home. She is wearing one of Matty's sweat shirts. The following is INTERCUT.

he hangs up, leaving lisa to react.

33: INT. LISA'S APT. - MORNING
She is fast asleep on her pull-out sofa as she is awakened by a phone ringing in the b.g...She has slept so fitfully that it takes her a bit of time to free herself from the sheets and blankets; which she does with great energy..by the time she gets to her cell phone, which is attached to its charger, it has stopped...She looks at the name of the person who has called, "Sally." She clenches..She goes to her computer and starts it...under her e-mail is an unopened correspondence from "The United States Softball Federation....Subject: U.S.A NATIONAL TEAM ROSTER." She goes for the moment of clicking it open, almost as a weight lifter summoning all strength for the lift..but, at the last minute, foreboding stops her cold
and she doesn't hit the key. The phone rings again..in retreat from the decisive event of her life she exits to:


34: INT. BATHROOM - MORNING
She takes a toothbrush and starts to cry so suddenly that it comes as a shock to her...she begins to vigorously brush her teeth, all the while the phone ringing in the bg..stopping and ringing again..a great many people are calling her. She looks in the mirror giving herself a ferocious, get a grip, look. She exhales with power and reenters the living room.


35: INT. LIVING ROOM - MORNING
She sits down and writes a note to herself. It steadies her.
She picks up the phone. Scrolls past the names of the teammates who have called her...She shuts off her phone --
and with enormous suddenness hits the computer key and engages the document and whatever it states..
lISA AND THE ROSTER
It takes considerably longer to catch on when your name isn't there than when it is..And her's is nowhere to be found. Her gaze pauses over the name Cam Austin, 2nd base. There is no way to exaggerate the scale and heft of this trauma. Even the word "rape" is no exaggeration - a sudden and perverted intimacy with the core of your identity. So the moment is odd... out of body..She goes to the phone..hits a speed dial.

and so she looks at the list again. she is starting to feel the upset of it all
she throws the phone suddenly and violently across the room where it shatters something.. a beat..she walks over and picks up the phone.

36: EXT. GEORGE'S OFFICE BUILDING - DAY
About to enter. His father intercepts him.


37: INT. GEORGE'S OFFICE BUILD. - OUTSIDE GEORGE'S OFFICE - DAVID
CLOSE ON DOOR LOCk
As a locksmith punches it out leaving a neat hole and takes out the new lock he is about to install. George looks on with four security officers and Ron, the company lawyer.

george, standing with a large cardboard box, looks over his desk for anything fitting the lawyer's description. finally he takes from atop his desk a bartender's guide, a zagat's guide and a can of play doh.
george takes this in and exits to the outer offices.

38: INT. GEORGE'S OFFICE BLDG. - OUTER OFFICES - DAY
Annie sits at the first desk -- but the outer office is a large one with many desks stretching out as far as we can see. Annie takes one look at George and stands at her desk where she calls out.

absolute silence..finally annie stares down one very young intern so that he says, "hooray" faintly and with great uncertainty..

39: INT. LISA'S APT. BLDG. - STAIRWELL - DAY
As Sally walks the stairs to a distant sound which becomes clear as women crying..As Sally opens the door.


40: INT. LISA'S APARTMENT - DAY
SALLY'S POv
Lisa surrounded by teammates who are stricken in her behalf. Very much like a funeral with weeping of all sorts as Sally works her way to Lisa, who is gamely trying to improve the atmosphere.

she spots sally and gestures her helplessness.
they hug.
a particularly emotional power hitter grabs lisa.
particularly emotional girl we're not a team without you and everyone knows it. he just wanted
cam because she plays for his school..we should protest and i don't care that it wouldn't do any good..a futile act which may do nothing but destroy all our careers could be just the thing we need to bring us together.
lisa disengages herself and immediately sees... lisa's pov
three of her teammates on the sofa looking at her with extremely intense empathy.
there is a knock at the door...someone nearby opens it...an exquisitely beautiful female athlete of 18 enters. there is an immediate effect...the room stills creating the aura of hostility..lisa, however, feels differently.
one girl on the sofa turns to her seatmate.
back to lisa and cam. still hushed intimacies..
reluctantly and half heartedly others join the chant, gathering steam, making cam feel more welcomed than outcast..lisa has stepped back and finds herself next to sally.
lisa puts her arm around the older woman..
everyone is bemused..lisa has grabbed her purse...does some trick with her clothes to look more datey. and then, out of respect for her teammates, she stops working so hard at false energy and faces them for an open moment.
but the need to go out like a champion is complex...so she says some words (albeit broadly) joking the heaviness of the absolute key fact..
various teammates ad lib similar sentiments...including riva, (the girl who fixed lisa up.)
though some chorus "okay, lisa" granting her the light moment..there are other ad libbed words of earnest and serious support.

41: EXT. GEORGE'S APT. BUILDING - DAY
George exits..dressed differently for the evening. As he starts down the street he is stopped by:

he moves to his son's side.
george is having a hard time breathing though he is working to conceal that fact more from himself than others.
george continues to drift in the direction he was heading...his father following.
george is backing up pretty quickly now.
but george has broken into a run...pretty good one too..
as he breaks into a walk..smooths himself..looks around self-consciously to other pedestrians..they clearly see him as weird. maybe they're right.

42: EXT. WIDE SHOT - OTHER CITY STREET - LISA
She is heading, as well, toward the rendezvous..She looks especially pretty...the stride powerful, graceful...the face soft..CAMERA BEGINS TO MOVE TO..
Now following Lisa from behind..and, after a beat, we begin to notice people looking at Lisa before the camera moves past them..and now as she turns toward us to cross the street..we see that some tears are flowing down her face..then her jaw sets with resolve..she flicks the tears away..and continues..


43: INT. RESTAURANT - DAY
Lisa enters and approaches the Maitre'd

he points to the restaurant floor below. their pov - elevated shot
george slumped at a table his head in both hands in abject worry.
the maitre'd starts off to lead her to the table..she makes a gesture to stop him, not sure she wants to go through with the evening...then the maitre'd turns toward her, leaving no choice. she crosses to the table.
he stands up.
small thing: he takes half a step to help her with her chair and she is already in it.
his head goes into his hand again.
he gestures for the waiter.
she picks up the menu.
she doesn't know what he's talking about.
george pretty great.
he starts to vigorously rub his forehead.
even that small thought about her athletic life gives her a flash of the creeps. she takes a quick cleansing breath.
he takes this in for a beat then:
george indicates he's kidding, she smiles back half¬heartedly.
he laughs..for a few seconds anyway he has enjoyed life.

44: INT. RESTAURANT - DAY
SMALL MONTAGe..
The two of them silently eating..every once in a while catching each other's awareness and making a gesture to disengage that contact with a smile or little wave. But make no mistake, even though one person is eating while the other falls in love...there is no flirtation or charming subtext going on. There is no subtext when two people are in this kind of trouble, so Lisa's rules suit them both for this hour of their lives..hell, it may even be some solution to dating in general, where someone warms your space while you are knee deep in your own troubled thoughts; it may be some flawed kin of early intimacy, though Lisa becomes so lost in her own thoughts that she almost forgets George is there.


45: EXT. RESTAURANT - TWILIGHT (REMEMBER THEY ATE EARLY)
They each take a breath about to go back to their lives.

little nods. she pats his arm or some such and walks off. he digs hands in pockets and walks in the other direction.

46: EXT. STREET - NIGHT - GEORGE WALKING
Passing a really good hotel George makes a sudden decision and enters.


47: INT. HOTEL LOBBY - NIGHT
George moves to a lobby sofa and hits a button on his phone.


48: EXT. MATTY'S APARTMENT BLDG. - NIGHT
Charles, well dressed, is leaving the building. The same doorman greets him. We thereby know Charles and Matty live in the same apartment building.

they stand curbside as charles' cell phone rings. he answers.

49: INT. LUXURY LOBBY - NIGHT


50: EXT.MATTY&CHARLES APT BLDG/INT.LUXURY LOBBY:INTERCUT-NIGHT

the doorman is puzzled...usually his spot is in front of the door...but he moves off. the coast is clear.
charles is taken aback.

51: INT. LISA'S APT. BLDG. - STAIRWELL - NIGHT
As Lisa decides there will be no stair hopping tonight. She moves slowly up the stairs to her apartment..then catches herself wearing her oppression physically and picks up the pace a bit.


52: INT. LISA'S APARTMENT - NIGHT
She arrives at her door and opens it. Sally looks up..Then Lisa spots something which alarms all her senses.
On the computer table is a bouquet of flowers and 20 little handwritten notes stuck to the side of the table..little drawings on some of them, some in color.


53: INT. MATTY'S APT. FRONT DOOR - CLOSE ON MATTY - NIGHT
He is scrolling through some text messages. There is an urgent knock at the door.

he realizes it's her and quickly opens the door.

54: INT. LARGE OFFICE BUILDING - DAY
To show George and his dad walking past a massive directory --
ALL law offices. Something a bit surreal in this shot.. indicating George has entered a process.


55: INT. LAW OFFICE RECEPTION ROOM - DAY
A tall grey haired man, TOWER ENDMAN, enters with his hand extended..very expensive suit.

charles starts to get up. george is thrown..the other two walk several paces away so that george has to raise his voice to be heard.
tower nods. charles nonplussed as the other two move off.

56: INT. LAW OFFICE - TOWER'S OFFICE - DAY
Pictures of Tower with Presidents, etc...

tower doesn't notice as he rolls along.
tower, though uncomfortable losing absolute control, nods.

57: INT. LAW OFFICE - WAITING ROOM - DAY
His father caught off guard at how quickly George has arrived. As they walk to the elevator bank.

the elevator arrives.

58: INT. LAW OFFICE - ELEVATOR - DAY
There are seven or so men and women on board all evidently lawyers.

this stops all the laywer's conversation.
the door opens and george and the lawyer each step out..leaving charles inside. the doors close.

59: INT. LAW OFFICE - DYLAN LAURIE'S OFFICE - DAY
This is the law office of DYLAN LAURIE (the older lawyer.) Dylan is Irish... Juries and people in general love him.

george treats his answer to the obvious unstated question as if it were an oath uttered to saint peter.
this is a blow..though george attempts to cover it.
they look at each other for many beats..finally...

60: EXT. RUNNING AREA - NATIONAL MALL - DAY
Lisa and Riva racing..with two other girls..Lisa wins by a discernible gap..Riva second..the win, though, has taken it's toll on Lisa...she is breathing heavily....she is furious about something but cannot speak yet...she glares at Riva.

lisa actually advances pugnaciously on riva while the others
the others seek to cool things..ie.."hey, guys..come on..nothing's wrong.."
a helpless gesture as she begins to walk away..the others have seen her only as a champion of great class; so they find her confession heart breaking..they go after her..she tries to wave them off but they hang in..embracing lisa as they walk away from camera.

61: EXT. PARTY TERRACE - DRIZZLY NIGHT
Lisa, dressed for a night out, stands alone, underneath an awning steadily beating with rain, as a large party takes place inside. She looks sad, isolated and introspective..all brand new elements in her life. Behind her we see...
There are about 15 of Matty's teammates here with their gals and would be gals; all of the players making well over a million dollars a year. Matty is on the food line. The player next to him has his hand underneath his girl's shirt and is rubbing her breast. She is turned on and rubs his crotch some. Impressively they manage to continue loading their plates.
Matty considers this poor manners. He catches Lisa's eye as she turns his way and forces the player to stop groping the girl. The indignant player puts his hand back on her breast. Matty takes it away and gestures toward Lisa. The girl now puts the hand back on her breast. Matty accepts defeat.


62: EXT. PARTY TERRACE - NIGHT
As Matty, bearing two plates, joins Lisa.

he gestures she should go ahead. she does..first time she's said it and it doesn't feel good.

63: EXT. STREET - RAINY NIGHT
As Matty and Lisa walk under a huge umbrella..well, not quite under because Matty is trying to hold the umbrella to shelter the massive plate of food he holds -- Lisa yanks the umbrella to shelter her..Matty realizes..makes the tough decision and tosses the meal.


64: INT. MATTY'S APARTMENT - NIGHT
As he finishes stacking some firewood and then presses a hand remote control which lights the gas starter underneath.

his strange remark snaps lisa out of it...
he stares at her - wondering whether she's messing with him and then decides to let it slide.
lisa makes a gesture of appealing to the heavens for help.
lisa looks up with a jolt..shocked.

65: INT. GEORGE'S NEW SECOND FLOOR APT - NIGHT
This is a humble abode..very small one bedroom where George is surrounded by boxes filled with copies of all documents subpoenaed by the government.. just a few key pieces of furniture. On some built in book shelves are his possessions: sheets, towels, some silverware and glasses..The place does have one real feature.. overly large windows which give us a small view of a low middle income neighborhood.. George has his laptop open working on evidentiary spread sheets.
As anxiety grips him. He scratches at himself..gets up..the key is to keep moving but where and for what? He eyes packed liquor bottles on the floor.. actually goes to the frig for a celery stalk..but he stops himself with a suddenly powerful voice.

he reluctantly heeds the voice from nowhere and not drink. he bites on the celery stalk. there is a knock on the door..
he opens the door to annie. she is carrying some wrapped homemade food. as she walks toward the kitchen.
she has put her packages on the counter and now goes to the outer hall to pick up a few more packages. on his reaction:
he's stunned. the thought had never occurred to him..but he has something of a strategy and he's sticking to it.
she marches over to his refrigerator and begins loading the stuff in..then she turns...her demeanor changing.
george goes out of body   almost jumping across the room -¬this is a visceral, instinctive, reflexive, urgent action to save what he holds dear.
he puts his hand on the doorknob. he wins.
he walks back to her..starts helping load the refrigerator..

66: EXT. BULLPEN - DAY
We see Matty on the bench...a game in progress on the other side of the bullpen gate. The bullpen coach is focused on a relief pitcher warming up...on the bench with Matty, who is deep in thought, is a cute Japanese pitcher, TORI, and a
pitcher in his 30's - DOUG. Tori is eyeing the bullpen coach and the girls in the stands alternately...he points to one very pretty girl..and gestures to Dou4..the girl looks over..Tori makes eyes at the girl who smiles. He makes a hand gesture indicating she should phone him..she is confused...how could she know the number? He looks over -¬acting involved in the warm up as the coach looks his way..and then, the coast clear again, reaches under a towel.
There is a long printout of his phone number again and again on a perforated sheet and a sling shot..he tears off one of the numbers..balls it, loads it and shoots it at the girl -¬it goes down her blouse. Doug reacts to the shot.

they take this in. then:

67: INT. LISA'S APARTMENT - DAY
Lisa is on the phone..

she picks up a big piece of cardboard which she has color coded. it is titled "to call before team leaves." there are close to 40 names..in columns with boxes marked. each name has a thought of what to say. riva is the last name. this is not a good moment....her phone rings.

68: INT. NATIONALS TRAINING ROOM - DAY
Matty going upstream in the pool treadmill..


69: INT. LISA'S APARTMENT - FOUR DAYS LATER

lisa is raw, passionate and emotional..game face extremis. she actually pounds at herself during the following:
sally remains enormously worried.
lisa suddenly pauses. she has suffered some sort of emotional hiccup; losing her full head of steam to a sudden and surging vulnerability.
sally moves quickly to embrace her.
lisa takes this as an endorsement. she is moved and relieved.
but, as they break the coach looks around.
lisa feeling defensive, begins to lift her five pieces of luggage..she points at sally as she quotes her.
lisa gathers her many cases, opens the door, shifts the cases to the hallway and stands there. she is pugnacious in an attempt to conceal her own insecurities from herself.
it's her exit line but she can't help adding a p.s.
she closes the door.

70: INT. MATTY'S APARTMENT - DAY
As Lisa is embracing Matty.

he then, over her shoulder, eyes the five bags. they break and she picks up some of the bags and exits to...

71: INT. MATTY'S APARTMENT - WALK IN CLOSET - DAY
As they stare at the one small drawer he has cleared for her.


72: EXT. STREET - DAY - THREE WEEKS LATER
George walking. His cell phone buzzes.

and now we see our familiar doorman in the immediate background.

73: EXT. MATTY & CHARLES' APARTMENT BUILDING - DAY


74: INT. MATTY AND CHARLES' APT. BLDG. - ELEVATOR - DAY
George enters..and stands there..a beat and Lisa is carrying several bags of groceries. George is and doesn't see her. She leans forward...then:

george looks up to see literally the girl of his dreams.

75: INT. MATTY'S APARTMENT - DAY
As George helps her carry in the bags of groceries.. She takes them and walks off-screen into the kitchen. He is so
stunned to have run into her that he doesn't note the surroundings or respond to verbal stimuli.

she appears wearing a quizzical expression. he tries smiling. it comes off a bit weird.
the door opens and matty enters.
george takes in the news. and damned if some protestant gene pool doesn't have him treat the moment with some class.
lisa heads for the bedroom and summons matty to follow.
he gives george a territorial look and then follows her. on george
as he overhears the brief conversation in the kitchen.

76: INT. MATTY'S APT. - BEDROOM - DAY
Where Lisa and Matty maneuver on the precipice of fatal disagreement. Lisa forthright, Matty, a veteran of skirmishes with women who feel wronged, doing the dance.

lisa did not see this coming. it takes the wind out of her. they look at each other for several beats..as the moment sinks in.
she opens the closet door where we see she has been living out of her suitcases..she empties her one small drawer.
she moves past him...

77: INT. MATTY'S APT. - LIVING ROOM - DAY
As she moves past George..

he opens it.. she moves past george briefly leaving matty and george alone together.
george nods and exits the apartment.

78: INT. MATTY'S APARTMENT BLDG. - HALLWAY - DAY
As George sees he missed the elevator and takes to the stairs full speed.


79: EXT. MATTY'S APARTMENT BUILDING - DAY
As the doorman holds the door open for Lisa who is quickly followed by George.
ON LISA.. At a loss..dazed

she takes out her cell phone..it beeps "low battery." her back to the wall of life, lisa suddenly turns to george.
he lifts some of her bags..
as they begin to walk off, the apartment's intercom phone
rings and the doorman steps inside to answer it as we overhear a last word from george.

80: INT./EXT. MATTY'S APT. - VESTIBULE - DAY

he puts the phone down and scurries back to the street..he sees george is carrying the luggage. george catches the doorman's eye and breaks into a grin,then turns back to lisa to indicate the bus stop.. they stand at the bus stop not 10 yards away from the doorman.
he goes back to the phone and picks it up.
he hangs up and looks on as the bus arrives.

81: INT. GEORGE'S SECOND APT. - DAY
As they enter. Lisa digs in one of her bags to find her charger, looks around then goes directly to an outlet to plug in her phone. As she looks at the phone...

he opens the refrigerator where we see some 30 containers
showing great home made ziti, chicken pot pie..puddings..
george's cell vibrates. he reads "dad" then turns it off..

82: INT. GEORGE'S SECOND APT. - SMALL KITCHEN AREA - DAY
As he sets the oven and Lisa enters...

she goes past him and grabs some silverware and paper napkins..it feels "datey" to him..yup, "flying start." then her phone rings, she crosses to where it lies on the floor, unplugs it, checks whose calling, brightens despite herself and answers.
there is a low battery beep. she looks down.
in the background george reacts to "you're going to lose me" with a small fun "take" to himself. his mood has lightened for the first time in months. meanwhile, lisa's phone goes dead. she stares at it.
a pause and then reluctantly she turns off the phone.
he stops.
george is "up"... uncensored words spill out.
he exits the apartment. now alone, lisa sinks rapidly.. briefly forlorn..in mid-fall she attempts to summon her will..she paces actively then she goes to the window.

83: EXT. GEORGE'S SECOND APT BLDG-GEORGE MOVES TOWARD CAMERA
As he enters the door of his building, flushed, we see a cab pull curbside in the background. The person in the back of
the cab calls to him. He turns to see Annie paying the driver. He reacts viscerally.


84: INT. MATTY'S APT. DAY/NIGHT..MONTAGE
He is no longer a stranger to sadness. Some latent abandonment issue has hit like an unexploded bomb from a past war...we see him sliding into increased anxiety and sadness through the eyes of those who serve him.
SHOT. A Mexican maid sees him acting out over another unanswered call to Lisa as she irons one of his expensive shirts on a pro pressing machine.
Shot. The man working with the terrace plants looks up from his crouch and see a forlorn Matty hit his head against the inside of the glass terrace door right above him, unmindful of the gardener's presence.
Shot. Matty standing still..another man in the shot..he is concerned for Matty..we then reveal that the man is from Major League Baseball when Matty hands him a urine sample and
he take it and gives Matty's back an encouraging rub.


85: INT. GEORGE'S SECOND APT. - LISA AND GEORGE - NIGHT
Lisa sits comfortably on the floor, leaning back against a bed pillow. She has two empty Guinness bottles alongside her but is now drinking, as is George, from a pitcher of a unique vodka based drink which features red grapes. George sits in a low slung canvas chair. Lisa crunches on her drink. Nobody is bad drunk here...rather just right..speech is clear -- maybe imperceptibly slow...it could pass for thoughtfulness..

george had hopes for his beau geste. lisa simply stares at
him. this pattern continues throughout the following.

86: INT. GEORGE'S SECOND APT. MINUTES LATER
Lisa has been talking for some time.

she cracks up..he enjoys the joke and is playfull in return.
lisa gets up and stands next to him, propelled by a thought.
lisa is touched. there's something sweet about earnestness that simple. she puts a hand on his face. her phone rings. she makes a helpless gesture and answers it.

87: INT. MATTY'S APT/INT. GEORGE'S SECOND APT: INTERCUT-NIGHT

lisa laughs. george, in the background, reacts appropriately. other angle on matty
showing that he holds a piece of paper which reads: "i went nuts when you left. i broke a lamp."
she hangs up.

88: EXT. GEORGE'S SECOND APT. BUILDING - NIGHT
As he signals for a cab. She feels bad for him.

he has hailed a cab. he thinks - then turns to her.
the cab pulls away. george, with some effort, decides not to watch it move off in the distance. he turns and heads home.

89: INT. OFFICE WITH CUBBIES - DAY
We are in a large room with cubbies filled with men and women primarily in their 20's. We do not know what we are doing here.


90: INT. OFFICE - CUBBY - DAY
Where a young attractive (though chunky) man works at his
computer. He is about to finish a bit of work when an attractive female intern (whom he secretly pines for) comes in and gives him a take-out lunch. She leaves without taking any notice of him. He looks at his sandwich. Shit..they put mayo on his sandwich. It is really annoying. He leaves frame. Comes back with a kleenex and tries to wipe the mayo off the bread. It is not a good decision..pieces of tissue cling to the bread. He reacts with some good humor to having done something moronic and leaves frame for a second and now comes back with a paper towel..he wipes the bread and it falls apart..He throws that slice of bread away and takes a messy bite of the remaining sandwich..the mayo tastes pretty good. Back to work. He hits his print key while wiping at his mouth..THE CAMERA FOLLOWS A CORD FROM HIS COMPUTER TO A PRINTER SITTING ON THE FLOOR.
As out comes a UNITED STATES GOVERNMENT CRIMINAL COMPLAINT: THE UNITED STATES GOVERNMENT VS GEORGE MADISON.


91: INT. MATTY'S APARTMENT - TERRACE - NIGHT
Another party...lap sitting..beer..long wooden tables on the terrace where men with very good hand eye are smashing hard shelled crabs which are on brown paper..very pretty dresses are getting splattered with each swing, so it becomes a repeated chain reaction.. slam, crab juice splatter, dismayed squeal from a girl...Tori, the Japanese pitcher who tossed his phone number into the stands, is in the company of the girl whose bodice received it..He is very nice..noting the splattered dress on his girl, he covers her with a bib..She rewards him with a kiss. Tori loves his crab meat. He tosses a question to a strolling Matty.

he indicates upper arm muscles.

92: INT. MATTY'S APARTMENT - NIGHT
Matty moves inside and sees Lisa on the sofa - next to a couple necking in good taste. She is about to get up and move on when she spies the corner of a sport magazine...She grabs it..instantly in a bit of a state.. Matty arrives.

she flips to show him the cover..a headline reading "beauty and the budget." and the visual is an arrestingly subtle but brilliantly sexual photo of cam, the girl who replaced lisa on the roster, wearing her usa uniform with tags hanging from every garment detailing what amount corporate sponsors had ponied up to be part of u.s.a. softball. a tag line streamer reads.."if you shake it they will come."
she gets up.
she touches his arm, as in no hard feelings, then moves past him to pick up her cell phone from a hall table.

93: INT. MATTY'S APT. - BEDROOM - NIGHT
As Lisa enters and sees a male guest sitting on the bed, seriously pitching a girl who is crying. She exits.


94: EXT. MATTY'S APT. - LARGE TERRACE - NIGHT
As she finds a lonely windblown corner. She holds her phone..considers..locates a number..


95: EXT. CITY STREET/RESTAURANT - NIGHT
As George stands outside an ELEGANT BAR, partially in the shadows as he looks through the window at his father, who drinks at a table for two.


96: INT. ELEGANT RESTAURANT BAR - NIGHT
Charles looks at his watch (one of the great watches) impatiently and reacts angrily. He takes out his cell phone and barks a command.

as it clicks into a ring.

97: EXT. ELEGANT RESTAURANT BAR- NIGHT
George is just about to suck up the spirit to join his father when his phone rings. He sees it is his father.

a call waiting tone and he looks at the face of his phone which says, "lisa."
he hangs up. and hits another button.

98: EXT. ELEGANT RESTAURANT BAR - WIDE SHOT
As George turns away from the restaurant to continue the conversation while, in the background, his seriously miffed father places a bill down and exits the restaurant and, as he takes a few steps, looks as if he will bump into George but then turns to his parked car.


99: EXT.MATTY'S APT TERRACE/EXT.ELEGNT REST BAR:INTERCUT-NIGH
Lisa is into her conversation with George. She is also shivering a bit from the night wind.

there is a gust of wind and she audibly shivers.

100: EXT. NICELY LIGHTED BUS STOP - NIGHT
As George ponders the variables present in Lisa's question and considers the best advice.
Revealing that George's location is just a short distance from Matty's terrace as is made clear by something architecturally distinctive.


101: EXT. MATTY'S APT/EXT. ELEGANT REST. BAR:INTERCUT - NIGHT
Agitated, as she paces in place, not knowing whether it's good or bad for George to be taking time like this. Matty strolls over.

she listens as matty monitors.
as he watches her hold one ear closed so she can listen hard to george. matty is about to say something but lisa straining to catch george's words holds up her hand to stop him.
she clicks off..and looks to matty to say his piece. she is ready for a skirmish. but matty fakes her out and goes high road.
he puts his beautiful tan cashmere jacket on her shoulders. as they walk back to the party-goers, we notice in the deep shadows of the terrace, where lisa was just standing, a couple romantically engaged in active foreplay.

102: EXT. STREET - CAFE - DAY
Annie and George sitting at a cafe of some sort.

george is silent.

103: EXT. MATTY AND CHARLES' APARTMENT BUILDING - NIGHT
As George approaches. He looks perhaps more troubled than we have seen him.

as he dials the house phone george fidgets.
the doorman nods and george enters.

104: INT. MATTY AND CHARLES' APT. - ELEVATOR - NIGHT
George combatting some enormous tension.


105: INT. MATTY AND CHARLES' APT. BLDG. - HALLWAY - NIGHT
As he knocks on his father's door.. . A housekeeper opens it
and, having been told to leave when George gets there, carries her things with her so what follows between father and son will take place in privacy.


106: INT. CHARLES' APARTMENT - NIGHT
As he enters George takes a quick and enormous breath. He is vibrant with conflicting emotions which makes even his first word difficult to utter...

charles has a drink in his hand. he is glad to see him.
they are now looking at each other. charles slowly enunciating his words...
charles half laughs. george is focused, forceful, wound tight so as not to shake.
his father takes some stock as he sits down. they are now quite close.
george lifts his father to his feet..and shakes him..charles in trying to free himself actually slaps his son who doesn't even feel it. he pushes his father away and heads for the door. his father calls out his concession.
george makes a sound.
charles voice cracks..he is about to cry.. a fact which is more than george can take. he wigs out   moving his face close to his father as he speaks with loud urgency.
george is breathing a bit heavily never having come close to talking to his father like this. charles wipes his eyes and meets his son's gaze and gives him some fatherly advice that is delivered with strange calm and intimacy.

107: INT. MATTY'S APARTMENT - NIGHT
Matty is working his phone with a pleasant frenzy. His bags packed and standing. He is about to leave for a road trip. Lisa calls from the next room.

he smiles at a message he just received and taps out an answer.
he sends off his reply.
but matty is distracted as a tone signals a reply to his reply which makes him laugh a little so that, as he continues to read, he does not sense lisa's presence when she enters
to see him enjoying the text..
he immediately disengages the phone, his attitude very caught in the cookie jar.
lisa has had the wind knocked out of her. this goes
deep.. shivering legs, a flash of some prescient terror, the whole deal..she is briefly helpless to do anything but sort of hold herself and take stock. she is stunned by her own sense of internal devastation.
she takes a breath...her freshly oxygenated brain kicks in.
she nods   it is the furthest thing from her mind.
he cups her face..her eyes glisten..he means what he says next but, still, he is also consciously playing his "a" game.
he gives her a light kiss.
she shoves him toward the door.

108: INT. CHARLES APARTMENT - NIGHT
George is slumped in a cushy chair, virtually asleep.... Charles is on the phone in the next room.

he hangs up and enters. he nudges george.
charles is reluctant to continue.
george gestures that it is worth a shot.
george feels a sudden thrust of energy..
charles nods.

109: EXT. TRAINING FACILITY - DAY
A practice game has just finished..the U.S.A. beating a solid college team...one of the U.S.A.'s beefier players (who we know as PARTICULARLY EMOTIONAL GIRL) hits a home run and wins the game..some photographers shoves the home run hitter out of the way to take pictures of Cam, who was on base at the time...
A figure on a hill taking in the action. CLOSE ON LISA
Gnawing on her lip in anxiety. She is actually considering leaving before anyone sees her.
As the teams lines up to shake hands..Riva hurries through the line spots Lisa and dashes up the hill...at least half her teammates join her...including the home run hitter.
Even as she shouts an admonishment...

but, here come the hugs and oh, god she loves them   even as she experiences the rush of being with them, she is working her ass off to appear light-hearted. she puts her face close to the beefy girl.

110: EXT. FIELD AREA - DUSK
As Riva and Lisa sit on the grass together, having a beer. The vibe is clearly intimate. They look down on the well-lit playing field...

riva moves closer to put her arm around lisa, who immediately shifts away, waving it off, not feeling deserving of comforting. and then, instead, grabs her friends two hands in an attempt to give instead of take.

111: EXT. RAILROAD TRACKS - NIGHT
To see Lisa in a very underpopulated commuter train car. She simply must find surcease.


112: INT. GEORGE'S APT. - NIGHT
As he sits at his computer trying to write a letter. It is a warm night and his large window is open at his elbow. We move in on his computer..but just as we begin to read he hits the delete key sweeping away two paragraphs and leaving just, "Dear Dad." His phone rings. He mishits the phone as he answers.

even though he has yet to engage the phone he vaguely hears lisa.
he hits the right phone key.
puzzled now by having seemingly heard lisa's distant voice without benefit of a phone connection. he leans out his window.
lisa standing beneath his window..phone in hand. she is working real hard at being the casual, immediate, uncomplicated girl she was so recently. but in this time of distress it is just faux real folk.
she turns around and looks up at the window..he leans away from the window.

113: EXT. GEORGE'S APT. - NIGHT
20 minutes later as she kills time. She glances at her watch.


114: INT. GEORGE'S APT - NIGHT
There is a knock on the door...he opens it and Lisa enters.

he stands poised to do anything.
george quite suddenly clamps a hand over her mouth..she is surprised.. feels a little violated, in fact..the observant will note that she actually has made a fist.
as they appear over george's hand and she tries to make sense of the situation.
as they reflect understanding and gratitude just before he releases her...she takes a breath.. touches him lightly in gratitude and moves away to sit down. the phone rings.

115: INT. HOSPITAL - NIGHT
As George and Lisa sit in Annie's hospital room..Her parents are just leaving. Annie has a sleeping baby in her arms..and is trying to hostess the coming and going..

lisa is mystified. as they turn to wave to annie.
lisa is mystified.
they exit.
lisa is distracted by the size of the baby.
the phone rings.
george and lisa smile and start to go. lisa lingers for a second to peek at the baby..they turn and george turns to see his father enter the room. this chinatown moment is immediate and visceral  - george speaks in the hushed tone of the broken.
lisa glances up. george is on the verge of a seizure as charles is nudged out the room's doorway by a heavyset man carrying flowers and an old model video camera..his name is al.
al leans forward and hugs annie, kisses the baby on the head.
charles, having scored his point, looks around.
charles eyes her more closely and extends his hand.
lisa is mystified.
lisa is mystified.
charles exits. george is still coming down from what he briefly thought.
george concedes that he did with a look.
al and lisa exchange greetings. al is flushed with visceral pleasure. annie looks over at him...eye contact that contains the d.n.a. of all that is good and produces huge grins.
the moment of his life is upon him. he walks over to george and whispers as he hands him his video camera.
during this exchange lisa feels she is somehow violating their privacy and is trying to make her getaway but she can't get george's attention. nonetheless she decides to exit and walks to the door.
annie cheers as if at a ballgame.
annie blubbers. al is emotional. lisa is rapt. al hugs annie..lisa and george applaud as annie and al have a brief and intimate exchange.
annie gasps. al holds her in this, their quintessential moment. al looks at george and says through tear glazed eyes.
annie has missed this exchange due to being blissed out.
al is willing but there is a problem.
everyone is wiping tears away as they agree to try. al gets to his initial position when he said his piece. george, as deliberately as possible, pushes the record switch. what follows is very informal..some improvs called for; people talking on top of one another..this group exercise is marked by great spirit and enormous light heartedness..but still real dedication to the task at hand..recreating the proposal.
as he takes his highly self-conscious shot.
lisa comes in quickly.
annie's line grounds things. the laughter stops -the import and dignity return -
he stops recording. she holds her arms out and gives him a hug.
george nods..claps al on the back. lisa approaches annie and has to laugh even as she says the nuclear understatement.
they hug. annie laughs as well.
and that cracks them up because, like they say, "it's funny because it's true."
george is truly digging lisa. and now the awkwardness as they nod and exit.

116: INT. HOSPITAL CORRIDOR - NIGHT
The awful thing is the sharp change in their ethos. A second ago they seemed a couple..and now, that quickly, much like Double Digit so recently experienced, they are thrust from that warm, safe, womb like space into the awkward starkness of the real world. There is considerable culture shock as they walk toward the exit of the hospital self-consciously,
the space between them as they walk widening in small increments.


117: EXT. HOSPITAL - BUS STOP - NIGHT
As they exit - (some horrible but legit sign about health insurance regulations in the background.) It's a warm night, light breeze blowing, streetlights providing just the right light and each of them still looking for a proper punctuation to the recent experience. A small but persistent shyness has come into their atmosphere.

she is surprised that the word comes out with difficulty .. she is still a bit choked up. she laughs slightly and gives it another go. there is an unmistakable shyness.
and then, with such ill timing that they each take it in with a bit of horror, the bus turns the corner. lisa shrugs. and then, as she boards the bus, notes that george already has his back to her and is walking away. as the bus starts up.
so sullen at being cheated out of his moment with lisa that an outburst escapes him just as lisa, aboard the bus, passes unnoticed in the background.
as george continues to walk and sees that lisa has gotten off the bus at the next street. she jogs his way.
looking up the deserted street.
another bus appears...
she nods with a half smile   it was sort of clever. as they let it pass.
the bus stops near them. the driver steps out and lights a cigarette. the bus' sign shows a change of route
the driver tosses his cigarette and reboards the bus as lisa starts to follow him.
she leans over and gives him a kiss on the cheek.

118: INT. GEORGE'S APT. - NIGHT
As he enters propelled by the confusion flying away from his mind and spirit. One shouted word...

he goes to the table near the ever open window where we briefly see and read bits of the worksheets (reading reasons for and reasons against...the top line on one, "i don't want to go to jail." on the other, "i don't want my father to spend the rest of his life in jail.") he crumples the sheets, tosses them and speed dials his father who answers before one ring is finished.

119: INT. CHARLES'S APARTMENT - NIGHT


120: EXT. CHARLES AND MATTY'S APARTMENT BUILDING - NIGHT
UPBEAT MUSIC as George approaches...he has worked on his look..best suit, tie etc. He looks great. In front of the building, a card table has been set up manned by two of the ballplayers we have previously seen at the parties. They are in the process of very reluctantly denying admission to two gorgeous girls.

george enters in the background.

121: INT. CHARLES APARTMENT HALLWAY - NIGHT
George knocks on his father's door. Charles answers it.

and so they begin to file out...endlessly..maybe 20 of them..we don't wait for the last to appear.

122: INT. MATTY'S WALK IN CLOSET - NIGHT
We hear him telling Lisa, off-camera, how great her as he leads her toward us. He is carrying a some of the following speech is off-camera.

he goes to the tooth brush drawer and dumps them in the bag, he goes to the sweat outfit drawer and begins dumping them.
he sits her down in his "valet chair." the, kind with a mahogany wooden hanger, little wooden dish for cuff links, and little cane seat.
she eyes him   churning. there is a paper tiffany bag suddenly in evidence. this is clearly an important moment coming up..some flower strewn crossroads..she is gripped by a tightness which she hopes is excitement but might be terror. there seems to be only one course open to her and she takes it.

123: INT. CHARLES APARTMENT - HALLWAY - NIGHT
Charles sits and indicates the chair for George.

charles prepares to take some very rough medicine.
just the words kills him. robs him briefly of his exuberance.
george tries to think of his thought..and does.
and so he exits.

124: INT. MATTY'S APT. - WALK IN CLOSET - NIGHT
As Matty arranges a small Tiffany's paper bag on the floor near the valet chair. Lisa enters from the toilet. Matty indicates she should sit in the chair again. He picks up the small bag and waves it...then suddenly realizes the
impression he is giving; which might have screwed up everything which would make him a moron. He quickly blurts out a key fact to avoid crushing Lisa with disappointment.

she smooches him on the head, patching his ego leak. now she sits.
he bows more like a curtsey. it is sweet. she is touched. matty takes a breath; scaling a great mountain with great uncertainty as to the purpose. he takes out a box and hands it to her..she starts to unwrap it carefully.
he actually starts to rip at it..she joins him in a shared light moment and looks inside.
she now removes an eleven thousand dollar watch circled in diamonds.
lisa looks on the back of the watch.
matty looks disappointed.
matty grins..suddenly george sticks his head in the door. he sees them.
he ducks out.
he hugs her.

125: INT. MATTY'S LILTING ROOM - NIGHT
All the ball players crowded in as a man with a jump suit and a JET HELICOPTER LOGO on his back carries in two large crates of live lobster to the kitchen. He is moving with considerable speed..some of the ballplayers applaud.
ON GEORGE As he pauses on the outskirts of the gathering.. from his pocket he takes a small jar shaped gift wrapped box.
GEORGE'S POV As Lisa enters the room and starts to head over, then shrugs helplessly, as Matty intercepts her to show off her new watch.. There are SEVERAL REACTION SHOTS from the players and their women to the watch. George moves to the terrace where a buffet line has already formed for the LOBSTER..
ON LISA Her arm extended showing her watch while her head cranes looking for George.

as they start for the terrace, matty is waylaid by tori (the japanese pitcher.) he is with the girl whose bodice caught his note. she clearly loves the guy.
on lisa as george comes up behind her and forcefully moves her out to the terrace....

126: EXT. MATTY'S APT. - TERRACE - NIGHT

he hands her the package. she sits at a small metal outdoor
table. she opens it elaborately and slowly. he waits patiently. somehow she becomes aware of a strange rush of
appreciation for this small fact - that briefly though enormously touches her. she stops unwrapping to look at him and unconsciously say a mouthful.
george reacts to the screaming subtext as, finally, she sees the gift. and whatever petals of hers were just opening slam shut. she is puzzled. his stock has clearly fallen.
we now see the gift. it is the can of play-doh george took from his office. we will also have seen it in the background of a few shots in his apartment.
she is skeptical - he starts selling hard.
perhaps the world's first look of a woman's wrist circled by a diamond watch while her hand holds a can of play-doh.
she exits. george watches her go. so does matty who now approaches george.
one hour and fifty-one minutes ago it was swimming in the ocean.
before george can answer...the bullpen guys approach..doug (the man of few words), ryan (who caused matty to realize that he was in love) and tori who we have just seen with his gal.
matty ad libs intros to "lisa's friend, george."
lisa approaches. matty, a little pugnaciously, seeks to put george on the spot.
he concentrates. it is a weirdly long beat.
the players laugh. but george has a bead on the answer.
doug notes lisa's reaction to george.
he walks to lisa. she is staggered but hanging onto propriety. she tries to treat it lightly.
he leaves. on lisa she goes through the five stages of compliance..what are they again? amusement, confusion, awkwardness, resistance, decision. with decision she tugs at matty's sleeve to indicate she needs a moment of privacy with him. they walk to another area..matty with the airs of confidence...once they find their spot. before she can speak.
she puts the diamond watch on the valet chair tray..she looks at him...this parting not easy for either one..matty is trying to duck the unique pang which is enveloping him. with utter lack of conviction:
she is touched. she hugs him and exits.

127: EXT. APARTMENT BUILDING LOBBY/STREET - NIGHT
As Lisa exits the elevator and her steps quicken a bit. She sees the doorman...
As he looks down the street where George looks disconsolate.. The doorman blows his whistle. George looks up. He sees the doorman point and then Lisa is on the street; the doorman directing her toward George, who has lit up..Lisa moves toward him more somber..


128: EXT. ANGLE ON SMALL TERRACE - NIGHT
Charles stand there looking down.
CHARLES POV As he sees his son standing alone. Bummed. And then a beat, George turns and takes on a new energy. Lisa enters the frame moving toward him.
ON CHARLES As he reacts and then turns to enter his apartment to begin mounting his defense.


129: EXT. BUS STOP - NIGHT
LISA'S POV George wearing a grin more slap happy than romantic. Lisa more somber.

lisa nods..she is having a hard time taking in the beaming george..the bus arrives...

130: INT. BUS - NIGHT
Lisa and George sitting together..George continues to look at her but fails to make eye contact..Lisa steels peeks at him... not overjoyed by his seeming deliverance.

lisa reacts by burying her head in her hands and rubbing her hands through her hair.
she buries her face in her hands..
she looks at him directly for the first time.

131: EXT. GEORGE'S APT - NIGHT
As we look in from the street.
The windows open..Lisa at the refrigerator taking out some food. George leans over to help her. Lisa exits to the next room.
We see Lisa enter the living room and place plates on the table by the window; as George puts their dinner in the microwave in the adjoining kitchen window.
Lisa stands still and tall and thinks..she is, at this moment, the poster girl for "private moments." Her thought is as nervous making as it is insistent. She decides, after a long layoff from same, to trust her instincts. She exits frame.
George turns as she enters the kitchen. She kisses him.
