Welcome to “The Table Readers” webpage, we started a Clubhouse Room called the “The Table Readers” for fun. In that process we discovered how amazing this was, so we decided to make it a regular thing. So this is what we are going to do. Doing a regular table read will give us the opportunity to work on our script writing, audition skills, acting and cold reading. We will schedule auditions for our table read workouts. So if you are interested in participating please fill in the form, and we can send you more information about the program.
FADE IN:
EXT. STREET – DAY
Rush hour. Bustling with vehicles and pedestrian traffic.
FREEMAN EDWARDS, African American, 30, stands at a crosswalk. He’s dressed in an ill-fitting Brooks Brothers suit. Horn- rimmed glasses complete his look. Nerdy.
Freeman’s gaze is riveted on an attractive woman who stands at the crosswalk directly across from him.
The pedestrian light changes.
The woman steps off the curb, strides toward Freeman. Freeman stares at her, expectantly.
The woman approaches. She smiles. Freeman smiles.
The woman passes Freeman. Freeman frowns. He turns, watches her greet a tall, well built, handsome man. They embrace.
INT. FREEMAN EDWARDS APARTMENT – BEDROOM – DAY
Freeman’s eyes blast open. He bolts upright in bed. WALDO, his Welsh Terrier, watches from the foot of the bed.
FREEMAN
Aaaaaaaah!
INT. DOCTOR CATHERINE BROWN’S OFFICE – DAY
Freeman sits across from psychotherapist, DOCTOR CATHERINE BROWN, African American, 50, intense.
FREEMAN
Yeah, same dream.
DOCTOR BROWN
What do you think it means?
Long moment.
FREEMAN
I don’t know.
DOCTOR BROWN
What does it remind you of?
Long moment.
FREEMAN
Marla Watkins. Seventh grade.
2.
DOCTOR BROWN
Tell me about her.
FREEMAN
I was crazy about her. (pause)
She was crazy about jocks. I was a nerd. I felt…
Freeman pauses for a long moment.
DOCTOR BROWN
You felt…
FREEMAN
It doesn’t matter now.
DOCTOR BROWN
Because of Magdalena?
FREEMAN
Absolutely!
Freeman gives her a broad smile. EXT. STREET – DAY
Freeman approaches amorous couple on a park bench. He eyes them dreamily.
INT. FLORIST SHOP – DAY
Freeman hands several bills to a FLORIST, male, 25.
FREEMAN
A dozen red roses. Can you deliver by seven?
FLORIST
You got it, boss.
INT. PROFESSIONAL OFFICE BUILDING – HALLWAY – DAY
Freeman exits an elevator. He strides a short distance, opens a door on which is inscribed:
“MINDFULNESS CLINIC”
INT. MINDFULNESS CLINIC – COUNSELOR ENTRANCE – DAY
Freeman strolls in. He approaches two MALE THERAPISTS, 30s. They AD LIB good mornings. Freeman continues to his office.
He’s approached by LAURA GIVENS, 60, African American, and ANI ANDERSON, 28, bi-racial.
3.
Laura greets Freeman with a cheery smile.
LAURA
Good morning, Dr. Edwards.
FREEMAN
Ms. Givens, surprised to see you.
LAURA
I know, but I wanted to introduce you to Ani Anderson, the Clinic’s new receptionist.
ANI
(warm smile)
Good morning, Dr. Edwards.
Ani extends her hand. Freeman takes it.
FREEMAN
Good morning, Miss Anderson. Welcome.
Freeman turns to Laura.
FREEMAN
Good luck on your new job.
LAURA
Thank you.
(to Ani)) Ani, good luck.
Laura turns to Freeman, gives him a hug. She releases him. She wipes away tears.
LAURA
(to Freeman) Love you…
Laura exits.
Freeman turns to Ani
FREEMAN
I hope you’ll enjoy working with us.
ANI
I’m sure I will.
Freeman turns toward his office. Ani follows, reads messages.
ANI
Dr. Edwards, uhh… the Saltenstals canceled, Pearsons confirmed, and your sister called to remind you about dinner.
4.
Freeman stops. Ani hands him the messages. He takes them.
FREEMAN
Thank you.
Freeman continues to his office. INT. FREEMAN’S OFFICE – DAY
Freeman sits before PAUL and JOAN WILKERSON, 40s, upper middle class.
MRS. WILKERSON
I’d say our problems are relatively minor.
Mrs. Wilkerson takes her husband’s hand, gazes into his eyes. Mr. Wilkerson tries to pull his hand away. She wins.
Freeman studies the Wilkersons.
FREEMAN
Mr. and Mrs. Wilkerson, your relationship is undoubtedly a source of comfort and emotional sustenance.
Mrs. Wilkerson smiles at her husband. Mr. Wilkerson pulls his hand from his wife’s grasp.
FREEMAN (CONT’D)
But your unwillingness to express your love, to communicate your love, has created the chasm between you.
Freeman rises, stands over them, stretches his arms skyward.
FREEMAN (CONT’D)
(sermon-like)
You see, when the streams of communication no longer flow, a stagnant pool of hurt feelings and bitterness result, contaminating the spontaneous springs of love and relatedness…
The Wilkersons exchange uneasy looks.
FREEMAN (CONT’D)
(sermon-like)
…to prevent this, you must communicate your love, express your feelings, your concerns… utter those words that have special meaning for you, and the one you love.
5.
INT. MAGDALENA’S APARTMENT – BEDROOM – NIGHT
The rhythmic SQUEAKING and CREAKING of a bed BUMPING against a wall, and…
FREEMAN
OOOOOOOOh, baby! Ohhhhhhhh… baaaaaby! Ohhh, baby, baby, baby!
Freeman gyrates over Magdalena, 25, sexy, Freeman’s girlfriend.
FREEMAN (CONT’D)
Ohhhh, baby! Is it good to you baby, is it good?
Boredom is etched across Magdalena’s face. Her eyes are locked in a fixed gaze toward the ceiling.
MAGDALENA
(blasé)
It’s good, baby. It’s good.
FREEMAN
Ooooooh, baby! Ohhhhh, oh, oh, oh… you ready baby, you ready?
MAGDALENA
(blasé)
Oh, yeah… I’m ready.
Freeman’s hips move rabbit-like. SQUEAKS, CREAKS, and BUMPS are synchronized with his moans and groans.
FREEMAN
Ohhhhh, ohhh, ohh, oh, oh, oh…
MAGDALENA
Freeman, we need to talk.
FREEMAN
Oh, yeah! Talk to me, baby, talk to me!
MAGDALENA
Freeman! We need to talk!
Freeman freezes in mid-stroke.
FREEMAN
Now!? Now.
MAGDALENA
6.
Freeman rolls off Magdalena. Magdalena gets out of bed. She crosses to a chair and slips on a sheer night gown.
Freeman gets up, pulls on pajama bottoms. He sits on the edge of the bed.
Magdalena takes a deep breath, exhales.
MAGDALENA (CONT’D)
Freeman…
FREEMAN
Don’t! Don’t say it.
MAGDALENA
I’m sorry, but…
Freeman vaults to his feet.
FREEMAN
Don’t say it!
MAGDALENA
Freeman, I’m not feeling it.
FREEMAN
I told you not to say it.
Freeman paces. He turns to Magdalena.
FREEMAN (CONT’D)
There’s someone else!
MAGDALENA
No, there isn’t.
FREEMAN
Just tell me!
Magdalena rolls her eyes.
MAGDALENA
Men!
FREEMAN
Is it somebody I know?
MAGDALENA
Freeman, there’s nobody else, dammit!
FREEMAN
Tell me,
Magdalena is tried of it. She circles the room.
7.
MAGDALENA
What do you want me to say?
FREEMAN
How long have you known him?
MAGDALENA
Uhhh… a week, how about a week?
FREEMAN
I knew it!
Magdalena shakes her head. She lights up a cigarette, crosses to a window.
Moonlight filters through her sheer nightgown. It’s revealing, leaving nothing to Freeman’s imagination. His eyes pop. He can’t handle the sight.
Freeman runs to her. Magdalena moves away. Freeman follows.
FREEMAN
Oooooooh, baby, baby, please! If it’s just a week, you can’t really know him. Invite him over. We can both get to know him. We can go out, get sushi — you like sushi, or maybe Chinese, Mandarin, Szechwan…
MAGDALENA
You’re making this very difficult for me.
FREEMAN
You? What about me? Tomorrow, you’ll be with this… stranger, and I’ll
be alone… again.
MAGDALENA
Freeman, just leave.
FREEMAN
Leave? No way I’m leaving!
Magdalena glares at him.
INT. MAGDALENA’S APARTMENT BUILDING – HALLWAY – NIGHT
Freeman, in pajama bottoms, backs into the hallway. He clutches his clothes to his chest.
Magdalena comes to the door, fierce look on her face.
FREEMAN (CONT’D)
Okay, okay, I shouldn’t have said that. I hope you’re not angry.
8.
Freeman studies Magdalena, looks for an attitude change. There is none.
FREEMAN (CONT’D)
But if you are, remember, anybody can be angry. That’s easy. But to be angry in the right degree, for the right reason… that’s not so easy.
Magdalena smiles. Freeman brightens. She SLAMS the door. Beat.
The door opens. Freeman brightens. Red roses fly out, land on his head. Magdalena SLAMS the door.
INT. FREEMAN’S APARTMENT – BEDROOM – NIGHT
Freeman tosses and turns in bed, then bolts up.
FREEMAN
Mag-da-le-naaaaaaaaaaaa…
EXT. MAGDALENA’S APARTMENT BUILDING – DAY
Freeman watches the entrance. Magdalena exits. Freeman ducks into a doorway. Cloak and dagger. He follows her.
INT. BREAKFAST DINER – DAY
Crowded. Freeman enters. He scans the tables, spots Magdalena half-hidden behind a newspaper. He rushes to her.
Freeman sits.
FREEMAN
Good morning.
Magdalena lowers the newspaper. She glares at Freeman – if looks could kill.
FREEMAN (CONT’D)
Magdalena, I love you. I’m forever yours.
Magdalena continues to glare at Freeman.
FREEMAN (CONT’D)
I can’t lose you.
Magdalena continues to glare at Freeman.
FREEMAN (CONT’D)
I’ll do anything… just give me a chance.
9.
Magdalena smiles. Freeman smiles.
Magdalena picks up the bagel in her plate. She meticulously spreads the bagel with cream cheese.
Freeman looks on with a quizzical gaze.
Magdalena finishes the bagel. She gives it a satisfied look. She reaches across the table, pushes and twists the bagel onto Freeman nose. Freeman is stunned.
Magdalena wipes cream cheese from her fingers. She pushes out of her chair, exits.
Freeman, with the babel on his nose, takes imperceptible turns of his head, left, then right.
EVERYONE stares at him. Freeman smiles sheepishly. He pulls off the bagel, places it on a saucer.
He fakes nonchalance. He wipes cream cheese from his glasses, puts them back on. He takes a bite of the bagel. He sips coffee from Magdalena’s cup. He signals a waiter.
FREEMAN
Check please.
EXT. STREET – DAY
Freeman mad dashes through dense pedestrian traffic. At a glass and chrome door, he opens it, enters.
INT. INTERNATIONAL HEALTH CLUB – LOBBY – DAY
Freeman races to a FEMALE CLERK, 20s, at the reception desk.
FREEMAN
(to clerk)
Excuse me. Antonio Vaughn…
FEMALE CLERK
Somewhere on the floor.
INT. TRAINING ROOM – DAY
Freeman enters. Beautiful, well-designed bodies everywhere.
LEGGY BLONDE, 23, passes on his right. Freeman’s head swivels. His eyes follow her.
BUXOM BRUNETTE, 21, approaches him from his left. His head swivels toward her.
Striking AMAZON, 25, bumps into him, stares down at him.
10.
ANTONIO (O.S.)
What the fuck’s your out-of-shape ass doin’ up in here?
Freeman turns to ANTONIO VAUGHN, African American, 30, tall, athletic, in fashionable sweats. A cell phone at his waist and earbuds complete his look. Freeman’s best friend.
Antonio gives Freeman a hard look.
ANTONIO
What’s up with your specs?
Freeman pulls off his glasses, examines them. He pulls out an handkerchief, cleans off cream cheese.
FREEMAN
Antonio, I’m experiencing intense interpersonal conflict.
Antonio’s cell phone rings.
ANTONIO
Hold on my man, gotta take this. (into phone)
Hey, babe.
(pause) Of course.
(pause) You know I do.
Freeman paces. Antonio notices.
ANTONIO
(onto phone)
Look, doll. Gotta go.
Antonio disconnects the call.
ANTONIO
It’s a cliché. But I’ve gotta say it. You look like shit.
FREEMAN
It’s Magdalena.
Antonio screws up his face, shakes is head. Disgust.
FREEMAN (CONT’D)
You’ve got to talk to her.
ANTONIO
Semi-domestic arrangements have a life and death all their own. And when they’re dead, they’re dead.
Doc… rigor mortis has set in.
11.
FREEMAN
Always with the Latin.
ANTONIO
The ladies love it
FREEMAN
But it’s a dead language.
ANTONIO
Yeah, just like your relationship.
Antonio turns and strides across the floor.
Freeman watches Antonio get hugs and air-kisses from well- endowed women.
INT. MINDFULNESS CLINIC – COUNSELOR ENTRANCE – DAY
Freeman drags himself in. An indistinguishable RUMBLE can be heard in the b.g.
Ani gives him a very warm smile.
ANI
Hi.
Freeman turns to Ani.
FEEMAN
(re: noise) What’s that?
Ani gestures toward his office.
ANI
New patients. I had to put them in your office. Really disruptive.
INT. FREEMAN’S OFFICE – DAY
JOHNSON BLAKE, 40, thin, runty. He’s in a threatening stance over his wife, EDDIE SCOTT, 35, six-foot, stout.
JOHNSON
Stop whining and complaining or I’ll…
Freeman enters.
Johnson stops his harangue. He looks over to Freeman, sits.
Freeman sits across from them. He glances at Johnson, then at Eddie. A moment.
12.
FREEMAN
That’s much better. Seems we have
a lot of work to do. Now, who would like to begin?
Eddie starts to speak. He Looks over to Johnson.
Johnson gives Eddie a threatening look. He turns to Freeman.
JOHNSON
I’m Johnson, he’s Eddie. This was his idea.
Freeman turns to Eddie.
FREEMAN
So, Eddie, why —
JOHNSON
He says I don’t talk.
FREEMAN
Eddie…
JOHNSON
I talk all the time.
Freeman looks at Eddie.
EDDIE
He asks what’s for dinner, what time is dinner, what are we having for dinner. Like that.
JOHNSON
And what does he talk about? His feelings. How he feels about this, how he feels about that? Makes me want to throw up.
FREEMAN
Eddie’s attempting to communicate with you.
JOHNSON
Well, it would be fine with me if he didn’t communicate. Tired of that shit.
FREEMAN
(to Johnson)
When you don’t talk, what are you communicating?
JOHNSON
That I don’t want to talk.
13.
FREEMAN
And what do you think Eddie is trying to communicate to you?
Johnson looks at Eddie, studies him. He looks at Freeman.
JOHNSON
Damned if I know.
Eddie begins to sob. Johnson shakes his head.
JOHNSON (CONT’D)
Does that, too.
Eddie looks up and at Johnson. Wipes away tears. A long moment.
FREEMAN
Johnson, do you love Eddie?
JOHNSON
Of course. That’s why I’m here.
FREEMAN
Then accept him the way he is.
JOHNSON
I don’t like him the way he is.
FREEMAN
Johnson, Johnson. Eddie wants what everyone wants in a relationship, to feel loved, feel cared for, to —
JOHNSON
Damn! You too?
Johnson gives Eddie a look, then turns to Freeman
JOHNSON (CONT’D)
I’m gonna throw up.
Eddie bursts out sobbing. Johnson rolls his eyes INT. PROFESSIONAL BUILDING – COFFEE SHOP – DAY
Lunch crowd. Ani and two of her African American girlfriends, GRACE, 35, and CARLY, 30, sit at a corner table.
GRACE
How’s your new job?
ANI
I love it. Really nice people.
GRACE
I bet Randy’s happy. More money toward that wedding.
ANI
Yeah… I guess.
CARLY
How is Randy?
ANI
14.
He’s okay.
GRACE
He’s more than okay. He’s fine.
CARLY
(to Ani)
You getting close?
ANI
What do you mean?
CARLY
Clock’s ticking, girl.
GRACE
My Leon didn’t make me wait. I didn’t let him. Did I Carly?
CARLY
You sho’ didn’t.
ANI
Well, we’ve been talking.
Freeman enters. Looks over to Ani and her friends. He catches Ani’s eye. He nods and waves.
Ani smiles broadly. She waves back. Grace and Carly turn, gaze at Freeman, turn back to Ani.
CARLY
Who’s that?
ANI
A therapist at the Clinic. He’s nice.
GRACE
Got some smiles for him, don’t you?
Grace and Carly exchange looks and grins.
CARLY
Tick tock, tick tock…
15.
INT. JEWELRY STORE – DAY
Ani stands at a glass countertop. She stares at engagement rings arranged in ring cases. A SALES PERSON, 30, approaches.
SALES PERSON
Is there something I can show you?
Ani is startled. She looks up.
ANI
No, no, thank you.
Ani exits.
INT. ANI’S APARTMENT – LIVING ROOM – DAY
Ani and her handsome boyfriend RANDY MEADOWS, 36, sit on a sofa, a distance apart. They watch a movie on a flat screen.
Well, Ani’s watching. Randy is on his phone, scrolling, then texting. Ani looks over to him.
ANI
Randy…
RANDY
(not looking up) What?
ANI
Randy…
Randy looks up.
RANDY
(irritated) What!?
ANI
Have you given any thought to, you know —
RANDY
Why do you keep — I told you, I got things to figure out first.
ANI
But can’t we at least talk?
RANDY
What’s to talk about?
ANI
I just thought —
RANDY
I got no problem with getting married. Okay?
16.
But…
ANI
Randy goes back to his phone. Ani sighs, stares at him. INT. CARLY’S APARTMENT – KITCHEN – DAY
Ani and Carly sit over coffee.
ANI
Am I being silly?
CARLY
Hell no!
ANI
He does have a lot on his mind.
CARLY
I got a lot on my mind too, but I’m not an asshole.
ANI
But I love him, Carly.
CARLY
Know what’s better? To love a man who loves you.
EXT./INT. NELSON HOME – NIGHT
Freeman waits at the front door. FRANCINE NELSON, 40, Freeman’s sister, opens the door. She’s a wiry woman with a warm, genuine smile, and an attitude.
FRANCINE
Get in here. Wasn’t sure if you were coming.
Francine pulls Freeman inside. INT. FOYER – NIGHT
Francine gives him a bear hug. Freeman hates this, tries to pull away.
FRANCINE
How’s my baby brother?
FREEMAN
Francine!
17.
Francine releases him. She looks past him, toward the door.
FRANCINE
Where’s Magdalena?
INT. DINING ROOM – NIGHT
Freeman follows Francine in. ODELL NELSON, 45, robust, Freeman’s brother-in-law, looks up from his plate.
ODELL
Hey, Freeman. Sorry, had to start without you.
FRANCINE
(to Odell) Magdalena’s not coming.
Odell stabs a couple of pork chops, slaps them on his plate. He looks at Freeman.
ODELL (CONT’D)
She didn’t dump you, did she?
Francine shoots him a menacing glance.
FREEMAN
Of course not. She’s uhh… not feeling well.
Francine sits. Freeman sits across from her.
ODELL
Anything serious?
FREEMAN
No, no. She’ll be okay.
ODELL
Hope so. Wouldn’t want things to go, well… like the last time.
FRANCINE
Odell!
Francine gives Odell a pointed look.
FRANCINE (CONT’D)
You want more potatoes?
ODELL
No, baby, I’m fine.
FRANCINE
Take some potatoes!
18.
Francine shoves a bowl of mashed potatoes at him, gives him a threatening look.
Odell takes the bowl, ignores the look.
ODELL
Yeah, Monique. And then, that cute, uhh… Adriana. Had you freakin’ out!
Odell…
FRANCINE FREEMAN
I was merely overwrought.
ODELL
Overwrought. Interesting word. Sold a policy to a dude last month.
Yesterday, after his morning coffee… (gestures)
…swoosh. Twenty stories, non-stop. Splattered himself all over Wilshire. Know what his wife said? Said he was… merely overwrought.
Odell cracks up.
Odell!
FRANCINE
BENNIE, 14, the Nelson’s son, storms in, plops into a chair.
BENNIE
Sorry I’m late. (sits)
Say, Uncle Free, sup?
FREEMAN
Hello, Benjamin.
Bennie glances around the table.
BENNIE
Where’s Magdalena?
Odell glances at Freeman, then to Francine.
ODELL
She’s —
FREEMAN/FRANCINE
Not feeling well.
19.
BENNIE
Oh, wow! I hope it ain’t serious. (looks at Freeman)
You know. Like the last time.
Freeman grimaces.
INT. NELSON HOME – BEDROOM – NIGHT
Francine gets under the bed covers. Odell walks in.
ODELL
Magdalena dumped him.
FRANCINE
You don’t know that.
ODELL
Or she’s gonna dump him.
FRANCINE
They’re not a good fit. Neither were the others.
ODELL
That boy’s got issues. He needs to see a shrink.
FRANCINE
He sees one.
Odell climbs into bed.
ODELL
Well, at least he ain’t stupid.
Odell reaches over to a night stand, turns off a lamp. EXT. INTERNATIONAL HEALTH CLUB – JOGGING PATH – DAY
Freeman exits in street clothes. He spots Antonio. He
sprints, struggles, huffs and puffs until he’s within yards of Antonio.
Antonio!
FREEMAN
Antonio looks back, jogs in place. Freeman catches up.
ANTONIO
Damn! Exercising. And in the morning. What, you get fired?
FREEMAN
You’re friends. She’ll listen to you.
ANTONIO
Doc, let it go.
Antonio jogs away. Freeman catches up, runs alongside.
FREEMAN
20.
Please…
ANTONIO
As long as we’ve been friends, have I ever given you bad advice.
FREEMAN
Lots of times.
Antonio stops. Freeman stops, looks back at him.
ANTONIO
Futue te ipsum.
FREEMAN
What?
ANTONIO
It means, fuck you!
They jog again, cover several yards in silence.
ANTONIO (CONT’D)
Okay. But have I ever lied to you?
FREEMAN
Yeah. Eight grade, Mr. Ingle’s math class. Remember when —
ANTONIO
Fuck you! That’s English.
Freeman stops. Antonio continues on, soon realizes Freeman has stopped. He jogs back to Freeman.
ANTONIO
Doc, you make bad choices. Maggie was a bad choice.
FREEMAN
I didn’t chose Magdalena, you did.
ANTONIO
‘Cause you begged me, and begged me. I knew better, but I thought: what the fuck.
A pitiful expression spreads across Freeman’s face. Antonio studies him, shakes his head.
ANTONIO
Doc, you are what you are, and you ain’t what you ain’t.
FREEMAN
What does that mean?
ANTONIO
Just be your tired self, and just maybe somebody will fall for you.
FREEMAN
But if you just talk to her.
ANTONIO
Damn! All right. But, know this: it’s over.
INT. MAGDALENA’S APARTMENT – LIVING ROOM – NIGHT
Antonio sits, watches Magdalena pace.
MAGDALENA
Uh, uh, no way! It’s over. You said two dates.
ANTONIO
Got you another dude, huh?
MAGDALENA
No, not yet.
ANTONIO
Then give him another chance.
MAGDALENA
21.
No.
ANTONIO
Come on, Freeman’s a really nice guy.
MAGDALENA
No shit. He’s nice, sensitive, understanding. Talks about his feelings. Even cries. But you can save that shit for Mother Theresa.
I don’t want nice. I want machismo. You know what I’m sayin’? I want big biceps, hard pecs, and a cute tight ass I can get a grip on. And I want sizzling sex that makes me wanna scream! I don’t want nice.
It’s boring.
Antonio struggles to find words.
22.
ANTONIO
So, uhhh… what do I tell Doc?
INT. ANTONIO’S APARTMENT – LIVING ROOM – NIGHT
Leather sofa, elaborate sound system, indirect lighting, glass and stainless steel coffee tables.
Freeman sits beside Antonio. Antonio pulls on a blunt, holds it in. He offers it to Freeman. Freeman refuses with a frown. Antonio exhales slowly.
FREEMAN
What did she say?
ANTONIO
Doc, things are never the way they seem. And no matter how they seem, they’re never as good or bad as they seem.
FREEMAN
What did she say?
Antonio takes another hit on the blunt.
ANTONIO
This is some good shit. Sure you don’t want —
FREEMAN (CONT’D)
There’s another guy, isn’t there?
ANTONIO
Nah.
FREEMAN
I don’t believe you.
ANTONIO
Doc, you’re looking outside yourself. The answer’s inside. You gotta look inside.
FREEMAN
Look inside?
Antonio challenges Freeman with a look. Freeman contemplates.
FREEMAN
Okay. I need look inside.
Freeman closes his eyes, leans back, closes his eyes. He takes a deep breath, exhales. He inhales again, exhales.
Antonio takes another hit on the blunt. Inhales, exhales.
ANTONIO
That’s it. Do some of that mindfulness, meditation shit.
FREEMAN
I’m looking inside.
After several deep breaths, Feeman opens his eyes.
ANTONIO
That’s it, you got it.
FREEMAN
I feel much better. Thanks.
Freeman gets up.
23.
You okay? I’m fine. You sure?
ANTONIO FREEMAN ANTONIO FREEMAN
Beat.
Really, I’m fine.
FREEMAN
Well, I will be… just as soon as I confront that two-timing…
Freeman bolts for the door, exits.
ANTONIO
Doc, Doc!
Antonio lunges after Freeman, grabs him at the door.
ANTONIO (CONT’D)
Breathe, dammit!
Freeman spins away from him. Antonio guards the door.
FREEMAN
Out of the way!
ANTONIO
Chill!
Freeman fakes to the right, then left. Antonio doesn’t move. Freeman fakes again. Antonio stays put, shakes his head.
ANTONIO
That’s why you didn’t make the basket- ball team.
24.
FREEMAN
Ahhhhhhh!
Freeman charges Antonio, crashes into him. Antonio wraps his arms around Freeman in a tight bear hug. They fall to the floor. They lie face to face. Freeman’s on top.
FREEMAN
Let me go!
ANTONIO
After you calm down!
FREEMAN
I’m calm, I’m calm!
ANTONIO
Breathe…
Freeman inhales and exhales, several times.
FREEMAN (CONT’D)
I’m calm. Now, let me go.
ANTONIO
Okay, I’m gonna let you go. But don’t go to Maggie’s. Promise.
FREEMAN
I promise.
ANTONIO
One other thing. You can’t tell anybody about this.
FREEMAN
About what?
ANTONIO
This. What we’re doing. Lying here. My arms around you. Promise.
FREEMAN
I promise.
ANTONIO
Okay. I’m letting you go.
Antonio releases his grip on Freeman. Freeman rolls over. He gets up, takes a deep breath, exhales. Antonio sits up.
I’m calm.
FREEMAN
25.
Freeman breaks for the door. He stops, turns to Antonio.
FREEMAN (CONT’D)
I lied!
Freeman rushes out the door, SLAMS it behind him. EXT. MAGDALENA’S APARTMENT BUILDING – NIGHT
Taxi comes to a stop. Freeman jumps out, throws several bills at the cabbie.
At the apartment directory, Freeman leans on the buzzer to Magdalena’s apartment. No answer. He tries again. Nothing.
Freeman gets frenzied. He hollers, whines, punches air. An idea buzzes inside his head.
EXT. MAGDALENA’S APARTMENT BUILDING – REAR – NIGHT
Freeman jumps, grabs the bottom rung of the fire escape ladder, pulls it down.
EXT. MAGDALENA’S APARTMENT BUILDING – FIRE ESCAPE – NIGHT
Freeman squats under Magdalena’s bedroom window. Listens. He hears unintelligible voices.
The light goes out. Freeman strains to hear. He puts his ear to a window. Long silence.
The sound of SQUEAKING and CREAKING of a bed in motion breaks the silence. The SQUEAKING and CREAKING grows, continues at a steady, rhythmic pace.
FREEMAN
Oh, God, no!
MAGDALENA (O.S.)
Oh, God, yes! Ohhhh… love me, baby, love me. Make me SCREAAMMMMMMMMM! Ahhhhhhhh!
Ooooooooooh! That’s it! Ooooooh, baby, ooooooh, baby, ooooh, oh, oh, oh, ohhhhhhhhhhh…
Freeman can’t contain himself. He responds to Magdalena’s moans with his own.
FREEMAN
Ohhhhhhhhhhhh…
Freeman clamps a hand over his mouth.
26.
INT. MAGDALENA’S APARTMENT – BEDROOM – NIGHT
A muscular YOUNG MAN, 25, is poised on the bed above Magdalena.
YOUNG MAN
You hear something?
Magdalena pulls him down.
MAGDALENA
Yeah, the sound of me coming.
EXT. MAGDALENA’S APARTMENT BUILDING – FIRE ESCAPE – NIGHT
Freeman sprints on tiptoes away from Magdalena’s window. At the end of the fire escape, he trips, falls over.
EXT. MAGDALENA’S APARTMENT BUILDING – FRONT – NIGHT
Antonio at the apartment directory. He buzzes Magdalena’s apartment. No answer. He pulls out his cell phone, punches in some numbers. He listens. Then…
ANTONIO
(on phone)
Maggie, Antonio. Call me.
Antonio disconnects.
EXT. MAGDALENA’S APARTMENT BUILDING – REAR – NIGHT
Antonio searches for Freeman.
ANTONIO
(whispers) Doc…
FREEMAN (O.S.)
(whispers) Antonio…
Antonio looks around.
ANTONIO
(whispers) Doc…
FREEMAN (O.S.)
(whispers) Antonio…
ANTONIO
(whispers) Where are you?
27.
FREEMAN (O.S.)
(whispers) Up here.
ANTONIO
(whispers) Up where?
FREEMAN (O.S.)
(whispers) Up here?
Antonio looks up. He sees Freeman hanging bat-like from the fire escape.
ANTONIO
(whispers)
So, uhh, what she say?
INT. NELSON HOME – KITCHEN – DAY
Freeman and Francine sit over coffee. Francine is being maternal — with an attitude. Freeman is inconsolable.
FREEMAN
I miss her.
FRANCINE
What do you miss?
Freeman gives her a blank look.
FRANCINE (CONT’D)
See.
FREEMAN
You didn’t give me a chance.
Odell enters. He takes out a platter of fried chicken from the refrigerator, places it on a counter.
Francine eyes Odell. She turns to Freeman.
FRANCINE
I have a friend. Her name’s —
ODELL
Francine…
FRANCINE
Odell!
Odell shoves a drumstick into his mouth.
FRANCINE (CONT’D)
(to Freeman)
Baby, my friend, Beverly is —
FREEMAN
28.
No, no way!
FRANCINE
Okay. Then sit home every night…
Francine stomps to the stove, pours a cup of coffee.
FRANCINE (CONT’D)
…and watch TV alone.
FREEMAN
I don’t watch TV.
INT. FREEMAN’S APARTMENT – LIVING ROOM – NIGHT
Freeman sits in front of his flat-screen, transfixed. ON FLAT SCREEN:
A prime-time soap. A MAN and WOMAN in an embrace. She’s in the thinnest of thin night gowns. He’s in shirt and slacks.
WOMAN
Stay. You won’t be sorry.
MAN
Why won’t I?
WOMAN
Stay, and I’ll show you.
BACK TO SCENE.
Freeman’s cell phone RINGS. He ignores it. His cell phone RINGS again. He picks it up, gazes at the display. Freeman rolls his eyes. He takes the call.
FREEMAN
(into phone) Francine, I’m busy.
FRANCINE (V.O.)
What channel?
FREEMAN
(into phone) I’ll call you back.
FRANCINE (V.O.)
I’ve invited Beverly to dinner.
29.
FREEMAN
(into phone) Francine, no!
FROM THE TELEVISION…
MAN (V.O.)
Ohhhhhhhhhh…
FRANCINE (V.O.)
Is that you? Are you doing what I think you’re doing?
Freeman runs into… INT. KITCHEN – NIGHT
FREEMAN
(into phone)
I’m not doing anything.
FRANCINE (V.O.)
Sure, sure. Same thing you use to
do in the bathroom when we were kids.
FREEMAN
(into phone)
What are you talking about? I didn’t.
FRANCINE (V.O.)
Sure you did.
FREEMAN
(into phone) I didn’t.
You did. Didn’t. Did.
FRANCINE (V.O.) FREEMAN FRANCINE (V.O.)
FROM THE LIVING ROOM…
MAN (V.O.)
Ah, ah, ah, ah… ahhhhhh… ahhhhhhhh!
FRANCINE (V.O.)
You’re even doing it in my ear!
Freeman tosses the cell phone.
30.
INT. LIVING ROOM – NIGHT
Freeman sprints in. The prime-time soap goes to commercial. ON FLAT SCREEN:
MALE ANNOUNCER
We’ll return to tonight’s Sensual Fantasy Presentation right after this.
BACK TO SCENE.
FREEMAN
Nooooooooooo!
Freeman falls to the floor, hammers it with his fists.
FEMALE ANNOUNCER (V.O.)
Are you lonely?
The Female Announcer’s voice startles Freeman out of his tantrum, draws him in.
FEMALE ANNOUNCER (V.O.)
Do you feel unloved, incomplete?
Freeman snaps his head toward the flat screen. ON FLAT SCREEN:
an alluring young woman, 21.
FEMALE ANNOUNCER
Would you like to have a special someone, and be that special someone for someone else?
BACK TO SCENE.
Freeman drops to his knees, extends his arms toward her.
FREEMAN
Oh, yes, yes, yes!
ON FLAT SCREEN:
FEMALE ANNOUNCER
Reach out to Intimate Connections. Your special someone is waiting.
INT. INTIMATE CONNECTIONS – VIEWING ROOM – DAY
Freeman sits facing a wall of forty-inch flat panels. On each one, the face of an attractive woman.
31.
SHERRYL BRANTLEY, 30, statuesque, well-groomed. She stands next to Freeman. She gives him her best business smile.
BRANTLEY
Dr. Edwards, Intimate Connections is an ultra exclusive dating service.
It’s only for those who can afford the very best.
Brantley gestures toward the wall of flat-panels.
BRANTLEY (CONT’D)
No more desperate internet searches. Here is where your fantasies of romance and love come true.
Brantley clicks the remote in her hand. A series of women appear on several screens.
ON SCREEN:
KAREN
late 20s, warm, seductive smile.
KAREN
Hi. I’m Karen. I’ve already got a man. He stimulates me intellectually and spiritually. What I need is a man who will stimulate me…
(thin smile)
…in other ways.
FAY
is a 26 year old, with botoxed lips and baby-like voice.
FAY
Hello. The great chauvinist, Sigmund Freud once said: “Women. My God,
what do they want?” If you wanna know…
Fay gestures holding a phone, and with a come-hither look, mouths the words…
MELISSA
…call me.
FAY
is well-endowed, early 30s.
MELISSA
I’m Melissa.
(MORE)
32.
MELISSA (CONT’D)
I want a man who wants what I want, wants to give it to me, and wants me to give it to him. Let me help you to want me to want you, to want me to want you, to want me…
BACK TO SCENE.
Freeman is mesmerized. Brantley turns to him, hands him a small clipboard.
BRANTLEY
Now, select your favorites. I’ll come back in a few minutes.
Brantley exits. Freeman gawks at the monitors. INT. VIEWING ROOM – DAY
Brantley enters, crosses to Freeman.
BRANTLEY
How’re we doing?
Freeman hands her the clipboard. Brantley gazes at it.
BRANTLEY (CONT’D)
Perfect! Now, it’s your turn.
INT. STUDIO – DAY
Freeman sits in a director’s chair surrounded by a production crew. He stares into a video camera.
Brantley stands near by. Freeman turns to her.
FREEMAN
What do I say?
BRANTLEY
Just say what’s in your heart.
Freeman turns to the camera.
FREEMAN
Hello, my name is Freeman Edwards.
Freeman freezes, stares at the camera. A moment, then…
FREEMAN (CONT’D)
I’m alone, I feel lonely, and —
BRANTLEY
Cut!
Brantley storms in.
BRANTLEY (CONT’D)
33.
This is not the lonely hearts club.
FREEMAN
But, you said —
BRANTLEY
I know, but try again. This time go deep.
Brantley takes a position behind the camera. Freeman looks into the camera.
FREEMAN
Hello, I’m Freeman Edwards. I feel unloved, incomplete, and —
BRANTLEY
Cut! Please go into the viewing room. I’ll call you in a minute.
FREEMAN
I didn’t finish.
BRANTLEY
Please, the viewing room.
FREEMAN
But —
BRANTLEY
Viewing room.
Freeman exits.
INT. VIEWING ROOM – DAY
Freeman sits facing the wall of monitors. Brantley enters. She crosses to Freeman, stands alongside.
BRANTLEY
Just watch.
A monitor lights up. Head shot of Freeman appears.
MAN (V.O.)
(lustful)
Hey, baby. I’m Freeman E. I’m your wet dream hook-up. Can’t wait to get all in your stuff. You know what I mean. Make the call.
Freeman turns to Brantley.
34.
FREEMAN (V.O.)
I didn’t say that, no way I said that!
BRANTLEY
Dr. Edwards, that video will get you what most men would die for.
FREEMAN
No! I don’t approve. I won’t.
BRANTLEY
Fine. Then stay lonely and uh… what was that? Oh, yes, incomplete.
Freeman face morphs into a mask of dread and desperation. INT. ANI’S APARTMENT – DINNING ROOM – NIGHT
Table set for two. Candles, a bottle of wine, wine glasses. Ani enters with a vase of flowers, puts it on the table.
The SOUND of a key turning in a lock, door opening.
Randy rushes in. Ani positions herself in his path, desperate for a kiss, a hug, even more.
JACK SINCLAIR, 40 Randy’s best friend, follows him in.
RANDY
Hey, babe. You remember Jack?
JACK
Hi.
ANI
(deflated)
Hi.
Randy gives Ani a perfunctory kiss on the lips.
RANDY
What’s for dinner? Mind if Jack joins us?
Well…
ANI RANDY
Come on, Jack.
Randy breezes into an adjoining room. Jack follows. The SOUND of a stadium crowd blasts from a television.
Ani sits at the table, stares at the bottle of wine. Resignation spreads over her face.
35.
She pours a glass of wine, sips.
INT. PROFESSIONAL BUILDING – COFFEE SHOP – DAY
At counter, Freeman pays for a coffee. He then looks for a table. He spots Ani sitting alone, eyes downcast. He crosses to her.
You mind?
FREEMAN
Ani looks up. She forces a smile.
ANI
Oh, hi.
Freeman sits. He studies her for a moment.
FREEMAN
You okay?
ANI
(weak smile) Yeah.
Ani sips her coffee, eyes downcast. Freeman sips his. Long moment.
FREEMAN
It’s none of my business, but you seem sad. Is there anything —
ANI
I’m okay, it’s just, you know…
FREEMAN
Yeah. Like when your life feels empty, and seems it will never change.
Ani looks up. She locks eyes with Freeman.
FREEMAN (CONT’D)
But it will.
Long moment.
Freeman looks at his watch.-
FREEMAN
Sorry. My three o’clock.
ANI
Of course.
Freeman gets up, heads toward the exit.
36.
ANI
Dr. Edwards…
Freeman turns to Ani.
ANI
(smiles) Thank you.
FREEMAN
(smiles) Welcome.
Freeman rushes toward the exit.
INT. MINDFULNESS CLINIC – FREEMAN’S OFFICE – DAY
Freeman sits across from CLAUDE and JUDITH PEARSON. Both in their mid-30s.
Claude Pearson is average-looking, dressed in a Brooks Brothers three-piece. Judith Pearson is physically blessed, fashionably dressed.
MRS. PEARSON
Claude, you’re either seeing someone or you just can’t get it up.
Freeman glances at Mr. Pearson.
MR. PEARSON
Judith, that’s not true.
Freeman glances at Mrs. Pearson.
MRS. PEARSON
Then why do you always refuse me?
Freeman glances at Mr. Pearson.
MR. PEARSON
I don’t always refuse you. Sometimes I’m just… not in the mood. That’s normal.
Mr. Pearson looks at Freeman.
MRS. PEARSON
Frequent refusals are not a sign of normality, Claude.
(to Freeman)
Wouldn’t you say that, Dr. Edwards?
FREEMAN
Well…
37.
MR. PEARSON
I wouldn’t say it was frequent.
MRS. PEARSON
Maybe I shouldn’t either. I should probably say… regularly, or constantly, or continually, or routinely, or habitually. Or how about, just too damn often?
Mr. Pearson throws his wife a vicious stare.
MRS. PEARSON
Oh, darling, I didn’t know you were into eye-fucking. But then, I should have known.
Mrs. Pearson looks at her watch. She gets up.
MRS. PEARSON (CONT’D)
Lunch with my stylist.
Mrs. Pearson exits.
Freeman and Mr. Pearson turn to each other. A tear trickles down Mr. Pearson’s face.
Moments of stark silence.
FREEMAN
What are you feeling?
MR. PEARSON
Rejected, lonely. She once said I was bold and adventurous. Now she calls me dull and boring.
Mr. Pearson begins to weep.
Freeman sits next to Mr. Pearson. He reaches a box of tissues to him.
Mr. Pearson pulls out several tissues, blows his nose.
MR. PEARSON (CONT’D)
When the woman you love rejects you, it’s, it’s, it’s —
FREEMAN
Devastating.
MR. PEARSON
Yes! And you feel —
FREEMAN
Terribly alone…
Freeman’s eyes begin to water.
MR. PEARSON
38.
Yes, yes!
FREEMAN
And unloved…
MR. PEARSON
And unwanted…
Mr. Pearson breaks down.
MR. PEARSON
Oh, Dr. Edwards!
FREEMAN
Oh, Claude…
Mr. Pearson falls into Freeman’s arms, bawls. KNOCK on the door. It opens.
DOCTOR BARRY MILLER, 60, Freeman’s obnoxious employer, appears in the doorway. He freezes at the sight of Freeman holding Mr. Pearson in his arms. Shock spreads across his face. He SLAMS the door.
EXT. PROFESSIONAL OFFICE BUILDING – NIGHT
Ani stands on the sidewalk, on cell phone. She disconnects. Freeman exits. He approaches Ani.
FREEMAN
Hi.
Ani turns to him.
Oh, hi.
ANI FREEMAN
So, how do like the job so far?
ANI
It’s great. I really enjoy working with you, and the other therapists.
FREEMAN
You need a ride?
ANI
No, my boyfriend should be here soon.
39.
FREEMAN
I could give you a ride. My friend will be here in a minute.
ANI
That’s kind of you, but —
FREEMAN
Save you some time.
ANI
Well…
(pause)
Okay. I’ll call him.
Ani dials. Call goes to voice mail.
ANI (CONT’D)
(on phone)
Hi, Randy. I’m getting a ride, so don’t worry about picking me up.
INT. ANTONIO’S SEDAN – NIGHT
Freeman and Ani climb into the back seat of Antonio’s sedan.
FREEMAN
Antonio, this is Ani Anderson, Ani, Antonio Vaughn.
ANTONIO
What’s up, doll?
ANI
Hi, how are you?
ANTONIO
Peachy.
Ani’s cell phone rings. She glances at the display, answers.
ANI
Hi. You get my message? (pause)
But —
(pause)
I’m sorry, I did wait. (pause)
But I called you several times. (pause)
I know, I’m sorry. (pause)
Ok, bye
Ani disconnects. Her eyes become moist. Freeman notices.
You okay?
FREEMAN
40.
Ani wipes away a tear. Ani reaches out to him, grabs his hand. She locks her eyes on Freeman’s.
ANI
Thank you, but I’m okay.
EXT. ANI’S APARTMENT BUILDING – DAY
Freeman and Ani exit Antonio’s sedan. They walk to the entrance to Ani’s apartment building.
FREEMAN
Well… I’ll see you tomorrow.
ANI
Thank you for the ride. And for… well, thank you.
FREEMAN
You sure you’re okay?
ANI
I’ll be fine. Thank you.
Ani turns and enters her apartment building. INT. ANTONIO’S SEDAN – TRAVELING – DAY
Freeman sits in the passenger seat. Antonio glances at him.
ANTONIO
Who is she to you?
FREEMAN
Ani’s the new Clinic receptionist.
ANTONIO
Why’d you walk her to the door?
FREEMAN
It’s call chivalry, Antonio.
ANTONIO
You’ve got a lot to learn.
FREEMAN
Where we going?
ANTONIO
To get something to eat.
41.
INT. HEALTHY LADY COCKTAIL LOUNGE – NIGHT
Flashing, blinding, multi-colored nights. Overpowering MUSIC. Freeman and Antonio sit near the stage.
A PETITE BLOND, 21, humps, bumps, and grinds to a mindless melody. Every man in the place looks on with anticipation.
The anticipated moment arrives. The Blond unveils he ample breasts. The place erupts.
Antonio chomps down on a huge burger. He turns to Freeman.
ANTONIO
You ought to get one. Best veggie burgers in the city.
FREEMAN
Eating while women undress and show you things. There’s something wrong with that.
Antonio takes a bite of his burger. He takes a minute to chew it down.
ANTONIO
Doc, understand something. This is the one place I can watch women undress, and don’t feel compelled to do something about it.
FREEMAN
Something’s wrong with that, too.
ANTONIO
I know, almost like watching women on video. With their clothes on.
FREEMAN
Almost as neurotic as looking for women in a nipple nook.
ANTONIO
Nipple nook. I like that.
Antonio takes a sip from a beer bottle.
ANTONIO (CONT’D)
Doc, understand something else. You’re the one looking, and in the wrong places. Now, that one we dropped off, she’s your type.
FREEMAN
Ani?
ANTONIO
She’s more like you. Maggie? That was never gonna work.
FREEMAN
42.
Then why —
ANTONIO
‘Cause you begged me. Remember? (pause)
Doc, no disrespect, but my type of woman is not your type, and my type is never gonna be your type.
Freeman stares at Antonio for a long moment. Antonio downs the last of his beer.
FREEMAN
Take me home.
INT. FREEMAN’S APARTMENT – BEDROOM – NIGHT
Freeman stares at his flat-screen, remote control in hand. He works it. Several programs flicker by until…
ON FLAT SCREEN:
FEMALE ANNOUNCER
Do you feel lonely and unloved?
BACK TO SCENE.
Freeman jabs a finger into the remote control. The room goes black.
INT. FREEMAN’S APARTMENT – LIVING ROOM – DAY
Freeman’s on his cell phone.
FREEMAM
(into phone)
Ms. Rogers, this is Freeman Edwards, from Intimate Connections.
(pause)
Yes. How about tomorrow night. (pause)
Great. Suppose we meet at Seventh and Flower street. I’ll be carrying a bouquet of red roses.
(pause)
Wonderful. See you tomorrow at eight.
43.
EXT. SEVENTH AND FLOWER STREET – NIGHT
Freeman cradles a bouquet of long-stemmed red roses. He
stares at every woman who comes near, peers into every taxi that passes.
The faint RUMBLE of thunder begins, continues under. INT. TAXI – TRAVELING – NIGHT
AUDREY ROGERS, 26, sits inside.
CABBIE
Which side, lady?
AUDREY
To the right. Stop at that man with the roses…
(to herself)
…and the baggy suit.
The Cabbie slows down the taxi as it nears Freeman.
AUDREY (CONT’D)
He looked better on video.
CABBIE
What’s that?
AUDREY
Keep driving!
CABBIE
What?
AUDREY
Just drive!
EXT. SEVENTH AND FLOWER STREET – NIGHT
The taxi passes Freeman.
Lighting flashes across the sky. Loud CRASHES of thunder follow. A few drops of rain fall.
Freeman looks into the darkening sky. He looks at his watch. Drops of rain turn into a downpour.
Freeman’s instantaneously drenched. His suit now fits like a wet, hundred-gallon sack.
Freeman glances at his watch. The rain pours. Freeman dumps the roses into a trash can.
44.
INT. INTIMATE CONNECTIONS – BRANTLEY’S OFFICE – DAY
Brantley smiles anxiously from behind her desk. Freeman paces in front of her.
BRANTLEY
Miss Rogers is terribly sorry. She had to leave town unexpectedly. A family tragedy.
FREEMAN
(sits)
Sure. A death, no doubt.
BRANTLEY
Why, uh… yes. Her brother. Died last night.
FREEMAN
Her brother? Dead?
BRANTLEY
Suddenly.
FREEMAN
Oh, wow. I feel like an ass.
BRANTLEY
How could you have known?
Brantley hands Freeman a photo.
BRANTLY (CONT’D) *
Remember her? Cynthia Barnes.
Freeman grins.
FREEMAN
But what about Miss Rogers?
BRANTLEY
Oh, well… she won’t return for some time. Her brother lived in, uh… Zimbabwe.
FREEMAN
Zimbabwe?
BRANTLEY
Yes, imagine that. But, let’s focus on Cynthia Barnes.
Brantley gets up, opens the door to her office.
BRANTLEY (CONT’D)
She’s waiting.
45.
Brantley ushers him out of her office. INT. RESTAURANT – DINING ROOM – NIGHT
Freeman and CYNTHIA BARNES, 30, a knockout, sit in posh
surroundings. A young conscientious WAITER fawns over them. Cynthia gazes into Freeman’s eyes and wets her lips.
CYNTHIA
I can definitely show you a good time.
Freeman’s eyes light up.
FREEMAN
That sounds wonderful, but… to be honest, I’d like more than a good time.
CYNTHIA
But your video.
FREEMAN
I, uh, wasn’t quite myself.
Cynthia gives him a pointed look.
CYNTHIA
Oh. I see.
FREEMAN
Don’t get me wrong, I love having a good time, but…
CYNTHIA
What’s wrong with having a good time?
FREEMAN
Nothing, but there are many ways to have a good time.
CYNTHIA
Like what?
FREEMAN
You know, like being with someone who thinks you’re special, being with someone you think is special…
CYNTHIA
Sounds, uh… great. Freeman, can you excuse me? Ladies’ room.
FREEMAN
Of course.
46.
Freeman rises, pulls out Cynthia’s chair. She gets up, heads toward the Ladies Room. The Waiter appears. Freeman sits.
WAITER
Dessert, sir?
FREEMAN
When the lady returns.
WAITER
Very well, sir.
The Waiter refills water glasses, moves away. INT. DINING ROOM – NIGHT
Freeman still alone. The dining room has emptied except for several busboys. Freeman signals for the waiter. He appears.
FREEMAN
Check, please.
INT. DINING ROOM/LADIES RESTROOM – NIGHT
Freeman knocks on the door. No answer. He makes sure no one is watching. He cracks the door, peeks in.
FREEMAN
Cynthia… Cynthia?
Nothing. Freeman looks over his shoulder. He makes sure no one’s watching, then enters.
INT. LADIES RESTROOM – NIGHT
Freeman closes the door, stands just inside.
FREEMAN (CONT’D)
Cynthia? Cynthia, are you okay?
Freeman squats, looks under a stall. No Cynthia. He duck- walks from stall to stall, looks under each as he passes.
A toilet FLUSHES two stalls ahead, then… silence.
FREEMAN (CONT’D)
Cynthia, is that you?
Freeman duck walks forward until a pair of women’s shoes enter his field of vision.
Freeman stands, comes face-to-face with a diminutive ELDERLY WOMAN, pushing 80.
47.
ELDERLY WOMAN
What in Heaven’s name you doing in here, young man?
Freeman holds up his hands, palms up.
FREEMAN
Wait, wait! I can explain. There’s no reason to be afraid. Just be calm.
(backs up)
And whatever you do, don’t scream.
The Elderly Woman drops her purse.
ELDERLY WOMAN
Don’t scream? Sonny, they tell me I’m supposed to scream.
The Elderly Woman quickly assumes a karate position, lets out an ear-piercing scream.
ELDERLY WOMAN (CONT’D)
EeeeeeeeeYaaaahhhhhhh!
Freeman holds up his hands, anticipates a blow.
FREEMAN
Wait, wait! Please! No, no! Wait, I can explain. There’s no reason to be afraid. Just be calm. Please, don’t! I’ll scream!
INT. DINING ROOM – NIGHT
Freeman’s screams reverberate between CRASHES and THUMPS. INT. DOCTOR CATHERINE BROWN’S OFFICE – DAY
Freeman sits across from Doctor Brown. His glasses are held together with adhesive tape.
DOCTOR BROWN
Have you noticed a pattern?
Freeman takes a moment before answering.
FREEMAN
I’m getting dumped.
DOCTOR BROWN
Why do you think that is?
Freeman takes a long moment to consider the question.
48.
FREEMAN
Maybe it’s me.
DOCTOR BROWN
Is there something wrong with you… (pause)
…or is it that you’re drawn to women who are wrong for you?
FREEMAN
But I know what I want.
DOCTOR BROWN
But maybe you’re searching for you want instead of searching for what you need.
FREEMAN
I know what I want, and I know what I need.
DOCTOR BROWN
Maybe you’re so obsessed with being loved, you can’t tell the difference between the two.
Freeman rolls his eyes.
EXT. PROFESSIONAL OFFICE BUILDING – DAY
Freeman approaches the entrance.
FREEMAN
What I want, what I need. I know what I want, and I know what I need. I need a new shrink.
Freeman’s cell phone RINGS. He answers.
FREEMAN
(on phone) Hello…
ANI (V.O.)
Dr. Edwards, the Pearsons are here.
FREEMAN
(on phone)
They don’t have an appointment.
ANI (V.O.)
I know, but they insisted. Said it was an emergency.
49.
FREEMAN
(on phone)
Okay. I’ll be there in a few minutes.
INT. MINDFULNESS CLINIC – RECEPTION AREA – DAY
Freeman enters. Ani approaches him.
ANI
They’re in your office.
FREEMAN
Thank you.
Freeman starts toward his office.
ANI
Dr. Edwards…
Freeman turns to her.
ANI (CONT’D)
I’m sorry about the other day.
FREEMAN
Sorry about what?
ANI
For getting so… emotional.
FREEMAN
No, nothing to be sorry about.
ANI
Well, I just wanted to thank you for being…
(pause)
…well, thank you.
Ani gives Freeman a hug. Freeman’s shocked, but gives her an awkward embrace.
INT. FREEMAN’S OFFICE – DAY
Freeman sits in a chair across from Mr. and Mrs. Pearson.
MR. PEARSON
Thanks for seeing us.
FREEMAN
Not a problem. So, what’s going on?
MR. PEARSON
We just wanted you to know…. we’re
getting a divorce.
FREEMAN
Divorce! Did you say, divorce?
MRS. PEARSON
50.
Yes.
FREEMAN
Is that what you really want?
MRS. PEARSON
No, but we need to accept that —
FREEMAN
Splitting up, calling it quits? Are you crazy!?
Freeman gets up.
FREEMAN (CONT’D)
You know what it’s like out there? It’s brutal.
Freeman paces in front of the Pearsons.
FREEMAN (CONT’D)
Sure, being unattached sounds wonderful. But, have you ever been alone, felt unloved?
Freeman wrings his hands.
FREEMAN (CONT’D)
The longing, the looking… and you can’t find anyone, because the someone you’re looking for is with someone else!
MR. PEARSON
Dr. Edwards, with all due respect —
FREEMAN
You call yourself a man? Your wife’s right. You’re a wimp. A limp wimp.
MRS. PEARSON
Don’t talk to my husband like that!
Freeman turns to her.
FREEMAN
And you! You castrating —
Mr. Pearson leaps out of his chair.
MR. PEARSON
You can’t talk to my wife like that!
51.
Mr. Pearson punches Freeman in the stomach. Freeman doubles up.
MRS. PEARSON
(smiles) Oh, Claude!
MR. PEARSON
Let’s go, Honey.
Mr. Pearson pulls his wife after him. They exit. Freeman, doubled-up, stumbles in circles, can’t catch his breath.
INT. DOCTOR MILLER’S OFFICE – DAY –
Dr. Miller sits behind a massive desk. Freeman sits across from of him.
MILLER
What was that about?
FREEMAN
Pardon?
MILLER
That couple that just left. They stormed out, shouting obscenities.
FREEMAN
Disgruntled.
Dr. Miller shakes his head.
MILLER
You’re skating on think ice. And what about your new patients, Tom and Jerry.
Who?
FREEMAN MILLER
The two… guys.
FREEMAN
Johnson and Eddie.
MILLER
Same difference. They don’t have insurance.
FREEMAN
They’re pro bono.
MILLER
We don’t do pro bono.
FREEMAN
But they need help. They’re adrift in a sea of loneliness and despair.
MILLER
No pro bono. And what’s going on with you and Claude Pearson?
FREEMAN
Claude Pearson?
MILLER
52.
I saw you.
FREEMAN
He was feeling unloved.
MILLER
And what were you feeling?
INT. FREEMAN’S OFFICE – DAY
Freeman stares out of a window. Contemplative look on his face. Moments past. He crosses to exit.
As he opens the door, Ani is there, about to knock.
ANI
Oh…
Hi.
FREEMAN ANI
You have a minute?
FREEMAN
I was about to go out.
ANI
It can wait.
FREEMAN
No, that’s okay. Walk with me.
EXT. CITY PARK – DAY
Freeman and Ani sit on a park bench. They sip sodas. A Street Artist, 20s, works on an easel near them.
ANI
Dr. Miller seemed upset with you.
FREEMAN
He thinks I’m a lousy therapist.
ANI
53.
Lapuwale. Off Freeman’s look.
ANI (CONT’D)
It’s Hawaiian. It means, ‘Nonsense.’
FREEMAN
Hawaiian?
ANI
My mother’s Hawaiian, my father’s African American.
FREEMAN
I’ve wondered about, you know…
ANI
Why didn’t you ask?
FREEMAN
Seemed too, personal.
ANI
That would’ve been fine with me.
FREEMAN
And your name?
ANI
It means, beautiful.
FREEMAN
It, uh… suits you.
ANI
Thank you.
A long moment.
FREEMAN
So, you wanted to talk. It’s not about the other day, is it?
ANI
No. I wanted your advice. About my relationship.
FREEMAN
I’m listening.
54.
ANI
My boyfriend, Randy… he doesn’t seem to notice me. I feel really alone.
FREEMAN
Do you believe he loves you?
ANI
He says he does.
FREEMAN
How do you feel about him?
ANI
I, uhh, I love him, but… I’m not sure if it’s going to work out.
FREEMAN
Why do you say that?
ANI
I want to be close, but he tends to be distant, avoids being close.
FREEMAN
That’s common. Emotional intimacy mismatch. E.M.I.
ANI
What’s that?
FREEMAN
When one person in a relationship has a greater capacity for emotional intimacy than the other one.
ANI
What can I do about it?
FREEMAN
Nothing. It’s about what Randy is willing to do.
ANI
He thinks it’s me. Says I’m needy.
FREEMAN
If we feel loved, it’s normal to
want or… need to be with the person you love, but…
Freeman has a reflective moment.
ANI
What?
55.
FREEMAN
But if we don’t feel loved, we feel alone, then become needy.
Freeman’s words resonate with Ani. She starts to speak, but before she can, the Street Artist approaches.
STREET ARTIST
Excuse me.
Freeman and Ani turn to him.
The Street Artist hands Ani the drawing he has been working on. She and Freeman look at it.
INSERT:
Drawing of Freeman and Ani sitting close together, looking into each others eyes.
BACK TO SCENE.
Freeman and Ani exchange looks. They lock eyes. Ani smiles. Freeman returns her smile.
INT. HEALTHY LADY COCKTAIL LOUNGE – NIGHT
BLARING MUSIC, loud. Bright, flashing multi-colored lights. Men ogling semi-naked dancers on a revolving stage.
Freeman at a table with Antonio. Freeman’s near drunk.
FREEMAN
You ever been attracted to a woman you didn’t think you’d be attracted to?
ANTONIO
Who you talking about?
FREEMAN
Hypothetically speaking.
ANTONIO
Doc, I’m attracted to every woman who’s attracted to me.
FREEMAN
I don’t believe you.
ANTONIO
Have I ever lied to you?
FREEMAN
Yeah, remember —
56.
ANTONIO
Fuck you. You know what your problem is? You’re attracted to women who ain’t attracted to you.
FREEMAN
Don’t try to psychoanalyze me.
ANTONIO
It’s okay. It’s free. Your other problem, you’re emotionally hungry. Take your time. Another thing.
Unless you’re trying to get laid, don’t hold hands, buy flowers, open doors, buy dinner or anything close to that shit.
FREEMAN
Man, do you have issues.
ANTONIO
You do that, they get use to it. Later, they’ll want more. More of everything you’re giving and everything you’re not. And when they don’t get it —
(falsetto) You’ve changed.
FREEMAN
You’re disgusting.
ANTONIO
Ever see me without a woman?
Freeman ponders this for a moment.
FREEMAN
I gotta go. Dinner at Francine’s.
Freeman gets off the bar stool. He sways back and forth, grabs the edge of the bar to steady himself.
Antonio gives Freeman a look.
ANTONIO
I’m driving.
INT./EXT. NELSON HOME – FOYER – NIGHT
Bennie opens the door. Antonio has an arm around Freeman, holds him up.
57.
INT. NELSON HOME – DINING ROOM – NIGHT
Freeman and Antonio enter. Bennie trails. Antonio has a grip on Freeman, keeps him upright.
Francine, Odell and BEVERLY MATTHEWS, 30, Francine’s friend sit around the dining room table. Everybody looks up.
Freeman’s condition is obvious.
Francine seethes. Beverly hides her embarrassment. Freeman pulls away from Antonio, staggers to the table.
FREEMAN
What’s up?
ANTONIO
Francine, Odell…
Antonio sees the look on Francine’s face.
ANTONIO
Sorry, gotta go.
Antonio rushes out. Bennie steadies Freeman. Freeman brushes him away. He notices Beverly.
FREEMAN
Whoa! You must be Beverly. I had my doubts, but damn! You’re finer than shit.
Francine fumes. Odell cracks up. Francine leaps up.
Freeman!
FRANCINE FREEMAN
No, no, Francine, sit. I’ll fix my own plate.
(to Beverly) Uhh… Beverly, right?
Freeman waits for a response, gets none.
FREEMAN (CONT’D)
Right. Well, I just want to say, before further ado… greetings and salutations.
Freeman makes a sweeping gesture, loses his balance. He stumbles forward, trips, lands on the table, face down.
58.
INT. DINING ROOM – NIGHT
Freeman is sprawled on the dining room table, asleep. His head rests next to the head of a huge salmon. They lie eyeball-to-eyeball.
Bennie sits nearby. He munches on an apple, watches Freeman.
Freeman shifts around, tries to get comfortable. He opens his eyes. He and the salmon are eyeball to eyeball. Freeman closes his eyes.
Beat.
Freeman’s eyes pop open. He jerks upright, tries to make sense of everything.
BENNIE
You all right, Uncle Free?
FREEMAN
What am I doing up here?
BENNIE
Uhhh… sleeping through dinner?
Freeman throws him a disapproving look.
BENNIE (CONT’D)
Sorry. I thought it was like, you know, a trick question or something.
Freeman sits up on the table. Food clings to his clothes.
FREEMAN
Where’s your mother?
BENNIE
She and Dad took her friend to dinner.
Bennie takes a bite of the apple.
BENNIE (CONT’D)
Said you’d better not be here when they got back.
FREEMAN
I’m sure she didn’t mean that.
Bennie takes another bite of apple, chews, looks at his watch.
BENNIE
I’d say you’ve got about ten minutes.
59.
INT. SUBWAY CAR – NIGHT
Crowded. Freeman is depressed-looking and odoriferous.
Food particles fall from his clothes. Freeman sits alone.
Everyone has avoided Freeman and packed themselves at opposite ends of the car. They stare at Freeman.
The train SCREECHES to a stop. Commuters rush off. Others get on, start in Freeman’s direction. They stop, look him over, screw up their faces. They sit as far away as possible.
The doors close. The train lurches forward. All eyes focus on Freeman.
INT. MANHATTAN COUNSELING CLINIC – RECEPTION AREA – DAY
Ani sits at her desk. She picks up a telephone, dials. INT. NELSON HOME – KITCHEN – DAY
The telephone RINGS. Francine enters, picks it up. INTERCUT:
ANI
Hello, Mrs. Nelson? It’s Ani Anderson, from the Clinic.
FRANCINE
Oh, hi. You’re the new one.
ANI
Yes. And I’m sorry to bother you at home.
FRANCINE
Not a bother, child.
ANI
Uhh, Mrs. Nelson, I — I mean, we haven’t been able to reach Dr.
Edwards, and I was —
FRANCINE
He hasn’t been to work?
ANI
Not for several days, and he hasn’t called. Is he okay?
END INTERCUT.
I hope so.
FRANCINE
60.
INT. FREEMAN’S APARTMENT BUILDING – LOBBY – DAY
Francine hurries to an overweight SECURITY GUARD, 40s, sitting behind a reception desk. Odell trails.
The Security Guard chomps on a jumbo hamburger while he watches a daytime soap.
FRANCINE
Excuse me.
The Security Guard turns to her.
SECURITY GUARD
Yeah, okay. Just a minute.
The Security Guard turns back to the television.
SECURITY GUARD (CONT’D)
(to television)
Don’t let her do that to you!
FRANCINE
Excuse me!
The Security Guard turns to Francine, chews vigorously.
FRANCINE (CONT’D)
Thank you. Now, would you ring Dr. Edwards’ apartment, please?
The Security Guard stops chewing, gives her a look. He flips through pages of a large directory. He stops several pages in, runs a finger down the page.
SECURITY GUARD
Edwards, Edwards…
FRANCINE
Seventeen G!
The Security Guard throws a look at Francine. He uses a finger to dislodge a morsel of food from a molar. He sucks the finger. He turns back to the directory.
SECURITY GUARD
Seventeen G. Edwards…
The Security Guard’s finger stops at the bottom of the page. He picks up a telephone, dials. Waits. He looks up with a triumphant smile.
SECURITY GUARD (CONT’D)
He’s not home.
61.
The Security Guard SLAMS down the telephone. He BANGS the directory shut. He returns to the television.
FRANCINE
Let me into his apartment. I want to see for myself.
The Security Guard continues watching the television. Over his shoulder…
SECURITY GUARD
No can do.
FRANCINE
What’s that mean, ‘No can do?’ The Security Guard turns to Francine.
SECURITY GUARD
No can do. Meaning: No way. Don’t thinks so. Not hardly. Fat chance. So-you-can-put-it-out-yo-mind-and- foe-get-it.
FRANCINE
Oh, that’s real cute. Almost funny. You should have your own sit-com.
The Adventures of Jumbo Jack, Boy Turd.
ODELL
Francine, let’s go. He’s not home.
FRANCINE
Look, sir! I’m Dr. Edwards’ sister.
SECURITY GUARD
I wouldn’t care if you were my mother. I’m not letting you in.
FRANCINE
Oh, really? Well, if I was your ugly mother, I’d slit my throat.
SECURITY GUARD
Lady, if you were my mother I’d slit it for you.
FRANCINE
What! You biscuit-head! You security guard-looking, Big Mac eating —
Odell grabs Francine, drags her toward the exit.
FRANCINE (CONT’D)
Let me go!
62.
EXT. FREEMAN’S APARTMENT – DAY
Odell and Francine exit. Francine pulls out of his grip. They walk to their car.
FRANCINE
Why didn’t you help me? Freeman’s somewhere alone and depressed.
ODELL
Yeah, like the last time. And the time before that, and…
INT. FREEMAN’S APARTMENT – LIVING ROOM – DAY
Freeman peeks through Venetian blinds. THROUGH BLINDS:
Freeman sees Francine and Odell walking toward their sedan. BACK TO SCENE.
Freeman watches for several moments. EXT. FREEMAN’S APARTMENT – DAY
Odell stops Francine.
ODELL
Baby, you’ve got to let this go.
FRANCINE
Why should I?
ODELL
Because you can’t give him what your mamma didn’t give him. That’s somebody’s else’s job.
Francine tears up.
FRANCINE
I know. I, uh… I know you’re right.
Odell takes her into his arms. INT. LIVING ROOM – NIGHT
Dim light. Freeman sits in front of his fifty-inch. It’s turned off. Waldo lies in his lap. The mangled growth on his head and face give him a wild, freakish look.
Dirty dishes, empty soda cans, TV dinner trays, assorted food boxes are scattered around.
63.
INT. BEDROOM – NIGHT
Freeman in bed, sprawled on his back. Waldo’s curled up next to him. Freeman stares at the ceiling, his face expressionless. He drifts off.
INT. BEDROOM – NIGHT
The high-pitched TONE of the answering machine, then… PRISCILLA MONTENEGRO, 25, bi-racial, speaks with Marilyn
Monroesque articulation that is seductive, and oozing and dripping with sex and more sex.
PRISCILLA (V.O.)
Hi. I’m Priscilla. Priscilla Montenegro.
Freeman’s eyes pop open. He rolls over, clears the cobwebs.
PRISCILLA (V.O.)
I loved your video. Call me. 517- 555-6969. Bye-bye.
Freeman’s eyes widen. He sits up. That voice! Was it talking to him, asking for him?
The answering machine shuts off.
The telephone RINGS again. Freeman bolts from the bed, picks up on the second RING.
FREEMAN
(into phone) Hello!
ANI (V.O.)
Dr. Edwards, it’s Ani. I’m sorry I —
FREEMAN
(into phone) Who?
ANI (V.O.)
Miss Anderson.
FREEMAN
Oh, I’m sorry. Hi.
ANI (V.O.)
Apologize for calling you at home, but I’ve been trying to get a hold of you. Just wanted, you know, to see if you were okay.
64.
FREEMAN
(into phone)
So kind of you, but… I’m fine.
Awkward silence.
ANI (V.O.)
Okay, well… will I see you soon… in the office?
FREEMAN
(into phone) Maybe… in a few days.
ANI (V.O.)
Okay.
FREEMAN
(into phone)
I’m… thank you for calling.
ANI (V.O.)
I uh… well, I… I guess I’ll see you in a few days.
FREEMAN
(into phone)
Yes. In a few days. Good-bye.
ANI (V.O.)
Bye.
Freeman holds the telephone to his ear after Ani disconnects. He stares into space. Contemplative expression on his face.
INT. DOCTOR CATHERINE BROWN’S OFFICE – DAY
Freeman sits across from Dr. Brown. He’s shaved, is hair is cut, and in that Brooks Brothers suit.
FREEMAN
What should I do?
DOCTOR BROWN
That depends.
FREEMAN
On what?
DOCTOR BROWN
Is it something you want or something you need? A want is a desire. A need is essential to your well-being.
Freeman gives her a perplexed look.
65.
FREEMAN
You’re making me work.
DOCTOR BROWN
Epiphanies don’t just happen.
FREEMAN
Can’t you give me a hint?
Doctor Brown studies Freeman for a moment.
DOCTOR BROWN
Love and lust are poles apart. Lust is chaos, love is art.
Freeman throws Dr. Brown a dumfounded frown. INT. FREEMAN’S APARTMENT – LIVING ROOM – DAY
Freeman paces, cell phone in hand. He stops, stares at a drawing on a wall.
INSERT:
The drawing of Freeman and Ani by the Street Artist. BACK TO THE SCENE.
Freeman punches in a number, waits…
ANI (V.O.)
Good morning, Mindfulness Clinic. How can I help you?
Freeman opens his mouth to speak, then freezes.
ANI (V.O.)
Hello?
Feeman disconnects the call. He paces around the room. He takes out a piece of paper, looks at it. He punches in a number on his cell phone. Waits…
PRISCILLA (V.O.)
Hello…
FREEMAN
Hello, Miss Montenegro?
EXT. THE ICE CREAMERY – DAY
Freeman looks expectantly to his right, then left. Several anxious moments pass.
Freeman watches Priscilla saunter toward him. She’s gorgeous, ravishing, vivacious, sexy.
66.
Freeman grins. Priscilla reaches him.
FREEMAN
I hope you’re Priscilla Montenegro.
Freeman extends his hand. Priscilla takes it.
PRISCILLA
That’s me.
INT. THE ICE CREAMERY – DAY
Freeman and Priscilla sit across from each other. Each has a ice cream cone. Priscilla licks with purpose. Freeman’s gaze at Priscilla turns to ogling.
PRISCILLA
I love it here. Do you like it here?
FREEMAN
I love it here.
PRISCILLA
It’s one of my favorite places. I come here sometimes with my little brothers.
FREEMAN
They like ice cream?
PRISCILLA
Not really. They just like being with me.
FREEMAN
Being with their big sister.
PRISCILLA
I guess. What about you? Where’s your favorite place?
FREEMAN
My sister’s.
PRISCILLA
Oh, so nice! Family.
FREEMAN
I love her home cooked meals.
Freeman hesitates, then stumbles over himself, then…
FREEMAN
I, uhh… I was wondering… but maybe it’s to soon, but…
67.
PRISCILLA
You want see me again.
FREEMAN
I want to see you again.
PRISCILLA
All you have to do is call.
Freeman locks eyes with Priscilla.
FREEMAN (V.O.)
She said all have to do is call.
INT. INTERNATIONAL HEALTH CLUB – EXERCISE FLOOR – DAY
Freeman stands next to Antonio while he works out on a Nautilus machine.
FREEMAN
She’s beautiful and sexy…
Antonio looks at Freeman, shakes his head.
ANTONIO
Not again.
Antonio gets up, heads to another Nautilus machine. Freeman follows him.
She’s kind.
FREEMAN (CONT’D)
Antonio resumes working out.
FREEMAN (CONT’D)
And she’s family oriented, takes care of her baby brothers.
Antonio glances at Freeman, keeps working out.
FREEMAN (CONT’D)
I know what you’re thinking, but no, she called me. She wants me.
Antonio finishes on the Nautilus machine.
FREEMAN (CONT’D)
Aren’t you going so say something?
Antonio turns to Freeman.
ANTONIO
Noli id corrumpere.
What!?
FREEMAN ANTONIO
68.
Don’t fuck it up.
INT. PRISCILLA’S APARTMENT BUILDING – HALLWAY – NIGHT
Freeman holds a single, long-stemmed red rose.
The door opens. Priscilla appears in a revealing black gown.
Freeman is awe-struck. Perspiration breaks out on his forehead. He chokes.
Hi…
PRISCILLA
INT. PRISCILLA’S APARTMENT – FOYER – NIGHT
Freeman enters. He reaches the rose to Priscilla. She takes the rose, lifts it to her nose, inhales.
PRISCILLA
Such a lovely rose.
Priscilla pulls Freeman into a warm embrace. She pushes him to arms length.
PRISCILLA
Freeman, I know you’ve made reservations, but let’s eat here.
FREEMAN
(huge smile) Sure, why not.
PRISCILLA
You’re so sweet.
Priscilla kisses him. A huge shadow falls over Freeman’s face. He senses the change in lighting. He freezes.
Freeman opens his eyes without freeing his lips from Priscilla’s. He looks up and up. An enormous figure stands over them.
Priscilla opens her eyes, looks into Freeman’s.
PRISCILLA
What’s wrong?
FREEMAN
(whispers) Who’s that?
PRISCILLA
(looks)
69.
Oh, that’s Komo.
FREEMAN
Komo?
PRISCILLA
My little brother.
Priscilla takes Freeman’s hand, drags him toward KOMO.
KOMO, 21, six-foot six, two hundred fifty pounds, scowls down on Freeman.
PRISCILLA
Komo. This is Freeman.
Freeman reaches out a trembling hand to Komo.
FREEMAN
Pleased to meet you.
Komo snorts. He glares at Freeman. Freeman’s hand hangs in mid-air. Priscilla takes it and leads Freeman into the…
INT. LIVING ROOM – NIGHT
Priscilla pulls Freeman in.
PRISCILLA
You mind if he joins us?
FREEMAN
Uhhh…
PRISCILLA
He insisted. So did Marco.
FREEMAN
Marco?
MARCO, 23, enters. He’s six-foot nine, three hundred pounds.
PRISCILLA
Freeman, this is Marco. My other little brother.
Freeman looks up, forces an anxious smile. INT. DINING ROOM – NIGHT
The dining room table is overwhelmed with food. Prominent are two gigantic bowls of knockwurst and sauerkraut, and three loaves of rye bread.
70.
Freeman sits across from Priscilla.
Marco and Komo sit at opposite ends of the table. Their faces are inches from the mound of food on their plates.
They eat ravenously, like Arkansas razorbacks — the hogs, not the football team.
Priscilla fingers a clump of sauerkraut. She eats a few strands at a time. She sucks the juice from her fingers.
Priscilla eases her fingers in and out of her mouth, slowly and erotically. She fixes her eyes on Freeman’s.
PRISCILLA
I hope you like knockwurst and sauerkraut. Knockwursts are my favorite, especially the big ones.
Priscilla picks up a knockwurst, holds it between her fingers. She slides her tongue back and forth along the knockwurst.
She circles the end with tip of her tongue, licks it, sucks.
Freeman’s transfixed. Moments of torment.
Freeman steals a glance at Marco, then at Komo. Both are too busy feeding their faces to notice what’s going on.
FREEMAN
Uhhh… Priscilla?
Priscilla slides the knockwurst out of her mouth, licks juice from her fingers. She turns to Freeman.
PRISCILLA
Yes.
FREEMAN
I was wondering…
Freeman glances at Marco and Komo.
FREEMAN (CONT’D)
After dinner could we, uh… could we… could we go someplace… alone?
Marco and Komo stop eating. They exchange looks, then give Freeman evil looks.
Freeman’s eyes dart from Marco to Komo.
FREEMAN (CONT’D)
But, we don’t have to. No, no, not at all. In fact, I like it here.
With Marco and Komo. We should stay.
(MORE)
71.
FREEMAN (CONT’D)
And talk. I love to talk. I’d rather talk than do anything. Honest.
Marco and Komo exchange glances, nod at each other, then resume eating.
Priscilla picks up her knockwurst.
PRISCILLA
But you don’t have to do anything. I’ll do everything. That’s the fun.
Priscilla slides her tongue the length of the knockwurst, then back again.
Freeman stares, follows Priscilla’s tongue as it caresses the knockwurst. He perspires, salivates.
Priscilla slides the knockwurst into her mouth, sucks on it. She slides it in, slides it out. She purrs and moans.
Komo catches Freeman staring. Freeman glances at Komo.
Komo looks pointedly at the knockwurst on his plate, then at Freeman. He takes his fork, stabs it. Juice spurts all over his hands. He gives Freeman a mean, nasty smile.
Freeman reacts, looks over at Marco.
Marco sneers at Freeman, smiles wickedly. He stabs his knockwurst with a fork. He takes a knife and slices the knockwurst length-wise with a vicious flick of his wrist.
FREEMAN
Yaaaaaaaaahhhhhhhhhhhhhhh!
Freeman bolts out of the dining room and out of the apartment. INT. INTIMATE CONNECTIONS – RECEPTION AREA – DAY
Freeman confronts the RECEPTIONIST, 20s.
FREEMAN
I want to see her, now!
RECEPTIONIST
I’m sorry, but she’s —
FREEMAN
Forget it!
Freeman rushes past the receptionist.
72.
RECEPTIONIST
Sir, you can’t…
INT. HALLWAY – DAY
Freeman runs from office to office. He yanks open doors, looks in, then SLAMS them shut. After several doors, he opens a door and his eyes light up.
FREEMAN
Ah-hah!
INT. VIEWING ROOM – DAY
Freeman enters. Brantley sits with a MIDDLE-AGED MAN.
FREEMAN
(to Brantley) You!
Brantley is unruffled. She turns to the Middle-Aged Man.
BRANTLEY
Excuse us, please.
The Middle-Aged Man exits. Brantley stands.
FREEMAN
I’m dissatisfied!
BRANTLEY
Please calm down, tell me what’s —
FREEMAN
I want a refund!
BRANTLEY
Dr. Edwards, we don’t guarantee satisfaction. But I’ll guarantee you this. You’re not getting a refund.
FREEMAN
I pay you five thousand dollars, then I get stood up, beat up, karate chopped, and nearly castrated, and you expect me to leave without a refund?
BRANTLEY
You must be reading my mind.
EXT. INTIMATE CONNECTIONS – DAY
Freeman is escorted out. SECURITY GUARD #1 opens the entrance door, SECURITY GUARD #2 shoves Freeman through it.
73.
FREEMAN
Hey, hey! Watch it! You don’t want me to —
Security Guard #2 feigns a move at Freeman.
FREEMAN
Okay, okay!
Freeman’s cell phone RINGS. He answers.
FREEMAN (CONT’D)
(into phone) What!
ANI (V.O.)
Dr. Edwards?
FREEMAN
(into phone)
Miss Anderson? Oh, I’m sorry.
ANI (V.O.)
Are you okay?
FREEMAN
Uhhh… of course.
ANI (V.O.)
But you haven’t been in or haven’t called. Dr. Miller said he’s going to fire you.
FREEMAN
(into phone) Fire me!
Freeman disconnects the call.
INT. PROFESSIONAL OFFICE BUILDING – DOCTOR MILLER’S OFFICE – DAY
Freeman stands over Dr. Miller as he sits behind his desk.
FREEMAN
You can’t fire me!
DOCTOR MILLER
Yes I can.
FREEMAN
But my patient’s love me. I’ve helped them through their most traumatic experiences.
DOCTOR MILLER
You preached to a couple, didn’t provide therapy, you saw patients pro bono without my permission, you verbally attacked a couple, you’re too friendly with the receptionist, and… I don’t like you.
FREEMAN
Dr. Miller, I’m having a very bad day. You can’t fire me. Not today.
DOCTOR MILLER
You’re right. I can’t fire you today.
Freeman smiles, relieved.
FREEMAN
74.
Thank you.
DOCTOR MILLER
I fired you yesterday.
INT. INTERNATIONAL HEALTH CLUB – EXERCISE FLOOR – DAY
Freeman enters. He spots Antonio harassing a BIG-BONED WOMAN, 25, on a Nautilus machine. He heads for him.
Freeman slides beside the Nautilus. Antonio turns to him.
ANTONIO
What’s up?
Antonio turns back to the Big-Boned Woman. She gives a half- ass effort on the Nautilus.
ANTONIO (CONT’D)
Honey, put some ass into it. I know you got it.
The Big-Boned Woman gives Antonio a weak smile, continues to struggle with the Nautilus.
FREEMAN
I’m having a very bad day. I need help.
ANTONIO
I know. Like, buy some new clothes, get laid.
Freeman takes out his cell phone. He slides a finger over the screen. He holds it up for Antonio to see. Antonio’s eyes pop.
75.
ANTONIO (CONT’D)
Damn! Is this the chick you were babbling about?
FREEMAN
Priscilla Montenegro.
ANTONIO
Doc, she’s not your type.
FREEMAN
She’s different.
ANTONIO (CONT’D)
Hold on.
Antonio turns to the Big-Boned Woman.
ANTONIO (CONT’D)
Doll, hit the showers.
The Big-Boned Woman untangles herself from the Nautilus, waddles off.
ANTONIO (CONT’D)
Five days a week, I work her like she owes me money. Hasn’t lost a
pound. Says she eats next to nothing. Thank God.
INT. STEAM ROOM — DAY – DAY
Men of various shapes and sizes sit with Freeman and Antonio.
ANTONIO
Where was I? Oh, she’s not your type.
FREEMAN
She’s perfect for me. It’s over- protective brothers.
ANTONIO
What these brothers got to do with you laying pipe to this Priscilla?
FREEMAN
They’re mean and hostile.
ANTONIO
They need to get laid.
FREEMAN
That’s not the problem.
76.
ANTONIO
Oh, that’s the problem, all right.
INT. LOCKER ROOM – DAY
Freeman and Antonio get dressed.
FREEMAN
Getting laid isn’t the answer to everything.
ANTONIO
Maybe not, but it’s the answer to life’s most important questions.
Antonio’s cell phone RINGS. He takes it out of his locker.
ANTONIO (CONT’D)
(into phone) Speak to me.
(pause) What’s up, doll?
(pause)
I’ll be there. *
(pause)
If I’m late, start without me. Just leave me some.
Antonio ends the call. He turns to Freeman.
ANTONIO (CONT’D)
Now, speaking of questions and answers. That one, on the phone. She’s the answer to every question I can ask.
FREEMAN
You’ve got issues.
ANTONIO
Getting laid ain’t one of them.
EXT. INTERNATIONAL HEALTH CLUB – DAY
Freeman and Antonio exit, walk toward Antonio’s sedan.
FREEMAN
Antonio, Please! I need help with Priscilla.
Antonio lights up.
ANTONIO
A threesome? My man!
77.
FREEMAN
Antonio, get serious!
ANTONIO
I’m serious as a pimp on payday.
FREEMAN
Are you going to help me or not?
ANTONIO
What you want me to do?
FREEMAN
Get her away from her brothers.
EXT. INT. ANTONIO VAUGHN’S SEDAN – DAY
Freeman and Antonio climb inside Antonio’s sedan.
ANTONIO
That’s it?
Antonio studies Freeman for a moment.
ANTONIO (CONT’D)
Simple as shit. Tell Priscilla you’re taking her to the Healthy Lady.
FREEMAN
What! Why would I —
ANTONIO
Tell her not to tell her brothers.
FREEMAN
Duh…
ANTONIO
She’ll tell them.
FREEMAN
Why would she do that?
ANTONIO
Because over-protected chicks love over-protection, contrary to their protestations.
FREEMAN
That’s almost Freudian.
ANTONIO
The brothers go to the Healthy Lady. We take Priscilla to your place.
We?
FREEMAN ANTONIO
78.
I’m gonna keep you from hurting yourself. Besides, I gotta see this chick in the flesh… so to speak.
INT. PRISCILLA’S APARTMENT – LIVING ROOM – NIGHT
Priscilla is on a landline phone.
PRISCILLA
(into phone)
Freeman, what happened? You left so all of a sudden.
(pause)
Of course I want to see you. (pause)
The Healthy Lady. That sounds so wholesome.
(pause)
I’ll be ready. Bye-bye.
Priscilla hangs up. INT. KITCHEN – NIGHT
Marco cradles the handset of an extension telephone. He grunts at Komo.
INT. ANI’S APARTMENT – LIVING ROOM – NIGHT
Randy watches a sports program. Ani enters. She crosses to sit next to him.
ANI
Randy, we need to talk.
RANDY
Wait ’til this is over.
ANI
Please, Randy.
RANDY
Can’t you wait? You see I’m —
ANI
Turn it off!
RANDY
What the Hell’s wrong with you?
ANI
I’m sorry.
79.
RANDY
You should be.
Ani gets up, crosses to exit. She stops, turns back to Randy. She stares at him. A moment. She stands in front of Randy.
ANI
Randy… Randy turns to her.
Now what?
RANDY ANI
I can’t keep living like this. Something’s got to change. Either you love me or you don’t.
RANDY
What are you —
ANI
You want me in your life or not?
RANDY
I’ve told you —
ANI
You’ve told me a lot of things. You’re trying figure this out, you’re working on this, working on that,
you tell me I’m imagining things, that I’m needy, I’m —
RANDY
Too needy, that’s your problem.
ANI
I’m very needy. Know why? Because I don’t feel loved.
RANDY
Baby, you know I love you.
ANI
You don’t say it, you don’t show it.
RANDY
You’re crazy.
ANI
There you go again.
Ani spreads the fingers on her left hand in Randy’s face. She begins to weep.
80.
ANI
See this hand, these fingers? What do you notice?
RANDY
What’s wrong with you!?
ANI
Know what’s wrong with this finger?
Ani points the ring finger on her left hand.
ANI
No ring! Either man up or pack up!
EXT. PRISCILLA’S APARTMENT BUILDING – NIGHT
Priscilla stands at the entrance. A black, late model sedan eases alongside her. It comes to a stop.
Freeman jumps out of the passenger side. Priscilla hurries to him.
Hi. Hello.
PRISCILLA FREEMAN
Priscilla pulls Freeman into a tight embrace.
Freeman looks over her shoulder. He sees Marco and Komo exit the apartment building.
Antonio gets out of the sedan. His eyes rove all over Priscilla’s body.
ANTONIO
Hellooooo, Priscilla.
FREEMAN
Not now, Antonio.
Marco and Komo let loose with vociferous GRUNTS and GROWLS. Antonio follows the sound, sees Marco and Komo.
ANTONIO
What the fuck!
FREEMAN
Exactly! Priscilla, get in!
Freeman pulls open the sedan’s rear door, helps Priscilla inside. Freeman follows. Antonio jumps behind the wheel.
81.
INT. ANTONIO’S SEDAN – NIGHT
Antonio hits the accelerator, lays down rubber.
Freeman looks back, sees the Marco and Komo plodding after them. After a few yards, they stop, hail a taxi.
FREEMAN
They’re following.
ANTONIO
Just relax.
SERIES OF SHOTS:
— Antonio stomps on the accelerator.
— Antonio’s sedan zips through traffic.
— Antonio’s sedan turns into an alley.
— Antonio’s sedan exits the alley, shoots into traffic.
— Antonio’s sedan stops at the International Health Club.
Freeman, Antonio, and Priscilla hop into a taxi.
— The taxi stops at Freeman’s apartment building. END SERIES OF SHOTS.
EXT. FREEMAN’S APARTMENT BUILDING – NIGHT
Freeman, Antonio, and Priscilla get out of the taxi.
PRISCILLA
That was thrilling!
Antonio hands several bills to the cabbie.
ANTONIO
(to Freeman) Simple as shit.
INT. FREEMAN’S APARTMENT BUILDING – HALLWAY – NIGHT
Antonio follows Freeman and Priscilla get out of an elevator.
FREEMAN
(to Antonio)
Come in for a minute.
ANTONIO
Not unless you’re talkin’ threesome.
FREEMAN
Good night, Antonio.
Freeman unlocks the door to his apartment. He opens the door, steps inside. He freezes.
Beat.
Freeman backs out of his apartment. He shuts the door.
FREEMAN
Where are we?
ANTONIO
What you talkin’ about?
FREEMAN
Where are we?
ANTONIO
What the fuck’s wrong with you? We’re at your place.
FREEMAN
82.
You sure?
ANTONIO
Damn Skippy.
Two huge fists BLAST through the door! Freeman, Antonio, and Priscilla are rocked!
Two hands grab the door, shake it, rattle it back and forth. The trio watch, frozen with terror.
Two hands rip the door from its hinges, dump it the hallway.
The dust clears. Marco and Komo stand in the doorway, side- by-side, shoulder-to-shoulder.
MARCO/KOMO
MaaaaaGaaaaaaaaaaaah!
Freeman grabs Priscilla, jerks her toward the elevator. Antonio runs after them.
PRISCILLA
Wait! They’re just lonely.
Marco and Komo stand side-by-side, try to exit the apartment at the same time. They can’t.
They step back, exchange grunts, quizzical looks. They try again. They can’t get out. Can’t figure it out.
83.
EXT. STREET – NIGHT
Freeman drags Priscilla behind him. Antonio hails a taxi. INT. FREEMAN’S APARTMENT – HALLWAY – NIGHT
Marco and Komo pull back in puzzled exasperation. Marco lets out a horrific GROWL. Komo GRUNTS back.
They force their massive bodies against the doorjamb. They strain. The doorjamb gives.
EXT. FREEMAN’S APARTMENT BUILDING – NIGHT
Marco and Komo exit. They catch sight of the trio getting into a taxi. They lumber after them.
EXT. STREET – NIGHT
Marco and Komo plod after the taxi. They take several steps, then give up. They stop in the middle of the street.
Horns SOUND, frustrated motorists spew out ugly obscenities. Marco and Komo look at each other. Marco grunts.
Marco smashes the windshield of the nearest car. Komo jerks open the door of another, pulls out the driver.
INT. TAXI – TRAVELING – NIGHT
Freeman and Antonio look through the taxi’s rear window. They watch Marco and Komo get off on cars and motorists.
PRISCILLA
Gee, this is fun!
The taxi slows to a halt. Freeman and Antonio freeze. Their heads swivel to the front of the taxi.
EXT. STREET – NIGHT
Traffic jam. Cars are bumper to bumper — for blocks. INT. TAXI – NIGHT
Freeman looks through the rear window. He sees Marco and Komo lumber toward them.
FREEMAN
Get out, get out!
EXT. MANHATTAN STREET – NIGHT
Freeman, Antonio, and Priscilla leap out of the taxi. Antonio spots the Healthy Lady Cocktail Lounge.
C’mon!
ANTONIO
84.
INT. HEALTHY LADY COCKTAIL LOUNGE – NIGHT
Antonio leads Freeman and Priscilla inside. Loud boisterous crowd. OVERPOWERING MUSIC.
On stage, a dancer gyrates with the rhythm of a polar bear. Horny men pound their hands together, whistle and shout.
Antonio, Freeman, and Priscilla work their way through the crowd. They sit at a corner table.
PRISCILLA
(to Freeman)
You’re so sweet. All this so we could be together.
Priscilla grabs Freeman, throws her tongue down his throat.
On stage, the dancer concludes her routine. She picks up dollar bills and her discarded clothing to thunderous applause. She steps from the stage.
Marco and Komo burst through the door. They stand shoulder- to-shoulder. Frustration and anger distort their faces.
They emit GRUNTS that escalate into monstrous GROWLS.
Heads in the crowd swivel, look for the source of the animal- like sounds.
Lights flicker on.
Priscilla, Freeman, and Antonio look toward the entrance.
PRISCILLA
Why, it’s my little brothers.
Everyone throws insults at Marco and Komo, but mostly it’s..
MULTIPLE VOICES
Shut the fuck up! Sit the fuck down!
Marco scans the room.
MARCO
Gaaaaaaaaaaaahhh!
Komo looks at him.
Huh?
KOMO
85.
MARCO
(points) Gaaaaaaaaaaaahhh!
Komo follows Marco’s line of vision. He sees Priscilla in Freeman’s arms.
KOMO
Gaaaaaaaaaaaaaaaaaaaaaahhh!
Freeman pulls Priscilla to her feet.
FREEMAN
Let’s go!
Komo and Marco charge toward Freeman and Priscilla.
On stage, a six-foot, three-inch, big-boned, big breasted, long-legged woman, 30, storms out. It’s BEAUTY!.
Marco and Komo stop in their tracks. They stare at Beauty. Wonderstruck. Hypnotized. They drool.
Priscilla gazes in awe at Beauty.
PRISCILLA
My, my! She’s beautiful… and so big.
Beauty struts around the stage.
BEAUTY
What the fuck is goin’ on up in this motherfucker!? Where the fuck is my damn music… and why the Hell are the lights so mighty fuckin’ bright?
Freeman and Antonio pull Priscilla toward the rear exit. Priscilla resists, her eyes riveted on Beauty.
FREEMAN
Come on!
PRISCILLA
No, wait!
Beauty looks at the Disk Jockey, barks at him.
BEAUTY
Where’s my fuckin’ music!?
The DISC JOCKEY, 25, slams a vinyl on the turntable. The music is DEAFENING.
86.
BEAUTY (CONT’D)
All right! Now, turn down those fuckin’ lights! What the fuck you think this is, mornin’ mass?
Beauty cocks her head, waits. The lights dim.
BEAUTY (CONT’D)
About fuckin’ time. I thought I was gonna have to fuck up somebody.
Now, all you pencil dicks, and weak weenies, I’m gonna show y’all what the little woman’s ‘fraid to show you at home.
Beauty turns it on, slowly. She shakes. She rattles. She rolls everything she has. Long titillating moments.
She makes sure she has everybody where she wants them, then… she snatches off her bra.
The crowd lets out a collective GASP!
Marco and Komo’s mouths are out of control. Spasmodic. They want to talk. They almost talk.
MARCO/KOMO
MeeeeeGaaaaaaaaaaaah!
Marco and Komo charge the stage. Everything and everybody in their way gets trashed or tossed.
They reach the stage, stand in awe of Beauty’s beauty.
On stage, Beauty keeps the pressure on. She teases. She taunts. Her lips and tongue make sexually explicit promises to Marco and Komo.
Marco and Komo pull their massive bodies on stage. An AGITATED MAN, 30, incites the crowd.
AGITATED MAN
They’re going for Beauty! Let’s fuck ‘um up!
The Agitated Man and several others rush the stage.
On stage, Marco and Komo surround Beauty. Marco and Komo grunt, salivate and hump air.
The Agitated Man climbs on stage. Others follow.
Marco and Komo turn to them. Marco smacks down the Agitated Man. Komo picks up another man, throws him into three others charging toward him.
GENERAL VIEW
Full-scale brawl. Bodies, chairs, and bottles fly. Freeman and Antonio seek shelter under a table.
ANTONIO
Let’s get the fuck out of here!
FREEMAN
Where’s Priscilla?
INT. HALLWAY – NIGHT
Freeman rushes down a hallway alongside Antonio.
ANTONIO
87.
You ready?
FREEMAN
But Priscilla. I can’t go without her.
ANTONIO
Cut your losses, Doc.
Antonio runs down the hallway. Freeman chases after him. He falls. He hears running feet behind him.
Freeman gets up, sees a storeroom door, ducks inside. INT. STOREROOM – NIGHT
Dark. Freeman pulls the doorknob toward him, holds it tight. STAMPEDE of feet rush by.
Silence. Then, the sound of HEAVY BREATHING, the RUSTLING of clothing. Freeman snaps on the light. He freezes.
Priscilla sits in Beauty’s enormous lap. Beauty’s arms are wrapped around her. Beauty and Priscilla stare at Freeman.
Freeman’s eyes lock on Priscilla and Beauty. Long moment.
BEAUTY
Well? You gonna turn off the fuckin’ light or what?
EXT. HEALTHY LADY COCKTAIL LOUNGE – NIGHT
Freeman and Antonio rush out of the lounge. Police SIRENS go off in the distance.
Freeman and Antonio stop a distance away, watch the melee pour out of the lounge.
88.
ANTONIO
This is really fucked up!
Freeman shoots him a pointed look.
ANTONIO
Not you, Doc, you did good.
FREEMAN (CONT’D)
I should have known. (pause)
Lust is chaos.
INT. FREEMAN’S APARTMENT – LIVING ROOM – NIGHT
Freeman is yoga-positioned. He stares at a blank wall. Waldo sits next to him.
INT. BATHROOM – DAY
Freeman is submerged in a bathtub of water. Waldo sits nearby, stares at Freeman.
INT. BEDROOM – NIGHT
Freeman lies in bed in a fetal position. Waldo sits at the foot of the bed, stares at Freeman.
INT. BREAKFAST DINER – DAY
Freeman sits alone. He frowns at a plate of half-eaten bacon and eggs. He lifts his head, studies people around him.
A young man and woman, both early 20’s, sit close. They talk, laugh, touch affectionately. Freeman stares wistfully.
Freeman turns his attention to a man, 60’s, who sits alone, sipping coffee.
The man looks toward the entrance. He smiles. He gets up, greets a woman, 60’s. They embrace.
The woman sits. The man sits, puts an arm around her. She looks into his eyes. He gazes into her’s, smiles. She nestles into his embrace. Freeman holds on this.
INT. MINDFULNESS CLINIC – RECEPTION AREA – DAY
Freeman opens the door. Waldo enters ahead of him, runs into Freeman’s office.
At the reception desk, Freeman flips through a stack of messages. He finds none for him. He drops them on the desk.
89.
INT. FREEMAN’S OFFICE – DAY
Freeman enters. The walls are bare. Outlines where plaques and pictures once hung. Boxes half-filled with books.
Ani sits behind Freeman’s desk. Waldo sits in her lap. She scratches his ears.
Hello…
Ani looks up.
FREEMAN
ANI
Hi. He’s cute.
FREEMAN
His name’s Waldo.
Freeman gives Ani a curious look.
FREEMAN (CONT’D)
Miss Anderson, why…
ANI
I, uh… you hadn’t come for your things, nobody’s heard from you, so…
FREEMAN
Kind of you to do this.
Ani puts Waldo down. She turns to Freeman.
ANI
I’m… I’m going to miss you.
FREEMAN
Really?
ANI
Of course.
FREEMAN
I’m going to miss you, too.
Awkward silence.
Ani glances at her watch.
ANI
I have to go.
FREEMAN
Miss Anderson… I was wondering… do you think maybe you and I could, you know…
90.
What?
ANI FREEMAN
Now that I’m no longer at the Clinic, uhh.. I was wondering… could we, like, see each other?
ANI
Oh, Dr. Edwards… I, uhh… I’m so sorry… I’m getting married.
FREEMAN
Married? Yeah.
ANI
Freeman suffers silently. He takes moment to process this.
FREEMAN
That’s uhh… so, you worked things out?
ANI
Yeah, sort of…
FREEMAN
So, uhh… congratulations.
ANI
Thank you.
(pause)
I, I should go.
Waldo runs to her, BARKS. Ani reaches down scratches Waldo behind his ears.
ANI
Good-bye Waldo.
Ani looks up, gives Freeman a warm smile.
ANI
Good bye.
FREEMAN
Good bye, Miss Anderson.
Ani crosses to the door. At the door, she stops. She goes back to Freeman.
91.
ANI (CONT’D)
I almost forgot.
Ani digs into her handbag. She pulls out an envelope. She reluctantly hands it to Freeman.
ANI (CONT’D)
Your invitation.
Freeman glances at the envelope, then looks at Ani.
ANI (CONT’D)
A hui hou.
(pronounced ah-oho- wee-ho-oo-uu)
Hawaiian. It means, ‘Until we meet again.’
FREEMAN
(smiles)
Catch you later. That’s Brooklynese.
Ani giggles.
They lock eyes for a moment. Freeman takes a step toward Ani, then stops.
Ani smiles.
Freeman hesitates, then takes her into an awkward embrace. He releases her.
Ani steps back, exits.
Freeman stares after Ani. He sits. Waldo jumps into his lap. Moments pass.
Freeman puts Waldo down, then dashes across the room, exits. INT. PROFESSIONAL OFFICE BUILDING – HALLWAY – DAY
Freeman races into the hallway.
FREEMAN
Ani!
EXT. PROFESSIONAL OFFICE BUILDING – DAY
Freeman spins through a revolving door, exits. EXT. STREET – DAY
Freeman’s eyes search through the horde of pedestrians. He runs to a crosswalk.
92.
His eyes rove over every face on the opposite side of the street. He spots Ani.
FREEMAN
Ani!
Freeman starts to cross the street. A bus passes, blocks his view. After the bus passes, Ani has disappeared.
FREEMAN
Ani!
Freeman runs across the street, eyes searching. He runs one way, then another, looks everywhere.
After several heart-breaking moments, he gives up. Downcast, he turns and trudges back to his office building.
INT. NELSON HOME – KITCHEN – DAY
Freeman sits across from Francine. Two coffee cups in from of them.
FRANCINE
Glad you came. I apologize. About Beverly. I was wrong.
FREEMAN
I know.
FRANCINE
Smart ass. But I do apologize for that, and for treating you like a child. I just want you to find someone and be happy.
FREEMAN
I have found someone.
FRANCINE
You have!?
FREEMAN
Yeah, but she’s taken.
EXT./INT.
The Table Readers
The Table Readers join us for a table read.
