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. I . . ." "Yes?" queried the Duke. "That is the purport of my importunity, my lord," said the young man, springing to his feet and speaking once more in tones of noble candour. "I would have asked Your Grace that, since you do not know the Lady Ursula, since you have no wish to claim her hand, if some one else . . ." "If the Lady Ursula honoured some one else than my unworthy self. . . . Is that your meaning, my lord?" queried Wessex, as Don Miguel had made a slight pause in his impetuous speech. "If I . . ." "You, my lord?" "I would wish to know if I should be offending Your Grace?" "Offending me?" cried Wessex joyfully. "Nay, my lord, why were you so long in telling me this gladsome news? . . . Offending me? . . . you have succeeded in taking a load from my conscience, my dear Marquis. So you love the Lady Ursula Glynde? . . . Ye heavens! what a number of circumlocutions to arrive at this simple little fact! You love her . . . she is very beautiful . . . and she loves you. Where did you first see her, my lord?" "At East Molesey Fair. . . . Your Grace intervened . . . you must remember!" "Most inopportunely, meseems. I must indeed crave your pardon. And since then?" "The acquaintanceship, perhaps somewhat unpleasantly begun, has ripened into . . . friendship." "And thence into love! Nay, you have my heartiest congratulations, my lord. The Glyndes are famous for their virtue, and since the Lady Ursula is beautiful, why! your Court will indeed be graced by such a pattern of English womanhood." "Oh!" said the Spaniard, with a quick gesture of deprecation. "Nay! you must have no fear, my lord. Since you have honoured me by consulting my feelings in the matter, it shall be my pride and my delight to further your cause, and that of the Lady Ursula . . . if indeed she will deign to express her wishes to me. . . . I hereby give you a gentleman's word of honour that I consider the promise, which she made to her father in her childhood, in no way binding upon her now. . . . As for the future, I swear that I will obtain Her Majesty's consent to your immediate marriage." "Nay! I pray you, not so fast!" laughed Don Miguel lightly. "Neither the Lady Ursula nor I have need of Her Majesty's consent. . . ." "But methought----" "'Twas not I who spoke of marriage, remember!" "Then you have completely bewildered me, my lord," rejoined Wessex with a sudden frown. "I understood----" "That I am the proudest of men, certainly," quoth Don Miguel with a sarcastic curl of his sensual lip, "but 'twas Your Grace who spoke of the lady's virtue. I merely wished to know if I should be offending Your Grace if . . ." He laughed and shrugged his shoulders. The laugh grated unpleasantly on Wessex' ear, and the gesture savoured of impertinence. The Marquis' manner had suddenly undergone a change, which caused the Duke's every nerve to tingle. "If what?" he queried curtly. "The devil! sir, cannot you say what you do mean?" "Why should I," replied the Spaniard, "since your Grace has already guessed? You will own that I have acted _en galant homme_, by thinking of your wishes. You will not surely desire to champion that much-vaunted virtue of the Glyndes." "Then what you mean, sir, is that . . ." "I cannot speak more plainly, my lord, for that among gentlemen is quite impossible. But rumours fly about quickly at Court, and I feared that Your Grace might have caught one, ere I had the chance of assuring you that I recognize the priority of your claim. But now you tell me that you have no further interest in the lady, so I am reassured. . . . We foreigners, you know, take passing pleasures more lightly than you serious-minded English . . . and if the lady be unattached . . . and more than willing . . . why should we play the part of Joseph? . . . a ridiculous r le at best, eh, my lord? . . . and one, I think, which Your Grace would ever disdain to play. . . . As for me, I am quite reassured . . . Au revoir to Your Grace. . . ." And before Wessex had time to utter another word, Don Miguel, still laughing, went out of the room. The Duke felt a little bewildered. The conversation had gone through such a sudden transition, that at the time, he had hardly realized whether it touched him deeply or not. Owing to Ursula's girlish little ruse, he was totally unaware of her identity with the lady who had been the subject of this very distasteful discussion. To him Lady Ursula Glynde was both unknown and uninteresting. His meeting with beautiful, exquisite "Fanny" had driven all thoughts of other women from his mind. But with all his volatile disposition, where women were concerned, the Duke of Wessex was nevertheless imbued with a strong and romantic feeling of chivalry towards the entire sex, and Don Miguel's disdainful allusions to the lady who might have been Duchess of Wessex had left his finger-tips itching with the desire to throw his glove in the impudent rascal's face. Harry Plantagenet, who throughout the interview had openly expressed his disapproval of his master's interlocutor, gave an impatient little whine. He longed for the privacy of his own apartments, the warmth of the rugs laid out specially for him. "Harry, old friend!" said Wessex thoughtfully, "what the devil, think you, that young reprobate meant?" He took the dog's beautiful head between his hands and looked straight into the honest, faithful eyes of his dear and constant companion. "Marry!" he continued more lightly, "you may well look doubtful, you wise philosopher, for you know the Glyndes as well as I do. You remember old Lady Annabel, whose very look would stop your tail from wagging, and Charles, stodgy, silent, serious Charles, who never drank, never laughed, had probably never seen a woman's ankle in his life. And then the Lady Ursula . . . a Glynde . . . do you mind me, old Harry? . . . therefore as ugly, as a combination of virtue and Scotch descent can make any woman. . . . Yet, if I caught the rascal's meaning, neither Scotch descent nor ill looks have proved a shield for the lady's virtue! . . . Well, 'tis no business of ours, is it, old Harry? Let us live and let live. . . . Perhaps Lady Ursula is not ugly . . . perchance that unpleasant-looking Spaniard doth truly love her . . . and who are we, Harry, you and I, that we should prove censorious? Let us to our apartments, friend, and meditate on woman's frailty and on our own . . . especially on our own . . . we are mere male creatures, and women are so adorable! even when they bristle with virtues like a hedgehog . . . but like him too, are cushioned beneath those bristles with a hundred charming, fascinating sins. . . . Come along, friend, and let us meditate why sin . . . sin of a certain type, remember, should be so enchantingly tempting." Harry Plantagenet was a philosopher. He had seen his master in this kind of mood before. He wagged his tail as if to express his approval of the broad principles thus submitted for his consideration, but at the same time he showed a distinct desire that his master should talk less and come more speedily to bed. CHAPTER XXII THE WHITE QUEEN Wessex after a while was ready enough to dismiss the unpleasant subject. Perhaps he had no right to be censorious or to resent the Spaniard's somewhat unusual attitude. In England, undoubtedly, a gentleman would never--except under very special circumstances--allude to any passing liaison he might have with a lady of his own rank. That was a strict code of honour which had existed from time immemorial, even in the days of King Harry's youth, when the virtue of high-born women had been but little thought of. Abroad, perhaps, it was different. Spaniards, just then, were noted for the light way in which they regarded the favours of the fair sex, and Don Miguel's code of honour had evidently prompted him to consult Wessex' wishes in the matter of his own intrigue. Loyalty to their own sex is perhaps, on the whole, more general in men than is their chivalry towards women, and perhaps the Marquis' feelings would have revolted at the thought of seeing a lady of such light virtue in the position of Duchess of Wessex. Be that as it may, His Grace had no wish to probe the matter further; with a shrug of the shoulders he dismissed it from his thoughts, whilst registering a vow to chastise the young blackguard if his impertinence showed signs of recurrence. He was on the point of yielding to his faithful Harry's canine appeals by allowing him to lead the way towards his own distant lodgings, when his ear suddenly caught the sound of a silk dress rustling somewhere, not far from where he stood. At the end of the room closest to him, a few steps led up to a gallery, which ran along the wall, finally abutting at a door, which gave access to the Duchess of Lincoln's and other ladies' lodgings. The rustle of a silk skirt seemed to come from there. Perhaps Wessex would not have taken notice of it, except that his every thought was filled with a strange excitement since the rencontre of the afternoon. At times now he felt as if his very senses ached with the longing to see once more that entrancing, girlish figure, dressed all in white and crowned with the halo of her exquisite golden hair, to hear once more the sound of that fresh young voice, that merry, childlike laugh, through which there vibrated the thrill of a newly awakened passion. Since he had met her he was conscious of a wonderful change in himself. He did not even analyse his feelings: he knew that he loved her now: that, in a sense, he had always loved her, for his poetic and romantic temperament had ever been in search of that perfect type of womanhood, which she seemed so completely to embody in herself. He had only spoken to her for about half an hour, then had sat opposite to her in a boat among the reeds, in the cool of the afternoon, with the lazy river gently rocking the light skiff, and the water birds for sole witnesses of his happiness. They had hardly exchanged a word then, for he had enjoyed the delight--dear to every man who loves--of watching the blushes come and go upon her cheek in response to his ardent gaze. What did words matter? the music in their souls supplied all that they wished to say. And he--who had been deemed so fickle, who had made of love a pastime, taking what joys women would give him with a grateful yet transient smile, His Grace of Wessex, in fact, who had loved so often yet so inconstantly--knew now that the stern little god, who will not for long brook defiance of his laws, had wounded him for life or death at last. And even now, when he heard the rustle of a kirtle, he paused instinctively, vaguely, madly hoping that chance, and the great wild longing which was in him, had indeed drawn her footsteps hither. The door above, at the end of the gallery, was tentatively opened. Wessex could see nothing, for those distant corners of the room were in complete darkness, but he heard a voice, low and sweet, humming the little ditty which she, his queen, had sung this afternoon. "Disdaine me not that am your own, Refuse me not that am so true, Mistrust me not till all be knowen, Forsake me not now for no new." She walked slowly along the gallery, and paused not far from the top of the short flight of oak steps. She seemed to be hesitating a little, as if afraid to venture farther into the large, dimly lighted hall. The flicker of the tall wax tapers now caught her dainty figure, casting golden lights and deep, ruddy shadows on her fair young face and on the whiteness of her gown. In her arms she held an enormous sheaf of pale pink monthly roses, the spoils of the garden, lavish in its autumnal glory. Never had Wessex--fastidious, fickle, insouciant Wessex--seen anything more radiant, more exquisite, more poetic than this apparition which came towards him like the realization of all his maddest dreams. For one moment more he lingered, his ardent, passionate soul was loath to give up these heaven-born seconds spent in looking at her. Her eyes shone darkly in the gleam of the candle light and had wondrous reflections in them, which looked ruddy and hot; her delicately chiselled features were suffused with a strange glow, which seemed to come from within; and her lips were slightly parted, moist and red like some ripe summer fruit. From her whole person there came an exhalation of youth and womanhood, of purity and soul-stirring passion. "Come down, sweet singer," said Wessex to her at last. She gave a startled little cry, leant over the balustrade, and the sheaf of flowers dropped from her arms, falling in a long cascade of leaves and blossoms, rose-coloured and sweet-scented, at his feet. "Ah, Your Grace frightened me!" she whispered, with just a touch of feminine coquetry. "I . . . I . . . didn't know you were here." "I swear you did not, sweet saint . . . but now . . . as I am here . . . come down quickly ere I perish with longing for a nearer sight of your dear eyes." "But my flowers," she said, with a sudden access of timidity, brought forth by the thrilling ardour of his voice. "I had picked them for Her Majesty's oratory." "Nay! let them all wither save one . . . which I will take from your hand. Come down. . . ." One of the roses had remained fixed in the stiff fold of her panier. She took it between her fingers and sighed. "Oh! I dare not," she said sadly. "Your Grace does not know,--cannot guess, what dire disgrace would befall me if I did." "Perish the thought of disgrace," rejoined Wessex gaily. "Marry! the saints in Paradise must come down from heaven sometimes, else the world would be consumed by its own wickedness. Come down," he added more earnestly, seized with a mad, ungovernable desire to clasp her to his heart, "come down, or I swear that I'll bring you down in my arms." "No . . . no . . . no!" she protested, alarmed at his vehemence. "I'll come down." With a quaintly mischievous gesture she flung the rose at him; it hit him in the face, then fell; he had perforce to stoop in order to pick it up. When he once more straightened his tall figure she was standing quite close to him. There she was, just as he had always thought of her, even as a boy when first he began to dream. She, the perfect woman whom one day he would meet, and on that day would love wholly, passionately, humbly, and proudly, his own and yet his queen; she the most perfect product of Nature, with just that tone of gold in her hair, just those eyes, so inscrutable, so full of colour, so infinite in their variety; not very tall, but graceful and slender, with her dainty head on a level with his shoulder, her fair young forehead on a level with his lips. Now that she was so near, he was as if turned to stone. The wild longing was still in him to clasp her in his arms, to hold her closely, tenderly to his heart, yet he would not have touched her for a kingdom. But as he looked at her he knew that she, herself, would come to him in all her purity, her innocence . . . soon . . . to-day perhaps . . . but certainly one day . . . and that she would come with every fibre in her entire being vibrating in responsive passion to him. She looked up at him shyly, tentatively. His very soul went out to her as he returned her gaze. A great and glorious exultation thrilled every fibre of her being. She knew that she had conquered, that the love which in her girlish heart she had kept for him had borne fruit a thousandfold. Her heart seemed to stop beating at the immensity of her happiness. But woman-like, she was more self-possessed than he was. "I must not stay," she said gravely and with only an imperceptible quiver in her voice. "I am in disgrace, you know . . . for that stroll on the river . . . with you . . . this afternoon." "Why? what happened?" he asked with a smile. She held up her little hand and counted on her fingers. "Number one, a frown and a colder shoulder from Her Majesty! Two, a lecture from Her Grace of Lincoln! Twenty minutes! Three, four, and five, pin-pricks from the ladies and a lonely supper in my room to-night." He loved her in this gayer mood which made her seem so young and childlike. "Could you not have contrived to let me know?" "Why? . . . What would you have done?" "Made it less lonely for you." "You are doing that now. I thought I should be alone the rest of the evening. Her Grace of Lincoln and the others are at prayers with Her Majesty. I was confined to that room up there. How is it Your Grace happened to be in this hall just when I came out?" "A moth is always to be found where the light happens to be," he replied gravely. "But how did you know I should be here?" "My eyes, since this afternoon, see you constantly where you are not--how could they fail to see you where you are?" "Then, as Your Grace has seen me . . ." she added with timid nervousness, seeing that he now stood between her and the steps, "will you allow me to go up again?" "No." "I entreat!" she pleaded. "Impossible." "Her Grace of Lincoln will be looking for me." "Then stay here with me until she does." "What to do?" she queried innocently. "To make me happy." "Happy?" she laughed merrily. "Ho! ho! ho! How can I, a humble waiting-maid, manage to make His Grace of Wessex happy?" "By letting me look at you." With quaint and artless coquetry she picked up the folds of her heavy brocaded paniers, right and left, with two delicate fingers, and executed a dainty pirouette in front of him. "There!" she said merrily, "'tis done. . . . And now?" "By letting me whisper to you . . ." he murmured. She drew back quickly, and said with mock severity-- "That which I must not hear." "Why not?" "Because Your Grace is not free," she rejoined archly. "Not free to whisper anything in any woman's ear, save in that of Lady Ursula Glynde." "Then you guessed what I would have whispered to you?" "Perhaps." "What was it?" She veiled the glory of her eyes with their fringe of dark lashes. "That you loved me . . ." she murmured, "for the moment. . . ." How irresistible she was, with just that soup on of coquetry to whet the desire of this fastidious man of the world, and with it all so free from artifice, so young and fresh and pure:--a madonna, yet made to tempt mankind. "Nay! if you would let me, sweet saint, I would whisper in your tiny ear that I worship you!" he said in all sincerity and truth, and with the ring of an ardent passion in every tone of his voice. "Worship me? . . ." she queried in mock astonishment, "and Your Grace does not even know who I am." "Faith! but I do. You are the most beautiful woman on this earth." "Oh! . . . but my name! . . ." "Nay! as to that I care not . . . You shall tell it me anon, if you like. . . . For the moment I love to think of you as I first beheld you in the garden this afternoon--a fairy or sprite . . . I know not which . . . an angel mayhap . . . in your robes of white, surrounded with flowers and dark bosquets of hazelnut and of yew, with golden tints of ruddy autumn around you, less glorious than your hair. Let me worship blindly . . . fettered . . . your slave." She sighed, a quaint little sigh, which had a tinge of melancholy in it. "For how long?" she murmured. "For my whole life," he replied earnestly. "Will you not try me?" "How?" "You love me, sweet saint?" "I . . ." she began shyly. "Let me look into your eyes. . . . I will find my answer." Her arms dropped by her side, she looked up and met his eyes, ardent, burning with passion, fixed longingly upon her. He came close to her, quite close, his presence thrilled her; she closed her eyes in order to shut out from her innermost soul everything from the outside world, save the exquisite feeling of her newly awakened love. "Now, see how perverse I am," he whispered passionately. "I do not want you to tell me anything just now . . . open your eyes, dear saint . . . for I but want to stand like this . . . and read in their blue depths . . . enjoying every fraction of a second of this heavenly moment. . . ." She tried to speak, but instinctively he stopped her. "No . . . no . . . do not speak. . . . And yet . . . 'tis from your sweet lips I'd have my final answer." He took her in his arms. She lay against him, unresisting, her sweet face turned up to his, soul meeting soul at last in the ecstasy of a first kiss. He held her to his heart. It seemed as if he could never let her go from him again. Everything was forgotten, the world had ceased to be. For him there was but one woman on this earth, and she was his own. CHAPTER XXIII CHECK TO THE QUEEN How long they stood thus, heart to heart, they themselves could never have said. The sound of many voices in the near distance roused them from their dream. Ursula started in alarm. "Holy Virgin!" she exclaimed under her breath, "if it should be the Queen!" But Wessex held her tightly, and she struggled in vain. "Nay! then let the whole Court see that I hold my future wife in my arms," he said proudly. But with an agitated little cry she contrived to escape him. He seemed much amused at her nervousness; what had she to fear? was she not his own, to protect even from the semblance of ill? But Ursula, now fully awakened to ordinary, everyday surroundings, was fearful lest her own innocent little deception should be too crudely, too suddenly unmasked. She had so earnestly looked forward to the moment when she would say to him that she in sooth was none other than Lady Ursula Glynde, the woman whom every conventionality had decreed that he should marry, and whom--because of these conventionalities--he had secretly but certainly disliked. Her woman's heart had already given her a clear insight into the character and the foibles of the man she loved. His passion for her now, sincere and great though it was, was partly dependent on that atmosphere of romance which his poetical temperament craved for, and which had surrounded the half-mysterious personality of exquisite, irresistible "Fanny." Instinctively she dreaded the rough hand of commonplace, that ugly, coarse destroyer of poetic idylls. A few hastily uttered words might shatter in an hour the mystic shrine wherein Wessex had enthroned her. She had meant to tell him soon, to-morrow perhaps, perhaps only after a few days, but she wished to find her own time for this, when he knew her inner soul better, and the delicate cobwebs of this great love-at-first-sight had fallen away from his eyes. She could not altogether have explained to herself why a sudden disclosure of her identity at this moment would have been peculiarly unpleasant to her. It was a weak, childish feeling no doubt. But such as it was, it was real, and strong, and genuine. Barely a minute had elapsed whilst these quick thoughts and fears went wildly coursing through her mind. There was no time to tell him everything now. The voices came from the next room, within the next few seconds probably the great door would be open to admit a group of people: the Duchess of Lincoln and the ladies mayhap, or the Queen on her way to chapel. And His Grace of Wessex looked terribly determined. "No! no! no!--not just this moment, sweet Grace," she entreated, "by your love! not _just_ this moment. . . . The Queen would be so angry . . . oh! not _just_ now!" She looked so genuinely disturbed, and so tenderly appealing, that he could not help but obey. "But you cannot send me away like this," he urged. "Another word, sweet saint. . . . Faith! I could not live without another kiss. . . ." "No, no, no, I entreat Your Grace . . . not to-night," she protested feebly. He thought, however, that he detected a sign of yielding in her voice, although she was already beginning to mount the steps ready for flight. "Just one tiny word," he whispered hurriedly: "when the Queen has passed through, linger up there for one brief minute only. I'll wait in there!" And he pointed to a small door close behind him, which led to an inner closet at right angles with the gallery. Before she had time to protest--nay! perhaps she had no wish to refuse--he had disappeared behind its heavy panels, quickly calling to his dog to follow him. But in that one moment's hesitation, those few brief and delicious words hastily exchanged, she had lost her opportunity for escape. The next instant the door at the further end of the room was thrown open, and the Queen entered followed by some of her ladies. She was accompanied by the Duchess of Lincoln, and His Eminence the Cardinal de Moreno was on her left. As chance or ill-luck would have it, the first sight which greeted Her Majesty's eyes was the figure of Lady Ursula, midway up the steps which led to the gallery, some mysterious imp of mischief having contrived that the light from the wax tapers should unaccountably and very vividly fall upon the white-clad form of the young girl. An exclamation of stern reproval from Her Grace of Lincoln brought Ursula to a standstill. Flight now was no longer possible; she could but trust in her guardian angel, or in any of those protective genii who have in their keeping the special care of lovers in distress, and who happened to be hovering nigh. It was not seemly to be half-way up a flight of stairs when Her Majesty was standing on the floor below. Ursula, with her cheeks aflame with vexation, slowly descended, whilst encountering as boldly as she could the artillery fire of half a dozen pairs of eyes fixed steadily upon her. Mary Tudor looked coldly severe, Her Grace of Lincoln horror-struck, His Eminence ironical, and the ladies vastly amused. "Ah, child!" said Her Majesty, in her iciest tone of voice, "all alone, and in this part of the Palace?" She looked the dainty young figure disdainfully up and down, then her eye caught the sheaf of roses lying in a fragrant tangle close to the foot of the stairs. There was a quick flash of anger in her face, then a frown. Ursula wondered how much she guessed or what she suspected. But the Queen, after that one quick wave of passionate wrath, made an obvious effort to control herself. She turned composedly to the Duchess of Lincoln. "Your Grace is aware," she said drily, "that I deem it most indecorous for my maids-of-honour to wander about the Palace alone." The wrinkled old face of the kindly Duchess expressed the most heartfelt sorrow. "I crave Your Majesty's humble pardon . . ." she stammered in an agony of misery at this public reproof. "I . . ." "Nay, Duchess, I know the difficulty of your task," rejoined Mary Tudor bitingly, "the other ladies are docile, and their behaviour is maidenly and chaste. 'Tis not always so with the Lady Ursula Glynde." Mary's voice had been so trenchant and hard that it seemed to Ursula's sensitive ears as if its metallic tones must have penetrated to every corner of the Palace. She gave a quick, terrified look towards the door, longing with all her might for the gift to see through its massive panels--to know what went on within that inner closet, where Wessex was waiting

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How many times the word 'slightly' appears in the text?

. I . . ." "Yes?" queried the Duke. "That is the purport of my importunity, my lord," said the young man, springing to his feet and speaking once more in tones of noble candour. "I would have asked Your Grace that, since you do not know the Lady Ursula, since you have no wish to claim her hand, if some one else . . ." "If the Lady Ursula honoured some one else than my unworthy self. . . . Is that your meaning, my lord?" queried Wessex, as Don Miguel had made a slight pause in his impetuous speech. "If I . . ." "You, my lord?" "I would wish to know if I should be offending Your Grace?" "Offending me?" cried Wessex joyfully. "Nay, my lord, why were you so long in telling me this gladsome news? . . . Offending me? . . . you have succeeded in taking a load from my conscience, my dear Marquis. So you love the Lady Ursula Glynde? . . . Ye heavens! what a number of circumlocutions to arrive at this simple little fact! You love her . . . she is very beautiful . . . and she loves you. Where did you first see her, my lord?" "At East Molesey Fair. . . . Your Grace intervened . . . you must remember!" "Most inopportunely, meseems. I must indeed crave your pardon. And since then?" "The acquaintanceship, perhaps somewhat unpleasantly begun, has ripened into . . . friendship." "And thence into love! Nay, you have my heartiest congratulations, my lord. The Glyndes are famous for their virtue, and since the Lady Ursula is beautiful, why! your Court will indeed be graced by such a pattern of English womanhood." "Oh!" said the Spaniard, with a quick gesture of deprecation. "Nay! you must have no fear, my lord. Since you have honoured me by consulting my feelings in the matter, it shall be my pride and my delight to further your cause, and that of the Lady Ursula . . . if indeed she will deign to express her wishes to me. . . . I hereby give you a gentleman's word of honour that I consider the promise, which she made to her father in her childhood, in no way binding upon her now. . . . As for the future, I swear that I will obtain Her Majesty's consent to your immediate marriage." "Nay! I pray you, not so fast!" laughed Don Miguel lightly. "Neither the Lady Ursula nor I have need of Her Majesty's consent. . . ." "But methought----" "'Twas not I who spoke of marriage, remember!" "Then you have completely bewildered me, my lord," rejoined Wessex with a sudden frown. "I understood----" "That I am the proudest of men, certainly," quoth Don Miguel with a sarcastic curl of his sensual lip, "but 'twas Your Grace who spoke of the lady's virtue. I merely wished to know if I should be offending Your Grace if . . ." He laughed and shrugged his shoulders. The laugh grated unpleasantly on Wessex' ear, and the gesture savoured of impertinence. The Marquis' manner had suddenly undergone a change, which caused the Duke's every nerve to tingle. "If what?" he queried curtly. "The devil! sir, cannot you say what you do mean?" "Why should I," replied the Spaniard, "since your Grace has already guessed? You will own that I have acted _en galant homme_, by thinking of your wishes. You will not surely desire to champion that much-vaunted virtue of the Glyndes." "Then what you mean, sir, is that . . ." "I cannot speak more plainly, my lord, for that among gentlemen is quite impossible. But rumours fly about quickly at Court, and I feared that Your Grace might have caught one, ere I had the chance of assuring you that I recognize the priority of your claim. But now you tell me that you have no further interest in the lady, so I am reassured. . . . We foreigners, you know, take passing pleasures more lightly than you serious-minded English . . . and if the lady be unattached . . . and more than willing . . . why should we play the part of Joseph? . . . a ridiculous r le at best, eh, my lord? . . . and one, I think, which Your Grace would ever disdain to play. . . . As for me, I am quite reassured . . . Au revoir to Your Grace. . . ." And before Wessex had time to utter another word, Don Miguel, still laughing, went out of the room. The Duke felt a little bewildered. The conversation had gone through such a sudden transition, that at the time, he had hardly realized whether it touched him deeply or not. Owing to Ursula's girlish little ruse, he was totally unaware of her identity with the lady who had been the subject of this very distasteful discussion. To him Lady Ursula Glynde was both unknown and uninteresting. His meeting with beautiful, exquisite "Fanny" had driven all thoughts of other women from his mind. But with all his volatile disposition, where women were concerned, the Duke of Wessex was nevertheless imbued with a strong and romantic feeling of chivalry towards the entire sex, and Don Miguel's disdainful allusions to the lady who might have been Duchess of Wessex had left his finger-tips itching with the desire to throw his glove in the impudent rascal's face. Harry Plantagenet, who throughout the interview had openly expressed his disapproval of his master's interlocutor, gave an impatient little whine. He longed for the privacy of his own apartments, the warmth of the rugs laid out specially for him. "Harry, old friend!" said Wessex thoughtfully, "what the devil, think you, that young reprobate meant?" He took the dog's beautiful head between his hands and looked straight into the honest, faithful eyes of his dear and constant companion. "Marry!" he continued more lightly, "you may well look doubtful, you wise philosopher, for you know the Glyndes as well as I do. You remember old Lady Annabel, whose very look would stop your tail from wagging, and Charles, stodgy, silent, serious Charles, who never drank, never laughed, had probably never seen a woman's ankle in his life. And then the Lady Ursula . . . a Glynde . . . do you mind me, old Harry? . . . therefore as ugly, as a combination of virtue and Scotch descent can make any woman. . . . Yet, if I caught the rascal's meaning, neither Scotch descent nor ill looks have proved a shield for the lady's virtue! . . . Well, 'tis no business of ours, is it, old Harry? Let us live and let live. . . . Perhaps Lady Ursula is not ugly . . . perchance that unpleasant-looking Spaniard doth truly love her . . . and who are we, Harry, you and I, that we should prove censorious? Let us to our apartments, friend, and meditate on woman's frailty and on our own . . . especially on our own . . . we are mere male creatures, and women are so adorable! even when they bristle with virtues like a hedgehog . . . but like him too, are cushioned beneath those bristles with a hundred charming, fascinating sins. . . . Come along, friend, and let us meditate why sin . . . sin of a certain type, remember, should be so enchantingly tempting." Harry Plantagenet was a philosopher. He had seen his master in this kind of mood before. He wagged his tail as if to express his approval of the broad principles thus submitted for his consideration, but at the same time he showed a distinct desire that his master should talk less and come more speedily to bed. CHAPTER XXII THE WHITE QUEEN Wessex after a while was ready enough to dismiss the unpleasant subject. Perhaps he had no right to be censorious or to resent the Spaniard's somewhat unusual attitude. In England, undoubtedly, a gentleman would never--except under very special circumstances--allude to any passing liaison he might have with a lady of his own rank. That was a strict code of honour which had existed from time immemorial, even in the days of King Harry's youth, when the virtue of high-born women had been but little thought of. Abroad, perhaps, it was different. Spaniards, just then, were noted for the light way in which they regarded the favours of the fair sex, and Don Miguel's code of honour had evidently prompted him to consult Wessex' wishes in the matter of his own intrigue. Loyalty to their own sex is perhaps, on the whole, more general in men than is their chivalry towards women, and perhaps the Marquis' feelings would have revolted at the thought of seeing a lady of such light virtue in the position of Duchess of Wessex. Be that as it may, His Grace had no wish to probe the matter further; with a shrug of the shoulders he dismissed it from his thoughts, whilst registering a vow to chastise the young blackguard if his impertinence showed signs of recurrence. He was on the point of yielding to his faithful Harry's canine appeals by allowing him to lead the way towards his own distant lodgings, when his ear suddenly caught the sound of a silk dress rustling somewhere, not far from where he stood. At the end of the room closest to him, a few steps led up to a gallery, which ran along the wall, finally abutting at a door, which gave access to the Duchess of Lincoln's and other ladies' lodgings. The rustle of a silk skirt seemed to come from there. Perhaps Wessex would not have taken notice of it, except that his every thought was filled with a strange excitement since the rencontre of the afternoon. At times now he felt as if his very senses ached with the longing to see once more that entrancing, girlish figure, dressed all in white and crowned with the halo of her exquisite golden hair, to hear once more the sound of that fresh young voice, that merry, childlike laugh, through which there vibrated the thrill of a newly awakened passion. Since he had met her he was conscious of a wonderful change in himself. He did not even analyse his feelings: he knew that he loved her now: that, in a sense, he had always loved her, for his poetic and romantic temperament had ever been in search of that perfect type of womanhood, which she seemed so completely to embody in herself. He had only spoken to her for about half an hour, then had sat opposite to her in a boat among the reeds, in the cool of the afternoon, with the lazy river gently rocking the light skiff, and the water birds for sole witnesses of his happiness. They had hardly exchanged a word then, for he had enjoyed the delight--dear to every man who loves--of watching the blushes come and go upon her cheek in response to his ardent gaze. What did words matter? the music in their souls supplied all that they wished to say. And he--who had been deemed so fickle, who had made of love a pastime, taking what joys women would give him with a grateful yet transient smile, His Grace of Wessex, in fact, who had loved so often yet so inconstantly--knew now that the stern little god, who will not for long brook defiance of his laws, had wounded him for life or death at last. And even now, when he heard the rustle of a kirtle, he paused instinctively, vaguely, madly hoping that chance, and the great wild longing which was in him, had indeed drawn her footsteps hither. The door above, at the end of the gallery, was tentatively opened. Wessex could see nothing, for those distant corners of the room were in complete darkness, but he heard a voice, low and sweet, humming the little ditty which she, his queen, had sung this afternoon. "Disdaine me not that am your own, Refuse me not that am so true, Mistrust me not till all be knowen, Forsake me not now for no new." She walked slowly along the gallery, and paused not far from the top of the short flight of oak steps. She seemed to be hesitating a little, as if afraid to venture farther into the large, dimly lighted hall. The flicker of the tall wax tapers now caught her dainty figure, casting golden lights and deep, ruddy shadows on her fair young face and on the whiteness of her gown. In her arms she held an enormous sheaf of pale pink monthly roses, the spoils of the garden, lavish in its autumnal glory. Never had Wessex--fastidious, fickle, insouciant Wessex--seen anything more radiant, more exquisite, more poetic than this apparition which came towards him like the realization of all his maddest dreams. For one moment more he lingered, his ardent, passionate soul was loath to give up these heaven-born seconds spent in looking at her. Her eyes shone darkly in the gleam of the candle light and had wondrous reflections in them, which looked ruddy and hot; her delicately chiselled features were suffused with a strange glow, which seemed to come from within; and her lips were slightly parted, moist and red like some ripe summer fruit. From her whole person there came an exhalation of youth and womanhood, of purity and soul-stirring passion. "Come down, sweet singer," said Wessex to her at last. She gave a startled little cry, leant over the balustrade, and the sheaf of flowers dropped from her arms, falling in a long cascade of leaves and blossoms, rose-coloured and sweet-scented, at his feet. "Ah, Your Grace frightened me!" she whispered, with just a touch of feminine coquetry. "I . . . I . . . didn't know you were here." "I swear you did not, sweet saint . . . but now . . . as I am here . . . come down quickly ere I perish with longing for a nearer sight of your dear eyes." "But my flowers," she said, with a sudden access of timidity, brought forth by the thrilling ardour of his voice. "I had picked them for Her Majesty's oratory." "Nay! let them all wither save one . . . which I will take from your hand. Come down. . . ." One of the roses had remained fixed in the stiff fold of her panier. She took it between her fingers and sighed. "Oh! I dare not," she said sadly. "Your Grace does not know,--cannot guess, what dire disgrace would befall me if I did." "Perish the thought of disgrace," rejoined Wessex gaily. "Marry! the saints in Paradise must come down from heaven sometimes, else the world would be consumed by its own wickedness. Come down," he added more earnestly, seized with a mad, ungovernable desire to clasp her to his heart, "come down, or I swear that I'll bring you down in my arms." "No . . . no . . . no!" she protested, alarmed at his vehemence. "I'll come down." With a quaintly mischievous gesture she flung the rose at him; it hit him in the face, then fell; he had perforce to stoop in order to pick it up. When he once more straightened his tall figure she was standing quite close to him. There she was, just as he had always thought of her, even as a boy when first he began to dream. She, the perfect woman whom one day he would meet, and on that day would love wholly, passionately, humbly, and proudly, his own and yet his queen; she the most perfect product of Nature, with just that tone of gold in her hair, just those eyes, so inscrutable, so full of colour, so infinite in their variety; not very tall, but graceful and slender, with her dainty head on a level with his shoulder, her fair young forehead on a level with his lips. Now that she was so near, he was as if turned to stone. The wild longing was still in him to clasp her in his arms, to hold her closely, tenderly to his heart, yet he would not have touched her for a kingdom. But as he looked at her he knew that she, herself, would come to him in all her purity, her innocence . . . soon . . . to-day perhaps . . . but certainly one day . . . and that she would come with every fibre in her entire being vibrating in responsive passion to him. She looked up at him shyly, tentatively. His very soul went out to her as he returned her gaze. A great and glorious exultation thrilled every fibre of her being. She knew that she had conquered, that the love which in her girlish heart she had kept for him had borne fruit a thousandfold. Her heart seemed to stop beating at the immensity of her happiness. But woman-like, she was more self-possessed than he was. "I must not stay," she said gravely and with only an imperceptible quiver in her voice. "I am in disgrace, you know . . . for that stroll on the river . . . with you . . . this afternoon." "Why? what happened?" he asked with a smile. She held up her little hand and counted on her fingers. "Number one, a frown and a colder shoulder from Her Majesty! Two, a lecture from Her Grace of Lincoln! Twenty minutes! Three, four, and five, pin-pricks from the ladies and a lonely supper in my room to-night." He loved her in this gayer mood which made her seem so young and childlike. "Could you not have contrived to let me know?" "Why? . . . What would you have done?" "Made it less lonely for you." "You are doing that now. I thought I should be alone the rest of the evening. Her Grace of Lincoln and the others are at prayers with Her Majesty. I was confined to that room up there. How is it Your Grace happened to be in this hall just when I came out?" "A moth is always to be found where the light happens to be," he replied gravely. "But how did you know I should be here?" "My eyes, since this afternoon, see you constantly where you are not--how could they fail to see you where you are?" "Then, as Your Grace has seen me . . ." she added with timid nervousness, seeing that he now stood between her and the steps, "will you allow me to go up again?" "No." "I entreat!" she pleaded. "Impossible." "Her Grace of Lincoln will be looking for me." "Then stay here with me until she does." "What to do?" she queried innocently. "To make me happy." "Happy?" she laughed merrily. "Ho! ho! ho! How can I, a humble waiting-maid, manage to make His Grace of Wessex happy?" "By letting me look at you." With quaint and artless coquetry she picked up the folds of her heavy brocaded paniers, right and left, with two delicate fingers, and executed a dainty pirouette in front of him. "There!" she said merrily, "'tis done. . . . And now?" "By letting me whisper to you . . ." he murmured. She drew back quickly, and said with mock severity-- "That which I must not hear." "Why not?" "Because Your Grace is not free," she rejoined archly. "Not free to whisper anything in any woman's ear, save in that of Lady Ursula Glynde." "Then you guessed what I would have whispered to you?" "Perhaps." "What was it?" She veiled the glory of her eyes with their fringe of dark lashes. "That you loved me . . ." she murmured, "for the moment. . . ." How irresistible she was, with just that soup on of coquetry to whet the desire of this fastidious man of the world, and with it all so free from artifice, so young and fresh and pure:--a madonna, yet made to tempt mankind. "Nay! if you would let me, sweet saint, I would whisper in your tiny ear that I worship you!" he said in all sincerity and truth, and with the ring of an ardent passion in every tone of his voice. "Worship me? . . ." she queried in mock astonishment, "and Your Grace does not even know who I am." "Faith! but I do. You are the most beautiful woman on this earth." "Oh! . . . but my name! . . ." "Nay! as to that I care not . . . You shall tell it me anon, if you like. . . . For the moment I love to think of you as I first beheld you in the garden this afternoon--a fairy or sprite . . . I know not which . . . an angel mayhap . . . in your robes of white, surrounded with flowers and dark bosquets of hazelnut and of yew, with golden tints of ruddy autumn around you, less glorious than your hair. Let me worship blindly . . . fettered . . . your slave." She sighed, a quaint little sigh, which had a tinge of melancholy in it. "For how long?" she murmured. "For my whole life," he replied earnestly. "Will you not try me?" "How?" "You love me, sweet saint?" "I . . ." she began shyly. "Let me look into your eyes. . . . I will find my answer." Her arms dropped by her side, she looked up and met his eyes, ardent, burning with passion, fixed longingly upon her. He came close to her, quite close, his presence thrilled her; she closed her eyes in order to shut out from her innermost soul everything from the outside world, save the exquisite feeling of her newly awakened love. "Now, see how perverse I am," he whispered passionately. "I do not want you to tell me anything just now . . . open your eyes, dear saint . . . for I but want to stand like this . . . and read in their blue depths . . . enjoying every fraction of a second of this heavenly moment. . . ." She tried to speak, but instinctively he stopped her. "No . . . no . . . do not speak. . . . And yet . . . 'tis from your sweet lips I'd have my final answer." He took her in his arms. She lay against him, unresisting, her sweet face turned up to his, soul meeting soul at last in the ecstasy of a first kiss. He held her to his heart. It seemed as if he could never let her go from him again. Everything was forgotten, the world had ceased to be. For him there was but one woman on this earth, and she was his own. CHAPTER XXIII CHECK TO THE QUEEN How long they stood thus, heart to heart, they themselves could never have said. The sound of many voices in the near distance roused them from their dream. Ursula started in alarm. "Holy Virgin!" she exclaimed under her breath, "if it should be the Queen!" But Wessex held her tightly, and she struggled in vain. "Nay! then let the whole Court see that I hold my future wife in my arms," he said proudly. But with an agitated little cry she contrived to escape him. He seemed much amused at her nervousness; what had she to fear? was she not his own, to protect even from the semblance of ill? But Ursula, now fully awakened to ordinary, everyday surroundings, was fearful lest her own innocent little deception should be too crudely, too suddenly unmasked. She had so earnestly looked forward to the moment when she would say to him that she in sooth was none other than Lady Ursula Glynde, the woman whom every conventionality had decreed that he should marry, and whom--because of these conventionalities--he had secretly but certainly disliked. Her woman's heart had already given her a clear insight into the character and the foibles of the man she loved. His passion for her now, sincere and great though it was, was partly dependent on that atmosphere of romance which his poetical temperament craved for, and which had surrounded the half-mysterious personality of exquisite, irresistible "Fanny." Instinctively she dreaded the rough hand of commonplace, that ugly, coarse destroyer of poetic idylls. A few hastily uttered words might shatter in an hour the mystic shrine wherein Wessex had enthroned her. She had meant to tell him soon, to-morrow perhaps, perhaps only after a few days, but she wished to find her own time for this, when he knew her inner soul better, and the delicate cobwebs of this great love-at-first-sight had fallen away from his eyes. She could not altogether have explained to herself why a sudden disclosure of her identity at this moment would have been peculiarly unpleasant to her. It was a weak, childish feeling no doubt. But such as it was, it was real, and strong, and genuine. Barely a minute had elapsed whilst these quick thoughts and fears went wildly coursing through her mind. There was no time to tell him everything now. The voices came from the next room, within the next few seconds probably the great door would be open to admit a group of people: the Duchess of Lincoln and the ladies mayhap, or the Queen on her way to chapel. And His Grace of Wessex looked terribly determined. "No! no! no!--not just this moment, sweet Grace," she entreated, "by your love! not _just_ this moment. . . . The Queen would be so angry . . . oh! not _just_ now!" She looked so genuinely disturbed, and so tenderly appealing, that he could not help but obey. "But you cannot send me away like this," he urged. "Another word, sweet saint. . . . Faith! I could not live without another kiss. . . ." "No, no, no, I entreat Your Grace . . . not to-night," she protested feebly. He thought, however, that he detected a sign of yielding in her voice, although she was already beginning to mount the steps ready for flight. "Just one tiny word," he whispered hurriedly: "when the Queen has passed through, linger up there for one brief minute only. I'll wait in there!" And he pointed to a small door close behind him, which led to an inner closet at right angles with the gallery. Before she had time to protest--nay! perhaps she had no wish to refuse--he had disappeared behind its heavy panels, quickly calling to his dog to follow him. But in that one moment's hesitation, those few brief and delicious words hastily exchanged, she had lost her opportunity for escape. The next instant the door at the further end of the room was thrown open, and the Queen entered followed by some of her ladies. She was accompanied by the Duchess of Lincoln, and His Eminence the Cardinal de Moreno was on her left. As chance or ill-luck would have it, the first sight which greeted Her Majesty's eyes was the figure of Lady Ursula, midway up the steps which led to the gallery, some mysterious imp of mischief having contrived that the light from the wax tapers should unaccountably and very vividly fall upon the white-clad form of the young girl. An exclamation of stern reproval from Her Grace of Lincoln brought Ursula to a standstill. Flight now was no longer possible; she could but trust in her guardian angel, or in any of those protective genii who have in their keeping the special care of lovers in distress, and who happened to be hovering nigh. It was not seemly to be half-way up a flight of stairs when Her Majesty was standing on the floor below. Ursula, with her cheeks aflame with vexation, slowly descended, whilst encountering as boldly as she could the artillery fire of half a dozen pairs of eyes fixed steadily upon her. Mary Tudor looked coldly severe, Her Grace of Lincoln horror-struck, His Eminence ironical, and the ladies vastly amused. "Ah, child!" said Her Majesty, in her iciest tone of voice, "all alone, and in this part of the Palace?" She looked the dainty young figure disdainfully up and down, then her eye caught the sheaf of roses lying in a fragrant tangle close to the foot of the stairs. There was a quick flash of anger in her face, then a frown. Ursula wondered how much she guessed or what she suspected. But the Queen, after that one quick wave of passionate wrath, made an obvious effort to control herself. She turned composedly to the Duchess of Lincoln. "Your Grace is aware," she said drily, "that I deem it most indecorous for my maids-of-honour to wander about the Palace alone." The wrinkled old face of the kindly Duchess expressed the most heartfelt sorrow. "I crave Your Majesty's humble pardon . . ." she stammered in an agony of misery at this public reproof. "I . . ." "Nay, Duchess, I know the difficulty of your task," rejoined Mary Tudor bitingly, "the other ladies are docile, and their behaviour is maidenly and chaste. 'Tis not always so with the Lady Ursula Glynde." Mary's voice had been so trenchant and hard that it seemed to Ursula's sensitive ears as if its metallic tones must have penetrated to every corner of the Palace. She gave a quick, terrified look towards the door, longing with all her might for the gift to see through its massive panels--to know what went on within that inner closet, where Wessex was waiting

ellie

How many times the word 'ellie' appears in the text?

. I . . ." "Yes?" queried the Duke. "That is the purport of my importunity, my lord," said the young man, springing to his feet and speaking once more in tones of noble candour. "I would have asked Your Grace that, since you do not know the Lady Ursula, since you have no wish to claim her hand, if some one else . . ." "If the Lady Ursula honoured some one else than my unworthy self. . . . Is that your meaning, my lord?" queried Wessex, as Don Miguel had made a slight pause in his impetuous speech. "If I . . ." "You, my lord?" "I would wish to know if I should be offending Your Grace?" "Offending me?" cried Wessex joyfully. "Nay, my lord, why were you so long in telling me this gladsome news? . . . Offending me? . . . you have succeeded in taking a load from my conscience, my dear Marquis. So you love the Lady Ursula Glynde? . . . Ye heavens! what a number of circumlocutions to arrive at this simple little fact! You love her . . . she is very beautiful . . . and she loves you. Where did you first see her, my lord?" "At East Molesey Fair. . . . Your Grace intervened . . . you must remember!" "Most inopportunely, meseems. I must indeed crave your pardon. And since then?" "The acquaintanceship, perhaps somewhat unpleasantly begun, has ripened into . . . friendship." "And thence into love! Nay, you have my heartiest congratulations, my lord. The Glyndes are famous for their virtue, and since the Lady Ursula is beautiful, why! your Court will indeed be graced by such a pattern of English womanhood." "Oh!" said the Spaniard, with a quick gesture of deprecation. "Nay! you must have no fear, my lord. Since you have honoured me by consulting my feelings in the matter, it shall be my pride and my delight to further your cause, and that of the Lady Ursula . . . if indeed she will deign to express her wishes to me. . . . I hereby give you a gentleman's word of honour that I consider the promise, which she made to her father in her childhood, in no way binding upon her now. . . . As for the future, I swear that I will obtain Her Majesty's consent to your immediate marriage." "Nay! I pray you, not so fast!" laughed Don Miguel lightly. "Neither the Lady Ursula nor I have need of Her Majesty's consent. . . ." "But methought----" "'Twas not I who spoke of marriage, remember!" "Then you have completely bewildered me, my lord," rejoined Wessex with a sudden frown. "I understood----" "That I am the proudest of men, certainly," quoth Don Miguel with a sarcastic curl of his sensual lip, "but 'twas Your Grace who spoke of the lady's virtue. I merely wished to know if I should be offending Your Grace if . . ." He laughed and shrugged his shoulders. The laugh grated unpleasantly on Wessex' ear, and the gesture savoured of impertinence. The Marquis' manner had suddenly undergone a change, which caused the Duke's every nerve to tingle. "If what?" he queried curtly. "The devil! sir, cannot you say what you do mean?" "Why should I," replied the Spaniard, "since your Grace has already guessed? You will own that I have acted _en galant homme_, by thinking of your wishes. You will not surely desire to champion that much-vaunted virtue of the Glyndes." "Then what you mean, sir, is that . . ." "I cannot speak more plainly, my lord, for that among gentlemen is quite impossible. But rumours fly about quickly at Court, and I feared that Your Grace might have caught one, ere I had the chance of assuring you that I recognize the priority of your claim. But now you tell me that you have no further interest in the lady, so I am reassured. . . . We foreigners, you know, take passing pleasures more lightly than you serious-minded English . . . and if the lady be unattached . . . and more than willing . . . why should we play the part of Joseph? . . . a ridiculous r le at best, eh, my lord? . . . and one, I think, which Your Grace would ever disdain to play. . . . As for me, I am quite reassured . . . Au revoir to Your Grace. . . ." And before Wessex had time to utter another word, Don Miguel, still laughing, went out of the room. The Duke felt a little bewildered. The conversation had gone through such a sudden transition, that at the time, he had hardly realized whether it touched him deeply or not. Owing to Ursula's girlish little ruse, he was totally unaware of her identity with the lady who had been the subject of this very distasteful discussion. To him Lady Ursula Glynde was both unknown and uninteresting. His meeting with beautiful, exquisite "Fanny" had driven all thoughts of other women from his mind. But with all his volatile disposition, where women were concerned, the Duke of Wessex was nevertheless imbued with a strong and romantic feeling of chivalry towards the entire sex, and Don Miguel's disdainful allusions to the lady who might have been Duchess of Wessex had left his finger-tips itching with the desire to throw his glove in the impudent rascal's face. Harry Plantagenet, who throughout the interview had openly expressed his disapproval of his master's interlocutor, gave an impatient little whine. He longed for the privacy of his own apartments, the warmth of the rugs laid out specially for him. "Harry, old friend!" said Wessex thoughtfully, "what the devil, think you, that young reprobate meant?" He took the dog's beautiful head between his hands and looked straight into the honest, faithful eyes of his dear and constant companion. "Marry!" he continued more lightly, "you may well look doubtful, you wise philosopher, for you know the Glyndes as well as I do. You remember old Lady Annabel, whose very look would stop your tail from wagging, and Charles, stodgy, silent, serious Charles, who never drank, never laughed, had probably never seen a woman's ankle in his life. And then the Lady Ursula . . . a Glynde . . . do you mind me, old Harry? . . . therefore as ugly, as a combination of virtue and Scotch descent can make any woman. . . . Yet, if I caught the rascal's meaning, neither Scotch descent nor ill looks have proved a shield for the lady's virtue! . . . Well, 'tis no business of ours, is it, old Harry? Let us live and let live. . . . Perhaps Lady Ursula is not ugly . . . perchance that unpleasant-looking Spaniard doth truly love her . . . and who are we, Harry, you and I, that we should prove censorious? Let us to our apartments, friend, and meditate on woman's frailty and on our own . . . especially on our own . . . we are mere male creatures, and women are so adorable! even when they bristle with virtues like a hedgehog . . . but like him too, are cushioned beneath those bristles with a hundred charming, fascinating sins. . . . Come along, friend, and let us meditate why sin . . . sin of a certain type, remember, should be so enchantingly tempting." Harry Plantagenet was a philosopher. He had seen his master in this kind of mood before. He wagged his tail as if to express his approval of the broad principles thus submitted for his consideration, but at the same time he showed a distinct desire that his master should talk less and come more speedily to bed. CHAPTER XXII THE WHITE QUEEN Wessex after a while was ready enough to dismiss the unpleasant subject. Perhaps he had no right to be censorious or to resent the Spaniard's somewhat unusual attitude. In England, undoubtedly, a gentleman would never--except under very special circumstances--allude to any passing liaison he might have with a lady of his own rank. That was a strict code of honour which had existed from time immemorial, even in the days of King Harry's youth, when the virtue of high-born women had been but little thought of. Abroad, perhaps, it was different. Spaniards, just then, were noted for the light way in which they regarded the favours of the fair sex, and Don Miguel's code of honour had evidently prompted him to consult Wessex' wishes in the matter of his own intrigue. Loyalty to their own sex is perhaps, on the whole, more general in men than is their chivalry towards women, and perhaps the Marquis' feelings would have revolted at the thought of seeing a lady of such light virtue in the position of Duchess of Wessex. Be that as it may, His Grace had no wish to probe the matter further; with a shrug of the shoulders he dismissed it from his thoughts, whilst registering a vow to chastise the young blackguard if his impertinence showed signs of recurrence. He was on the point of yielding to his faithful Harry's canine appeals by allowing him to lead the way towards his own distant lodgings, when his ear suddenly caught the sound of a silk dress rustling somewhere, not far from where he stood. At the end of the room closest to him, a few steps led up to a gallery, which ran along the wall, finally abutting at a door, which gave access to the Duchess of Lincoln's and other ladies' lodgings. The rustle of a silk skirt seemed to come from there. Perhaps Wessex would not have taken notice of it, except that his every thought was filled with a strange excitement since the rencontre of the afternoon. At times now he felt as if his very senses ached with the longing to see once more that entrancing, girlish figure, dressed all in white and crowned with the halo of her exquisite golden hair, to hear once more the sound of that fresh young voice, that merry, childlike laugh, through which there vibrated the thrill of a newly awakened passion. Since he had met her he was conscious of a wonderful change in himself. He did not even analyse his feelings: he knew that he loved her now: that, in a sense, he had always loved her, for his poetic and romantic temperament had ever been in search of that perfect type of womanhood, which she seemed so completely to embody in herself. He had only spoken to her for about half an hour, then had sat opposite to her in a boat among the reeds, in the cool of the afternoon, with the lazy river gently rocking the light skiff, and the water birds for sole witnesses of his happiness. They had hardly exchanged a word then, for he had enjoyed the delight--dear to every man who loves--of watching the blushes come and go upon her cheek in response to his ardent gaze. What did words matter? the music in their souls supplied all that they wished to say. And he--who had been deemed so fickle, who had made of love a pastime, taking what joys women would give him with a grateful yet transient smile, His Grace of Wessex, in fact, who had loved so often yet so inconstantly--knew now that the stern little god, who will not for long brook defiance of his laws, had wounded him for life or death at last. And even now, when he heard the rustle of a kirtle, he paused instinctively, vaguely, madly hoping that chance, and the great wild longing which was in him, had indeed drawn her footsteps hither. The door above, at the end of the gallery, was tentatively opened. Wessex could see nothing, for those distant corners of the room were in complete darkness, but he heard a voice, low and sweet, humming the little ditty which she, his queen, had sung this afternoon. "Disdaine me not that am your own, Refuse me not that am so true, Mistrust me not till all be knowen, Forsake me not now for no new." She walked slowly along the gallery, and paused not far from the top of the short flight of oak steps. She seemed to be hesitating a little, as if afraid to venture farther into the large, dimly lighted hall. The flicker of the tall wax tapers now caught her dainty figure, casting golden lights and deep, ruddy shadows on her fair young face and on the whiteness of her gown. In her arms she held an enormous sheaf of pale pink monthly roses, the spoils of the garden, lavish in its autumnal glory. Never had Wessex--fastidious, fickle, insouciant Wessex--seen anything more radiant, more exquisite, more poetic than this apparition which came towards him like the realization of all his maddest dreams. For one moment more he lingered, his ardent, passionate soul was loath to give up these heaven-born seconds spent in looking at her. Her eyes shone darkly in the gleam of the candle light and had wondrous reflections in them, which looked ruddy and hot; her delicately chiselled features were suffused with a strange glow, which seemed to come from within; and her lips were slightly parted, moist and red like some ripe summer fruit. From her whole person there came an exhalation of youth and womanhood, of purity and soul-stirring passion. "Come down, sweet singer," said Wessex to her at last. She gave a startled little cry, leant over the balustrade, and the sheaf of flowers dropped from her arms, falling in a long cascade of leaves and blossoms, rose-coloured and sweet-scented, at his feet. "Ah, Your Grace frightened me!" she whispered, with just a touch of feminine coquetry. "I . . . I . . . didn't know you were here." "I swear you did not, sweet saint . . . but now . . . as I am here . . . come down quickly ere I perish with longing for a nearer sight of your dear eyes." "But my flowers," she said, with a sudden access of timidity, brought forth by the thrilling ardour of his voice. "I had picked them for Her Majesty's oratory." "Nay! let them all wither save one . . . which I will take from your hand. Come down. . . ." One of the roses had remained fixed in the stiff fold of her panier. She took it between her fingers and sighed. "Oh! I dare not," she said sadly. "Your Grace does not know,--cannot guess, what dire disgrace would befall me if I did." "Perish the thought of disgrace," rejoined Wessex gaily. "Marry! the saints in Paradise must come down from heaven sometimes, else the world would be consumed by its own wickedness. Come down," he added more earnestly, seized with a mad, ungovernable desire to clasp her to his heart, "come down, or I swear that I'll bring you down in my arms." "No . . . no . . . no!" she protested, alarmed at his vehemence. "I'll come down." With a quaintly mischievous gesture she flung the rose at him; it hit him in the face, then fell; he had perforce to stoop in order to pick it up. When he once more straightened his tall figure she was standing quite close to him. There she was, just as he had always thought of her, even as a boy when first he began to dream. She, the perfect woman whom one day he would meet, and on that day would love wholly, passionately, humbly, and proudly, his own and yet his queen; she the most perfect product of Nature, with just that tone of gold in her hair, just those eyes, so inscrutable, so full of colour, so infinite in their variety; not very tall, but graceful and slender, with her dainty head on a level with his shoulder, her fair young forehead on a level with his lips. Now that she was so near, he was as if turned to stone. The wild longing was still in him to clasp her in his arms, to hold her closely, tenderly to his heart, yet he would not have touched her for a kingdom. But as he looked at her he knew that she, herself, would come to him in all her purity, her innocence . . . soon . . . to-day perhaps . . . but certainly one day . . . and that she would come with every fibre in her entire being vibrating in responsive passion to him. She looked up at him shyly, tentatively. His very soul went out to her as he returned her gaze. A great and glorious exultation thrilled every fibre of her being. She knew that she had conquered, that the love which in her girlish heart she had kept for him had borne fruit a thousandfold. Her heart seemed to stop beating at the immensity of her happiness. But woman-like, she was more self-possessed than he was. "I must not stay," she said gravely and with only an imperceptible quiver in her voice. "I am in disgrace, you know . . . for that stroll on the river . . . with you . . . this afternoon." "Why? what happened?" he asked with a smile. She held up her little hand and counted on her fingers. "Number one, a frown and a colder shoulder from Her Majesty! Two, a lecture from Her Grace of Lincoln! Twenty minutes! Three, four, and five, pin-pricks from the ladies and a lonely supper in my room to-night." He loved her in this gayer mood which made her seem so young and childlike. "Could you not have contrived to let me know?" "Why? . . . What would you have done?" "Made it less lonely for you." "You are doing that now. I thought I should be alone the rest of the evening. Her Grace of Lincoln and the others are at prayers with Her Majesty. I was confined to that room up there. How is it Your Grace happened to be in this hall just when I came out?" "A moth is always to be found where the light happens to be," he replied gravely. "But how did you know I should be here?" "My eyes, since this afternoon, see you constantly where you are not--how could they fail to see you where you are?" "Then, as Your Grace has seen me . . ." she added with timid nervousness, seeing that he now stood between her and the steps, "will you allow me to go up again?" "No." "I entreat!" she pleaded. "Impossible." "Her Grace of Lincoln will be looking for me." "Then stay here with me until she does." "What to do?" she queried innocently. "To make me happy." "Happy?" she laughed merrily. "Ho! ho! ho! How can I, a humble waiting-maid, manage to make His Grace of Wessex happy?" "By letting me look at you." With quaint and artless coquetry she picked up the folds of her heavy brocaded paniers, right and left, with two delicate fingers, and executed a dainty pirouette in front of him. "There!" she said merrily, "'tis done. . . . And now?" "By letting me whisper to you . . ." he murmured. She drew back quickly, and said with mock severity-- "That which I must not hear." "Why not?" "Because Your Grace is not free," she rejoined archly. "Not free to whisper anything in any woman's ear, save in that of Lady Ursula Glynde." "Then you guessed what I would have whispered to you?" "Perhaps." "What was it?" She veiled the glory of her eyes with their fringe of dark lashes. "That you loved me . . ." she murmured, "for the moment. . . ." How irresistible she was, with just that soup on of coquetry to whet the desire of this fastidious man of the world, and with it all so free from artifice, so young and fresh and pure:--a madonna, yet made to tempt mankind. "Nay! if you would let me, sweet saint, I would whisper in your tiny ear that I worship you!" he said in all sincerity and truth, and with the ring of an ardent passion in every tone of his voice. "Worship me? . . ." she queried in mock astonishment, "and Your Grace does not even know who I am." "Faith! but I do. You are the most beautiful woman on this earth." "Oh! . . . but my name! . . ." "Nay! as to that I care not . . . You shall tell it me anon, if you like. . . . For the moment I love to think of you as I first beheld you in the garden this afternoon--a fairy or sprite . . . I know not which . . . an angel mayhap . . . in your robes of white, surrounded with flowers and dark bosquets of hazelnut and of yew, with golden tints of ruddy autumn around you, less glorious than your hair. Let me worship blindly . . . fettered . . . your slave." She sighed, a quaint little sigh, which had a tinge of melancholy in it. "For how long?" she murmured. "For my whole life," he replied earnestly. "Will you not try me?" "How?" "You love me, sweet saint?" "I . . ." she began shyly. "Let me look into your eyes. . . . I will find my answer." Her arms dropped by her side, she looked up and met his eyes, ardent, burning with passion, fixed longingly upon her. He came close to her, quite close, his presence thrilled her; she closed her eyes in order to shut out from her innermost soul everything from the outside world, save the exquisite feeling of her newly awakened love. "Now, see how perverse I am," he whispered passionately. "I do not want you to tell me anything just now . . . open your eyes, dear saint . . . for I but want to stand like this . . . and read in their blue depths . . . enjoying every fraction of a second of this heavenly moment. . . ." She tried to speak, but instinctively he stopped her. "No . . . no . . . do not speak. . . . And yet . . . 'tis from your sweet lips I'd have my final answer." He took her in his arms. She lay against him, unresisting, her sweet face turned up to his, soul meeting soul at last in the ecstasy of a first kiss. He held her to his heart. It seemed as if he could never let her go from him again. Everything was forgotten, the world had ceased to be. For him there was but one woman on this earth, and she was his own. CHAPTER XXIII CHECK TO THE QUEEN How long they stood thus, heart to heart, they themselves could never have said. The sound of many voices in the near distance roused them from their dream. Ursula started in alarm. "Holy Virgin!" she exclaimed under her breath, "if it should be the Queen!" But Wessex held her tightly, and she struggled in vain. "Nay! then let the whole Court see that I hold my future wife in my arms," he said proudly. But with an agitated little cry she contrived to escape him. He seemed much amused at her nervousness; what had she to fear? was she not his own, to protect even from the semblance of ill? But Ursula, now fully awakened to ordinary, everyday surroundings, was fearful lest her own innocent little deception should be too crudely, too suddenly unmasked. She had so earnestly looked forward to the moment when she would say to him that she in sooth was none other than Lady Ursula Glynde, the woman whom every conventionality had decreed that he should marry, and whom--because of these conventionalities--he had secretly but certainly disliked. Her woman's heart had already given her a clear insight into the character and the foibles of the man she loved. His passion for her now, sincere and great though it was, was partly dependent on that atmosphere of romance which his poetical temperament craved for, and which had surrounded the half-mysterious personality of exquisite, irresistible "Fanny." Instinctively she dreaded the rough hand of commonplace, that ugly, coarse destroyer of poetic idylls. A few hastily uttered words might shatter in an hour the mystic shrine wherein Wessex had enthroned her. She had meant to tell him soon, to-morrow perhaps, perhaps only after a few days, but she wished to find her own time for this, when he knew her inner soul better, and the delicate cobwebs of this great love-at-first-sight had fallen away from his eyes. She could not altogether have explained to herself why a sudden disclosure of her identity at this moment would have been peculiarly unpleasant to her. It was a weak, childish feeling no doubt. But such as it was, it was real, and strong, and genuine. Barely a minute had elapsed whilst these quick thoughts and fears went wildly coursing through her mind. There was no time to tell him everything now. The voices came from the next room, within the next few seconds probably the great door would be open to admit a group of people: the Duchess of Lincoln and the ladies mayhap, or the Queen on her way to chapel. And His Grace of Wessex looked terribly determined. "No! no! no!--not just this moment, sweet Grace," she entreated, "by your love! not _just_ this moment. . . . The Queen would be so angry . . . oh! not _just_ now!" She looked so genuinely disturbed, and so tenderly appealing, that he could not help but obey. "But you cannot send me away like this," he urged. "Another word, sweet saint. . . . Faith! I could not live without another kiss. . . ." "No, no, no, I entreat Your Grace . . . not to-night," she protested feebly. He thought, however, that he detected a sign of yielding in her voice, although she was already beginning to mount the steps ready for flight. "Just one tiny word," he whispered hurriedly: "when the Queen has passed through, linger up there for one brief minute only. I'll wait in there!" And he pointed to a small door close behind him, which led to an inner closet at right angles with the gallery. Before she had time to protest--nay! perhaps she had no wish to refuse--he had disappeared behind its heavy panels, quickly calling to his dog to follow him. But in that one moment's hesitation, those few brief and delicious words hastily exchanged, she had lost her opportunity for escape. The next instant the door at the further end of the room was thrown open, and the Queen entered followed by some of her ladies. She was accompanied by the Duchess of Lincoln, and His Eminence the Cardinal de Moreno was on her left. As chance or ill-luck would have it, the first sight which greeted Her Majesty's eyes was the figure of Lady Ursula, midway up the steps which led to the gallery, some mysterious imp of mischief having contrived that the light from the wax tapers should unaccountably and very vividly fall upon the white-clad form of the young girl. An exclamation of stern reproval from Her Grace of Lincoln brought Ursula to a standstill. Flight now was no longer possible; she could but trust in her guardian angel, or in any of those protective genii who have in their keeping the special care of lovers in distress, and who happened to be hovering nigh. It was not seemly to be half-way up a flight of stairs when Her Majesty was standing on the floor below. Ursula, with her cheeks aflame with vexation, slowly descended, whilst encountering as boldly as she could the artillery fire of half a dozen pairs of eyes fixed steadily upon her. Mary Tudor looked coldly severe, Her Grace of Lincoln horror-struck, His Eminence ironical, and the ladies vastly amused. "Ah, child!" said Her Majesty, in her iciest tone of voice, "all alone, and in this part of the Palace?" She looked the dainty young figure disdainfully up and down, then her eye caught the sheaf of roses lying in a fragrant tangle close to the foot of the stairs. There was a quick flash of anger in her face, then a frown. Ursula wondered how much she guessed or what she suspected. But the Queen, after that one quick wave of passionate wrath, made an obvious effort to control herself. She turned composedly to the Duchess of Lincoln. "Your Grace is aware," she said drily, "that I deem it most indecorous for my maids-of-honour to wander about the Palace alone." The wrinkled old face of the kindly Duchess expressed the most heartfelt sorrow. "I crave Your Majesty's humble pardon . . ." she stammered in an agony of misery at this public reproof. "I . . ." "Nay, Duchess, I know the difficulty of your task," rejoined Mary Tudor bitingly, "the other ladies are docile, and their behaviour is maidenly and chaste. 'Tis not always so with the Lady Ursula Glynde." Mary's voice had been so trenchant and hard that it seemed to Ursula's sensitive ears as if its metallic tones must have penetrated to every corner of the Palace. She gave a quick, terrified look towards the door, longing with all her might for the gift to see through its massive panels--to know what went on within that inner closet, where Wessex was waiting

cry

How many times the word 'cry' appears in the text?

. I . . ." "Yes?" queried the Duke. "That is the purport of my importunity, my lord," said the young man, springing to his feet and speaking once more in tones of noble candour. "I would have asked Your Grace that, since you do not know the Lady Ursula, since you have no wish to claim her hand, if some one else . . ." "If the Lady Ursula honoured some one else than my unworthy self. . . . Is that your meaning, my lord?" queried Wessex, as Don Miguel had made a slight pause in his impetuous speech. "If I . . ." "You, my lord?" "I would wish to know if I should be offending Your Grace?" "Offending me?" cried Wessex joyfully. "Nay, my lord, why were you so long in telling me this gladsome news? . . . Offending me? . . . you have succeeded in taking a load from my conscience, my dear Marquis. So you love the Lady Ursula Glynde? . . . Ye heavens! what a number of circumlocutions to arrive at this simple little fact! You love her . . . she is very beautiful . . . and she loves you. Where did you first see her, my lord?" "At East Molesey Fair. . . . Your Grace intervened . . . you must remember!" "Most inopportunely, meseems. I must indeed crave your pardon. And since then?" "The acquaintanceship, perhaps somewhat unpleasantly begun, has ripened into . . . friendship." "And thence into love! Nay, you have my heartiest congratulations, my lord. The Glyndes are famous for their virtue, and since the Lady Ursula is beautiful, why! your Court will indeed be graced by such a pattern of English womanhood." "Oh!" said the Spaniard, with a quick gesture of deprecation. "Nay! you must have no fear, my lord. Since you have honoured me by consulting my feelings in the matter, it shall be my pride and my delight to further your cause, and that of the Lady Ursula . . . if indeed she will deign to express her wishes to me. . . . I hereby give you a gentleman's word of honour that I consider the promise, which she made to her father in her childhood, in no way binding upon her now. . . . As for the future, I swear that I will obtain Her Majesty's consent to your immediate marriage." "Nay! I pray you, not so fast!" laughed Don Miguel lightly. "Neither the Lady Ursula nor I have need of Her Majesty's consent. . . ." "But methought----" "'Twas not I who spoke of marriage, remember!" "Then you have completely bewildered me, my lord," rejoined Wessex with a sudden frown. "I understood----" "That I am the proudest of men, certainly," quoth Don Miguel with a sarcastic curl of his sensual lip, "but 'twas Your Grace who spoke of the lady's virtue. I merely wished to know if I should be offending Your Grace if . . ." He laughed and shrugged his shoulders. The laugh grated unpleasantly on Wessex' ear, and the gesture savoured of impertinence. The Marquis' manner had suddenly undergone a change, which caused the Duke's every nerve to tingle. "If what?" he queried curtly. "The devil! sir, cannot you say what you do mean?" "Why should I," replied the Spaniard, "since your Grace has already guessed? You will own that I have acted _en galant homme_, by thinking of your wishes. You will not surely desire to champion that much-vaunted virtue of the Glyndes." "Then what you mean, sir, is that . . ." "I cannot speak more plainly, my lord, for that among gentlemen is quite impossible. But rumours fly about quickly at Court, and I feared that Your Grace might have caught one, ere I had the chance of assuring you that I recognize the priority of your claim. But now you tell me that you have no further interest in the lady, so I am reassured. . . . We foreigners, you know, take passing pleasures more lightly than you serious-minded English . . . and if the lady be unattached . . . and more than willing . . . why should we play the part of Joseph? . . . a ridiculous r le at best, eh, my lord? . . . and one, I think, which Your Grace would ever disdain to play. . . . As for me, I am quite reassured . . . Au revoir to Your Grace. . . ." And before Wessex had time to utter another word, Don Miguel, still laughing, went out of the room. The Duke felt a little bewildered. The conversation had gone through such a sudden transition, that at the time, he had hardly realized whether it touched him deeply or not. Owing to Ursula's girlish little ruse, he was totally unaware of her identity with the lady who had been the subject of this very distasteful discussion. To him Lady Ursula Glynde was both unknown and uninteresting. His meeting with beautiful, exquisite "Fanny" had driven all thoughts of other women from his mind. But with all his volatile disposition, where women were concerned, the Duke of Wessex was nevertheless imbued with a strong and romantic feeling of chivalry towards the entire sex, and Don Miguel's disdainful allusions to the lady who might have been Duchess of Wessex had left his finger-tips itching with the desire to throw his glove in the impudent rascal's face. Harry Plantagenet, who throughout the interview had openly expressed his disapproval of his master's interlocutor, gave an impatient little whine. He longed for the privacy of his own apartments, the warmth of the rugs laid out specially for him. "Harry, old friend!" said Wessex thoughtfully, "what the devil, think you, that young reprobate meant?" He took the dog's beautiful head between his hands and looked straight into the honest, faithful eyes of his dear and constant companion. "Marry!" he continued more lightly, "you may well look doubtful, you wise philosopher, for you know the Glyndes as well as I do. You remember old Lady Annabel, whose very look would stop your tail from wagging, and Charles, stodgy, silent, serious Charles, who never drank, never laughed, had probably never seen a woman's ankle in his life. And then the Lady Ursula . . . a Glynde . . . do you mind me, old Harry? . . . therefore as ugly, as a combination of virtue and Scotch descent can make any woman. . . . Yet, if I caught the rascal's meaning, neither Scotch descent nor ill looks have proved a shield for the lady's virtue! . . . Well, 'tis no business of ours, is it, old Harry? Let us live and let live. . . . Perhaps Lady Ursula is not ugly . . . perchance that unpleasant-looking Spaniard doth truly love her . . . and who are we, Harry, you and I, that we should prove censorious? Let us to our apartments, friend, and meditate on woman's frailty and on our own . . . especially on our own . . . we are mere male creatures, and women are so adorable! even when they bristle with virtues like a hedgehog . . . but like him too, are cushioned beneath those bristles with a hundred charming, fascinating sins. . . . Come along, friend, and let us meditate why sin . . . sin of a certain type, remember, should be so enchantingly tempting." Harry Plantagenet was a philosopher. He had seen his master in this kind of mood before. He wagged his tail as if to express his approval of the broad principles thus submitted for his consideration, but at the same time he showed a distinct desire that his master should talk less and come more speedily to bed. CHAPTER XXII THE WHITE QUEEN Wessex after a while was ready enough to dismiss the unpleasant subject. Perhaps he had no right to be censorious or to resent the Spaniard's somewhat unusual attitude. In England, undoubtedly, a gentleman would never--except under very special circumstances--allude to any passing liaison he might have with a lady of his own rank. That was a strict code of honour which had existed from time immemorial, even in the days of King Harry's youth, when the virtue of high-born women had been but little thought of. Abroad, perhaps, it was different. Spaniards, just then, were noted for the light way in which they regarded the favours of the fair sex, and Don Miguel's code of honour had evidently prompted him to consult Wessex' wishes in the matter of his own intrigue. Loyalty to their own sex is perhaps, on the whole, more general in men than is their chivalry towards women, and perhaps the Marquis' feelings would have revolted at the thought of seeing a lady of such light virtue in the position of Duchess of Wessex. Be that as it may, His Grace had no wish to probe the matter further; with a shrug of the shoulders he dismissed it from his thoughts, whilst registering a vow to chastise the young blackguard if his impertinence showed signs of recurrence. He was on the point of yielding to his faithful Harry's canine appeals by allowing him to lead the way towards his own distant lodgings, when his ear suddenly caught the sound of a silk dress rustling somewhere, not far from where he stood. At the end of the room closest to him, a few steps led up to a gallery, which ran along the wall, finally abutting at a door, which gave access to the Duchess of Lincoln's and other ladies' lodgings. The rustle of a silk skirt seemed to come from there. Perhaps Wessex would not have taken notice of it, except that his every thought was filled with a strange excitement since the rencontre of the afternoon. At times now he felt as if his very senses ached with the longing to see once more that entrancing, girlish figure, dressed all in white and crowned with the halo of her exquisite golden hair, to hear once more the sound of that fresh young voice, that merry, childlike laugh, through which there vibrated the thrill of a newly awakened passion. Since he had met her he was conscious of a wonderful change in himself. He did not even analyse his feelings: he knew that he loved her now: that, in a sense, he had always loved her, for his poetic and romantic temperament had ever been in search of that perfect type of womanhood, which she seemed so completely to embody in herself. He had only spoken to her for about half an hour, then had sat opposite to her in a boat among the reeds, in the cool of the afternoon, with the lazy river gently rocking the light skiff, and the water birds for sole witnesses of his happiness. They had hardly exchanged a word then, for he had enjoyed the delight--dear to every man who loves--of watching the blushes come and go upon her cheek in response to his ardent gaze. What did words matter? the music in their souls supplied all that they wished to say. And he--who had been deemed so fickle, who had made of love a pastime, taking what joys women would give him with a grateful yet transient smile, His Grace of Wessex, in fact, who had loved so often yet so inconstantly--knew now that the stern little god, who will not for long brook defiance of his laws, had wounded him for life or death at last. And even now, when he heard the rustle of a kirtle, he paused instinctively, vaguely, madly hoping that chance, and the great wild longing which was in him, had indeed drawn her footsteps hither. The door above, at the end of the gallery, was tentatively opened. Wessex could see nothing, for those distant corners of the room were in complete darkness, but he heard a voice, low and sweet, humming the little ditty which she, his queen, had sung this afternoon. "Disdaine me not that am your own, Refuse me not that am so true, Mistrust me not till all be knowen, Forsake me not now for no new." She walked slowly along the gallery, and paused not far from the top of the short flight of oak steps. She seemed to be hesitating a little, as if afraid to venture farther into the large, dimly lighted hall. The flicker of the tall wax tapers now caught her dainty figure, casting golden lights and deep, ruddy shadows on her fair young face and on the whiteness of her gown. In her arms she held an enormous sheaf of pale pink monthly roses, the spoils of the garden, lavish in its autumnal glory. Never had Wessex--fastidious, fickle, insouciant Wessex--seen anything more radiant, more exquisite, more poetic than this apparition which came towards him like the realization of all his maddest dreams. For one moment more he lingered, his ardent, passionate soul was loath to give up these heaven-born seconds spent in looking at her. Her eyes shone darkly in the gleam of the candle light and had wondrous reflections in them, which looked ruddy and hot; her delicately chiselled features were suffused with a strange glow, which seemed to come from within; and her lips were slightly parted, moist and red like some ripe summer fruit. From her whole person there came an exhalation of youth and womanhood, of purity and soul-stirring passion. "Come down, sweet singer," said Wessex to her at last. She gave a startled little cry, leant over the balustrade, and the sheaf of flowers dropped from her arms, falling in a long cascade of leaves and blossoms, rose-coloured and sweet-scented, at his feet. "Ah, Your Grace frightened me!" she whispered, with just a touch of feminine coquetry. "I . . . I . . . didn't know you were here." "I swear you did not, sweet saint . . . but now . . . as I am here . . . come down quickly ere I perish with longing for a nearer sight of your dear eyes." "But my flowers," she said, with a sudden access of timidity, brought forth by the thrilling ardour of his voice. "I had picked them for Her Majesty's oratory." "Nay! let them all wither save one . . . which I will take from your hand. Come down. . . ." One of the roses had remained fixed in the stiff fold of her panier. She took it between her fingers and sighed. "Oh! I dare not," she said sadly. "Your Grace does not know,--cannot guess, what dire disgrace would befall me if I did." "Perish the thought of disgrace," rejoined Wessex gaily. "Marry! the saints in Paradise must come down from heaven sometimes, else the world would be consumed by its own wickedness. Come down," he added more earnestly, seized with a mad, ungovernable desire to clasp her to his heart, "come down, or I swear that I'll bring you down in my arms." "No . . . no . . . no!" she protested, alarmed at his vehemence. "I'll come down." With a quaintly mischievous gesture she flung the rose at him; it hit him in the face, then fell; he had perforce to stoop in order to pick it up. When he once more straightened his tall figure she was standing quite close to him. There she was, just as he had always thought of her, even as a boy when first he began to dream. She, the perfect woman whom one day he would meet, and on that day would love wholly, passionately, humbly, and proudly, his own and yet his queen; she the most perfect product of Nature, with just that tone of gold in her hair, just those eyes, so inscrutable, so full of colour, so infinite in their variety; not very tall, but graceful and slender, with her dainty head on a level with his shoulder, her fair young forehead on a level with his lips. Now that she was so near, he was as if turned to stone. The wild longing was still in him to clasp her in his arms, to hold her closely, tenderly to his heart, yet he would not have touched her for a kingdom. But as he looked at her he knew that she, herself, would come to him in all her purity, her innocence . . . soon . . . to-day perhaps . . . but certainly one day . . . and that she would come with every fibre in her entire being vibrating in responsive passion to him. She looked up at him shyly, tentatively. His very soul went out to her as he returned her gaze. A great and glorious exultation thrilled every fibre of her being. She knew that she had conquered, that the love which in her girlish heart she had kept for him had borne fruit a thousandfold. Her heart seemed to stop beating at the immensity of her happiness. But woman-like, she was more self-possessed than he was. "I must not stay," she said gravely and with only an imperceptible quiver in her voice. "I am in disgrace, you know . . . for that stroll on the river . . . with you . . . this afternoon." "Why? what happened?" he asked with a smile. She held up her little hand and counted on her fingers. "Number one, a frown and a colder shoulder from Her Majesty! Two, a lecture from Her Grace of Lincoln! Twenty minutes! Three, four, and five, pin-pricks from the ladies and a lonely supper in my room to-night." He loved her in this gayer mood which made her seem so young and childlike. "Could you not have contrived to let me know?" "Why? . . . What would you have done?" "Made it less lonely for you." "You are doing that now. I thought I should be alone the rest of the evening. Her Grace of Lincoln and the others are at prayers with Her Majesty. I was confined to that room up there. How is it Your Grace happened to be in this hall just when I came out?" "A moth is always to be found where the light happens to be," he replied gravely. "But how did you know I should be here?" "My eyes, since this afternoon, see you constantly where you are not--how could they fail to see you where you are?" "Then, as Your Grace has seen me . . ." she added with timid nervousness, seeing that he now stood between her and the steps, "will you allow me to go up again?" "No." "I entreat!" she pleaded. "Impossible." "Her Grace of Lincoln will be looking for me." "Then stay here with me until she does." "What to do?" she queried innocently. "To make me happy." "Happy?" she laughed merrily. "Ho! ho! ho! How can I, a humble waiting-maid, manage to make His Grace of Wessex happy?" "By letting me look at you." With quaint and artless coquetry she picked up the folds of her heavy brocaded paniers, right and left, with two delicate fingers, and executed a dainty pirouette in front of him. "There!" she said merrily, "'tis done. . . . And now?" "By letting me whisper to you . . ." he murmured. She drew back quickly, and said with mock severity-- "That which I must not hear." "Why not?" "Because Your Grace is not free," she rejoined archly. "Not free to whisper anything in any woman's ear, save in that of Lady Ursula Glynde." "Then you guessed what I would have whispered to you?" "Perhaps." "What was it?" She veiled the glory of her eyes with their fringe of dark lashes. "That you loved me . . ." she murmured, "for the moment. . . ." How irresistible she was, with just that soup on of coquetry to whet the desire of this fastidious man of the world, and with it all so free from artifice, so young and fresh and pure:--a madonna, yet made to tempt mankind. "Nay! if you would let me, sweet saint, I would whisper in your tiny ear that I worship you!" he said in all sincerity and truth, and with the ring of an ardent passion in every tone of his voice. "Worship me? . . ." she queried in mock astonishment, "and Your Grace does not even know who I am." "Faith! but I do. You are the most beautiful woman on this earth." "Oh! . . . but my name! . . ." "Nay! as to that I care not . . . You shall tell it me anon, if you like. . . . For the moment I love to think of you as I first beheld you in the garden this afternoon--a fairy or sprite . . . I know not which . . . an angel mayhap . . . in your robes of white, surrounded with flowers and dark bosquets of hazelnut and of yew, with golden tints of ruddy autumn around you, less glorious than your hair. Let me worship blindly . . . fettered . . . your slave." She sighed, a quaint little sigh, which had a tinge of melancholy in it. "For how long?" she murmured. "For my whole life," he replied earnestly. "Will you not try me?" "How?" "You love me, sweet saint?" "I . . ." she began shyly. "Let me look into your eyes. . . . I will find my answer." Her arms dropped by her side, she looked up and met his eyes, ardent, burning with passion, fixed longingly upon her. He came close to her, quite close, his presence thrilled her; she closed her eyes in order to shut out from her innermost soul everything from the outside world, save the exquisite feeling of her newly awakened love. "Now, see how perverse I am," he whispered passionately. "I do not want you to tell me anything just now . . . open your eyes, dear saint . . . for I but want to stand like this . . . and read in their blue depths . . . enjoying every fraction of a second of this heavenly moment. . . ." She tried to speak, but instinctively he stopped her. "No . . . no . . . do not speak. . . . And yet . . . 'tis from your sweet lips I'd have my final answer." He took her in his arms. She lay against him, unresisting, her sweet face turned up to his, soul meeting soul at last in the ecstasy of a first kiss. He held her to his heart. It seemed as if he could never let her go from him again. Everything was forgotten, the world had ceased to be. For him there was but one woman on this earth, and she was his own. CHAPTER XXIII CHECK TO THE QUEEN How long they stood thus, heart to heart, they themselves could never have said. The sound of many voices in the near distance roused them from their dream. Ursula started in alarm. "Holy Virgin!" she exclaimed under her breath, "if it should be the Queen!" But Wessex held her tightly, and she struggled in vain. "Nay! then let the whole Court see that I hold my future wife in my arms," he said proudly. But with an agitated little cry she contrived to escape him. He seemed much amused at her nervousness; what had she to fear? was she not his own, to protect even from the semblance of ill? But Ursula, now fully awakened to ordinary, everyday surroundings, was fearful lest her own innocent little deception should be too crudely, too suddenly unmasked. She had so earnestly looked forward to the moment when she would say to him that she in sooth was none other than Lady Ursula Glynde, the woman whom every conventionality had decreed that he should marry, and whom--because of these conventionalities--he had secretly but certainly disliked. Her woman's heart had already given her a clear insight into the character and the foibles of the man she loved. His passion for her now, sincere and great though it was, was partly dependent on that atmosphere of romance which his poetical temperament craved for, and which had surrounded the half-mysterious personality of exquisite, irresistible "Fanny." Instinctively she dreaded the rough hand of commonplace, that ugly, coarse destroyer of poetic idylls. A few hastily uttered words might shatter in an hour the mystic shrine wherein Wessex had enthroned her. She had meant to tell him soon, to-morrow perhaps, perhaps only after a few days, but she wished to find her own time for this, when he knew her inner soul better, and the delicate cobwebs of this great love-at-first-sight had fallen away from his eyes. She could not altogether have explained to herself why a sudden disclosure of her identity at this moment would have been peculiarly unpleasant to her. It was a weak, childish feeling no doubt. But such as it was, it was real, and strong, and genuine. Barely a minute had elapsed whilst these quick thoughts and fears went wildly coursing through her mind. There was no time to tell him everything now. The voices came from the next room, within the next few seconds probably the great door would be open to admit a group of people: the Duchess of Lincoln and the ladies mayhap, or the Queen on her way to chapel. And His Grace of Wessex looked terribly determined. "No! no! no!--not just this moment, sweet Grace," she entreated, "by your love! not _just_ this moment. . . . The Queen would be so angry . . . oh! not _just_ now!" She looked so genuinely disturbed, and so tenderly appealing, that he could not help but obey. "But you cannot send me away like this," he urged. "Another word, sweet saint. . . . Faith! I could not live without another kiss. . . ." "No, no, no, I entreat Your Grace . . . not to-night," she protested feebly. He thought, however, that he detected a sign of yielding in her voice, although she was already beginning to mount the steps ready for flight. "Just one tiny word," he whispered hurriedly: "when the Queen has passed through, linger up there for one brief minute only. I'll wait in there!" And he pointed to a small door close behind him, which led to an inner closet at right angles with the gallery. Before she had time to protest--nay! perhaps she had no wish to refuse--he had disappeared behind its heavy panels, quickly calling to his dog to follow him. But in that one moment's hesitation, those few brief and delicious words hastily exchanged, she had lost her opportunity for escape. The next instant the door at the further end of the room was thrown open, and the Queen entered followed by some of her ladies. She was accompanied by the Duchess of Lincoln, and His Eminence the Cardinal de Moreno was on her left. As chance or ill-luck would have it, the first sight which greeted Her Majesty's eyes was the figure of Lady Ursula, midway up the steps which led to the gallery, some mysterious imp of mischief having contrived that the light from the wax tapers should unaccountably and very vividly fall upon the white-clad form of the young girl. An exclamation of stern reproval from Her Grace of Lincoln brought Ursula to a standstill. Flight now was no longer possible; she could but trust in her guardian angel, or in any of those protective genii who have in their keeping the special care of lovers in distress, and who happened to be hovering nigh. It was not seemly to be half-way up a flight of stairs when Her Majesty was standing on the floor below. Ursula, with her cheeks aflame with vexation, slowly descended, whilst encountering as boldly as she could the artillery fire of half a dozen pairs of eyes fixed steadily upon her. Mary Tudor looked coldly severe, Her Grace of Lincoln horror-struck, His Eminence ironical, and the ladies vastly amused. "Ah, child!" said Her Majesty, in her iciest tone of voice, "all alone, and in this part of the Palace?" She looked the dainty young figure disdainfully up and down, then her eye caught the sheaf of roses lying in a fragrant tangle close to the foot of the stairs. There was a quick flash of anger in her face, then a frown. Ursula wondered how much she guessed or what she suspected. But the Queen, after that one quick wave of passionate wrath, made an obvious effort to control herself. She turned composedly to the Duchess of Lincoln. "Your Grace is aware," she said drily, "that I deem it most indecorous for my maids-of-honour to wander about the Palace alone." The wrinkled old face of the kindly Duchess expressed the most heartfelt sorrow. "I crave Your Majesty's humble pardon . . ." she stammered in an agony of misery at this public reproof. "I . . ." "Nay, Duchess, I know the difficulty of your task," rejoined Mary Tudor bitingly, "the other ladies are docile, and their behaviour is maidenly and chaste. 'Tis not always so with the Lady Ursula Glynde." Mary's voice had been so trenchant and hard that it seemed to Ursula's sensitive ears as if its metallic tones must have penetrated to every corner of the Palace. She gave a quick, terrified look towards the door, longing with all her might for the gift to see through its massive panels--to know what went on within that inner closet, where Wessex was waiting

gayer

How many times the word 'gayer' appears in the text?

. I . . ." "Yes?" queried the Duke. "That is the purport of my importunity, my lord," said the young man, springing to his feet and speaking once more in tones of noble candour. "I would have asked Your Grace that, since you do not know the Lady Ursula, since you have no wish to claim her hand, if some one else . . ." "If the Lady Ursula honoured some one else than my unworthy self. . . . Is that your meaning, my lord?" queried Wessex, as Don Miguel had made a slight pause in his impetuous speech. "If I . . ." "You, my lord?" "I would wish to know if I should be offending Your Grace?" "Offending me?" cried Wessex joyfully. "Nay, my lord, why were you so long in telling me this gladsome news? . . . Offending me? . . . you have succeeded in taking a load from my conscience, my dear Marquis. So you love the Lady Ursula Glynde? . . . Ye heavens! what a number of circumlocutions to arrive at this simple little fact! You love her . . . she is very beautiful . . . and she loves you. Where did you first see her, my lord?" "At East Molesey Fair. . . . Your Grace intervened . . . you must remember!" "Most inopportunely, meseems. I must indeed crave your pardon. And since then?" "The acquaintanceship, perhaps somewhat unpleasantly begun, has ripened into . . . friendship." "And thence into love! Nay, you have my heartiest congratulations, my lord. The Glyndes are famous for their virtue, and since the Lady Ursula is beautiful, why! your Court will indeed be graced by such a pattern of English womanhood." "Oh!" said the Spaniard, with a quick gesture of deprecation. "Nay! you must have no fear, my lord. Since you have honoured me by consulting my feelings in the matter, it shall be my pride and my delight to further your cause, and that of the Lady Ursula . . . if indeed she will deign to express her wishes to me. . . . I hereby give you a gentleman's word of honour that I consider the promise, which she made to her father in her childhood, in no way binding upon her now. . . . As for the future, I swear that I will obtain Her Majesty's consent to your immediate marriage." "Nay! I pray you, not so fast!" laughed Don Miguel lightly. "Neither the Lady Ursula nor I have need of Her Majesty's consent. . . ." "But methought----" "'Twas not I who spoke of marriage, remember!" "Then you have completely bewildered me, my lord," rejoined Wessex with a sudden frown. "I understood----" "That I am the proudest of men, certainly," quoth Don Miguel with a sarcastic curl of his sensual lip, "but 'twas Your Grace who spoke of the lady's virtue. I merely wished to know if I should be offending Your Grace if . . ." He laughed and shrugged his shoulders. The laugh grated unpleasantly on Wessex' ear, and the gesture savoured of impertinence. The Marquis' manner had suddenly undergone a change, which caused the Duke's every nerve to tingle. "If what?" he queried curtly. "The devil! sir, cannot you say what you do mean?" "Why should I," replied the Spaniard, "since your Grace has already guessed? You will own that I have acted _en galant homme_, by thinking of your wishes. You will not surely desire to champion that much-vaunted virtue of the Glyndes." "Then what you mean, sir, is that . . ." "I cannot speak more plainly, my lord, for that among gentlemen is quite impossible. But rumours fly about quickly at Court, and I feared that Your Grace might have caught one, ere I had the chance of assuring you that I recognize the priority of your claim. But now you tell me that you have no further interest in the lady, so I am reassured. . . . We foreigners, you know, take passing pleasures more lightly than you serious-minded English . . . and if the lady be unattached . . . and more than willing . . . why should we play the part of Joseph? . . . a ridiculous r le at best, eh, my lord? . . . and one, I think, which Your Grace would ever disdain to play. . . . As for me, I am quite reassured . . . Au revoir to Your Grace. . . ." And before Wessex had time to utter another word, Don Miguel, still laughing, went out of the room. The Duke felt a little bewildered. The conversation had gone through such a sudden transition, that at the time, he had hardly realized whether it touched him deeply or not. Owing to Ursula's girlish little ruse, he was totally unaware of her identity with the lady who had been the subject of this very distasteful discussion. To him Lady Ursula Glynde was both unknown and uninteresting. His meeting with beautiful, exquisite "Fanny" had driven all thoughts of other women from his mind. But with all his volatile disposition, where women were concerned, the Duke of Wessex was nevertheless imbued with a strong and romantic feeling of chivalry towards the entire sex, and Don Miguel's disdainful allusions to the lady who might have been Duchess of Wessex had left his finger-tips itching with the desire to throw his glove in the impudent rascal's face. Harry Plantagenet, who throughout the interview had openly expressed his disapproval of his master's interlocutor, gave an impatient little whine. He longed for the privacy of his own apartments, the warmth of the rugs laid out specially for him. "Harry, old friend!" said Wessex thoughtfully, "what the devil, think you, that young reprobate meant?" He took the dog's beautiful head between his hands and looked straight into the honest, faithful eyes of his dear and constant companion. "Marry!" he continued more lightly, "you may well look doubtful, you wise philosopher, for you know the Glyndes as well as I do. You remember old Lady Annabel, whose very look would stop your tail from wagging, and Charles, stodgy, silent, serious Charles, who never drank, never laughed, had probably never seen a woman's ankle in his life. And then the Lady Ursula . . . a Glynde . . . do you mind me, old Harry? . . . therefore as ugly, as a combination of virtue and Scotch descent can make any woman. . . . Yet, if I caught the rascal's meaning, neither Scotch descent nor ill looks have proved a shield for the lady's virtue! . . . Well, 'tis no business of ours, is it, old Harry? Let us live and let live. . . . Perhaps Lady Ursula is not ugly . . . perchance that unpleasant-looking Spaniard doth truly love her . . . and who are we, Harry, you and I, that we should prove censorious? Let us to our apartments, friend, and meditate on woman's frailty and on our own . . . especially on our own . . . we are mere male creatures, and women are so adorable! even when they bristle with virtues like a hedgehog . . . but like him too, are cushioned beneath those bristles with a hundred charming, fascinating sins. . . . Come along, friend, and let us meditate why sin . . . sin of a certain type, remember, should be so enchantingly tempting." Harry Plantagenet was a philosopher. He had seen his master in this kind of mood before. He wagged his tail as if to express his approval of the broad principles thus submitted for his consideration, but at the same time he showed a distinct desire that his master should talk less and come more speedily to bed. CHAPTER XXII THE WHITE QUEEN Wessex after a while was ready enough to dismiss the unpleasant subject. Perhaps he had no right to be censorious or to resent the Spaniard's somewhat unusual attitude. In England, undoubtedly, a gentleman would never--except under very special circumstances--allude to any passing liaison he might have with a lady of his own rank. That was a strict code of honour which had existed from time immemorial, even in the days of King Harry's youth, when the virtue of high-born women had been but little thought of. Abroad, perhaps, it was different. Spaniards, just then, were noted for the light way in which they regarded the favours of the fair sex, and Don Miguel's code of honour had evidently prompted him to consult Wessex' wishes in the matter of his own intrigue. Loyalty to their own sex is perhaps, on the whole, more general in men than is their chivalry towards women, and perhaps the Marquis' feelings would have revolted at the thought of seeing a lady of such light virtue in the position of Duchess of Wessex. Be that as it may, His Grace had no wish to probe the matter further; with a shrug of the shoulders he dismissed it from his thoughts, whilst registering a vow to chastise the young blackguard if his impertinence showed signs of recurrence. He was on the point of yielding to his faithful Harry's canine appeals by allowing him to lead the way towards his own distant lodgings, when his ear suddenly caught the sound of a silk dress rustling somewhere, not far from where he stood. At the end of the room closest to him, a few steps led up to a gallery, which ran along the wall, finally abutting at a door, which gave access to the Duchess of Lincoln's and other ladies' lodgings. The rustle of a silk skirt seemed to come from there. Perhaps Wessex would not have taken notice of it, except that his every thought was filled with a strange excitement since the rencontre of the afternoon. At times now he felt as if his very senses ached with the longing to see once more that entrancing, girlish figure, dressed all in white and crowned with the halo of her exquisite golden hair, to hear once more the sound of that fresh young voice, that merry, childlike laugh, through which there vibrated the thrill of a newly awakened passion. Since he had met her he was conscious of a wonderful change in himself. He did not even analyse his feelings: he knew that he loved her now: that, in a sense, he had always loved her, for his poetic and romantic temperament had ever been in search of that perfect type of womanhood, which she seemed so completely to embody in herself. He had only spoken to her for about half an hour, then had sat opposite to her in a boat among the reeds, in the cool of the afternoon, with the lazy river gently rocking the light skiff, and the water birds for sole witnesses of his happiness. They had hardly exchanged a word then, for he had enjoyed the delight--dear to every man who loves--of watching the blushes come and go upon her cheek in response to his ardent gaze. What did words matter? the music in their souls supplied all that they wished to say. And he--who had been deemed so fickle, who had made of love a pastime, taking what joys women would give him with a grateful yet transient smile, His Grace of Wessex, in fact, who had loved so often yet so inconstantly--knew now that the stern little god, who will not for long brook defiance of his laws, had wounded him for life or death at last. And even now, when he heard the rustle of a kirtle, he paused instinctively, vaguely, madly hoping that chance, and the great wild longing which was in him, had indeed drawn her footsteps hither. The door above, at the end of the gallery, was tentatively opened. Wessex could see nothing, for those distant corners of the room were in complete darkness, but he heard a voice, low and sweet, humming the little ditty which she, his queen, had sung this afternoon. "Disdaine me not that am your own, Refuse me not that am so true, Mistrust me not till all be knowen, Forsake me not now for no new." She walked slowly along the gallery, and paused not far from the top of the short flight of oak steps. She seemed to be hesitating a little, as if afraid to venture farther into the large, dimly lighted hall. The flicker of the tall wax tapers now caught her dainty figure, casting golden lights and deep, ruddy shadows on her fair young face and on the whiteness of her gown. In her arms she held an enormous sheaf of pale pink monthly roses, the spoils of the garden, lavish in its autumnal glory. Never had Wessex--fastidious, fickle, insouciant Wessex--seen anything more radiant, more exquisite, more poetic than this apparition which came towards him like the realization of all his maddest dreams. For one moment more he lingered, his ardent, passionate soul was loath to give up these heaven-born seconds spent in looking at her. Her eyes shone darkly in the gleam of the candle light and had wondrous reflections in them, which looked ruddy and hot; her delicately chiselled features were suffused with a strange glow, which seemed to come from within; and her lips were slightly parted, moist and red like some ripe summer fruit. From her whole person there came an exhalation of youth and womanhood, of purity and soul-stirring passion. "Come down, sweet singer," said Wessex to her at last. She gave a startled little cry, leant over the balustrade, and the sheaf of flowers dropped from her arms, falling in a long cascade of leaves and blossoms, rose-coloured and sweet-scented, at his feet. "Ah, Your Grace frightened me!" she whispered, with just a touch of feminine coquetry. "I . . . I . . . didn't know you were here." "I swear you did not, sweet saint . . . but now . . . as I am here . . . come down quickly ere I perish with longing for a nearer sight of your dear eyes." "But my flowers," she said, with a sudden access of timidity, brought forth by the thrilling ardour of his voice. "I had picked them for Her Majesty's oratory." "Nay! let them all wither save one . . . which I will take from your hand. Come down. . . ." One of the roses had remained fixed in the stiff fold of her panier. She took it between her fingers and sighed. "Oh! I dare not," she said sadly. "Your Grace does not know,--cannot guess, what dire disgrace would befall me if I did." "Perish the thought of disgrace," rejoined Wessex gaily. "Marry! the saints in Paradise must come down from heaven sometimes, else the world would be consumed by its own wickedness. Come down," he added more earnestly, seized with a mad, ungovernable desire to clasp her to his heart, "come down, or I swear that I'll bring you down in my arms." "No . . . no . . . no!" she protested, alarmed at his vehemence. "I'll come down." With a quaintly mischievous gesture she flung the rose at him; it hit him in the face, then fell; he had perforce to stoop in order to pick it up. When he once more straightened his tall figure she was standing quite close to him. There she was, just as he had always thought of her, even as a boy when first he began to dream. She, the perfect woman whom one day he would meet, and on that day would love wholly, passionately, humbly, and proudly, his own and yet his queen; she the most perfect product of Nature, with just that tone of gold in her hair, just those eyes, so inscrutable, so full of colour, so infinite in their variety; not very tall, but graceful and slender, with her dainty head on a level with his shoulder, her fair young forehead on a level with his lips. Now that she was so near, he was as if turned to stone. The wild longing was still in him to clasp her in his arms, to hold her closely, tenderly to his heart, yet he would not have touched her for a kingdom. But as he looked at her he knew that she, herself, would come to him in all her purity, her innocence . . . soon . . . to-day perhaps . . . but certainly one day . . . and that she would come with every fibre in her entire being vibrating in responsive passion to him. She looked up at him shyly, tentatively. His very soul went out to her as he returned her gaze. A great and glorious exultation thrilled every fibre of her being. She knew that she had conquered, that the love which in her girlish heart she had kept for him had borne fruit a thousandfold. Her heart seemed to stop beating at the immensity of her happiness. But woman-like, she was more self-possessed than he was. "I must not stay," she said gravely and with only an imperceptible quiver in her voice. "I am in disgrace, you know . . . for that stroll on the river . . . with you . . . this afternoon." "Why? what happened?" he asked with a smile. She held up her little hand and counted on her fingers. "Number one, a frown and a colder shoulder from Her Majesty! Two, a lecture from Her Grace of Lincoln! Twenty minutes! Three, four, and five, pin-pricks from the ladies and a lonely supper in my room to-night." He loved her in this gayer mood which made her seem so young and childlike. "Could you not have contrived to let me know?" "Why? . . . What would you have done?" "Made it less lonely for you." "You are doing that now. I thought I should be alone the rest of the evening. Her Grace of Lincoln and the others are at prayers with Her Majesty. I was confined to that room up there. How is it Your Grace happened to be in this hall just when I came out?" "A moth is always to be found where the light happens to be," he replied gravely. "But how did you know I should be here?" "My eyes, since this afternoon, see you constantly where you are not--how could they fail to see you where you are?" "Then, as Your Grace has seen me . . ." she added with timid nervousness, seeing that he now stood between her and the steps, "will you allow me to go up again?" "No." "I entreat!" she pleaded. "Impossible." "Her Grace of Lincoln will be looking for me." "Then stay here with me until she does." "What to do?" she queried innocently. "To make me happy." "Happy?" she laughed merrily. "Ho! ho! ho! How can I, a humble waiting-maid, manage to make His Grace of Wessex happy?" "By letting me look at you." With quaint and artless coquetry she picked up the folds of her heavy brocaded paniers, right and left, with two delicate fingers, and executed a dainty pirouette in front of him. "There!" she said merrily, "'tis done. . . . And now?" "By letting me whisper to you . . ." he murmured. She drew back quickly, and said with mock severity-- "That which I must not hear." "Why not?" "Because Your Grace is not free," she rejoined archly. "Not free to whisper anything in any woman's ear, save in that of Lady Ursula Glynde." "Then you guessed what I would have whispered to you?" "Perhaps." "What was it?" She veiled the glory of her eyes with their fringe of dark lashes. "That you loved me . . ." she murmured, "for the moment. . . ." How irresistible she was, with just that soup on of coquetry to whet the desire of this fastidious man of the world, and with it all so free from artifice, so young and fresh and pure:--a madonna, yet made to tempt mankind. "Nay! if you would let me, sweet saint, I would whisper in your tiny ear that I worship you!" he said in all sincerity and truth, and with the ring of an ardent passion in every tone of his voice. "Worship me? . . ." she queried in mock astonishment, "and Your Grace does not even know who I am." "Faith! but I do. You are the most beautiful woman on this earth." "Oh! . . . but my name! . . ." "Nay! as to that I care not . . . You shall tell it me anon, if you like. . . . For the moment I love to think of you as I first beheld you in the garden this afternoon--a fairy or sprite . . . I know not which . . . an angel mayhap . . . in your robes of white, surrounded with flowers and dark bosquets of hazelnut and of yew, with golden tints of ruddy autumn around you, less glorious than your hair. Let me worship blindly . . . fettered . . . your slave." She sighed, a quaint little sigh, which had a tinge of melancholy in it. "For how long?" she murmured. "For my whole life," he replied earnestly. "Will you not try me?" "How?" "You love me, sweet saint?" "I . . ." she began shyly. "Let me look into your eyes. . . . I will find my answer." Her arms dropped by her side, she looked up and met his eyes, ardent, burning with passion, fixed longingly upon her. He came close to her, quite close, his presence thrilled her; she closed her eyes in order to shut out from her innermost soul everything from the outside world, save the exquisite feeling of her newly awakened love. "Now, see how perverse I am," he whispered passionately. "I do not want you to tell me anything just now . . . open your eyes, dear saint . . . for I but want to stand like this . . . and read in their blue depths . . . enjoying every fraction of a second of this heavenly moment. . . ." She tried to speak, but instinctively he stopped her. "No . . . no . . . do not speak. . . . And yet . . . 'tis from your sweet lips I'd have my final answer." He took her in his arms. She lay against him, unresisting, her sweet face turned up to his, soul meeting soul at last in the ecstasy of a first kiss. He held her to his heart. It seemed as if he could never let her go from him again. Everything was forgotten, the world had ceased to be. For him there was but one woman on this earth, and she was his own. CHAPTER XXIII CHECK TO THE QUEEN How long they stood thus, heart to heart, they themselves could never have said. The sound of many voices in the near distance roused them from their dream. Ursula started in alarm. "Holy Virgin!" she exclaimed under her breath, "if it should be the Queen!" But Wessex held her tightly, and she struggled in vain. "Nay! then let the whole Court see that I hold my future wife in my arms," he said proudly. But with an agitated little cry she contrived to escape him. He seemed much amused at her nervousness; what had she to fear? was she not his own, to protect even from the semblance of ill? But Ursula, now fully awakened to ordinary, everyday surroundings, was fearful lest her own innocent little deception should be too crudely, too suddenly unmasked. She had so earnestly looked forward to the moment when she would say to him that she in sooth was none other than Lady Ursula Glynde, the woman whom every conventionality had decreed that he should marry, and whom--because of these conventionalities--he had secretly but certainly disliked. Her woman's heart had already given her a clear insight into the character and the foibles of the man she loved. His passion for her now, sincere and great though it was, was partly dependent on that atmosphere of romance which his poetical temperament craved for, and which had surrounded the half-mysterious personality of exquisite, irresistible "Fanny." Instinctively she dreaded the rough hand of commonplace, that ugly, coarse destroyer of poetic idylls. A few hastily uttered words might shatter in an hour the mystic shrine wherein Wessex had enthroned her. She had meant to tell him soon, to-morrow perhaps, perhaps only after a few days, but she wished to find her own time for this, when he knew her inner soul better, and the delicate cobwebs of this great love-at-first-sight had fallen away from his eyes. She could not altogether have explained to herself why a sudden disclosure of her identity at this moment would have been peculiarly unpleasant to her. It was a weak, childish feeling no doubt. But such as it was, it was real, and strong, and genuine. Barely a minute had elapsed whilst these quick thoughts and fears went wildly coursing through her mind. There was no time to tell him everything now. The voices came from the next room, within the next few seconds probably the great door would be open to admit a group of people: the Duchess of Lincoln and the ladies mayhap, or the Queen on her way to chapel. And His Grace of Wessex looked terribly determined. "No! no! no!--not just this moment, sweet Grace," she entreated, "by your love! not _just_ this moment. . . . The Queen would be so angry . . . oh! not _just_ now!" She looked so genuinely disturbed, and so tenderly appealing, that he could not help but obey. "But you cannot send me away like this," he urged. "Another word, sweet saint. . . . Faith! I could not live without another kiss. . . ." "No, no, no, I entreat Your Grace . . . not to-night," she protested feebly. He thought, however, that he detected a sign of yielding in her voice, although she was already beginning to mount the steps ready for flight. "Just one tiny word," he whispered hurriedly: "when the Queen has passed through, linger up there for one brief minute only. I'll wait in there!" And he pointed to a small door close behind him, which led to an inner closet at right angles with the gallery. Before she had time to protest--nay! perhaps she had no wish to refuse--he had disappeared behind its heavy panels, quickly calling to his dog to follow him. But in that one moment's hesitation, those few brief and delicious words hastily exchanged, she had lost her opportunity for escape. The next instant the door at the further end of the room was thrown open, and the Queen entered followed by some of her ladies. She was accompanied by the Duchess of Lincoln, and His Eminence the Cardinal de Moreno was on her left. As chance or ill-luck would have it, the first sight which greeted Her Majesty's eyes was the figure of Lady Ursula, midway up the steps which led to the gallery, some mysterious imp of mischief having contrived that the light from the wax tapers should unaccountably and very vividly fall upon the white-clad form of the young girl. An exclamation of stern reproval from Her Grace of Lincoln brought Ursula to a standstill. Flight now was no longer possible; she could but trust in her guardian angel, or in any of those protective genii who have in their keeping the special care of lovers in distress, and who happened to be hovering nigh. It was not seemly to be half-way up a flight of stairs when Her Majesty was standing on the floor below. Ursula, with her cheeks aflame with vexation, slowly descended, whilst encountering as boldly as she could the artillery fire of half a dozen pairs of eyes fixed steadily upon her. Mary Tudor looked coldly severe, Her Grace of Lincoln horror-struck, His Eminence ironical, and the ladies vastly amused. "Ah, child!" said Her Majesty, in her iciest tone of voice, "all alone, and in this part of the Palace?" She looked the dainty young figure disdainfully up and down, then her eye caught the sheaf of roses lying in a fragrant tangle close to the foot of the stairs. There was a quick flash of anger in her face, then a frown. Ursula wondered how much she guessed or what she suspected. But the Queen, after that one quick wave of passionate wrath, made an obvious effort to control herself. She turned composedly to the Duchess of Lincoln. "Your Grace is aware," she said drily, "that I deem it most indecorous for my maids-of-honour to wander about the Palace alone." The wrinkled old face of the kindly Duchess expressed the most heartfelt sorrow. "I crave Your Majesty's humble pardon . . ." she stammered in an agony of misery at this public reproof. "I . . ." "Nay, Duchess, I know the difficulty of your task," rejoined Mary Tudor bitingly, "the other ladies are docile, and their behaviour is maidenly and chaste. 'Tis not always so with the Lady Ursula Glynde." Mary's voice had been so trenchant and hard that it seemed to Ursula's sensitive ears as if its metallic tones must have penetrated to every corner of the Palace. She gave a quick, terrified look towards the door, longing with all her might for the gift to see through its massive panels--to know what went on within that inner closet, where Wessex was waiting

proudly

How many times the word 'proudly' appears in the text?

. I . . ." "Yes?" queried the Duke. "That is the purport of my importunity, my lord," said the young man, springing to his feet and speaking once more in tones of noble candour. "I would have asked Your Grace that, since you do not know the Lady Ursula, since you have no wish to claim her hand, if some one else . . ." "If the Lady Ursula honoured some one else than my unworthy self. . . . Is that your meaning, my lord?" queried Wessex, as Don Miguel had made a slight pause in his impetuous speech. "If I . . ." "You, my lord?" "I would wish to know if I should be offending Your Grace?" "Offending me?" cried Wessex joyfully. "Nay, my lord, why were you so long in telling me this gladsome news? . . . Offending me? . . . you have succeeded in taking a load from my conscience, my dear Marquis. So you love the Lady Ursula Glynde? . . . Ye heavens! what a number of circumlocutions to arrive at this simple little fact! You love her . . . she is very beautiful . . . and she loves you. Where did you first see her, my lord?" "At East Molesey Fair. . . . Your Grace intervened . . . you must remember!" "Most inopportunely, meseems. I must indeed crave your pardon. And since then?" "The acquaintanceship, perhaps somewhat unpleasantly begun, has ripened into . . . friendship." "And thence into love! Nay, you have my heartiest congratulations, my lord. The Glyndes are famous for their virtue, and since the Lady Ursula is beautiful, why! your Court will indeed be graced by such a pattern of English womanhood." "Oh!" said the Spaniard, with a quick gesture of deprecation. "Nay! you must have no fear, my lord. Since you have honoured me by consulting my feelings in the matter, it shall be my pride and my delight to further your cause, and that of the Lady Ursula . . . if indeed she will deign to express her wishes to me. . . . I hereby give you a gentleman's word of honour that I consider the promise, which she made to her father in her childhood, in no way binding upon her now. . . . As for the future, I swear that I will obtain Her Majesty's consent to your immediate marriage." "Nay! I pray you, not so fast!" laughed Don Miguel lightly. "Neither the Lady Ursula nor I have need of Her Majesty's consent. . . ." "But methought----" "'Twas not I who spoke of marriage, remember!" "Then you have completely bewildered me, my lord," rejoined Wessex with a sudden frown. "I understood----" "That I am the proudest of men, certainly," quoth Don Miguel with a sarcastic curl of his sensual lip, "but 'twas Your Grace who spoke of the lady's virtue. I merely wished to know if I should be offending Your Grace if . . ." He laughed and shrugged his shoulders. The laugh grated unpleasantly on Wessex' ear, and the gesture savoured of impertinence. The Marquis' manner had suddenly undergone a change, which caused the Duke's every nerve to tingle. "If what?" he queried curtly. "The devil! sir, cannot you say what you do mean?" "Why should I," replied the Spaniard, "since your Grace has already guessed? You will own that I have acted _en galant homme_, by thinking of your wishes. You will not surely desire to champion that much-vaunted virtue of the Glyndes." "Then what you mean, sir, is that . . ." "I cannot speak more plainly, my lord, for that among gentlemen is quite impossible. But rumours fly about quickly at Court, and I feared that Your Grace might have caught one, ere I had the chance of assuring you that I recognize the priority of your claim. But now you tell me that you have no further interest in the lady, so I am reassured. . . . We foreigners, you know, take passing pleasures more lightly than you serious-minded English . . . and if the lady be unattached . . . and more than willing . . . why should we play the part of Joseph? . . . a ridiculous r le at best, eh, my lord? . . . and one, I think, which Your Grace would ever disdain to play. . . . As for me, I am quite reassured . . . Au revoir to Your Grace. . . ." And before Wessex had time to utter another word, Don Miguel, still laughing, went out of the room. The Duke felt a little bewildered. The conversation had gone through such a sudden transition, that at the time, he had hardly realized whether it touched him deeply or not. Owing to Ursula's girlish little ruse, he was totally unaware of her identity with the lady who had been the subject of this very distasteful discussion. To him Lady Ursula Glynde was both unknown and uninteresting. His meeting with beautiful, exquisite "Fanny" had driven all thoughts of other women from his mind. But with all his volatile disposition, where women were concerned, the Duke of Wessex was nevertheless imbued with a strong and romantic feeling of chivalry towards the entire sex, and Don Miguel's disdainful allusions to the lady who might have been Duchess of Wessex had left his finger-tips itching with the desire to throw his glove in the impudent rascal's face. Harry Plantagenet, who throughout the interview had openly expressed his disapproval of his master's interlocutor, gave an impatient little whine. He longed for the privacy of his own apartments, the warmth of the rugs laid out specially for him. "Harry, old friend!" said Wessex thoughtfully, "what the devil, think you, that young reprobate meant?" He took the dog's beautiful head between his hands and looked straight into the honest, faithful eyes of his dear and constant companion. "Marry!" he continued more lightly, "you may well look doubtful, you wise philosopher, for you know the Glyndes as well as I do. You remember old Lady Annabel, whose very look would stop your tail from wagging, and Charles, stodgy, silent, serious Charles, who never drank, never laughed, had probably never seen a woman's ankle in his life. And then the Lady Ursula . . . a Glynde . . . do you mind me, old Harry? . . . therefore as ugly, as a combination of virtue and Scotch descent can make any woman. . . . Yet, if I caught the rascal's meaning, neither Scotch descent nor ill looks have proved a shield for the lady's virtue! . . . Well, 'tis no business of ours, is it, old Harry? Let us live and let live. . . . Perhaps Lady Ursula is not ugly . . . perchance that unpleasant-looking Spaniard doth truly love her . . . and who are we, Harry, you and I, that we should prove censorious? Let us to our apartments, friend, and meditate on woman's frailty and on our own . . . especially on our own . . . we are mere male creatures, and women are so adorable! even when they bristle with virtues like a hedgehog . . . but like him too, are cushioned beneath those bristles with a hundred charming, fascinating sins. . . . Come along, friend, and let us meditate why sin . . . sin of a certain type, remember, should be so enchantingly tempting." Harry Plantagenet was a philosopher. He had seen his master in this kind of mood before. He wagged his tail as if to express his approval of the broad principles thus submitted for his consideration, but at the same time he showed a distinct desire that his master should talk less and come more speedily to bed. CHAPTER XXII THE WHITE QUEEN Wessex after a while was ready enough to dismiss the unpleasant subject. Perhaps he had no right to be censorious or to resent the Spaniard's somewhat unusual attitude. In England, undoubtedly, a gentleman would never--except under very special circumstances--allude to any passing liaison he might have with a lady of his own rank. That was a strict code of honour which had existed from time immemorial, even in the days of King Harry's youth, when the virtue of high-born women had been but little thought of. Abroad, perhaps, it was different. Spaniards, just then, were noted for the light way in which they regarded the favours of the fair sex, and Don Miguel's code of honour had evidently prompted him to consult Wessex' wishes in the matter of his own intrigue. Loyalty to their own sex is perhaps, on the whole, more general in men than is their chivalry towards women, and perhaps the Marquis' feelings would have revolted at the thought of seeing a lady of such light virtue in the position of Duchess of Wessex. Be that as it may, His Grace had no wish to probe the matter further; with a shrug of the shoulders he dismissed it from his thoughts, whilst registering a vow to chastise the young blackguard if his impertinence showed signs of recurrence. He was on the point of yielding to his faithful Harry's canine appeals by allowing him to lead the way towards his own distant lodgings, when his ear suddenly caught the sound of a silk dress rustling somewhere, not far from where he stood. At the end of the room closest to him, a few steps led up to a gallery, which ran along the wall, finally abutting at a door, which gave access to the Duchess of Lincoln's and other ladies' lodgings. The rustle of a silk skirt seemed to come from there. Perhaps Wessex would not have taken notice of it, except that his every thought was filled with a strange excitement since the rencontre of the afternoon. At times now he felt as if his very senses ached with the longing to see once more that entrancing, girlish figure, dressed all in white and crowned with the halo of her exquisite golden hair, to hear once more the sound of that fresh young voice, that merry, childlike laugh, through which there vibrated the thrill of a newly awakened passion. Since he had met her he was conscious of a wonderful change in himself. He did not even analyse his feelings: he knew that he loved her now: that, in a sense, he had always loved her, for his poetic and romantic temperament had ever been in search of that perfect type of womanhood, which she seemed so completely to embody in herself. He had only spoken to her for about half an hour, then had sat opposite to her in a boat among the reeds, in the cool of the afternoon, with the lazy river gently rocking the light skiff, and the water birds for sole witnesses of his happiness. They had hardly exchanged a word then, for he had enjoyed the delight--dear to every man who loves--of watching the blushes come and go upon her cheek in response to his ardent gaze. What did words matter? the music in their souls supplied all that they wished to say. And he--who had been deemed so fickle, who had made of love a pastime, taking what joys women would give him with a grateful yet transient smile, His Grace of Wessex, in fact, who had loved so often yet so inconstantly--knew now that the stern little god, who will not for long brook defiance of his laws, had wounded him for life or death at last. And even now, when he heard the rustle of a kirtle, he paused instinctively, vaguely, madly hoping that chance, and the great wild longing which was in him, had indeed drawn her footsteps hither. The door above, at the end of the gallery, was tentatively opened. Wessex could see nothing, for those distant corners of the room were in complete darkness, but he heard a voice, low and sweet, humming the little ditty which she, his queen, had sung this afternoon. "Disdaine me not that am your own, Refuse me not that am so true, Mistrust me not till all be knowen, Forsake me not now for no new." She walked slowly along the gallery, and paused not far from the top of the short flight of oak steps. She seemed to be hesitating a little, as if afraid to venture farther into the large, dimly lighted hall. The flicker of the tall wax tapers now caught her dainty figure, casting golden lights and deep, ruddy shadows on her fair young face and on the whiteness of her gown. In her arms she held an enormous sheaf of pale pink monthly roses, the spoils of the garden, lavish in its autumnal glory. Never had Wessex--fastidious, fickle, insouciant Wessex--seen anything more radiant, more exquisite, more poetic than this apparition which came towards him like the realization of all his maddest dreams. For one moment more he lingered, his ardent, passionate soul was loath to give up these heaven-born seconds spent in looking at her. Her eyes shone darkly in the gleam of the candle light and had wondrous reflections in them, which looked ruddy and hot; her delicately chiselled features were suffused with a strange glow, which seemed to come from within; and her lips were slightly parted, moist and red like some ripe summer fruit. From her whole person there came an exhalation of youth and womanhood, of purity and soul-stirring passion. "Come down, sweet singer," said Wessex to her at last. She gave a startled little cry, leant over the balustrade, and the sheaf of flowers dropped from her arms, falling in a long cascade of leaves and blossoms, rose-coloured and sweet-scented, at his feet. "Ah, Your Grace frightened me!" she whispered, with just a touch of feminine coquetry. "I . . . I . . . didn't know you were here." "I swear you did not, sweet saint . . . but now . . . as I am here . . . come down quickly ere I perish with longing for a nearer sight of your dear eyes." "But my flowers," she said, with a sudden access of timidity, brought forth by the thrilling ardour of his voice. "I had picked them for Her Majesty's oratory." "Nay! let them all wither save one . . . which I will take from your hand. Come down. . . ." One of the roses had remained fixed in the stiff fold of her panier. She took it between her fingers and sighed. "Oh! I dare not," she said sadly. "Your Grace does not know,--cannot guess, what dire disgrace would befall me if I did." "Perish the thought of disgrace," rejoined Wessex gaily. "Marry! the saints in Paradise must come down from heaven sometimes, else the world would be consumed by its own wickedness. Come down," he added more earnestly, seized with a mad, ungovernable desire to clasp her to his heart, "come down, or I swear that I'll bring you down in my arms." "No . . . no . . . no!" she protested, alarmed at his vehemence. "I'll come down." With a quaintly mischievous gesture she flung the rose at him; it hit him in the face, then fell; he had perforce to stoop in order to pick it up. When he once more straightened his tall figure she was standing quite close to him. There she was, just as he had always thought of her, even as a boy when first he began to dream. She, the perfect woman whom one day he would meet, and on that day would love wholly, passionately, humbly, and proudly, his own and yet his queen; she the most perfect product of Nature, with just that tone of gold in her hair, just those eyes, so inscrutable, so full of colour, so infinite in their variety; not very tall, but graceful and slender, with her dainty head on a level with his shoulder, her fair young forehead on a level with his lips. Now that she was so near, he was as if turned to stone. The wild longing was still in him to clasp her in his arms, to hold her closely, tenderly to his heart, yet he would not have touched her for a kingdom. But as he looked at her he knew that she, herself, would come to him in all her purity, her innocence . . . soon . . . to-day perhaps . . . but certainly one day . . . and that she would come with every fibre in her entire being vibrating in responsive passion to him. She looked up at him shyly, tentatively. His very soul went out to her as he returned her gaze. A great and glorious exultation thrilled every fibre of her being. She knew that she had conquered, that the love which in her girlish heart she had kept for him had borne fruit a thousandfold. Her heart seemed to stop beating at the immensity of her happiness. But woman-like, she was more self-possessed than he was. "I must not stay," she said gravely and with only an imperceptible quiver in her voice. "I am in disgrace, you know . . . for that stroll on the river . . . with you . . . this afternoon." "Why? what happened?" he asked with a smile. She held up her little hand and counted on her fingers. "Number one, a frown and a colder shoulder from Her Majesty! Two, a lecture from Her Grace of Lincoln! Twenty minutes! Three, four, and five, pin-pricks from the ladies and a lonely supper in my room to-night." He loved her in this gayer mood which made her seem so young and childlike. "Could you not have contrived to let me know?" "Why? . . . What would you have done?" "Made it less lonely for you." "You are doing that now. I thought I should be alone the rest of the evening. Her Grace of Lincoln and the others are at prayers with Her Majesty. I was confined to that room up there. How is it Your Grace happened to be in this hall just when I came out?" "A moth is always to be found where the light happens to be," he replied gravely. "But how did you know I should be here?" "My eyes, since this afternoon, see you constantly where you are not--how could they fail to see you where you are?" "Then, as Your Grace has seen me . . ." she added with timid nervousness, seeing that he now stood between her and the steps, "will you allow me to go up again?" "No." "I entreat!" she pleaded. "Impossible." "Her Grace of Lincoln will be looking for me." "Then stay here with me until she does." "What to do?" she queried innocently. "To make me happy." "Happy?" she laughed merrily. "Ho! ho! ho! How can I, a humble waiting-maid, manage to make His Grace of Wessex happy?" "By letting me look at you." With quaint and artless coquetry she picked up the folds of her heavy brocaded paniers, right and left, with two delicate fingers, and executed a dainty pirouette in front of him. "There!" she said merrily, "'tis done. . . . And now?" "By letting me whisper to you . . ." he murmured. She drew back quickly, and said with mock severity-- "That which I must not hear." "Why not?" "Because Your Grace is not free," she rejoined archly. "Not free to whisper anything in any woman's ear, save in that of Lady Ursula Glynde." "Then you guessed what I would have whispered to you?" "Perhaps." "What was it?" She veiled the glory of her eyes with their fringe of dark lashes. "That you loved me . . ." she murmured, "for the moment. . . ." How irresistible she was, with just that soup on of coquetry to whet the desire of this fastidious man of the world, and with it all so free from artifice, so young and fresh and pure:--a madonna, yet made to tempt mankind. "Nay! if you would let me, sweet saint, I would whisper in your tiny ear that I worship you!" he said in all sincerity and truth, and with the ring of an ardent passion in every tone of his voice. "Worship me? . . ." she queried in mock astonishment, "and Your Grace does not even know who I am." "Faith! but I do. You are the most beautiful woman on this earth." "Oh! . . . but my name! . . ." "Nay! as to that I care not . . . You shall tell it me anon, if you like. . . . For the moment I love to think of you as I first beheld you in the garden this afternoon--a fairy or sprite . . . I know not which . . . an angel mayhap . . . in your robes of white, surrounded with flowers and dark bosquets of hazelnut and of yew, with golden tints of ruddy autumn around you, less glorious than your hair. Let me worship blindly . . . fettered . . . your slave." She sighed, a quaint little sigh, which had a tinge of melancholy in it. "For how long?" she murmured. "For my whole life," he replied earnestly. "Will you not try me?" "How?" "You love me, sweet saint?" "I . . ." she began shyly. "Let me look into your eyes. . . . I will find my answer." Her arms dropped by her side, she looked up and met his eyes, ardent, burning with passion, fixed longingly upon her. He came close to her, quite close, his presence thrilled her; she closed her eyes in order to shut out from her innermost soul everything from the outside world, save the exquisite feeling of her newly awakened love. "Now, see how perverse I am," he whispered passionately. "I do not want you to tell me anything just now . . . open your eyes, dear saint . . . for I but want to stand like this . . . and read in their blue depths . . . enjoying every fraction of a second of this heavenly moment. . . ." She tried to speak, but instinctively he stopped her. "No . . . no . . . do not speak. . . . And yet . . . 'tis from your sweet lips I'd have my final answer." He took her in his arms. She lay against him, unresisting, her sweet face turned up to his, soul meeting soul at last in the ecstasy of a first kiss. He held her to his heart. It seemed as if he could never let her go from him again. Everything was forgotten, the world had ceased to be. For him there was but one woman on this earth, and she was his own. CHAPTER XXIII CHECK TO THE QUEEN How long they stood thus, heart to heart, they themselves could never have said. The sound of many voices in the near distance roused them from their dream. Ursula started in alarm. "Holy Virgin!" she exclaimed under her breath, "if it should be the Queen!" But Wessex held her tightly, and she struggled in vain. "Nay! then let the whole Court see that I hold my future wife in my arms," he said proudly. But with an agitated little cry she contrived to escape him. He seemed much amused at her nervousness; what had she to fear? was she not his own, to protect even from the semblance of ill? But Ursula, now fully awakened to ordinary, everyday surroundings, was fearful lest her own innocent little deception should be too crudely, too suddenly unmasked. She had so earnestly looked forward to the moment when she would say to him that she in sooth was none other than Lady Ursula Glynde, the woman whom every conventionality had decreed that he should marry, and whom--because of these conventionalities--he had secretly but certainly disliked. Her woman's heart had already given her a clear insight into the character and the foibles of the man she loved. His passion for her now, sincere and great though it was, was partly dependent on that atmosphere of romance which his poetical temperament craved for, and which had surrounded the half-mysterious personality of exquisite, irresistible "Fanny." Instinctively she dreaded the rough hand of commonplace, that ugly, coarse destroyer of poetic idylls. A few hastily uttered words might shatter in an hour the mystic shrine wherein Wessex had enthroned her. She had meant to tell him soon, to-morrow perhaps, perhaps only after a few days, but she wished to find her own time for this, when he knew her inner soul better, and the delicate cobwebs of this great love-at-first-sight had fallen away from his eyes. She could not altogether have explained to herself why a sudden disclosure of her identity at this moment would have been peculiarly unpleasant to her. It was a weak, childish feeling no doubt. But such as it was, it was real, and strong, and genuine. Barely a minute had elapsed whilst these quick thoughts and fears went wildly coursing through her mind. There was no time to tell him everything now. The voices came from the next room, within the next few seconds probably the great door would be open to admit a group of people: the Duchess of Lincoln and the ladies mayhap, or the Queen on her way to chapel. And His Grace of Wessex looked terribly determined. "No! no! no!--not just this moment, sweet Grace," she entreated, "by your love! not _just_ this moment. . . . The Queen would be so angry . . . oh! not _just_ now!" She looked so genuinely disturbed, and so tenderly appealing, that he could not help but obey. "But you cannot send me away like this," he urged. "Another word, sweet saint. . . . Faith! I could not live without another kiss. . . ." "No, no, no, I entreat Your Grace . . . not to-night," she protested feebly. He thought, however, that he detected a sign of yielding in her voice, although she was already beginning to mount the steps ready for flight. "Just one tiny word," he whispered hurriedly: "when the Queen has passed through, linger up there for one brief minute only. I'll wait in there!" And he pointed to a small door close behind him, which led to an inner closet at right angles with the gallery. Before she had time to protest--nay! perhaps she had no wish to refuse--he had disappeared behind its heavy panels, quickly calling to his dog to follow him. But in that one moment's hesitation, those few brief and delicious words hastily exchanged, she had lost her opportunity for escape. The next instant the door at the further end of the room was thrown open, and the Queen entered followed by some of her ladies. She was accompanied by the Duchess of Lincoln, and His Eminence the Cardinal de Moreno was on her left. As chance or ill-luck would have it, the first sight which greeted Her Majesty's eyes was the figure of Lady Ursula, midway up the steps which led to the gallery, some mysterious imp of mischief having contrived that the light from the wax tapers should unaccountably and very vividly fall upon the white-clad form of the young girl. An exclamation of stern reproval from Her Grace of Lincoln brought Ursula to a standstill. Flight now was no longer possible; she could but trust in her guardian angel, or in any of those protective genii who have in their keeping the special care of lovers in distress, and who happened to be hovering nigh. It was not seemly to be half-way up a flight of stairs when Her Majesty was standing on the floor below. Ursula, with her cheeks aflame with vexation, slowly descended, whilst encountering as boldly as she could the artillery fire of half a dozen pairs of eyes fixed steadily upon her. Mary Tudor looked coldly severe, Her Grace of Lincoln horror-struck, His Eminence ironical, and the ladies vastly amused. "Ah, child!" said Her Majesty, in her iciest tone of voice, "all alone, and in this part of the Palace?" She looked the dainty young figure disdainfully up and down, then her eye caught the sheaf of roses lying in a fragrant tangle close to the foot of the stairs. There was a quick flash of anger in her face, then a frown. Ursula wondered how much she guessed or what she suspected. But the Queen, after that one quick wave of passionate wrath, made an obvious effort to control herself. She turned composedly to the Duchess of Lincoln. "Your Grace is aware," she said drily, "that I deem it most indecorous for my maids-of-honour to wander about the Palace alone." The wrinkled old face of the kindly Duchess expressed the most heartfelt sorrow. "I crave Your Majesty's humble pardon . . ." she stammered in an agony of misery at this public reproof. "I . . ." "Nay, Duchess, I know the difficulty of your task," rejoined Mary Tudor bitingly, "the other ladies are docile, and their behaviour is maidenly and chaste. 'Tis not always so with the Lady Ursula Glynde." Mary's voice had been so trenchant and hard that it seemed to Ursula's sensitive ears as if its metallic tones must have penetrated to every corner of the Palace. She gave a quick, terrified look towards the door, longing with all her might for the gift to see through its massive panels--to know what went on within that inner closet, where Wessex was waiting

along

How many times the word 'along' appears in the text?

. I . . ." "Yes?" queried the Duke. "That is the purport of my importunity, my lord," said the young man, springing to his feet and speaking once more in tones of noble candour. "I would have asked Your Grace that, since you do not know the Lady Ursula, since you have no wish to claim her hand, if some one else . . ." "If the Lady Ursula honoured some one else than my unworthy self. . . . Is that your meaning, my lord?" queried Wessex, as Don Miguel had made a slight pause in his impetuous speech. "If I . . ." "You, my lord?" "I would wish to know if I should be offending Your Grace?" "Offending me?" cried Wessex joyfully. "Nay, my lord, why were you so long in telling me this gladsome news? . . . Offending me? . . . you have succeeded in taking a load from my conscience, my dear Marquis. So you love the Lady Ursula Glynde? . . . Ye heavens! what a number of circumlocutions to arrive at this simple little fact! You love her . . . she is very beautiful . . . and she loves you. Where did you first see her, my lord?" "At East Molesey Fair. . . . Your Grace intervened . . . you must remember!" "Most inopportunely, meseems. I must indeed crave your pardon. And since then?" "The acquaintanceship, perhaps somewhat unpleasantly begun, has ripened into . . . friendship." "And thence into love! Nay, you have my heartiest congratulations, my lord. The Glyndes are famous for their virtue, and since the Lady Ursula is beautiful, why! your Court will indeed be graced by such a pattern of English womanhood." "Oh!" said the Spaniard, with a quick gesture of deprecation. "Nay! you must have no fear, my lord. Since you have honoured me by consulting my feelings in the matter, it shall be my pride and my delight to further your cause, and that of the Lady Ursula . . . if indeed she will deign to express her wishes to me. . . . I hereby give you a gentleman's word of honour that I consider the promise, which she made to her father in her childhood, in no way binding upon her now. . . . As for the future, I swear that I will obtain Her Majesty's consent to your immediate marriage." "Nay! I pray you, not so fast!" laughed Don Miguel lightly. "Neither the Lady Ursula nor I have need of Her Majesty's consent. . . ." "But methought----" "'Twas not I who spoke of marriage, remember!" "Then you have completely bewildered me, my lord," rejoined Wessex with a sudden frown. "I understood----" "That I am the proudest of men, certainly," quoth Don Miguel with a sarcastic curl of his sensual lip, "but 'twas Your Grace who spoke of the lady's virtue. I merely wished to know if I should be offending Your Grace if . . ." He laughed and shrugged his shoulders. The laugh grated unpleasantly on Wessex' ear, and the gesture savoured of impertinence. The Marquis' manner had suddenly undergone a change, which caused the Duke's every nerve to tingle. "If what?" he queried curtly. "The devil! sir, cannot you say what you do mean?" "Why should I," replied the Spaniard, "since your Grace has already guessed? You will own that I have acted _en galant homme_, by thinking of your wishes. You will not surely desire to champion that much-vaunted virtue of the Glyndes." "Then what you mean, sir, is that . . ." "I cannot speak more plainly, my lord, for that among gentlemen is quite impossible. But rumours fly about quickly at Court, and I feared that Your Grace might have caught one, ere I had the chance of assuring you that I recognize the priority of your claim. But now you tell me that you have no further interest in the lady, so I am reassured. . . . We foreigners, you know, take passing pleasures more lightly than you serious-minded English . . . and if the lady be unattached . . . and more than willing . . . why should we play the part of Joseph? . . . a ridiculous r le at best, eh, my lord? . . . and one, I think, which Your Grace would ever disdain to play. . . . As for me, I am quite reassured . . . Au revoir to Your Grace. . . ." And before Wessex had time to utter another word, Don Miguel, still laughing, went out of the room. The Duke felt a little bewildered. The conversation had gone through such a sudden transition, that at the time, he had hardly realized whether it touched him deeply or not. Owing to Ursula's girlish little ruse, he was totally unaware of her identity with the lady who had been the subject of this very distasteful discussion. To him Lady Ursula Glynde was both unknown and uninteresting. His meeting with beautiful, exquisite "Fanny" had driven all thoughts of other women from his mind. But with all his volatile disposition, where women were concerned, the Duke of Wessex was nevertheless imbued with a strong and romantic feeling of chivalry towards the entire sex, and Don Miguel's disdainful allusions to the lady who might have been Duchess of Wessex had left his finger-tips itching with the desire to throw his glove in the impudent rascal's face. Harry Plantagenet, who throughout the interview had openly expressed his disapproval of his master's interlocutor, gave an impatient little whine. He longed for the privacy of his own apartments, the warmth of the rugs laid out specially for him. "Harry, old friend!" said Wessex thoughtfully, "what the devil, think you, that young reprobate meant?" He took the dog's beautiful head between his hands and looked straight into the honest, faithful eyes of his dear and constant companion. "Marry!" he continued more lightly, "you may well look doubtful, you wise philosopher, for you know the Glyndes as well as I do. You remember old Lady Annabel, whose very look would stop your tail from wagging, and Charles, stodgy, silent, serious Charles, who never drank, never laughed, had probably never seen a woman's ankle in his life. And then the Lady Ursula . . . a Glynde . . . do you mind me, old Harry? . . . therefore as ugly, as a combination of virtue and Scotch descent can make any woman. . . . Yet, if I caught the rascal's meaning, neither Scotch descent nor ill looks have proved a shield for the lady's virtue! . . . Well, 'tis no business of ours, is it, old Harry? Let us live and let live. . . . Perhaps Lady Ursula is not ugly . . . perchance that unpleasant-looking Spaniard doth truly love her . . . and who are we, Harry, you and I, that we should prove censorious? Let us to our apartments, friend, and meditate on woman's frailty and on our own . . . especially on our own . . . we are mere male creatures, and women are so adorable! even when they bristle with virtues like a hedgehog . . . but like him too, are cushioned beneath those bristles with a hundred charming, fascinating sins. . . . Come along, friend, and let us meditate why sin . . . sin of a certain type, remember, should be so enchantingly tempting." Harry Plantagenet was a philosopher. He had seen his master in this kind of mood before. He wagged his tail as if to express his approval of the broad principles thus submitted for his consideration, but at the same time he showed a distinct desire that his master should talk less and come more speedily to bed. CHAPTER XXII THE WHITE QUEEN Wessex after a while was ready enough to dismiss the unpleasant subject. Perhaps he had no right to be censorious or to resent the Spaniard's somewhat unusual attitude. In England, undoubtedly, a gentleman would never--except under very special circumstances--allude to any passing liaison he might have with a lady of his own rank. That was a strict code of honour which had existed from time immemorial, even in the days of King Harry's youth, when the virtue of high-born women had been but little thought of. Abroad, perhaps, it was different. Spaniards, just then, were noted for the light way in which they regarded the favours of the fair sex, and Don Miguel's code of honour had evidently prompted him to consult Wessex' wishes in the matter of his own intrigue. Loyalty to their own sex is perhaps, on the whole, more general in men than is their chivalry towards women, and perhaps the Marquis' feelings would have revolted at the thought of seeing a lady of such light virtue in the position of Duchess of Wessex. Be that as it may, His Grace had no wish to probe the matter further; with a shrug of the shoulders he dismissed it from his thoughts, whilst registering a vow to chastise the young blackguard if his impertinence showed signs of recurrence. He was on the point of yielding to his faithful Harry's canine appeals by allowing him to lead the way towards his own distant lodgings, when his ear suddenly caught the sound of a silk dress rustling somewhere, not far from where he stood. At the end of the room closest to him, a few steps led up to a gallery, which ran along the wall, finally abutting at a door, which gave access to the Duchess of Lincoln's and other ladies' lodgings. The rustle of a silk skirt seemed to come from there. Perhaps Wessex would not have taken notice of it, except that his every thought was filled with a strange excitement since the rencontre of the afternoon. At times now he felt as if his very senses ached with the longing to see once more that entrancing, girlish figure, dressed all in white and crowned with the halo of her exquisite golden hair, to hear once more the sound of that fresh young voice, that merry, childlike laugh, through which there vibrated the thrill of a newly awakened passion. Since he had met her he was conscious of a wonderful change in himself. He did not even analyse his feelings: he knew that he loved her now: that, in a sense, he had always loved her, for his poetic and romantic temperament had ever been in search of that perfect type of womanhood, which she seemed so completely to embody in herself. He had only spoken to her for about half an hour, then had sat opposite to her in a boat among the reeds, in the cool of the afternoon, with the lazy river gently rocking the light skiff, and the water birds for sole witnesses of his happiness. They had hardly exchanged a word then, for he had enjoyed the delight--dear to every man who loves--of watching the blushes come and go upon her cheek in response to his ardent gaze. What did words matter? the music in their souls supplied all that they wished to say. And he--who had been deemed so fickle, who had made of love a pastime, taking what joys women would give him with a grateful yet transient smile, His Grace of Wessex, in fact, who had loved so often yet so inconstantly--knew now that the stern little god, who will not for long brook defiance of his laws, had wounded him for life or death at last. And even now, when he heard the rustle of a kirtle, he paused instinctively, vaguely, madly hoping that chance, and the great wild longing which was in him, had indeed drawn her footsteps hither. The door above, at the end of the gallery, was tentatively opened. Wessex could see nothing, for those distant corners of the room were in complete darkness, but he heard a voice, low and sweet, humming the little ditty which she, his queen, had sung this afternoon. "Disdaine me not that am your own, Refuse me not that am so true, Mistrust me not till all be knowen, Forsake me not now for no new." She walked slowly along the gallery, and paused not far from the top of the short flight of oak steps. She seemed to be hesitating a little, as if afraid to venture farther into the large, dimly lighted hall. The flicker of the tall wax tapers now caught her dainty figure, casting golden lights and deep, ruddy shadows on her fair young face and on the whiteness of her gown. In her arms she held an enormous sheaf of pale pink monthly roses, the spoils of the garden, lavish in its autumnal glory. Never had Wessex--fastidious, fickle, insouciant Wessex--seen anything more radiant, more exquisite, more poetic than this apparition which came towards him like the realization of all his maddest dreams. For one moment more he lingered, his ardent, passionate soul was loath to give up these heaven-born seconds spent in looking at her. Her eyes shone darkly in the gleam of the candle light and had wondrous reflections in them, which looked ruddy and hot; her delicately chiselled features were suffused with a strange glow, which seemed to come from within; and her lips were slightly parted, moist and red like some ripe summer fruit. From her whole person there came an exhalation of youth and womanhood, of purity and soul-stirring passion. "Come down, sweet singer," said Wessex to her at last. She gave a startled little cry, leant over the balustrade, and the sheaf of flowers dropped from her arms, falling in a long cascade of leaves and blossoms, rose-coloured and sweet-scented, at his feet. "Ah, Your Grace frightened me!" she whispered, with just a touch of feminine coquetry. "I . . . I . . . didn't know you were here." "I swear you did not, sweet saint . . . but now . . . as I am here . . . come down quickly ere I perish with longing for a nearer sight of your dear eyes." "But my flowers," she said, with a sudden access of timidity, brought forth by the thrilling ardour of his voice. "I had picked them for Her Majesty's oratory." "Nay! let them all wither save one . . . which I will take from your hand. Come down. . . ." One of the roses had remained fixed in the stiff fold of her panier. She took it between her fingers and sighed. "Oh! I dare not," she said sadly. "Your Grace does not know,--cannot guess, what dire disgrace would befall me if I did." "Perish the thought of disgrace," rejoined Wessex gaily. "Marry! the saints in Paradise must come down from heaven sometimes, else the world would be consumed by its own wickedness. Come down," he added more earnestly, seized with a mad, ungovernable desire to clasp her to his heart, "come down, or I swear that I'll bring you down in my arms." "No . . . no . . . no!" she protested, alarmed at his vehemence. "I'll come down." With a quaintly mischievous gesture she flung the rose at him; it hit him in the face, then fell; he had perforce to stoop in order to pick it up. When he once more straightened his tall figure she was standing quite close to him. There she was, just as he had always thought of her, even as a boy when first he began to dream. She, the perfect woman whom one day he would meet, and on that day would love wholly, passionately, humbly, and proudly, his own and yet his queen; she the most perfect product of Nature, with just that tone of gold in her hair, just those eyes, so inscrutable, so full of colour, so infinite in their variety; not very tall, but graceful and slender, with her dainty head on a level with his shoulder, her fair young forehead on a level with his lips. Now that she was so near, he was as if turned to stone. The wild longing was still in him to clasp her in his arms, to hold her closely, tenderly to his heart, yet he would not have touched her for a kingdom. But as he looked at her he knew that she, herself, would come to him in all her purity, her innocence . . . soon . . . to-day perhaps . . . but certainly one day . . . and that she would come with every fibre in her entire being vibrating in responsive passion to him. She looked up at him shyly, tentatively. His very soul went out to her as he returned her gaze. A great and glorious exultation thrilled every fibre of her being. She knew that she had conquered, that the love which in her girlish heart she had kept for him had borne fruit a thousandfold. Her heart seemed to stop beating at the immensity of her happiness. But woman-like, she was more self-possessed than he was. "I must not stay," she said gravely and with only an imperceptible quiver in her voice. "I am in disgrace, you know . . . for that stroll on the river . . . with you . . . this afternoon." "Why? what happened?" he asked with a smile. She held up her little hand and counted on her fingers. "Number one, a frown and a colder shoulder from Her Majesty! Two, a lecture from Her Grace of Lincoln! Twenty minutes! Three, four, and five, pin-pricks from the ladies and a lonely supper in my room to-night." He loved her in this gayer mood which made her seem so young and childlike. "Could you not have contrived to let me know?" "Why? . . . What would you have done?" "Made it less lonely for you." "You are doing that now. I thought I should be alone the rest of the evening. Her Grace of Lincoln and the others are at prayers with Her Majesty. I was confined to that room up there. How is it Your Grace happened to be in this hall just when I came out?" "A moth is always to be found where the light happens to be," he replied gravely. "But how did you know I should be here?" "My eyes, since this afternoon, see you constantly where you are not--how could they fail to see you where you are?" "Then, as Your Grace has seen me . . ." she added with timid nervousness, seeing that he now stood between her and the steps, "will you allow me to go up again?" "No." "I entreat!" she pleaded. "Impossible." "Her Grace of Lincoln will be looking for me." "Then stay here with me until she does." "What to do?" she queried innocently. "To make me happy." "Happy?" she laughed merrily. "Ho! ho! ho! How can I, a humble waiting-maid, manage to make His Grace of Wessex happy?" "By letting me look at you." With quaint and artless coquetry she picked up the folds of her heavy brocaded paniers, right and left, with two delicate fingers, and executed a dainty pirouette in front of him. "There!" she said merrily, "'tis done. . . . And now?" "By letting me whisper to you . . ." he murmured. She drew back quickly, and said with mock severity-- "That which I must not hear." "Why not?" "Because Your Grace is not free," she rejoined archly. "Not free to whisper anything in any woman's ear, save in that of Lady Ursula Glynde." "Then you guessed what I would have whispered to you?" "Perhaps." "What was it?" She veiled the glory of her eyes with their fringe of dark lashes. "That you loved me . . ." she murmured, "for the moment. . . ." How irresistible she was, with just that soup on of coquetry to whet the desire of this fastidious man of the world, and with it all so free from artifice, so young and fresh and pure:--a madonna, yet made to tempt mankind. "Nay! if you would let me, sweet saint, I would whisper in your tiny ear that I worship you!" he said in all sincerity and truth, and with the ring of an ardent passion in every tone of his voice. "Worship me? . . ." she queried in mock astonishment, "and Your Grace does not even know who I am." "Faith! but I do. You are the most beautiful woman on this earth." "Oh! . . . but my name! . . ." "Nay! as to that I care not . . . You shall tell it me anon, if you like. . . . For the moment I love to think of you as I first beheld you in the garden this afternoon--a fairy or sprite . . . I know not which . . . an angel mayhap . . . in your robes of white, surrounded with flowers and dark bosquets of hazelnut and of yew, with golden tints of ruddy autumn around you, less glorious than your hair. Let me worship blindly . . . fettered . . . your slave." She sighed, a quaint little sigh, which had a tinge of melancholy in it. "For how long?" she murmured. "For my whole life," he replied earnestly. "Will you not try me?" "How?" "You love me, sweet saint?" "I . . ." she began shyly. "Let me look into your eyes. . . . I will find my answer." Her arms dropped by her side, she looked up and met his eyes, ardent, burning with passion, fixed longingly upon her. He came close to her, quite close, his presence thrilled her; she closed her eyes in order to shut out from her innermost soul everything from the outside world, save the exquisite feeling of her newly awakened love. "Now, see how perverse I am," he whispered passionately. "I do not want you to tell me anything just now . . . open your eyes, dear saint . . . for I but want to stand like this . . . and read in their blue depths . . . enjoying every fraction of a second of this heavenly moment. . . ." She tried to speak, but instinctively he stopped her. "No . . . no . . . do not speak. . . . And yet . . . 'tis from your sweet lips I'd have my final answer." He took her in his arms. She lay against him, unresisting, her sweet face turned up to his, soul meeting soul at last in the ecstasy of a first kiss. He held her to his heart. It seemed as if he could never let her go from him again. Everything was forgotten, the world had ceased to be. For him there was but one woman on this earth, and she was his own. CHAPTER XXIII CHECK TO THE QUEEN How long they stood thus, heart to heart, they themselves could never have said. The sound of many voices in the near distance roused them from their dream. Ursula started in alarm. "Holy Virgin!" she exclaimed under her breath, "if it should be the Queen!" But Wessex held her tightly, and she struggled in vain. "Nay! then let the whole Court see that I hold my future wife in my arms," he said proudly. But with an agitated little cry she contrived to escape him. He seemed much amused at her nervousness; what had she to fear? was she not his own, to protect even from the semblance of ill? But Ursula, now fully awakened to ordinary, everyday surroundings, was fearful lest her own innocent little deception should be too crudely, too suddenly unmasked. She had so earnestly looked forward to the moment when she would say to him that she in sooth was none other than Lady Ursula Glynde, the woman whom every conventionality had decreed that he should marry, and whom--because of these conventionalities--he had secretly but certainly disliked. Her woman's heart had already given her a clear insight into the character and the foibles of the man she loved. His passion for her now, sincere and great though it was, was partly dependent on that atmosphere of romance which his poetical temperament craved for, and which had surrounded the half-mysterious personality of exquisite, irresistible "Fanny." Instinctively she dreaded the rough hand of commonplace, that ugly, coarse destroyer of poetic idylls. A few hastily uttered words might shatter in an hour the mystic shrine wherein Wessex had enthroned her. She had meant to tell him soon, to-morrow perhaps, perhaps only after a few days, but she wished to find her own time for this, when he knew her inner soul better, and the delicate cobwebs of this great love-at-first-sight had fallen away from his eyes. She could not altogether have explained to herself why a sudden disclosure of her identity at this moment would have been peculiarly unpleasant to her. It was a weak, childish feeling no doubt. But such as it was, it was real, and strong, and genuine. Barely a minute had elapsed whilst these quick thoughts and fears went wildly coursing through her mind. There was no time to tell him everything now. The voices came from the next room, within the next few seconds probably the great door would be open to admit a group of people: the Duchess of Lincoln and the ladies mayhap, or the Queen on her way to chapel. And His Grace of Wessex looked terribly determined. "No! no! no!--not just this moment, sweet Grace," she entreated, "by your love! not _just_ this moment. . . . The Queen would be so angry . . . oh! not _just_ now!" She looked so genuinely disturbed, and so tenderly appealing, that he could not help but obey. "But you cannot send me away like this," he urged. "Another word, sweet saint. . . . Faith! I could not live without another kiss. . . ." "No, no, no, I entreat Your Grace . . . not to-night," she protested feebly. He thought, however, that he detected a sign of yielding in her voice, although she was already beginning to mount the steps ready for flight. "Just one tiny word," he whispered hurriedly: "when the Queen has passed through, linger up there for one brief minute only. I'll wait in there!" And he pointed to a small door close behind him, which led to an inner closet at right angles with the gallery. Before she had time to protest--nay! perhaps she had no wish to refuse--he had disappeared behind its heavy panels, quickly calling to his dog to follow him. But in that one moment's hesitation, those few brief and delicious words hastily exchanged, she had lost her opportunity for escape. The next instant the door at the further end of the room was thrown open, and the Queen entered followed by some of her ladies. She was accompanied by the Duchess of Lincoln, and His Eminence the Cardinal de Moreno was on her left. As chance or ill-luck would have it, the first sight which greeted Her Majesty's eyes was the figure of Lady Ursula, midway up the steps which led to the gallery, some mysterious imp of mischief having contrived that the light from the wax tapers should unaccountably and very vividly fall upon the white-clad form of the young girl. An exclamation of stern reproval from Her Grace of Lincoln brought Ursula to a standstill. Flight now was no longer possible; she could but trust in her guardian angel, or in any of those protective genii who have in their keeping the special care of lovers in distress, and who happened to be hovering nigh. It was not seemly to be half-way up a flight of stairs when Her Majesty was standing on the floor below. Ursula, with her cheeks aflame with vexation, slowly descended, whilst encountering as boldly as she could the artillery fire of half a dozen pairs of eyes fixed steadily upon her. Mary Tudor looked coldly severe, Her Grace of Lincoln horror-struck, His Eminence ironical, and the ladies vastly amused. "Ah, child!" said Her Majesty, in her iciest tone of voice, "all alone, and in this part of the Palace?" She looked the dainty young figure disdainfully up and down, then her eye caught the sheaf of roses lying in a fragrant tangle close to the foot of the stairs. There was a quick flash of anger in her face, then a frown. Ursula wondered how much she guessed or what she suspected. But the Queen, after that one quick wave of passionate wrath, made an obvious effort to control herself. She turned composedly to the Duchess of Lincoln. "Your Grace is aware," she said drily, "that I deem it most indecorous for my maids-of-honour to wander about the Palace alone." The wrinkled old face of the kindly Duchess expressed the most heartfelt sorrow. "I crave Your Majesty's humble pardon . . ." she stammered in an agony of misery at this public reproof. "I . . ." "Nay, Duchess, I know the difficulty of your task," rejoined Mary Tudor bitingly, "the other ladies are docile, and their behaviour is maidenly and chaste. 'Tis not always so with the Lady Ursula Glynde." Mary's voice had been so trenchant and hard that it seemed to Ursula's sensitive ears as if its metallic tones must have penetrated to every corner of the Palace. She gave a quick, terrified look towards the door, longing with all her might for the gift to see through its massive panels--to know what went on within that inner closet, where Wessex was waiting

hardly

How many times the word 'hardly' appears in the text?

. I . . ." "Yes?" queried the Duke. "That is the purport of my importunity, my lord," said the young man, springing to his feet and speaking once more in tones of noble candour. "I would have asked Your Grace that, since you do not know the Lady Ursula, since you have no wish to claim her hand, if some one else . . ." "If the Lady Ursula honoured some one else than my unworthy self. . . . Is that your meaning, my lord?" queried Wessex, as Don Miguel had made a slight pause in his impetuous speech. "If I . . ." "You, my lord?" "I would wish to know if I should be offending Your Grace?" "Offending me?" cried Wessex joyfully. "Nay, my lord, why were you so long in telling me this gladsome news? . . . Offending me? . . . you have succeeded in taking a load from my conscience, my dear Marquis. So you love the Lady Ursula Glynde? . . . Ye heavens! what a number of circumlocutions to arrive at this simple little fact! You love her . . . she is very beautiful . . . and she loves you. Where did you first see her, my lord?" "At East Molesey Fair. . . . Your Grace intervened . . . you must remember!" "Most inopportunely, meseems. I must indeed crave your pardon. And since then?" "The acquaintanceship, perhaps somewhat unpleasantly begun, has ripened into . . . friendship." "And thence into love! Nay, you have my heartiest congratulations, my lord. The Glyndes are famous for their virtue, and since the Lady Ursula is beautiful, why! your Court will indeed be graced by such a pattern of English womanhood." "Oh!" said the Spaniard, with a quick gesture of deprecation. "Nay! you must have no fear, my lord. Since you have honoured me by consulting my feelings in the matter, it shall be my pride and my delight to further your cause, and that of the Lady Ursula . . . if indeed she will deign to express her wishes to me. . . . I hereby give you a gentleman's word of honour that I consider the promise, which she made to her father in her childhood, in no way binding upon her now. . . . As for the future, I swear that I will obtain Her Majesty's consent to your immediate marriage." "Nay! I pray you, not so fast!" laughed Don Miguel lightly. "Neither the Lady Ursula nor I have need of Her Majesty's consent. . . ." "But methought----" "'Twas not I who spoke of marriage, remember!" "Then you have completely bewildered me, my lord," rejoined Wessex with a sudden frown. "I understood----" "That I am the proudest of men, certainly," quoth Don Miguel with a sarcastic curl of his sensual lip, "but 'twas Your Grace who spoke of the lady's virtue. I merely wished to know if I should be offending Your Grace if . . ." He laughed and shrugged his shoulders. The laugh grated unpleasantly on Wessex' ear, and the gesture savoured of impertinence. The Marquis' manner had suddenly undergone a change, which caused the Duke's every nerve to tingle. "If what?" he queried curtly. "The devil! sir, cannot you say what you do mean?" "Why should I," replied the Spaniard, "since your Grace has already guessed? You will own that I have acted _en galant homme_, by thinking of your wishes. You will not surely desire to champion that much-vaunted virtue of the Glyndes." "Then what you mean, sir, is that . . ." "I cannot speak more plainly, my lord, for that among gentlemen is quite impossible. But rumours fly about quickly at Court, and I feared that Your Grace might have caught one, ere I had the chance of assuring you that I recognize the priority of your claim. But now you tell me that you have no further interest in the lady, so I am reassured. . . . We foreigners, you know, take passing pleasures more lightly than you serious-minded English . . . and if the lady be unattached . . . and more than willing . . . why should we play the part of Joseph? . . . a ridiculous r le at best, eh, my lord? . . . and one, I think, which Your Grace would ever disdain to play. . . . As for me, I am quite reassured . . . Au revoir to Your Grace. . . ." And before Wessex had time to utter another word, Don Miguel, still laughing, went out of the room. The Duke felt a little bewildered. The conversation had gone through such a sudden transition, that at the time, he had hardly realized whether it touched him deeply or not. Owing to Ursula's girlish little ruse, he was totally unaware of her identity with the lady who had been the subject of this very distasteful discussion. To him Lady Ursula Glynde was both unknown and uninteresting. His meeting with beautiful, exquisite "Fanny" had driven all thoughts of other women from his mind. But with all his volatile disposition, where women were concerned, the Duke of Wessex was nevertheless imbued with a strong and romantic feeling of chivalry towards the entire sex, and Don Miguel's disdainful allusions to the lady who might have been Duchess of Wessex had left his finger-tips itching with the desire to throw his glove in the impudent rascal's face. Harry Plantagenet, who throughout the interview had openly expressed his disapproval of his master's interlocutor, gave an impatient little whine. He longed for the privacy of his own apartments, the warmth of the rugs laid out specially for him. "Harry, old friend!" said Wessex thoughtfully, "what the devil, think you, that young reprobate meant?" He took the dog's beautiful head between his hands and looked straight into the honest, faithful eyes of his dear and constant companion. "Marry!" he continued more lightly, "you may well look doubtful, you wise philosopher, for you know the Glyndes as well as I do. You remember old Lady Annabel, whose very look would stop your tail from wagging, and Charles, stodgy, silent, serious Charles, who never drank, never laughed, had probably never seen a woman's ankle in his life. And then the Lady Ursula . . . a Glynde . . . do you mind me, old Harry? . . . therefore as ugly, as a combination of virtue and Scotch descent can make any woman. . . . Yet, if I caught the rascal's meaning, neither Scotch descent nor ill looks have proved a shield for the lady's virtue! . . . Well, 'tis no business of ours, is it, old Harry? Let us live and let live. . . . Perhaps Lady Ursula is not ugly . . . perchance that unpleasant-looking Spaniard doth truly love her . . . and who are we, Harry, you and I, that we should prove censorious? Let us to our apartments, friend, and meditate on woman's frailty and on our own . . . especially on our own . . . we are mere male creatures, and women are so adorable! even when they bristle with virtues like a hedgehog . . . but like him too, are cushioned beneath those bristles with a hundred charming, fascinating sins. . . . Come along, friend, and let us meditate why sin . . . sin of a certain type, remember, should be so enchantingly tempting." Harry Plantagenet was a philosopher. He had seen his master in this kind of mood before. He wagged his tail as if to express his approval of the broad principles thus submitted for his consideration, but at the same time he showed a distinct desire that his master should talk less and come more speedily to bed. CHAPTER XXII THE WHITE QUEEN Wessex after a while was ready enough to dismiss the unpleasant subject. Perhaps he had no right to be censorious or to resent the Spaniard's somewhat unusual attitude. In England, undoubtedly, a gentleman would never--except under very special circumstances--allude to any passing liaison he might have with a lady of his own rank. That was a strict code of honour which had existed from time immemorial, even in the days of King Harry's youth, when the virtue of high-born women had been but little thought of. Abroad, perhaps, it was different. Spaniards, just then, were noted for the light way in which they regarded the favours of the fair sex, and Don Miguel's code of honour had evidently prompted him to consult Wessex' wishes in the matter of his own intrigue. Loyalty to their own sex is perhaps, on the whole, more general in men than is their chivalry towards women, and perhaps the Marquis' feelings would have revolted at the thought of seeing a lady of such light virtue in the position of Duchess of Wessex. Be that as it may, His Grace had no wish to probe the matter further; with a shrug of the shoulders he dismissed it from his thoughts, whilst registering a vow to chastise the young blackguard if his impertinence showed signs of recurrence. He was on the point of yielding to his faithful Harry's canine appeals by allowing him to lead the way towards his own distant lodgings, when his ear suddenly caught the sound of a silk dress rustling somewhere, not far from where he stood. At the end of the room closest to him, a few steps led up to a gallery, which ran along the wall, finally abutting at a door, which gave access to the Duchess of Lincoln's and other ladies' lodgings. The rustle of a silk skirt seemed to come from there. Perhaps Wessex would not have taken notice of it, except that his every thought was filled with a strange excitement since the rencontre of the afternoon. At times now he felt as if his very senses ached with the longing to see once more that entrancing, girlish figure, dressed all in white and crowned with the halo of her exquisite golden hair, to hear once more the sound of that fresh young voice, that merry, childlike laugh, through which there vibrated the thrill of a newly awakened passion. Since he had met her he was conscious of a wonderful change in himself. He did not even analyse his feelings: he knew that he loved her now: that, in a sense, he had always loved her, for his poetic and romantic temperament had ever been in search of that perfect type of womanhood, which she seemed so completely to embody in herself. He had only spoken to her for about half an hour, then had sat opposite to her in a boat among the reeds, in the cool of the afternoon, with the lazy river gently rocking the light skiff, and the water birds for sole witnesses of his happiness. They had hardly exchanged a word then, for he had enjoyed the delight--dear to every man who loves--of watching the blushes come and go upon her cheek in response to his ardent gaze. What did words matter? the music in their souls supplied all that they wished to say. And he--who had been deemed so fickle, who had made of love a pastime, taking what joys women would give him with a grateful yet transient smile, His Grace of Wessex, in fact, who had loved so often yet so inconstantly--knew now that the stern little god, who will not for long brook defiance of his laws, had wounded him for life or death at last. And even now, when he heard the rustle of a kirtle, he paused instinctively, vaguely, madly hoping that chance, and the great wild longing which was in him, had indeed drawn her footsteps hither. The door above, at the end of the gallery, was tentatively opened. Wessex could see nothing, for those distant corners of the room were in complete darkness, but he heard a voice, low and sweet, humming the little ditty which she, his queen, had sung this afternoon. "Disdaine me not that am your own, Refuse me not that am so true, Mistrust me not till all be knowen, Forsake me not now for no new." She walked slowly along the gallery, and paused not far from the top of the short flight of oak steps. She seemed to be hesitating a little, as if afraid to venture farther into the large, dimly lighted hall. The flicker of the tall wax tapers now caught her dainty figure, casting golden lights and deep, ruddy shadows on her fair young face and on the whiteness of her gown. In her arms she held an enormous sheaf of pale pink monthly roses, the spoils of the garden, lavish in its autumnal glory. Never had Wessex--fastidious, fickle, insouciant Wessex--seen anything more radiant, more exquisite, more poetic than this apparition which came towards him like the realization of all his maddest dreams. For one moment more he lingered, his ardent, passionate soul was loath to give up these heaven-born seconds spent in looking at her. Her eyes shone darkly in the gleam of the candle light and had wondrous reflections in them, which looked ruddy and hot; her delicately chiselled features were suffused with a strange glow, which seemed to come from within; and her lips were slightly parted, moist and red like some ripe summer fruit. From her whole person there came an exhalation of youth and womanhood, of purity and soul-stirring passion. "Come down, sweet singer," said Wessex to her at last. She gave a startled little cry, leant over the balustrade, and the sheaf of flowers dropped from her arms, falling in a long cascade of leaves and blossoms, rose-coloured and sweet-scented, at his feet. "Ah, Your Grace frightened me!" she whispered, with just a touch of feminine coquetry. "I . . . I . . . didn't know you were here." "I swear you did not, sweet saint . . . but now . . . as I am here . . . come down quickly ere I perish with longing for a nearer sight of your dear eyes." "But my flowers," she said, with a sudden access of timidity, brought forth by the thrilling ardour of his voice. "I had picked them for Her Majesty's oratory." "Nay! let them all wither save one . . . which I will take from your hand. Come down. . . ." One of the roses had remained fixed in the stiff fold of her panier. She took it between her fingers and sighed. "Oh! I dare not," she said sadly. "Your Grace does not know,--cannot guess, what dire disgrace would befall me if I did." "Perish the thought of disgrace," rejoined Wessex gaily. "Marry! the saints in Paradise must come down from heaven sometimes, else the world would be consumed by its own wickedness. Come down," he added more earnestly, seized with a mad, ungovernable desire to clasp her to his heart, "come down, or I swear that I'll bring you down in my arms." "No . . . no . . . no!" she protested, alarmed at his vehemence. "I'll come down." With a quaintly mischievous gesture she flung the rose at him; it hit him in the face, then fell; he had perforce to stoop in order to pick it up. When he once more straightened his tall figure she was standing quite close to him. There she was, just as he had always thought of her, even as a boy when first he began to dream. She, the perfect woman whom one day he would meet, and on that day would love wholly, passionately, humbly, and proudly, his own and yet his queen; she the most perfect product of Nature, with just that tone of gold in her hair, just those eyes, so inscrutable, so full of colour, so infinite in their variety; not very tall, but graceful and slender, with her dainty head on a level with his shoulder, her fair young forehead on a level with his lips. Now that she was so near, he was as if turned to stone. The wild longing was still in him to clasp her in his arms, to hold her closely, tenderly to his heart, yet he would not have touched her for a kingdom. But as he looked at her he knew that she, herself, would come to him in all her purity, her innocence . . . soon . . . to-day perhaps . . . but certainly one day . . . and that she would come with every fibre in her entire being vibrating in responsive passion to him. She looked up at him shyly, tentatively. His very soul went out to her as he returned her gaze. A great and glorious exultation thrilled every fibre of her being. She knew that she had conquered, that the love which in her girlish heart she had kept for him had borne fruit a thousandfold. Her heart seemed to stop beating at the immensity of her happiness. But woman-like, she was more self-possessed than he was. "I must not stay," she said gravely and with only an imperceptible quiver in her voice. "I am in disgrace, you know . . . for that stroll on the river . . . with you . . . this afternoon." "Why? what happened?" he asked with a smile. She held up her little hand and counted on her fingers. "Number one, a frown and a colder shoulder from Her Majesty! Two, a lecture from Her Grace of Lincoln! Twenty minutes! Three, four, and five, pin-pricks from the ladies and a lonely supper in my room to-night." He loved her in this gayer mood which made her seem so young and childlike. "Could you not have contrived to let me know?" "Why? . . . What would you have done?" "Made it less lonely for you." "You are doing that now. I thought I should be alone the rest of the evening. Her Grace of Lincoln and the others are at prayers with Her Majesty. I was confined to that room up there. How is it Your Grace happened to be in this hall just when I came out?" "A moth is always to be found where the light happens to be," he replied gravely. "But how did you know I should be here?" "My eyes, since this afternoon, see you constantly where you are not--how could they fail to see you where you are?" "Then, as Your Grace has seen me . . ." she added with timid nervousness, seeing that he now stood between her and the steps, "will you allow me to go up again?" "No." "I entreat!" she pleaded. "Impossible." "Her Grace of Lincoln will be looking for me." "Then stay here with me until she does." "What to do?" she queried innocently. "To make me happy." "Happy?" she laughed merrily. "Ho! ho! ho! How can I, a humble waiting-maid, manage to make His Grace of Wessex happy?" "By letting me look at you." With quaint and artless coquetry she picked up the folds of her heavy brocaded paniers, right and left, with two delicate fingers, and executed a dainty pirouette in front of him. "There!" she said merrily, "'tis done. . . . And now?" "By letting me whisper to you . . ." he murmured. She drew back quickly, and said with mock severity-- "That which I must not hear." "Why not?" "Because Your Grace is not free," she rejoined archly. "Not free to whisper anything in any woman's ear, save in that of Lady Ursula Glynde." "Then you guessed what I would have whispered to you?" "Perhaps." "What was it?" She veiled the glory of her eyes with their fringe of dark lashes. "That you loved me . . ." she murmured, "for the moment. . . ." How irresistible she was, with just that soup on of coquetry to whet the desire of this fastidious man of the world, and with it all so free from artifice, so young and fresh and pure:--a madonna, yet made to tempt mankind. "Nay! if you would let me, sweet saint, I would whisper in your tiny ear that I worship you!" he said in all sincerity and truth, and with the ring of an ardent passion in every tone of his voice. "Worship me? . . ." she queried in mock astonishment, "and Your Grace does not even know who I am." "Faith! but I do. You are the most beautiful woman on this earth." "Oh! . . . but my name! . . ." "Nay! as to that I care not . . . You shall tell it me anon, if you like. . . . For the moment I love to think of you as I first beheld you in the garden this afternoon--a fairy or sprite . . . I know not which . . . an angel mayhap . . . in your robes of white, surrounded with flowers and dark bosquets of hazelnut and of yew, with golden tints of ruddy autumn around you, less glorious than your hair. Let me worship blindly . . . fettered . . . your slave." She sighed, a quaint little sigh, which had a tinge of melancholy in it. "For how long?" she murmured. "For my whole life," he replied earnestly. "Will you not try me?" "How?" "You love me, sweet saint?" "I . . ." she began shyly. "Let me look into your eyes. . . . I will find my answer." Her arms dropped by her side, she looked up and met his eyes, ardent, burning with passion, fixed longingly upon her. He came close to her, quite close, his presence thrilled her; she closed her eyes in order to shut out from her innermost soul everything from the outside world, save the exquisite feeling of her newly awakened love. "Now, see how perverse I am," he whispered passionately. "I do not want you to tell me anything just now . . . open your eyes, dear saint . . . for I but want to stand like this . . . and read in their blue depths . . . enjoying every fraction of a second of this heavenly moment. . . ." She tried to speak, but instinctively he stopped her. "No . . . no . . . do not speak. . . . And yet . . . 'tis from your sweet lips I'd have my final answer." He took her in his arms. She lay against him, unresisting, her sweet face turned up to his, soul meeting soul at last in the ecstasy of a first kiss. He held her to his heart. It seemed as if he could never let her go from him again. Everything was forgotten, the world had ceased to be. For him there was but one woman on this earth, and she was his own. CHAPTER XXIII CHECK TO THE QUEEN How long they stood thus, heart to heart, they themselves could never have said. The sound of many voices in the near distance roused them from their dream. Ursula started in alarm. "Holy Virgin!" she exclaimed under her breath, "if it should be the Queen!" But Wessex held her tightly, and she struggled in vain. "Nay! then let the whole Court see that I hold my future wife in my arms," he said proudly. But with an agitated little cry she contrived to escape him. He seemed much amused at her nervousness; what had she to fear? was she not his own, to protect even from the semblance of ill? But Ursula, now fully awakened to ordinary, everyday surroundings, was fearful lest her own innocent little deception should be too crudely, too suddenly unmasked. She had so earnestly looked forward to the moment when she would say to him that she in sooth was none other than Lady Ursula Glynde, the woman whom every conventionality had decreed that he should marry, and whom--because of these conventionalities--he had secretly but certainly disliked. Her woman's heart had already given her a clear insight into the character and the foibles of the man she loved. His passion for her now, sincere and great though it was, was partly dependent on that atmosphere of romance which his poetical temperament craved for, and which had surrounded the half-mysterious personality of exquisite, irresistible "Fanny." Instinctively she dreaded the rough hand of commonplace, that ugly, coarse destroyer of poetic idylls. A few hastily uttered words might shatter in an hour the mystic shrine wherein Wessex had enthroned her. She had meant to tell him soon, to-morrow perhaps, perhaps only after a few days, but she wished to find her own time for this, when he knew her inner soul better, and the delicate cobwebs of this great love-at-first-sight had fallen away from his eyes. She could not altogether have explained to herself why a sudden disclosure of her identity at this moment would have been peculiarly unpleasant to her. It was a weak, childish feeling no doubt. But such as it was, it was real, and strong, and genuine. Barely a minute had elapsed whilst these quick thoughts and fears went wildly coursing through her mind. There was no time to tell him everything now. The voices came from the next room, within the next few seconds probably the great door would be open to admit a group of people: the Duchess of Lincoln and the ladies mayhap, or the Queen on her way to chapel. And His Grace of Wessex looked terribly determined. "No! no! no!--not just this moment, sweet Grace," she entreated, "by your love! not _just_ this moment. . . . The Queen would be so angry . . . oh! not _just_ now!" She looked so genuinely disturbed, and so tenderly appealing, that he could not help but obey. "But you cannot send me away like this," he urged. "Another word, sweet saint. . . . Faith! I could not live without another kiss. . . ." "No, no, no, I entreat Your Grace . . . not to-night," she protested feebly. He thought, however, that he detected a sign of yielding in her voice, although she was already beginning to mount the steps ready for flight. "Just one tiny word," he whispered hurriedly: "when the Queen has passed through, linger up there for one brief minute only. I'll wait in there!" And he pointed to a small door close behind him, which led to an inner closet at right angles with the gallery. Before she had time to protest--nay! perhaps she had no wish to refuse--he had disappeared behind its heavy panels, quickly calling to his dog to follow him. But in that one moment's hesitation, those few brief and delicious words hastily exchanged, she had lost her opportunity for escape. The next instant the door at the further end of the room was thrown open, and the Queen entered followed by some of her ladies. She was accompanied by the Duchess of Lincoln, and His Eminence the Cardinal de Moreno was on her left. As chance or ill-luck would have it, the first sight which greeted Her Majesty's eyes was the figure of Lady Ursula, midway up the steps which led to the gallery, some mysterious imp of mischief having contrived that the light from the wax tapers should unaccountably and very vividly fall upon the white-clad form of the young girl. An exclamation of stern reproval from Her Grace of Lincoln brought Ursula to a standstill. Flight now was no longer possible; she could but trust in her guardian angel, or in any of those protective genii who have in their keeping the special care of lovers in distress, and who happened to be hovering nigh. It was not seemly to be half-way up a flight of stairs when Her Majesty was standing on the floor below. Ursula, with her cheeks aflame with vexation, slowly descended, whilst encountering as boldly as she could the artillery fire of half a dozen pairs of eyes fixed steadily upon her. Mary Tudor looked coldly severe, Her Grace of Lincoln horror-struck, His Eminence ironical, and the ladies vastly amused. "Ah, child!" said Her Majesty, in her iciest tone of voice, "all alone, and in this part of the Palace?" She looked the dainty young figure disdainfully up and down, then her eye caught the sheaf of roses lying in a fragrant tangle close to the foot of the stairs. There was a quick flash of anger in her face, then a frown. Ursula wondered how much she guessed or what she suspected. But the Queen, after that one quick wave of passionate wrath, made an obvious effort to control herself. She turned composedly to the Duchess of Lincoln. "Your Grace is aware," she said drily, "that I deem it most indecorous for my maids-of-honour to wander about the Palace alone." The wrinkled old face of the kindly Duchess expressed the most heartfelt sorrow. "I crave Your Majesty's humble pardon . . ." she stammered in an agony of misery at this public reproof. "I . . ." "Nay, Duchess, I know the difficulty of your task," rejoined Mary Tudor bitingly, "the other ladies are docile, and their behaviour is maidenly and chaste. 'Tis not always so with the Lady Ursula Glynde." Mary's voice had been so trenchant and hard that it seemed to Ursula's sensitive ears as if its metallic tones must have penetrated to every corner of the Palace. She gave a quick, terrified look towards the door, longing with all her might for the gift to see through its massive panels--to know what went on within that inner closet, where Wessex was waiting

silk

How many times the word 'silk' appears in the text?

. I . . ." "Yes?" queried the Duke. "That is the purport of my importunity, my lord," said the young man, springing to his feet and speaking once more in tones of noble candour. "I would have asked Your Grace that, since you do not know the Lady Ursula, since you have no wish to claim her hand, if some one else . . ." "If the Lady Ursula honoured some one else than my unworthy self. . . . Is that your meaning, my lord?" queried Wessex, as Don Miguel had made a slight pause in his impetuous speech. "If I . . ." "You, my lord?" "I would wish to know if I should be offending Your Grace?" "Offending me?" cried Wessex joyfully. "Nay, my lord, why were you so long in telling me this gladsome news? . . . Offending me? . . . you have succeeded in taking a load from my conscience, my dear Marquis. So you love the Lady Ursula Glynde? . . . Ye heavens! what a number of circumlocutions to arrive at this simple little fact! You love her . . . she is very beautiful . . . and she loves you. Where did you first see her, my lord?" "At East Molesey Fair. . . . Your Grace intervened . . . you must remember!" "Most inopportunely, meseems. I must indeed crave your pardon. And since then?" "The acquaintanceship, perhaps somewhat unpleasantly begun, has ripened into . . . friendship." "And thence into love! Nay, you have my heartiest congratulations, my lord. The Glyndes are famous for their virtue, and since the Lady Ursula is beautiful, why! your Court will indeed be graced by such a pattern of English womanhood." "Oh!" said the Spaniard, with a quick gesture of deprecation. "Nay! you must have no fear, my lord. Since you have honoured me by consulting my feelings in the matter, it shall be my pride and my delight to further your cause, and that of the Lady Ursula . . . if indeed she will deign to express her wishes to me. . . . I hereby give you a gentleman's word of honour that I consider the promise, which she made to her father in her childhood, in no way binding upon her now. . . . As for the future, I swear that I will obtain Her Majesty's consent to your immediate marriage." "Nay! I pray you, not so fast!" laughed Don Miguel lightly. "Neither the Lady Ursula nor I have need of Her Majesty's consent. . . ." "But methought----" "'Twas not I who spoke of marriage, remember!" "Then you have completely bewildered me, my lord," rejoined Wessex with a sudden frown. "I understood----" "That I am the proudest of men, certainly," quoth Don Miguel with a sarcastic curl of his sensual lip, "but 'twas Your Grace who spoke of the lady's virtue. I merely wished to know if I should be offending Your Grace if . . ." He laughed and shrugged his shoulders. The laugh grated unpleasantly on Wessex' ear, and the gesture savoured of impertinence. The Marquis' manner had suddenly undergone a change, which caused the Duke's every nerve to tingle. "If what?" he queried curtly. "The devil! sir, cannot you say what you do mean?" "Why should I," replied the Spaniard, "since your Grace has already guessed? You will own that I have acted _en galant homme_, by thinking of your wishes. You will not surely desire to champion that much-vaunted virtue of the Glyndes." "Then what you mean, sir, is that . . ." "I cannot speak more plainly, my lord, for that among gentlemen is quite impossible. But rumours fly about quickly at Court, and I feared that Your Grace might have caught one, ere I had the chance of assuring you that I recognize the priority of your claim. But now you tell me that you have no further interest in the lady, so I am reassured. . . . We foreigners, you know, take passing pleasures more lightly than you serious-minded English . . . and if the lady be unattached . . . and more than willing . . . why should we play the part of Joseph? . . . a ridiculous r le at best, eh, my lord? . . . and one, I think, which Your Grace would ever disdain to play. . . . As for me, I am quite reassured . . . Au revoir to Your Grace. . . ." And before Wessex had time to utter another word, Don Miguel, still laughing, went out of the room. The Duke felt a little bewildered. The conversation had gone through such a sudden transition, that at the time, he had hardly realized whether it touched him deeply or not. Owing to Ursula's girlish little ruse, he was totally unaware of her identity with the lady who had been the subject of this very distasteful discussion. To him Lady Ursula Glynde was both unknown and uninteresting. His meeting with beautiful, exquisite "Fanny" had driven all thoughts of other women from his mind. But with all his volatile disposition, where women were concerned, the Duke of Wessex was nevertheless imbued with a strong and romantic feeling of chivalry towards the entire sex, and Don Miguel's disdainful allusions to the lady who might have been Duchess of Wessex had left his finger-tips itching with the desire to throw his glove in the impudent rascal's face. Harry Plantagenet, who throughout the interview had openly expressed his disapproval of his master's interlocutor, gave an impatient little whine. He longed for the privacy of his own apartments, the warmth of the rugs laid out specially for him. "Harry, old friend!" said Wessex thoughtfully, "what the devil, think you, that young reprobate meant?" He took the dog's beautiful head between his hands and looked straight into the honest, faithful eyes of his dear and constant companion. "Marry!" he continued more lightly, "you may well look doubtful, you wise philosopher, for you know the Glyndes as well as I do. You remember old Lady Annabel, whose very look would stop your tail from wagging, and Charles, stodgy, silent, serious Charles, who never drank, never laughed, had probably never seen a woman's ankle in his life. And then the Lady Ursula . . . a Glynde . . . do you mind me, old Harry? . . . therefore as ugly, as a combination of virtue and Scotch descent can make any woman. . . . Yet, if I caught the rascal's meaning, neither Scotch descent nor ill looks have proved a shield for the lady's virtue! . . . Well, 'tis no business of ours, is it, old Harry? Let us live and let live. . . . Perhaps Lady Ursula is not ugly . . . perchance that unpleasant-looking Spaniard doth truly love her . . . and who are we, Harry, you and I, that we should prove censorious? Let us to our apartments, friend, and meditate on woman's frailty and on our own . . . especially on our own . . . we are mere male creatures, and women are so adorable! even when they bristle with virtues like a hedgehog . . . but like him too, are cushioned beneath those bristles with a hundred charming, fascinating sins. . . . Come along, friend, and let us meditate why sin . . . sin of a certain type, remember, should be so enchantingly tempting." Harry Plantagenet was a philosopher. He had seen his master in this kind of mood before. He wagged his tail as if to express his approval of the broad principles thus submitted for his consideration, but at the same time he showed a distinct desire that his master should talk less and come more speedily to bed. CHAPTER XXII THE WHITE QUEEN Wessex after a while was ready enough to dismiss the unpleasant subject. Perhaps he had no right to be censorious or to resent the Spaniard's somewhat unusual attitude. In England, undoubtedly, a gentleman would never--except under very special circumstances--allude to any passing liaison he might have with a lady of his own rank. That was a strict code of honour which had existed from time immemorial, even in the days of King Harry's youth, when the virtue of high-born women had been but little thought of. Abroad, perhaps, it was different. Spaniards, just then, were noted for the light way in which they regarded the favours of the fair sex, and Don Miguel's code of honour had evidently prompted him to consult Wessex' wishes in the matter of his own intrigue. Loyalty to their own sex is perhaps, on the whole, more general in men than is their chivalry towards women, and perhaps the Marquis' feelings would have revolted at the thought of seeing a lady of such light virtue in the position of Duchess of Wessex. Be that as it may, His Grace had no wish to probe the matter further; with a shrug of the shoulders he dismissed it from his thoughts, whilst registering a vow to chastise the young blackguard if his impertinence showed signs of recurrence. He was on the point of yielding to his faithful Harry's canine appeals by allowing him to lead the way towards his own distant lodgings, when his ear suddenly caught the sound of a silk dress rustling somewhere, not far from where he stood. At the end of the room closest to him, a few steps led up to a gallery, which ran along the wall, finally abutting at a door, which gave access to the Duchess of Lincoln's and other ladies' lodgings. The rustle of a silk skirt seemed to come from there. Perhaps Wessex would not have taken notice of it, except that his every thought was filled with a strange excitement since the rencontre of the afternoon. At times now he felt as if his very senses ached with the longing to see once more that entrancing, girlish figure, dressed all in white and crowned with the halo of her exquisite golden hair, to hear once more the sound of that fresh young voice, that merry, childlike laugh, through which there vibrated the thrill of a newly awakened passion. Since he had met her he was conscious of a wonderful change in himself. He did not even analyse his feelings: he knew that he loved her now: that, in a sense, he had always loved her, for his poetic and romantic temperament had ever been in search of that perfect type of womanhood, which she seemed so completely to embody in herself. He had only spoken to her for about half an hour, then had sat opposite to her in a boat among the reeds, in the cool of the afternoon, with the lazy river gently rocking the light skiff, and the water birds for sole witnesses of his happiness. They had hardly exchanged a word then, for he had enjoyed the delight--dear to every man who loves--of watching the blushes come and go upon her cheek in response to his ardent gaze. What did words matter? the music in their souls supplied all that they wished to say. And he--who had been deemed so fickle, who had made of love a pastime, taking what joys women would give him with a grateful yet transient smile, His Grace of Wessex, in fact, who had loved so often yet so inconstantly--knew now that the stern little god, who will not for long brook defiance of his laws, had wounded him for life or death at last. And even now, when he heard the rustle of a kirtle, he paused instinctively, vaguely, madly hoping that chance, and the great wild longing which was in him, had indeed drawn her footsteps hither. The door above, at the end of the gallery, was tentatively opened. Wessex could see nothing, for those distant corners of the room were in complete darkness, but he heard a voice, low and sweet, humming the little ditty which she, his queen, had sung this afternoon. "Disdaine me not that am your own, Refuse me not that am so true, Mistrust me not till all be knowen, Forsake me not now for no new." She walked slowly along the gallery, and paused not far from the top of the short flight of oak steps. She seemed to be hesitating a little, as if afraid to venture farther into the large, dimly lighted hall. The flicker of the tall wax tapers now caught her dainty figure, casting golden lights and deep, ruddy shadows on her fair young face and on the whiteness of her gown. In her arms she held an enormous sheaf of pale pink monthly roses, the spoils of the garden, lavish in its autumnal glory. Never had Wessex--fastidious, fickle, insouciant Wessex--seen anything more radiant, more exquisite, more poetic than this apparition which came towards him like the realization of all his maddest dreams. For one moment more he lingered, his ardent, passionate soul was loath to give up these heaven-born seconds spent in looking at her. Her eyes shone darkly in the gleam of the candle light and had wondrous reflections in them, which looked ruddy and hot; her delicately chiselled features were suffused with a strange glow, which seemed to come from within; and her lips were slightly parted, moist and red like some ripe summer fruit. From her whole person there came an exhalation of youth and womanhood, of purity and soul-stirring passion. "Come down, sweet singer," said Wessex to her at last. She gave a startled little cry, leant over the balustrade, and the sheaf of flowers dropped from her arms, falling in a long cascade of leaves and blossoms, rose-coloured and sweet-scented, at his feet. "Ah, Your Grace frightened me!" she whispered, with just a touch of feminine coquetry. "I . . . I . . . didn't know you were here." "I swear you did not, sweet saint . . . but now . . . as I am here . . . come down quickly ere I perish with longing for a nearer sight of your dear eyes." "But my flowers," she said, with a sudden access of timidity, brought forth by the thrilling ardour of his voice. "I had picked them for Her Majesty's oratory." "Nay! let them all wither save one . . . which I will take from your hand. Come down. . . ." One of the roses had remained fixed in the stiff fold of her panier. She took it between her fingers and sighed. "Oh! I dare not," she said sadly. "Your Grace does not know,--cannot guess, what dire disgrace would befall me if I did." "Perish the thought of disgrace," rejoined Wessex gaily. "Marry! the saints in Paradise must come down from heaven sometimes, else the world would be consumed by its own wickedness. Come down," he added more earnestly, seized with a mad, ungovernable desire to clasp her to his heart, "come down, or I swear that I'll bring you down in my arms." "No . . . no . . . no!" she protested, alarmed at his vehemence. "I'll come down." With a quaintly mischievous gesture she flung the rose at him; it hit him in the face, then fell; he had perforce to stoop in order to pick it up. When he once more straightened his tall figure she was standing quite close to him. There she was, just as he had always thought of her, even as a boy when first he began to dream. She, the perfect woman whom one day he would meet, and on that day would love wholly, passionately, humbly, and proudly, his own and yet his queen; she the most perfect product of Nature, with just that tone of gold in her hair, just those eyes, so inscrutable, so full of colour, so infinite in their variety; not very tall, but graceful and slender, with her dainty head on a level with his shoulder, her fair young forehead on a level with his lips. Now that she was so near, he was as if turned to stone. The wild longing was still in him to clasp her in his arms, to hold her closely, tenderly to his heart, yet he would not have touched her for a kingdom. But as he looked at her he knew that she, herself, would come to him in all her purity, her innocence . . . soon . . . to-day perhaps . . . but certainly one day . . . and that she would come with every fibre in her entire being vibrating in responsive passion to him. She looked up at him shyly, tentatively. His very soul went out to her as he returned her gaze. A great and glorious exultation thrilled every fibre of her being. She knew that she had conquered, that the love which in her girlish heart she had kept for him had borne fruit a thousandfold. Her heart seemed to stop beating at the immensity of her happiness. But woman-like, she was more self-possessed than he was. "I must not stay," she said gravely and with only an imperceptible quiver in her voice. "I am in disgrace, you know . . . for that stroll on the river . . . with you . . . this afternoon." "Why? what happened?" he asked with a smile. She held up her little hand and counted on her fingers. "Number one, a frown and a colder shoulder from Her Majesty! Two, a lecture from Her Grace of Lincoln! Twenty minutes! Three, four, and five, pin-pricks from the ladies and a lonely supper in my room to-night." He loved her in this gayer mood which made her seem so young and childlike. "Could you not have contrived to let me know?" "Why? . . . What would you have done?" "Made it less lonely for you." "You are doing that now. I thought I should be alone the rest of the evening. Her Grace of Lincoln and the others are at prayers with Her Majesty. I was confined to that room up there. How is it Your Grace happened to be in this hall just when I came out?" "A moth is always to be found where the light happens to be," he replied gravely. "But how did you know I should be here?" "My eyes, since this afternoon, see you constantly where you are not--how could they fail to see you where you are?" "Then, as Your Grace has seen me . . ." she added with timid nervousness, seeing that he now stood between her and the steps, "will you allow me to go up again?" "No." "I entreat!" she pleaded. "Impossible." "Her Grace of Lincoln will be looking for me." "Then stay here with me until she does." "What to do?" she queried innocently. "To make me happy." "Happy?" she laughed merrily. "Ho! ho! ho! How can I, a humble waiting-maid, manage to make His Grace of Wessex happy?" "By letting me look at you." With quaint and artless coquetry she picked up the folds of her heavy brocaded paniers, right and left, with two delicate fingers, and executed a dainty pirouette in front of him. "There!" she said merrily, "'tis done. . . . And now?" "By letting me whisper to you . . ." he murmured. She drew back quickly, and said with mock severity-- "That which I must not hear." "Why not?" "Because Your Grace is not free," she rejoined archly. "Not free to whisper anything in any woman's ear, save in that of Lady Ursula Glynde." "Then you guessed what I would have whispered to you?" "Perhaps." "What was it?" She veiled the glory of her eyes with their fringe of dark lashes. "That you loved me . . ." she murmured, "for the moment. . . ." How irresistible she was, with just that soup on of coquetry to whet the desire of this fastidious man of the world, and with it all so free from artifice, so young and fresh and pure:--a madonna, yet made to tempt mankind. "Nay! if you would let me, sweet saint, I would whisper in your tiny ear that I worship you!" he said in all sincerity and truth, and with the ring of an ardent passion in every tone of his voice. "Worship me? . . ." she queried in mock astonishment, "and Your Grace does not even know who I am." "Faith! but I do. You are the most beautiful woman on this earth." "Oh! . . . but my name! . . ." "Nay! as to that I care not . . . You shall tell it me anon, if you like. . . . For the moment I love to think of you as I first beheld you in the garden this afternoon--a fairy or sprite . . . I know not which . . . an angel mayhap . . . in your robes of white, surrounded with flowers and dark bosquets of hazelnut and of yew, with golden tints of ruddy autumn around you, less glorious than your hair. Let me worship blindly . . . fettered . . . your slave." She sighed, a quaint little sigh, which had a tinge of melancholy in it. "For how long?" she murmured. "For my whole life," he replied earnestly. "Will you not try me?" "How?" "You love me, sweet saint?" "I . . ." she began shyly. "Let me look into your eyes. . . . I will find my answer." Her arms dropped by her side, she looked up and met his eyes, ardent, burning with passion, fixed longingly upon her. He came close to her, quite close, his presence thrilled her; she closed her eyes in order to shut out from her innermost soul everything from the outside world, save the exquisite feeling of her newly awakened love. "Now, see how perverse I am," he whispered passionately. "I do not want you to tell me anything just now . . . open your eyes, dear saint . . . for I but want to stand like this . . . and read in their blue depths . . . enjoying every fraction of a second of this heavenly moment. . . ." She tried to speak, but instinctively he stopped her. "No . . . no . . . do not speak. . . . And yet . . . 'tis from your sweet lips I'd have my final answer." He took her in his arms. She lay against him, unresisting, her sweet face turned up to his, soul meeting soul at last in the ecstasy of a first kiss. He held her to his heart. It seemed as if he could never let her go from him again. Everything was forgotten, the world had ceased to be. For him there was but one woman on this earth, and she was his own. CHAPTER XXIII CHECK TO THE QUEEN How long they stood thus, heart to heart, they themselves could never have said. The sound of many voices in the near distance roused them from their dream. Ursula started in alarm. "Holy Virgin!" she exclaimed under her breath, "if it should be the Queen!" But Wessex held her tightly, and she struggled in vain. "Nay! then let the whole Court see that I hold my future wife in my arms," he said proudly. But with an agitated little cry she contrived to escape him. He seemed much amused at her nervousness; what had she to fear? was she not his own, to protect even from the semblance of ill? But Ursula, now fully awakened to ordinary, everyday surroundings, was fearful lest her own innocent little deception should be too crudely, too suddenly unmasked. She had so earnestly looked forward to the moment when she would say to him that she in sooth was none other than Lady Ursula Glynde, the woman whom every conventionality had decreed that he should marry, and whom--because of these conventionalities--he had secretly but certainly disliked. Her woman's heart had already given her a clear insight into the character and the foibles of the man she loved. His passion for her now, sincere and great though it was, was partly dependent on that atmosphere of romance which his poetical temperament craved for, and which had surrounded the half-mysterious personality of exquisite, irresistible "Fanny." Instinctively she dreaded the rough hand of commonplace, that ugly, coarse destroyer of poetic idylls. A few hastily uttered words might shatter in an hour the mystic shrine wherein Wessex had enthroned her. She had meant to tell him soon, to-morrow perhaps, perhaps only after a few days, but she wished to find her own time for this, when he knew her inner soul better, and the delicate cobwebs of this great love-at-first-sight had fallen away from his eyes. She could not altogether have explained to herself why a sudden disclosure of her identity at this moment would have been peculiarly unpleasant to her. It was a weak, childish feeling no doubt. But such as it was, it was real, and strong, and genuine. Barely a minute had elapsed whilst these quick thoughts and fears went wildly coursing through her mind. There was no time to tell him everything now. The voices came from the next room, within the next few seconds probably the great door would be open to admit a group of people: the Duchess of Lincoln and the ladies mayhap, or the Queen on her way to chapel. And His Grace of Wessex looked terribly determined. "No! no! no!--not just this moment, sweet Grace," she entreated, "by your love! not _just_ this moment. . . . The Queen would be so angry . . . oh! not _just_ now!" She looked so genuinely disturbed, and so tenderly appealing, that he could not help but obey. "But you cannot send me away like this," he urged. "Another word, sweet saint. . . . Faith! I could not live without another kiss. . . ." "No, no, no, I entreat Your Grace . . . not to-night," she protested feebly. He thought, however, that he detected a sign of yielding in her voice, although she was already beginning to mount the steps ready for flight. "Just one tiny word," he whispered hurriedly: "when the Queen has passed through, linger up there for one brief minute only. I'll wait in there!" And he pointed to a small door close behind him, which led to an inner closet at right angles with the gallery. Before she had time to protest--nay! perhaps she had no wish to refuse--he had disappeared behind its heavy panels, quickly calling to his dog to follow him. But in that one moment's hesitation, those few brief and delicious words hastily exchanged, she had lost her opportunity for escape. The next instant the door at the further end of the room was thrown open, and the Queen entered followed by some of her ladies. She was accompanied by the Duchess of Lincoln, and His Eminence the Cardinal de Moreno was on her left. As chance or ill-luck would have it, the first sight which greeted Her Majesty's eyes was the figure of Lady Ursula, midway up the steps which led to the gallery, some mysterious imp of mischief having contrived that the light from the wax tapers should unaccountably and very vividly fall upon the white-clad form of the young girl. An exclamation of stern reproval from Her Grace of Lincoln brought Ursula to a standstill. Flight now was no longer possible; she could but trust in her guardian angel, or in any of those protective genii who have in their keeping the special care of lovers in distress, and who happened to be hovering nigh. It was not seemly to be half-way up a flight of stairs when Her Majesty was standing on the floor below. Ursula, with her cheeks aflame with vexation, slowly descended, whilst encountering as boldly as she could the artillery fire of half a dozen pairs of eyes fixed steadily upon her. Mary Tudor looked coldly severe, Her Grace of Lincoln horror-struck, His Eminence ironical, and the ladies vastly amused. "Ah, child!" said Her Majesty, in her iciest tone of voice, "all alone, and in this part of the Palace?" She looked the dainty young figure disdainfully up and down, then her eye caught the sheaf of roses lying in a fragrant tangle close to the foot of the stairs. There was a quick flash of anger in her face, then a frown. Ursula wondered how much she guessed or what she suspected. But the Queen, after that one quick wave of passionate wrath, made an obvious effort to control herself. She turned composedly to the Duchess of Lincoln. "Your Grace is aware," she said drily, "that I deem it most indecorous for my maids-of-honour to wander about the Palace alone." The wrinkled old face of the kindly Duchess expressed the most heartfelt sorrow. "I crave Your Majesty's humble pardon . . ." she stammered in an agony of misery at this public reproof. "I . . ." "Nay, Duchess, I know the difficulty of your task," rejoined Mary Tudor bitingly, "the other ladies are docile, and their behaviour is maidenly and chaste. 'Tis not always so with the Lady Ursula Glynde." Mary's voice had been so trenchant and hard that it seemed to Ursula's sensitive ears as if its metallic tones must have penetrated to every corner of the Palace. She gave a quick, terrified look towards the door, longing with all her might for the gift to see through its massive panels--to know what went on within that inner closet, where Wessex was waiting

prove

How many times the word 'prove' appears in the text?

. I . . ." "Yes?" queried the Duke. "That is the purport of my importunity, my lord," said the young man, springing to his feet and speaking once more in tones of noble candour. "I would have asked Your Grace that, since you do not know the Lady Ursula, since you have no wish to claim her hand, if some one else . . ." "If the Lady Ursula honoured some one else than my unworthy self. . . . Is that your meaning, my lord?" queried Wessex, as Don Miguel had made a slight pause in his impetuous speech. "If I . . ." "You, my lord?" "I would wish to know if I should be offending Your Grace?" "Offending me?" cried Wessex joyfully. "Nay, my lord, why were you so long in telling me this gladsome news? . . . Offending me? . . . you have succeeded in taking a load from my conscience, my dear Marquis. So you love the Lady Ursula Glynde? . . . Ye heavens! what a number of circumlocutions to arrive at this simple little fact! You love her . . . she is very beautiful . . . and she loves you. Where did you first see her, my lord?" "At East Molesey Fair. . . . Your Grace intervened . . . you must remember!" "Most inopportunely, meseems. I must indeed crave your pardon. And since then?" "The acquaintanceship, perhaps somewhat unpleasantly begun, has ripened into . . . friendship." "And thence into love! Nay, you have my heartiest congratulations, my lord. The Glyndes are famous for their virtue, and since the Lady Ursula is beautiful, why! your Court will indeed be graced by such a pattern of English womanhood." "Oh!" said the Spaniard, with a quick gesture of deprecation. "Nay! you must have no fear, my lord. Since you have honoured me by consulting my feelings in the matter, it shall be my pride and my delight to further your cause, and that of the Lady Ursula . . . if indeed she will deign to express her wishes to me. . . . I hereby give you a gentleman's word of honour that I consider the promise, which she made to her father in her childhood, in no way binding upon her now. . . . As for the future, I swear that I will obtain Her Majesty's consent to your immediate marriage." "Nay! I pray you, not so fast!" laughed Don Miguel lightly. "Neither the Lady Ursula nor I have need of Her Majesty's consent. . . ." "But methought----" "'Twas not I who spoke of marriage, remember!" "Then you have completely bewildered me, my lord," rejoined Wessex with a sudden frown. "I understood----" "That I am the proudest of men, certainly," quoth Don Miguel with a sarcastic curl of his sensual lip, "but 'twas Your Grace who spoke of the lady's virtue. I merely wished to know if I should be offending Your Grace if . . ." He laughed and shrugged his shoulders. The laugh grated unpleasantly on Wessex' ear, and the gesture savoured of impertinence. The Marquis' manner had suddenly undergone a change, which caused the Duke's every nerve to tingle. "If what?" he queried curtly. "The devil! sir, cannot you say what you do mean?" "Why should I," replied the Spaniard, "since your Grace has already guessed? You will own that I have acted _en galant homme_, by thinking of your wishes. You will not surely desire to champion that much-vaunted virtue of the Glyndes." "Then what you mean, sir, is that . . ." "I cannot speak more plainly, my lord, for that among gentlemen is quite impossible. But rumours fly about quickly at Court, and I feared that Your Grace might have caught one, ere I had the chance of assuring you that I recognize the priority of your claim. But now you tell me that you have no further interest in the lady, so I am reassured. . . . We foreigners, you know, take passing pleasures more lightly than you serious-minded English . . . and if the lady be unattached . . . and more than willing . . . why should we play the part of Joseph? . . . a ridiculous r le at best, eh, my lord? . . . and one, I think, which Your Grace would ever disdain to play. . . . As for me, I am quite reassured . . . Au revoir to Your Grace. . . ." And before Wessex had time to utter another word, Don Miguel, still laughing, went out of the room. The Duke felt a little bewildered. The conversation had gone through such a sudden transition, that at the time, he had hardly realized whether it touched him deeply or not. Owing to Ursula's girlish little ruse, he was totally unaware of her identity with the lady who had been the subject of this very distasteful discussion. To him Lady Ursula Glynde was both unknown and uninteresting. His meeting with beautiful, exquisite "Fanny" had driven all thoughts of other women from his mind. But with all his volatile disposition, where women were concerned, the Duke of Wessex was nevertheless imbued with a strong and romantic feeling of chivalry towards the entire sex, and Don Miguel's disdainful allusions to the lady who might have been Duchess of Wessex had left his finger-tips itching with the desire to throw his glove in the impudent rascal's face. Harry Plantagenet, who throughout the interview had openly expressed his disapproval of his master's interlocutor, gave an impatient little whine. He longed for the privacy of his own apartments, the warmth of the rugs laid out specially for him. "Harry, old friend!" said Wessex thoughtfully, "what the devil, think you, that young reprobate meant?" He took the dog's beautiful head between his hands and looked straight into the honest, faithful eyes of his dear and constant companion. "Marry!" he continued more lightly, "you may well look doubtful, you wise philosopher, for you know the Glyndes as well as I do. You remember old Lady Annabel, whose very look would stop your tail from wagging, and Charles, stodgy, silent, serious Charles, who never drank, never laughed, had probably never seen a woman's ankle in his life. And then the Lady Ursula . . . a Glynde . . . do you mind me, old Harry? . . . therefore as ugly, as a combination of virtue and Scotch descent can make any woman. . . . Yet, if I caught the rascal's meaning, neither Scotch descent nor ill looks have proved a shield for the lady's virtue! . . . Well, 'tis no business of ours, is it, old Harry? Let us live and let live. . . . Perhaps Lady Ursula is not ugly . . . perchance that unpleasant-looking Spaniard doth truly love her . . . and who are we, Harry, you and I, that we should prove censorious? Let us to our apartments, friend, and meditate on woman's frailty and on our own . . . especially on our own . . . we are mere male creatures, and women are so adorable! even when they bristle with virtues like a hedgehog . . . but like him too, are cushioned beneath those bristles with a hundred charming, fascinating sins. . . . Come along, friend, and let us meditate why sin . . . sin of a certain type, remember, should be so enchantingly tempting." Harry Plantagenet was a philosopher. He had seen his master in this kind of mood before. He wagged his tail as if to express his approval of the broad principles thus submitted for his consideration, but at the same time he showed a distinct desire that his master should talk less and come more speedily to bed. CHAPTER XXII THE WHITE QUEEN Wessex after a while was ready enough to dismiss the unpleasant subject. Perhaps he had no right to be censorious or to resent the Spaniard's somewhat unusual attitude. In England, undoubtedly, a gentleman would never--except under very special circumstances--allude to any passing liaison he might have with a lady of his own rank. That was a strict code of honour which had existed from time immemorial, even in the days of King Harry's youth, when the virtue of high-born women had been but little thought of. Abroad, perhaps, it was different. Spaniards, just then, were noted for the light way in which they regarded the favours of the fair sex, and Don Miguel's code of honour had evidently prompted him to consult Wessex' wishes in the matter of his own intrigue. Loyalty to their own sex is perhaps, on the whole, more general in men than is their chivalry towards women, and perhaps the Marquis' feelings would have revolted at the thought of seeing a lady of such light virtue in the position of Duchess of Wessex. Be that as it may, His Grace had no wish to probe the matter further; with a shrug of the shoulders he dismissed it from his thoughts, whilst registering a vow to chastise the young blackguard if his impertinence showed signs of recurrence. He was on the point of yielding to his faithful Harry's canine appeals by allowing him to lead the way towards his own distant lodgings, when his ear suddenly caught the sound of a silk dress rustling somewhere, not far from where he stood. At the end of the room closest to him, a few steps led up to a gallery, which ran along the wall, finally abutting at a door, which gave access to the Duchess of Lincoln's and other ladies' lodgings. The rustle of a silk skirt seemed to come from there. Perhaps Wessex would not have taken notice of it, except that his every thought was filled with a strange excitement since the rencontre of the afternoon. At times now he felt as if his very senses ached with the longing to see once more that entrancing, girlish figure, dressed all in white and crowned with the halo of her exquisite golden hair, to hear once more the sound of that fresh young voice, that merry, childlike laugh, through which there vibrated the thrill of a newly awakened passion. Since he had met her he was conscious of a wonderful change in himself. He did not even analyse his feelings: he knew that he loved her now: that, in a sense, he had always loved her, for his poetic and romantic temperament had ever been in search of that perfect type of womanhood, which she seemed so completely to embody in herself. He had only spoken to her for about half an hour, then had sat opposite to her in a boat among the reeds, in the cool of the afternoon, with the lazy river gently rocking the light skiff, and the water birds for sole witnesses of his happiness. They had hardly exchanged a word then, for he had enjoyed the delight--dear to every man who loves--of watching the blushes come and go upon her cheek in response to his ardent gaze. What did words matter? the music in their souls supplied all that they wished to say. And he--who had been deemed so fickle, who had made of love a pastime, taking what joys women would give him with a grateful yet transient smile, His Grace of Wessex, in fact, who had loved so often yet so inconstantly--knew now that the stern little god, who will not for long brook defiance of his laws, had wounded him for life or death at last. And even now, when he heard the rustle of a kirtle, he paused instinctively, vaguely, madly hoping that chance, and the great wild longing which was in him, had indeed drawn her footsteps hither. The door above, at the end of the gallery, was tentatively opened. Wessex could see nothing, for those distant corners of the room were in complete darkness, but he heard a voice, low and sweet, humming the little ditty which she, his queen, had sung this afternoon. "Disdaine me not that am your own, Refuse me not that am so true, Mistrust me not till all be knowen, Forsake me not now for no new." She walked slowly along the gallery, and paused not far from the top of the short flight of oak steps. She seemed to be hesitating a little, as if afraid to venture farther into the large, dimly lighted hall. The flicker of the tall wax tapers now caught her dainty figure, casting golden lights and deep, ruddy shadows on her fair young face and on the whiteness of her gown. In her arms she held an enormous sheaf of pale pink monthly roses, the spoils of the garden, lavish in its autumnal glory. Never had Wessex--fastidious, fickle, insouciant Wessex--seen anything more radiant, more exquisite, more poetic than this apparition which came towards him like the realization of all his maddest dreams. For one moment more he lingered, his ardent, passionate soul was loath to give up these heaven-born seconds spent in looking at her. Her eyes shone darkly in the gleam of the candle light and had wondrous reflections in them, which looked ruddy and hot; her delicately chiselled features were suffused with a strange glow, which seemed to come from within; and her lips were slightly parted, moist and red like some ripe summer fruit. From her whole person there came an exhalation of youth and womanhood, of purity and soul-stirring passion. "Come down, sweet singer," said Wessex to her at last. She gave a startled little cry, leant over the balustrade, and the sheaf of flowers dropped from her arms, falling in a long cascade of leaves and blossoms, rose-coloured and sweet-scented, at his feet. "Ah, Your Grace frightened me!" she whispered, with just a touch of feminine coquetry. "I . . . I . . . didn't know you were here." "I swear you did not, sweet saint . . . but now . . . as I am here . . . come down quickly ere I perish with longing for a nearer sight of your dear eyes." "But my flowers," she said, with a sudden access of timidity, brought forth by the thrilling ardour of his voice. "I had picked them for Her Majesty's oratory." "Nay! let them all wither save one . . . which I will take from your hand. Come down. . . ." One of the roses had remained fixed in the stiff fold of her panier. She took it between her fingers and sighed. "Oh! I dare not," she said sadly. "Your Grace does not know,--cannot guess, what dire disgrace would befall me if I did." "Perish the thought of disgrace," rejoined Wessex gaily. "Marry! the saints in Paradise must come down from heaven sometimes, else the world would be consumed by its own wickedness. Come down," he added more earnestly, seized with a mad, ungovernable desire to clasp her to his heart, "come down, or I swear that I'll bring you down in my arms." "No . . . no . . . no!" she protested, alarmed at his vehemence. "I'll come down." With a quaintly mischievous gesture she flung the rose at him; it hit him in the face, then fell; he had perforce to stoop in order to pick it up. When he once more straightened his tall figure she was standing quite close to him. There she was, just as he had always thought of her, even as a boy when first he began to dream. She, the perfect woman whom one day he would meet, and on that day would love wholly, passionately, humbly, and proudly, his own and yet his queen; she the most perfect product of Nature, with just that tone of gold in her hair, just those eyes, so inscrutable, so full of colour, so infinite in their variety; not very tall, but graceful and slender, with her dainty head on a level with his shoulder, her fair young forehead on a level with his lips. Now that she was so near, he was as if turned to stone. The wild longing was still in him to clasp her in his arms, to hold her closely, tenderly to his heart, yet he would not have touched her for a kingdom. But as he looked at her he knew that she, herself, would come to him in all her purity, her innocence . . . soon . . . to-day perhaps . . . but certainly one day . . . and that she would come with every fibre in her entire being vibrating in responsive passion to him. She looked up at him shyly, tentatively. His very soul went out to her as he returned her gaze. A great and glorious exultation thrilled every fibre of her being. She knew that she had conquered, that the love which in her girlish heart she had kept for him had borne fruit a thousandfold. Her heart seemed to stop beating at the immensity of her happiness. But woman-like, she was more self-possessed than he was. "I must not stay," she said gravely and with only an imperceptible quiver in her voice. "I am in disgrace, you know . . . for that stroll on the river . . . with you . . . this afternoon." "Why? what happened?" he asked with a smile. She held up her little hand and counted on her fingers. "Number one, a frown and a colder shoulder from Her Majesty! Two, a lecture from Her Grace of Lincoln! Twenty minutes! Three, four, and five, pin-pricks from the ladies and a lonely supper in my room to-night." He loved her in this gayer mood which made her seem so young and childlike. "Could you not have contrived to let me know?" "Why? . . . What would you have done?" "Made it less lonely for you." "You are doing that now. I thought I should be alone the rest of the evening. Her Grace of Lincoln and the others are at prayers with Her Majesty. I was confined to that room up there. How is it Your Grace happened to be in this hall just when I came out?" "A moth is always to be found where the light happens to be," he replied gravely. "But how did you know I should be here?" "My eyes, since this afternoon, see you constantly where you are not--how could they fail to see you where you are?" "Then, as Your Grace has seen me . . ." she added with timid nervousness, seeing that he now stood between her and the steps, "will you allow me to go up again?" "No." "I entreat!" she pleaded. "Impossible." "Her Grace of Lincoln will be looking for me." "Then stay here with me until she does." "What to do?" she queried innocently. "To make me happy." "Happy?" she laughed merrily. "Ho! ho! ho! How can I, a humble waiting-maid, manage to make His Grace of Wessex happy?" "By letting me look at you." With quaint and artless coquetry she picked up the folds of her heavy brocaded paniers, right and left, with two delicate fingers, and executed a dainty pirouette in front of him. "There!" she said merrily, "'tis done. . . . And now?" "By letting me whisper to you . . ." he murmured. She drew back quickly, and said with mock severity-- "That which I must not hear." "Why not?" "Because Your Grace is not free," she rejoined archly. "Not free to whisper anything in any woman's ear, save in that of Lady Ursula Glynde." "Then you guessed what I would have whispered to you?" "Perhaps." "What was it?" She veiled the glory of her eyes with their fringe of dark lashes. "That you loved me . . ." she murmured, "for the moment. . . ." How irresistible she was, with just that soup on of coquetry to whet the desire of this fastidious man of the world, and with it all so free from artifice, so young and fresh and pure:--a madonna, yet made to tempt mankind. "Nay! if you would let me, sweet saint, I would whisper in your tiny ear that I worship you!" he said in all sincerity and truth, and with the ring of an ardent passion in every tone of his voice. "Worship me? . . ." she queried in mock astonishment, "and Your Grace does not even know who I am." "Faith! but I do. You are the most beautiful woman on this earth." "Oh! . . . but my name! . . ." "Nay! as to that I care not . . . You shall tell it me anon, if you like. . . . For the moment I love to think of you as I first beheld you in the garden this afternoon--a fairy or sprite . . . I know not which . . . an angel mayhap . . . in your robes of white, surrounded with flowers and dark bosquets of hazelnut and of yew, with golden tints of ruddy autumn around you, less glorious than your hair. Let me worship blindly . . . fettered . . . your slave." She sighed, a quaint little sigh, which had a tinge of melancholy in it. "For how long?" she murmured. "For my whole life," he replied earnestly. "Will you not try me?" "How?" "You love me, sweet saint?" "I . . ." she began shyly. "Let me look into your eyes. . . . I will find my answer." Her arms dropped by her side, she looked up and met his eyes, ardent, burning with passion, fixed longingly upon her. He came close to her, quite close, his presence thrilled her; she closed her eyes in order to shut out from her innermost soul everything from the outside world, save the exquisite feeling of her newly awakened love. "Now, see how perverse I am," he whispered passionately. "I do not want you to tell me anything just now . . . open your eyes, dear saint . . . for I but want to stand like this . . . and read in their blue depths . . . enjoying every fraction of a second of this heavenly moment. . . ." She tried to speak, but instinctively he stopped her. "No . . . no . . . do not speak. . . . And yet . . . 'tis from your sweet lips I'd have my final answer." He took her in his arms. She lay against him, unresisting, her sweet face turned up to his, soul meeting soul at last in the ecstasy of a first kiss. He held her to his heart. It seemed as if he could never let her go from him again. Everything was forgotten, the world had ceased to be. For him there was but one woman on this earth, and she was his own. CHAPTER XXIII CHECK TO THE QUEEN How long they stood thus, heart to heart, they themselves could never have said. The sound of many voices in the near distance roused them from their dream. Ursula started in alarm. "Holy Virgin!" she exclaimed under her breath, "if it should be the Queen!" But Wessex held her tightly, and she struggled in vain. "Nay! then let the whole Court see that I hold my future wife in my arms," he said proudly. But with an agitated little cry she contrived to escape him. He seemed much amused at her nervousness; what had she to fear? was she not his own, to protect even from the semblance of ill? But Ursula, now fully awakened to ordinary, everyday surroundings, was fearful lest her own innocent little deception should be too crudely, too suddenly unmasked. She had so earnestly looked forward to the moment when she would say to him that she in sooth was none other than Lady Ursula Glynde, the woman whom every conventionality had decreed that he should marry, and whom--because of these conventionalities--he had secretly but certainly disliked. Her woman's heart had already given her a clear insight into the character and the foibles of the man she loved. His passion for her now, sincere and great though it was, was partly dependent on that atmosphere of romance which his poetical temperament craved for, and which had surrounded the half-mysterious personality of exquisite, irresistible "Fanny." Instinctively she dreaded the rough hand of commonplace, that ugly, coarse destroyer of poetic idylls. A few hastily uttered words might shatter in an hour the mystic shrine wherein Wessex had enthroned her. She had meant to tell him soon, to-morrow perhaps, perhaps only after a few days, but she wished to find her own time for this, when he knew her inner soul better, and the delicate cobwebs of this great love-at-first-sight had fallen away from his eyes. She could not altogether have explained to herself why a sudden disclosure of her identity at this moment would have been peculiarly unpleasant to her. It was a weak, childish feeling no doubt. But such as it was, it was real, and strong, and genuine. Barely a minute had elapsed whilst these quick thoughts and fears went wildly coursing through her mind. There was no time to tell him everything now. The voices came from the next room, within the next few seconds probably the great door would be open to admit a group of people: the Duchess of Lincoln and the ladies mayhap, or the Queen on her way to chapel. And His Grace of Wessex looked terribly determined. "No! no! no!--not just this moment, sweet Grace," she entreated, "by your love! not _just_ this moment. . . . The Queen would be so angry . . . oh! not _just_ now!" She looked so genuinely disturbed, and so tenderly appealing, that he could not help but obey. "But you cannot send me away like this," he urged. "Another word, sweet saint. . . . Faith! I could not live without another kiss. . . ." "No, no, no, I entreat Your Grace . . . not to-night," she protested feebly. He thought, however, that he detected a sign of yielding in her voice, although she was already beginning to mount the steps ready for flight. "Just one tiny word," he whispered hurriedly: "when the Queen has passed through, linger up there for one brief minute only. I'll wait in there!" And he pointed to a small door close behind him, which led to an inner closet at right angles with the gallery. Before she had time to protest--nay! perhaps she had no wish to refuse--he had disappeared behind its heavy panels, quickly calling to his dog to follow him. But in that one moment's hesitation, those few brief and delicious words hastily exchanged, she had lost her opportunity for escape. The next instant the door at the further end of the room was thrown open, and the Queen entered followed by some of her ladies. She was accompanied by the Duchess of Lincoln, and His Eminence the Cardinal de Moreno was on her left. As chance or ill-luck would have it, the first sight which greeted Her Majesty's eyes was the figure of Lady Ursula, midway up the steps which led to the gallery, some mysterious imp of mischief having contrived that the light from the wax tapers should unaccountably and very vividly fall upon the white-clad form of the young girl. An exclamation of stern reproval from Her Grace of Lincoln brought Ursula to a standstill. Flight now was no longer possible; she could but trust in her guardian angel, or in any of those protective genii who have in their keeping the special care of lovers in distress, and who happened to be hovering nigh. It was not seemly to be half-way up a flight of stairs when Her Majesty was standing on the floor below. Ursula, with her cheeks aflame with vexation, slowly descended, whilst encountering as boldly as she could the artillery fire of half a dozen pairs of eyes fixed steadily upon her. Mary Tudor looked coldly severe, Her Grace of Lincoln horror-struck, His Eminence ironical, and the ladies vastly amused. "Ah, child!" said Her Majesty, in her iciest tone of voice, "all alone, and in this part of the Palace?" She looked the dainty young figure disdainfully up and down, then her eye caught the sheaf of roses lying in a fragrant tangle close to the foot of the stairs. There was a quick flash of anger in her face, then a frown. Ursula wondered how much she guessed or what she suspected. But the Queen, after that one quick wave of passionate wrath, made an obvious effort to control herself. She turned composedly to the Duchess of Lincoln. "Your Grace is aware," she said drily, "that I deem it most indecorous for my maids-of-honour to wander about the Palace alone." The wrinkled old face of the kindly Duchess expressed the most heartfelt sorrow. "I crave Your Majesty's humble pardon . . ." she stammered in an agony of misery at this public reproof. "I . . ." "Nay, Duchess, I know the difficulty of your task," rejoined Mary Tudor bitingly, "the other ladies are docile, and their behaviour is maidenly and chaste. 'Tis not always so with the Lady Ursula Glynde." Mary's voice had been so trenchant and hard that it seemed to Ursula's sensitive ears as if its metallic tones must have penetrated to every corner of the Palace. She gave a quick, terrified look towards the door, longing with all her might for the gift to see through its massive panels--to know what went on within that inner closet, where Wessex was waiting

unworthy

How many times the word 'unworthy' appears in the text?

. I . . ." "Yes?" queried the Duke. "That is the purport of my importunity, my lord," said the young man, springing to his feet and speaking once more in tones of noble candour. "I would have asked Your Grace that, since you do not know the Lady Ursula, since you have no wish to claim her hand, if some one else . . ." "If the Lady Ursula honoured some one else than my unworthy self. . . . Is that your meaning, my lord?" queried Wessex, as Don Miguel had made a slight pause in his impetuous speech. "If I . . ." "You, my lord?" "I would wish to know if I should be offending Your Grace?" "Offending me?" cried Wessex joyfully. "Nay, my lord, why were you so long in telling me this gladsome news? . . . Offending me? . . . you have succeeded in taking a load from my conscience, my dear Marquis. So you love the Lady Ursula Glynde? . . . Ye heavens! what a number of circumlocutions to arrive at this simple little fact! You love her . . . she is very beautiful . . . and she loves you. Where did you first see her, my lord?" "At East Molesey Fair. . . . Your Grace intervened . . . you must remember!" "Most inopportunely, meseems. I must indeed crave your pardon. And since then?" "The acquaintanceship, perhaps somewhat unpleasantly begun, has ripened into . . . friendship." "And thence into love! Nay, you have my heartiest congratulations, my lord. The Glyndes are famous for their virtue, and since the Lady Ursula is beautiful, why! your Court will indeed be graced by such a pattern of English womanhood." "Oh!" said the Spaniard, with a quick gesture of deprecation. "Nay! you must have no fear, my lord. Since you have honoured me by consulting my feelings in the matter, it shall be my pride and my delight to further your cause, and that of the Lady Ursula . . . if indeed she will deign to express her wishes to me. . . . I hereby give you a gentleman's word of honour that I consider the promise, which she made to her father in her childhood, in no way binding upon her now. . . . As for the future, I swear that I will obtain Her Majesty's consent to your immediate marriage." "Nay! I pray you, not so fast!" laughed Don Miguel lightly. "Neither the Lady Ursula nor I have need of Her Majesty's consent. . . ." "But methought----" "'Twas not I who spoke of marriage, remember!" "Then you have completely bewildered me, my lord," rejoined Wessex with a sudden frown. "I understood----" "That I am the proudest of men, certainly," quoth Don Miguel with a sarcastic curl of his sensual lip, "but 'twas Your Grace who spoke of the lady's virtue. I merely wished to know if I should be offending Your Grace if . . ." He laughed and shrugged his shoulders. The laugh grated unpleasantly on Wessex' ear, and the gesture savoured of impertinence. The Marquis' manner had suddenly undergone a change, which caused the Duke's every nerve to tingle. "If what?" he queried curtly. "The devil! sir, cannot you say what you do mean?" "Why should I," replied the Spaniard, "since your Grace has already guessed? You will own that I have acted _en galant homme_, by thinking of your wishes. You will not surely desire to champion that much-vaunted virtue of the Glyndes." "Then what you mean, sir, is that . . ." "I cannot speak more plainly, my lord, for that among gentlemen is quite impossible. But rumours fly about quickly at Court, and I feared that Your Grace might have caught one, ere I had the chance of assuring you that I recognize the priority of your claim. But now you tell me that you have no further interest in the lady, so I am reassured. . . . We foreigners, you know, take passing pleasures more lightly than you serious-minded English . . . and if the lady be unattached . . . and more than willing . . . why should we play the part of Joseph? . . . a ridiculous r le at best, eh, my lord? . . . and one, I think, which Your Grace would ever disdain to play. . . . As for me, I am quite reassured . . . Au revoir to Your Grace. . . ." And before Wessex had time to utter another word, Don Miguel, still laughing, went out of the room. The Duke felt a little bewildered. The conversation had gone through such a sudden transition, that at the time, he had hardly realized whether it touched him deeply or not. Owing to Ursula's girlish little ruse, he was totally unaware of her identity with the lady who had been the subject of this very distasteful discussion. To him Lady Ursula Glynde was both unknown and uninteresting. His meeting with beautiful, exquisite "Fanny" had driven all thoughts of other women from his mind. But with all his volatile disposition, where women were concerned, the Duke of Wessex was nevertheless imbued with a strong and romantic feeling of chivalry towards the entire sex, and Don Miguel's disdainful allusions to the lady who might have been Duchess of Wessex had left his finger-tips itching with the desire to throw his glove in the impudent rascal's face. Harry Plantagenet, who throughout the interview had openly expressed his disapproval of his master's interlocutor, gave an impatient little whine. He longed for the privacy of his own apartments, the warmth of the rugs laid out specially for him. "Harry, old friend!" said Wessex thoughtfully, "what the devil, think you, that young reprobate meant?" He took the dog's beautiful head between his hands and looked straight into the honest, faithful eyes of his dear and constant companion. "Marry!" he continued more lightly, "you may well look doubtful, you wise philosopher, for you know the Glyndes as well as I do. You remember old Lady Annabel, whose very look would stop your tail from wagging, and Charles, stodgy, silent, serious Charles, who never drank, never laughed, had probably never seen a woman's ankle in his life. And then the Lady Ursula . . . a Glynde . . . do you mind me, old Harry? . . . therefore as ugly, as a combination of virtue and Scotch descent can make any woman. . . . Yet, if I caught the rascal's meaning, neither Scotch descent nor ill looks have proved a shield for the lady's virtue! . . . Well, 'tis no business of ours, is it, old Harry? Let us live and let live. . . . Perhaps Lady Ursula is not ugly . . . perchance that unpleasant-looking Spaniard doth truly love her . . . and who are we, Harry, you and I, that we should prove censorious? Let us to our apartments, friend, and meditate on woman's frailty and on our own . . . especially on our own . . . we are mere male creatures, and women are so adorable! even when they bristle with virtues like a hedgehog . . . but like him too, are cushioned beneath those bristles with a hundred charming, fascinating sins. . . . Come along, friend, and let us meditate why sin . . . sin of a certain type, remember, should be so enchantingly tempting." Harry Plantagenet was a philosopher. He had seen his master in this kind of mood before. He wagged his tail as if to express his approval of the broad principles thus submitted for his consideration, but at the same time he showed a distinct desire that his master should talk less and come more speedily to bed. CHAPTER XXII THE WHITE QUEEN Wessex after a while was ready enough to dismiss the unpleasant subject. Perhaps he had no right to be censorious or to resent the Spaniard's somewhat unusual attitude. In England, undoubtedly, a gentleman would never--except under very special circumstances--allude to any passing liaison he might have with a lady of his own rank. That was a strict code of honour which had existed from time immemorial, even in the days of King Harry's youth, when the virtue of high-born women had been but little thought of. Abroad, perhaps, it was different. Spaniards, just then, were noted for the light way in which they regarded the favours of the fair sex, and Don Miguel's code of honour had evidently prompted him to consult Wessex' wishes in the matter of his own intrigue. Loyalty to their own sex is perhaps, on the whole, more general in men than is their chivalry towards women, and perhaps the Marquis' feelings would have revolted at the thought of seeing a lady of such light virtue in the position of Duchess of Wessex. Be that as it may, His Grace had no wish to probe the matter further; with a shrug of the shoulders he dismissed it from his thoughts, whilst registering a vow to chastise the young blackguard if his impertinence showed signs of recurrence. He was on the point of yielding to his faithful Harry's canine appeals by allowing him to lead the way towards his own distant lodgings, when his ear suddenly caught the sound of a silk dress rustling somewhere, not far from where he stood. At the end of the room closest to him, a few steps led up to a gallery, which ran along the wall, finally abutting at a door, which gave access to the Duchess of Lincoln's and other ladies' lodgings. The rustle of a silk skirt seemed to come from there. Perhaps Wessex would not have taken notice of it, except that his every thought was filled with a strange excitement since the rencontre of the afternoon. At times now he felt as if his very senses ached with the longing to see once more that entrancing, girlish figure, dressed all in white and crowned with the halo of her exquisite golden hair, to hear once more the sound of that fresh young voice, that merry, childlike laugh, through which there vibrated the thrill of a newly awakened passion. Since he had met her he was conscious of a wonderful change in himself. He did not even analyse his feelings: he knew that he loved her now: that, in a sense, he had always loved her, for his poetic and romantic temperament had ever been in search of that perfect type of womanhood, which she seemed so completely to embody in herself. He had only spoken to her for about half an hour, then had sat opposite to her in a boat among the reeds, in the cool of the afternoon, with the lazy river gently rocking the light skiff, and the water birds for sole witnesses of his happiness. They had hardly exchanged a word then, for he had enjoyed the delight--dear to every man who loves--of watching the blushes come and go upon her cheek in response to his ardent gaze. What did words matter? the music in their souls supplied all that they wished to say. And he--who had been deemed so fickle, who had made of love a pastime, taking what joys women would give him with a grateful yet transient smile, His Grace of Wessex, in fact, who had loved so often yet so inconstantly--knew now that the stern little god, who will not for long brook defiance of his laws, had wounded him for life or death at last. And even now, when he heard the rustle of a kirtle, he paused instinctively, vaguely, madly hoping that chance, and the great wild longing which was in him, had indeed drawn her footsteps hither. The door above, at the end of the gallery, was tentatively opened. Wessex could see nothing, for those distant corners of the room were in complete darkness, but he heard a voice, low and sweet, humming the little ditty which she, his queen, had sung this afternoon. "Disdaine me not that am your own, Refuse me not that am so true, Mistrust me not till all be knowen, Forsake me not now for no new." She walked slowly along the gallery, and paused not far from the top of the short flight of oak steps. She seemed to be hesitating a little, as if afraid to venture farther into the large, dimly lighted hall. The flicker of the tall wax tapers now caught her dainty figure, casting golden lights and deep, ruddy shadows on her fair young face and on the whiteness of her gown. In her arms she held an enormous sheaf of pale pink monthly roses, the spoils of the garden, lavish in its autumnal glory. Never had Wessex--fastidious, fickle, insouciant Wessex--seen anything more radiant, more exquisite, more poetic than this apparition which came towards him like the realization of all his maddest dreams. For one moment more he lingered, his ardent, passionate soul was loath to give up these heaven-born seconds spent in looking at her. Her eyes shone darkly in the gleam of the candle light and had wondrous reflections in them, which looked ruddy and hot; her delicately chiselled features were suffused with a strange glow, which seemed to come from within; and her lips were slightly parted, moist and red like some ripe summer fruit. From her whole person there came an exhalation of youth and womanhood, of purity and soul-stirring passion. "Come down, sweet singer," said Wessex to her at last. She gave a startled little cry, leant over the balustrade, and the sheaf of flowers dropped from her arms, falling in a long cascade of leaves and blossoms, rose-coloured and sweet-scented, at his feet. "Ah, Your Grace frightened me!" she whispered, with just a touch of feminine coquetry. "I . . . I . . . didn't know you were here." "I swear you did not, sweet saint . . . but now . . . as I am here . . . come down quickly ere I perish with longing for a nearer sight of your dear eyes." "But my flowers," she said, with a sudden access of timidity, brought forth by the thrilling ardour of his voice. "I had picked them for Her Majesty's oratory." "Nay! let them all wither save one . . . which I will take from your hand. Come down. . . ." One of the roses had remained fixed in the stiff fold of her panier. She took it between her fingers and sighed. "Oh! I dare not," she said sadly. "Your Grace does not know,--cannot guess, what dire disgrace would befall me if I did." "Perish the thought of disgrace," rejoined Wessex gaily. "Marry! the saints in Paradise must come down from heaven sometimes, else the world would be consumed by its own wickedness. Come down," he added more earnestly, seized with a mad, ungovernable desire to clasp her to his heart, "come down, or I swear that I'll bring you down in my arms." "No . . . no . . . no!" she protested, alarmed at his vehemence. "I'll come down." With a quaintly mischievous gesture she flung the rose at him; it hit him in the face, then fell; he had perforce to stoop in order to pick it up. When he once more straightened his tall figure she was standing quite close to him. There she was, just as he had always thought of her, even as a boy when first he began to dream. She, the perfect woman whom one day he would meet, and on that day would love wholly, passionately, humbly, and proudly, his own and yet his queen; she the most perfect product of Nature, with just that tone of gold in her hair, just those eyes, so inscrutable, so full of colour, so infinite in their variety; not very tall, but graceful and slender, with her dainty head on a level with his shoulder, her fair young forehead on a level with his lips. Now that she was so near, he was as if turned to stone. The wild longing was still in him to clasp her in his arms, to hold her closely, tenderly to his heart, yet he would not have touched her for a kingdom. But as he looked at her he knew that she, herself, would come to him in all her purity, her innocence . . . soon . . . to-day perhaps . . . but certainly one day . . . and that she would come with every fibre in her entire being vibrating in responsive passion to him. She looked up at him shyly, tentatively. His very soul went out to her as he returned her gaze. A great and glorious exultation thrilled every fibre of her being. She knew that she had conquered, that the love which in her girlish heart she had kept for him had borne fruit a thousandfold. Her heart seemed to stop beating at the immensity of her happiness. But woman-like, she was more self-possessed than he was. "I must not stay," she said gravely and with only an imperceptible quiver in her voice. "I am in disgrace, you know . . . for that stroll on the river . . . with you . . . this afternoon." "Why? what happened?" he asked with a smile. She held up her little hand and counted on her fingers. "Number one, a frown and a colder shoulder from Her Majesty! Two, a lecture from Her Grace of Lincoln! Twenty minutes! Three, four, and five, pin-pricks from the ladies and a lonely supper in my room to-night." He loved her in this gayer mood which made her seem so young and childlike. "Could you not have contrived to let me know?" "Why? . . . What would you have done?" "Made it less lonely for you." "You are doing that now. I thought I should be alone the rest of the evening. Her Grace of Lincoln and the others are at prayers with Her Majesty. I was confined to that room up there. How is it Your Grace happened to be in this hall just when I came out?" "A moth is always to be found where the light happens to be," he replied gravely. "But how did you know I should be here?" "My eyes, since this afternoon, see you constantly where you are not--how could they fail to see you where you are?" "Then, as Your Grace has seen me . . ." she added with timid nervousness, seeing that he now stood between her and the steps, "will you allow me to go up again?" "No." "I entreat!" she pleaded. "Impossible." "Her Grace of Lincoln will be looking for me." "Then stay here with me until she does." "What to do?" she queried innocently. "To make me happy." "Happy?" she laughed merrily. "Ho! ho! ho! How can I, a humble waiting-maid, manage to make His Grace of Wessex happy?" "By letting me look at you." With quaint and artless coquetry she picked up the folds of her heavy brocaded paniers, right and left, with two delicate fingers, and executed a dainty pirouette in front of him. "There!" she said merrily, "'tis done. . . . And now?" "By letting me whisper to you . . ." he murmured. She drew back quickly, and said with mock severity-- "That which I must not hear." "Why not?" "Because Your Grace is not free," she rejoined archly. "Not free to whisper anything in any woman's ear, save in that of Lady Ursula Glynde." "Then you guessed what I would have whispered to you?" "Perhaps." "What was it?" She veiled the glory of her eyes with their fringe of dark lashes. "That you loved me . . ." she murmured, "for the moment. . . ." How irresistible she was, with just that soup on of coquetry to whet the desire of this fastidious man of the world, and with it all so free from artifice, so young and fresh and pure:--a madonna, yet made to tempt mankind. "Nay! if you would let me, sweet saint, I would whisper in your tiny ear that I worship you!" he said in all sincerity and truth, and with the ring of an ardent passion in every tone of his voice. "Worship me? . . ." she queried in mock astonishment, "and Your Grace does not even know who I am." "Faith! but I do. You are the most beautiful woman on this earth." "Oh! . . . but my name! . . ." "Nay! as to that I care not . . . You shall tell it me anon, if you like. . . . For the moment I love to think of you as I first beheld you in the garden this afternoon--a fairy or sprite . . . I know not which . . . an angel mayhap . . . in your robes of white, surrounded with flowers and dark bosquets of hazelnut and of yew, with golden tints of ruddy autumn around you, less glorious than your hair. Let me worship blindly . . . fettered . . . your slave." She sighed, a quaint little sigh, which had a tinge of melancholy in it. "For how long?" she murmured. "For my whole life," he replied earnestly. "Will you not try me?" "How?" "You love me, sweet saint?" "I . . ." she began shyly. "Let me look into your eyes. . . . I will find my answer." Her arms dropped by her side, she looked up and met his eyes, ardent, burning with passion, fixed longingly upon her. He came close to her, quite close, his presence thrilled her; she closed her eyes in order to shut out from her innermost soul everything from the outside world, save the exquisite feeling of her newly awakened love. "Now, see how perverse I am," he whispered passionately. "I do not want you to tell me anything just now . . . open your eyes, dear saint . . . for I but want to stand like this . . . and read in their blue depths . . . enjoying every fraction of a second of this heavenly moment. . . ." She tried to speak, but instinctively he stopped her. "No . . . no . . . do not speak. . . . And yet . . . 'tis from your sweet lips I'd have my final answer." He took her in his arms. She lay against him, unresisting, her sweet face turned up to his, soul meeting soul at last in the ecstasy of a first kiss. He held her to his heart. It seemed as if he could never let her go from him again. Everything was forgotten, the world had ceased to be. For him there was but one woman on this earth, and she was his own. CHAPTER XXIII CHECK TO THE QUEEN How long they stood thus, heart to heart, they themselves could never have said. The sound of many voices in the near distance roused them from their dream. Ursula started in alarm. "Holy Virgin!" she exclaimed under her breath, "if it should be the Queen!" But Wessex held her tightly, and she struggled in vain. "Nay! then let the whole Court see that I hold my future wife in my arms," he said proudly. But with an agitated little cry she contrived to escape him. He seemed much amused at her nervousness; what had she to fear? was she not his own, to protect even from the semblance of ill? But Ursula, now fully awakened to ordinary, everyday surroundings, was fearful lest her own innocent little deception should be too crudely, too suddenly unmasked. She had so earnestly looked forward to the moment when she would say to him that she in sooth was none other than Lady Ursula Glynde, the woman whom every conventionality had decreed that he should marry, and whom--because of these conventionalities--he had secretly but certainly disliked. Her woman's heart had already given her a clear insight into the character and the foibles of the man she loved. His passion for her now, sincere and great though it was, was partly dependent on that atmosphere of romance which his poetical temperament craved for, and which had surrounded the half-mysterious personality of exquisite, irresistible "Fanny." Instinctively she dreaded the rough hand of commonplace, that ugly, coarse destroyer of poetic idylls. A few hastily uttered words might shatter in an hour the mystic shrine wherein Wessex had enthroned her. She had meant to tell him soon, to-morrow perhaps, perhaps only after a few days, but she wished to find her own time for this, when he knew her inner soul better, and the delicate cobwebs of this great love-at-first-sight had fallen away from his eyes. She could not altogether have explained to herself why a sudden disclosure of her identity at this moment would have been peculiarly unpleasant to her. It was a weak, childish feeling no doubt. But such as it was, it was real, and strong, and genuine. Barely a minute had elapsed whilst these quick thoughts and fears went wildly coursing through her mind. There was no time to tell him everything now. The voices came from the next room, within the next few seconds probably the great door would be open to admit a group of people: the Duchess of Lincoln and the ladies mayhap, or the Queen on her way to chapel. And His Grace of Wessex looked terribly determined. "No! no! no!--not just this moment, sweet Grace," she entreated, "by your love! not _just_ this moment. . . . The Queen would be so angry . . . oh! not _just_ now!" She looked so genuinely disturbed, and so tenderly appealing, that he could not help but obey. "But you cannot send me away like this," he urged. "Another word, sweet saint. . . . Faith! I could not live without another kiss. . . ." "No, no, no, I entreat Your Grace . . . not to-night," she protested feebly. He thought, however, that he detected a sign of yielding in her voice, although she was already beginning to mount the steps ready for flight. "Just one tiny word," he whispered hurriedly: "when the Queen has passed through, linger up there for one brief minute only. I'll wait in there!" And he pointed to a small door close behind him, which led to an inner closet at right angles with the gallery. Before she had time to protest--nay! perhaps she had no wish to refuse--he had disappeared behind its heavy panels, quickly calling to his dog to follow him. But in that one moment's hesitation, those few brief and delicious words hastily exchanged, she had lost her opportunity for escape. The next instant the door at the further end of the room was thrown open, and the Queen entered followed by some of her ladies. She was accompanied by the Duchess of Lincoln, and His Eminence the Cardinal de Moreno was on her left. As chance or ill-luck would have it, the first sight which greeted Her Majesty's eyes was the figure of Lady Ursula, midway up the steps which led to the gallery, some mysterious imp of mischief having contrived that the light from the wax tapers should unaccountably and very vividly fall upon the white-clad form of the young girl. An exclamation of stern reproval from Her Grace of Lincoln brought Ursula to a standstill. Flight now was no longer possible; she could but trust in her guardian angel, or in any of those protective genii who have in their keeping the special care of lovers in distress, and who happened to be hovering nigh. It was not seemly to be half-way up a flight of stairs when Her Majesty was standing on the floor below. Ursula, with her cheeks aflame with vexation, slowly descended, whilst encountering as boldly as she could the artillery fire of half a dozen pairs of eyes fixed steadily upon her. Mary Tudor looked coldly severe, Her Grace of Lincoln horror-struck, His Eminence ironical, and the ladies vastly amused. "Ah, child!" said Her Majesty, in her iciest tone of voice, "all alone, and in this part of the Palace?" She looked the dainty young figure disdainfully up and down, then her eye caught the sheaf of roses lying in a fragrant tangle close to the foot of the stairs. There was a quick flash of anger in her face, then a frown. Ursula wondered how much she guessed or what she suspected. But the Queen, after that one quick wave of passionate wrath, made an obvious effort to control herself. She turned composedly to the Duchess of Lincoln. "Your Grace is aware," she said drily, "that I deem it most indecorous for my maids-of-honour to wander about the Palace alone." The wrinkled old face of the kindly Duchess expressed the most heartfelt sorrow. "I crave Your Majesty's humble pardon . . ." she stammered in an agony of misery at this public reproof. "I . . ." "Nay, Duchess, I know the difficulty of your task," rejoined Mary Tudor bitingly, "the other ladies are docile, and their behaviour is maidenly and chaste. 'Tis not always so with the Lady Ursula Glynde." Mary's voice had been so trenchant and hard that it seemed to Ursula's sensitive ears as if its metallic tones must have penetrated to every corner of the Palace. She gave a quick, terrified look towards the door, longing with all her might for the gift to see through its massive panels--to know what went on within that inner closet, where Wessex was waiting

skirt

How many times the word 'skirt' appears in the text?

. I . . ." "Yes?" queried the Duke. "That is the purport of my importunity, my lord," said the young man, springing to his feet and speaking once more in tones of noble candour. "I would have asked Your Grace that, since you do not know the Lady Ursula, since you have no wish to claim her hand, if some one else . . ." "If the Lady Ursula honoured some one else than my unworthy self. . . . Is that your meaning, my lord?" queried Wessex, as Don Miguel had made a slight pause in his impetuous speech. "If I . . ." "You, my lord?" "I would wish to know if I should be offending Your Grace?" "Offending me?" cried Wessex joyfully. "Nay, my lord, why were you so long in telling me this gladsome news? . . . Offending me? . . . you have succeeded in taking a load from my conscience, my dear Marquis. So you love the Lady Ursula Glynde? . . . Ye heavens! what a number of circumlocutions to arrive at this simple little fact! You love her . . . she is very beautiful . . . and she loves you. Where did you first see her, my lord?" "At East Molesey Fair. . . . Your Grace intervened . . . you must remember!" "Most inopportunely, meseems. I must indeed crave your pardon. And since then?" "The acquaintanceship, perhaps somewhat unpleasantly begun, has ripened into . . . friendship." "And thence into love! Nay, you have my heartiest congratulations, my lord. The Glyndes are famous for their virtue, and since the Lady Ursula is beautiful, why! your Court will indeed be graced by such a pattern of English womanhood." "Oh!" said the Spaniard, with a quick gesture of deprecation. "Nay! you must have no fear, my lord. Since you have honoured me by consulting my feelings in the matter, it shall be my pride and my delight to further your cause, and that of the Lady Ursula . . . if indeed she will deign to express her wishes to me. . . . I hereby give you a gentleman's word of honour that I consider the promise, which she made to her father in her childhood, in no way binding upon her now. . . . As for the future, I swear that I will obtain Her Majesty's consent to your immediate marriage." "Nay! I pray you, not so fast!" laughed Don Miguel lightly. "Neither the Lady Ursula nor I have need of Her Majesty's consent. . . ." "But methought----" "'Twas not I who spoke of marriage, remember!" "Then you have completely bewildered me, my lord," rejoined Wessex with a sudden frown. "I understood----" "That I am the proudest of men, certainly," quoth Don Miguel with a sarcastic curl of his sensual lip, "but 'twas Your Grace who spoke of the lady's virtue. I merely wished to know if I should be offending Your Grace if . . ." He laughed and shrugged his shoulders. The laugh grated unpleasantly on Wessex' ear, and the gesture savoured of impertinence. The Marquis' manner had suddenly undergone a change, which caused the Duke's every nerve to tingle. "If what?" he queried curtly. "The devil! sir, cannot you say what you do mean?" "Why should I," replied the Spaniard, "since your Grace has already guessed? You will own that I have acted _en galant homme_, by thinking of your wishes. You will not surely desire to champion that much-vaunted virtue of the Glyndes." "Then what you mean, sir, is that . . ." "I cannot speak more plainly, my lord, for that among gentlemen is quite impossible. But rumours fly about quickly at Court, and I feared that Your Grace might have caught one, ere I had the chance of assuring you that I recognize the priority of your claim. But now you tell me that you have no further interest in the lady, so I am reassured. . . . We foreigners, you know, take passing pleasures more lightly than you serious-minded English . . . and if the lady be unattached . . . and more than willing . . . why should we play the part of Joseph? . . . a ridiculous r le at best, eh, my lord? . . . and one, I think, which Your Grace would ever disdain to play. . . . As for me, I am quite reassured . . . Au revoir to Your Grace. . . ." And before Wessex had time to utter another word, Don Miguel, still laughing, went out of the room. The Duke felt a little bewildered. The conversation had gone through such a sudden transition, that at the time, he had hardly realized whether it touched him deeply or not. Owing to Ursula's girlish little ruse, he was totally unaware of her identity with the lady who had been the subject of this very distasteful discussion. To him Lady Ursula Glynde was both unknown and uninteresting. His meeting with beautiful, exquisite "Fanny" had driven all thoughts of other women from his mind. But with all his volatile disposition, where women were concerned, the Duke of Wessex was nevertheless imbued with a strong and romantic feeling of chivalry towards the entire sex, and Don Miguel's disdainful allusions to the lady who might have been Duchess of Wessex had left his finger-tips itching with the desire to throw his glove in the impudent rascal's face. Harry Plantagenet, who throughout the interview had openly expressed his disapproval of his master's interlocutor, gave an impatient little whine. He longed for the privacy of his own apartments, the warmth of the rugs laid out specially for him. "Harry, old friend!" said Wessex thoughtfully, "what the devil, think you, that young reprobate meant?" He took the dog's beautiful head between his hands and looked straight into the honest, faithful eyes of his dear and constant companion. "Marry!" he continued more lightly, "you may well look doubtful, you wise philosopher, for you know the Glyndes as well as I do. You remember old Lady Annabel, whose very look would stop your tail from wagging, and Charles, stodgy, silent, serious Charles, who never drank, never laughed, had probably never seen a woman's ankle in his life. And then the Lady Ursula . . . a Glynde . . . do you mind me, old Harry? . . . therefore as ugly, as a combination of virtue and Scotch descent can make any woman. . . . Yet, if I caught the rascal's meaning, neither Scotch descent nor ill looks have proved a shield for the lady's virtue! . . . Well, 'tis no business of ours, is it, old Harry? Let us live and let live. . . . Perhaps Lady Ursula is not ugly . . . perchance that unpleasant-looking Spaniard doth truly love her . . . and who are we, Harry, you and I, that we should prove censorious? Let us to our apartments, friend, and meditate on woman's frailty and on our own . . . especially on our own . . . we are mere male creatures, and women are so adorable! even when they bristle with virtues like a hedgehog . . . but like him too, are cushioned beneath those bristles with a hundred charming, fascinating sins. . . . Come along, friend, and let us meditate why sin . . . sin of a certain type, remember, should be so enchantingly tempting." Harry Plantagenet was a philosopher. He had seen his master in this kind of mood before. He wagged his tail as if to express his approval of the broad principles thus submitted for his consideration, but at the same time he showed a distinct desire that his master should talk less and come more speedily to bed. CHAPTER XXII THE WHITE QUEEN Wessex after a while was ready enough to dismiss the unpleasant subject. Perhaps he had no right to be censorious or to resent the Spaniard's somewhat unusual attitude. In England, undoubtedly, a gentleman would never--except under very special circumstances--allude to any passing liaison he might have with a lady of his own rank. That was a strict code of honour which had existed from time immemorial, even in the days of King Harry's youth, when the virtue of high-born women had been but little thought of. Abroad, perhaps, it was different. Spaniards, just then, were noted for the light way in which they regarded the favours of the fair sex, and Don Miguel's code of honour had evidently prompted him to consult Wessex' wishes in the matter of his own intrigue. Loyalty to their own sex is perhaps, on the whole, more general in men than is their chivalry towards women, and perhaps the Marquis' feelings would have revolted at the thought of seeing a lady of such light virtue in the position of Duchess of Wessex. Be that as it may, His Grace had no wish to probe the matter further; with a shrug of the shoulders he dismissed it from his thoughts, whilst registering a vow to chastise the young blackguard if his impertinence showed signs of recurrence. He was on the point of yielding to his faithful Harry's canine appeals by allowing him to lead the way towards his own distant lodgings, when his ear suddenly caught the sound of a silk dress rustling somewhere, not far from where he stood. At the end of the room closest to him, a few steps led up to a gallery, which ran along the wall, finally abutting at a door, which gave access to the Duchess of Lincoln's and other ladies' lodgings. The rustle of a silk skirt seemed to come from there. Perhaps Wessex would not have taken notice of it, except that his every thought was filled with a strange excitement since the rencontre of the afternoon. At times now he felt as if his very senses ached with the longing to see once more that entrancing, girlish figure, dressed all in white and crowned with the halo of her exquisite golden hair, to hear once more the sound of that fresh young voice, that merry, childlike laugh, through which there vibrated the thrill of a newly awakened passion. Since he had met her he was conscious of a wonderful change in himself. He did not even analyse his feelings: he knew that he loved her now: that, in a sense, he had always loved her, for his poetic and romantic temperament had ever been in search of that perfect type of womanhood, which she seemed so completely to embody in herself. He had only spoken to her for about half an hour, then had sat opposite to her in a boat among the reeds, in the cool of the afternoon, with the lazy river gently rocking the light skiff, and the water birds for sole witnesses of his happiness. They had hardly exchanged a word then, for he had enjoyed the delight--dear to every man who loves--of watching the blushes come and go upon her cheek in response to his ardent gaze. What did words matter? the music in their souls supplied all that they wished to say. And he--who had been deemed so fickle, who had made of love a pastime, taking what joys women would give him with a grateful yet transient smile, His Grace of Wessex, in fact, who had loved so often yet so inconstantly--knew now that the stern little god, who will not for long brook defiance of his laws, had wounded him for life or death at last. And even now, when he heard the rustle of a kirtle, he paused instinctively, vaguely, madly hoping that chance, and the great wild longing which was in him, had indeed drawn her footsteps hither. The door above, at the end of the gallery, was tentatively opened. Wessex could see nothing, for those distant corners of the room were in complete darkness, but he heard a voice, low and sweet, humming the little ditty which she, his queen, had sung this afternoon. "Disdaine me not that am your own, Refuse me not that am so true, Mistrust me not till all be knowen, Forsake me not now for no new." She walked slowly along the gallery, and paused not far from the top of the short flight of oak steps. She seemed to be hesitating a little, as if afraid to venture farther into the large, dimly lighted hall. The flicker of the tall wax tapers now caught her dainty figure, casting golden lights and deep, ruddy shadows on her fair young face and on the whiteness of her gown. In her arms she held an enormous sheaf of pale pink monthly roses, the spoils of the garden, lavish in its autumnal glory. Never had Wessex--fastidious, fickle, insouciant Wessex--seen anything more radiant, more exquisite, more poetic than this apparition which came towards him like the realization of all his maddest dreams. For one moment more he lingered, his ardent, passionate soul was loath to give up these heaven-born seconds spent in looking at her. Her eyes shone darkly in the gleam of the candle light and had wondrous reflections in them, which looked ruddy and hot; her delicately chiselled features were suffused with a strange glow, which seemed to come from within; and her lips were slightly parted, moist and red like some ripe summer fruit. From her whole person there came an exhalation of youth and womanhood, of purity and soul-stirring passion. "Come down, sweet singer," said Wessex to her at last. She gave a startled little cry, leant over the balustrade, and the sheaf of flowers dropped from her arms, falling in a long cascade of leaves and blossoms, rose-coloured and sweet-scented, at his feet. "Ah, Your Grace frightened me!" she whispered, with just a touch of feminine coquetry. "I . . . I . . . didn't know you were here." "I swear you did not, sweet saint . . . but now . . . as I am here . . . come down quickly ere I perish with longing for a nearer sight of your dear eyes." "But my flowers," she said, with a sudden access of timidity, brought forth by the thrilling ardour of his voice. "I had picked them for Her Majesty's oratory." "Nay! let them all wither save one . . . which I will take from your hand. Come down. . . ." One of the roses had remained fixed in the stiff fold of her panier. She took it between her fingers and sighed. "Oh! I dare not," she said sadly. "Your Grace does not know,--cannot guess, what dire disgrace would befall me if I did." "Perish the thought of disgrace," rejoined Wessex gaily. "Marry! the saints in Paradise must come down from heaven sometimes, else the world would be consumed by its own wickedness. Come down," he added more earnestly, seized with a mad, ungovernable desire to clasp her to his heart, "come down, or I swear that I'll bring you down in my arms." "No . . . no . . . no!" she protested, alarmed at his vehemence. "I'll come down." With a quaintly mischievous gesture she flung the rose at him; it hit him in the face, then fell; he had perforce to stoop in order to pick it up. When he once more straightened his tall figure she was standing quite close to him. There she was, just as he had always thought of her, even as a boy when first he began to dream. She, the perfect woman whom one day he would meet, and on that day would love wholly, passionately, humbly, and proudly, his own and yet his queen; she the most perfect product of Nature, with just that tone of gold in her hair, just those eyes, so inscrutable, so full of colour, so infinite in their variety; not very tall, but graceful and slender, with her dainty head on a level with his shoulder, her fair young forehead on a level with his lips. Now that she was so near, he was as if turned to stone. The wild longing was still in him to clasp her in his arms, to hold her closely, tenderly to his heart, yet he would not have touched her for a kingdom. But as he looked at her he knew that she, herself, would come to him in all her purity, her innocence . . . soon . . . to-day perhaps . . . but certainly one day . . . and that she would come with every fibre in her entire being vibrating in responsive passion to him. She looked up at him shyly, tentatively. His very soul went out to her as he returned her gaze. A great and glorious exultation thrilled every fibre of her being. She knew that she had conquered, that the love which in her girlish heart she had kept for him had borne fruit a thousandfold. Her heart seemed to stop beating at the immensity of her happiness. But woman-like, she was more self-possessed than he was. "I must not stay," she said gravely and with only an imperceptible quiver in her voice. "I am in disgrace, you know . . . for that stroll on the river . . . with you . . . this afternoon." "Why? what happened?" he asked with a smile. She held up her little hand and counted on her fingers. "Number one, a frown and a colder shoulder from Her Majesty! Two, a lecture from Her Grace of Lincoln! Twenty minutes! Three, four, and five, pin-pricks from the ladies and a lonely supper in my room to-night." He loved her in this gayer mood which made her seem so young and childlike. "Could you not have contrived to let me know?" "Why? . . . What would you have done?" "Made it less lonely for you." "You are doing that now. I thought I should be alone the rest of the evening. Her Grace of Lincoln and the others are at prayers with Her Majesty. I was confined to that room up there. How is it Your Grace happened to be in this hall just when I came out?" "A moth is always to be found where the light happens to be," he replied gravely. "But how did you know I should be here?" "My eyes, since this afternoon, see you constantly where you are not--how could they fail to see you where you are?" "Then, as Your Grace has seen me . . ." she added with timid nervousness, seeing that he now stood between her and the steps, "will you allow me to go up again?" "No." "I entreat!" she pleaded. "Impossible." "Her Grace of Lincoln will be looking for me." "Then stay here with me until she does." "What to do?" she queried innocently. "To make me happy." "Happy?" she laughed merrily. "Ho! ho! ho! How can I, a humble waiting-maid, manage to make His Grace of Wessex happy?" "By letting me look at you." With quaint and artless coquetry she picked up the folds of her heavy brocaded paniers, right and left, with two delicate fingers, and executed a dainty pirouette in front of him. "There!" she said merrily, "'tis done. . . . And now?" "By letting me whisper to you . . ." he murmured. She drew back quickly, and said with mock severity-- "That which I must not hear." "Why not?" "Because Your Grace is not free," she rejoined archly. "Not free to whisper anything in any woman's ear, save in that of Lady Ursula Glynde." "Then you guessed what I would have whispered to you?" "Perhaps." "What was it?" She veiled the glory of her eyes with their fringe of dark lashes. "That you loved me . . ." she murmured, "for the moment. . . ." How irresistible she was, with just that soup on of coquetry to whet the desire of this fastidious man of the world, and with it all so free from artifice, so young and fresh and pure:--a madonna, yet made to tempt mankind. "Nay! if you would let me, sweet saint, I would whisper in your tiny ear that I worship you!" he said in all sincerity and truth, and with the ring of an ardent passion in every tone of his voice. "Worship me? . . ." she queried in mock astonishment, "and Your Grace does not even know who I am." "Faith! but I do. You are the most beautiful woman on this earth." "Oh! . . . but my name! . . ." "Nay! as to that I care not . . . You shall tell it me anon, if you like. . . . For the moment I love to think of you as I first beheld you in the garden this afternoon--a fairy or sprite . . . I know not which . . . an angel mayhap . . . in your robes of white, surrounded with flowers and dark bosquets of hazelnut and of yew, with golden tints of ruddy autumn around you, less glorious than your hair. Let me worship blindly . . . fettered . . . your slave." She sighed, a quaint little sigh, which had a tinge of melancholy in it. "For how long?" she murmured. "For my whole life," he replied earnestly. "Will you not try me?" "How?" "You love me, sweet saint?" "I . . ." she began shyly. "Let me look into your eyes. . . . I will find my answer." Her arms dropped by her side, she looked up and met his eyes, ardent, burning with passion, fixed longingly upon her. He came close to her, quite close, his presence thrilled her; she closed her eyes in order to shut out from her innermost soul everything from the outside world, save the exquisite feeling of her newly awakened love. "Now, see how perverse I am," he whispered passionately. "I do not want you to tell me anything just now . . . open your eyes, dear saint . . . for I but want to stand like this . . . and read in their blue depths . . . enjoying every fraction of a second of this heavenly moment. . . ." She tried to speak, but instinctively he stopped her. "No . . . no . . . do not speak. . . . And yet . . . 'tis from your sweet lips I'd have my final answer." He took her in his arms. She lay against him, unresisting, her sweet face turned up to his, soul meeting soul at last in the ecstasy of a first kiss. He held her to his heart. It seemed as if he could never let her go from him again. Everything was forgotten, the world had ceased to be. For him there was but one woman on this earth, and she was his own. CHAPTER XXIII CHECK TO THE QUEEN How long they stood thus, heart to heart, they themselves could never have said. The sound of many voices in the near distance roused them from their dream. Ursula started in alarm. "Holy Virgin!" she exclaimed under her breath, "if it should be the Queen!" But Wessex held her tightly, and she struggled in vain. "Nay! then let the whole Court see that I hold my future wife in my arms," he said proudly. But with an agitated little cry she contrived to escape him. He seemed much amused at her nervousness; what had she to fear? was she not his own, to protect even from the semblance of ill? But Ursula, now fully awakened to ordinary, everyday surroundings, was fearful lest her own innocent little deception should be too crudely, too suddenly unmasked. She had so earnestly looked forward to the moment when she would say to him that she in sooth was none other than Lady Ursula Glynde, the woman whom every conventionality had decreed that he should marry, and whom--because of these conventionalities--he had secretly but certainly disliked. Her woman's heart had already given her a clear insight into the character and the foibles of the man she loved. His passion for her now, sincere and great though it was, was partly dependent on that atmosphere of romance which his poetical temperament craved for, and which had surrounded the half-mysterious personality of exquisite, irresistible "Fanny." Instinctively she dreaded the rough hand of commonplace, that ugly, coarse destroyer of poetic idylls. A few hastily uttered words might shatter in an hour the mystic shrine wherein Wessex had enthroned her. She had meant to tell him soon, to-morrow perhaps, perhaps only after a few days, but she wished to find her own time for this, when he knew her inner soul better, and the delicate cobwebs of this great love-at-first-sight had fallen away from his eyes. She could not altogether have explained to herself why a sudden disclosure of her identity at this moment would have been peculiarly unpleasant to her. It was a weak, childish feeling no doubt. But such as it was, it was real, and strong, and genuine. Barely a minute had elapsed whilst these quick thoughts and fears went wildly coursing through her mind. There was no time to tell him everything now. The voices came from the next room, within the next few seconds probably the great door would be open to admit a group of people: the Duchess of Lincoln and the ladies mayhap, or the Queen on her way to chapel. And His Grace of Wessex looked terribly determined. "No! no! no!--not just this moment, sweet Grace," she entreated, "by your love! not _just_ this moment. . . . The Queen would be so angry . . . oh! not _just_ now!" She looked so genuinely disturbed, and so tenderly appealing, that he could not help but obey. "But you cannot send me away like this," he urged. "Another word, sweet saint. . . . Faith! I could not live without another kiss. . . ." "No, no, no, I entreat Your Grace . . . not to-night," she protested feebly. He thought, however, that he detected a sign of yielding in her voice, although she was already beginning to mount the steps ready for flight. "Just one tiny word," he whispered hurriedly: "when the Queen has passed through, linger up there for one brief minute only. I'll wait in there!" And he pointed to a small door close behind him, which led to an inner closet at right angles with the gallery. Before she had time to protest--nay! perhaps she had no wish to refuse--he had disappeared behind its heavy panels, quickly calling to his dog to follow him. But in that one moment's hesitation, those few brief and delicious words hastily exchanged, she had lost her opportunity for escape. The next instant the door at the further end of the room was thrown open, and the Queen entered followed by some of her ladies. She was accompanied by the Duchess of Lincoln, and His Eminence the Cardinal de Moreno was on her left. As chance or ill-luck would have it, the first sight which greeted Her Majesty's eyes was the figure of Lady Ursula, midway up the steps which led to the gallery, some mysterious imp of mischief having contrived that the light from the wax tapers should unaccountably and very vividly fall upon the white-clad form of the young girl. An exclamation of stern reproval from Her Grace of Lincoln brought Ursula to a standstill. Flight now was no longer possible; she could but trust in her guardian angel, or in any of those protective genii who have in their keeping the special care of lovers in distress, and who happened to be hovering nigh. It was not seemly to be half-way up a flight of stairs when Her Majesty was standing on the floor below. Ursula, with her cheeks aflame with vexation, slowly descended, whilst encountering as boldly as she could the artillery fire of half a dozen pairs of eyes fixed steadily upon her. Mary Tudor looked coldly severe, Her Grace of Lincoln horror-struck, His Eminence ironical, and the ladies vastly amused. "Ah, child!" said Her Majesty, in her iciest tone of voice, "all alone, and in this part of the Palace?" She looked the dainty young figure disdainfully up and down, then her eye caught the sheaf of roses lying in a fragrant tangle close to the foot of the stairs. There was a quick flash of anger in her face, then a frown. Ursula wondered how much she guessed or what she suspected. But the Queen, after that one quick wave of passionate wrath, made an obvious effort to control herself. She turned composedly to the Duchess of Lincoln. "Your Grace is aware," she said drily, "that I deem it most indecorous for my maids-of-honour to wander about the Palace alone." The wrinkled old face of the kindly Duchess expressed the most heartfelt sorrow. "I crave Your Majesty's humble pardon . . ." she stammered in an agony of misery at this public reproof. "I . . ." "Nay, Duchess, I know the difficulty of your task," rejoined Mary Tudor bitingly, "the other ladies are docile, and their behaviour is maidenly and chaste. 'Tis not always so with the Lady Ursula Glynde." Mary's voice had been so trenchant and hard that it seemed to Ursula's sensitive ears as if its metallic tones must have penetrated to every corner of the Palace. She gave a quick, terrified look towards the door, longing with all her might for the gift to see through its massive panels--to know what went on within that inner closet, where Wessex was waiting

quickly

How many times the word 'quickly' appears in the text?

. I . . ." "Yes?" queried the Duke. "That is the purport of my importunity, my lord," said the young man, springing to his feet and speaking once more in tones of noble candour. "I would have asked Your Grace that, since you do not know the Lady Ursula, since you have no wish to claim her hand, if some one else . . ." "If the Lady Ursula honoured some one else than my unworthy self. . . . Is that your meaning, my lord?" queried Wessex, as Don Miguel had made a slight pause in his impetuous speech. "If I . . ." "You, my lord?" "I would wish to know if I should be offending Your Grace?" "Offending me?" cried Wessex joyfully. "Nay, my lord, why were you so long in telling me this gladsome news? . . . Offending me? . . . you have succeeded in taking a load from my conscience, my dear Marquis. So you love the Lady Ursula Glynde? . . . Ye heavens! what a number of circumlocutions to arrive at this simple little fact! You love her . . . she is very beautiful . . . and she loves you. Where did you first see her, my lord?" "At East Molesey Fair. . . . Your Grace intervened . . . you must remember!" "Most inopportunely, meseems. I must indeed crave your pardon. And since then?" "The acquaintanceship, perhaps somewhat unpleasantly begun, has ripened into . . . friendship." "And thence into love! Nay, you have my heartiest congratulations, my lord. The Glyndes are famous for their virtue, and since the Lady Ursula is beautiful, why! your Court will indeed be graced by such a pattern of English womanhood." "Oh!" said the Spaniard, with a quick gesture of deprecation. "Nay! you must have no fear, my lord. Since you have honoured me by consulting my feelings in the matter, it shall be my pride and my delight to further your cause, and that of the Lady Ursula . . . if indeed she will deign to express her wishes to me. . . . I hereby give you a gentleman's word of honour that I consider the promise, which she made to her father in her childhood, in no way binding upon her now. . . . As for the future, I swear that I will obtain Her Majesty's consent to your immediate marriage." "Nay! I pray you, not so fast!" laughed Don Miguel lightly. "Neither the Lady Ursula nor I have need of Her Majesty's consent. . . ." "But methought----" "'Twas not I who spoke of marriage, remember!" "Then you have completely bewildered me, my lord," rejoined Wessex with a sudden frown. "I understood----" "That I am the proudest of men, certainly," quoth Don Miguel with a sarcastic curl of his sensual lip, "but 'twas Your Grace who spoke of the lady's virtue. I merely wished to know if I should be offending Your Grace if . . ." He laughed and shrugged his shoulders. The laugh grated unpleasantly on Wessex' ear, and the gesture savoured of impertinence. The Marquis' manner had suddenly undergone a change, which caused the Duke's every nerve to tingle. "If what?" he queried curtly. "The devil! sir, cannot you say what you do mean?" "Why should I," replied the Spaniard, "since your Grace has already guessed? You will own that I have acted _en galant homme_, by thinking of your wishes. You will not surely desire to champion that much-vaunted virtue of the Glyndes." "Then what you mean, sir, is that . . ." "I cannot speak more plainly, my lord, for that among gentlemen is quite impossible. But rumours fly about quickly at Court, and I feared that Your Grace might have caught one, ere I had the chance of assuring you that I recognize the priority of your claim. But now you tell me that you have no further interest in the lady, so I am reassured. . . . We foreigners, you know, take passing pleasures more lightly than you serious-minded English . . . and if the lady be unattached . . . and more than willing . . . why should we play the part of Joseph? . . . a ridiculous r le at best, eh, my lord? . . . and one, I think, which Your Grace would ever disdain to play. . . . As for me, I am quite reassured . . . Au revoir to Your Grace. . . ." And before Wessex had time to utter another word, Don Miguel, still laughing, went out of the room. The Duke felt a little bewildered. The conversation had gone through such a sudden transition, that at the time, he had hardly realized whether it touched him deeply or not. Owing to Ursula's girlish little ruse, he was totally unaware of her identity with the lady who had been the subject of this very distasteful discussion. To him Lady Ursula Glynde was both unknown and uninteresting. His meeting with beautiful, exquisite "Fanny" had driven all thoughts of other women from his mind. But with all his volatile disposition, where women were concerned, the Duke of Wessex was nevertheless imbued with a strong and romantic feeling of chivalry towards the entire sex, and Don Miguel's disdainful allusions to the lady who might have been Duchess of Wessex had left his finger-tips itching with the desire to throw his glove in the impudent rascal's face. Harry Plantagenet, who throughout the interview had openly expressed his disapproval of his master's interlocutor, gave an impatient little whine. He longed for the privacy of his own apartments, the warmth of the rugs laid out specially for him. "Harry, old friend!" said Wessex thoughtfully, "what the devil, think you, that young reprobate meant?" He took the dog's beautiful head between his hands and looked straight into the honest, faithful eyes of his dear and constant companion. "Marry!" he continued more lightly, "you may well look doubtful, you wise philosopher, for you know the Glyndes as well as I do. You remember old Lady Annabel, whose very look would stop your tail from wagging, and Charles, stodgy, silent, serious Charles, who never drank, never laughed, had probably never seen a woman's ankle in his life. And then the Lady Ursula . . . a Glynde . . . do you mind me, old Harry? . . . therefore as ugly, as a combination of virtue and Scotch descent can make any woman. . . . Yet, if I caught the rascal's meaning, neither Scotch descent nor ill looks have proved a shield for the lady's virtue! . . . Well, 'tis no business of ours, is it, old Harry? Let us live and let live. . . . Perhaps Lady Ursula is not ugly . . . perchance that unpleasant-looking Spaniard doth truly love her . . . and who are we, Harry, you and I, that we should prove censorious? Let us to our apartments, friend, and meditate on woman's frailty and on our own . . . especially on our own . . . we are mere male creatures, and women are so adorable! even when they bristle with virtues like a hedgehog . . . but like him too, are cushioned beneath those bristles with a hundred charming, fascinating sins. . . . Come along, friend, and let us meditate why sin . . . sin of a certain type, remember, should be so enchantingly tempting." Harry Plantagenet was a philosopher. He had seen his master in this kind of mood before. He wagged his tail as if to express his approval of the broad principles thus submitted for his consideration, but at the same time he showed a distinct desire that his master should talk less and come more speedily to bed. CHAPTER XXII THE WHITE QUEEN Wessex after a while was ready enough to dismiss the unpleasant subject. Perhaps he had no right to be censorious or to resent the Spaniard's somewhat unusual attitude. In England, undoubtedly, a gentleman would never--except under very special circumstances--allude to any passing liaison he might have with a lady of his own rank. That was a strict code of honour which had existed from time immemorial, even in the days of King Harry's youth, when the virtue of high-born women had been but little thought of. Abroad, perhaps, it was different. Spaniards, just then, were noted for the light way in which they regarded the favours of the fair sex, and Don Miguel's code of honour had evidently prompted him to consult Wessex' wishes in the matter of his own intrigue. Loyalty to their own sex is perhaps, on the whole, more general in men than is their chivalry towards women, and perhaps the Marquis' feelings would have revolted at the thought of seeing a lady of such light virtue in the position of Duchess of Wessex. Be that as it may, His Grace had no wish to probe the matter further; with a shrug of the shoulders he dismissed it from his thoughts, whilst registering a vow to chastise the young blackguard if his impertinence showed signs of recurrence. He was on the point of yielding to his faithful Harry's canine appeals by allowing him to lead the way towards his own distant lodgings, when his ear suddenly caught the sound of a silk dress rustling somewhere, not far from where he stood. At the end of the room closest to him, a few steps led up to a gallery, which ran along the wall, finally abutting at a door, which gave access to the Duchess of Lincoln's and other ladies' lodgings. The rustle of a silk skirt seemed to come from there. Perhaps Wessex would not have taken notice of it, except that his every thought was filled with a strange excitement since the rencontre of the afternoon. At times now he felt as if his very senses ached with the longing to see once more that entrancing, girlish figure, dressed all in white and crowned with the halo of her exquisite golden hair, to hear once more the sound of that fresh young voice, that merry, childlike laugh, through which there vibrated the thrill of a newly awakened passion. Since he had met her he was conscious of a wonderful change in himself. He did not even analyse his feelings: he knew that he loved her now: that, in a sense, he had always loved her, for his poetic and romantic temperament had ever been in search of that perfect type of womanhood, which she seemed so completely to embody in herself. He had only spoken to her for about half an hour, then had sat opposite to her in a boat among the reeds, in the cool of the afternoon, with the lazy river gently rocking the light skiff, and the water birds for sole witnesses of his happiness. They had hardly exchanged a word then, for he had enjoyed the delight--dear to every man who loves--of watching the blushes come and go upon her cheek in response to his ardent gaze. What did words matter? the music in their souls supplied all that they wished to say. And he--who had been deemed so fickle, who had made of love a pastime, taking what joys women would give him with a grateful yet transient smile, His Grace of Wessex, in fact, who had loved so often yet so inconstantly--knew now that the stern little god, who will not for long brook defiance of his laws, had wounded him for life or death at last. And even now, when he heard the rustle of a kirtle, he paused instinctively, vaguely, madly hoping that chance, and the great wild longing which was in him, had indeed drawn her footsteps hither. The door above, at the end of the gallery, was tentatively opened. Wessex could see nothing, for those distant corners of the room were in complete darkness, but he heard a voice, low and sweet, humming the little ditty which she, his queen, had sung this afternoon. "Disdaine me not that am your own, Refuse me not that am so true, Mistrust me not till all be knowen, Forsake me not now for no new." She walked slowly along the gallery, and paused not far from the top of the short flight of oak steps. She seemed to be hesitating a little, as if afraid to venture farther into the large, dimly lighted hall. The flicker of the tall wax tapers now caught her dainty figure, casting golden lights and deep, ruddy shadows on her fair young face and on the whiteness of her gown. In her arms she held an enormous sheaf of pale pink monthly roses, the spoils of the garden, lavish in its autumnal glory. Never had Wessex--fastidious, fickle, insouciant Wessex--seen anything more radiant, more exquisite, more poetic than this apparition which came towards him like the realization of all his maddest dreams. For one moment more he lingered, his ardent, passionate soul was loath to give up these heaven-born seconds spent in looking at her. Her eyes shone darkly in the gleam of the candle light and had wondrous reflections in them, which looked ruddy and hot; her delicately chiselled features were suffused with a strange glow, which seemed to come from within; and her lips were slightly parted, moist and red like some ripe summer fruit. From her whole person there came an exhalation of youth and womanhood, of purity and soul-stirring passion. "Come down, sweet singer," said Wessex to her at last. She gave a startled little cry, leant over the balustrade, and the sheaf of flowers dropped from her arms, falling in a long cascade of leaves and blossoms, rose-coloured and sweet-scented, at his feet. "Ah, Your Grace frightened me!" she whispered, with just a touch of feminine coquetry. "I . . . I . . . didn't know you were here." "I swear you did not, sweet saint . . . but now . . . as I am here . . . come down quickly ere I perish with longing for a nearer sight of your dear eyes." "But my flowers," she said, with a sudden access of timidity, brought forth by the thrilling ardour of his voice. "I had picked them for Her Majesty's oratory." "Nay! let them all wither save one . . . which I will take from your hand. Come down. . . ." One of the roses had remained fixed in the stiff fold of her panier. She took it between her fingers and sighed. "Oh! I dare not," she said sadly. "Your Grace does not know,--cannot guess, what dire disgrace would befall me if I did." "Perish the thought of disgrace," rejoined Wessex gaily. "Marry! the saints in Paradise must come down from heaven sometimes, else the world would be consumed by its own wickedness. Come down," he added more earnestly, seized with a mad, ungovernable desire to clasp her to his heart, "come down, or I swear that I'll bring you down in my arms." "No . . . no . . . no!" she protested, alarmed at his vehemence. "I'll come down." With a quaintly mischievous gesture she flung the rose at him; it hit him in the face, then fell; he had perforce to stoop in order to pick it up. When he once more straightened his tall figure she was standing quite close to him. There she was, just as he had always thought of her, even as a boy when first he began to dream. She, the perfect woman whom one day he would meet, and on that day would love wholly, passionately, humbly, and proudly, his own and yet his queen; she the most perfect product of Nature, with just that tone of gold in her hair, just those eyes, so inscrutable, so full of colour, so infinite in their variety; not very tall, but graceful and slender, with her dainty head on a level with his shoulder, her fair young forehead on a level with his lips. Now that she was so near, he was as if turned to stone. The wild longing was still in him to clasp her in his arms, to hold her closely, tenderly to his heart, yet he would not have touched her for a kingdom. But as he looked at her he knew that she, herself, would come to him in all her purity, her innocence . . . soon . . . to-day perhaps . . . but certainly one day . . . and that she would come with every fibre in her entire being vibrating in responsive passion to him. She looked up at him shyly, tentatively. His very soul went out to her as he returned her gaze. A great and glorious exultation thrilled every fibre of her being. She knew that she had conquered, that the love which in her girlish heart she had kept for him had borne fruit a thousandfold. Her heart seemed to stop beating at the immensity of her happiness. But woman-like, she was more self-possessed than he was. "I must not stay," she said gravely and with only an imperceptible quiver in her voice. "I am in disgrace, you know . . . for that stroll on the river . . . with you . . . this afternoon." "Why? what happened?" he asked with a smile. She held up her little hand and counted on her fingers. "Number one, a frown and a colder shoulder from Her Majesty! Two, a lecture from Her Grace of Lincoln! Twenty minutes! Three, four, and five, pin-pricks from the ladies and a lonely supper in my room to-night." He loved her in this gayer mood which made her seem so young and childlike. "Could you not have contrived to let me know?" "Why? . . . What would you have done?" "Made it less lonely for you." "You are doing that now. I thought I should be alone the rest of the evening. Her Grace of Lincoln and the others are at prayers with Her Majesty. I was confined to that room up there. How is it Your Grace happened to be in this hall just when I came out?" "A moth is always to be found where the light happens to be," he replied gravely. "But how did you know I should be here?" "My eyes, since this afternoon, see you constantly where you are not--how could they fail to see you where you are?" "Then, as Your Grace has seen me . . ." she added with timid nervousness, seeing that he now stood between her and the steps, "will you allow me to go up again?" "No." "I entreat!" she pleaded. "Impossible." "Her Grace of Lincoln will be looking for me." "Then stay here with me until she does." "What to do?" she queried innocently. "To make me happy." "Happy?" she laughed merrily. "Ho! ho! ho! How can I, a humble waiting-maid, manage to make His Grace of Wessex happy?" "By letting me look at you." With quaint and artless coquetry she picked up the folds of her heavy brocaded paniers, right and left, with two delicate fingers, and executed a dainty pirouette in front of him. "There!" she said merrily, "'tis done. . . . And now?" "By letting me whisper to you . . ." he murmured. She drew back quickly, and said with mock severity-- "That which I must not hear." "Why not?" "Because Your Grace is not free," she rejoined archly. "Not free to whisper anything in any woman's ear, save in that of Lady Ursula Glynde." "Then you guessed what I would have whispered to you?" "Perhaps." "What was it?" She veiled the glory of her eyes with their fringe of dark lashes. "That you loved me . . ." she murmured, "for the moment. . . ." How irresistible she was, with just that soup on of coquetry to whet the desire of this fastidious man of the world, and with it all so free from artifice, so young and fresh and pure:--a madonna, yet made to tempt mankind. "Nay! if you would let me, sweet saint, I would whisper in your tiny ear that I worship you!" he said in all sincerity and truth, and with the ring of an ardent passion in every tone of his voice. "Worship me? . . ." she queried in mock astonishment, "and Your Grace does not even know who I am." "Faith! but I do. You are the most beautiful woman on this earth." "Oh! . . . but my name! . . ." "Nay! as to that I care not . . . You shall tell it me anon, if you like. . . . For the moment I love to think of you as I first beheld you in the garden this afternoon--a fairy or sprite . . . I know not which . . . an angel mayhap . . . in your robes of white, surrounded with flowers and dark bosquets of hazelnut and of yew, with golden tints of ruddy autumn around you, less glorious than your hair. Let me worship blindly . . . fettered . . . your slave." She sighed, a quaint little sigh, which had a tinge of melancholy in it. "For how long?" she murmured. "For my whole life," he replied earnestly. "Will you not try me?" "How?" "You love me, sweet saint?" "I . . ." she began shyly. "Let me look into your eyes. . . . I will find my answer." Her arms dropped by her side, she looked up and met his eyes, ardent, burning with passion, fixed longingly upon her. He came close to her, quite close, his presence thrilled her; she closed her eyes in order to shut out from her innermost soul everything from the outside world, save the exquisite feeling of her newly awakened love. "Now, see how perverse I am," he whispered passionately. "I do not want you to tell me anything just now . . . open your eyes, dear saint . . . for I but want to stand like this . . . and read in their blue depths . . . enjoying every fraction of a second of this heavenly moment. . . ." She tried to speak, but instinctively he stopped her. "No . . . no . . . do not speak. . . . And yet . . . 'tis from your sweet lips I'd have my final answer." He took her in his arms. She lay against him, unresisting, her sweet face turned up to his, soul meeting soul at last in the ecstasy of a first kiss. He held her to his heart. It seemed as if he could never let her go from him again. Everything was forgotten, the world had ceased to be. For him there was but one woman on this earth, and she was his own. CHAPTER XXIII CHECK TO THE QUEEN How long they stood thus, heart to heart, they themselves could never have said. The sound of many voices in the near distance roused them from their dream. Ursula started in alarm. "Holy Virgin!" she exclaimed under her breath, "if it should be the Queen!" But Wessex held her tightly, and she struggled in vain. "Nay! then let the whole Court see that I hold my future wife in my arms," he said proudly. But with an agitated little cry she contrived to escape him. He seemed much amused at her nervousness; what had she to fear? was she not his own, to protect even from the semblance of ill? But Ursula, now fully awakened to ordinary, everyday surroundings, was fearful lest her own innocent little deception should be too crudely, too suddenly unmasked. She had so earnestly looked forward to the moment when she would say to him that she in sooth was none other than Lady Ursula Glynde, the woman whom every conventionality had decreed that he should marry, and whom--because of these conventionalities--he had secretly but certainly disliked. Her woman's heart had already given her a clear insight into the character and the foibles of the man she loved. His passion for her now, sincere and great though it was, was partly dependent on that atmosphere of romance which his poetical temperament craved for, and which had surrounded the half-mysterious personality of exquisite, irresistible "Fanny." Instinctively she dreaded the rough hand of commonplace, that ugly, coarse destroyer of poetic idylls. A few hastily uttered words might shatter in an hour the mystic shrine wherein Wessex had enthroned her. She had meant to tell him soon, to-morrow perhaps, perhaps only after a few days, but she wished to find her own time for this, when he knew her inner soul better, and the delicate cobwebs of this great love-at-first-sight had fallen away from his eyes. She could not altogether have explained to herself why a sudden disclosure of her identity at this moment would have been peculiarly unpleasant to her. It was a weak, childish feeling no doubt. But such as it was, it was real, and strong, and genuine. Barely a minute had elapsed whilst these quick thoughts and fears went wildly coursing through her mind. There was no time to tell him everything now. The voices came from the next room, within the next few seconds probably the great door would be open to admit a group of people: the Duchess of Lincoln and the ladies mayhap, or the Queen on her way to chapel. And His Grace of Wessex looked terribly determined. "No! no! no!--not just this moment, sweet Grace," she entreated, "by your love! not _just_ this moment. . . . The Queen would be so angry . . . oh! not _just_ now!" She looked so genuinely disturbed, and so tenderly appealing, that he could not help but obey. "But you cannot send me away like this," he urged. "Another word, sweet saint. . . . Faith! I could not live without another kiss. . . ." "No, no, no, I entreat Your Grace . . . not to-night," she protested feebly. He thought, however, that he detected a sign of yielding in her voice, although she was already beginning to mount the steps ready for flight. "Just one tiny word," he whispered hurriedly: "when the Queen has passed through, linger up there for one brief minute only. I'll wait in there!" And he pointed to a small door close behind him, which led to an inner closet at right angles with the gallery. Before she had time to protest--nay! perhaps she had no wish to refuse--he had disappeared behind its heavy panels, quickly calling to his dog to follow him. But in that one moment's hesitation, those few brief and delicious words hastily exchanged, she had lost her opportunity for escape. The next instant the door at the further end of the room was thrown open, and the Queen entered followed by some of her ladies. She was accompanied by the Duchess of Lincoln, and His Eminence the Cardinal de Moreno was on her left. As chance or ill-luck would have it, the first sight which greeted Her Majesty's eyes was the figure of Lady Ursula, midway up the steps which led to the gallery, some mysterious imp of mischief having contrived that the light from the wax tapers should unaccountably and very vividly fall upon the white-clad form of the young girl. An exclamation of stern reproval from Her Grace of Lincoln brought Ursula to a standstill. Flight now was no longer possible; she could but trust in her guardian angel, or in any of those protective genii who have in their keeping the special care of lovers in distress, and who happened to be hovering nigh. It was not seemly to be half-way up a flight of stairs when Her Majesty was standing on the floor below. Ursula, with her cheeks aflame with vexation, slowly descended, whilst encountering as boldly as she could the artillery fire of half a dozen pairs of eyes fixed steadily upon her. Mary Tudor looked coldly severe, Her Grace of Lincoln horror-struck, His Eminence ironical, and the ladies vastly amused. "Ah, child!" said Her Majesty, in her iciest tone of voice, "all alone, and in this part of the Palace?" She looked the dainty young figure disdainfully up and down, then her eye caught the sheaf of roses lying in a fragrant tangle close to the foot of the stairs. There was a quick flash of anger in her face, then a frown. Ursula wondered how much she guessed or what she suspected. But the Queen, after that one quick wave of passionate wrath, made an obvious effort to control herself. She turned composedly to the Duchess of Lincoln. "Your Grace is aware," she said drily, "that I deem it most indecorous for my maids-of-honour to wander about the Palace alone." The wrinkled old face of the kindly Duchess expressed the most heartfelt sorrow. "I crave Your Majesty's humble pardon . . ." she stammered in an agony of misery at this public reproof. "I . . ." "Nay, Duchess, I know the difficulty of your task," rejoined Mary Tudor bitingly, "the other ladies are docile, and their behaviour is maidenly and chaste. 'Tis not always so with the Lady Ursula Glynde." Mary's voice had been so trenchant and hard that it seemed to Ursula's sensitive ears as if its metallic tones must have penetrated to every corner of the Palace. She gave a quick, terrified look towards the door, longing with all her might for the gift to see through its massive panels--to know what went on within that inner closet, where Wessex was waiting

dropped

How many times the word 'dropped' appears in the text?

. I . . ." "Yes?" queried the Duke. "That is the purport of my importunity, my lord," said the young man, springing to his feet and speaking once more in tones of noble candour. "I would have asked Your Grace that, since you do not know the Lady Ursula, since you have no wish to claim her hand, if some one else . . ." "If the Lady Ursula honoured some one else than my unworthy self. . . . Is that your meaning, my lord?" queried Wessex, as Don Miguel had made a slight pause in his impetuous speech. "If I . . ." "You, my lord?" "I would wish to know if I should be offending Your Grace?" "Offending me?" cried Wessex joyfully. "Nay, my lord, why were you so long in telling me this gladsome news? . . . Offending me? . . . you have succeeded in taking a load from my conscience, my dear Marquis. So you love the Lady Ursula Glynde? . . . Ye heavens! what a number of circumlocutions to arrive at this simple little fact! You love her . . . she is very beautiful . . . and she loves you. Where did you first see her, my lord?" "At East Molesey Fair. . . . Your Grace intervened . . . you must remember!" "Most inopportunely, meseems. I must indeed crave your pardon. And since then?" "The acquaintanceship, perhaps somewhat unpleasantly begun, has ripened into . . . friendship." "And thence into love! Nay, you have my heartiest congratulations, my lord. The Glyndes are famous for their virtue, and since the Lady Ursula is beautiful, why! your Court will indeed be graced by such a pattern of English womanhood." "Oh!" said the Spaniard, with a quick gesture of deprecation. "Nay! you must have no fear, my lord. Since you have honoured me by consulting my feelings in the matter, it shall be my pride and my delight to further your cause, and that of the Lady Ursula . . . if indeed she will deign to express her wishes to me. . . . I hereby give you a gentleman's word of honour that I consider the promise, which she made to her father in her childhood, in no way binding upon her now. . . . As for the future, I swear that I will obtain Her Majesty's consent to your immediate marriage." "Nay! I pray you, not so fast!" laughed Don Miguel lightly. "Neither the Lady Ursula nor I have need of Her Majesty's consent. . . ." "But methought----" "'Twas not I who spoke of marriage, remember!" "Then you have completely bewildered me, my lord," rejoined Wessex with a sudden frown. "I understood----" "That I am the proudest of men, certainly," quoth Don Miguel with a sarcastic curl of his sensual lip, "but 'twas Your Grace who spoke of the lady's virtue. I merely wished to know if I should be offending Your Grace if . . ." He laughed and shrugged his shoulders. The laugh grated unpleasantly on Wessex' ear, and the gesture savoured of impertinence. The Marquis' manner had suddenly undergone a change, which caused the Duke's every nerve to tingle. "If what?" he queried curtly. "The devil! sir, cannot you say what you do mean?" "Why should I," replied the Spaniard, "since your Grace has already guessed? You will own that I have acted _en galant homme_, by thinking of your wishes. You will not surely desire to champion that much-vaunted virtue of the Glyndes." "Then what you mean, sir, is that . . ." "I cannot speak more plainly, my lord, for that among gentlemen is quite impossible. But rumours fly about quickly at Court, and I feared that Your Grace might have caught one, ere I had the chance of assuring you that I recognize the priority of your claim. But now you tell me that you have no further interest in the lady, so I am reassured. . . . We foreigners, you know, take passing pleasures more lightly than you serious-minded English . . . and if the lady be unattached . . . and more than willing . . . why should we play the part of Joseph? . . . a ridiculous r le at best, eh, my lord? . . . and one, I think, which Your Grace would ever disdain to play. . . . As for me, I am quite reassured . . . Au revoir to Your Grace. . . ." And before Wessex had time to utter another word, Don Miguel, still laughing, went out of the room. The Duke felt a little bewildered. The conversation had gone through such a sudden transition, that at the time, he had hardly realized whether it touched him deeply or not. Owing to Ursula's girlish little ruse, he was totally unaware of her identity with the lady who had been the subject of this very distasteful discussion. To him Lady Ursula Glynde was both unknown and uninteresting. His meeting with beautiful, exquisite "Fanny" had driven all thoughts of other women from his mind. But with all his volatile disposition, where women were concerned, the Duke of Wessex was nevertheless imbued with a strong and romantic feeling of chivalry towards the entire sex, and Don Miguel's disdainful allusions to the lady who might have been Duchess of Wessex had left his finger-tips itching with the desire to throw his glove in the impudent rascal's face. Harry Plantagenet, who throughout the interview had openly expressed his disapproval of his master's interlocutor, gave an impatient little whine. He longed for the privacy of his own apartments, the warmth of the rugs laid out specially for him. "Harry, old friend!" said Wessex thoughtfully, "what the devil, think you, that young reprobate meant?" He took the dog's beautiful head between his hands and looked straight into the honest, faithful eyes of his dear and constant companion. "Marry!" he continued more lightly, "you may well look doubtful, you wise philosopher, for you know the Glyndes as well as I do. You remember old Lady Annabel, whose very look would stop your tail from wagging, and Charles, stodgy, silent, serious Charles, who never drank, never laughed, had probably never seen a woman's ankle in his life. And then the Lady Ursula . . . a Glynde . . . do you mind me, old Harry? . . . therefore as ugly, as a combination of virtue and Scotch descent can make any woman. . . . Yet, if I caught the rascal's meaning, neither Scotch descent nor ill looks have proved a shield for the lady's virtue! . . . Well, 'tis no business of ours, is it, old Harry? Let us live and let live. . . . Perhaps Lady Ursula is not ugly . . . perchance that unpleasant-looking Spaniard doth truly love her . . . and who are we, Harry, you and I, that we should prove censorious? Let us to our apartments, friend, and meditate on woman's frailty and on our own . . . especially on our own . . . we are mere male creatures, and women are so adorable! even when they bristle with virtues like a hedgehog . . . but like him too, are cushioned beneath those bristles with a hundred charming, fascinating sins. . . . Come along, friend, and let us meditate why sin . . . sin of a certain type, remember, should be so enchantingly tempting." Harry Plantagenet was a philosopher. He had seen his master in this kind of mood before. He wagged his tail as if to express his approval of the broad principles thus submitted for his consideration, but at the same time he showed a distinct desire that his master should talk less and come more speedily to bed. CHAPTER XXII THE WHITE QUEEN Wessex after a while was ready enough to dismiss the unpleasant subject. Perhaps he had no right to be censorious or to resent the Spaniard's somewhat unusual attitude. In England, undoubtedly, a gentleman would never--except under very special circumstances--allude to any passing liaison he might have with a lady of his own rank. That was a strict code of honour which had existed from time immemorial, even in the days of King Harry's youth, when the virtue of high-born women had been but little thought of. Abroad, perhaps, it was different. Spaniards, just then, were noted for the light way in which they regarded the favours of the fair sex, and Don Miguel's code of honour had evidently prompted him to consult Wessex' wishes in the matter of his own intrigue. Loyalty to their own sex is perhaps, on the whole, more general in men than is their chivalry towards women, and perhaps the Marquis' feelings would have revolted at the thought of seeing a lady of such light virtue in the position of Duchess of Wessex. Be that as it may, His Grace had no wish to probe the matter further; with a shrug of the shoulders he dismissed it from his thoughts, whilst registering a vow to chastise the young blackguard if his impertinence showed signs of recurrence. He was on the point of yielding to his faithful Harry's canine appeals by allowing him to lead the way towards his own distant lodgings, when his ear suddenly caught the sound of a silk dress rustling somewhere, not far from where he stood. At the end of the room closest to him, a few steps led up to a gallery, which ran along the wall, finally abutting at a door, which gave access to the Duchess of Lincoln's and other ladies' lodgings. The rustle of a silk skirt seemed to come from there. Perhaps Wessex would not have taken notice of it, except that his every thought was filled with a strange excitement since the rencontre of the afternoon. At times now he felt as if his very senses ached with the longing to see once more that entrancing, girlish figure, dressed all in white and crowned with the halo of her exquisite golden hair, to hear once more the sound of that fresh young voice, that merry, childlike laugh, through which there vibrated the thrill of a newly awakened passion. Since he had met her he was conscious of a wonderful change in himself. He did not even analyse his feelings: he knew that he loved her now: that, in a sense, he had always loved her, for his poetic and romantic temperament had ever been in search of that perfect type of womanhood, which she seemed so completely to embody in herself. He had only spoken to her for about half an hour, then had sat opposite to her in a boat among the reeds, in the cool of the afternoon, with the lazy river gently rocking the light skiff, and the water birds for sole witnesses of his happiness. They had hardly exchanged a word then, for he had enjoyed the delight--dear to every man who loves--of watching the blushes come and go upon her cheek in response to his ardent gaze. What did words matter? the music in their souls supplied all that they wished to say. And he--who had been deemed so fickle, who had made of love a pastime, taking what joys women would give him with a grateful yet transient smile, His Grace of Wessex, in fact, who had loved so often yet so inconstantly--knew now that the stern little god, who will not for long brook defiance of his laws, had wounded him for life or death at last. And even now, when he heard the rustle of a kirtle, he paused instinctively, vaguely, madly hoping that chance, and the great wild longing which was in him, had indeed drawn her footsteps hither. The door above, at the end of the gallery, was tentatively opened. Wessex could see nothing, for those distant corners of the room were in complete darkness, but he heard a voice, low and sweet, humming the little ditty which she, his queen, had sung this afternoon. "Disdaine me not that am your own, Refuse me not that am so true, Mistrust me not till all be knowen, Forsake me not now for no new." She walked slowly along the gallery, and paused not far from the top of the short flight of oak steps. She seemed to be hesitating a little, as if afraid to venture farther into the large, dimly lighted hall. The flicker of the tall wax tapers now caught her dainty figure, casting golden lights and deep, ruddy shadows on her fair young face and on the whiteness of her gown. In her arms she held an enormous sheaf of pale pink monthly roses, the spoils of the garden, lavish in its autumnal glory. Never had Wessex--fastidious, fickle, insouciant Wessex--seen anything more radiant, more exquisite, more poetic than this apparition which came towards him like the realization of all his maddest dreams. For one moment more he lingered, his ardent, passionate soul was loath to give up these heaven-born seconds spent in looking at her. Her eyes shone darkly in the gleam of the candle light and had wondrous reflections in them, which looked ruddy and hot; her delicately chiselled features were suffused with a strange glow, which seemed to come from within; and her lips were slightly parted, moist and red like some ripe summer fruit. From her whole person there came an exhalation of youth and womanhood, of purity and soul-stirring passion. "Come down, sweet singer," said Wessex to her at last. She gave a startled little cry, leant over the balustrade, and the sheaf of flowers dropped from her arms, falling in a long cascade of leaves and blossoms, rose-coloured and sweet-scented, at his feet. "Ah, Your Grace frightened me!" she whispered, with just a touch of feminine coquetry. "I . . . I . . . didn't know you were here." "I swear you did not, sweet saint . . . but now . . . as I am here . . . come down quickly ere I perish with longing for a nearer sight of your dear eyes." "But my flowers," she said, with a sudden access of timidity, brought forth by the thrilling ardour of his voice. "I had picked them for Her Majesty's oratory." "Nay! let them all wither save one . . . which I will take from your hand. Come down. . . ." One of the roses had remained fixed in the stiff fold of her panier. She took it between her fingers and sighed. "Oh! I dare not," she said sadly. "Your Grace does not know,--cannot guess, what dire disgrace would befall me if I did." "Perish the thought of disgrace," rejoined Wessex gaily. "Marry! the saints in Paradise must come down from heaven sometimes, else the world would be consumed by its own wickedness. Come down," he added more earnestly, seized with a mad, ungovernable desire to clasp her to his heart, "come down, or I swear that I'll bring you down in my arms." "No . . . no . . . no!" she protested, alarmed at his vehemence. "I'll come down." With a quaintly mischievous gesture she flung the rose at him; it hit him in the face, then fell; he had perforce to stoop in order to pick it up. When he once more straightened his tall figure she was standing quite close to him. There she was, just as he had always thought of her, even as a boy when first he began to dream. She, the perfect woman whom one day he would meet, and on that day would love wholly, passionately, humbly, and proudly, his own and yet his queen; she the most perfect product of Nature, with just that tone of gold in her hair, just those eyes, so inscrutable, so full of colour, so infinite in their variety; not very tall, but graceful and slender, with her dainty head on a level with his shoulder, her fair young forehead on a level with his lips. Now that she was so near, he was as if turned to stone. The wild longing was still in him to clasp her in his arms, to hold her closely, tenderly to his heart, yet he would not have touched her for a kingdom. But as he looked at her he knew that she, herself, would come to him in all her purity, her innocence . . . soon . . . to-day perhaps . . . but certainly one day . . . and that she would come with every fibre in her entire being vibrating in responsive passion to him. She looked up at him shyly, tentatively. His very soul went out to her as he returned her gaze. A great and glorious exultation thrilled every fibre of her being. She knew that she had conquered, that the love which in her girlish heart she had kept for him had borne fruit a thousandfold. Her heart seemed to stop beating at the immensity of her happiness. But woman-like, she was more self-possessed than he was. "I must not stay," she said gravely and with only an imperceptible quiver in her voice. "I am in disgrace, you know . . . for that stroll on the river . . . with you . . . this afternoon." "Why? what happened?" he asked with a smile. She held up her little hand and counted on her fingers. "Number one, a frown and a colder shoulder from Her Majesty! Two, a lecture from Her Grace of Lincoln! Twenty minutes! Three, four, and five, pin-pricks from the ladies and a lonely supper in my room to-night." He loved her in this gayer mood which made her seem so young and childlike. "Could you not have contrived to let me know?" "Why? . . . What would you have done?" "Made it less lonely for you." "You are doing that now. I thought I should be alone the rest of the evening. Her Grace of Lincoln and the others are at prayers with Her Majesty. I was confined to that room up there. How is it Your Grace happened to be in this hall just when I came out?" "A moth is always to be found where the light happens to be," he replied gravely. "But how did you know I should be here?" "My eyes, since this afternoon, see you constantly where you are not--how could they fail to see you where you are?" "Then, as Your Grace has seen me . . ." she added with timid nervousness, seeing that he now stood between her and the steps, "will you allow me to go up again?" "No." "I entreat!" she pleaded. "Impossible." "Her Grace of Lincoln will be looking for me." "Then stay here with me until she does." "What to do?" she queried innocently. "To make me happy." "Happy?" she laughed merrily. "Ho! ho! ho! How can I, a humble waiting-maid, manage to make His Grace of Wessex happy?" "By letting me look at you." With quaint and artless coquetry she picked up the folds of her heavy brocaded paniers, right and left, with two delicate fingers, and executed a dainty pirouette in front of him. "There!" she said merrily, "'tis done. . . . And now?" "By letting me whisper to you . . ." he murmured. She drew back quickly, and said with mock severity-- "That which I must not hear." "Why not?" "Because Your Grace is not free," she rejoined archly. "Not free to whisper anything in any woman's ear, save in that of Lady Ursula Glynde." "Then you guessed what I would have whispered to you?" "Perhaps." "What was it?" She veiled the glory of her eyes with their fringe of dark lashes. "That you loved me . . ." she murmured, "for the moment. . . ." How irresistible she was, with just that soup on of coquetry to whet the desire of this fastidious man of the world, and with it all so free from artifice, so young and fresh and pure:--a madonna, yet made to tempt mankind. "Nay! if you would let me, sweet saint, I would whisper in your tiny ear that I worship you!" he said in all sincerity and truth, and with the ring of an ardent passion in every tone of his voice. "Worship me? . . ." she queried in mock astonishment, "and Your Grace does not even know who I am." "Faith! but I do. You are the most beautiful woman on this earth." "Oh! . . . but my name! . . ." "Nay! as to that I care not . . . You shall tell it me anon, if you like. . . . For the moment I love to think of you as I first beheld you in the garden this afternoon--a fairy or sprite . . . I know not which . . . an angel mayhap . . . in your robes of white, surrounded with flowers and dark bosquets of hazelnut and of yew, with golden tints of ruddy autumn around you, less glorious than your hair. Let me worship blindly . . . fettered . . . your slave." She sighed, a quaint little sigh, which had a tinge of melancholy in it. "For how long?" she murmured. "For my whole life," he replied earnestly. "Will you not try me?" "How?" "You love me, sweet saint?" "I . . ." she began shyly. "Let me look into your eyes. . . . I will find my answer." Her arms dropped by her side, she looked up and met his eyes, ardent, burning with passion, fixed longingly upon her. He came close to her, quite close, his presence thrilled her; she closed her eyes in order to shut out from her innermost soul everything from the outside world, save the exquisite feeling of her newly awakened love. "Now, see how perverse I am," he whispered passionately. "I do not want you to tell me anything just now . . . open your eyes, dear saint . . . for I but want to stand like this . . . and read in their blue depths . . . enjoying every fraction of a second of this heavenly moment. . . ." She tried to speak, but instinctively he stopped her. "No . . . no . . . do not speak. . . . And yet . . . 'tis from your sweet lips I'd have my final answer." He took her in his arms. She lay against him, unresisting, her sweet face turned up to his, soul meeting soul at last in the ecstasy of a first kiss. He held her to his heart. It seemed as if he could never let her go from him again. Everything was forgotten, the world had ceased to be. For him there was but one woman on this earth, and she was his own. CHAPTER XXIII CHECK TO THE QUEEN How long they stood thus, heart to heart, they themselves could never have said. The sound of many voices in the near distance roused them from their dream. Ursula started in alarm. "Holy Virgin!" she exclaimed under her breath, "if it should be the Queen!" But Wessex held her tightly, and she struggled in vain. "Nay! then let the whole Court see that I hold my future wife in my arms," he said proudly. But with an agitated little cry she contrived to escape him. He seemed much amused at her nervousness; what had she to fear? was she not his own, to protect even from the semblance of ill? But Ursula, now fully awakened to ordinary, everyday surroundings, was fearful lest her own innocent little deception should be too crudely, too suddenly unmasked. She had so earnestly looked forward to the moment when she would say to him that she in sooth was none other than Lady Ursula Glynde, the woman whom every conventionality had decreed that he should marry, and whom--because of these conventionalities--he had secretly but certainly disliked. Her woman's heart had already given her a clear insight into the character and the foibles of the man she loved. His passion for her now, sincere and great though it was, was partly dependent on that atmosphere of romance which his poetical temperament craved for, and which had surrounded the half-mysterious personality of exquisite, irresistible "Fanny." Instinctively she dreaded the rough hand of commonplace, that ugly, coarse destroyer of poetic idylls. A few hastily uttered words might shatter in an hour the mystic shrine wherein Wessex had enthroned her. She had meant to tell him soon, to-morrow perhaps, perhaps only after a few days, but she wished to find her own time for this, when he knew her inner soul better, and the delicate cobwebs of this great love-at-first-sight had fallen away from his eyes. She could not altogether have explained to herself why a sudden disclosure of her identity at this moment would have been peculiarly unpleasant to her. It was a weak, childish feeling no doubt. But such as it was, it was real, and strong, and genuine. Barely a minute had elapsed whilst these quick thoughts and fears went wildly coursing through her mind. There was no time to tell him everything now. The voices came from the next room, within the next few seconds probably the great door would be open to admit a group of people: the Duchess of Lincoln and the ladies mayhap, or the Queen on her way to chapel. And His Grace of Wessex looked terribly determined. "No! no! no!--not just this moment, sweet Grace," she entreated, "by your love! not _just_ this moment. . . . The Queen would be so angry . . . oh! not _just_ now!" She looked so genuinely disturbed, and so tenderly appealing, that he could not help but obey. "But you cannot send me away like this," he urged. "Another word, sweet saint. . . . Faith! I could not live without another kiss. . . ." "No, no, no, I entreat Your Grace . . . not to-night," she protested feebly. He thought, however, that he detected a sign of yielding in her voice, although she was already beginning to mount the steps ready for flight. "Just one tiny word," he whispered hurriedly: "when the Queen has passed through, linger up there for one brief minute only. I'll wait in there!" And he pointed to a small door close behind him, which led to an inner closet at right angles with the gallery. Before she had time to protest--nay! perhaps she had no wish to refuse--he had disappeared behind its heavy panels, quickly calling to his dog to follow him. But in that one moment's hesitation, those few brief and delicious words hastily exchanged, she had lost her opportunity for escape. The next instant the door at the further end of the room was thrown open, and the Queen entered followed by some of her ladies. She was accompanied by the Duchess of Lincoln, and His Eminence the Cardinal de Moreno was on her left. As chance or ill-luck would have it, the first sight which greeted Her Majesty's eyes was the figure of Lady Ursula, midway up the steps which led to the gallery, some mysterious imp of mischief having contrived that the light from the wax tapers should unaccountably and very vividly fall upon the white-clad form of the young girl. An exclamation of stern reproval from Her Grace of Lincoln brought Ursula to a standstill. Flight now was no longer possible; she could but trust in her guardian angel, or in any of those protective genii who have in their keeping the special care of lovers in distress, and who happened to be hovering nigh. It was not seemly to be half-way up a flight of stairs when Her Majesty was standing on the floor below. Ursula, with her cheeks aflame with vexation, slowly descended, whilst encountering as boldly as she could the artillery fire of half a dozen pairs of eyes fixed steadily upon her. Mary Tudor looked coldly severe, Her Grace of Lincoln horror-struck, His Eminence ironical, and the ladies vastly amused. "Ah, child!" said Her Majesty, in her iciest tone of voice, "all alone, and in this part of the Palace?" She looked the dainty young figure disdainfully up and down, then her eye caught the sheaf of roses lying in a fragrant tangle close to the foot of the stairs. There was a quick flash of anger in her face, then a frown. Ursula wondered how much she guessed or what she suspected. But the Queen, after that one quick wave of passionate wrath, made an obvious effort to control herself. She turned composedly to the Duchess of Lincoln. "Your Grace is aware," she said drily, "that I deem it most indecorous for my maids-of-honour to wander about the Palace alone." The wrinkled old face of the kindly Duchess expressed the most heartfelt sorrow. "I crave Your Majesty's humble pardon . . ." she stammered in an agony of misery at this public reproof. "I . . ." "Nay, Duchess, I know the difficulty of your task," rejoined Mary Tudor bitingly, "the other ladies are docile, and their behaviour is maidenly and chaste. 'Tis not always so with the Lady Ursula Glynde." Mary's voice had been so trenchant and hard that it seemed to Ursula's sensitive ears as if its metallic tones must have penetrated to every corner of the Palace. She gave a quick, terrified look towards the door, longing with all her might for the gift to see through its massive panels--to know what went on within that inner closet, where Wessex was waiting

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How many times the word 'client' appears in the text?

. I . . ." "Yes?" queried the Duke. "That is the purport of my importunity, my lord," said the young man, springing to his feet and speaking once more in tones of noble candour. "I would have asked Your Grace that, since you do not know the Lady Ursula, since you have no wish to claim her hand, if some one else . . ." "If the Lady Ursula honoured some one else than my unworthy self. . . . Is that your meaning, my lord?" queried Wessex, as Don Miguel had made a slight pause in his impetuous speech. "If I . . ." "You, my lord?" "I would wish to know if I should be offending Your Grace?" "Offending me?" cried Wessex joyfully. "Nay, my lord, why were you so long in telling me this gladsome news? . . . Offending me? . . . you have succeeded in taking a load from my conscience, my dear Marquis. So you love the Lady Ursula Glynde? . . . Ye heavens! what a number of circumlocutions to arrive at this simple little fact! You love her . . . she is very beautiful . . . and she loves you. Where did you first see her, my lord?" "At East Molesey Fair. . . . Your Grace intervened . . . you must remember!" "Most inopportunely, meseems. I must indeed crave your pardon. And since then?" "The acquaintanceship, perhaps somewhat unpleasantly begun, has ripened into . . . friendship." "And thence into love! Nay, you have my heartiest congratulations, my lord. The Glyndes are famous for their virtue, and since the Lady Ursula is beautiful, why! your Court will indeed be graced by such a pattern of English womanhood." "Oh!" said the Spaniard, with a quick gesture of deprecation. "Nay! you must have no fear, my lord. Since you have honoured me by consulting my feelings in the matter, it shall be my pride and my delight to further your cause, and that of the Lady Ursula . . . if indeed she will deign to express her wishes to me. . . . I hereby give you a gentleman's word of honour that I consider the promise, which she made to her father in her childhood, in no way binding upon her now. . . . As for the future, I swear that I will obtain Her Majesty's consent to your immediate marriage." "Nay! I pray you, not so fast!" laughed Don Miguel lightly. "Neither the Lady Ursula nor I have need of Her Majesty's consent. . . ." "But methought----" "'Twas not I who spoke of marriage, remember!" "Then you have completely bewildered me, my lord," rejoined Wessex with a sudden frown. "I understood----" "That I am the proudest of men, certainly," quoth Don Miguel with a sarcastic curl of his sensual lip, "but 'twas Your Grace who spoke of the lady's virtue. I merely wished to know if I should be offending Your Grace if . . ." He laughed and shrugged his shoulders. The laugh grated unpleasantly on Wessex' ear, and the gesture savoured of impertinence. The Marquis' manner had suddenly undergone a change, which caused the Duke's every nerve to tingle. "If what?" he queried curtly. "The devil! sir, cannot you say what you do mean?" "Why should I," replied the Spaniard, "since your Grace has already guessed? You will own that I have acted _en galant homme_, by thinking of your wishes. You will not surely desire to champion that much-vaunted virtue of the Glyndes." "Then what you mean, sir, is that . . ." "I cannot speak more plainly, my lord, for that among gentlemen is quite impossible. But rumours fly about quickly at Court, and I feared that Your Grace might have caught one, ere I had the chance of assuring you that I recognize the priority of your claim. But now you tell me that you have no further interest in the lady, so I am reassured. . . . We foreigners, you know, take passing pleasures more lightly than you serious-minded English . . . and if the lady be unattached . . . and more than willing . . . why should we play the part of Joseph? . . . a ridiculous r le at best, eh, my lord? . . . and one, I think, which Your Grace would ever disdain to play. . . . As for me, I am quite reassured . . . Au revoir to Your Grace. . . ." And before Wessex had time to utter another word, Don Miguel, still laughing, went out of the room. The Duke felt a little bewildered. The conversation had gone through such a sudden transition, that at the time, he had hardly realized whether it touched him deeply or not. Owing to Ursula's girlish little ruse, he was totally unaware of her identity with the lady who had been the subject of this very distasteful discussion. To him Lady Ursula Glynde was both unknown and uninteresting. His meeting with beautiful, exquisite "Fanny" had driven all thoughts of other women from his mind. But with all his volatile disposition, where women were concerned, the Duke of Wessex was nevertheless imbued with a strong and romantic feeling of chivalry towards the entire sex, and Don Miguel's disdainful allusions to the lady who might have been Duchess of Wessex had left his finger-tips itching with the desire to throw his glove in the impudent rascal's face. Harry Plantagenet, who throughout the interview had openly expressed his disapproval of his master's interlocutor, gave an impatient little whine. He longed for the privacy of his own apartments, the warmth of the rugs laid out specially for him. "Harry, old friend!" said Wessex thoughtfully, "what the devil, think you, that young reprobate meant?" He took the dog's beautiful head between his hands and looked straight into the honest, faithful eyes of his dear and constant companion. "Marry!" he continued more lightly, "you may well look doubtful, you wise philosopher, for you know the Glyndes as well as I do. You remember old Lady Annabel, whose very look would stop your tail from wagging, and Charles, stodgy, silent, serious Charles, who never drank, never laughed, had probably never seen a woman's ankle in his life. And then the Lady Ursula . . . a Glynde . . . do you mind me, old Harry? . . . therefore as ugly, as a combination of virtue and Scotch descent can make any woman. . . . Yet, if I caught the rascal's meaning, neither Scotch descent nor ill looks have proved a shield for the lady's virtue! . . . Well, 'tis no business of ours, is it, old Harry? Let us live and let live. . . . Perhaps Lady Ursula is not ugly . . . perchance that unpleasant-looking Spaniard doth truly love her . . . and who are we, Harry, you and I, that we should prove censorious? Let us to our apartments, friend, and meditate on woman's frailty and on our own . . . especially on our own . . . we are mere male creatures, and women are so adorable! even when they bristle with virtues like a hedgehog . . . but like him too, are cushioned beneath those bristles with a hundred charming, fascinating sins. . . . Come along, friend, and let us meditate why sin . . . sin of a certain type, remember, should be so enchantingly tempting." Harry Plantagenet was a philosopher. He had seen his master in this kind of mood before. He wagged his tail as if to express his approval of the broad principles thus submitted for his consideration, but at the same time he showed a distinct desire that his master should talk less and come more speedily to bed. CHAPTER XXII THE WHITE QUEEN Wessex after a while was ready enough to dismiss the unpleasant subject. Perhaps he had no right to be censorious or to resent the Spaniard's somewhat unusual attitude. In England, undoubtedly, a gentleman would never--except under very special circumstances--allude to any passing liaison he might have with a lady of his own rank. That was a strict code of honour which had existed from time immemorial, even in the days of King Harry's youth, when the virtue of high-born women had been but little thought of. Abroad, perhaps, it was different. Spaniards, just then, were noted for the light way in which they regarded the favours of the fair sex, and Don Miguel's code of honour had evidently prompted him to consult Wessex' wishes in the matter of his own intrigue. Loyalty to their own sex is perhaps, on the whole, more general in men than is their chivalry towards women, and perhaps the Marquis' feelings would have revolted at the thought of seeing a lady of such light virtue in the position of Duchess of Wessex. Be that as it may, His Grace had no wish to probe the matter further; with a shrug of the shoulders he dismissed it from his thoughts, whilst registering a vow to chastise the young blackguard if his impertinence showed signs of recurrence. He was on the point of yielding to his faithful Harry's canine appeals by allowing him to lead the way towards his own distant lodgings, when his ear suddenly caught the sound of a silk dress rustling somewhere, not far from where he stood. At the end of the room closest to him, a few steps led up to a gallery, which ran along the wall, finally abutting at a door, which gave access to the Duchess of Lincoln's and other ladies' lodgings. The rustle of a silk skirt seemed to come from there. Perhaps Wessex would not have taken notice of it, except that his every thought was filled with a strange excitement since the rencontre of the afternoon. At times now he felt as if his very senses ached with the longing to see once more that entrancing, girlish figure, dressed all in white and crowned with the halo of her exquisite golden hair, to hear once more the sound of that fresh young voice, that merry, childlike laugh, through which there vibrated the thrill of a newly awakened passion. Since he had met her he was conscious of a wonderful change in himself. He did not even analyse his feelings: he knew that he loved her now: that, in a sense, he had always loved her, for his poetic and romantic temperament had ever been in search of that perfect type of womanhood, which she seemed so completely to embody in herself. He had only spoken to her for about half an hour, then had sat opposite to her in a boat among the reeds, in the cool of the afternoon, with the lazy river gently rocking the light skiff, and the water birds for sole witnesses of his happiness. They had hardly exchanged a word then, for he had enjoyed the delight--dear to every man who loves--of watching the blushes come and go upon her cheek in response to his ardent gaze. What did words matter? the music in their souls supplied all that they wished to say. And he--who had been deemed so fickle, who had made of love a pastime, taking what joys women would give him with a grateful yet transient smile, His Grace of Wessex, in fact, who had loved so often yet so inconstantly--knew now that the stern little god, who will not for long brook defiance of his laws, had wounded him for life or death at last. And even now, when he heard the rustle of a kirtle, he paused instinctively, vaguely, madly hoping that chance, and the great wild longing which was in him, had indeed drawn her footsteps hither. The door above, at the end of the gallery, was tentatively opened. Wessex could see nothing, for those distant corners of the room were in complete darkness, but he heard a voice, low and sweet, humming the little ditty which she, his queen, had sung this afternoon. "Disdaine me not that am your own, Refuse me not that am so true, Mistrust me not till all be knowen, Forsake me not now for no new." She walked slowly along the gallery, and paused not far from the top of the short flight of oak steps. She seemed to be hesitating a little, as if afraid to venture farther into the large, dimly lighted hall. The flicker of the tall wax tapers now caught her dainty figure, casting golden lights and deep, ruddy shadows on her fair young face and on the whiteness of her gown. In her arms she held an enormous sheaf of pale pink monthly roses, the spoils of the garden, lavish in its autumnal glory. Never had Wessex--fastidious, fickle, insouciant Wessex--seen anything more radiant, more exquisite, more poetic than this apparition which came towards him like the realization of all his maddest dreams. For one moment more he lingered, his ardent, passionate soul was loath to give up these heaven-born seconds spent in looking at her. Her eyes shone darkly in the gleam of the candle light and had wondrous reflections in them, which looked ruddy and hot; her delicately chiselled features were suffused with a strange glow, which seemed to come from within; and her lips were slightly parted, moist and red like some ripe summer fruit. From her whole person there came an exhalation of youth and womanhood, of purity and soul-stirring passion. "Come down, sweet singer," said Wessex to her at last. She gave a startled little cry, leant over the balustrade, and the sheaf of flowers dropped from her arms, falling in a long cascade of leaves and blossoms, rose-coloured and sweet-scented, at his feet. "Ah, Your Grace frightened me!" she whispered, with just a touch of feminine coquetry. "I . . . I . . . didn't know you were here." "I swear you did not, sweet saint . . . but now . . . as I am here . . . come down quickly ere I perish with longing for a nearer sight of your dear eyes." "But my flowers," she said, with a sudden access of timidity, brought forth by the thrilling ardour of his voice. "I had picked them for Her Majesty's oratory." "Nay! let them all wither save one . . . which I will take from your hand. Come down. . . ." One of the roses had remained fixed in the stiff fold of her panier. She took it between her fingers and sighed. "Oh! I dare not," she said sadly. "Your Grace does not know,--cannot guess, what dire disgrace would befall me if I did." "Perish the thought of disgrace," rejoined Wessex gaily. "Marry! the saints in Paradise must come down from heaven sometimes, else the world would be consumed by its own wickedness. Come down," he added more earnestly, seized with a mad, ungovernable desire to clasp her to his heart, "come down, or I swear that I'll bring you down in my arms." "No . . . no . . . no!" she protested, alarmed at his vehemence. "I'll come down." With a quaintly mischievous gesture she flung the rose at him; it hit him in the face, then fell; he had perforce to stoop in order to pick it up. When he once more straightened his tall figure she was standing quite close to him. There she was, just as he had always thought of her, even as a boy when first he began to dream. She, the perfect woman whom one day he would meet, and on that day would love wholly, passionately, humbly, and proudly, his own and yet his queen; she the most perfect product of Nature, with just that tone of gold in her hair, just those eyes, so inscrutable, so full of colour, so infinite in their variety; not very tall, but graceful and slender, with her dainty head on a level with his shoulder, her fair young forehead on a level with his lips. Now that she was so near, he was as if turned to stone. The wild longing was still in him to clasp her in his arms, to hold her closely, tenderly to his heart, yet he would not have touched her for a kingdom. But as he looked at her he knew that she, herself, would come to him in all her purity, her innocence . . . soon . . . to-day perhaps . . . but certainly one day . . . and that she would come with every fibre in her entire being vibrating in responsive passion to him. She looked up at him shyly, tentatively. His very soul went out to her as he returned her gaze. A great and glorious exultation thrilled every fibre of her being. She knew that she had conquered, that the love which in her girlish heart she had kept for him had borne fruit a thousandfold. Her heart seemed to stop beating at the immensity of her happiness. But woman-like, she was more self-possessed than he was. "I must not stay," she said gravely and with only an imperceptible quiver in her voice. "I am in disgrace, you know . . . for that stroll on the river . . . with you . . . this afternoon." "Why? what happened?" he asked with a smile. She held up her little hand and counted on her fingers. "Number one, a frown and a colder shoulder from Her Majesty! Two, a lecture from Her Grace of Lincoln! Twenty minutes! Three, four, and five, pin-pricks from the ladies and a lonely supper in my room to-night." He loved her in this gayer mood which made her seem so young and childlike. "Could you not have contrived to let me know?" "Why? . . . What would you have done?" "Made it less lonely for you." "You are doing that now. I thought I should be alone the rest of the evening. Her Grace of Lincoln and the others are at prayers with Her Majesty. I was confined to that room up there. How is it Your Grace happened to be in this hall just when I came out?" "A moth is always to be found where the light happens to be," he replied gravely. "But how did you know I should be here?" "My eyes, since this afternoon, see you constantly where you are not--how could they fail to see you where you are?" "Then, as Your Grace has seen me . . ." she added with timid nervousness, seeing that he now stood between her and the steps, "will you allow me to go up again?" "No." "I entreat!" she pleaded. "Impossible." "Her Grace of Lincoln will be looking for me." "Then stay here with me until she does." "What to do?" she queried innocently. "To make me happy." "Happy?" she laughed merrily. "Ho! ho! ho! How can I, a humble waiting-maid, manage to make His Grace of Wessex happy?" "By letting me look at you." With quaint and artless coquetry she picked up the folds of her heavy brocaded paniers, right and left, with two delicate fingers, and executed a dainty pirouette in front of him. "There!" she said merrily, "'tis done. . . . And now?" "By letting me whisper to you . . ." he murmured. She drew back quickly, and said with mock severity-- "That which I must not hear." "Why not?" "Because Your Grace is not free," she rejoined archly. "Not free to whisper anything in any woman's ear, save in that of Lady Ursula Glynde." "Then you guessed what I would have whispered to you?" "Perhaps." "What was it?" She veiled the glory of her eyes with their fringe of dark lashes. "That you loved me . . ." she murmured, "for the moment. . . ." How irresistible she was, with just that soup on of coquetry to whet the desire of this fastidious man of the world, and with it all so free from artifice, so young and fresh and pure:--a madonna, yet made to tempt mankind. "Nay! if you would let me, sweet saint, I would whisper in your tiny ear that I worship you!" he said in all sincerity and truth, and with the ring of an ardent passion in every tone of his voice. "Worship me? . . ." she queried in mock astonishment, "and Your Grace does not even know who I am." "Faith! but I do. You are the most beautiful woman on this earth." "Oh! . . . but my name! . . ." "Nay! as to that I care not . . . You shall tell it me anon, if you like. . . . For the moment I love to think of you as I first beheld you in the garden this afternoon--a fairy or sprite . . . I know not which . . . an angel mayhap . . . in your robes of white, surrounded with flowers and dark bosquets of hazelnut and of yew, with golden tints of ruddy autumn around you, less glorious than your hair. Let me worship blindly . . . fettered . . . your slave." She sighed, a quaint little sigh, which had a tinge of melancholy in it. "For how long?" she murmured. "For my whole life," he replied earnestly. "Will you not try me?" "How?" "You love me, sweet saint?" "I . . ." she began shyly. "Let me look into your eyes. . . . I will find my answer." Her arms dropped by her side, she looked up and met his eyes, ardent, burning with passion, fixed longingly upon her. He came close to her, quite close, his presence thrilled her; she closed her eyes in order to shut out from her innermost soul everything from the outside world, save the exquisite feeling of her newly awakened love. "Now, see how perverse I am," he whispered passionately. "I do not want you to tell me anything just now . . . open your eyes, dear saint . . . for I but want to stand like this . . . and read in their blue depths . . . enjoying every fraction of a second of this heavenly moment. . . ." She tried to speak, but instinctively he stopped her. "No . . . no . . . do not speak. . . . And yet . . . 'tis from your sweet lips I'd have my final answer." He took her in his arms. She lay against him, unresisting, her sweet face turned up to his, soul meeting soul at last in the ecstasy of a first kiss. He held her to his heart. It seemed as if he could never let her go from him again. Everything was forgotten, the world had ceased to be. For him there was but one woman on this earth, and she was his own. CHAPTER XXIII CHECK TO THE QUEEN How long they stood thus, heart to heart, they themselves could never have said. The sound of many voices in the near distance roused them from their dream. Ursula started in alarm. "Holy Virgin!" she exclaimed under her breath, "if it should be the Queen!" But Wessex held her tightly, and she struggled in vain. "Nay! then let the whole Court see that I hold my future wife in my arms," he said proudly. But with an agitated little cry she contrived to escape him. He seemed much amused at her nervousness; what had she to fear? was she not his own, to protect even from the semblance of ill? But Ursula, now fully awakened to ordinary, everyday surroundings, was fearful lest her own innocent little deception should be too crudely, too suddenly unmasked. She had so earnestly looked forward to the moment when she would say to him that she in sooth was none other than Lady Ursula Glynde, the woman whom every conventionality had decreed that he should marry, and whom--because of these conventionalities--he had secretly but certainly disliked. Her woman's heart had already given her a clear insight into the character and the foibles of the man she loved. His passion for her now, sincere and great though it was, was partly dependent on that atmosphere of romance which his poetical temperament craved for, and which had surrounded the half-mysterious personality of exquisite, irresistible "Fanny." Instinctively she dreaded the rough hand of commonplace, that ugly, coarse destroyer of poetic idylls. A few hastily uttered words might shatter in an hour the mystic shrine wherein Wessex had enthroned her. She had meant to tell him soon, to-morrow perhaps, perhaps only after a few days, but she wished to find her own time for this, when he knew her inner soul better, and the delicate cobwebs of this great love-at-first-sight had fallen away from his eyes. She could not altogether have explained to herself why a sudden disclosure of her identity at this moment would have been peculiarly unpleasant to her. It was a weak, childish feeling no doubt. But such as it was, it was real, and strong, and genuine. Barely a minute had elapsed whilst these quick thoughts and fears went wildly coursing through her mind. There was no time to tell him everything now. The voices came from the next room, within the next few seconds probably the great door would be open to admit a group of people: the Duchess of Lincoln and the ladies mayhap, or the Queen on her way to chapel. And His Grace of Wessex looked terribly determined. "No! no! no!--not just this moment, sweet Grace," she entreated, "by your love! not _just_ this moment. . . . The Queen would be so angry . . . oh! not _just_ now!" She looked so genuinely disturbed, and so tenderly appealing, that he could not help but obey. "But you cannot send me away like this," he urged. "Another word, sweet saint. . . . Faith! I could not live without another kiss. . . ." "No, no, no, I entreat Your Grace . . . not to-night," she protested feebly. He thought, however, that he detected a sign of yielding in her voice, although she was already beginning to mount the steps ready for flight. "Just one tiny word," he whispered hurriedly: "when the Queen has passed through, linger up there for one brief minute only. I'll wait in there!" And he pointed to a small door close behind him, which led to an inner closet at right angles with the gallery. Before she had time to protest--nay! perhaps she had no wish to refuse--he had disappeared behind its heavy panels, quickly calling to his dog to follow him. But in that one moment's hesitation, those few brief and delicious words hastily exchanged, she had lost her opportunity for escape. The next instant the door at the further end of the room was thrown open, and the Queen entered followed by some of her ladies. She was accompanied by the Duchess of Lincoln, and His Eminence the Cardinal de Moreno was on her left. As chance or ill-luck would have it, the first sight which greeted Her Majesty's eyes was the figure of Lady Ursula, midway up the steps which led to the gallery, some mysterious imp of mischief having contrived that the light from the wax tapers should unaccountably and very vividly fall upon the white-clad form of the young girl. An exclamation of stern reproval from Her Grace of Lincoln brought Ursula to a standstill. Flight now was no longer possible; she could but trust in her guardian angel, or in any of those protective genii who have in their keeping the special care of lovers in distress, and who happened to be hovering nigh. It was not seemly to be half-way up a flight of stairs when Her Majesty was standing on the floor below. Ursula, with her cheeks aflame with vexation, slowly descended, whilst encountering as boldly as she could the artillery fire of half a dozen pairs of eyes fixed steadily upon her. Mary Tudor looked coldly severe, Her Grace of Lincoln horror-struck, His Eminence ironical, and the ladies vastly amused. "Ah, child!" said Her Majesty, in her iciest tone of voice, "all alone, and in this part of the Palace?" She looked the dainty young figure disdainfully up and down, then her eye caught the sheaf of roses lying in a fragrant tangle close to the foot of the stairs. There was a quick flash of anger in her face, then a frown. Ursula wondered how much she guessed or what she suspected. But the Queen, after that one quick wave of passionate wrath, made an obvious effort to control herself. She turned composedly to the Duchess of Lincoln. "Your Grace is aware," she said drily, "that I deem it most indecorous for my maids-of-honour to wander about the Palace alone." The wrinkled old face of the kindly Duchess expressed the most heartfelt sorrow. "I crave Your Majesty's humble pardon . . ." she stammered in an agony of misery at this public reproof. "I . . ." "Nay, Duchess, I know the difficulty of your task," rejoined Mary Tudor bitingly, "the other ladies are docile, and their behaviour is maidenly and chaste. 'Tis not always so with the Lady Ursula Glynde." Mary's voice had been so trenchant and hard that it seemed to Ursula's sensitive ears as if its metallic tones must have penetrated to every corner of the Palace. She gave a quick, terrified look towards the door, longing with all her might for the gift to see through its massive panels--to know what went on within that inner closet, where Wessex was waiting

ambassador

How many times the word 'ambassador' appears in the text?

. I . . ." "Yes?" queried the Duke. "That is the purport of my importunity, my lord," said the young man, springing to his feet and speaking once more in tones of noble candour. "I would have asked Your Grace that, since you do not know the Lady Ursula, since you have no wish to claim her hand, if some one else . . ." "If the Lady Ursula honoured some one else than my unworthy self. . . . Is that your meaning, my lord?" queried Wessex, as Don Miguel had made a slight pause in his impetuous speech. "If I . . ." "You, my lord?" "I would wish to know if I should be offending Your Grace?" "Offending me?" cried Wessex joyfully. "Nay, my lord, why were you so long in telling me this gladsome news? . . . Offending me? . . . you have succeeded in taking a load from my conscience, my dear Marquis. So you love the Lady Ursula Glynde? . . . Ye heavens! what a number of circumlocutions to arrive at this simple little fact! You love her . . . she is very beautiful . . . and she loves you. Where did you first see her, my lord?" "At East Molesey Fair. . . . Your Grace intervened . . . you must remember!" "Most inopportunely, meseems. I must indeed crave your pardon. And since then?" "The acquaintanceship, perhaps somewhat unpleasantly begun, has ripened into . . . friendship." "And thence into love! Nay, you have my heartiest congratulations, my lord. The Glyndes are famous for their virtue, and since the Lady Ursula is beautiful, why! your Court will indeed be graced by such a pattern of English womanhood." "Oh!" said the Spaniard, with a quick gesture of deprecation. "Nay! you must have no fear, my lord. Since you have honoured me by consulting my feelings in the matter, it shall be my pride and my delight to further your cause, and that of the Lady Ursula . . . if indeed she will deign to express her wishes to me. . . . I hereby give you a gentleman's word of honour that I consider the promise, which she made to her father in her childhood, in no way binding upon her now. . . . As for the future, I swear that I will obtain Her Majesty's consent to your immediate marriage." "Nay! I pray you, not so fast!" laughed Don Miguel lightly. "Neither the Lady Ursula nor I have need of Her Majesty's consent. . . ." "But methought----" "'Twas not I who spoke of marriage, remember!" "Then you have completely bewildered me, my lord," rejoined Wessex with a sudden frown. "I understood----" "That I am the proudest of men, certainly," quoth Don Miguel with a sarcastic curl of his sensual lip, "but 'twas Your Grace who spoke of the lady's virtue. I merely wished to know if I should be offending Your Grace if . . ." He laughed and shrugged his shoulders. The laugh grated unpleasantly on Wessex' ear, and the gesture savoured of impertinence. The Marquis' manner had suddenly undergone a change, which caused the Duke's every nerve to tingle. "If what?" he queried curtly. "The devil! sir, cannot you say what you do mean?" "Why should I," replied the Spaniard, "since your Grace has already guessed? You will own that I have acted _en galant homme_, by thinking of your wishes. You will not surely desire to champion that much-vaunted virtue of the Glyndes." "Then what you mean, sir, is that . . ." "I cannot speak more plainly, my lord, for that among gentlemen is quite impossible. But rumours fly about quickly at Court, and I feared that Your Grace might have caught one, ere I had the chance of assuring you that I recognize the priority of your claim. But now you tell me that you have no further interest in the lady, so I am reassured. . . . We foreigners, you know, take passing pleasures more lightly than you serious-minded English . . . and if the lady be unattached . . . and more than willing . . . why should we play the part of Joseph? . . . a ridiculous r le at best, eh, my lord? . . . and one, I think, which Your Grace would ever disdain to play. . . . As for me, I am quite reassured . . . Au revoir to Your Grace. . . ." And before Wessex had time to utter another word, Don Miguel, still laughing, went out of the room. The Duke felt a little bewildered. The conversation had gone through such a sudden transition, that at the time, he had hardly realized whether it touched him deeply or not. Owing to Ursula's girlish little ruse, he was totally unaware of her identity with the lady who had been the subject of this very distasteful discussion. To him Lady Ursula Glynde was both unknown and uninteresting. His meeting with beautiful, exquisite "Fanny" had driven all thoughts of other women from his mind. But with all his volatile disposition, where women were concerned, the Duke of Wessex was nevertheless imbued with a strong and romantic feeling of chivalry towards the entire sex, and Don Miguel's disdainful allusions to the lady who might have been Duchess of Wessex had left his finger-tips itching with the desire to throw his glove in the impudent rascal's face. Harry Plantagenet, who throughout the interview had openly expressed his disapproval of his master's interlocutor, gave an impatient little whine. He longed for the privacy of his own apartments, the warmth of the rugs laid out specially for him. "Harry, old friend!" said Wessex thoughtfully, "what the devil, think you, that young reprobate meant?" He took the dog's beautiful head between his hands and looked straight into the honest, faithful eyes of his dear and constant companion. "Marry!" he continued more lightly, "you may well look doubtful, you wise philosopher, for you know the Glyndes as well as I do. You remember old Lady Annabel, whose very look would stop your tail from wagging, and Charles, stodgy, silent, serious Charles, who never drank, never laughed, had probably never seen a woman's ankle in his life. And then the Lady Ursula . . . a Glynde . . . do you mind me, old Harry? . . . therefore as ugly, as a combination of virtue and Scotch descent can make any woman. . . . Yet, if I caught the rascal's meaning, neither Scotch descent nor ill looks have proved a shield for the lady's virtue! . . . Well, 'tis no business of ours, is it, old Harry? Let us live and let live. . . . Perhaps Lady Ursula is not ugly . . . perchance that unpleasant-looking Spaniard doth truly love her . . . and who are we, Harry, you and I, that we should prove censorious? Let us to our apartments, friend, and meditate on woman's frailty and on our own . . . especially on our own . . . we are mere male creatures, and women are so adorable! even when they bristle with virtues like a hedgehog . . . but like him too, are cushioned beneath those bristles with a hundred charming, fascinating sins. . . . Come along, friend, and let us meditate why sin . . . sin of a certain type, remember, should be so enchantingly tempting." Harry Plantagenet was a philosopher. He had seen his master in this kind of mood before. He wagged his tail as if to express his approval of the broad principles thus submitted for his consideration, but at the same time he showed a distinct desire that his master should talk less and come more speedily to bed. CHAPTER XXII THE WHITE QUEEN Wessex after a while was ready enough to dismiss the unpleasant subject. Perhaps he had no right to be censorious or to resent the Spaniard's somewhat unusual attitude. In England, undoubtedly, a gentleman would never--except under very special circumstances--allude to any passing liaison he might have with a lady of his own rank. That was a strict code of honour which had existed from time immemorial, even in the days of King Harry's youth, when the virtue of high-born women had been but little thought of. Abroad, perhaps, it was different. Spaniards, just then, were noted for the light way in which they regarded the favours of the fair sex, and Don Miguel's code of honour had evidently prompted him to consult Wessex' wishes in the matter of his own intrigue. Loyalty to their own sex is perhaps, on the whole, more general in men than is their chivalry towards women, and perhaps the Marquis' feelings would have revolted at the thought of seeing a lady of such light virtue in the position of Duchess of Wessex. Be that as it may, His Grace had no wish to probe the matter further; with a shrug of the shoulders he dismissed it from his thoughts, whilst registering a vow to chastise the young blackguard if his impertinence showed signs of recurrence. He was on the point of yielding to his faithful Harry's canine appeals by allowing him to lead the way towards his own distant lodgings, when his ear suddenly caught the sound of a silk dress rustling somewhere, not far from where he stood. At the end of the room closest to him, a few steps led up to a gallery, which ran along the wall, finally abutting at a door, which gave access to the Duchess of Lincoln's and other ladies' lodgings. The rustle of a silk skirt seemed to come from there. Perhaps Wessex would not have taken notice of it, except that his every thought was filled with a strange excitement since the rencontre of the afternoon. At times now he felt as if his very senses ached with the longing to see once more that entrancing, girlish figure, dressed all in white and crowned with the halo of her exquisite golden hair, to hear once more the sound of that fresh young voice, that merry, childlike laugh, through which there vibrated the thrill of a newly awakened passion. Since he had met her he was conscious of a wonderful change in himself. He did not even analyse his feelings: he knew that he loved her now: that, in a sense, he had always loved her, for his poetic and romantic temperament had ever been in search of that perfect type of womanhood, which she seemed so completely to embody in herself. He had only spoken to her for about half an hour, then had sat opposite to her in a boat among the reeds, in the cool of the afternoon, with the lazy river gently rocking the light skiff, and the water birds for sole witnesses of his happiness. They had hardly exchanged a word then, for he had enjoyed the delight--dear to every man who loves--of watching the blushes come and go upon her cheek in response to his ardent gaze. What did words matter? the music in their souls supplied all that they wished to say. And he--who had been deemed so fickle, who had made of love a pastime, taking what joys women would give him with a grateful yet transient smile, His Grace of Wessex, in fact, who had loved so often yet so inconstantly--knew now that the stern little god, who will not for long brook defiance of his laws, had wounded him for life or death at last. And even now, when he heard the rustle of a kirtle, he paused instinctively, vaguely, madly hoping that chance, and the great wild longing which was in him, had indeed drawn her footsteps hither. The door above, at the end of the gallery, was tentatively opened. Wessex could see nothing, for those distant corners of the room were in complete darkness, but he heard a voice, low and sweet, humming the little ditty which she, his queen, had sung this afternoon. "Disdaine me not that am your own, Refuse me not that am so true, Mistrust me not till all be knowen, Forsake me not now for no new." She walked slowly along the gallery, and paused not far from the top of the short flight of oak steps. She seemed to be hesitating a little, as if afraid to venture farther into the large, dimly lighted hall. The flicker of the tall wax tapers now caught her dainty figure, casting golden lights and deep, ruddy shadows on her fair young face and on the whiteness of her gown. In her arms she held an enormous sheaf of pale pink monthly roses, the spoils of the garden, lavish in its autumnal glory. Never had Wessex--fastidious, fickle, insouciant Wessex--seen anything more radiant, more exquisite, more poetic than this apparition which came towards him like the realization of all his maddest dreams. For one moment more he lingered, his ardent, passionate soul was loath to give up these heaven-born seconds spent in looking at her. Her eyes shone darkly in the gleam of the candle light and had wondrous reflections in them, which looked ruddy and hot; her delicately chiselled features were suffused with a strange glow, which seemed to come from within; and her lips were slightly parted, moist and red like some ripe summer fruit. From her whole person there came an exhalation of youth and womanhood, of purity and soul-stirring passion. "Come down, sweet singer," said Wessex to her at last. She gave a startled little cry, leant over the balustrade, and the sheaf of flowers dropped from her arms, falling in a long cascade of leaves and blossoms, rose-coloured and sweet-scented, at his feet. "Ah, Your Grace frightened me!" she whispered, with just a touch of feminine coquetry. "I . . . I . . . didn't know you were here." "I swear you did not, sweet saint . . . but now . . . as I am here . . . come down quickly ere I perish with longing for a nearer sight of your dear eyes." "But my flowers," she said, with a sudden access of timidity, brought forth by the thrilling ardour of his voice. "I had picked them for Her Majesty's oratory." "Nay! let them all wither save one . . . which I will take from your hand. Come down. . . ." One of the roses had remained fixed in the stiff fold of her panier. She took it between her fingers and sighed. "Oh! I dare not," she said sadly. "Your Grace does not know,--cannot guess, what dire disgrace would befall me if I did." "Perish the thought of disgrace," rejoined Wessex gaily. "Marry! the saints in Paradise must come down from heaven sometimes, else the world would be consumed by its own wickedness. Come down," he added more earnestly, seized with a mad, ungovernable desire to clasp her to his heart, "come down, or I swear that I'll bring you down in my arms." "No . . . no . . . no!" she protested, alarmed at his vehemence. "I'll come down." With a quaintly mischievous gesture she flung the rose at him; it hit him in the face, then fell; he had perforce to stoop in order to pick it up. When he once more straightened his tall figure she was standing quite close to him. There she was, just as he had always thought of her, even as a boy when first he began to dream. She, the perfect woman whom one day he would meet, and on that day would love wholly, passionately, humbly, and proudly, his own and yet his queen; she the most perfect product of Nature, with just that tone of gold in her hair, just those eyes, so inscrutable, so full of colour, so infinite in their variety; not very tall, but graceful and slender, with her dainty head on a level with his shoulder, her fair young forehead on a level with his lips. Now that she was so near, he was as if turned to stone. The wild longing was still in him to clasp her in his arms, to hold her closely, tenderly to his heart, yet he would not have touched her for a kingdom. But as he looked at her he knew that she, herself, would come to him in all her purity, her innocence . . . soon . . . to-day perhaps . . . but certainly one day . . . and that she would come with every fibre in her entire being vibrating in responsive passion to him. She looked up at him shyly, tentatively. His very soul went out to her as he returned her gaze. A great and glorious exultation thrilled every fibre of her being. She knew that she had conquered, that the love which in her girlish heart she had kept for him had borne fruit a thousandfold. Her heart seemed to stop beating at the immensity of her happiness. But woman-like, she was more self-possessed than he was. "I must not stay," she said gravely and with only an imperceptible quiver in her voice. "I am in disgrace, you know . . . for that stroll on the river . . . with you . . . this afternoon." "Why? what happened?" he asked with a smile. She held up her little hand and counted on her fingers. "Number one, a frown and a colder shoulder from Her Majesty! Two, a lecture from Her Grace of Lincoln! Twenty minutes! Three, four, and five, pin-pricks from the ladies and a lonely supper in my room to-night." He loved her in this gayer mood which made her seem so young and childlike. "Could you not have contrived to let me know?" "Why? . . . What would you have done?" "Made it less lonely for you." "You are doing that now. I thought I should be alone the rest of the evening. Her Grace of Lincoln and the others are at prayers with Her Majesty. I was confined to that room up there. How is it Your Grace happened to be in this hall just when I came out?" "A moth is always to be found where the light happens to be," he replied gravely. "But how did you know I should be here?" "My eyes, since this afternoon, see you constantly where you are not--how could they fail to see you where you are?" "Then, as Your Grace has seen me . . ." she added with timid nervousness, seeing that he now stood between her and the steps, "will you allow me to go up again?" "No." "I entreat!" she pleaded. "Impossible." "Her Grace of Lincoln will be looking for me." "Then stay here with me until she does." "What to do?" she queried innocently. "To make me happy." "Happy?" she laughed merrily. "Ho! ho! ho! How can I, a humble waiting-maid, manage to make His Grace of Wessex happy?" "By letting me look at you." With quaint and artless coquetry she picked up the folds of her heavy brocaded paniers, right and left, with two delicate fingers, and executed a dainty pirouette in front of him. "There!" she said merrily, "'tis done. . . . And now?" "By letting me whisper to you . . ." he murmured. She drew back quickly, and said with mock severity-- "That which I must not hear." "Why not?" "Because Your Grace is not free," she rejoined archly. "Not free to whisper anything in any woman's ear, save in that of Lady Ursula Glynde." "Then you guessed what I would have whispered to you?" "Perhaps." "What was it?" She veiled the glory of her eyes with their fringe of dark lashes. "That you loved me . . ." she murmured, "for the moment. . . ." How irresistible she was, with just that soup on of coquetry to whet the desire of this fastidious man of the world, and with it all so free from artifice, so young and fresh and pure:--a madonna, yet made to tempt mankind. "Nay! if you would let me, sweet saint, I would whisper in your tiny ear that I worship you!" he said in all sincerity and truth, and with the ring of an ardent passion in every tone of his voice. "Worship me? . . ." she queried in mock astonishment, "and Your Grace does not even know who I am." "Faith! but I do. You are the most beautiful woman on this earth." "Oh! . . . but my name! . . ." "Nay! as to that I care not . . . You shall tell it me anon, if you like. . . . For the moment I love to think of you as I first beheld you in the garden this afternoon--a fairy or sprite . . . I know not which . . . an angel mayhap . . . in your robes of white, surrounded with flowers and dark bosquets of hazelnut and of yew, with golden tints of ruddy autumn around you, less glorious than your hair. Let me worship blindly . . . fettered . . . your slave." She sighed, a quaint little sigh, which had a tinge of melancholy in it. "For how long?" she murmured. "For my whole life," he replied earnestly. "Will you not try me?" "How?" "You love me, sweet saint?" "I . . ." she began shyly. "Let me look into your eyes. . . . I will find my answer." Her arms dropped by her side, she looked up and met his eyes, ardent, burning with passion, fixed longingly upon her. He came close to her, quite close, his presence thrilled her; she closed her eyes in order to shut out from her innermost soul everything from the outside world, save the exquisite feeling of her newly awakened love. "Now, see how perverse I am," he whispered passionately. "I do not want you to tell me anything just now . . . open your eyes, dear saint . . . for I but want to stand like this . . . and read in their blue depths . . . enjoying every fraction of a second of this heavenly moment. . . ." She tried to speak, but instinctively he stopped her. "No . . . no . . . do not speak. . . . And yet . . . 'tis from your sweet lips I'd have my final answer." He took her in his arms. She lay against him, unresisting, her sweet face turned up to his, soul meeting soul at last in the ecstasy of a first kiss. He held her to his heart. It seemed as if he could never let her go from him again. Everything was forgotten, the world had ceased to be. For him there was but one woman on this earth, and she was his own. CHAPTER XXIII CHECK TO THE QUEEN How long they stood thus, heart to heart, they themselves could never have said. The sound of many voices in the near distance roused them from their dream. Ursula started in alarm. "Holy Virgin!" she exclaimed under her breath, "if it should be the Queen!" But Wessex held her tightly, and she struggled in vain. "Nay! then let the whole Court see that I hold my future wife in my arms," he said proudly. But with an agitated little cry she contrived to escape him. He seemed much amused at her nervousness; what had she to fear? was she not his own, to protect even from the semblance of ill? But Ursula, now fully awakened to ordinary, everyday surroundings, was fearful lest her own innocent little deception should be too crudely, too suddenly unmasked. She had so earnestly looked forward to the moment when she would say to him that she in sooth was none other than Lady Ursula Glynde, the woman whom every conventionality had decreed that he should marry, and whom--because of these conventionalities--he had secretly but certainly disliked. Her woman's heart had already given her a clear insight into the character and the foibles of the man she loved. His passion for her now, sincere and great though it was, was partly dependent on that atmosphere of romance which his poetical temperament craved for, and which had surrounded the half-mysterious personality of exquisite, irresistible "Fanny." Instinctively she dreaded the rough hand of commonplace, that ugly, coarse destroyer of poetic idylls. A few hastily uttered words might shatter in an hour the mystic shrine wherein Wessex had enthroned her. She had meant to tell him soon, to-morrow perhaps, perhaps only after a few days, but she wished to find her own time for this, when he knew her inner soul better, and the delicate cobwebs of this great love-at-first-sight had fallen away from his eyes. She could not altogether have explained to herself why a sudden disclosure of her identity at this moment would have been peculiarly unpleasant to her. It was a weak, childish feeling no doubt. But such as it was, it was real, and strong, and genuine. Barely a minute had elapsed whilst these quick thoughts and fears went wildly coursing through her mind. There was no time to tell him everything now. The voices came from the next room, within the next few seconds probably the great door would be open to admit a group of people: the Duchess of Lincoln and the ladies mayhap, or the Queen on her way to chapel. And His Grace of Wessex looked terribly determined. "No! no! no!--not just this moment, sweet Grace," she entreated, "by your love! not _just_ this moment. . . . The Queen would be so angry . . . oh! not _just_ now!" She looked so genuinely disturbed, and so tenderly appealing, that he could not help but obey. "But you cannot send me away like this," he urged. "Another word, sweet saint. . . . Faith! I could not live without another kiss. . . ." "No, no, no, I entreat Your Grace . . . not to-night," she protested feebly. He thought, however, that he detected a sign of yielding in her voice, although she was already beginning to mount the steps ready for flight. "Just one tiny word," he whispered hurriedly: "when the Queen has passed through, linger up there for one brief minute only. I'll wait in there!" And he pointed to a small door close behind him, which led to an inner closet at right angles with the gallery. Before she had time to protest--nay! perhaps she had no wish to refuse--he had disappeared behind its heavy panels, quickly calling to his dog to follow him. But in that one moment's hesitation, those few brief and delicious words hastily exchanged, she had lost her opportunity for escape. The next instant the door at the further end of the room was thrown open, and the Queen entered followed by some of her ladies. She was accompanied by the Duchess of Lincoln, and His Eminence the Cardinal de Moreno was on her left. As chance or ill-luck would have it, the first sight which greeted Her Majesty's eyes was the figure of Lady Ursula, midway up the steps which led to the gallery, some mysterious imp of mischief having contrived that the light from the wax tapers should unaccountably and very vividly fall upon the white-clad form of the young girl. An exclamation of stern reproval from Her Grace of Lincoln brought Ursula to a standstill. Flight now was no longer possible; she could but trust in her guardian angel, or in any of those protective genii who have in their keeping the special care of lovers in distress, and who happened to be hovering nigh. It was not seemly to be half-way up a flight of stairs when Her Majesty was standing on the floor below. Ursula, with her cheeks aflame with vexation, slowly descended, whilst encountering as boldly as she could the artillery fire of half a dozen pairs of eyes fixed steadily upon her. Mary Tudor looked coldly severe, Her Grace of Lincoln horror-struck, His Eminence ironical, and the ladies vastly amused. "Ah, child!" said Her Majesty, in her iciest tone of voice, "all alone, and in this part of the Palace?" She looked the dainty young figure disdainfully up and down, then her eye caught the sheaf of roses lying in a fragrant tangle close to the foot of the stairs. There was a quick flash of anger in her face, then a frown. Ursula wondered how much she guessed or what she suspected. But the Queen, after that one quick wave of passionate wrath, made an obvious effort to control herself. She turned composedly to the Duchess of Lincoln. "Your Grace is aware," she said drily, "that I deem it most indecorous for my maids-of-honour to wander about the Palace alone." The wrinkled old face of the kindly Duchess expressed the most heartfelt sorrow. "I crave Your Majesty's humble pardon . . ." she stammered in an agony of misery at this public reproof. "I . . ." "Nay, Duchess, I know the difficulty of your task," rejoined Mary Tudor bitingly, "the other ladies are docile, and their behaviour is maidenly and chaste. 'Tis not always so with the Lady Ursula Glynde." Mary's voice had been so trenchant and hard that it seemed to Ursula's sensitive ears as if its metallic tones must have penetrated to every corner of the Palace. She gave a quick, terrified look towards the door, longing with all her might for the gift to see through its massive panels--to know what went on within that inner closet, where Wessex was waiting

reasoning

How many times the word 'reasoning' appears in the text?

. I . . ." "Yes?" queried the Duke. "That is the purport of my importunity, my lord," said the young man, springing to his feet and speaking once more in tones of noble candour. "I would have asked Your Grace that, since you do not know the Lady Ursula, since you have no wish to claim her hand, if some one else . . ." "If the Lady Ursula honoured some one else than my unworthy self. . . . Is that your meaning, my lord?" queried Wessex, as Don Miguel had made a slight pause in his impetuous speech. "If I . . ." "You, my lord?" "I would wish to know if I should be offending Your Grace?" "Offending me?" cried Wessex joyfully. "Nay, my lord, why were you so long in telling me this gladsome news? . . . Offending me? . . . you have succeeded in taking a load from my conscience, my dear Marquis. So you love the Lady Ursula Glynde? . . . Ye heavens! what a number of circumlocutions to arrive at this simple little fact! You love her . . . she is very beautiful . . . and she loves you. Where did you first see her, my lord?" "At East Molesey Fair. . . . Your Grace intervened . . . you must remember!" "Most inopportunely, meseems. I must indeed crave your pardon. And since then?" "The acquaintanceship, perhaps somewhat unpleasantly begun, has ripened into . . . friendship." "And thence into love! Nay, you have my heartiest congratulations, my lord. The Glyndes are famous for their virtue, and since the Lady Ursula is beautiful, why! your Court will indeed be graced by such a pattern of English womanhood." "Oh!" said the Spaniard, with a quick gesture of deprecation. "Nay! you must have no fear, my lord. Since you have honoured me by consulting my feelings in the matter, it shall be my pride and my delight to further your cause, and that of the Lady Ursula . . . if indeed she will deign to express her wishes to me. . . . I hereby give you a gentleman's word of honour that I consider the promise, which she made to her father in her childhood, in no way binding upon her now. . . . As for the future, I swear that I will obtain Her Majesty's consent to your immediate marriage." "Nay! I pray you, not so fast!" laughed Don Miguel lightly. "Neither the Lady Ursula nor I have need of Her Majesty's consent. . . ." "But methought----" "'Twas not I who spoke of marriage, remember!" "Then you have completely bewildered me, my lord," rejoined Wessex with a sudden frown. "I understood----" "That I am the proudest of men, certainly," quoth Don Miguel with a sarcastic curl of his sensual lip, "but 'twas Your Grace who spoke of the lady's virtue. I merely wished to know if I should be offending Your Grace if . . ." He laughed and shrugged his shoulders. The laugh grated unpleasantly on Wessex' ear, and the gesture savoured of impertinence. The Marquis' manner had suddenly undergone a change, which caused the Duke's every nerve to tingle. "If what?" he queried curtly. "The devil! sir, cannot you say what you do mean?" "Why should I," replied the Spaniard, "since your Grace has already guessed? You will own that I have acted _en galant homme_, by thinking of your wishes. You will not surely desire to champion that much-vaunted virtue of the Glyndes." "Then what you mean, sir, is that . . ." "I cannot speak more plainly, my lord, for that among gentlemen is quite impossible. But rumours fly about quickly at Court, and I feared that Your Grace might have caught one, ere I had the chance of assuring you that I recognize the priority of your claim. But now you tell me that you have no further interest in the lady, so I am reassured. . . . We foreigners, you know, take passing pleasures more lightly than you serious-minded English . . . and if the lady be unattached . . . and more than willing . . . why should we play the part of Joseph? . . . a ridiculous r le at best, eh, my lord? . . . and one, I think, which Your Grace would ever disdain to play. . . . As for me, I am quite reassured . . . Au revoir to Your Grace. . . ." And before Wessex had time to utter another word, Don Miguel, still laughing, went out of the room. The Duke felt a little bewildered. The conversation had gone through such a sudden transition, that at the time, he had hardly realized whether it touched him deeply or not. Owing to Ursula's girlish little ruse, he was totally unaware of her identity with the lady who had been the subject of this very distasteful discussion. To him Lady Ursula Glynde was both unknown and uninteresting. His meeting with beautiful, exquisite "Fanny" had driven all thoughts of other women from his mind. But with all his volatile disposition, where women were concerned, the Duke of Wessex was nevertheless imbued with a strong and romantic feeling of chivalry towards the entire sex, and Don Miguel's disdainful allusions to the lady who might have been Duchess of Wessex had left his finger-tips itching with the desire to throw his glove in the impudent rascal's face. Harry Plantagenet, who throughout the interview had openly expressed his disapproval of his master's interlocutor, gave an impatient little whine. He longed for the privacy of his own apartments, the warmth of the rugs laid out specially for him. "Harry, old friend!" said Wessex thoughtfully, "what the devil, think you, that young reprobate meant?" He took the dog's beautiful head between his hands and looked straight into the honest, faithful eyes of his dear and constant companion. "Marry!" he continued more lightly, "you may well look doubtful, you wise philosopher, for you know the Glyndes as well as I do. You remember old Lady Annabel, whose very look would stop your tail from wagging, and Charles, stodgy, silent, serious Charles, who never drank, never laughed, had probably never seen a woman's ankle in his life. And then the Lady Ursula . . . a Glynde . . . do you mind me, old Harry? . . . therefore as ugly, as a combination of virtue and Scotch descent can make any woman. . . . Yet, if I caught the rascal's meaning, neither Scotch descent nor ill looks have proved a shield for the lady's virtue! . . . Well, 'tis no business of ours, is it, old Harry? Let us live and let live. . . . Perhaps Lady Ursula is not ugly . . . perchance that unpleasant-looking Spaniard doth truly love her . . . and who are we, Harry, you and I, that we should prove censorious? Let us to our apartments, friend, and meditate on woman's frailty and on our own . . . especially on our own . . . we are mere male creatures, and women are so adorable! even when they bristle with virtues like a hedgehog . . . but like him too, are cushioned beneath those bristles with a hundred charming, fascinating sins. . . . Come along, friend, and let us meditate why sin . . . sin of a certain type, remember, should be so enchantingly tempting." Harry Plantagenet was a philosopher. He had seen his master in this kind of mood before. He wagged his tail as if to express his approval of the broad principles thus submitted for his consideration, but at the same time he showed a distinct desire that his master should talk less and come more speedily to bed. CHAPTER XXII THE WHITE QUEEN Wessex after a while was ready enough to dismiss the unpleasant subject. Perhaps he had no right to be censorious or to resent the Spaniard's somewhat unusual attitude. In England, undoubtedly, a gentleman would never--except under very special circumstances--allude to any passing liaison he might have with a lady of his own rank. That was a strict code of honour which had existed from time immemorial, even in the days of King Harry's youth, when the virtue of high-born women had been but little thought of. Abroad, perhaps, it was different. Spaniards, just then, were noted for the light way in which they regarded the favours of the fair sex, and Don Miguel's code of honour had evidently prompted him to consult Wessex' wishes in the matter of his own intrigue. Loyalty to their own sex is perhaps, on the whole, more general in men than is their chivalry towards women, and perhaps the Marquis' feelings would have revolted at the thought of seeing a lady of such light virtue in the position of Duchess of Wessex. Be that as it may, His Grace had no wish to probe the matter further; with a shrug of the shoulders he dismissed it from his thoughts, whilst registering a vow to chastise the young blackguard if his impertinence showed signs of recurrence. He was on the point of yielding to his faithful Harry's canine appeals by allowing him to lead the way towards his own distant lodgings, when his ear suddenly caught the sound of a silk dress rustling somewhere, not far from where he stood. At the end of the room closest to him, a few steps led up to a gallery, which ran along the wall, finally abutting at a door, which gave access to the Duchess of Lincoln's and other ladies' lodgings. The rustle of a silk skirt seemed to come from there. Perhaps Wessex would not have taken notice of it, except that his every thought was filled with a strange excitement since the rencontre of the afternoon. At times now he felt as if his very senses ached with the longing to see once more that entrancing, girlish figure, dressed all in white and crowned with the halo of her exquisite golden hair, to hear once more the sound of that fresh young voice, that merry, childlike laugh, through which there vibrated the thrill of a newly awakened passion. Since he had met her he was conscious of a wonderful change in himself. He did not even analyse his feelings: he knew that he loved her now: that, in a sense, he had always loved her, for his poetic and romantic temperament had ever been in search of that perfect type of womanhood, which she seemed so completely to embody in herself. He had only spoken to her for about half an hour, then had sat opposite to her in a boat among the reeds, in the cool of the afternoon, with the lazy river gently rocking the light skiff, and the water birds for sole witnesses of his happiness. They had hardly exchanged a word then, for he had enjoyed the delight--dear to every man who loves--of watching the blushes come and go upon her cheek in response to his ardent gaze. What did words matter? the music in their souls supplied all that they wished to say. And he--who had been deemed so fickle, who had made of love a pastime, taking what joys women would give him with a grateful yet transient smile, His Grace of Wessex, in fact, who had loved so often yet so inconstantly--knew now that the stern little god, who will not for long brook defiance of his laws, had wounded him for life or death at last. And even now, when he heard the rustle of a kirtle, he paused instinctively, vaguely, madly hoping that chance, and the great wild longing which was in him, had indeed drawn her footsteps hither. The door above, at the end of the gallery, was tentatively opened. Wessex could see nothing, for those distant corners of the room were in complete darkness, but he heard a voice, low and sweet, humming the little ditty which she, his queen, had sung this afternoon. "Disdaine me not that am your own, Refuse me not that am so true, Mistrust me not till all be knowen, Forsake me not now for no new." She walked slowly along the gallery, and paused not far from the top of the short flight of oak steps. She seemed to be hesitating a little, as if afraid to venture farther into the large, dimly lighted hall. The flicker of the tall wax tapers now caught her dainty figure, casting golden lights and deep, ruddy shadows on her fair young face and on the whiteness of her gown. In her arms she held an enormous sheaf of pale pink monthly roses, the spoils of the garden, lavish in its autumnal glory. Never had Wessex--fastidious, fickle, insouciant Wessex--seen anything more radiant, more exquisite, more poetic than this apparition which came towards him like the realization of all his maddest dreams. For one moment more he lingered, his ardent, passionate soul was loath to give up these heaven-born seconds spent in looking at her. Her eyes shone darkly in the gleam of the candle light and had wondrous reflections in them, which looked ruddy and hot; her delicately chiselled features were suffused with a strange glow, which seemed to come from within; and her lips were slightly parted, moist and red like some ripe summer fruit. From her whole person there came an exhalation of youth and womanhood, of purity and soul-stirring passion. "Come down, sweet singer," said Wessex to her at last. She gave a startled little cry, leant over the balustrade, and the sheaf of flowers dropped from her arms, falling in a long cascade of leaves and blossoms, rose-coloured and sweet-scented, at his feet. "Ah, Your Grace frightened me!" she whispered, with just a touch of feminine coquetry. "I . . . I . . . didn't know you were here." "I swear you did not, sweet saint . . . but now . . . as I am here . . . come down quickly ere I perish with longing for a nearer sight of your dear eyes." "But my flowers," she said, with a sudden access of timidity, brought forth by the thrilling ardour of his voice. "I had picked them for Her Majesty's oratory." "Nay! let them all wither save one . . . which I will take from your hand. Come down. . . ." One of the roses had remained fixed in the stiff fold of her panier. She took it between her fingers and sighed. "Oh! I dare not," she said sadly. "Your Grace does not know,--cannot guess, what dire disgrace would befall me if I did." "Perish the thought of disgrace," rejoined Wessex gaily. "Marry! the saints in Paradise must come down from heaven sometimes, else the world would be consumed by its own wickedness. Come down," he added more earnestly, seized with a mad, ungovernable desire to clasp her to his heart, "come down, or I swear that I'll bring you down in my arms." "No . . . no . . . no!" she protested, alarmed at his vehemence. "I'll come down." With a quaintly mischievous gesture she flung the rose at him; it hit him in the face, then fell; he had perforce to stoop in order to pick it up. When he once more straightened his tall figure she was standing quite close to him. There she was, just as he had always thought of her, even as a boy when first he began to dream. She, the perfect woman whom one day he would meet, and on that day would love wholly, passionately, humbly, and proudly, his own and yet his queen; she the most perfect product of Nature, with just that tone of gold in her hair, just those eyes, so inscrutable, so full of colour, so infinite in their variety; not very tall, but graceful and slender, with her dainty head on a level with his shoulder, her fair young forehead on a level with his lips. Now that she was so near, he was as if turned to stone. The wild longing was still in him to clasp her in his arms, to hold her closely, tenderly to his heart, yet he would not have touched her for a kingdom. But as he looked at her he knew that she, herself, would come to him in all her purity, her innocence . . . soon . . . to-day perhaps . . . but certainly one day . . . and that she would come with every fibre in her entire being vibrating in responsive passion to him. She looked up at him shyly, tentatively. His very soul went out to her as he returned her gaze. A great and glorious exultation thrilled every fibre of her being. She knew that she had conquered, that the love which in her girlish heart she had kept for him had borne fruit a thousandfold. Her heart seemed to stop beating at the immensity of her happiness. But woman-like, she was more self-possessed than he was. "I must not stay," she said gravely and with only an imperceptible quiver in her voice. "I am in disgrace, you know . . . for that stroll on the river . . . with you . . . this afternoon." "Why? what happened?" he asked with a smile. She held up her little hand and counted on her fingers. "Number one, a frown and a colder shoulder from Her Majesty! Two, a lecture from Her Grace of Lincoln! Twenty minutes! Three, four, and five, pin-pricks from the ladies and a lonely supper in my room to-night." He loved her in this gayer mood which made her seem so young and childlike. "Could you not have contrived to let me know?" "Why? . . . What would you have done?" "Made it less lonely for you." "You are doing that now. I thought I should be alone the rest of the evening. Her Grace of Lincoln and the others are at prayers with Her Majesty. I was confined to that room up there. How is it Your Grace happened to be in this hall just when I came out?" "A moth is always to be found where the light happens to be," he replied gravely. "But how did you know I should be here?" "My eyes, since this afternoon, see you constantly where you are not--how could they fail to see you where you are?" "Then, as Your Grace has seen me . . ." she added with timid nervousness, seeing that he now stood between her and the steps, "will you allow me to go up again?" "No." "I entreat!" she pleaded. "Impossible." "Her Grace of Lincoln will be looking for me." "Then stay here with me until she does." "What to do?" she queried innocently. "To make me happy." "Happy?" she laughed merrily. "Ho! ho! ho! How can I, a humble waiting-maid, manage to make His Grace of Wessex happy?" "By letting me look at you." With quaint and artless coquetry she picked up the folds of her heavy brocaded paniers, right and left, with two delicate fingers, and executed a dainty pirouette in front of him. "There!" she said merrily, "'tis done. . . . And now?" "By letting me whisper to you . . ." he murmured. She drew back quickly, and said with mock severity-- "That which I must not hear." "Why not?" "Because Your Grace is not free," she rejoined archly. "Not free to whisper anything in any woman's ear, save in that of Lady Ursula Glynde." "Then you guessed what I would have whispered to you?" "Perhaps." "What was it?" She veiled the glory of her eyes with their fringe of dark lashes. "That you loved me . . ." she murmured, "for the moment. . . ." How irresistible she was, with just that soup on of coquetry to whet the desire of this fastidious man of the world, and with it all so free from artifice, so young and fresh and pure:--a madonna, yet made to tempt mankind. "Nay! if you would let me, sweet saint, I would whisper in your tiny ear that I worship you!" he said in all sincerity and truth, and with the ring of an ardent passion in every tone of his voice. "Worship me? . . ." she queried in mock astonishment, "and Your Grace does not even know who I am." "Faith! but I do. You are the most beautiful woman on this earth." "Oh! . . . but my name! . . ." "Nay! as to that I care not . . . You shall tell it me anon, if you like. . . . For the moment I love to think of you as I first beheld you in the garden this afternoon--a fairy or sprite . . . I know not which . . . an angel mayhap . . . in your robes of white, surrounded with flowers and dark bosquets of hazelnut and of yew, with golden tints of ruddy autumn around you, less glorious than your hair. Let me worship blindly . . . fettered . . . your slave." She sighed, a quaint little sigh, which had a tinge of melancholy in it. "For how long?" she murmured. "For my whole life," he replied earnestly. "Will you not try me?" "How?" "You love me, sweet saint?" "I . . ." she began shyly. "Let me look into your eyes. . . . I will find my answer." Her arms dropped by her side, she looked up and met his eyes, ardent, burning with passion, fixed longingly upon her. He came close to her, quite close, his presence thrilled her; she closed her eyes in order to shut out from her innermost soul everything from the outside world, save the exquisite feeling of her newly awakened love. "Now, see how perverse I am," he whispered passionately. "I do not want you to tell me anything just now . . . open your eyes, dear saint . . . for I but want to stand like this . . . and read in their blue depths . . . enjoying every fraction of a second of this heavenly moment. . . ." She tried to speak, but instinctively he stopped her. "No . . . no . . . do not speak. . . . And yet . . . 'tis from your sweet lips I'd have my final answer." He took her in his arms. She lay against him, unresisting, her sweet face turned up to his, soul meeting soul at last in the ecstasy of a first kiss. He held her to his heart. It seemed as if he could never let her go from him again. Everything was forgotten, the world had ceased to be. For him there was but one woman on this earth, and she was his own. CHAPTER XXIII CHECK TO THE QUEEN How long they stood thus, heart to heart, they themselves could never have said. The sound of many voices in the near distance roused them from their dream. Ursula started in alarm. "Holy Virgin!" she exclaimed under her breath, "if it should be the Queen!" But Wessex held her tightly, and she struggled in vain. "Nay! then let the whole Court see that I hold my future wife in my arms," he said proudly. But with an agitated little cry she contrived to escape him. He seemed much amused at her nervousness; what had she to fear? was she not his own, to protect even from the semblance of ill? But Ursula, now fully awakened to ordinary, everyday surroundings, was fearful lest her own innocent little deception should be too crudely, too suddenly unmasked. She had so earnestly looked forward to the moment when she would say to him that she in sooth was none other than Lady Ursula Glynde, the woman whom every conventionality had decreed that he should marry, and whom--because of these conventionalities--he had secretly but certainly disliked. Her woman's heart had already given her a clear insight into the character and the foibles of the man she loved. His passion for her now, sincere and great though it was, was partly dependent on that atmosphere of romance which his poetical temperament craved for, and which had surrounded the half-mysterious personality of exquisite, irresistible "Fanny." Instinctively she dreaded the rough hand of commonplace, that ugly, coarse destroyer of poetic idylls. A few hastily uttered words might shatter in an hour the mystic shrine wherein Wessex had enthroned her. She had meant to tell him soon, to-morrow perhaps, perhaps only after a few days, but she wished to find her own time for this, when he knew her inner soul better, and the delicate cobwebs of this great love-at-first-sight had fallen away from his eyes. She could not altogether have explained to herself why a sudden disclosure of her identity at this moment would have been peculiarly unpleasant to her. It was a weak, childish feeling no doubt. But such as it was, it was real, and strong, and genuine. Barely a minute had elapsed whilst these quick thoughts and fears went wildly coursing through her mind. There was no time to tell him everything now. The voices came from the next room, within the next few seconds probably the great door would be open to admit a group of people: the Duchess of Lincoln and the ladies mayhap, or the Queen on her way to chapel. And His Grace of Wessex looked terribly determined. "No! no! no!--not just this moment, sweet Grace," she entreated, "by your love! not _just_ this moment. . . . The Queen would be so angry . . . oh! not _just_ now!" She looked so genuinely disturbed, and so tenderly appealing, that he could not help but obey. "But you cannot send me away like this," he urged. "Another word, sweet saint. . . . Faith! I could not live without another kiss. . . ." "No, no, no, I entreat Your Grace . . . not to-night," she protested feebly. He thought, however, that he detected a sign of yielding in her voice, although she was already beginning to mount the steps ready for flight. "Just one tiny word," he whispered hurriedly: "when the Queen has passed through, linger up there for one brief minute only. I'll wait in there!" And he pointed to a small door close behind him, which led to an inner closet at right angles with the gallery. Before she had time to protest--nay! perhaps she had no wish to refuse--he had disappeared behind its heavy panels, quickly calling to his dog to follow him. But in that one moment's hesitation, those few brief and delicious words hastily exchanged, she had lost her opportunity for escape. The next instant the door at the further end of the room was thrown open, and the Queen entered followed by some of her ladies. She was accompanied by the Duchess of Lincoln, and His Eminence the Cardinal de Moreno was on her left. As chance or ill-luck would have it, the first sight which greeted Her Majesty's eyes was the figure of Lady Ursula, midway up the steps which led to the gallery, some mysterious imp of mischief having contrived that the light from the wax tapers should unaccountably and very vividly fall upon the white-clad form of the young girl. An exclamation of stern reproval from Her Grace of Lincoln brought Ursula to a standstill. Flight now was no longer possible; she could but trust in her guardian angel, or in any of those protective genii who have in their keeping the special care of lovers in distress, and who happened to be hovering nigh. It was not seemly to be half-way up a flight of stairs when Her Majesty was standing on the floor below. Ursula, with her cheeks aflame with vexation, slowly descended, whilst encountering as boldly as she could the artillery fire of half a dozen pairs of eyes fixed steadily upon her. Mary Tudor looked coldly severe, Her Grace of Lincoln horror-struck, His Eminence ironical, and the ladies vastly amused. "Ah, child!" said Her Majesty, in her iciest tone of voice, "all alone, and in this part of the Palace?" She looked the dainty young figure disdainfully up and down, then her eye caught the sheaf of roses lying in a fragrant tangle close to the foot of the stairs. There was a quick flash of anger in her face, then a frown. Ursula wondered how much she guessed or what she suspected. But the Queen, after that one quick wave of passionate wrath, made an obvious effort to control herself. She turned composedly to the Duchess of Lincoln. "Your Grace is aware," she said drily, "that I deem it most indecorous for my maids-of-honour to wander about the Palace alone." The wrinkled old face of the kindly Duchess expressed the most heartfelt sorrow. "I crave Your Majesty's humble pardon . . ." she stammered in an agony of misery at this public reproof. "I . . ." "Nay, Duchess, I know the difficulty of your task," rejoined Mary Tudor bitingly, "the other ladies are docile, and their behaviour is maidenly and chaste. 'Tis not always so with the Lady Ursula Glynde." Mary's voice had been so trenchant and hard that it seemed to Ursula's sensitive ears as if its metallic tones must have penetrated to every corner of the Palace. She gave a quick, terrified look towards the door, longing with all her might for the gift to see through its massive panels--to know what went on within that inner closet, where Wessex was waiting

give

How many times the word 'give' appears in the text?

. I . . ." "Yes?" queried the Duke. "That is the purport of my importunity, my lord," said the young man, springing to his feet and speaking once more in tones of noble candour. "I would have asked Your Grace that, since you do not know the Lady Ursula, since you have no wish to claim her hand, if some one else . . ." "If the Lady Ursula honoured some one else than my unworthy self. . . . Is that your meaning, my lord?" queried Wessex, as Don Miguel had made a slight pause in his impetuous speech. "If I . . ." "You, my lord?" "I would wish to know if I should be offending Your Grace?" "Offending me?" cried Wessex joyfully. "Nay, my lord, why were you so long in telling me this gladsome news? . . . Offending me? . . . you have succeeded in taking a load from my conscience, my dear Marquis. So you love the Lady Ursula Glynde? . . . Ye heavens! what a number of circumlocutions to arrive at this simple little fact! You love her . . . she is very beautiful . . . and she loves you. Where did you first see her, my lord?" "At East Molesey Fair. . . . Your Grace intervened . . . you must remember!" "Most inopportunely, meseems. I must indeed crave your pardon. And since then?" "The acquaintanceship, perhaps somewhat unpleasantly begun, has ripened into . . . friendship." "And thence into love! Nay, you have my heartiest congratulations, my lord. The Glyndes are famous for their virtue, and since the Lady Ursula is beautiful, why! your Court will indeed be graced by such a pattern of English womanhood." "Oh!" said the Spaniard, with a quick gesture of deprecation. "Nay! you must have no fear, my lord. Since you have honoured me by consulting my feelings in the matter, it shall be my pride and my delight to further your cause, and that of the Lady Ursula . . . if indeed she will deign to express her wishes to me. . . . I hereby give you a gentleman's word of honour that I consider the promise, which she made to her father in her childhood, in no way binding upon her now. . . . As for the future, I swear that I will obtain Her Majesty's consent to your immediate marriage." "Nay! I pray you, not so fast!" laughed Don Miguel lightly. "Neither the Lady Ursula nor I have need of Her Majesty's consent. . . ." "But methought----" "'Twas not I who spoke of marriage, remember!" "Then you have completely bewildered me, my lord," rejoined Wessex with a sudden frown. "I understood----" "That I am the proudest of men, certainly," quoth Don Miguel with a sarcastic curl of his sensual lip, "but 'twas Your Grace who spoke of the lady's virtue. I merely wished to know if I should be offending Your Grace if . . ." He laughed and shrugged his shoulders. The laugh grated unpleasantly on Wessex' ear, and the gesture savoured of impertinence. The Marquis' manner had suddenly undergone a change, which caused the Duke's every nerve to tingle. "If what?" he queried curtly. "The devil! sir, cannot you say what you do mean?" "Why should I," replied the Spaniard, "since your Grace has already guessed? You will own that I have acted _en galant homme_, by thinking of your wishes. You will not surely desire to champion that much-vaunted virtue of the Glyndes." "Then what you mean, sir, is that . . ." "I cannot speak more plainly, my lord, for that among gentlemen is quite impossible. But rumours fly about quickly at Court, and I feared that Your Grace might have caught one, ere I had the chance of assuring you that I recognize the priority of your claim. But now you tell me that you have no further interest in the lady, so I am reassured. . . . We foreigners, you know, take passing pleasures more lightly than you serious-minded English . . . and if the lady be unattached . . . and more than willing . . . why should we play the part of Joseph? . . . a ridiculous r le at best, eh, my lord? . . . and one, I think, which Your Grace would ever disdain to play. . . . As for me, I am quite reassured . . . Au revoir to Your Grace. . . ." And before Wessex had time to utter another word, Don Miguel, still laughing, went out of the room. The Duke felt a little bewildered. The conversation had gone through such a sudden transition, that at the time, he had hardly realized whether it touched him deeply or not. Owing to Ursula's girlish little ruse, he was totally unaware of her identity with the lady who had been the subject of this very distasteful discussion. To him Lady Ursula Glynde was both unknown and uninteresting. His meeting with beautiful, exquisite "Fanny" had driven all thoughts of other women from his mind. But with all his volatile disposition, where women were concerned, the Duke of Wessex was nevertheless imbued with a strong and romantic feeling of chivalry towards the entire sex, and Don Miguel's disdainful allusions to the lady who might have been Duchess of Wessex had left his finger-tips itching with the desire to throw his glove in the impudent rascal's face. Harry Plantagenet, who throughout the interview had openly expressed his disapproval of his master's interlocutor, gave an impatient little whine. He longed for the privacy of his own apartments, the warmth of the rugs laid out specially for him. "Harry, old friend!" said Wessex thoughtfully, "what the devil, think you, that young reprobate meant?" He took the dog's beautiful head between his hands and looked straight into the honest, faithful eyes of his dear and constant companion. "Marry!" he continued more lightly, "you may well look doubtful, you wise philosopher, for you know the Glyndes as well as I do. You remember old Lady Annabel, whose very look would stop your tail from wagging, and Charles, stodgy, silent, serious Charles, who never drank, never laughed, had probably never seen a woman's ankle in his life. And then the Lady Ursula . . . a Glynde . . . do you mind me, old Harry? . . . therefore as ugly, as a combination of virtue and Scotch descent can make any woman. . . . Yet, if I caught the rascal's meaning, neither Scotch descent nor ill looks have proved a shield for the lady's virtue! . . . Well, 'tis no business of ours, is it, old Harry? Let us live and let live. . . . Perhaps Lady Ursula is not ugly . . . perchance that unpleasant-looking Spaniard doth truly love her . . . and who are we, Harry, you and I, that we should prove censorious? Let us to our apartments, friend, and meditate on woman's frailty and on our own . . . especially on our own . . . we are mere male creatures, and women are so adorable! even when they bristle with virtues like a hedgehog . . . but like him too, are cushioned beneath those bristles with a hundred charming, fascinating sins. . . . Come along, friend, and let us meditate why sin . . . sin of a certain type, remember, should be so enchantingly tempting." Harry Plantagenet was a philosopher. He had seen his master in this kind of mood before. He wagged his tail as if to express his approval of the broad principles thus submitted for his consideration, but at the same time he showed a distinct desire that his master should talk less and come more speedily to bed. CHAPTER XXII THE WHITE QUEEN Wessex after a while was ready enough to dismiss the unpleasant subject. Perhaps he had no right to be censorious or to resent the Spaniard's somewhat unusual attitude. In England, undoubtedly, a gentleman would never--except under very special circumstances--allude to any passing liaison he might have with a lady of his own rank. That was a strict code of honour which had existed from time immemorial, even in the days of King Harry's youth, when the virtue of high-born women had been but little thought of. Abroad, perhaps, it was different. Spaniards, just then, were noted for the light way in which they regarded the favours of the fair sex, and Don Miguel's code of honour had evidently prompted him to consult Wessex' wishes in the matter of his own intrigue. Loyalty to their own sex is perhaps, on the whole, more general in men than is their chivalry towards women, and perhaps the Marquis' feelings would have revolted at the thought of seeing a lady of such light virtue in the position of Duchess of Wessex. Be that as it may, His Grace had no wish to probe the matter further; with a shrug of the shoulders he dismissed it from his thoughts, whilst registering a vow to chastise the young blackguard if his impertinence showed signs of recurrence. He was on the point of yielding to his faithful Harry's canine appeals by allowing him to lead the way towards his own distant lodgings, when his ear suddenly caught the sound of a silk dress rustling somewhere, not far from where he stood. At the end of the room closest to him, a few steps led up to a gallery, which ran along the wall, finally abutting at a door, which gave access to the Duchess of Lincoln's and other ladies' lodgings. The rustle of a silk skirt seemed to come from there. Perhaps Wessex would not have taken notice of it, except that his every thought was filled with a strange excitement since the rencontre of the afternoon. At times now he felt as if his very senses ached with the longing to see once more that entrancing, girlish figure, dressed all in white and crowned with the halo of her exquisite golden hair, to hear once more the sound of that fresh young voice, that merry, childlike laugh, through which there vibrated the thrill of a newly awakened passion. Since he had met her he was conscious of a wonderful change in himself. He did not even analyse his feelings: he knew that he loved her now: that, in a sense, he had always loved her, for his poetic and romantic temperament had ever been in search of that perfect type of womanhood, which she seemed so completely to embody in herself. He had only spoken to her for about half an hour, then had sat opposite to her in a boat among the reeds, in the cool of the afternoon, with the lazy river gently rocking the light skiff, and the water birds for sole witnesses of his happiness. They had hardly exchanged a word then, for he had enjoyed the delight--dear to every man who loves--of watching the blushes come and go upon her cheek in response to his ardent gaze. What did words matter? the music in their souls supplied all that they wished to say. And he--who had been deemed so fickle, who had made of love a pastime, taking what joys women would give him with a grateful yet transient smile, His Grace of Wessex, in fact, who had loved so often yet so inconstantly--knew now that the stern little god, who will not for long brook defiance of his laws, had wounded him for life or death at last. And even now, when he heard the rustle of a kirtle, he paused instinctively, vaguely, madly hoping that chance, and the great wild longing which was in him, had indeed drawn her footsteps hither. The door above, at the end of the gallery, was tentatively opened. Wessex could see nothing, for those distant corners of the room were in complete darkness, but he heard a voice, low and sweet, humming the little ditty which she, his queen, had sung this afternoon. "Disdaine me not that am your own, Refuse me not that am so true, Mistrust me not till all be knowen, Forsake me not now for no new." She walked slowly along the gallery, and paused not far from the top of the short flight of oak steps. She seemed to be hesitating a little, as if afraid to venture farther into the large, dimly lighted hall. The flicker of the tall wax tapers now caught her dainty figure, casting golden lights and deep, ruddy shadows on her fair young face and on the whiteness of her gown. In her arms she held an enormous sheaf of pale pink monthly roses, the spoils of the garden, lavish in its autumnal glory. Never had Wessex--fastidious, fickle, insouciant Wessex--seen anything more radiant, more exquisite, more poetic than this apparition which came towards him like the realization of all his maddest dreams. For one moment more he lingered, his ardent, passionate soul was loath to give up these heaven-born seconds spent in looking at her. Her eyes shone darkly in the gleam of the candle light and had wondrous reflections in them, which looked ruddy and hot; her delicately chiselled features were suffused with a strange glow, which seemed to come from within; and her lips were slightly parted, moist and red like some ripe summer fruit. From her whole person there came an exhalation of youth and womanhood, of purity and soul-stirring passion. "Come down, sweet singer," said Wessex to her at last. She gave a startled little cry, leant over the balustrade, and the sheaf of flowers dropped from her arms, falling in a long cascade of leaves and blossoms, rose-coloured and sweet-scented, at his feet. "Ah, Your Grace frightened me!" she whispered, with just a touch of feminine coquetry. "I . . . I . . . didn't know you were here." "I swear you did not, sweet saint . . . but now . . . as I am here . . . come down quickly ere I perish with longing for a nearer sight of your dear eyes." "But my flowers," she said, with a sudden access of timidity, brought forth by the thrilling ardour of his voice. "I had picked them for Her Majesty's oratory." "Nay! let them all wither save one . . . which I will take from your hand. Come down. . . ." One of the roses had remained fixed in the stiff fold of her panier. She took it between her fingers and sighed. "Oh! I dare not," she said sadly. "Your Grace does not know,--cannot guess, what dire disgrace would befall me if I did." "Perish the thought of disgrace," rejoined Wessex gaily. "Marry! the saints in Paradise must come down from heaven sometimes, else the world would be consumed by its own wickedness. Come down," he added more earnestly, seized with a mad, ungovernable desire to clasp her to his heart, "come down, or I swear that I'll bring you down in my arms." "No . . . no . . . no!" she protested, alarmed at his vehemence. "I'll come down." With a quaintly mischievous gesture she flung the rose at him; it hit him in the face, then fell; he had perforce to stoop in order to pick it up. When he once more straightened his tall figure she was standing quite close to him. There she was, just as he had always thought of her, even as a boy when first he began to dream. She, the perfect woman whom one day he would meet, and on that day would love wholly, passionately, humbly, and proudly, his own and yet his queen; she the most perfect product of Nature, with just that tone of gold in her hair, just those eyes, so inscrutable, so full of colour, so infinite in their variety; not very tall, but graceful and slender, with her dainty head on a level with his shoulder, her fair young forehead on a level with his lips. Now that she was so near, he was as if turned to stone. The wild longing was still in him to clasp her in his arms, to hold her closely, tenderly to his heart, yet he would not have touched her for a kingdom. But as he looked at her he knew that she, herself, would come to him in all her purity, her innocence . . . soon . . . to-day perhaps . . . but certainly one day . . . and that she would come with every fibre in her entire being vibrating in responsive passion to him. She looked up at him shyly, tentatively. His very soul went out to her as he returned her gaze. A great and glorious exultation thrilled every fibre of her being. She knew that she had conquered, that the love which in her girlish heart she had kept for him had borne fruit a thousandfold. Her heart seemed to stop beating at the immensity of her happiness. But woman-like, she was more self-possessed than he was. "I must not stay," she said gravely and with only an imperceptible quiver in her voice. "I am in disgrace, you know . . . for that stroll on the river . . . with you . . . this afternoon." "Why? what happened?" he asked with a smile. She held up her little hand and counted on her fingers. "Number one, a frown and a colder shoulder from Her Majesty! Two, a lecture from Her Grace of Lincoln! Twenty minutes! Three, four, and five, pin-pricks from the ladies and a lonely supper in my room to-night." He loved her in this gayer mood which made her seem so young and childlike. "Could you not have contrived to let me know?" "Why? . . . What would you have done?" "Made it less lonely for you." "You are doing that now. I thought I should be alone the rest of the evening. Her Grace of Lincoln and the others are at prayers with Her Majesty. I was confined to that room up there. How is it Your Grace happened to be in this hall just when I came out?" "A moth is always to be found where the light happens to be," he replied gravely. "But how did you know I should be here?" "My eyes, since this afternoon, see you constantly where you are not--how could they fail to see you where you are?" "Then, as Your Grace has seen me . . ." she added with timid nervousness, seeing that he now stood between her and the steps, "will you allow me to go up again?" "No." "I entreat!" she pleaded. "Impossible." "Her Grace of Lincoln will be looking for me." "Then stay here with me until she does." "What to do?" she queried innocently. "To make me happy." "Happy?" she laughed merrily. "Ho! ho! ho! How can I, a humble waiting-maid, manage to make His Grace of Wessex happy?" "By letting me look at you." With quaint and artless coquetry she picked up the folds of her heavy brocaded paniers, right and left, with two delicate fingers, and executed a dainty pirouette in front of him. "There!" she said merrily, "'tis done. . . . And now?" "By letting me whisper to you . . ." he murmured. She drew back quickly, and said with mock severity-- "That which I must not hear." "Why not?" "Because Your Grace is not free," she rejoined archly. "Not free to whisper anything in any woman's ear, save in that of Lady Ursula Glynde." "Then you guessed what I would have whispered to you?" "Perhaps." "What was it?" She veiled the glory of her eyes with their fringe of dark lashes. "That you loved me . . ." she murmured, "for the moment. . . ." How irresistible she was, with just that soup on of coquetry to whet the desire of this fastidious man of the world, and with it all so free from artifice, so young and fresh and pure:--a madonna, yet made to tempt mankind. "Nay! if you would let me, sweet saint, I would whisper in your tiny ear that I worship you!" he said in all sincerity and truth, and with the ring of an ardent passion in every tone of his voice. "Worship me? . . ." she queried in mock astonishment, "and Your Grace does not even know who I am." "Faith! but I do. You are the most beautiful woman on this earth." "Oh! . . . but my name! . . ." "Nay! as to that I care not . . . You shall tell it me anon, if you like. . . . For the moment I love to think of you as I first beheld you in the garden this afternoon--a fairy or sprite . . . I know not which . . . an angel mayhap . . . in your robes of white, surrounded with flowers and dark bosquets of hazelnut and of yew, with golden tints of ruddy autumn around you, less glorious than your hair. Let me worship blindly . . . fettered . . . your slave." She sighed, a quaint little sigh, which had a tinge of melancholy in it. "For how long?" she murmured. "For my whole life," he replied earnestly. "Will you not try me?" "How?" "You love me, sweet saint?" "I . . ." she began shyly. "Let me look into your eyes. . . . I will find my answer." Her arms dropped by her side, she looked up and met his eyes, ardent, burning with passion, fixed longingly upon her. He came close to her, quite close, his presence thrilled her; she closed her eyes in order to shut out from her innermost soul everything from the outside world, save the exquisite feeling of her newly awakened love. "Now, see how perverse I am," he whispered passionately. "I do not want you to tell me anything just now . . . open your eyes, dear saint . . . for I but want to stand like this . . . and read in their blue depths . . . enjoying every fraction of a second of this heavenly moment. . . ." She tried to speak, but instinctively he stopped her. "No . . . no . . . do not speak. . . . And yet . . . 'tis from your sweet lips I'd have my final answer." He took her in his arms. She lay against him, unresisting, her sweet face turned up to his, soul meeting soul at last in the ecstasy of a first kiss. He held her to his heart. It seemed as if he could never let her go from him again. Everything was forgotten, the world had ceased to be. For him there was but one woman on this earth, and she was his own. CHAPTER XXIII CHECK TO THE QUEEN How long they stood thus, heart to heart, they themselves could never have said. The sound of many voices in the near distance roused them from their dream. Ursula started in alarm. "Holy Virgin!" she exclaimed under her breath, "if it should be the Queen!" But Wessex held her tightly, and she struggled in vain. "Nay! then let the whole Court see that I hold my future wife in my arms," he said proudly. But with an agitated little cry she contrived to escape him. He seemed much amused at her nervousness; what had she to fear? was she not his own, to protect even from the semblance of ill? But Ursula, now fully awakened to ordinary, everyday surroundings, was fearful lest her own innocent little deception should be too crudely, too suddenly unmasked. She had so earnestly looked forward to the moment when she would say to him that she in sooth was none other than Lady Ursula Glynde, the woman whom every conventionality had decreed that he should marry, and whom--because of these conventionalities--he had secretly but certainly disliked. Her woman's heart had already given her a clear insight into the character and the foibles of the man she loved. His passion for her now, sincere and great though it was, was partly dependent on that atmosphere of romance which his poetical temperament craved for, and which had surrounded the half-mysterious personality of exquisite, irresistible "Fanny." Instinctively she dreaded the rough hand of commonplace, that ugly, coarse destroyer of poetic idylls. A few hastily uttered words might shatter in an hour the mystic shrine wherein Wessex had enthroned her. She had meant to tell him soon, to-morrow perhaps, perhaps only after a few days, but she wished to find her own time for this, when he knew her inner soul better, and the delicate cobwebs of this great love-at-first-sight had fallen away from his eyes. She could not altogether have explained to herself why a sudden disclosure of her identity at this moment would have been peculiarly unpleasant to her. It was a weak, childish feeling no doubt. But such as it was, it was real, and strong, and genuine. Barely a minute had elapsed whilst these quick thoughts and fears went wildly coursing through her mind. There was no time to tell him everything now. The voices came from the next room, within the next few seconds probably the great door would be open to admit a group of people: the Duchess of Lincoln and the ladies mayhap, or the Queen on her way to chapel. And His Grace of Wessex looked terribly determined. "No! no! no!--not just this moment, sweet Grace," she entreated, "by your love! not _just_ this moment. . . . The Queen would be so angry . . . oh! not _just_ now!" She looked so genuinely disturbed, and so tenderly appealing, that he could not help but obey. "But you cannot send me away like this," he urged. "Another word, sweet saint. . . . Faith! I could not live without another kiss. . . ." "No, no, no, I entreat Your Grace . . . not to-night," she protested feebly. He thought, however, that he detected a sign of yielding in her voice, although she was already beginning to mount the steps ready for flight. "Just one tiny word," he whispered hurriedly: "when the Queen has passed through, linger up there for one brief minute only. I'll wait in there!" And he pointed to a small door close behind him, which led to an inner closet at right angles with the gallery. Before she had time to protest--nay! perhaps she had no wish to refuse--he had disappeared behind its heavy panels, quickly calling to his dog to follow him. But in that one moment's hesitation, those few brief and delicious words hastily exchanged, she had lost her opportunity for escape. The next instant the door at the further end of the room was thrown open, and the Queen entered followed by some of her ladies. She was accompanied by the Duchess of Lincoln, and His Eminence the Cardinal de Moreno was on her left. As chance or ill-luck would have it, the first sight which greeted Her Majesty's eyes was the figure of Lady Ursula, midway up the steps which led to the gallery, some mysterious imp of mischief having contrived that the light from the wax tapers should unaccountably and very vividly fall upon the white-clad form of the young girl. An exclamation of stern reproval from Her Grace of Lincoln brought Ursula to a standstill. Flight now was no longer possible; she could but trust in her guardian angel, or in any of those protective genii who have in their keeping the special care of lovers in distress, and who happened to be hovering nigh. It was not seemly to be half-way up a flight of stairs when Her Majesty was standing on the floor below. Ursula, with her cheeks aflame with vexation, slowly descended, whilst encountering as boldly as she could the artillery fire of half a dozen pairs of eyes fixed steadily upon her. Mary Tudor looked coldly severe, Her Grace of Lincoln horror-struck, His Eminence ironical, and the ladies vastly amused. "Ah, child!" said Her Majesty, in her iciest tone of voice, "all alone, and in this part of the Palace?" She looked the dainty young figure disdainfully up and down, then her eye caught the sheaf of roses lying in a fragrant tangle close to the foot of the stairs. There was a quick flash of anger in her face, then a frown. Ursula wondered how much she guessed or what she suspected. But the Queen, after that one quick wave of passionate wrath, made an obvious effort to control herself. She turned composedly to the Duchess of Lincoln. "Your Grace is aware," she said drily, "that I deem it most indecorous for my maids-of-honour to wander about the Palace alone." The wrinkled old face of the kindly Duchess expressed the most heartfelt sorrow. "I crave Your Majesty's humble pardon . . ." she stammered in an agony of misery at this public reproof. "I . . ." "Nay, Duchess, I know the difficulty of your task," rejoined Mary Tudor bitingly, "the other ladies are docile, and their behaviour is maidenly and chaste. 'Tis not always so with the Lady Ursula Glynde." Mary's voice had been so trenchant and hard that it seemed to Ursula's sensitive ears as if its metallic tones must have penetrated to every corner of the Palace. She gave a quick, terrified look towards the door, longing with all her might for the gift to see through its massive panels--to know what went on within that inner closet, where Wessex was waiting

fowls

How many times the word 'fowls' appears in the text?

. I . . ." "Yes?" queried the Duke. "That is the purport of my importunity, my lord," said the young man, springing to his feet and speaking once more in tones of noble candour. "I would have asked Your Grace that, since you do not know the Lady Ursula, since you have no wish to claim her hand, if some one else . . ." "If the Lady Ursula honoured some one else than my unworthy self. . . . Is that your meaning, my lord?" queried Wessex, as Don Miguel had made a slight pause in his impetuous speech. "If I . . ." "You, my lord?" "I would wish to know if I should be offending Your Grace?" "Offending me?" cried Wessex joyfully. "Nay, my lord, why were you so long in telling me this gladsome news? . . . Offending me? . . . you have succeeded in taking a load from my conscience, my dear Marquis. So you love the Lady Ursula Glynde? . . . Ye heavens! what a number of circumlocutions to arrive at this simple little fact! You love her . . . she is very beautiful . . . and she loves you. Where did you first see her, my lord?" "At East Molesey Fair. . . . Your Grace intervened . . . you must remember!" "Most inopportunely, meseems. I must indeed crave your pardon. And since then?" "The acquaintanceship, perhaps somewhat unpleasantly begun, has ripened into . . . friendship." "And thence into love! Nay, you have my heartiest congratulations, my lord. The Glyndes are famous for their virtue, and since the Lady Ursula is beautiful, why! your Court will indeed be graced by such a pattern of English womanhood." "Oh!" said the Spaniard, with a quick gesture of deprecation. "Nay! you must have no fear, my lord. Since you have honoured me by consulting my feelings in the matter, it shall be my pride and my delight to further your cause, and that of the Lady Ursula . . . if indeed she will deign to express her wishes to me. . . . I hereby give you a gentleman's word of honour that I consider the promise, which she made to her father in her childhood, in no way binding upon her now. . . . As for the future, I swear that I will obtain Her Majesty's consent to your immediate marriage." "Nay! I pray you, not so fast!" laughed Don Miguel lightly. "Neither the Lady Ursula nor I have need of Her Majesty's consent. . . ." "But methought----" "'Twas not I who spoke of marriage, remember!" "Then you have completely bewildered me, my lord," rejoined Wessex with a sudden frown. "I understood----" "That I am the proudest of men, certainly," quoth Don Miguel with a sarcastic curl of his sensual lip, "but 'twas Your Grace who spoke of the lady's virtue. I merely wished to know if I should be offending Your Grace if . . ." He laughed and shrugged his shoulders. The laugh grated unpleasantly on Wessex' ear, and the gesture savoured of impertinence. The Marquis' manner had suddenly undergone a change, which caused the Duke's every nerve to tingle. "If what?" he queried curtly. "The devil! sir, cannot you say what you do mean?" "Why should I," replied the Spaniard, "since your Grace has already guessed? You will own that I have acted _en galant homme_, by thinking of your wishes. You will not surely desire to champion that much-vaunted virtue of the Glyndes." "Then what you mean, sir, is that . . ." "I cannot speak more plainly, my lord, for that among gentlemen is quite impossible. But rumours fly about quickly at Court, and I feared that Your Grace might have caught one, ere I had the chance of assuring you that I recognize the priority of your claim. But now you tell me that you have no further interest in the lady, so I am reassured. . . . We foreigners, you know, take passing pleasures more lightly than you serious-minded English . . . and if the lady be unattached . . . and more than willing . . . why should we play the part of Joseph? . . . a ridiculous r le at best, eh, my lord? . . . and one, I think, which Your Grace would ever disdain to play. . . . As for me, I am quite reassured . . . Au revoir to Your Grace. . . ." And before Wessex had time to utter another word, Don Miguel, still laughing, went out of the room. The Duke felt a little bewildered. The conversation had gone through such a sudden transition, that at the time, he had hardly realized whether it touched him deeply or not. Owing to Ursula's girlish little ruse, he was totally unaware of her identity with the lady who had been the subject of this very distasteful discussion. To him Lady Ursula Glynde was both unknown and uninteresting. His meeting with beautiful, exquisite "Fanny" had driven all thoughts of other women from his mind. But with all his volatile disposition, where women were concerned, the Duke of Wessex was nevertheless imbued with a strong and romantic feeling of chivalry towards the entire sex, and Don Miguel's disdainful allusions to the lady who might have been Duchess of Wessex had left his finger-tips itching with the desire to throw his glove in the impudent rascal's face. Harry Plantagenet, who throughout the interview had openly expressed his disapproval of his master's interlocutor, gave an impatient little whine. He longed for the privacy of his own apartments, the warmth of the rugs laid out specially for him. "Harry, old friend!" said Wessex thoughtfully, "what the devil, think you, that young reprobate meant?" He took the dog's beautiful head between his hands and looked straight into the honest, faithful eyes of his dear and constant companion. "Marry!" he continued more lightly, "you may well look doubtful, you wise philosopher, for you know the Glyndes as well as I do. You remember old Lady Annabel, whose very look would stop your tail from wagging, and Charles, stodgy, silent, serious Charles, who never drank, never laughed, had probably never seen a woman's ankle in his life. And then the Lady Ursula . . . a Glynde . . . do you mind me, old Harry? . . . therefore as ugly, as a combination of virtue and Scotch descent can make any woman. . . . Yet, if I caught the rascal's meaning, neither Scotch descent nor ill looks have proved a shield for the lady's virtue! . . . Well, 'tis no business of ours, is it, old Harry? Let us live and let live. . . . Perhaps Lady Ursula is not ugly . . . perchance that unpleasant-looking Spaniard doth truly love her . . . and who are we, Harry, you and I, that we should prove censorious? Let us to our apartments, friend, and meditate on woman's frailty and on our own . . . especially on our own . . . we are mere male creatures, and women are so adorable! even when they bristle with virtues like a hedgehog . . . but like him too, are cushioned beneath those bristles with a hundred charming, fascinating sins. . . . Come along, friend, and let us meditate why sin . . . sin of a certain type, remember, should be so enchantingly tempting." Harry Plantagenet was a philosopher. He had seen his master in this kind of mood before. He wagged his tail as if to express his approval of the broad principles thus submitted for his consideration, but at the same time he showed a distinct desire that his master should talk less and come more speedily to bed. CHAPTER XXII THE WHITE QUEEN Wessex after a while was ready enough to dismiss the unpleasant subject. Perhaps he had no right to be censorious or to resent the Spaniard's somewhat unusual attitude. In England, undoubtedly, a gentleman would never--except under very special circumstances--allude to any passing liaison he might have with a lady of his own rank. That was a strict code of honour which had existed from time immemorial, even in the days of King Harry's youth, when the virtue of high-born women had been but little thought of. Abroad, perhaps, it was different. Spaniards, just then, were noted for the light way in which they regarded the favours of the fair sex, and Don Miguel's code of honour had evidently prompted him to consult Wessex' wishes in the matter of his own intrigue. Loyalty to their own sex is perhaps, on the whole, more general in men than is their chivalry towards women, and perhaps the Marquis' feelings would have revolted at the thought of seeing a lady of such light virtue in the position of Duchess of Wessex. Be that as it may, His Grace had no wish to probe the matter further; with a shrug of the shoulders he dismissed it from his thoughts, whilst registering a vow to chastise the young blackguard if his impertinence showed signs of recurrence. He was on the point of yielding to his faithful Harry's canine appeals by allowing him to lead the way towards his own distant lodgings, when his ear suddenly caught the sound of a silk dress rustling somewhere, not far from where he stood. At the end of the room closest to him, a few steps led up to a gallery, which ran along the wall, finally abutting at a door, which gave access to the Duchess of Lincoln's and other ladies' lodgings. The rustle of a silk skirt seemed to come from there. Perhaps Wessex would not have taken notice of it, except that his every thought was filled with a strange excitement since the rencontre of the afternoon. At times now he felt as if his very senses ached with the longing to see once more that entrancing, girlish figure, dressed all in white and crowned with the halo of her exquisite golden hair, to hear once more the sound of that fresh young voice, that merry, childlike laugh, through which there vibrated the thrill of a newly awakened passion. Since he had met her he was conscious of a wonderful change in himself. He did not even analyse his feelings: he knew that he loved her now: that, in a sense, he had always loved her, for his poetic and romantic temperament had ever been in search of that perfect type of womanhood, which she seemed so completely to embody in herself. He had only spoken to her for about half an hour, then had sat opposite to her in a boat among the reeds, in the cool of the afternoon, with the lazy river gently rocking the light skiff, and the water birds for sole witnesses of his happiness. They had hardly exchanged a word then, for he had enjoyed the delight--dear to every man who loves--of watching the blushes come and go upon her cheek in response to his ardent gaze. What did words matter? the music in their souls supplied all that they wished to say. And he--who had been deemed so fickle, who had made of love a pastime, taking what joys women would give him with a grateful yet transient smile, His Grace of Wessex, in fact, who had loved so often yet so inconstantly--knew now that the stern little god, who will not for long brook defiance of his laws, had wounded him for life or death at last. And even now, when he heard the rustle of a kirtle, he paused instinctively, vaguely, madly hoping that chance, and the great wild longing which was in him, had indeed drawn her footsteps hither. The door above, at the end of the gallery, was tentatively opened. Wessex could see nothing, for those distant corners of the room were in complete darkness, but he heard a voice, low and sweet, humming the little ditty which she, his queen, had sung this afternoon. "Disdaine me not that am your own, Refuse me not that am so true, Mistrust me not till all be knowen, Forsake me not now for no new." She walked slowly along the gallery, and paused not far from the top of the short flight of oak steps. She seemed to be hesitating a little, as if afraid to venture farther into the large, dimly lighted hall. The flicker of the tall wax tapers now caught her dainty figure, casting golden lights and deep, ruddy shadows on her fair young face and on the whiteness of her gown. In her arms she held an enormous sheaf of pale pink monthly roses, the spoils of the garden, lavish in its autumnal glory. Never had Wessex--fastidious, fickle, insouciant Wessex--seen anything more radiant, more exquisite, more poetic than this apparition which came towards him like the realization of all his maddest dreams. For one moment more he lingered, his ardent, passionate soul was loath to give up these heaven-born seconds spent in looking at her. Her eyes shone darkly in the gleam of the candle light and had wondrous reflections in them, which looked ruddy and hot; her delicately chiselled features were suffused with a strange glow, which seemed to come from within; and her lips were slightly parted, moist and red like some ripe summer fruit. From her whole person there came an exhalation of youth and womanhood, of purity and soul-stirring passion. "Come down, sweet singer," said Wessex to her at last. She gave a startled little cry, leant over the balustrade, and the sheaf of flowers dropped from her arms, falling in a long cascade of leaves and blossoms, rose-coloured and sweet-scented, at his feet. "Ah, Your Grace frightened me!" she whispered, with just a touch of feminine coquetry. "I . . . I . . . didn't know you were here." "I swear you did not, sweet saint . . . but now . . . as I am here . . . come down quickly ere I perish with longing for a nearer sight of your dear eyes." "But my flowers," she said, with a sudden access of timidity, brought forth by the thrilling ardour of his voice. "I had picked them for Her Majesty's oratory." "Nay! let them all wither save one . . . which I will take from your hand. Come down. . . ." One of the roses had remained fixed in the stiff fold of her panier. She took it between her fingers and sighed. "Oh! I dare not," she said sadly. "Your Grace does not know,--cannot guess, what dire disgrace would befall me if I did." "Perish the thought of disgrace," rejoined Wessex gaily. "Marry! the saints in Paradise must come down from heaven sometimes, else the world would be consumed by its own wickedness. Come down," he added more earnestly, seized with a mad, ungovernable desire to clasp her to his heart, "come down, or I swear that I'll bring you down in my arms." "No . . . no . . . no!" she protested, alarmed at his vehemence. "I'll come down." With a quaintly mischievous gesture she flung the rose at him; it hit him in the face, then fell; he had perforce to stoop in order to pick it up. When he once more straightened his tall figure she was standing quite close to him. There she was, just as he had always thought of her, even as a boy when first he began to dream. She, the perfect woman whom one day he would meet, and on that day would love wholly, passionately, humbly, and proudly, his own and yet his queen; she the most perfect product of Nature, with just that tone of gold in her hair, just those eyes, so inscrutable, so full of colour, so infinite in their variety; not very tall, but graceful and slender, with her dainty head on a level with his shoulder, her fair young forehead on a level with his lips. Now that she was so near, he was as if turned to stone. The wild longing was still in him to clasp her in his arms, to hold her closely, tenderly to his heart, yet he would not have touched her for a kingdom. But as he looked at her he knew that she, herself, would come to him in all her purity, her innocence . . . soon . . . to-day perhaps . . . but certainly one day . . . and that she would come with every fibre in her entire being vibrating in responsive passion to him. She looked up at him shyly, tentatively. His very soul went out to her as he returned her gaze. A great and glorious exultation thrilled every fibre of her being. She knew that she had conquered, that the love which in her girlish heart she had kept for him had borne fruit a thousandfold. Her heart seemed to stop beating at the immensity of her happiness. But woman-like, she was more self-possessed than he was. "I must not stay," she said gravely and with only an imperceptible quiver in her voice. "I am in disgrace, you know . . . for that stroll on the river . . . with you . . . this afternoon." "Why? what happened?" he asked with a smile. She held up her little hand and counted on her fingers. "Number one, a frown and a colder shoulder from Her Majesty! Two, a lecture from Her Grace of Lincoln! Twenty minutes! Three, four, and five, pin-pricks from the ladies and a lonely supper in my room to-night." He loved her in this gayer mood which made her seem so young and childlike. "Could you not have contrived to let me know?" "Why? . . . What would you have done?" "Made it less lonely for you." "You are doing that now. I thought I should be alone the rest of the evening. Her Grace of Lincoln and the others are at prayers with Her Majesty. I was confined to that room up there. How is it Your Grace happened to be in this hall just when I came out?" "A moth is always to be found where the light happens to be," he replied gravely. "But how did you know I should be here?" "My eyes, since this afternoon, see you constantly where you are not--how could they fail to see you where you are?" "Then, as Your Grace has seen me . . ." she added with timid nervousness, seeing that he now stood between her and the steps, "will you allow me to go up again?" "No." "I entreat!" she pleaded. "Impossible." "Her Grace of Lincoln will be looking for me." "Then stay here with me until she does." "What to do?" she queried innocently. "To make me happy." "Happy?" she laughed merrily. "Ho! ho! ho! How can I, a humble waiting-maid, manage to make His Grace of Wessex happy?" "By letting me look at you." With quaint and artless coquetry she picked up the folds of her heavy brocaded paniers, right and left, with two delicate fingers, and executed a dainty pirouette in front of him. "There!" she said merrily, "'tis done. . . . And now?" "By letting me whisper to you . . ." he murmured. She drew back quickly, and said with mock severity-- "That which I must not hear." "Why not?" "Because Your Grace is not free," she rejoined archly. "Not free to whisper anything in any woman's ear, save in that of Lady Ursula Glynde." "Then you guessed what I would have whispered to you?" "Perhaps." "What was it?" She veiled the glory of her eyes with their fringe of dark lashes. "That you loved me . . ." she murmured, "for the moment. . . ." How irresistible she was, with just that soup on of coquetry to whet the desire of this fastidious man of the world, and with it all so free from artifice, so young and fresh and pure:--a madonna, yet made to tempt mankind. "Nay! if you would let me, sweet saint, I would whisper in your tiny ear that I worship you!" he said in all sincerity and truth, and with the ring of an ardent passion in every tone of his voice. "Worship me? . . ." she queried in mock astonishment, "and Your Grace does not even know who I am." "Faith! but I do. You are the most beautiful woman on this earth." "Oh! . . . but my name! . . ." "Nay! as to that I care not . . . You shall tell it me anon, if you like. . . . For the moment I love to think of you as I first beheld you in the garden this afternoon--a fairy or sprite . . . I know not which . . . an angel mayhap . . . in your robes of white, surrounded with flowers and dark bosquets of hazelnut and of yew, with golden tints of ruddy autumn around you, less glorious than your hair. Let me worship blindly . . . fettered . . . your slave." She sighed, a quaint little sigh, which had a tinge of melancholy in it. "For how long?" she murmured. "For my whole life," he replied earnestly. "Will you not try me?" "How?" "You love me, sweet saint?" "I . . ." she began shyly. "Let me look into your eyes. . . . I will find my answer." Her arms dropped by her side, she looked up and met his eyes, ardent, burning with passion, fixed longingly upon her. He came close to her, quite close, his presence thrilled her; she closed her eyes in order to shut out from her innermost soul everything from the outside world, save the exquisite feeling of her newly awakened love. "Now, see how perverse I am," he whispered passionately. "I do not want you to tell me anything just now . . . open your eyes, dear saint . . . for I but want to stand like this . . . and read in their blue depths . . . enjoying every fraction of a second of this heavenly moment. . . ." She tried to speak, but instinctively he stopped her. "No . . . no . . . do not speak. . . . And yet . . . 'tis from your sweet lips I'd have my final answer." He took her in his arms. She lay against him, unresisting, her sweet face turned up to his, soul meeting soul at last in the ecstasy of a first kiss. He held her to his heart. It seemed as if he could never let her go from him again. Everything was forgotten, the world had ceased to be. For him there was but one woman on this earth, and she was his own. CHAPTER XXIII CHECK TO THE QUEEN How long they stood thus, heart to heart, they themselves could never have said. The sound of many voices in the near distance roused them from their dream. Ursula started in alarm. "Holy Virgin!" she exclaimed under her breath, "if it should be the Queen!" But Wessex held her tightly, and she struggled in vain. "Nay! then let the whole Court see that I hold my future wife in my arms," he said proudly. But with an agitated little cry she contrived to escape him. He seemed much amused at her nervousness; what had she to fear? was she not his own, to protect even from the semblance of ill? But Ursula, now fully awakened to ordinary, everyday surroundings, was fearful lest her own innocent little deception should be too crudely, too suddenly unmasked. She had so earnestly looked forward to the moment when she would say to him that she in sooth was none other than Lady Ursula Glynde, the woman whom every conventionality had decreed that he should marry, and whom--because of these conventionalities--he had secretly but certainly disliked. Her woman's heart had already given her a clear insight into the character and the foibles of the man she loved. His passion for her now, sincere and great though it was, was partly dependent on that atmosphere of romance which his poetical temperament craved for, and which had surrounded the half-mysterious personality of exquisite, irresistible "Fanny." Instinctively she dreaded the rough hand of commonplace, that ugly, coarse destroyer of poetic idylls. A few hastily uttered words might shatter in an hour the mystic shrine wherein Wessex had enthroned her. She had meant to tell him soon, to-morrow perhaps, perhaps only after a few days, but she wished to find her own time for this, when he knew her inner soul better, and the delicate cobwebs of this great love-at-first-sight had fallen away from his eyes. She could not altogether have explained to herself why a sudden disclosure of her identity at this moment would have been peculiarly unpleasant to her. It was a weak, childish feeling no doubt. But such as it was, it was real, and strong, and genuine. Barely a minute had elapsed whilst these quick thoughts and fears went wildly coursing through her mind. There was no time to tell him everything now. The voices came from the next room, within the next few seconds probably the great door would be open to admit a group of people: the Duchess of Lincoln and the ladies mayhap, or the Queen on her way to chapel. And His Grace of Wessex looked terribly determined. "No! no! no!--not just this moment, sweet Grace," she entreated, "by your love! not _just_ this moment. . . . The Queen would be so angry . . . oh! not _just_ now!" She looked so genuinely disturbed, and so tenderly appealing, that he could not help but obey. "But you cannot send me away like this," he urged. "Another word, sweet saint. . . . Faith! I could not live without another kiss. . . ." "No, no, no, I entreat Your Grace . . . not to-night," she protested feebly. He thought, however, that he detected a sign of yielding in her voice, although she was already beginning to mount the steps ready for flight. "Just one tiny word," he whispered hurriedly: "when the Queen has passed through, linger up there for one brief minute only. I'll wait in there!" And he pointed to a small door close behind him, which led to an inner closet at right angles with the gallery. Before she had time to protest--nay! perhaps she had no wish to refuse--he had disappeared behind its heavy panels, quickly calling to his dog to follow him. But in that one moment's hesitation, those few brief and delicious words hastily exchanged, she had lost her opportunity for escape. The next instant the door at the further end of the room was thrown open, and the Queen entered followed by some of her ladies. She was accompanied by the Duchess of Lincoln, and His Eminence the Cardinal de Moreno was on her left. As chance or ill-luck would have it, the first sight which greeted Her Majesty's eyes was the figure of Lady Ursula, midway up the steps which led to the gallery, some mysterious imp of mischief having contrived that the light from the wax tapers should unaccountably and very vividly fall upon the white-clad form of the young girl. An exclamation of stern reproval from Her Grace of Lincoln brought Ursula to a standstill. Flight now was no longer possible; she could but trust in her guardian angel, or in any of those protective genii who have in their keeping the special care of lovers in distress, and who happened to be hovering nigh. It was not seemly to be half-way up a flight of stairs when Her Majesty was standing on the floor below. Ursula, with her cheeks aflame with vexation, slowly descended, whilst encountering as boldly as she could the artillery fire of half a dozen pairs of eyes fixed steadily upon her. Mary Tudor looked coldly severe, Her Grace of Lincoln horror-struck, His Eminence ironical, and the ladies vastly amused. "Ah, child!" said Her Majesty, in her iciest tone of voice, "all alone, and in this part of the Palace?" She looked the dainty young figure disdainfully up and down, then her eye caught the sheaf of roses lying in a fragrant tangle close to the foot of the stairs. There was a quick flash of anger in her face, then a frown. Ursula wondered how much she guessed or what she suspected. But the Queen, after that one quick wave of passionate wrath, made an obvious effort to control herself. She turned composedly to the Duchess of Lincoln. "Your Grace is aware," she said drily, "that I deem it most indecorous for my maids-of-honour to wander about the Palace alone." The wrinkled old face of the kindly Duchess expressed the most heartfelt sorrow. "I crave Your Majesty's humble pardon . . ." she stammered in an agony of misery at this public reproof. "I . . ." "Nay, Duchess, I know the difficulty of your task," rejoined Mary Tudor bitingly, "the other ladies are docile, and their behaviour is maidenly and chaste. 'Tis not always so with the Lady Ursula Glynde." Mary's voice had been so trenchant and hard that it seemed to Ursula's sensitive ears as if its metallic tones must have penetrated to every corner of the Palace. She gave a quick, terrified look towards the door, longing with all her might for the gift to see through its massive panels--to know what went on within that inner closet, where Wessex was waiting

stiff

How many times the word 'stiff' appears in the text?

. I . . ." "Yes?" queried the Duke. "That is the purport of my importunity, my lord," said the young man, springing to his feet and speaking once more in tones of noble candour. "I would have asked Your Grace that, since you do not know the Lady Ursula, since you have no wish to claim her hand, if some one else . . ." "If the Lady Ursula honoured some one else than my unworthy self. . . . Is that your meaning, my lord?" queried Wessex, as Don Miguel had made a slight pause in his impetuous speech. "If I . . ." "You, my lord?" "I would wish to know if I should be offending Your Grace?" "Offending me?" cried Wessex joyfully. "Nay, my lord, why were you so long in telling me this gladsome news? . . . Offending me? . . . you have succeeded in taking a load from my conscience, my dear Marquis. So you love the Lady Ursula Glynde? . . . Ye heavens! what a number of circumlocutions to arrive at this simple little fact! You love her . . . she is very beautiful . . . and she loves you. Where did you first see her, my lord?" "At East Molesey Fair. . . . Your Grace intervened . . . you must remember!" "Most inopportunely, meseems. I must indeed crave your pardon. And since then?" "The acquaintanceship, perhaps somewhat unpleasantly begun, has ripened into . . . friendship." "And thence into love! Nay, you have my heartiest congratulations, my lord. The Glyndes are famous for their virtue, and since the Lady Ursula is beautiful, why! your Court will indeed be graced by such a pattern of English womanhood." "Oh!" said the Spaniard, with a quick gesture of deprecation. "Nay! you must have no fear, my lord. Since you have honoured me by consulting my feelings in the matter, it shall be my pride and my delight to further your cause, and that of the Lady Ursula . . . if indeed she will deign to express her wishes to me. . . . I hereby give you a gentleman's word of honour that I consider the promise, which she made to her father in her childhood, in no way binding upon her now. . . . As for the future, I swear that I will obtain Her Majesty's consent to your immediate marriage." "Nay! I pray you, not so fast!" laughed Don Miguel lightly. "Neither the Lady Ursula nor I have need of Her Majesty's consent. . . ." "But methought----" "'Twas not I who spoke of marriage, remember!" "Then you have completely bewildered me, my lord," rejoined Wessex with a sudden frown. "I understood----" "That I am the proudest of men, certainly," quoth Don Miguel with a sarcastic curl of his sensual lip, "but 'twas Your Grace who spoke of the lady's virtue. I merely wished to know if I should be offending Your Grace if . . ." He laughed and shrugged his shoulders. The laugh grated unpleasantly on Wessex' ear, and the gesture savoured of impertinence. The Marquis' manner had suddenly undergone a change, which caused the Duke's every nerve to tingle. "If what?" he queried curtly. "The devil! sir, cannot you say what you do mean?" "Why should I," replied the Spaniard, "since your Grace has already guessed? You will own that I have acted _en galant homme_, by thinking of your wishes. You will not surely desire to champion that much-vaunted virtue of the Glyndes." "Then what you mean, sir, is that . . ." "I cannot speak more plainly, my lord, for that among gentlemen is quite impossible. But rumours fly about quickly at Court, and I feared that Your Grace might have caught one, ere I had the chance of assuring you that I recognize the priority of your claim. But now you tell me that you have no further interest in the lady, so I am reassured. . . . We foreigners, you know, take passing pleasures more lightly than you serious-minded English . . . and if the lady be unattached . . . and more than willing . . . why should we play the part of Joseph? . . . a ridiculous r le at best, eh, my lord? . . . and one, I think, which Your Grace would ever disdain to play. . . . As for me, I am quite reassured . . . Au revoir to Your Grace. . . ." And before Wessex had time to utter another word, Don Miguel, still laughing, went out of the room. The Duke felt a little bewildered. The conversation had gone through such a sudden transition, that at the time, he had hardly realized whether it touched him deeply or not. Owing to Ursula's girlish little ruse, he was totally unaware of her identity with the lady who had been the subject of this very distasteful discussion. To him Lady Ursula Glynde was both unknown and uninteresting. His meeting with beautiful, exquisite "Fanny" had driven all thoughts of other women from his mind. But with all his volatile disposition, where women were concerned, the Duke of Wessex was nevertheless imbued with a strong and romantic feeling of chivalry towards the entire sex, and Don Miguel's disdainful allusions to the lady who might have been Duchess of Wessex had left his finger-tips itching with the desire to throw his glove in the impudent rascal's face. Harry Plantagenet, who throughout the interview had openly expressed his disapproval of his master's interlocutor, gave an impatient little whine. He longed for the privacy of his own apartments, the warmth of the rugs laid out specially for him. "Harry, old friend!" said Wessex thoughtfully, "what the devil, think you, that young reprobate meant?" He took the dog's beautiful head between his hands and looked straight into the honest, faithful eyes of his dear and constant companion. "Marry!" he continued more lightly, "you may well look doubtful, you wise philosopher, for you know the Glyndes as well as I do. You remember old Lady Annabel, whose very look would stop your tail from wagging, and Charles, stodgy, silent, serious Charles, who never drank, never laughed, had probably never seen a woman's ankle in his life. And then the Lady Ursula . . . a Glynde . . . do you mind me, old Harry? . . . therefore as ugly, as a combination of virtue and Scotch descent can make any woman. . . . Yet, if I caught the rascal's meaning, neither Scotch descent nor ill looks have proved a shield for the lady's virtue! . . . Well, 'tis no business of ours, is it, old Harry? Let us live and let live. . . . Perhaps Lady Ursula is not ugly . . . perchance that unpleasant-looking Spaniard doth truly love her . . . and who are we, Harry, you and I, that we should prove censorious? Let us to our apartments, friend, and meditate on woman's frailty and on our own . . . especially on our own . . . we are mere male creatures, and women are so adorable! even when they bristle with virtues like a hedgehog . . . but like him too, are cushioned beneath those bristles with a hundred charming, fascinating sins. . . . Come along, friend, and let us meditate why sin . . . sin of a certain type, remember, should be so enchantingly tempting." Harry Plantagenet was a philosopher. He had seen his master in this kind of mood before. He wagged his tail as if to express his approval of the broad principles thus submitted for his consideration, but at the same time he showed a distinct desire that his master should talk less and come more speedily to bed. CHAPTER XXII THE WHITE QUEEN Wessex after a while was ready enough to dismiss the unpleasant subject. Perhaps he had no right to be censorious or to resent the Spaniard's somewhat unusual attitude. In England, undoubtedly, a gentleman would never--except under very special circumstances--allude to any passing liaison he might have with a lady of his own rank. That was a strict code of honour which had existed from time immemorial, even in the days of King Harry's youth, when the virtue of high-born women had been but little thought of. Abroad, perhaps, it was different. Spaniards, just then, were noted for the light way in which they regarded the favours of the fair sex, and Don Miguel's code of honour had evidently prompted him to consult Wessex' wishes in the matter of his own intrigue. Loyalty to their own sex is perhaps, on the whole, more general in men than is their chivalry towards women, and perhaps the Marquis' feelings would have revolted at the thought of seeing a lady of such light virtue in the position of Duchess of Wessex. Be that as it may, His Grace had no wish to probe the matter further; with a shrug of the shoulders he dismissed it from his thoughts, whilst registering a vow to chastise the young blackguard if his impertinence showed signs of recurrence. He was on the point of yielding to his faithful Harry's canine appeals by allowing him to lead the way towards his own distant lodgings, when his ear suddenly caught the sound of a silk dress rustling somewhere, not far from where he stood. At the end of the room closest to him, a few steps led up to a gallery, which ran along the wall, finally abutting at a door, which gave access to the Duchess of Lincoln's and other ladies' lodgings. The rustle of a silk skirt seemed to come from there. Perhaps Wessex would not have taken notice of it, except that his every thought was filled with a strange excitement since the rencontre of the afternoon. At times now he felt as if his very senses ached with the longing to see once more that entrancing, girlish figure, dressed all in white and crowned with the halo of her exquisite golden hair, to hear once more the sound of that fresh young voice, that merry, childlike laugh, through which there vibrated the thrill of a newly awakened passion. Since he had met her he was conscious of a wonderful change in himself. He did not even analyse his feelings: he knew that he loved her now: that, in a sense, he had always loved her, for his poetic and romantic temperament had ever been in search of that perfect type of womanhood, which she seemed so completely to embody in herself. He had only spoken to her for about half an hour, then had sat opposite to her in a boat among the reeds, in the cool of the afternoon, with the lazy river gently rocking the light skiff, and the water birds for sole witnesses of his happiness. They had hardly exchanged a word then, for he had enjoyed the delight--dear to every man who loves--of watching the blushes come and go upon her cheek in response to his ardent gaze. What did words matter? the music in their souls supplied all that they wished to say. And he--who had been deemed so fickle, who had made of love a pastime, taking what joys women would give him with a grateful yet transient smile, His Grace of Wessex, in fact, who had loved so often yet so inconstantly--knew now that the stern little god, who will not for long brook defiance of his laws, had wounded him for life or death at last. And even now, when he heard the rustle of a kirtle, he paused instinctively, vaguely, madly hoping that chance, and the great wild longing which was in him, had indeed drawn her footsteps hither. The door above, at the end of the gallery, was tentatively opened. Wessex could see nothing, for those distant corners of the room were in complete darkness, but he heard a voice, low and sweet, humming the little ditty which she, his queen, had sung this afternoon. "Disdaine me not that am your own, Refuse me not that am so true, Mistrust me not till all be knowen, Forsake me not now for no new." She walked slowly along the gallery, and paused not far from the top of the short flight of oak steps. She seemed to be hesitating a little, as if afraid to venture farther into the large, dimly lighted hall. The flicker of the tall wax tapers now caught her dainty figure, casting golden lights and deep, ruddy shadows on her fair young face and on the whiteness of her gown. In her arms she held an enormous sheaf of pale pink monthly roses, the spoils of the garden, lavish in its autumnal glory. Never had Wessex--fastidious, fickle, insouciant Wessex--seen anything more radiant, more exquisite, more poetic than this apparition which came towards him like the realization of all his maddest dreams. For one moment more he lingered, his ardent, passionate soul was loath to give up these heaven-born seconds spent in looking at her. Her eyes shone darkly in the gleam of the candle light and had wondrous reflections in them, which looked ruddy and hot; her delicately chiselled features were suffused with a strange glow, which seemed to come from within; and her lips were slightly parted, moist and red like some ripe summer fruit. From her whole person there came an exhalation of youth and womanhood, of purity and soul-stirring passion. "Come down, sweet singer," said Wessex to her at last. She gave a startled little cry, leant over the balustrade, and the sheaf of flowers dropped from her arms, falling in a long cascade of leaves and blossoms, rose-coloured and sweet-scented, at his feet. "Ah, Your Grace frightened me!" she whispered, with just a touch of feminine coquetry. "I . . . I . . . didn't know you were here." "I swear you did not, sweet saint . . . but now . . . as I am here . . . come down quickly ere I perish with longing for a nearer sight of your dear eyes." "But my flowers," she said, with a sudden access of timidity, brought forth by the thrilling ardour of his voice. "I had picked them for Her Majesty's oratory." "Nay! let them all wither save one . . . which I will take from your hand. Come down. . . ." One of the roses had remained fixed in the stiff fold of her panier. She took it between her fingers and sighed. "Oh! I dare not," she said sadly. "Your Grace does not know,--cannot guess, what dire disgrace would befall me if I did." "Perish the thought of disgrace," rejoined Wessex gaily. "Marry! the saints in Paradise must come down from heaven sometimes, else the world would be consumed by its own wickedness. Come down," he added more earnestly, seized with a mad, ungovernable desire to clasp her to his heart, "come down, or I swear that I'll bring you down in my arms." "No . . . no . . . no!" she protested, alarmed at his vehemence. "I'll come down." With a quaintly mischievous gesture she flung the rose at him; it hit him in the face, then fell; he had perforce to stoop in order to pick it up. When he once more straightened his tall figure she was standing quite close to him. There she was, just as he had always thought of her, even as a boy when first he began to dream. She, the perfect woman whom one day he would meet, and on that day would love wholly, passionately, humbly, and proudly, his own and yet his queen; she the most perfect product of Nature, with just that tone of gold in her hair, just those eyes, so inscrutable, so full of colour, so infinite in their variety; not very tall, but graceful and slender, with her dainty head on a level with his shoulder, her fair young forehead on a level with his lips. Now that she was so near, he was as if turned to stone. The wild longing was still in him to clasp her in his arms, to hold her closely, tenderly to his heart, yet he would not have touched her for a kingdom. But as he looked at her he knew that she, herself, would come to him in all her purity, her innocence . . . soon . . . to-day perhaps . . . but certainly one day . . . and that she would come with every fibre in her entire being vibrating in responsive passion to him. She looked up at him shyly, tentatively. His very soul went out to her as he returned her gaze. A great and glorious exultation thrilled every fibre of her being. She knew that she had conquered, that the love which in her girlish heart she had kept for him had borne fruit a thousandfold. Her heart seemed to stop beating at the immensity of her happiness. But woman-like, she was more self-possessed than he was. "I must not stay," she said gravely and with only an imperceptible quiver in her voice. "I am in disgrace, you know . . . for that stroll on the river . . . with you . . . this afternoon." "Why? what happened?" he asked with a smile. She held up her little hand and counted on her fingers. "Number one, a frown and a colder shoulder from Her Majesty! Two, a lecture from Her Grace of Lincoln! Twenty minutes! Three, four, and five, pin-pricks from the ladies and a lonely supper in my room to-night." He loved her in this gayer mood which made her seem so young and childlike. "Could you not have contrived to let me know?" "Why? . . . What would you have done?" "Made it less lonely for you." "You are doing that now. I thought I should be alone the rest of the evening. Her Grace of Lincoln and the others are at prayers with Her Majesty. I was confined to that room up there. How is it Your Grace happened to be in this hall just when I came out?" "A moth is always to be found where the light happens to be," he replied gravely. "But how did you know I should be here?" "My eyes, since this afternoon, see you constantly where you are not--how could they fail to see you where you are?" "Then, as Your Grace has seen me . . ." she added with timid nervousness, seeing that he now stood between her and the steps, "will you allow me to go up again?" "No." "I entreat!" she pleaded. "Impossible." "Her Grace of Lincoln will be looking for me." "Then stay here with me until she does." "What to do?" she queried innocently. "To make me happy." "Happy?" she laughed merrily. "Ho! ho! ho! How can I, a humble waiting-maid, manage to make His Grace of Wessex happy?" "By letting me look at you." With quaint and artless coquetry she picked up the folds of her heavy brocaded paniers, right and left, with two delicate fingers, and executed a dainty pirouette in front of him. "There!" she said merrily, "'tis done. . . . And now?" "By letting me whisper to you . . ." he murmured. She drew back quickly, and said with mock severity-- "That which I must not hear." "Why not?" "Because Your Grace is not free," she rejoined archly. "Not free to whisper anything in any woman's ear, save in that of Lady Ursula Glynde." "Then you guessed what I would have whispered to you?" "Perhaps." "What was it?" She veiled the glory of her eyes with their fringe of dark lashes. "That you loved me . . ." she murmured, "for the moment. . . ." How irresistible she was, with just that soup on of coquetry to whet the desire of this fastidious man of the world, and with it all so free from artifice, so young and fresh and pure:--a madonna, yet made to tempt mankind. "Nay! if you would let me, sweet saint, I would whisper in your tiny ear that I worship you!" he said in all sincerity and truth, and with the ring of an ardent passion in every tone of his voice. "Worship me? . . ." she queried in mock astonishment, "and Your Grace does not even know who I am." "Faith! but I do. You are the most beautiful woman on this earth." "Oh! . . . but my name! . . ." "Nay! as to that I care not . . . You shall tell it me anon, if you like. . . . For the moment I love to think of you as I first beheld you in the garden this afternoon--a fairy or sprite . . . I know not which . . . an angel mayhap . . . in your robes of white, surrounded with flowers and dark bosquets of hazelnut and of yew, with golden tints of ruddy autumn around you, less glorious than your hair. Let me worship blindly . . . fettered . . . your slave." She sighed, a quaint little sigh, which had a tinge of melancholy in it. "For how long?" she murmured. "For my whole life," he replied earnestly. "Will you not try me?" "How?" "You love me, sweet saint?" "I . . ." she began shyly. "Let me look into your eyes. . . . I will find my answer." Her arms dropped by her side, she looked up and met his eyes, ardent, burning with passion, fixed longingly upon her. He came close to her, quite close, his presence thrilled her; she closed her eyes in order to shut out from her innermost soul everything from the outside world, save the exquisite feeling of her newly awakened love. "Now, see how perverse I am," he whispered passionately. "I do not want you to tell me anything just now . . . open your eyes, dear saint . . . for I but want to stand like this . . . and read in their blue depths . . . enjoying every fraction of a second of this heavenly moment. . . ." She tried to speak, but instinctively he stopped her. "No . . . no . . . do not speak. . . . And yet . . . 'tis from your sweet lips I'd have my final answer." He took her in his arms. She lay against him, unresisting, her sweet face turned up to his, soul meeting soul at last in the ecstasy of a first kiss. He held her to his heart. It seemed as if he could never let her go from him again. Everything was forgotten, the world had ceased to be. For him there was but one woman on this earth, and she was his own. CHAPTER XXIII CHECK TO THE QUEEN How long they stood thus, heart to heart, they themselves could never have said. The sound of many voices in the near distance roused them from their dream. Ursula started in alarm. "Holy Virgin!" she exclaimed under her breath, "if it should be the Queen!" But Wessex held her tightly, and she struggled in vain. "Nay! then let the whole Court see that I hold my future wife in my arms," he said proudly. But with an agitated little cry she contrived to escape him. He seemed much amused at her nervousness; what had she to fear? was she not his own, to protect even from the semblance of ill? But Ursula, now fully awakened to ordinary, everyday surroundings, was fearful lest her own innocent little deception should be too crudely, too suddenly unmasked. She had so earnestly looked forward to the moment when she would say to him that she in sooth was none other than Lady Ursula Glynde, the woman whom every conventionality had decreed that he should marry, and whom--because of these conventionalities--he had secretly but certainly disliked. Her woman's heart had already given her a clear insight into the character and the foibles of the man she loved. His passion for her now, sincere and great though it was, was partly dependent on that atmosphere of romance which his poetical temperament craved for, and which had surrounded the half-mysterious personality of exquisite, irresistible "Fanny." Instinctively she dreaded the rough hand of commonplace, that ugly, coarse destroyer of poetic idylls. A few hastily uttered words might shatter in an hour the mystic shrine wherein Wessex had enthroned her. She had meant to tell him soon, to-morrow perhaps, perhaps only after a few days, but she wished to find her own time for this, when he knew her inner soul better, and the delicate cobwebs of this great love-at-first-sight had fallen away from his eyes. She could not altogether have explained to herself why a sudden disclosure of her identity at this moment would have been peculiarly unpleasant to her. It was a weak, childish feeling no doubt. But such as it was, it was real, and strong, and genuine. Barely a minute had elapsed whilst these quick thoughts and fears went wildly coursing through her mind. There was no time to tell him everything now. The voices came from the next room, within the next few seconds probably the great door would be open to admit a group of people: the Duchess of Lincoln and the ladies mayhap, or the Queen on her way to chapel. And His Grace of Wessex looked terribly determined. "No! no! no!--not just this moment, sweet Grace," she entreated, "by your love! not _just_ this moment. . . . The Queen would be so angry . . . oh! not _just_ now!" She looked so genuinely disturbed, and so tenderly appealing, that he could not help but obey. "But you cannot send me away like this," he urged. "Another word, sweet saint. . . . Faith! I could not live without another kiss. . . ." "No, no, no, I entreat Your Grace . . . not to-night," she protested feebly. He thought, however, that he detected a sign of yielding in her voice, although she was already beginning to mount the steps ready for flight. "Just one tiny word," he whispered hurriedly: "when the Queen has passed through, linger up there for one brief minute only. I'll wait in there!" And he pointed to a small door close behind him, which led to an inner closet at right angles with the gallery. Before she had time to protest--nay! perhaps she had no wish to refuse--he had disappeared behind its heavy panels, quickly calling to his dog to follow him. But in that one moment's hesitation, those few brief and delicious words hastily exchanged, she had lost her opportunity for escape. The next instant the door at the further end of the room was thrown open, and the Queen entered followed by some of her ladies. She was accompanied by the Duchess of Lincoln, and His Eminence the Cardinal de Moreno was on her left. As chance or ill-luck would have it, the first sight which greeted Her Majesty's eyes was the figure of Lady Ursula, midway up the steps which led to the gallery, some mysterious imp of mischief having contrived that the light from the wax tapers should unaccountably and very vividly fall upon the white-clad form of the young girl. An exclamation of stern reproval from Her Grace of Lincoln brought Ursula to a standstill. Flight now was no longer possible; she could but trust in her guardian angel, or in any of those protective genii who have in their keeping the special care of lovers in distress, and who happened to be hovering nigh. It was not seemly to be half-way up a flight of stairs when Her Majesty was standing on the floor below. Ursula, with her cheeks aflame with vexation, slowly descended, whilst encountering as boldly as she could the artillery fire of half a dozen pairs of eyes fixed steadily upon her. Mary Tudor looked coldly severe, Her Grace of Lincoln horror-struck, His Eminence ironical, and the ladies vastly amused. "Ah, child!" said Her Majesty, in her iciest tone of voice, "all alone, and in this part of the Palace?" She looked the dainty young figure disdainfully up and down, then her eye caught the sheaf of roses lying in a fragrant tangle close to the foot of the stairs. There was a quick flash of anger in her face, then a frown. Ursula wondered how much she guessed or what she suspected. But the Queen, after that one quick wave of passionate wrath, made an obvious effort to control herself. She turned composedly to the Duchess of Lincoln. "Your Grace is aware," she said drily, "that I deem it most indecorous for my maids-of-honour to wander about the Palace alone." The wrinkled old face of the kindly Duchess expressed the most heartfelt sorrow. "I crave Your Majesty's humble pardon . . ." she stammered in an agony of misery at this public reproof. "I . . ." "Nay, Duchess, I know the difficulty of your task," rejoined Mary Tudor bitingly, "the other ladies are docile, and their behaviour is maidenly and chaste. 'Tis not always so with the Lady Ursula Glynde." Mary's voice had been so trenchant and hard that it seemed to Ursula's sensitive ears as if its metallic tones must have penetrated to every corner of the Palace. She gave a quick, terrified look towards the door, longing with all her might for the gift to see through its massive panels--to know what went on within that inner closet, where Wessex was waiting

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116A 132A CONTINUED: 132A RAMON You don't think I should be? JOAN I just feel kind of ignorant about your whole world... RAMON You think it would be better if we knew about all the same things? JOAN Not really, not exclusively. It's just unusual. Don't you think it's unusual? 2nd Pink Revised 11/17/05 - Page 117 132A CONTINUED: (2) 132A RAMON Not for me. JOAN I guess you travel a lot. I've only been out of the country a few times in my whole life. RAMON You should travel more. JOAN I know. I've always wanted to. It's hard when you're in the theater... RAMON Still, you should try. It's a big world. You're an artist. You should see more of it. JOAN I know. You don't have to keep saying that. I've always wanted to travel. It's just a little difficult with two kids and no husband, but it's hard to make a lot of money in the theater. I was on a TV show a few years back and I socked away some money because of that, but my ex-husband -- RAMON Karl. JOAN Karl, yes, you remembered, very good. Karl's very generous with the kids when he can be, but he's struggling too: He's a director: he directs commercials, and now he's trying to produce them... Anyway, I'm not ignorant because I enjoy it. RAMON I don't say you're ignorant... Do you think Lisa will be interested in acting? JOAN I don't think so. I think's she's got a lot of contempt for it. Of course that may be the age. RAMON She would prefer the world with no plays? No films? JOAN Oh... Who knows. 2nd Pink Revised 11/17/05 - Page 117A 132A CONTINUED: (3) 132A RAMON Would you like to see a picture of my mother? JOAN Sure. RAMON These are all my aunts and uncles...See? Big family... JOAN Mmm. She looks at him as he turns the pages. 133 EXT. MIDTOWN OFFICE BUILDING. DAY. 133 Lisa and Emily meet in front of Dave's office building. 134 INT. DAVE'S LAW FIRM - STAIRCASE/OFFICE. DAY. 134 Dave walks Lisa and Emily into his office. DAVE So after I talked to you guys I called this P.I. I know and I asked him to -- Pink Revised 9/25/05 - Page 118 134 CONTINUED: 134 EMILY You called a what? A what? DAVE Private Investigator -- to see if he could find anything out about your bus driver -- LISA Really? DAVE EMILY Yeah: So he -- Dave! DAVE Wait, let me tell you what he said! So he called this guy he knows who used to be a cop for the MTA. Did you know the MTA have their own police? The MTA police? They have their own uniforms... EMILY Yeah? Yeah? Yeah? DAVE EMILY And -- Just a minutel Jesus Christ! What do we give a fuck about the MTA police and their uniforms?! DAVE -- so this guy got someone to let him sneak a look at your guy's file. And it turns out he's had two previous accidents -- less than two years apart -- one of them on the job, one in his own car -- EMILY What? DAVE -- where there was some allegation that he was drinking, which was dropped, but, that he's never been cited or disciplined, just moved around to different shifts -- EMILY Are you fucking kidding me? LISA Why does this not shock me? DAVE Because Surprise Surprise his brother-in- law is a very big muckety-muck in the Transit Workers Union -- Pink Revised 9/25/05 - Page 119 134 CONTINUED: (2) 134 EMILY (i.e., "I get it.") O-Kay...l DAVE And if you read the paper, you'll know they're going through a protracted labor dispute at the MTA right now, and according to my PI, the management doesn't want to aggravate the situation by firing this guy. Especially since the police have concluded he was not at fault. LISA This is making me sick. DAVE I know, but what it means, Lisa, is that we have a case. LISA We do? DAVE What it means, in fact, is that we have a very good case, because we can sue for what's called "Negligent Retention." Which means they should have known the guy was a bad risk and was irresponsible and they negligently retained him until he finally killed somebody. EMILY And you can prove that? DAVE Sure, because we can subpoena their Personnel records, which we already know contain damaging information, because my investigator got a look at them beforehand. Which you're not-supposed to do, but we did it anyway. LISA YOU'RE AWESOMEL EMILY And that means... DAVE That means we're in great shape and I think we should go in there and sue their fuckin' asses off. EMILY But you wouldn't be our lawyer, right? Pink Revised 9/25/05 - Page 120 134 CONTINUED: (3) 134 DAVE No no. Oh no. LISA Why not? DAVE EMILY I'm not a personal injury It's not his area. litigator. I don't know enough about it. I would lose. EMILY But you could recommend someone? DAVE Sure. I know a guy who's very good. His name is Russel Deutsch. He's not a sleazebag. Very experienced. Let me give you his number... EMILY Dave, thank you so much. LISA Really. My God. DAVE But you gotta get that crazy cousin on board because she's gonna be your beneficiary. EMILY She's not gonna want to come to New York, I can tell you that right now. DAVE If you win she gets anywhere from three to five hundred thousand dollars. She's gonna come to New York. 135 EXT. MIDTOWN -- 6TH AVENUE. DAY. 135 Lisa and Emily walk up the busy avenue. LISA What's with Monica and her cousin? EMILY Oh, Monica's father left some money to Abigail's kids and he made Monica the executor of the estate, because he didn't want Abigail and her idiot husband to get their hands on the money before the kids were grown up. (MORE) Green Revised 10/7/05 - Page 121 135 CONTINUED: 135 EMILY (CONT'D) For which Abigail rewarded her by badgering her about it on the phone for fifteen years: Always trying to borrow money against the estate, accusing her of making lousy investments with it, nasty phone calls, nasty letters, every month for fifteen years until Abigail's daughter turned twenty-one and got married. Then Monica goes to the wedding, in fucking Arizona, and Abigail literally won't speak to her. She's a dream. LISA So that's who we're getting the money for? EMILY It's not who we're getting it for, it's who we're getting it from. 136 INT. DEUTSCH'S OFFICE. DAY. 136 Emily and Lisa sit with RUSSEL DEUTSCH, 50s. His law office is slightly smaller and less nice than Dave's. DEUTSCH First thing we do is we file a summons and a complaint against the MTA. They get .twenty days to respond, and when they do we can make our Discovery requests: Accident reports, personnel records, et cetera. But you gotta realize it's gonna take some time. The law says you have to get a court date within a year. Usually it takes about six. Depending. LISA Six years! DEUTSCH Depending, yes. EMILY Now, I mentioned to Dave I have a friend who writes for the Metro section of the Times... DEUTSCH Yes: Now this, if it could really happen, this changes everything in our favor. If they think there's gonna be adverse publicity, especially in The New York Times, they're gonna want to settle right away, soon as possible, and as quietly as POSSIBLE -- EMILY So they'd.make it a condition that 122 136 CONTINUED: 136 DEUTSCH It's usually done, you get the money but you can't talk about it. Nobody knows the terms. LISA So what good does that do? DEUTSCH You get the money. (Pause) is that bad? (Pause) I thought that's what we're all here for. (Pause) This is how our society punishes people for doing bad things. LISA By getting money from their employers' insurance. companies? DEUTSCH Yes. It's called Punitive Damages. Pause. LISA Could we insist they fire the driver? As part of the settlement? DEUTSCH Yes, sure, why not? LISA But is that something people do? DEUTSCH Sure. It's one of your conditions. EMILY Great. LISA And you think we're gonna win? They're gonna settle? DEUTSCH Oh they're gonna settle. LISA This is -- Emily and Lisa take hands and squeeze. 137 INT. COHEN APARTMENT -- LIVING ROOM. LATER THAT DAY. 137 JOAN is reading LISA's C average REPORT CARD and an accompanying letter. Lisa comes in and stops short. 123 137 CONTINUED: 137 JOAN I want to talk to you. LISA What'd I do now? 138 INT. EMILY'S APARTMENT -- FRONT DOOR. DAY. 138 Emily opens the front door for Joan and Lisa. JOAN Hi. I'm Joan. It's nice to meet you. EMILY Nice to meet you too. Come on in. - LISA (SARDONICALLY) Hi Emily. 139 INT. EMILY'S APARTMENT -- LIVING ROOM. DAY. 139 Emily, Joan and Lisa settle on the sofa and chairs. JOAN .I had a friend who used to live on this block, at 262...? EMILY Oh...? JOAN Yeah, I don't know if you know her. Cheryl Rowan? She's a physiotherapist? EMILY No, I don't know her. LISA I think about a thousand people must... JOAN What? LISA Nothing... EMILY Lisa says you're in a play, Joan? JOAN Oh -- Yeah... LISA You should go see it, it's really good. 124 139 CONTINUED: 139 JOAN Well, the play is great, and it's a really nice cast..-. LISA She's just being modest. She's gonna win every award in New York. JOAN Oh -- all that stuff's a long way off. EMILY I don't go to the theater very much. JOAN Well, it's just nice, because you can work a long time in the theater and play really good parts without getting a lot of recognition. And even though you don't necessarily do it for that as your primary motive, it is very nice when people do notice something you've done. EMILY Uh huh... JOAN I was on a television show a few years ago, and I had been doing theater all my life, and suddenly all my relatives started calling me up to congratulate me because they thought I finally Made It. And it was really just this dumb show that paid the bills for a while... LISA That show was so stupid. JOAN It wasn't that bad...! Anyway: I realize this is horribly embarrassing for Lisa, but I really wanted to meet you, Emily, because you've frankly become such a big part of Lisa's life, and I don't want to be intrusive, but this whole court case seems to be suddenly dominating everything and I can't get Lisa to tell me anything about it LISA That's not true...! JOAN Well, I can't...! And I want you to know, Lisa, that I'm very, very proud of you for pursuing this the way you have. (MORE) 125 139 CONTINUED: (2) 139 JOAN (CONT'D) But I can't let you pursue it to the point where it's taking over your life or interfering with your school work. (To EMILY) It's really come down to a question of homework. Lisa is on a half-scholarship at her school. And I know she feels a real sense of responsibility about what happened LISA Yeah, I do. JOAN I know you do. I know you do. But you can't not do your homework, and you can't throw away your scholarship because of it. LISA I'm not. My grades slipped a little. They'll get better. Anyone can do their homework. You just sit down and do it. I've been distracted. I'll stop. JOAN All right -- LISA We didn't need to have a big conference about it. JOAN (EMBARRASSED) It's not a big conference, I just want to know what's going on. And I wanted to meet Emily... (to EMILY) I know it's a little awkward! EMILY Don't apologize. If Lisa hasn't been keeping you apprised of what's been going on, I think she should. You should. LISA There's nothing to keep her apprised of., We're just waiting for them to schedule the Discovery conference. JOAN Now what is that? LISA Mom? It really doesn't matter. 126 139 CONTINUED: (3) 139 EMILY A Discovery conference is a meeting with the court where they sign an order. authorizing our lawyer to begin getting the personnel records, interviewing witnesses, talking to Monica's cousin... JOAN OK, now where does she fit in? EMILY She gets the money. 140 EXT. MIDTOWN HOTEL. DAY. 140 ABIGAIL BERWITZ, 40s, gets out the taxi as the driver comes around with her matching luggage. 141 INT. DEUTSCH'S OFFICE. DAY. 141 Abigail sits with Deutsch. DEUTSCH How would you describe the relationship overall? Did you talk on the phone a lot? Were there a lot of visits -- ABIGAIL I would say we talked on the phone a couple of times a month at least. Sometimes more than that...I would call her, she would call me... DEUTSCH And what were the nature of these conversations? ABIGAIL. Oh, family stuff, mostly. Her family, my kids... DEUTSCH And she would advise you about your family? That kind of thing? ABIGAIL Oh, I would say so, yes. DEUTSCH Would you have any phone records? Or -- ABIGAIL I have all my phone bills, if that's what you mean. I didn't record the actual conversations... 127 141 CONTINUED: 141 DEUTSCH No no -- ABIGAIL (PRODUCES BILLS) You'll see we talked on the phone quite frequently. DEUTSCH OK, that's terrific. I see you came prepared...1 ABIGAIL Well, I wanted to bring everything. DEUTSCH Now when they take your deposition you're gonna say the same thing you just told me. Talk about the relationship... ABIGAIL Uh huh? DEUTSCH Kind of advice she used to give you... ABIGAIL OK...? 142 INT. MIDTOWN RESTAURANT. DAY. 142 Emily, Lisa and Abigail sit over their lunch. Abigail is drinking a white wine. ABIGAIL Now, Emily, where did you find this lawyer? EMILY He was recommended by a friend. ABIGAIL I'm asking because my husband knows a real good New York lawyer, and I'm not entirely comfortable with someone that no one has ever heard of -- EMILY My friend's heard of him. He says he's very good.. ABIGAIL I'm sure he does. But I have a responsibility in this situation, and I would feel a whole lot more comfortable with somebody who didn't just drop in out of the clear blue sky... 2nd Green Revised 11/20/05 - Page 128 142 CONTINUED: 142 EMILY He didn't drop in out of the clear blue sky. He was recommended by my friend. But even if we switched lawyers we'd still have to pay him. But it all comes out of the settlement, so it's really up to you. ABIGAIL No, if you all think he's good... EMILY I don't know whether he is or not. My friend thinks he is. ABIGAIL All right. Now Lisa, what is your involvement in all this? What's your angle? LISA I just wanted to...I was just there. 143 INT. EMILY'S DINING ROOM. DAY. 143 Emily comes into the dining room with a cup of coffee. Lisa is standing over the table looking at some of Monica's photos and belongings which are spread out all over the table. Emily starts putting the pictures away in their envelopes. LISA Oh my God, is that you? EMILY That's me. LISA And that's you and Monica obviously. Oh my God. Is that her daughter? EMILY Uh huh. LISA God... So how old was she when she died? EMILY Twelve. LISA God. I can't even imagine. EMILY Neither could we. Emily sits down and starts sorting through pictures to put them in the box. Lisa sits down too. 2nd Green Revised 11/20/05 - Page 128aA 143 CONTINUED: 143 LISA You know Monica asked about her when she was dying? 2nd Green Revised 11/20/05 - Page 128A-129 143 CONTINUED: (2) 143 Emily looks up. EMILY No. I didn't. LISA Yeah. I think she was confused... like, I think she thought I was her daughter for a minute. And then she was asking me to call her, like to tell her what happened: You know, like she didn't remember she was dead. EMILY What do you mean? What did she say? LISA She just asked if somebody could call her daughter. But then it got confusing because I said, "Sure, what's her name?" And she said her name was Lisa. And I said, "No, that's my name." Because it took me a minute -- I didn't realize we had the same name... Emily does not respond. LISA (CONT'D) But I couldn't tell if what I was saying was registering with her. Emily does not respond. LISA (CONT'D) But then when I found out her daughter was dead, ever since then I keep having this really strong feeling that some way, for those last five minutes I kind of was her daughter. You know? Like maybe that's the reason I was there: Like in some weird way, this obviously amazing woman got to see her daughter again for a few minutes, right before she died. EMILY (VERY DRY) I see. And is she still inhabiting your body? Or did she go right back to the spirit world after it was over? LISA I didn't mean she ws literally inhabiting my body. I don't believe in all that stuff at all. EMILY I don't give a fuck what you believe in. 2nd Green Revised 11/20/05 - Page 129aA 143 CONTINUED: ( 3) 143 LISA Oh my God! Why are you so mad at me!? EMILY Because this is not an opera! LISA (FLUSHING) What? You think I think this is an opera? 2nd Green Revised 11/20/05 - Page 129A-130 143 CONTINUED: ( 4) 143 EMILY Yes! LISA You think I'm making this into a dramatic situation because I think it's dramatic?!? EMILY I think you're very young. LISA What does that have to do with anything? If anything I think it means I care more than someone who's older! Because this kind of thing has never happened to me before! EMILY No, it means you care more easily! There's a big difference! Except that it's not you it's happening to! LISA Yes it is! I know I'm not the one who was run over -- EMILY That's right, you weren't. And you're not the one who died of leukemia, and you're not the one who just died in an earthquake in -- Algeria! But you will be. Do you understand me? You will be. And it's not an opera and it's not dramatic -- LISA I'm well aware of that! EMILY And this first-blush phony deepness of yours is worth nothing. LISA Oh wow. EMILY Do you understand? It's not worth anything, because it'll be troweled over in a month or two. And then when you get older, and you don't have a big reaction every time a d gets run over, then, then we'll find out what kind of a person you are! But this is nothing! I'm sorry, but I didn't start this conversation and I don't play these games. 2nd Green Revised 11/20/05 - Page 131 143 CONTINUED: ( 5) 143 LISA (drawing herself up) I am not -- EMILY And don't look so outraged! Because I'm not saying anything very outrageous! I'm telling you to knock it off! You have every right to falsify your own life, but you have no right to falsify anyone else's. It's what makes people into Nazis! And I'm sorry, but it's a little suspicious that you're making such a fuss about this when you didn't know her, and you're having troubles with your own mother -- LISA Oh my God! EMILY But this is nm life we're talking about, much more than it is yours! Because it's my real friend who got killed, who I'm never going to see again, really! Whom I have known since I was nineteen years old myself. OK? And I don't want that sucked into some kind of adolescent self- dramatization! LISA I'm not fucking dramatizing anything! EMILY (not having it) OK -- LISA I was there, and you weren't! And if I happen to express myself a little hyperbolically, Emily, that's just the way I talk! I can't help it if my mother is an actress! Why are you being so fucking strident? EMILY Strident? LISA Yeah. EMILY OK. Um, you should leave. LISA Why? Because I called you strident? 132 143 CONTINUED: ( 6) 143 EMILY Yeah: Strident? You should leave. Thanks. I don't wanna be called strident and you're deliberately misunderstanding me! LISA No I'm not! You're insulting me enough as it is: You don't have to call me stupid too! EMILY Well I can't stop you doing this so I think you had better go. LISA OK! I will. EMILY NOW! LISA OK! Let me get my purse! Lisa grabs her purse and coat. Emily half-walks, half-drives her toward the door. LISA (CONT'D) Does this mean we're dropping the whole inquiry? EMILY It means you're leaving. I don't know what else it means. LISA All I meant by saying you were strident was that you were being emphatic! I obviously misused the word! EMILY Look it up when you get home. LISA Jesus Christ. You're amazing. EMILY Yeah. Uh huh. I'm amazing. LISA (bursts into tears) Why are you doing this... .! EMILY Lisa, I'm not doing anything! I'm a human being! Monica was a human being! So was her daughter! And so is your mother! (MORE) 2nd Green Revised 11/20/05 - Page 133 143 CONTINUED: ( 7) 143 EMILY (CONT' D) We are not supporting characters in the fascinating story of your life! LISA I never said or thought you were...! And I really didn't mean to call you strident! I totally misused the word! I wasn't trying to insult you, Emily, I really wasn't! I feel so bad about what happened and I'm trying so hard to do something about it! And I don't understand why if I say something wrong you can't just give me a break! I didn't mean I thought her daughter took over my body. I'm not an idiot. It was just this feeling I had because she was holding onto my hand so hard before she died, and because we had the same first name! EMILY OK... LISA But I'm not trying to dramatize anything, Emily. I really know about that trend, and I really don't think I've been doing that. EMILY OK. I believe you. And look up "strident." LISA I will. They kiss and make up, but it's still a little ugly. 143A INT. COHEN LIVING ROOM. NIGHT 143A Lisa, Joan and Curtis are watching Joan being interviewed on TV. We don't see the screen. JOAN I've been in the theater my whole life and nothing like this has ever happened to me... INTERVIEWER ON TV(O.C.) Now, any talk of the play becoming a film? JOAN ON TV (O.C.) Oh, I'm sure. But I would never get cast in that. I'm not a movie star. INTERVIEWER ON TV (O.C.) But you're a theater star... JOAN ON TV (O.C.) I don't know about that either... 2nd Green Revised 11/20/05 - Page 133A 143A CONTINUED: 143A INTERVIEWER ON TV (O.C.) You are! JOAN ON TV (O . C . ) (CHARMINGLY) I guess...! JOAN Oh God. Joan buries her face in her hands. Lisa watches scowling. 134 143B INT. COHEN KITCHEN. NIGHT. 143B Joan is serving Lisa and Curtis dinner. JOAN Lisa? Do you think Emily would like to come see the play? I thought you could both come and them maybe we could go out afterwards. LISA All right. Let me ask her. JOAN Dig in everybody... They start eating. LISA I was thinking about spending next year with Dad. JOAN (SHOCKED) Oh? LISA Yeah. You're all worried about my grades. They have really good public schools in Santa Monica, and if Iofficially lived with him, you wouldn't have to worry about my scholarship. JOAN Have you talked to him about this? LISA We've had some general discussions. JOAN (TO CURTIS) Do you want to go too? CURTIS (SURPRISED) Me? JOAN Yeah. Do you want to move to LA too? CURTIS No. JOAN Well, just let me know if you do. 135 143B CONTINUED: 143B LISA Why are you being like this? JOAN Why am I being like what? LISA Why are you about to start crying? JOAN Because it's your intention to make me start crying! LISA No it's not -- - JOAN You want to move to LA. Move to LA. LISA But why can't this even be mentioned without you taking it personally? I'm just introducing a possibility! JOAN OH! Joan upsets everything on the table and starts to go. She comes back and upsets more things on the table. JOAN Here's a possibility that you can make your own fucking dinner! Here's a possibility LISA that you can do whatever you Jesus Christ! want to do, because I don't What is with you? even care anymore, you heartless little fuckin' bitch! LISA Fine! Keep it up! It really makes me want to stay here! JOAN You think you're so fucking perfect!? She breaks something else and walks out. LISA No. CURTIS Good one. LISA Shut up. Green Revised 10/7/05 - Page 136 144 OMIT 144 145 INT. HISTORY CLASS. DAY. 145 On the blackboard Klein finishes writing: SHOULD TEENAGERS RULE THE WORLD? YES OR NO? KLEIN OK. Go ahead: Kirsten. Lionel: Put your drum away. Lionel stops drumming on his desk with his fingers. KIRSTEN I think that teenagers should definitely rule the world, because teenagers aren't corrupted by adult life yet, and they're idealists and they care. And I know a lot of people feel that teenagers are really naive, which they are, many of them. But they still haven't had a chance to get burned out by the disappointments and the harsh realities of learning how to play the game. So yes, I would vote yes. KLEIN All right: Lisa? LISA I would tend to agree with all of that, except I do think that teenagers don't always necessarily think things through very carefully, and they don't have enough experience to know what the right thing to do is all the time. I also think they tend to adhere to ideologies really easily without having actually bothered to think them through for themselves.-- LEWIS Such as what? LISA Such as what? Such as, gee, I don't know: the Hitler Youth? KLEIN OK... Hitler Youth. LISA Or what about all these teenage suicide bombers? Not that I want to get into the whole Palestinian thing again, but assuming you don't think suicide bombing is a good thing, wouldn't you say that's an example of being idealistic without using your critical faculties? (MORE) Green Revised 10/7/05 - Page 137 145 CONTINUED: 145 LISA (CONT'D) And maybe running the risk of having your youthful enthusiasm be co-opted by adults for purposes of their own that you might not even ultimately agree with? Angie's hand shoots up. So do several others. LEWIS OK, Angie? ANGIE Yeah, I don't want to get into the whole Palestinian thing again either, because I realize I'm completely outnumbered -- ANTHONY Not unlike the Palestinians themselves. ANGIE That's not really funny, Anthony. ANGIE (to LISA) KLEIN -- and I'm not even going to Segal: Cut the comedy. comment on the fact that you just compared a 19-year-old ANTHONY Palestinian to a member of I thought it was funny... the Hitler Youth, which I personally find so offensive LISA I don't even know where to That's right! Because start -- Oh, it's not because they both like to kill they've been occupied and Jews. humiliated and bombed out of their homes for the last KLEIN fifty years? Hey! Hey! Lisa! Hey! LEWIS LISA Come on, guys... Yes! That's partly why they like it! There's ANGIE still a million Pale- If anyone's acting like stinians who don't blow Nazis it's the Israeli up children on busses government! because they're so "frustrated!" LEWIS OK, OK! Monica? MONICA Well, I don't know if this is good or bad, but speaking of ideology, it's interesting that the suicide bombers -- just for example -- care enough about what they believe in to sacrifice their lives for it. WHEREAS 2nd Blue Revised 10/28/05 - Page 138 145 CONTINUED: (2) 145 ANGIE Yes. Yes! LISA I think it's fine if you want to sacrifice your life for what you believe in. I actually think that's really noble. It's a little different when you're willing to sacrifice someone else's life, you know? I personally don't think that's such a big ideological achievement! ANGIE Um, even if there's no other way to get you out of my country? LEWIS LISA Raise your hands! They haven't tried any other ways! It's not ANGIE like killing civilians Yes they have! They're is their last resort! trying it right now! It's their first resort! Because it's easy and they like it! ANGIE (CONT'D) Oh they like it? They're just bad people and they like it? LISA Yes! There are bad people in the world! I think they liked blowing up the World Trade Center! They kill their own sisters when they get raped! It's called barbarism! MONICA LISA Who kills their own sisters? It's practically all people do is kill each other! LIONEL If they didn't like it they You guys are not the only wouldn't do it! Period! ones in this class! KLEIN & LEWIS Hey! Silence. LEWIS If you ladies can't make your points without yelling or interrupting each other or raising your hands, I'd say it was a pretty good argument for "No." LISA Why, adults don't yell and interrupt each

everything

How many times the word 'everything' appears in the text?

116A 132A CONTINUED: 132A RAMON You don't think I should be? JOAN I just feel kind of ignorant about your whole world... RAMON You think it would be better if we knew about all the same things? JOAN Not really, not exclusively. It's just unusual. Don't you think it's unusual? 2nd Pink Revised 11/17/05 - Page 117 132A CONTINUED: (2) 132A RAMON Not for me. JOAN I guess you travel a lot. I've only been out of the country a few times in my whole life. RAMON You should travel more. JOAN I know. I've always wanted to. It's hard when you're in the theater... RAMON Still, you should try. It's a big world. You're an artist. You should see more of it. JOAN I know. You don't have to keep saying that. I've always wanted to travel. It's just a little difficult with two kids and no husband, but it's hard to make a lot of money in the theater. I was on a TV show a few years back and I socked away some money because of that, but my ex-husband -- RAMON Karl. JOAN Karl, yes, you remembered, very good. Karl's very generous with the kids when he can be, but he's struggling too: He's a director: he directs commercials, and now he's trying to produce them... Anyway, I'm not ignorant because I enjoy it. RAMON I don't say you're ignorant... Do you think Lisa will be interested in acting? JOAN I don't think so. I think's she's got a lot of contempt for it. Of course that may be the age. RAMON She would prefer the world with no plays? No films? JOAN Oh... Who knows. 2nd Pink Revised 11/17/05 - Page 117A 132A CONTINUED: (3) 132A RAMON Would you like to see a picture of my mother? JOAN Sure. RAMON These are all my aunts and uncles...See? Big family... JOAN Mmm. She looks at him as he turns the pages. 133 EXT. MIDTOWN OFFICE BUILDING. DAY. 133 Lisa and Emily meet in front of Dave's office building. 134 INT. DAVE'S LAW FIRM - STAIRCASE/OFFICE. DAY. 134 Dave walks Lisa and Emily into his office. DAVE So after I talked to you guys I called this P.I. I know and I asked him to -- Pink Revised 9/25/05 - Page 118 134 CONTINUED: 134 EMILY You called a what? A what? DAVE Private Investigator -- to see if he could find anything out about your bus driver -- LISA Really? DAVE EMILY Yeah: So he -- Dave! DAVE Wait, let me tell you what he said! So he called this guy he knows who used to be a cop for the MTA. Did you know the MTA have their own police? The MTA police? They have their own uniforms... EMILY Yeah? Yeah? Yeah? DAVE EMILY And -- Just a minutel Jesus Christ! What do we give a fuck about the MTA police and their uniforms?! DAVE -- so this guy got someone to let him sneak a look at your guy's file. And it turns out he's had two previous accidents -- less than two years apart -- one of them on the job, one in his own car -- EMILY What? DAVE -- where there was some allegation that he was drinking, which was dropped, but, that he's never been cited or disciplined, just moved around to different shifts -- EMILY Are you fucking kidding me? LISA Why does this not shock me? DAVE Because Surprise Surprise his brother-in- law is a very big muckety-muck in the Transit Workers Union -- Pink Revised 9/25/05 - Page 119 134 CONTINUED: (2) 134 EMILY (i.e., "I get it.") O-Kay...l DAVE And if you read the paper, you'll know they're going through a protracted labor dispute at the MTA right now, and according to my PI, the management doesn't want to aggravate the situation by firing this guy. Especially since the police have concluded he was not at fault. LISA This is making me sick. DAVE I know, but what it means, Lisa, is that we have a case. LISA We do? DAVE What it means, in fact, is that we have a very good case, because we can sue for what's called "Negligent Retention." Which means they should have known the guy was a bad risk and was irresponsible and they negligently retained him until he finally killed somebody. EMILY And you can prove that? DAVE Sure, because we can subpoena their Personnel records, which we already know contain damaging information, because my investigator got a look at them beforehand. Which you're not-supposed to do, but we did it anyway. LISA YOU'RE AWESOMEL EMILY And that means... DAVE That means we're in great shape and I think we should go in there and sue their fuckin' asses off. EMILY But you wouldn't be our lawyer, right? Pink Revised 9/25/05 - Page 120 134 CONTINUED: (3) 134 DAVE No no. Oh no. LISA Why not? DAVE EMILY I'm not a personal injury It's not his area. litigator. I don't know enough about it. I would lose. EMILY But you could recommend someone? DAVE Sure. I know a guy who's very good. His name is Russel Deutsch. He's not a sleazebag. Very experienced. Let me give you his number... EMILY Dave, thank you so much. LISA Really. My God. DAVE But you gotta get that crazy cousin on board because she's gonna be your beneficiary. EMILY She's not gonna want to come to New York, I can tell you that right now. DAVE If you win she gets anywhere from three to five hundred thousand dollars. She's gonna come to New York. 135 EXT. MIDTOWN -- 6TH AVENUE. DAY. 135 Lisa and Emily walk up the busy avenue. LISA What's with Monica and her cousin? EMILY Oh, Monica's father left some money to Abigail's kids and he made Monica the executor of the estate, because he didn't want Abigail and her idiot husband to get their hands on the money before the kids were grown up. (MORE) Green Revised 10/7/05 - Page 121 135 CONTINUED: 135 EMILY (CONT'D) For which Abigail rewarded her by badgering her about it on the phone for fifteen years: Always trying to borrow money against the estate, accusing her of making lousy investments with it, nasty phone calls, nasty letters, every month for fifteen years until Abigail's daughter turned twenty-one and got married. Then Monica goes to the wedding, in fucking Arizona, and Abigail literally won't speak to her. She's a dream. LISA So that's who we're getting the money for? EMILY It's not who we're getting it for, it's who we're getting it from. 136 INT. DEUTSCH'S OFFICE. DAY. 136 Emily and Lisa sit with RUSSEL DEUTSCH, 50s. His law office is slightly smaller and less nice than Dave's. DEUTSCH First thing we do is we file a summons and a complaint against the MTA. They get .twenty days to respond, and when they do we can make our Discovery requests: Accident reports, personnel records, et cetera. But you gotta realize it's gonna take some time. The law says you have to get a court date within a year. Usually it takes about six. Depending. LISA Six years! DEUTSCH Depending, yes. EMILY Now, I mentioned to Dave I have a friend who writes for the Metro section of the Times... DEUTSCH Yes: Now this, if it could really happen, this changes everything in our favor. If they think there's gonna be adverse publicity, especially in The New York Times, they're gonna want to settle right away, soon as possible, and as quietly as POSSIBLE -- EMILY So they'd.make it a condition that 122 136 CONTINUED: 136 DEUTSCH It's usually done, you get the money but you can't talk about it. Nobody knows the terms. LISA So what good does that do? DEUTSCH You get the money. (Pause) is that bad? (Pause) I thought that's what we're all here for. (Pause) This is how our society punishes people for doing bad things. LISA By getting money from their employers' insurance. companies? DEUTSCH Yes. It's called Punitive Damages. Pause. LISA Could we insist they fire the driver? As part of the settlement? DEUTSCH Yes, sure, why not? LISA But is that something people do? DEUTSCH Sure. It's one of your conditions. EMILY Great. LISA And you think we're gonna win? They're gonna settle? DEUTSCH Oh they're gonna settle. LISA This is -- Emily and Lisa take hands and squeeze. 137 INT. COHEN APARTMENT -- LIVING ROOM. LATER THAT DAY. 137 JOAN is reading LISA's C average REPORT CARD and an accompanying letter. Lisa comes in and stops short. 123 137 CONTINUED: 137 JOAN I want to talk to you. LISA What'd I do now? 138 INT. EMILY'S APARTMENT -- FRONT DOOR. DAY. 138 Emily opens the front door for Joan and Lisa. JOAN Hi. I'm Joan. It's nice to meet you. EMILY Nice to meet you too. Come on in. - LISA (SARDONICALLY) Hi Emily. 139 INT. EMILY'S APARTMENT -- LIVING ROOM. DAY. 139 Emily, Joan and Lisa settle on the sofa and chairs. JOAN .I had a friend who used to live on this block, at 262...? EMILY Oh...? JOAN Yeah, I don't know if you know her. Cheryl Rowan? She's a physiotherapist? EMILY No, I don't know her. LISA I think about a thousand people must... JOAN What? LISA Nothing... EMILY Lisa says you're in a play, Joan? JOAN Oh -- Yeah... LISA You should go see it, it's really good. 124 139 CONTINUED: 139 JOAN Well, the play is great, and it's a really nice cast..-. LISA She's just being modest. She's gonna win every award in New York. JOAN Oh -- all that stuff's a long way off. EMILY I don't go to the theater very much. JOAN Well, it's just nice, because you can work a long time in the theater and play really good parts without getting a lot of recognition. And even though you don't necessarily do it for that as your primary motive, it is very nice when people do notice something you've done. EMILY Uh huh... JOAN I was on a television show a few years ago, and I had been doing theater all my life, and suddenly all my relatives started calling me up to congratulate me because they thought I finally Made It. And it was really just this dumb show that paid the bills for a while... LISA That show was so stupid. JOAN It wasn't that bad...! Anyway: I realize this is horribly embarrassing for Lisa, but I really wanted to meet you, Emily, because you've frankly become such a big part of Lisa's life, and I don't want to be intrusive, but this whole court case seems to be suddenly dominating everything and I can't get Lisa to tell me anything about it LISA That's not true...! JOAN Well, I can't...! And I want you to know, Lisa, that I'm very, very proud of you for pursuing this the way you have. (MORE) 125 139 CONTINUED: (2) 139 JOAN (CONT'D) But I can't let you pursue it to the point where it's taking over your life or interfering with your school work. (To EMILY) It's really come down to a question of homework. Lisa is on a half-scholarship at her school. And I know she feels a real sense of responsibility about what happened LISA Yeah, I do. JOAN I know you do. I know you do. But you can't not do your homework, and you can't throw away your scholarship because of it. LISA I'm not. My grades slipped a little. They'll get better. Anyone can do their homework. You just sit down and do it. I've been distracted. I'll stop. JOAN All right -- LISA We didn't need to have a big conference about it. JOAN (EMBARRASSED) It's not a big conference, I just want to know what's going on. And I wanted to meet Emily... (to EMILY) I know it's a little awkward! EMILY Don't apologize. If Lisa hasn't been keeping you apprised of what's been going on, I think she should. You should. LISA There's nothing to keep her apprised of., We're just waiting for them to schedule the Discovery conference. JOAN Now what is that? LISA Mom? It really doesn't matter. 126 139 CONTINUED: (3) 139 EMILY A Discovery conference is a meeting with the court where they sign an order. authorizing our lawyer to begin getting the personnel records, interviewing witnesses, talking to Monica's cousin... JOAN OK, now where does she fit in? EMILY She gets the money. 140 EXT. MIDTOWN HOTEL. DAY. 140 ABIGAIL BERWITZ, 40s, gets out the taxi as the driver comes around with her matching luggage. 141 INT. DEUTSCH'S OFFICE. DAY. 141 Abigail sits with Deutsch. DEUTSCH How would you describe the relationship overall? Did you talk on the phone a lot? Were there a lot of visits -- ABIGAIL I would say we talked on the phone a couple of times a month at least. Sometimes more than that...I would call her, she would call me... DEUTSCH And what were the nature of these conversations? ABIGAIL. Oh, family stuff, mostly. Her family, my kids... DEUTSCH And she would advise you about your family? That kind of thing? ABIGAIL Oh, I would say so, yes. DEUTSCH Would you have any phone records? Or -- ABIGAIL I have all my phone bills, if that's what you mean. I didn't record the actual conversations... 127 141 CONTINUED: 141 DEUTSCH No no -- ABIGAIL (PRODUCES BILLS) You'll see we talked on the phone quite frequently. DEUTSCH OK, that's terrific. I see you came prepared...1 ABIGAIL Well, I wanted to bring everything. DEUTSCH Now when they take your deposition you're gonna say the same thing you just told me. Talk about the relationship... ABIGAIL Uh huh? DEUTSCH Kind of advice she used to give you... ABIGAIL OK...? 142 INT. MIDTOWN RESTAURANT. DAY. 142 Emily, Lisa and Abigail sit over their lunch. Abigail is drinking a white wine. ABIGAIL Now, Emily, where did you find this lawyer? EMILY He was recommended by a friend. ABIGAIL I'm asking because my husband knows a real good New York lawyer, and I'm not entirely comfortable with someone that no one has ever heard of -- EMILY My friend's heard of him. He says he's very good.. ABIGAIL I'm sure he does. But I have a responsibility in this situation, and I would feel a whole lot more comfortable with somebody who didn't just drop in out of the clear blue sky... 2nd Green Revised 11/20/05 - Page 128 142 CONTINUED: 142 EMILY He didn't drop in out of the clear blue sky. He was recommended by my friend. But even if we switched lawyers we'd still have to pay him. But it all comes out of the settlement, so it's really up to you. ABIGAIL No, if you all think he's good... EMILY I don't know whether he is or not. My friend thinks he is. ABIGAIL All right. Now Lisa, what is your involvement in all this? What's your angle? LISA I just wanted to...I was just there. 143 INT. EMILY'S DINING ROOM. DAY. 143 Emily comes into the dining room with a cup of coffee. Lisa is standing over the table looking at some of Monica's photos and belongings which are spread out all over the table. Emily starts putting the pictures away in their envelopes. LISA Oh my God, is that you? EMILY That's me. LISA And that's you and Monica obviously. Oh my God. Is that her daughter? EMILY Uh huh. LISA God... So how old was she when she died? EMILY Twelve. LISA God. I can't even imagine. EMILY Neither could we. Emily sits down and starts sorting through pictures to put them in the box. Lisa sits down too. 2nd Green Revised 11/20/05 - Page 128aA 143 CONTINUED: 143 LISA You know Monica asked about her when she was dying? 2nd Green Revised 11/20/05 - Page 128A-129 143 CONTINUED: (2) 143 Emily looks up. EMILY No. I didn't. LISA Yeah. I think she was confused... like, I think she thought I was her daughter for a minute. And then she was asking me to call her, like to tell her what happened: You know, like she didn't remember she was dead. EMILY What do you mean? What did she say? LISA She just asked if somebody could call her daughter. But then it got confusing because I said, "Sure, what's her name?" And she said her name was Lisa. And I said, "No, that's my name." Because it took me a minute -- I didn't realize we had the same name... Emily does not respond. LISA (CONT'D) But I couldn't tell if what I was saying was registering with her. Emily does not respond. LISA (CONT'D) But then when I found out her daughter was dead, ever since then I keep having this really strong feeling that some way, for those last five minutes I kind of was her daughter. You know? Like maybe that's the reason I was there: Like in some weird way, this obviously amazing woman got to see her daughter again for a few minutes, right before she died. EMILY (VERY DRY) I see. And is she still inhabiting your body? Or did she go right back to the spirit world after it was over? LISA I didn't mean she ws literally inhabiting my body. I don't believe in all that stuff at all. EMILY I don't give a fuck what you believe in. 2nd Green Revised 11/20/05 - Page 129aA 143 CONTINUED: ( 3) 143 LISA Oh my God! Why are you so mad at me!? EMILY Because this is not an opera! LISA (FLUSHING) What? You think I think this is an opera? 2nd Green Revised 11/20/05 - Page 129A-130 143 CONTINUED: ( 4) 143 EMILY Yes! LISA You think I'm making this into a dramatic situation because I think it's dramatic?!? EMILY I think you're very young. LISA What does that have to do with anything? If anything I think it means I care more than someone who's older! Because this kind of thing has never happened to me before! EMILY No, it means you care more easily! There's a big difference! Except that it's not you it's happening to! LISA Yes it is! I know I'm not the one who was run over -- EMILY That's right, you weren't. And you're not the one who died of leukemia, and you're not the one who just died in an earthquake in -- Algeria! But you will be. Do you understand me? You will be. And it's not an opera and it's not dramatic -- LISA I'm well aware of that! EMILY And this first-blush phony deepness of yours is worth nothing. LISA Oh wow. EMILY Do you understand? It's not worth anything, because it'll be troweled over in a month or two. And then when you get older, and you don't have a big reaction every time a d gets run over, then, then we'll find out what kind of a person you are! But this is nothing! I'm sorry, but I didn't start this conversation and I don't play these games. 2nd Green Revised 11/20/05 - Page 131 143 CONTINUED: ( 5) 143 LISA (drawing herself up) I am not -- EMILY And don't look so outraged! Because I'm not saying anything very outrageous! I'm telling you to knock it off! You have every right to falsify your own life, but you have no right to falsify anyone else's. It's what makes people into Nazis! And I'm sorry, but it's a little suspicious that you're making such a fuss about this when you didn't know her, and you're having troubles with your own mother -- LISA Oh my God! EMILY But this is nm life we're talking about, much more than it is yours! Because it's my real friend who got killed, who I'm never going to see again, really! Whom I have known since I was nineteen years old myself. OK? And I don't want that sucked into some kind of adolescent self- dramatization! LISA I'm not fucking dramatizing anything! EMILY (not having it) OK -- LISA I was there, and you weren't! And if I happen to express myself a little hyperbolically, Emily, that's just the way I talk! I can't help it if my mother is an actress! Why are you being so fucking strident? EMILY Strident? LISA Yeah. EMILY OK. Um, you should leave. LISA Why? Because I called you strident? 132 143 CONTINUED: ( 6) 143 EMILY Yeah: Strident? You should leave. Thanks. I don't wanna be called strident and you're deliberately misunderstanding me! LISA No I'm not! You're insulting me enough as it is: You don't have to call me stupid too! EMILY Well I can't stop you doing this so I think you had better go. LISA OK! I will. EMILY NOW! LISA OK! Let me get my purse! Lisa grabs her purse and coat. Emily half-walks, half-drives her toward the door. LISA (CONT'D) Does this mean we're dropping the whole inquiry? EMILY It means you're leaving. I don't know what else it means. LISA All I meant by saying you were strident was that you were being emphatic! I obviously misused the word! EMILY Look it up when you get home. LISA Jesus Christ. You're amazing. EMILY Yeah. Uh huh. I'm amazing. LISA (bursts into tears) Why are you doing this... .! EMILY Lisa, I'm not doing anything! I'm a human being! Monica was a human being! So was her daughter! And so is your mother! (MORE) 2nd Green Revised 11/20/05 - Page 133 143 CONTINUED: ( 7) 143 EMILY (CONT' D) We are not supporting characters in the fascinating story of your life! LISA I never said or thought you were...! And I really didn't mean to call you strident! I totally misused the word! I wasn't trying to insult you, Emily, I really wasn't! I feel so bad about what happened and I'm trying so hard to do something about it! And I don't understand why if I say something wrong you can't just give me a break! I didn't mean I thought her daughter took over my body. I'm not an idiot. It was just this feeling I had because she was holding onto my hand so hard before she died, and because we had the same first name! EMILY OK... LISA But I'm not trying to dramatize anything, Emily. I really know about that trend, and I really don't think I've been doing that. EMILY OK. I believe you. And look up "strident." LISA I will. They kiss and make up, but it's still a little ugly. 143A INT. COHEN LIVING ROOM. NIGHT 143A Lisa, Joan and Curtis are watching Joan being interviewed on TV. We don't see the screen. JOAN I've been in the theater my whole life and nothing like this has ever happened to me... INTERVIEWER ON TV(O.C.) Now, any talk of the play becoming a film? JOAN ON TV (O.C.) Oh, I'm sure. But I would never get cast in that. I'm not a movie star. INTERVIEWER ON TV (O.C.) But you're a theater star... JOAN ON TV (O.C.) I don't know about that either... 2nd Green Revised 11/20/05 - Page 133A 143A CONTINUED: 143A INTERVIEWER ON TV (O.C.) You are! JOAN ON TV (O . C . ) (CHARMINGLY) I guess...! JOAN Oh God. Joan buries her face in her hands. Lisa watches scowling. 134 143B INT. COHEN KITCHEN. NIGHT. 143B Joan is serving Lisa and Curtis dinner. JOAN Lisa? Do you think Emily would like to come see the play? I thought you could both come and them maybe we could go out afterwards. LISA All right. Let me ask her. JOAN Dig in everybody... They start eating. LISA I was thinking about spending next year with Dad. JOAN (SHOCKED) Oh? LISA Yeah. You're all worried about my grades. They have really good public schools in Santa Monica, and if Iofficially lived with him, you wouldn't have to worry about my scholarship. JOAN Have you talked to him about this? LISA We've had some general discussions. JOAN (TO CURTIS) Do you want to go too? CURTIS (SURPRISED) Me? JOAN Yeah. Do you want to move to LA too? CURTIS No. JOAN Well, just let me know if you do. 135 143B CONTINUED: 143B LISA Why are you being like this? JOAN Why am I being like what? LISA Why are you about to start crying? JOAN Because it's your intention to make me start crying! LISA No it's not -- - JOAN You want to move to LA. Move to LA. LISA But why can't this even be mentioned without you taking it personally? I'm just introducing a possibility! JOAN OH! Joan upsets everything on the table and starts to go. She comes back and upsets more things on the table. JOAN Here's a possibility that you can make your own fucking dinner! Here's a possibility LISA that you can do whatever you Jesus Christ! want to do, because I don't What is with you? even care anymore, you heartless little fuckin' bitch! LISA Fine! Keep it up! It really makes me want to stay here! JOAN You think you're so fucking perfect!? She breaks something else and walks out. LISA No. CURTIS Good one. LISA Shut up. Green Revised 10/7/05 - Page 136 144 OMIT 144 145 INT. HISTORY CLASS. DAY. 145 On the blackboard Klein finishes writing: SHOULD TEENAGERS RULE THE WORLD? YES OR NO? KLEIN OK. Go ahead: Kirsten. Lionel: Put your drum away. Lionel stops drumming on his desk with his fingers. KIRSTEN I think that teenagers should definitely rule the world, because teenagers aren't corrupted by adult life yet, and they're idealists and they care. And I know a lot of people feel that teenagers are really naive, which they are, many of them. But they still haven't had a chance to get burned out by the disappointments and the harsh realities of learning how to play the game. So yes, I would vote yes. KLEIN All right: Lisa? LISA I would tend to agree with all of that, except I do think that teenagers don't always necessarily think things through very carefully, and they don't have enough experience to know what the right thing to do is all the time. I also think they tend to adhere to ideologies really easily without having actually bothered to think them through for themselves.-- LEWIS Such as what? LISA Such as what? Such as, gee, I don't know: the Hitler Youth? KLEIN OK... Hitler Youth. LISA Or what about all these teenage suicide bombers? Not that I want to get into the whole Palestinian thing again, but assuming you don't think suicide bombing is a good thing, wouldn't you say that's an example of being idealistic without using your critical faculties? (MORE) Green Revised 10/7/05 - Page 137 145 CONTINUED: 145 LISA (CONT'D) And maybe running the risk of having your youthful enthusiasm be co-opted by adults for purposes of their own that you might not even ultimately agree with? Angie's hand shoots up. So do several others. LEWIS OK, Angie? ANGIE Yeah, I don't want to get into the whole Palestinian thing again either, because I realize I'm completely outnumbered -- ANTHONY Not unlike the Palestinians themselves. ANGIE That's not really funny, Anthony. ANGIE (to LISA) KLEIN -- and I'm not even going to Segal: Cut the comedy. comment on the fact that you just compared a 19-year-old ANTHONY Palestinian to a member of I thought it was funny... the Hitler Youth, which I personally find so offensive LISA I don't even know where to That's right! Because start -- Oh, it's not because they both like to kill they've been occupied and Jews. humiliated and bombed out of their homes for the last KLEIN fifty years? Hey! Hey! Lisa! Hey! LEWIS LISA Come on, guys... Yes! That's partly why they like it! There's ANGIE still a million Pale- If anyone's acting like stinians who don't blow Nazis it's the Israeli up children on busses government! because they're so "frustrated!" LEWIS OK, OK! Monica? MONICA Well, I don't know if this is good or bad, but speaking of ideology, it's interesting that the suicide bombers -- just for example -- care enough about what they believe in to sacrifice their lives for it. WHEREAS 2nd Blue Revised 10/28/05 - Page 138 145 CONTINUED: (2) 145 ANGIE Yes. Yes! LISA I think it's fine if you want to sacrifice your life for what you believe in. I actually think that's really noble. It's a little different when you're willing to sacrifice someone else's life, you know? I personally don't think that's such a big ideological achievement! ANGIE Um, even if there's no other way to get you out of my country? LEWIS LISA Raise your hands! They haven't tried any other ways! It's not ANGIE like killing civilians Yes they have! They're is their last resort! trying it right now! It's their first resort! Because it's easy and they like it! ANGIE (CONT'D) Oh they like it? They're just bad people and they like it? LISA Yes! There are bad people in the world! I think they liked blowing up the World Trade Center! They kill their own sisters when they get raped! It's called barbarism! MONICA LISA Who kills their own sisters? It's practically all people do is kill each other! LIONEL If they didn't like it they You guys are not the only wouldn't do it! Period! ones in this class! KLEIN & LEWIS Hey! Silence. LEWIS If you ladies can't make your points without yelling or interrupting each other or raising your hands, I'd say it was a pretty good argument for "No." LISA Why, adults don't yell and interrupt each

own

How many times the word 'own' appears in the text?

116A 132A CONTINUED: 132A RAMON You don't think I should be? JOAN I just feel kind of ignorant about your whole world... RAMON You think it would be better if we knew about all the same things? JOAN Not really, not exclusively. It's just unusual. Don't you think it's unusual? 2nd Pink Revised 11/17/05 - Page 117 132A CONTINUED: (2) 132A RAMON Not for me. JOAN I guess you travel a lot. I've only been out of the country a few times in my whole life. RAMON You should travel more. JOAN I know. I've always wanted to. It's hard when you're in the theater... RAMON Still, you should try. It's a big world. You're an artist. You should see more of it. JOAN I know. You don't have to keep saying that. I've always wanted to travel. It's just a little difficult with two kids and no husband, but it's hard to make a lot of money in the theater. I was on a TV show a few years back and I socked away some money because of that, but my ex-husband -- RAMON Karl. JOAN Karl, yes, you remembered, very good. Karl's very generous with the kids when he can be, but he's struggling too: He's a director: he directs commercials, and now he's trying to produce them... Anyway, I'm not ignorant because I enjoy it. RAMON I don't say you're ignorant... Do you think Lisa will be interested in acting? JOAN I don't think so. I think's she's got a lot of contempt for it. Of course that may be the age. RAMON She would prefer the world with no plays? No films? JOAN Oh... Who knows. 2nd Pink Revised 11/17/05 - Page 117A 132A CONTINUED: (3) 132A RAMON Would you like to see a picture of my mother? JOAN Sure. RAMON These are all my aunts and uncles...See? Big family... JOAN Mmm. She looks at him as he turns the pages. 133 EXT. MIDTOWN OFFICE BUILDING. DAY. 133 Lisa and Emily meet in front of Dave's office building. 134 INT. DAVE'S LAW FIRM - STAIRCASE/OFFICE. DAY. 134 Dave walks Lisa and Emily into his office. DAVE So after I talked to you guys I called this P.I. I know and I asked him to -- Pink Revised 9/25/05 - Page 118 134 CONTINUED: 134 EMILY You called a what? A what? DAVE Private Investigator -- to see if he could find anything out about your bus driver -- LISA Really? DAVE EMILY Yeah: So he -- Dave! DAVE Wait, let me tell you what he said! So he called this guy he knows who used to be a cop for the MTA. Did you know the MTA have their own police? The MTA police? They have their own uniforms... EMILY Yeah? Yeah? Yeah? DAVE EMILY And -- Just a minutel Jesus Christ! What do we give a fuck about the MTA police and their uniforms?! DAVE -- so this guy got someone to let him sneak a look at your guy's file. And it turns out he's had two previous accidents -- less than two years apart -- one of them on the job, one in his own car -- EMILY What? DAVE -- where there was some allegation that he was drinking, which was dropped, but, that he's never been cited or disciplined, just moved around to different shifts -- EMILY Are you fucking kidding me? LISA Why does this not shock me? DAVE Because Surprise Surprise his brother-in- law is a very big muckety-muck in the Transit Workers Union -- Pink Revised 9/25/05 - Page 119 134 CONTINUED: (2) 134 EMILY (i.e., "I get it.") O-Kay...l DAVE And if you read the paper, you'll know they're going through a protracted labor dispute at the MTA right now, and according to my PI, the management doesn't want to aggravate the situation by firing this guy. Especially since the police have concluded he was not at fault. LISA This is making me sick. DAVE I know, but what it means, Lisa, is that we have a case. LISA We do? DAVE What it means, in fact, is that we have a very good case, because we can sue for what's called "Negligent Retention." Which means they should have known the guy was a bad risk and was irresponsible and they negligently retained him until he finally killed somebody. EMILY And you can prove that? DAVE Sure, because we can subpoena their Personnel records, which we already know contain damaging information, because my investigator got a look at them beforehand. Which you're not-supposed to do, but we did it anyway. LISA YOU'RE AWESOMEL EMILY And that means... DAVE That means we're in great shape and I think we should go in there and sue their fuckin' asses off. EMILY But you wouldn't be our lawyer, right? Pink Revised 9/25/05 - Page 120 134 CONTINUED: (3) 134 DAVE No no. Oh no. LISA Why not? DAVE EMILY I'm not a personal injury It's not his area. litigator. I don't know enough about it. I would lose. EMILY But you could recommend someone? DAVE Sure. I know a guy who's very good. His name is Russel Deutsch. He's not a sleazebag. Very experienced. Let me give you his number... EMILY Dave, thank you so much. LISA Really. My God. DAVE But you gotta get that crazy cousin on board because she's gonna be your beneficiary. EMILY She's not gonna want to come to New York, I can tell you that right now. DAVE If you win she gets anywhere from three to five hundred thousand dollars. She's gonna come to New York. 135 EXT. MIDTOWN -- 6TH AVENUE. DAY. 135 Lisa and Emily walk up the busy avenue. LISA What's with Monica and her cousin? EMILY Oh, Monica's father left some money to Abigail's kids and he made Monica the executor of the estate, because he didn't want Abigail and her idiot husband to get their hands on the money before the kids were grown up. (MORE) Green Revised 10/7/05 - Page 121 135 CONTINUED: 135 EMILY (CONT'D) For which Abigail rewarded her by badgering her about it on the phone for fifteen years: Always trying to borrow money against the estate, accusing her of making lousy investments with it, nasty phone calls, nasty letters, every month for fifteen years until Abigail's daughter turned twenty-one and got married. Then Monica goes to the wedding, in fucking Arizona, and Abigail literally won't speak to her. She's a dream. LISA So that's who we're getting the money for? EMILY It's not who we're getting it for, it's who we're getting it from. 136 INT. DEUTSCH'S OFFICE. DAY. 136 Emily and Lisa sit with RUSSEL DEUTSCH, 50s. His law office is slightly smaller and less nice than Dave's. DEUTSCH First thing we do is we file a summons and a complaint against the MTA. They get .twenty days to respond, and when they do we can make our Discovery requests: Accident reports, personnel records, et cetera. But you gotta realize it's gonna take some time. The law says you have to get a court date within a year. Usually it takes about six. Depending. LISA Six years! DEUTSCH Depending, yes. EMILY Now, I mentioned to Dave I have a friend who writes for the Metro section of the Times... DEUTSCH Yes: Now this, if it could really happen, this changes everything in our favor. If they think there's gonna be adverse publicity, especially in The New York Times, they're gonna want to settle right away, soon as possible, and as quietly as POSSIBLE -- EMILY So they'd.make it a condition that 122 136 CONTINUED: 136 DEUTSCH It's usually done, you get the money but you can't talk about it. Nobody knows the terms. LISA So what good does that do? DEUTSCH You get the money. (Pause) is that bad? (Pause) I thought that's what we're all here for. (Pause) This is how our society punishes people for doing bad things. LISA By getting money from their employers' insurance. companies? DEUTSCH Yes. It's called Punitive Damages. Pause. LISA Could we insist they fire the driver? As part of the settlement? DEUTSCH Yes, sure, why not? LISA But is that something people do? DEUTSCH Sure. It's one of your conditions. EMILY Great. LISA And you think we're gonna win? They're gonna settle? DEUTSCH Oh they're gonna settle. LISA This is -- Emily and Lisa take hands and squeeze. 137 INT. COHEN APARTMENT -- LIVING ROOM. LATER THAT DAY. 137 JOAN is reading LISA's C average REPORT CARD and an accompanying letter. Lisa comes in and stops short. 123 137 CONTINUED: 137 JOAN I want to talk to you. LISA What'd I do now? 138 INT. EMILY'S APARTMENT -- FRONT DOOR. DAY. 138 Emily opens the front door for Joan and Lisa. JOAN Hi. I'm Joan. It's nice to meet you. EMILY Nice to meet you too. Come on in. - LISA (SARDONICALLY) Hi Emily. 139 INT. EMILY'S APARTMENT -- LIVING ROOM. DAY. 139 Emily, Joan and Lisa settle on the sofa and chairs. JOAN .I had a friend who used to live on this block, at 262...? EMILY Oh...? JOAN Yeah, I don't know if you know her. Cheryl Rowan? She's a physiotherapist? EMILY No, I don't know her. LISA I think about a thousand people must... JOAN What? LISA Nothing... EMILY Lisa says you're in a play, Joan? JOAN Oh -- Yeah... LISA You should go see it, it's really good. 124 139 CONTINUED: 139 JOAN Well, the play is great, and it's a really nice cast..-. LISA She's just being modest. She's gonna win every award in New York. JOAN Oh -- all that stuff's a long way off. EMILY I don't go to the theater very much. JOAN Well, it's just nice, because you can work a long time in the theater and play really good parts without getting a lot of recognition. And even though you don't necessarily do it for that as your primary motive, it is very nice when people do notice something you've done. EMILY Uh huh... JOAN I was on a television show a few years ago, and I had been doing theater all my life, and suddenly all my relatives started calling me up to congratulate me because they thought I finally Made It. And it was really just this dumb show that paid the bills for a while... LISA That show was so stupid. JOAN It wasn't that bad...! Anyway: I realize this is horribly embarrassing for Lisa, but I really wanted to meet you, Emily, because you've frankly become such a big part of Lisa's life, and I don't want to be intrusive, but this whole court case seems to be suddenly dominating everything and I can't get Lisa to tell me anything about it LISA That's not true...! JOAN Well, I can't...! And I want you to know, Lisa, that I'm very, very proud of you for pursuing this the way you have. (MORE) 125 139 CONTINUED: (2) 139 JOAN (CONT'D) But I can't let you pursue it to the point where it's taking over your life or interfering with your school work. (To EMILY) It's really come down to a question of homework. Lisa is on a half-scholarship at her school. And I know she feels a real sense of responsibility about what happened LISA Yeah, I do. JOAN I know you do. I know you do. But you can't not do your homework, and you can't throw away your scholarship because of it. LISA I'm not. My grades slipped a little. They'll get better. Anyone can do their homework. You just sit down and do it. I've been distracted. I'll stop. JOAN All right -- LISA We didn't need to have a big conference about it. JOAN (EMBARRASSED) It's not a big conference, I just want to know what's going on. And I wanted to meet Emily... (to EMILY) I know it's a little awkward! EMILY Don't apologize. If Lisa hasn't been keeping you apprised of what's been going on, I think she should. You should. LISA There's nothing to keep her apprised of., We're just waiting for them to schedule the Discovery conference. JOAN Now what is that? LISA Mom? It really doesn't matter. 126 139 CONTINUED: (3) 139 EMILY A Discovery conference is a meeting with the court where they sign an order. authorizing our lawyer to begin getting the personnel records, interviewing witnesses, talking to Monica's cousin... JOAN OK, now where does she fit in? EMILY She gets the money. 140 EXT. MIDTOWN HOTEL. DAY. 140 ABIGAIL BERWITZ, 40s, gets out the taxi as the driver comes around with her matching luggage. 141 INT. DEUTSCH'S OFFICE. DAY. 141 Abigail sits with Deutsch. DEUTSCH How would you describe the relationship overall? Did you talk on the phone a lot? Were there a lot of visits -- ABIGAIL I would say we talked on the phone a couple of times a month at least. Sometimes more than that...I would call her, she would call me... DEUTSCH And what were the nature of these conversations? ABIGAIL. Oh, family stuff, mostly. Her family, my kids... DEUTSCH And she would advise you about your family? That kind of thing? ABIGAIL Oh, I would say so, yes. DEUTSCH Would you have any phone records? Or -- ABIGAIL I have all my phone bills, if that's what you mean. I didn't record the actual conversations... 127 141 CONTINUED: 141 DEUTSCH No no -- ABIGAIL (PRODUCES BILLS) You'll see we talked on the phone quite frequently. DEUTSCH OK, that's terrific. I see you came prepared...1 ABIGAIL Well, I wanted to bring everything. DEUTSCH Now when they take your deposition you're gonna say the same thing you just told me. Talk about the relationship... ABIGAIL Uh huh? DEUTSCH Kind of advice she used to give you... ABIGAIL OK...? 142 INT. MIDTOWN RESTAURANT. DAY. 142 Emily, Lisa and Abigail sit over their lunch. Abigail is drinking a white wine. ABIGAIL Now, Emily, where did you find this lawyer? EMILY He was recommended by a friend. ABIGAIL I'm asking because my husband knows a real good New York lawyer, and I'm not entirely comfortable with someone that no one has ever heard of -- EMILY My friend's heard of him. He says he's very good.. ABIGAIL I'm sure he does. But I have a responsibility in this situation, and I would feel a whole lot more comfortable with somebody who didn't just drop in out of the clear blue sky... 2nd Green Revised 11/20/05 - Page 128 142 CONTINUED: 142 EMILY He didn't drop in out of the clear blue sky. He was recommended by my friend. But even if we switched lawyers we'd still have to pay him. But it all comes out of the settlement, so it's really up to you. ABIGAIL No, if you all think he's good... EMILY I don't know whether he is or not. My friend thinks he is. ABIGAIL All right. Now Lisa, what is your involvement in all this? What's your angle? LISA I just wanted to...I was just there. 143 INT. EMILY'S DINING ROOM. DAY. 143 Emily comes into the dining room with a cup of coffee. Lisa is standing over the table looking at some of Monica's photos and belongings which are spread out all over the table. Emily starts putting the pictures away in their envelopes. LISA Oh my God, is that you? EMILY That's me. LISA And that's you and Monica obviously. Oh my God. Is that her daughter? EMILY Uh huh. LISA God... So how old was she when she died? EMILY Twelve. LISA God. I can't even imagine. EMILY Neither could we. Emily sits down and starts sorting through pictures to put them in the box. Lisa sits down too. 2nd Green Revised 11/20/05 - Page 128aA 143 CONTINUED: 143 LISA You know Monica asked about her when she was dying? 2nd Green Revised 11/20/05 - Page 128A-129 143 CONTINUED: (2) 143 Emily looks up. EMILY No. I didn't. LISA Yeah. I think she was confused... like, I think she thought I was her daughter for a minute. And then she was asking me to call her, like to tell her what happened: You know, like she didn't remember she was dead. EMILY What do you mean? What did she say? LISA She just asked if somebody could call her daughter. But then it got confusing because I said, "Sure, what's her name?" And she said her name was Lisa. And I said, "No, that's my name." Because it took me a minute -- I didn't realize we had the same name... Emily does not respond. LISA (CONT'D) But I couldn't tell if what I was saying was registering with her. Emily does not respond. LISA (CONT'D) But then when I found out her daughter was dead, ever since then I keep having this really strong feeling that some way, for those last five minutes I kind of was her daughter. You know? Like maybe that's the reason I was there: Like in some weird way, this obviously amazing woman got to see her daughter again for a few minutes, right before she died. EMILY (VERY DRY) I see. And is she still inhabiting your body? Or did she go right back to the spirit world after it was over? LISA I didn't mean she ws literally inhabiting my body. I don't believe in all that stuff at all. EMILY I don't give a fuck what you believe in. 2nd Green Revised 11/20/05 - Page 129aA 143 CONTINUED: ( 3) 143 LISA Oh my God! Why are you so mad at me!? EMILY Because this is not an opera! LISA (FLUSHING) What? You think I think this is an opera? 2nd Green Revised 11/20/05 - Page 129A-130 143 CONTINUED: ( 4) 143 EMILY Yes! LISA You think I'm making this into a dramatic situation because I think it's dramatic?!? EMILY I think you're very young. LISA What does that have to do with anything? If anything I think it means I care more than someone who's older! Because this kind of thing has never happened to me before! EMILY No, it means you care more easily! There's a big difference! Except that it's not you it's happening to! LISA Yes it is! I know I'm not the one who was run over -- EMILY That's right, you weren't. And you're not the one who died of leukemia, and you're not the one who just died in an earthquake in -- Algeria! But you will be. Do you understand me? You will be. And it's not an opera and it's not dramatic -- LISA I'm well aware of that! EMILY And this first-blush phony deepness of yours is worth nothing. LISA Oh wow. EMILY Do you understand? It's not worth anything, because it'll be troweled over in a month or two. And then when you get older, and you don't have a big reaction every time a d gets run over, then, then we'll find out what kind of a person you are! But this is nothing! I'm sorry, but I didn't start this conversation and I don't play these games. 2nd Green Revised 11/20/05 - Page 131 143 CONTINUED: ( 5) 143 LISA (drawing herself up) I am not -- EMILY And don't look so outraged! Because I'm not saying anything very outrageous! I'm telling you to knock it off! You have every right to falsify your own life, but you have no right to falsify anyone else's. It's what makes people into Nazis! And I'm sorry, but it's a little suspicious that you're making such a fuss about this when you didn't know her, and you're having troubles with your own mother -- LISA Oh my God! EMILY But this is nm life we're talking about, much more than it is yours! Because it's my real friend who got killed, who I'm never going to see again, really! Whom I have known since I was nineteen years old myself. OK? And I don't want that sucked into some kind of adolescent self- dramatization! LISA I'm not fucking dramatizing anything! EMILY (not having it) OK -- LISA I was there, and you weren't! And if I happen to express myself a little hyperbolically, Emily, that's just the way I talk! I can't help it if my mother is an actress! Why are you being so fucking strident? EMILY Strident? LISA Yeah. EMILY OK. Um, you should leave. LISA Why? Because I called you strident? 132 143 CONTINUED: ( 6) 143 EMILY Yeah: Strident? You should leave. Thanks. I don't wanna be called strident and you're deliberately misunderstanding me! LISA No I'm not! You're insulting me enough as it is: You don't have to call me stupid too! EMILY Well I can't stop you doing this so I think you had better go. LISA OK! I will. EMILY NOW! LISA OK! Let me get my purse! Lisa grabs her purse and coat. Emily half-walks, half-drives her toward the door. LISA (CONT'D) Does this mean we're dropping the whole inquiry? EMILY It means you're leaving. I don't know what else it means. LISA All I meant by saying you were strident was that you were being emphatic! I obviously misused the word! EMILY Look it up when you get home. LISA Jesus Christ. You're amazing. EMILY Yeah. Uh huh. I'm amazing. LISA (bursts into tears) Why are you doing this... .! EMILY Lisa, I'm not doing anything! I'm a human being! Monica was a human being! So was her daughter! And so is your mother! (MORE) 2nd Green Revised 11/20/05 - Page 133 143 CONTINUED: ( 7) 143 EMILY (CONT' D) We are not supporting characters in the fascinating story of your life! LISA I never said or thought you were...! And I really didn't mean to call you strident! I totally misused the word! I wasn't trying to insult you, Emily, I really wasn't! I feel so bad about what happened and I'm trying so hard to do something about it! And I don't understand why if I say something wrong you can't just give me a break! I didn't mean I thought her daughter took over my body. I'm not an idiot. It was just this feeling I had because she was holding onto my hand so hard before she died, and because we had the same first name! EMILY OK... LISA But I'm not trying to dramatize anything, Emily. I really know about that trend, and I really don't think I've been doing that. EMILY OK. I believe you. And look up "strident." LISA I will. They kiss and make up, but it's still a little ugly. 143A INT. COHEN LIVING ROOM. NIGHT 143A Lisa, Joan and Curtis are watching Joan being interviewed on TV. We don't see the screen. JOAN I've been in the theater my whole life and nothing like this has ever happened to me... INTERVIEWER ON TV(O.C.) Now, any talk of the play becoming a film? JOAN ON TV (O.C.) Oh, I'm sure. But I would never get cast in that. I'm not a movie star. INTERVIEWER ON TV (O.C.) But you're a theater star... JOAN ON TV (O.C.) I don't know about that either... 2nd Green Revised 11/20/05 - Page 133A 143A CONTINUED: 143A INTERVIEWER ON TV (O.C.) You are! JOAN ON TV (O . C . ) (CHARMINGLY) I guess...! JOAN Oh God. Joan buries her face in her hands. Lisa watches scowling. 134 143B INT. COHEN KITCHEN. NIGHT. 143B Joan is serving Lisa and Curtis dinner. JOAN Lisa? Do you think Emily would like to come see the play? I thought you could both come and them maybe we could go out afterwards. LISA All right. Let me ask her. JOAN Dig in everybody... They start eating. LISA I was thinking about spending next year with Dad. JOAN (SHOCKED) Oh? LISA Yeah. You're all worried about my grades. They have really good public schools in Santa Monica, and if Iofficially lived with him, you wouldn't have to worry about my scholarship. JOAN Have you talked to him about this? LISA We've had some general discussions. JOAN (TO CURTIS) Do you want to go too? CURTIS (SURPRISED) Me? JOAN Yeah. Do you want to move to LA too? CURTIS No. JOAN Well, just let me know if you do. 135 143B CONTINUED: 143B LISA Why are you being like this? JOAN Why am I being like what? LISA Why are you about to start crying? JOAN Because it's your intention to make me start crying! LISA No it's not -- - JOAN You want to move to LA. Move to LA. LISA But why can't this even be mentioned without you taking it personally? I'm just introducing a possibility! JOAN OH! Joan upsets everything on the table and starts to go. She comes back and upsets more things on the table. JOAN Here's a possibility that you can make your own fucking dinner! Here's a possibility LISA that you can do whatever you Jesus Christ! want to do, because I don't What is with you? even care anymore, you heartless little fuckin' bitch! LISA Fine! Keep it up! It really makes me want to stay here! JOAN You think you're so fucking perfect!? She breaks something else and walks out. LISA No. CURTIS Good one. LISA Shut up. Green Revised 10/7/05 - Page 136 144 OMIT 144 145 INT. HISTORY CLASS. DAY. 145 On the blackboard Klein finishes writing: SHOULD TEENAGERS RULE THE WORLD? YES OR NO? KLEIN OK. Go ahead: Kirsten. Lionel: Put your drum away. Lionel stops drumming on his desk with his fingers. KIRSTEN I think that teenagers should definitely rule the world, because teenagers aren't corrupted by adult life yet, and they're idealists and they care. And I know a lot of people feel that teenagers are really naive, which they are, many of them. But they still haven't had a chance to get burned out by the disappointments and the harsh realities of learning how to play the game. So yes, I would vote yes. KLEIN All right: Lisa? LISA I would tend to agree with all of that, except I do think that teenagers don't always necessarily think things through very carefully, and they don't have enough experience to know what the right thing to do is all the time. I also think they tend to adhere to ideologies really easily without having actually bothered to think them through for themselves.-- LEWIS Such as what? LISA Such as what? Such as, gee, I don't know: the Hitler Youth? KLEIN OK... Hitler Youth. LISA Or what about all these teenage suicide bombers? Not that I want to get into the whole Palestinian thing again, but assuming you don't think suicide bombing is a good thing, wouldn't you say that's an example of being idealistic without using your critical faculties? (MORE) Green Revised 10/7/05 - Page 137 145 CONTINUED: 145 LISA (CONT'D) And maybe running the risk of having your youthful enthusiasm be co-opted by adults for purposes of their own that you might not even ultimately agree with? Angie's hand shoots up. So do several others. LEWIS OK, Angie? ANGIE Yeah, I don't want to get into the whole Palestinian thing again either, because I realize I'm completely outnumbered -- ANTHONY Not unlike the Palestinians themselves. ANGIE That's not really funny, Anthony. ANGIE (to LISA) KLEIN -- and I'm not even going to Segal: Cut the comedy. comment on the fact that you just compared a 19-year-old ANTHONY Palestinian to a member of I thought it was funny... the Hitler Youth, which I personally find so offensive LISA I don't even know where to That's right! Because start -- Oh, it's not because they both like to kill they've been occupied and Jews. humiliated and bombed out of their homes for the last KLEIN fifty years? Hey! Hey! Lisa! Hey! LEWIS LISA Come on, guys... Yes! That's partly why they like it! There's ANGIE still a million Pale- If anyone's acting like stinians who don't blow Nazis it's the Israeli up children on busses government! because they're so "frustrated!" LEWIS OK, OK! Monica? MONICA Well, I don't know if this is good or bad, but speaking of ideology, it's interesting that the suicide bombers -- just for example -- care enough about what they believe in to sacrifice their lives for it. WHEREAS 2nd Blue Revised 10/28/05 - Page 138 145 CONTINUED: (2) 145 ANGIE Yes. Yes! LISA I think it's fine if you want to sacrifice your life for what you believe in. I actually think that's really noble. It's a little different when you're willing to sacrifice someone else's life, you know? I personally don't think that's such a big ideological achievement! ANGIE Um, even if there's no other way to get you out of my country? LEWIS LISA Raise your hands! They haven't tried any other ways! It's not ANGIE like killing civilians Yes they have! They're is their last resort! trying it right now! It's their first resort! Because it's easy and they like it! ANGIE (CONT'D) Oh they like it? They're just bad people and they like it? LISA Yes! There are bad people in the world! I think they liked blowing up the World Trade Center! They kill their own sisters when they get raped! It's called barbarism! MONICA LISA Who kills their own sisters? It's practically all people do is kill each other! LIONEL If they didn't like it they You guys are not the only wouldn't do it! Period! ones in this class! KLEIN & LEWIS Hey! Silence. LEWIS If you ladies can't make your points without yelling or interrupting each other or raising your hands, I'd say it was a pretty good argument for "No." LISA Why, adults don't yell and interrupt each

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116A 132A CONTINUED: 132A RAMON You don't think I should be? JOAN I just feel kind of ignorant about your whole world... RAMON You think it would be better if we knew about all the same things? JOAN Not really, not exclusively. It's just unusual. Don't you think it's unusual? 2nd Pink Revised 11/17/05 - Page 117 132A CONTINUED: (2) 132A RAMON Not for me. JOAN I guess you travel a lot. I've only been out of the country a few times in my whole life. RAMON You should travel more. JOAN I know. I've always wanted to. It's hard when you're in the theater... RAMON Still, you should try. It's a big world. You're an artist. You should see more of it. JOAN I know. You don't have to keep saying that. I've always wanted to travel. It's just a little difficult with two kids and no husband, but it's hard to make a lot of money in the theater. I was on a TV show a few years back and I socked away some money because of that, but my ex-husband -- RAMON Karl. JOAN Karl, yes, you remembered, very good. Karl's very generous with the kids when he can be, but he's struggling too: He's a director: he directs commercials, and now he's trying to produce them... Anyway, I'm not ignorant because I enjoy it. RAMON I don't say you're ignorant... Do you think Lisa will be interested in acting? JOAN I don't think so. I think's she's got a lot of contempt for it. Of course that may be the age. RAMON She would prefer the world with no plays? No films? JOAN Oh... Who knows. 2nd Pink Revised 11/17/05 - Page 117A 132A CONTINUED: (3) 132A RAMON Would you like to see a picture of my mother? JOAN Sure. RAMON These are all my aunts and uncles...See? Big family... JOAN Mmm. She looks at him as he turns the pages. 133 EXT. MIDTOWN OFFICE BUILDING. DAY. 133 Lisa and Emily meet in front of Dave's office building. 134 INT. DAVE'S LAW FIRM - STAIRCASE/OFFICE. DAY. 134 Dave walks Lisa and Emily into his office. DAVE So after I talked to you guys I called this P.I. I know and I asked him to -- Pink Revised 9/25/05 - Page 118 134 CONTINUED: 134 EMILY You called a what? A what? DAVE Private Investigator -- to see if he could find anything out about your bus driver -- LISA Really? DAVE EMILY Yeah: So he -- Dave! DAVE Wait, let me tell you what he said! So he called this guy he knows who used to be a cop for the MTA. Did you know the MTA have their own police? The MTA police? They have their own uniforms... EMILY Yeah? Yeah? Yeah? DAVE EMILY And -- Just a minutel Jesus Christ! What do we give a fuck about the MTA police and their uniforms?! DAVE -- so this guy got someone to let him sneak a look at your guy's file. And it turns out he's had two previous accidents -- less than two years apart -- one of them on the job, one in his own car -- EMILY What? DAVE -- where there was some allegation that he was drinking, which was dropped, but, that he's never been cited or disciplined, just moved around to different shifts -- EMILY Are you fucking kidding me? LISA Why does this not shock me? DAVE Because Surprise Surprise his brother-in- law is a very big muckety-muck in the Transit Workers Union -- Pink Revised 9/25/05 - Page 119 134 CONTINUED: (2) 134 EMILY (i.e., "I get it.") O-Kay...l DAVE And if you read the paper, you'll know they're going through a protracted labor dispute at the MTA right now, and according to my PI, the management doesn't want to aggravate the situation by firing this guy. Especially since the police have concluded he was not at fault. LISA This is making me sick. DAVE I know, but what it means, Lisa, is that we have a case. LISA We do? DAVE What it means, in fact, is that we have a very good case, because we can sue for what's called "Negligent Retention." Which means they should have known the guy was a bad risk and was irresponsible and they negligently retained him until he finally killed somebody. EMILY And you can prove that? DAVE Sure, because we can subpoena their Personnel records, which we already know contain damaging information, because my investigator got a look at them beforehand. Which you're not-supposed to do, but we did it anyway. LISA YOU'RE AWESOMEL EMILY And that means... DAVE That means we're in great shape and I think we should go in there and sue their fuckin' asses off. EMILY But you wouldn't be our lawyer, right? Pink Revised 9/25/05 - Page 120 134 CONTINUED: (3) 134 DAVE No no. Oh no. LISA Why not? DAVE EMILY I'm not a personal injury It's not his area. litigator. I don't know enough about it. I would lose. EMILY But you could recommend someone? DAVE Sure. I know a guy who's very good. His name is Russel Deutsch. He's not a sleazebag. Very experienced. Let me give you his number... EMILY Dave, thank you so much. LISA Really. My God. DAVE But you gotta get that crazy cousin on board because she's gonna be your beneficiary. EMILY She's not gonna want to come to New York, I can tell you that right now. DAVE If you win she gets anywhere from three to five hundred thousand dollars. She's gonna come to New York. 135 EXT. MIDTOWN -- 6TH AVENUE. DAY. 135 Lisa and Emily walk up the busy avenue. LISA What's with Monica and her cousin? EMILY Oh, Monica's father left some money to Abigail's kids and he made Monica the executor of the estate, because he didn't want Abigail and her idiot husband to get their hands on the money before the kids were grown up. (MORE) Green Revised 10/7/05 - Page 121 135 CONTINUED: 135 EMILY (CONT'D) For which Abigail rewarded her by badgering her about it on the phone for fifteen years: Always trying to borrow money against the estate, accusing her of making lousy investments with it, nasty phone calls, nasty letters, every month for fifteen years until Abigail's daughter turned twenty-one and got married. Then Monica goes to the wedding, in fucking Arizona, and Abigail literally won't speak to her. She's a dream. LISA So that's who we're getting the money for? EMILY It's not who we're getting it for, it's who we're getting it from. 136 INT. DEUTSCH'S OFFICE. DAY. 136 Emily and Lisa sit with RUSSEL DEUTSCH, 50s. His law office is slightly smaller and less nice than Dave's. DEUTSCH First thing we do is we file a summons and a complaint against the MTA. They get .twenty days to respond, and when they do we can make our Discovery requests: Accident reports, personnel records, et cetera. But you gotta realize it's gonna take some time. The law says you have to get a court date within a year. Usually it takes about six. Depending. LISA Six years! DEUTSCH Depending, yes. EMILY Now, I mentioned to Dave I have a friend who writes for the Metro section of the Times... DEUTSCH Yes: Now this, if it could really happen, this changes everything in our favor. If they think there's gonna be adverse publicity, especially in The New York Times, they're gonna want to settle right away, soon as possible, and as quietly as POSSIBLE -- EMILY So they'd.make it a condition that 122 136 CONTINUED: 136 DEUTSCH It's usually done, you get the money but you can't talk about it. Nobody knows the terms. LISA So what good does that do? DEUTSCH You get the money. (Pause) is that bad? (Pause) I thought that's what we're all here for. (Pause) This is how our society punishes people for doing bad things. LISA By getting money from their employers' insurance. companies? DEUTSCH Yes. It's called Punitive Damages. Pause. LISA Could we insist they fire the driver? As part of the settlement? DEUTSCH Yes, sure, why not? LISA But is that something people do? DEUTSCH Sure. It's one of your conditions. EMILY Great. LISA And you think we're gonna win? They're gonna settle? DEUTSCH Oh they're gonna settle. LISA This is -- Emily and Lisa take hands and squeeze. 137 INT. COHEN APARTMENT -- LIVING ROOM. LATER THAT DAY. 137 JOAN is reading LISA's C average REPORT CARD and an accompanying letter. Lisa comes in and stops short. 123 137 CONTINUED: 137 JOAN I want to talk to you. LISA What'd I do now? 138 INT. EMILY'S APARTMENT -- FRONT DOOR. DAY. 138 Emily opens the front door for Joan and Lisa. JOAN Hi. I'm Joan. It's nice to meet you. EMILY Nice to meet you too. Come on in. - LISA (SARDONICALLY) Hi Emily. 139 INT. EMILY'S APARTMENT -- LIVING ROOM. DAY. 139 Emily, Joan and Lisa settle on the sofa and chairs. JOAN .I had a friend who used to live on this block, at 262...? EMILY Oh...? JOAN Yeah, I don't know if you know her. Cheryl Rowan? She's a physiotherapist? EMILY No, I don't know her. LISA I think about a thousand people must... JOAN What? LISA Nothing... EMILY Lisa says you're in a play, Joan? JOAN Oh -- Yeah... LISA You should go see it, it's really good. 124 139 CONTINUED: 139 JOAN Well, the play is great, and it's a really nice cast..-. LISA She's just being modest. She's gonna win every award in New York. JOAN Oh -- all that stuff's a long way off. EMILY I don't go to the theater very much. JOAN Well, it's just nice, because you can work a long time in the theater and play really good parts without getting a lot of recognition. And even though you don't necessarily do it for that as your primary motive, it is very nice when people do notice something you've done. EMILY Uh huh... JOAN I was on a television show a few years ago, and I had been doing theater all my life, and suddenly all my relatives started calling me up to congratulate me because they thought I finally Made It. And it was really just this dumb show that paid the bills for a while... LISA That show was so stupid. JOAN It wasn't that bad...! Anyway: I realize this is horribly embarrassing for Lisa, but I really wanted to meet you, Emily, because you've frankly become such a big part of Lisa's life, and I don't want to be intrusive, but this whole court case seems to be suddenly dominating everything and I can't get Lisa to tell me anything about it LISA That's not true...! JOAN Well, I can't...! And I want you to know, Lisa, that I'm very, very proud of you for pursuing this the way you have. (MORE) 125 139 CONTINUED: (2) 139 JOAN (CONT'D) But I can't let you pursue it to the point where it's taking over your life or interfering with your school work. (To EMILY) It's really come down to a question of homework. Lisa is on a half-scholarship at her school. And I know she feels a real sense of responsibility about what happened LISA Yeah, I do. JOAN I know you do. I know you do. But you can't not do your homework, and you can't throw away your scholarship because of it. LISA I'm not. My grades slipped a little. They'll get better. Anyone can do their homework. You just sit down and do it. I've been distracted. I'll stop. JOAN All right -- LISA We didn't need to have a big conference about it. JOAN (EMBARRASSED) It's not a big conference, I just want to know what's going on. And I wanted to meet Emily... (to EMILY) I know it's a little awkward! EMILY Don't apologize. If Lisa hasn't been keeping you apprised of what's been going on, I think she should. You should. LISA There's nothing to keep her apprised of., We're just waiting for them to schedule the Discovery conference. JOAN Now what is that? LISA Mom? It really doesn't matter. 126 139 CONTINUED: (3) 139 EMILY A Discovery conference is a meeting with the court where they sign an order. authorizing our lawyer to begin getting the personnel records, interviewing witnesses, talking to Monica's cousin... JOAN OK, now where does she fit in? EMILY She gets the money. 140 EXT. MIDTOWN HOTEL. DAY. 140 ABIGAIL BERWITZ, 40s, gets out the taxi as the driver comes around with her matching luggage. 141 INT. DEUTSCH'S OFFICE. DAY. 141 Abigail sits with Deutsch. DEUTSCH How would you describe the relationship overall? Did you talk on the phone a lot? Were there a lot of visits -- ABIGAIL I would say we talked on the phone a couple of times a month at least. Sometimes more than that...I would call her, she would call me... DEUTSCH And what were the nature of these conversations? ABIGAIL. Oh, family stuff, mostly. Her family, my kids... DEUTSCH And she would advise you about your family? That kind of thing? ABIGAIL Oh, I would say so, yes. DEUTSCH Would you have any phone records? Or -- ABIGAIL I have all my phone bills, if that's what you mean. I didn't record the actual conversations... 127 141 CONTINUED: 141 DEUTSCH No no -- ABIGAIL (PRODUCES BILLS) You'll see we talked on the phone quite frequently. DEUTSCH OK, that's terrific. I see you came prepared...1 ABIGAIL Well, I wanted to bring everything. DEUTSCH Now when they take your deposition you're gonna say the same thing you just told me. Talk about the relationship... ABIGAIL Uh huh? DEUTSCH Kind of advice she used to give you... ABIGAIL OK...? 142 INT. MIDTOWN RESTAURANT. DAY. 142 Emily, Lisa and Abigail sit over their lunch. Abigail is drinking a white wine. ABIGAIL Now, Emily, where did you find this lawyer? EMILY He was recommended by a friend. ABIGAIL I'm asking because my husband knows a real good New York lawyer, and I'm not entirely comfortable with someone that no one has ever heard of -- EMILY My friend's heard of him. He says he's very good.. ABIGAIL I'm sure he does. But I have a responsibility in this situation, and I would feel a whole lot more comfortable with somebody who didn't just drop in out of the clear blue sky... 2nd Green Revised 11/20/05 - Page 128 142 CONTINUED: 142 EMILY He didn't drop in out of the clear blue sky. He was recommended by my friend. But even if we switched lawyers we'd still have to pay him. But it all comes out of the settlement, so it's really up to you. ABIGAIL No, if you all think he's good... EMILY I don't know whether he is or not. My friend thinks he is. ABIGAIL All right. Now Lisa, what is your involvement in all this? What's your angle? LISA I just wanted to...I was just there. 143 INT. EMILY'S DINING ROOM. DAY. 143 Emily comes into the dining room with a cup of coffee. Lisa is standing over the table looking at some of Monica's photos and belongings which are spread out all over the table. Emily starts putting the pictures away in their envelopes. LISA Oh my God, is that you? EMILY That's me. LISA And that's you and Monica obviously. Oh my God. Is that her daughter? EMILY Uh huh. LISA God... So how old was she when she died? EMILY Twelve. LISA God. I can't even imagine. EMILY Neither could we. Emily sits down and starts sorting through pictures to put them in the box. Lisa sits down too. 2nd Green Revised 11/20/05 - Page 128aA 143 CONTINUED: 143 LISA You know Monica asked about her when she was dying? 2nd Green Revised 11/20/05 - Page 128A-129 143 CONTINUED: (2) 143 Emily looks up. EMILY No. I didn't. LISA Yeah. I think she was confused... like, I think she thought I was her daughter for a minute. And then she was asking me to call her, like to tell her what happened: You know, like she didn't remember she was dead. EMILY What do you mean? What did she say? LISA She just asked if somebody could call her daughter. But then it got confusing because I said, "Sure, what's her name?" And she said her name was Lisa. And I said, "No, that's my name." Because it took me a minute -- I didn't realize we had the same name... Emily does not respond. LISA (CONT'D) But I couldn't tell if what I was saying was registering with her. Emily does not respond. LISA (CONT'D) But then when I found out her daughter was dead, ever since then I keep having this really strong feeling that some way, for those last five minutes I kind of was her daughter. You know? Like maybe that's the reason I was there: Like in some weird way, this obviously amazing woman got to see her daughter again for a few minutes, right before she died. EMILY (VERY DRY) I see. And is she still inhabiting your body? Or did she go right back to the spirit world after it was over? LISA I didn't mean she ws literally inhabiting my body. I don't believe in all that stuff at all. EMILY I don't give a fuck what you believe in. 2nd Green Revised 11/20/05 - Page 129aA 143 CONTINUED: ( 3) 143 LISA Oh my God! Why are you so mad at me!? EMILY Because this is not an opera! LISA (FLUSHING) What? You think I think this is an opera? 2nd Green Revised 11/20/05 - Page 129A-130 143 CONTINUED: ( 4) 143 EMILY Yes! LISA You think I'm making this into a dramatic situation because I think it's dramatic?!? EMILY I think you're very young. LISA What does that have to do with anything? If anything I think it means I care more than someone who's older! Because this kind of thing has never happened to me before! EMILY No, it means you care more easily! There's a big difference! Except that it's not you it's happening to! LISA Yes it is! I know I'm not the one who was run over -- EMILY That's right, you weren't. And you're not the one who died of leukemia, and you're not the one who just died in an earthquake in -- Algeria! But you will be. Do you understand me? You will be. And it's not an opera and it's not dramatic -- LISA I'm well aware of that! EMILY And this first-blush phony deepness of yours is worth nothing. LISA Oh wow. EMILY Do you understand? It's not worth anything, because it'll be troweled over in a month or two. And then when you get older, and you don't have a big reaction every time a d gets run over, then, then we'll find out what kind of a person you are! But this is nothing! I'm sorry, but I didn't start this conversation and I don't play these games. 2nd Green Revised 11/20/05 - Page 131 143 CONTINUED: ( 5) 143 LISA (drawing herself up) I am not -- EMILY And don't look so outraged! Because I'm not saying anything very outrageous! I'm telling you to knock it off! You have every right to falsify your own life, but you have no right to falsify anyone else's. It's what makes people into Nazis! And I'm sorry, but it's a little suspicious that you're making such a fuss about this when you didn't know her, and you're having troubles with your own mother -- LISA Oh my God! EMILY But this is nm life we're talking about, much more than it is yours! Because it's my real friend who got killed, who I'm never going to see again, really! Whom I have known since I was nineteen years old myself. OK? And I don't want that sucked into some kind of adolescent self- dramatization! LISA I'm not fucking dramatizing anything! EMILY (not having it) OK -- LISA I was there, and you weren't! And if I happen to express myself a little hyperbolically, Emily, that's just the way I talk! I can't help it if my mother is an actress! Why are you being so fucking strident? EMILY Strident? LISA Yeah. EMILY OK. Um, you should leave. LISA Why? Because I called you strident? 132 143 CONTINUED: ( 6) 143 EMILY Yeah: Strident? You should leave. Thanks. I don't wanna be called strident and you're deliberately misunderstanding me! LISA No I'm not! You're insulting me enough as it is: You don't have to call me stupid too! EMILY Well I can't stop you doing this so I think you had better go. LISA OK! I will. EMILY NOW! LISA OK! Let me get my purse! Lisa grabs her purse and coat. Emily half-walks, half-drives her toward the door. LISA (CONT'D) Does this mean we're dropping the whole inquiry? EMILY It means you're leaving. I don't know what else it means. LISA All I meant by saying you were strident was that you were being emphatic! I obviously misused the word! EMILY Look it up when you get home. LISA Jesus Christ. You're amazing. EMILY Yeah. Uh huh. I'm amazing. LISA (bursts into tears) Why are you doing this... .! EMILY Lisa, I'm not doing anything! I'm a human being! Monica was a human being! So was her daughter! And so is your mother! (MORE) 2nd Green Revised 11/20/05 - Page 133 143 CONTINUED: ( 7) 143 EMILY (CONT' D) We are not supporting characters in the fascinating story of your life! LISA I never said or thought you were...! And I really didn't mean to call you strident! I totally misused the word! I wasn't trying to insult you, Emily, I really wasn't! I feel so bad about what happened and I'm trying so hard to do something about it! And I don't understand why if I say something wrong you can't just give me a break! I didn't mean I thought her daughter took over my body. I'm not an idiot. It was just this feeling I had because she was holding onto my hand so hard before she died, and because we had the same first name! EMILY OK... LISA But I'm not trying to dramatize anything, Emily. I really know about that trend, and I really don't think I've been doing that. EMILY OK. I believe you. And look up "strident." LISA I will. They kiss and make up, but it's still a little ugly. 143A INT. COHEN LIVING ROOM. NIGHT 143A Lisa, Joan and Curtis are watching Joan being interviewed on TV. We don't see the screen. JOAN I've been in the theater my whole life and nothing like this has ever happened to me... INTERVIEWER ON TV(O.C.) Now, any talk of the play becoming a film? JOAN ON TV (O.C.) Oh, I'm sure. But I would never get cast in that. I'm not a movie star. INTERVIEWER ON TV (O.C.) But you're a theater star... JOAN ON TV (O.C.) I don't know about that either... 2nd Green Revised 11/20/05 - Page 133A 143A CONTINUED: 143A INTERVIEWER ON TV (O.C.) You are! JOAN ON TV (O . C . ) (CHARMINGLY) I guess...! JOAN Oh God. Joan buries her face in her hands. Lisa watches scowling. 134 143B INT. COHEN KITCHEN. NIGHT. 143B Joan is serving Lisa and Curtis dinner. JOAN Lisa? Do you think Emily would like to come see the play? I thought you could both come and them maybe we could go out afterwards. LISA All right. Let me ask her. JOAN Dig in everybody... They start eating. LISA I was thinking about spending next year with Dad. JOAN (SHOCKED) Oh? LISA Yeah. You're all worried about my grades. They have really good public schools in Santa Monica, and if Iofficially lived with him, you wouldn't have to worry about my scholarship. JOAN Have you talked to him about this? LISA We've had some general discussions. JOAN (TO CURTIS) Do you want to go too? CURTIS (SURPRISED) Me? JOAN Yeah. Do you want to move to LA too? CURTIS No. JOAN Well, just let me know if you do. 135 143B CONTINUED: 143B LISA Why are you being like this? JOAN Why am I being like what? LISA Why are you about to start crying? JOAN Because it's your intention to make me start crying! LISA No it's not -- - JOAN You want to move to LA. Move to LA. LISA But why can't this even be mentioned without you taking it personally? I'm just introducing a possibility! JOAN OH! Joan upsets everything on the table and starts to go. She comes back and upsets more things on the table. JOAN Here's a possibility that you can make your own fucking dinner! Here's a possibility LISA that you can do whatever you Jesus Christ! want to do, because I don't What is with you? even care anymore, you heartless little fuckin' bitch! LISA Fine! Keep it up! It really makes me want to stay here! JOAN You think you're so fucking perfect!? She breaks something else and walks out. LISA No. CURTIS Good one. LISA Shut up. Green Revised 10/7/05 - Page 136 144 OMIT 144 145 INT. HISTORY CLASS. DAY. 145 On the blackboard Klein finishes writing: SHOULD TEENAGERS RULE THE WORLD? YES OR NO? KLEIN OK. Go ahead: Kirsten. Lionel: Put your drum away. Lionel stops drumming on his desk with his fingers. KIRSTEN I think that teenagers should definitely rule the world, because teenagers aren't corrupted by adult life yet, and they're idealists and they care. And I know a lot of people feel that teenagers are really naive, which they are, many of them. But they still haven't had a chance to get burned out by the disappointments and the harsh realities of learning how to play the game. So yes, I would vote yes. KLEIN All right: Lisa? LISA I would tend to agree with all of that, except I do think that teenagers don't always necessarily think things through very carefully, and they don't have enough experience to know what the right thing to do is all the time. I also think they tend to adhere to ideologies really easily without having actually bothered to think them through for themselves.-- LEWIS Such as what? LISA Such as what? Such as, gee, I don't know: the Hitler Youth? KLEIN OK... Hitler Youth. LISA Or what about all these teenage suicide bombers? Not that I want to get into the whole Palestinian thing again, but assuming you don't think suicide bombing is a good thing, wouldn't you say that's an example of being idealistic without using your critical faculties? (MORE) Green Revised 10/7/05 - Page 137 145 CONTINUED: 145 LISA (CONT'D) And maybe running the risk of having your youthful enthusiasm be co-opted by adults for purposes of their own that you might not even ultimately agree with? Angie's hand shoots up. So do several others. LEWIS OK, Angie? ANGIE Yeah, I don't want to get into the whole Palestinian thing again either, because I realize I'm completely outnumbered -- ANTHONY Not unlike the Palestinians themselves. ANGIE That's not really funny, Anthony. ANGIE (to LISA) KLEIN -- and I'm not even going to Segal: Cut the comedy. comment on the fact that you just compared a 19-year-old ANTHONY Palestinian to a member of I thought it was funny... the Hitler Youth, which I personally find so offensive LISA I don't even know where to That's right! Because start -- Oh, it's not because they both like to kill they've been occupied and Jews. humiliated and bombed out of their homes for the last KLEIN fifty years? Hey! Hey! Lisa! Hey! LEWIS LISA Come on, guys... Yes! That's partly why they like it! There's ANGIE still a million Pale- If anyone's acting like stinians who don't blow Nazis it's the Israeli up children on busses government! because they're so "frustrated!" LEWIS OK, OK! Monica? MONICA Well, I don't know if this is good or bad, but speaking of ideology, it's interesting that the suicide bombers -- just for example -- care enough about what they believe in to sacrifice their lives for it. WHEREAS 2nd Blue Revised 10/28/05 - Page 138 145 CONTINUED: (2) 145 ANGIE Yes. Yes! LISA I think it's fine if you want to sacrifice your life for what you believe in. I actually think that's really noble. It's a little different when you're willing to sacrifice someone else's life, you know? I personally don't think that's such a big ideological achievement! ANGIE Um, even if there's no other way to get you out of my country? LEWIS LISA Raise your hands! They haven't tried any other ways! It's not ANGIE like killing civilians Yes they have! They're is their last resort! trying it right now! It's their first resort! Because it's easy and they like it! ANGIE (CONT'D) Oh they like it? They're just bad people and they like it? LISA Yes! There are bad people in the world! I think they liked blowing up the World Trade Center! They kill their own sisters when they get raped! It's called barbarism! MONICA LISA Who kills their own sisters? It's practically all people do is kill each other! LIONEL If they didn't like it they You guys are not the only wouldn't do it! Period! ones in this class! KLEIN & LEWIS Hey! Silence. LEWIS If you ladies can't make your points without yelling or interrupting each other or raising your hands, I'd say it was a pretty good argument for "No." LISA Why, adults don't yell and interrupt each

deliberately

How many times the word 'deliberately' appears in the text?

116A 132A CONTINUED: 132A RAMON You don't think I should be? JOAN I just feel kind of ignorant about your whole world... RAMON You think it would be better if we knew about all the same things? JOAN Not really, not exclusively. It's just unusual. Don't you think it's unusual? 2nd Pink Revised 11/17/05 - Page 117 132A CONTINUED: (2) 132A RAMON Not for me. JOAN I guess you travel a lot. I've only been out of the country a few times in my whole life. RAMON You should travel more. JOAN I know. I've always wanted to. It's hard when you're in the theater... RAMON Still, you should try. It's a big world. You're an artist. You should see more of it. JOAN I know. You don't have to keep saying that. I've always wanted to travel. It's just a little difficult with two kids and no husband, but it's hard to make a lot of money in the theater. I was on a TV show a few years back and I socked away some money because of that, but my ex-husband -- RAMON Karl. JOAN Karl, yes, you remembered, very good. Karl's very generous with the kids when he can be, but he's struggling too: He's a director: he directs commercials, and now he's trying to produce them... Anyway, I'm not ignorant because I enjoy it. RAMON I don't say you're ignorant... Do you think Lisa will be interested in acting? JOAN I don't think so. I think's she's got a lot of contempt for it. Of course that may be the age. RAMON She would prefer the world with no plays? No films? JOAN Oh... Who knows. 2nd Pink Revised 11/17/05 - Page 117A 132A CONTINUED: (3) 132A RAMON Would you like to see a picture of my mother? JOAN Sure. RAMON These are all my aunts and uncles...See? Big family... JOAN Mmm. She looks at him as he turns the pages. 133 EXT. MIDTOWN OFFICE BUILDING. DAY. 133 Lisa and Emily meet in front of Dave's office building. 134 INT. DAVE'S LAW FIRM - STAIRCASE/OFFICE. DAY. 134 Dave walks Lisa and Emily into his office. DAVE So after I talked to you guys I called this P.I. I know and I asked him to -- Pink Revised 9/25/05 - Page 118 134 CONTINUED: 134 EMILY You called a what? A what? DAVE Private Investigator -- to see if he could find anything out about your bus driver -- LISA Really? DAVE EMILY Yeah: So he -- Dave! DAVE Wait, let me tell you what he said! So he called this guy he knows who used to be a cop for the MTA. Did you know the MTA have their own police? The MTA police? They have their own uniforms... EMILY Yeah? Yeah? Yeah? DAVE EMILY And -- Just a minutel Jesus Christ! What do we give a fuck about the MTA police and their uniforms?! DAVE -- so this guy got someone to let him sneak a look at your guy's file. And it turns out he's had two previous accidents -- less than two years apart -- one of them on the job, one in his own car -- EMILY What? DAVE -- where there was some allegation that he was drinking, which was dropped, but, that he's never been cited or disciplined, just moved around to different shifts -- EMILY Are you fucking kidding me? LISA Why does this not shock me? DAVE Because Surprise Surprise his brother-in- law is a very big muckety-muck in the Transit Workers Union -- Pink Revised 9/25/05 - Page 119 134 CONTINUED: (2) 134 EMILY (i.e., "I get it.") O-Kay...l DAVE And if you read the paper, you'll know they're going through a protracted labor dispute at the MTA right now, and according to my PI, the management doesn't want to aggravate the situation by firing this guy. Especially since the police have concluded he was not at fault. LISA This is making me sick. DAVE I know, but what it means, Lisa, is that we have a case. LISA We do? DAVE What it means, in fact, is that we have a very good case, because we can sue for what's called "Negligent Retention." Which means they should have known the guy was a bad risk and was irresponsible and they negligently retained him until he finally killed somebody. EMILY And you can prove that? DAVE Sure, because we can subpoena their Personnel records, which we already know contain damaging information, because my investigator got a look at them beforehand. Which you're not-supposed to do, but we did it anyway. LISA YOU'RE AWESOMEL EMILY And that means... DAVE That means we're in great shape and I think we should go in there and sue their fuckin' asses off. EMILY But you wouldn't be our lawyer, right? Pink Revised 9/25/05 - Page 120 134 CONTINUED: (3) 134 DAVE No no. Oh no. LISA Why not? DAVE EMILY I'm not a personal injury It's not his area. litigator. I don't know enough about it. I would lose. EMILY But you could recommend someone? DAVE Sure. I know a guy who's very good. His name is Russel Deutsch. He's not a sleazebag. Very experienced. Let me give you his number... EMILY Dave, thank you so much. LISA Really. My God. DAVE But you gotta get that crazy cousin on board because she's gonna be your beneficiary. EMILY She's not gonna want to come to New York, I can tell you that right now. DAVE If you win she gets anywhere from three to five hundred thousand dollars. She's gonna come to New York. 135 EXT. MIDTOWN -- 6TH AVENUE. DAY. 135 Lisa and Emily walk up the busy avenue. LISA What's with Monica and her cousin? EMILY Oh, Monica's father left some money to Abigail's kids and he made Monica the executor of the estate, because he didn't want Abigail and her idiot husband to get their hands on the money before the kids were grown up. (MORE) Green Revised 10/7/05 - Page 121 135 CONTINUED: 135 EMILY (CONT'D) For which Abigail rewarded her by badgering her about it on the phone for fifteen years: Always trying to borrow money against the estate, accusing her of making lousy investments with it, nasty phone calls, nasty letters, every month for fifteen years until Abigail's daughter turned twenty-one and got married. Then Monica goes to the wedding, in fucking Arizona, and Abigail literally won't speak to her. She's a dream. LISA So that's who we're getting the money for? EMILY It's not who we're getting it for, it's who we're getting it from. 136 INT. DEUTSCH'S OFFICE. DAY. 136 Emily and Lisa sit with RUSSEL DEUTSCH, 50s. His law office is slightly smaller and less nice than Dave's. DEUTSCH First thing we do is we file a summons and a complaint against the MTA. They get .twenty days to respond, and when they do we can make our Discovery requests: Accident reports, personnel records, et cetera. But you gotta realize it's gonna take some time. The law says you have to get a court date within a year. Usually it takes about six. Depending. LISA Six years! DEUTSCH Depending, yes. EMILY Now, I mentioned to Dave I have a friend who writes for the Metro section of the Times... DEUTSCH Yes: Now this, if it could really happen, this changes everything in our favor. If they think there's gonna be adverse publicity, especially in The New York Times, they're gonna want to settle right away, soon as possible, and as quietly as POSSIBLE -- EMILY So they'd.make it a condition that 122 136 CONTINUED: 136 DEUTSCH It's usually done, you get the money but you can't talk about it. Nobody knows the terms. LISA So what good does that do? DEUTSCH You get the money. (Pause) is that bad? (Pause) I thought that's what we're all here for. (Pause) This is how our society punishes people for doing bad things. LISA By getting money from their employers' insurance. companies? DEUTSCH Yes. It's called Punitive Damages. Pause. LISA Could we insist they fire the driver? As part of the settlement? DEUTSCH Yes, sure, why not? LISA But is that something people do? DEUTSCH Sure. It's one of your conditions. EMILY Great. LISA And you think we're gonna win? They're gonna settle? DEUTSCH Oh they're gonna settle. LISA This is -- Emily and Lisa take hands and squeeze. 137 INT. COHEN APARTMENT -- LIVING ROOM. LATER THAT DAY. 137 JOAN is reading LISA's C average REPORT CARD and an accompanying letter. Lisa comes in and stops short. 123 137 CONTINUED: 137 JOAN I want to talk to you. LISA What'd I do now? 138 INT. EMILY'S APARTMENT -- FRONT DOOR. DAY. 138 Emily opens the front door for Joan and Lisa. JOAN Hi. I'm Joan. It's nice to meet you. EMILY Nice to meet you too. Come on in. - LISA (SARDONICALLY) Hi Emily. 139 INT. EMILY'S APARTMENT -- LIVING ROOM. DAY. 139 Emily, Joan and Lisa settle on the sofa and chairs. JOAN .I had a friend who used to live on this block, at 262...? EMILY Oh...? JOAN Yeah, I don't know if you know her. Cheryl Rowan? She's a physiotherapist? EMILY No, I don't know her. LISA I think about a thousand people must... JOAN What? LISA Nothing... EMILY Lisa says you're in a play, Joan? JOAN Oh -- Yeah... LISA You should go see it, it's really good. 124 139 CONTINUED: 139 JOAN Well, the play is great, and it's a really nice cast..-. LISA She's just being modest. She's gonna win every award in New York. JOAN Oh -- all that stuff's a long way off. EMILY I don't go to the theater very much. JOAN Well, it's just nice, because you can work a long time in the theater and play really good parts without getting a lot of recognition. And even though you don't necessarily do it for that as your primary motive, it is very nice when people do notice something you've done. EMILY Uh huh... JOAN I was on a television show a few years ago, and I had been doing theater all my life, and suddenly all my relatives started calling me up to congratulate me because they thought I finally Made It. And it was really just this dumb show that paid the bills for a while... LISA That show was so stupid. JOAN It wasn't that bad...! Anyway: I realize this is horribly embarrassing for Lisa, but I really wanted to meet you, Emily, because you've frankly become such a big part of Lisa's life, and I don't want to be intrusive, but this whole court case seems to be suddenly dominating everything and I can't get Lisa to tell me anything about it LISA That's not true...! JOAN Well, I can't...! And I want you to know, Lisa, that I'm very, very proud of you for pursuing this the way you have. (MORE) 125 139 CONTINUED: (2) 139 JOAN (CONT'D) But I can't let you pursue it to the point where it's taking over your life or interfering with your school work. (To EMILY) It's really come down to a question of homework. Lisa is on a half-scholarship at her school. And I know she feels a real sense of responsibility about what happened LISA Yeah, I do. JOAN I know you do. I know you do. But you can't not do your homework, and you can't throw away your scholarship because of it. LISA I'm not. My grades slipped a little. They'll get better. Anyone can do their homework. You just sit down and do it. I've been distracted. I'll stop. JOAN All right -- LISA We didn't need to have a big conference about it. JOAN (EMBARRASSED) It's not a big conference, I just want to know what's going on. And I wanted to meet Emily... (to EMILY) I know it's a little awkward! EMILY Don't apologize. If Lisa hasn't been keeping you apprised of what's been going on, I think she should. You should. LISA There's nothing to keep her apprised of., We're just waiting for them to schedule the Discovery conference. JOAN Now what is that? LISA Mom? It really doesn't matter. 126 139 CONTINUED: (3) 139 EMILY A Discovery conference is a meeting with the court where they sign an order. authorizing our lawyer to begin getting the personnel records, interviewing witnesses, talking to Monica's cousin... JOAN OK, now where does she fit in? EMILY She gets the money. 140 EXT. MIDTOWN HOTEL. DAY. 140 ABIGAIL BERWITZ, 40s, gets out the taxi as the driver comes around with her matching luggage. 141 INT. DEUTSCH'S OFFICE. DAY. 141 Abigail sits with Deutsch. DEUTSCH How would you describe the relationship overall? Did you talk on the phone a lot? Were there a lot of visits -- ABIGAIL I would say we talked on the phone a couple of times a month at least. Sometimes more than that...I would call her, she would call me... DEUTSCH And what were the nature of these conversations? ABIGAIL. Oh, family stuff, mostly. Her family, my kids... DEUTSCH And she would advise you about your family? That kind of thing? ABIGAIL Oh, I would say so, yes. DEUTSCH Would you have any phone records? Or -- ABIGAIL I have all my phone bills, if that's what you mean. I didn't record the actual conversations... 127 141 CONTINUED: 141 DEUTSCH No no -- ABIGAIL (PRODUCES BILLS) You'll see we talked on the phone quite frequently. DEUTSCH OK, that's terrific. I see you came prepared...1 ABIGAIL Well, I wanted to bring everything. DEUTSCH Now when they take your deposition you're gonna say the same thing you just told me. Talk about the relationship... ABIGAIL Uh huh? DEUTSCH Kind of advice she used to give you... ABIGAIL OK...? 142 INT. MIDTOWN RESTAURANT. DAY. 142 Emily, Lisa and Abigail sit over their lunch. Abigail is drinking a white wine. ABIGAIL Now, Emily, where did you find this lawyer? EMILY He was recommended by a friend. ABIGAIL I'm asking because my husband knows a real good New York lawyer, and I'm not entirely comfortable with someone that no one has ever heard of -- EMILY My friend's heard of him. He says he's very good.. ABIGAIL I'm sure he does. But I have a responsibility in this situation, and I would feel a whole lot more comfortable with somebody who didn't just drop in out of the clear blue sky... 2nd Green Revised 11/20/05 - Page 128 142 CONTINUED: 142 EMILY He didn't drop in out of the clear blue sky. He was recommended by my friend. But even if we switched lawyers we'd still have to pay him. But it all comes out of the settlement, so it's really up to you. ABIGAIL No, if you all think he's good... EMILY I don't know whether he is or not. My friend thinks he is. ABIGAIL All right. Now Lisa, what is your involvement in all this? What's your angle? LISA I just wanted to...I was just there. 143 INT. EMILY'S DINING ROOM. DAY. 143 Emily comes into the dining room with a cup of coffee. Lisa is standing over the table looking at some of Monica's photos and belongings which are spread out all over the table. Emily starts putting the pictures away in their envelopes. LISA Oh my God, is that you? EMILY That's me. LISA And that's you and Monica obviously. Oh my God. Is that her daughter? EMILY Uh huh. LISA God... So how old was she when she died? EMILY Twelve. LISA God. I can't even imagine. EMILY Neither could we. Emily sits down and starts sorting through pictures to put them in the box. Lisa sits down too. 2nd Green Revised 11/20/05 - Page 128aA 143 CONTINUED: 143 LISA You know Monica asked about her when she was dying? 2nd Green Revised 11/20/05 - Page 128A-129 143 CONTINUED: (2) 143 Emily looks up. EMILY No. I didn't. LISA Yeah. I think she was confused... like, I think she thought I was her daughter for a minute. And then she was asking me to call her, like to tell her what happened: You know, like she didn't remember she was dead. EMILY What do you mean? What did she say? LISA She just asked if somebody could call her daughter. But then it got confusing because I said, "Sure, what's her name?" And she said her name was Lisa. And I said, "No, that's my name." Because it took me a minute -- I didn't realize we had the same name... Emily does not respond. LISA (CONT'D) But I couldn't tell if what I was saying was registering with her. Emily does not respond. LISA (CONT'D) But then when I found out her daughter was dead, ever since then I keep having this really strong feeling that some way, for those last five minutes I kind of was her daughter. You know? Like maybe that's the reason I was there: Like in some weird way, this obviously amazing woman got to see her daughter again for a few minutes, right before she died. EMILY (VERY DRY) I see. And is she still inhabiting your body? Or did she go right back to the spirit world after it was over? LISA I didn't mean she ws literally inhabiting my body. I don't believe in all that stuff at all. EMILY I don't give a fuck what you believe in. 2nd Green Revised 11/20/05 - Page 129aA 143 CONTINUED: ( 3) 143 LISA Oh my God! Why are you so mad at me!? EMILY Because this is not an opera! LISA (FLUSHING) What? You think I think this is an opera? 2nd Green Revised 11/20/05 - Page 129A-130 143 CONTINUED: ( 4) 143 EMILY Yes! LISA You think I'm making this into a dramatic situation because I think it's dramatic?!? EMILY I think you're very young. LISA What does that have to do with anything? If anything I think it means I care more than someone who's older! Because this kind of thing has never happened to me before! EMILY No, it means you care more easily! There's a big difference! Except that it's not you it's happening to! LISA Yes it is! I know I'm not the one who was run over -- EMILY That's right, you weren't. And you're not the one who died of leukemia, and you're not the one who just died in an earthquake in -- Algeria! But you will be. Do you understand me? You will be. And it's not an opera and it's not dramatic -- LISA I'm well aware of that! EMILY And this first-blush phony deepness of yours is worth nothing. LISA Oh wow. EMILY Do you understand? It's not worth anything, because it'll be troweled over in a month or two. And then when you get older, and you don't have a big reaction every time a d gets run over, then, then we'll find out what kind of a person you are! But this is nothing! I'm sorry, but I didn't start this conversation and I don't play these games. 2nd Green Revised 11/20/05 - Page 131 143 CONTINUED: ( 5) 143 LISA (drawing herself up) I am not -- EMILY And don't look so outraged! Because I'm not saying anything very outrageous! I'm telling you to knock it off! You have every right to falsify your own life, but you have no right to falsify anyone else's. It's what makes people into Nazis! And I'm sorry, but it's a little suspicious that you're making such a fuss about this when you didn't know her, and you're having troubles with your own mother -- LISA Oh my God! EMILY But this is nm life we're talking about, much more than it is yours! Because it's my real friend who got killed, who I'm never going to see again, really! Whom I have known since I was nineteen years old myself. OK? And I don't want that sucked into some kind of adolescent self- dramatization! LISA I'm not fucking dramatizing anything! EMILY (not having it) OK -- LISA I was there, and you weren't! And if I happen to express myself a little hyperbolically, Emily, that's just the way I talk! I can't help it if my mother is an actress! Why are you being so fucking strident? EMILY Strident? LISA Yeah. EMILY OK. Um, you should leave. LISA Why? Because I called you strident? 132 143 CONTINUED: ( 6) 143 EMILY Yeah: Strident? You should leave. Thanks. I don't wanna be called strident and you're deliberately misunderstanding me! LISA No I'm not! You're insulting me enough as it is: You don't have to call me stupid too! EMILY Well I can't stop you doing this so I think you had better go. LISA OK! I will. EMILY NOW! LISA OK! Let me get my purse! Lisa grabs her purse and coat. Emily half-walks, half-drives her toward the door. LISA (CONT'D) Does this mean we're dropping the whole inquiry? EMILY It means you're leaving. I don't know what else it means. LISA All I meant by saying you were strident was that you were being emphatic! I obviously misused the word! EMILY Look it up when you get home. LISA Jesus Christ. You're amazing. EMILY Yeah. Uh huh. I'm amazing. LISA (bursts into tears) Why are you doing this... .! EMILY Lisa, I'm not doing anything! I'm a human being! Monica was a human being! So was her daughter! And so is your mother! (MORE) 2nd Green Revised 11/20/05 - Page 133 143 CONTINUED: ( 7) 143 EMILY (CONT' D) We are not supporting characters in the fascinating story of your life! LISA I never said or thought you were...! And I really didn't mean to call you strident! I totally misused the word! I wasn't trying to insult you, Emily, I really wasn't! I feel so bad about what happened and I'm trying so hard to do something about it! And I don't understand why if I say something wrong you can't just give me a break! I didn't mean I thought her daughter took over my body. I'm not an idiot. It was just this feeling I had because she was holding onto my hand so hard before she died, and because we had the same first name! EMILY OK... LISA But I'm not trying to dramatize anything, Emily. I really know about that trend, and I really don't think I've been doing that. EMILY OK. I believe you. And look up "strident." LISA I will. They kiss and make up, but it's still a little ugly. 143A INT. COHEN LIVING ROOM. NIGHT 143A Lisa, Joan and Curtis are watching Joan being interviewed on TV. We don't see the screen. JOAN I've been in the theater my whole life and nothing like this has ever happened to me... INTERVIEWER ON TV(O.C.) Now, any talk of the play becoming a film? JOAN ON TV (O.C.) Oh, I'm sure. But I would never get cast in that. I'm not a movie star. INTERVIEWER ON TV (O.C.) But you're a theater star... JOAN ON TV (O.C.) I don't know about that either... 2nd Green Revised 11/20/05 - Page 133A 143A CONTINUED: 143A INTERVIEWER ON TV (O.C.) You are! JOAN ON TV (O . C . ) (CHARMINGLY) I guess...! JOAN Oh God. Joan buries her face in her hands. Lisa watches scowling. 134 143B INT. COHEN KITCHEN. NIGHT. 143B Joan is serving Lisa and Curtis dinner. JOAN Lisa? Do you think Emily would like to come see the play? I thought you could both come and them maybe we could go out afterwards. LISA All right. Let me ask her. JOAN Dig in everybody... They start eating. LISA I was thinking about spending next year with Dad. JOAN (SHOCKED) Oh? LISA Yeah. You're all worried about my grades. They have really good public schools in Santa Monica, and if Iofficially lived with him, you wouldn't have to worry about my scholarship. JOAN Have you talked to him about this? LISA We've had some general discussions. JOAN (TO CURTIS) Do you want to go too? CURTIS (SURPRISED) Me? JOAN Yeah. Do you want to move to LA too? CURTIS No. JOAN Well, just let me know if you do. 135 143B CONTINUED: 143B LISA Why are you being like this? JOAN Why am I being like what? LISA Why are you about to start crying? JOAN Because it's your intention to make me start crying! LISA No it's not -- - JOAN You want to move to LA. Move to LA. LISA But why can't this even be mentioned without you taking it personally? I'm just introducing a possibility! JOAN OH! Joan upsets everything on the table and starts to go. She comes back and upsets more things on the table. JOAN Here's a possibility that you can make your own fucking dinner! Here's a possibility LISA that you can do whatever you Jesus Christ! want to do, because I don't What is with you? even care anymore, you heartless little fuckin' bitch! LISA Fine! Keep it up! It really makes me want to stay here! JOAN You think you're so fucking perfect!? She breaks something else and walks out. LISA No. CURTIS Good one. LISA Shut up. Green Revised 10/7/05 - Page 136 144 OMIT 144 145 INT. HISTORY CLASS. DAY. 145 On the blackboard Klein finishes writing: SHOULD TEENAGERS RULE THE WORLD? YES OR NO? KLEIN OK. Go ahead: Kirsten. Lionel: Put your drum away. Lionel stops drumming on his desk with his fingers. KIRSTEN I think that teenagers should definitely rule the world, because teenagers aren't corrupted by adult life yet, and they're idealists and they care. And I know a lot of people feel that teenagers are really naive, which they are, many of them. But they still haven't had a chance to get burned out by the disappointments and the harsh realities of learning how to play the game. So yes, I would vote yes. KLEIN All right: Lisa? LISA I would tend to agree with all of that, except I do think that teenagers don't always necessarily think things through very carefully, and they don't have enough experience to know what the right thing to do is all the time. I also think they tend to adhere to ideologies really easily without having actually bothered to think them through for themselves.-- LEWIS Such as what? LISA Such as what? Such as, gee, I don't know: the Hitler Youth? KLEIN OK... Hitler Youth. LISA Or what about all these teenage suicide bombers? Not that I want to get into the whole Palestinian thing again, but assuming you don't think suicide bombing is a good thing, wouldn't you say that's an example of being idealistic without using your critical faculties? (MORE) Green Revised 10/7/05 - Page 137 145 CONTINUED: 145 LISA (CONT'D) And maybe running the risk of having your youthful enthusiasm be co-opted by adults for purposes of their own that you might not even ultimately agree with? Angie's hand shoots up. So do several others. LEWIS OK, Angie? ANGIE Yeah, I don't want to get into the whole Palestinian thing again either, because I realize I'm completely outnumbered -- ANTHONY Not unlike the Palestinians themselves. ANGIE That's not really funny, Anthony. ANGIE (to LISA) KLEIN -- and I'm not even going to Segal: Cut the comedy. comment on the fact that you just compared a 19-year-old ANTHONY Palestinian to a member of I thought it was funny... the Hitler Youth, which I personally find so offensive LISA I don't even know where to That's right! Because start -- Oh, it's not because they both like to kill they've been occupied and Jews. humiliated and bombed out of their homes for the last KLEIN fifty years? Hey! Hey! Lisa! Hey! LEWIS LISA Come on, guys... Yes! That's partly why they like it! There's ANGIE still a million Pale- If anyone's acting like stinians who don't blow Nazis it's the Israeli up children on busses government! because they're so "frustrated!" LEWIS OK, OK! Monica? MONICA Well, I don't know if this is good or bad, but speaking of ideology, it's interesting that the suicide bombers -- just for example -- care enough about what they believe in to sacrifice their lives for it. WHEREAS 2nd Blue Revised 10/28/05 - Page 138 145 CONTINUED: (2) 145 ANGIE Yes. Yes! LISA I think it's fine if you want to sacrifice your life for what you believe in. I actually think that's really noble. It's a little different when you're willing to sacrifice someone else's life, you know? I personally don't think that's such a big ideological achievement! ANGIE Um, even if there's no other way to get you out of my country? LEWIS LISA Raise your hands! They haven't tried any other ways! It's not ANGIE like killing civilians Yes they have! They're is their last resort! trying it right now! It's their first resort! Because it's easy and they like it! ANGIE (CONT'D) Oh they like it? They're just bad people and they like it? LISA Yes! There are bad people in the world! I think they liked blowing up the World Trade Center! They kill their own sisters when they get raped! It's called barbarism! MONICA LISA Who kills their own sisters? It's practically all people do is kill each other! LIONEL If they didn't like it they You guys are not the only wouldn't do it! Period! ones in this class! KLEIN & LEWIS Hey! Silence. LEWIS If you ladies can't make your points without yelling or interrupting each other or raising your hands, I'd say it was a pretty good argument for "No." LISA Why, adults don't yell and interrupt each

mightily

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116A 132A CONTINUED: 132A RAMON You don't think I should be? JOAN I just feel kind of ignorant about your whole world... RAMON You think it would be better if we knew about all the same things? JOAN Not really, not exclusively. It's just unusual. Don't you think it's unusual? 2nd Pink Revised 11/17/05 - Page 117 132A CONTINUED: (2) 132A RAMON Not for me. JOAN I guess you travel a lot. I've only been out of the country a few times in my whole life. RAMON You should travel more. JOAN I know. I've always wanted to. It's hard when you're in the theater... RAMON Still, you should try. It's a big world. You're an artist. You should see more of it. JOAN I know. You don't have to keep saying that. I've always wanted to travel. It's just a little difficult with two kids and no husband, but it's hard to make a lot of money in the theater. I was on a TV show a few years back and I socked away some money because of that, but my ex-husband -- RAMON Karl. JOAN Karl, yes, you remembered, very good. Karl's very generous with the kids when he can be, but he's struggling too: He's a director: he directs commercials, and now he's trying to produce them... Anyway, I'm not ignorant because I enjoy it. RAMON I don't say you're ignorant... Do you think Lisa will be interested in acting? JOAN I don't think so. I think's she's got a lot of contempt for it. Of course that may be the age. RAMON She would prefer the world with no plays? No films? JOAN Oh... Who knows. 2nd Pink Revised 11/17/05 - Page 117A 132A CONTINUED: (3) 132A RAMON Would you like to see a picture of my mother? JOAN Sure. RAMON These are all my aunts and uncles...See? Big family... JOAN Mmm. She looks at him as he turns the pages. 133 EXT. MIDTOWN OFFICE BUILDING. DAY. 133 Lisa and Emily meet in front of Dave's office building. 134 INT. DAVE'S LAW FIRM - STAIRCASE/OFFICE. DAY. 134 Dave walks Lisa and Emily into his office. DAVE So after I talked to you guys I called this P.I. I know and I asked him to -- Pink Revised 9/25/05 - Page 118 134 CONTINUED: 134 EMILY You called a what? A what? DAVE Private Investigator -- to see if he could find anything out about your bus driver -- LISA Really? DAVE EMILY Yeah: So he -- Dave! DAVE Wait, let me tell you what he said! So he called this guy he knows who used to be a cop for the MTA. Did you know the MTA have their own police? The MTA police? They have their own uniforms... EMILY Yeah? Yeah? Yeah? DAVE EMILY And -- Just a minutel Jesus Christ! What do we give a fuck about the MTA police and their uniforms?! DAVE -- so this guy got someone to let him sneak a look at your guy's file. And it turns out he's had two previous accidents -- less than two years apart -- one of them on the job, one in his own car -- EMILY What? DAVE -- where there was some allegation that he was drinking, which was dropped, but, that he's never been cited or disciplined, just moved around to different shifts -- EMILY Are you fucking kidding me? LISA Why does this not shock me? DAVE Because Surprise Surprise his brother-in- law is a very big muckety-muck in the Transit Workers Union -- Pink Revised 9/25/05 - Page 119 134 CONTINUED: (2) 134 EMILY (i.e., "I get it.") O-Kay...l DAVE And if you read the paper, you'll know they're going through a protracted labor dispute at the MTA right now, and according to my PI, the management doesn't want to aggravate the situation by firing this guy. Especially since the police have concluded he was not at fault. LISA This is making me sick. DAVE I know, but what it means, Lisa, is that we have a case. LISA We do? DAVE What it means, in fact, is that we have a very good case, because we can sue for what's called "Negligent Retention." Which means they should have known the guy was a bad risk and was irresponsible and they negligently retained him until he finally killed somebody. EMILY And you can prove that? DAVE Sure, because we can subpoena their Personnel records, which we already know contain damaging information, because my investigator got a look at them beforehand. Which you're not-supposed to do, but we did it anyway. LISA YOU'RE AWESOMEL EMILY And that means... DAVE That means we're in great shape and I think we should go in there and sue their fuckin' asses off. EMILY But you wouldn't be our lawyer, right? Pink Revised 9/25/05 - Page 120 134 CONTINUED: (3) 134 DAVE No no. Oh no. LISA Why not? DAVE EMILY I'm not a personal injury It's not his area. litigator. I don't know enough about it. I would lose. EMILY But you could recommend someone? DAVE Sure. I know a guy who's very good. His name is Russel Deutsch. He's not a sleazebag. Very experienced. Let me give you his number... EMILY Dave, thank you so much. LISA Really. My God. DAVE But you gotta get that crazy cousin on board because she's gonna be your beneficiary. EMILY She's not gonna want to come to New York, I can tell you that right now. DAVE If you win she gets anywhere from three to five hundred thousand dollars. She's gonna come to New York. 135 EXT. MIDTOWN -- 6TH AVENUE. DAY. 135 Lisa and Emily walk up the busy avenue. LISA What's with Monica and her cousin? EMILY Oh, Monica's father left some money to Abigail's kids and he made Monica the executor of the estate, because he didn't want Abigail and her idiot husband to get their hands on the money before the kids were grown up. (MORE) Green Revised 10/7/05 - Page 121 135 CONTINUED: 135 EMILY (CONT'D) For which Abigail rewarded her by badgering her about it on the phone for fifteen years: Always trying to borrow money against the estate, accusing her of making lousy investments with it, nasty phone calls, nasty letters, every month for fifteen years until Abigail's daughter turned twenty-one and got married. Then Monica goes to the wedding, in fucking Arizona, and Abigail literally won't speak to her. She's a dream. LISA So that's who we're getting the money for? EMILY It's not who we're getting it for, it's who we're getting it from. 136 INT. DEUTSCH'S OFFICE. DAY. 136 Emily and Lisa sit with RUSSEL DEUTSCH, 50s. His law office is slightly smaller and less nice than Dave's. DEUTSCH First thing we do is we file a summons and a complaint against the MTA. They get .twenty days to respond, and when they do we can make our Discovery requests: Accident reports, personnel records, et cetera. But you gotta realize it's gonna take some time. The law says you have to get a court date within a year. Usually it takes about six. Depending. LISA Six years! DEUTSCH Depending, yes. EMILY Now, I mentioned to Dave I have a friend who writes for the Metro section of the Times... DEUTSCH Yes: Now this, if it could really happen, this changes everything in our favor. If they think there's gonna be adverse publicity, especially in The New York Times, they're gonna want to settle right away, soon as possible, and as quietly as POSSIBLE -- EMILY So they'd.make it a condition that 122 136 CONTINUED: 136 DEUTSCH It's usually done, you get the money but you can't talk about it. Nobody knows the terms. LISA So what good does that do? DEUTSCH You get the money. (Pause) is that bad? (Pause) I thought that's what we're all here for. (Pause) This is how our society punishes people for doing bad things. LISA By getting money from their employers' insurance. companies? DEUTSCH Yes. It's called Punitive Damages. Pause. LISA Could we insist they fire the driver? As part of the settlement? DEUTSCH Yes, sure, why not? LISA But is that something people do? DEUTSCH Sure. It's one of your conditions. EMILY Great. LISA And you think we're gonna win? They're gonna settle? DEUTSCH Oh they're gonna settle. LISA This is -- Emily and Lisa take hands and squeeze. 137 INT. COHEN APARTMENT -- LIVING ROOM. LATER THAT DAY. 137 JOAN is reading LISA's C average REPORT CARD and an accompanying letter. Lisa comes in and stops short. 123 137 CONTINUED: 137 JOAN I want to talk to you. LISA What'd I do now? 138 INT. EMILY'S APARTMENT -- FRONT DOOR. DAY. 138 Emily opens the front door for Joan and Lisa. JOAN Hi. I'm Joan. It's nice to meet you. EMILY Nice to meet you too. Come on in. - LISA (SARDONICALLY) Hi Emily. 139 INT. EMILY'S APARTMENT -- LIVING ROOM. DAY. 139 Emily, Joan and Lisa settle on the sofa and chairs. JOAN .I had a friend who used to live on this block, at 262...? EMILY Oh...? JOAN Yeah, I don't know if you know her. Cheryl Rowan? She's a physiotherapist? EMILY No, I don't know her. LISA I think about a thousand people must... JOAN What? LISA Nothing... EMILY Lisa says you're in a play, Joan? JOAN Oh -- Yeah... LISA You should go see it, it's really good. 124 139 CONTINUED: 139 JOAN Well, the play is great, and it's a really nice cast..-. LISA She's just being modest. She's gonna win every award in New York. JOAN Oh -- all that stuff's a long way off. EMILY I don't go to the theater very much. JOAN Well, it's just nice, because you can work a long time in the theater and play really good parts without getting a lot of recognition. And even though you don't necessarily do it for that as your primary motive, it is very nice when people do notice something you've done. EMILY Uh huh... JOAN I was on a television show a few years ago, and I had been doing theater all my life, and suddenly all my relatives started calling me up to congratulate me because they thought I finally Made It. And it was really just this dumb show that paid the bills for a while... LISA That show was so stupid. JOAN It wasn't that bad...! Anyway: I realize this is horribly embarrassing for Lisa, but I really wanted to meet you, Emily, because you've frankly become such a big part of Lisa's life, and I don't want to be intrusive, but this whole court case seems to be suddenly dominating everything and I can't get Lisa to tell me anything about it LISA That's not true...! JOAN Well, I can't...! And I want you to know, Lisa, that I'm very, very proud of you for pursuing this the way you have. (MORE) 125 139 CONTINUED: (2) 139 JOAN (CONT'D) But I can't let you pursue it to the point where it's taking over your life or interfering with your school work. (To EMILY) It's really come down to a question of homework. Lisa is on a half-scholarship at her school. And I know she feels a real sense of responsibility about what happened LISA Yeah, I do. JOAN I know you do. I know you do. But you can't not do your homework, and you can't throw away your scholarship because of it. LISA I'm not. My grades slipped a little. They'll get better. Anyone can do their homework. You just sit down and do it. I've been distracted. I'll stop. JOAN All right -- LISA We didn't need to have a big conference about it. JOAN (EMBARRASSED) It's not a big conference, I just want to know what's going on. And I wanted to meet Emily... (to EMILY) I know it's a little awkward! EMILY Don't apologize. If Lisa hasn't been keeping you apprised of what's been going on, I think she should. You should. LISA There's nothing to keep her apprised of., We're just waiting for them to schedule the Discovery conference. JOAN Now what is that? LISA Mom? It really doesn't matter. 126 139 CONTINUED: (3) 139 EMILY A Discovery conference is a meeting with the court where they sign an order. authorizing our lawyer to begin getting the personnel records, interviewing witnesses, talking to Monica's cousin... JOAN OK, now where does she fit in? EMILY She gets the money. 140 EXT. MIDTOWN HOTEL. DAY. 140 ABIGAIL BERWITZ, 40s, gets out the taxi as the driver comes around with her matching luggage. 141 INT. DEUTSCH'S OFFICE. DAY. 141 Abigail sits with Deutsch. DEUTSCH How would you describe the relationship overall? Did you talk on the phone a lot? Were there a lot of visits -- ABIGAIL I would say we talked on the phone a couple of times a month at least. Sometimes more than that...I would call her, she would call me... DEUTSCH And what were the nature of these conversations? ABIGAIL. Oh, family stuff, mostly. Her family, my kids... DEUTSCH And she would advise you about your family? That kind of thing? ABIGAIL Oh, I would say so, yes. DEUTSCH Would you have any phone records? Or -- ABIGAIL I have all my phone bills, if that's what you mean. I didn't record the actual conversations... 127 141 CONTINUED: 141 DEUTSCH No no -- ABIGAIL (PRODUCES BILLS) You'll see we talked on the phone quite frequently. DEUTSCH OK, that's terrific. I see you came prepared...1 ABIGAIL Well, I wanted to bring everything. DEUTSCH Now when they take your deposition you're gonna say the same thing you just told me. Talk about the relationship... ABIGAIL Uh huh? DEUTSCH Kind of advice she used to give you... ABIGAIL OK...? 142 INT. MIDTOWN RESTAURANT. DAY. 142 Emily, Lisa and Abigail sit over their lunch. Abigail is drinking a white wine. ABIGAIL Now, Emily, where did you find this lawyer? EMILY He was recommended by a friend. ABIGAIL I'm asking because my husband knows a real good New York lawyer, and I'm not entirely comfortable with someone that no one has ever heard of -- EMILY My friend's heard of him. He says he's very good.. ABIGAIL I'm sure he does. But I have a responsibility in this situation, and I would feel a whole lot more comfortable with somebody who didn't just drop in out of the clear blue sky... 2nd Green Revised 11/20/05 - Page 128 142 CONTINUED: 142 EMILY He didn't drop in out of the clear blue sky. He was recommended by my friend. But even if we switched lawyers we'd still have to pay him. But it all comes out of the settlement, so it's really up to you. ABIGAIL No, if you all think he's good... EMILY I don't know whether he is or not. My friend thinks he is. ABIGAIL All right. Now Lisa, what is your involvement in all this? What's your angle? LISA I just wanted to...I was just there. 143 INT. EMILY'S DINING ROOM. DAY. 143 Emily comes into the dining room with a cup of coffee. Lisa is standing over the table looking at some of Monica's photos and belongings which are spread out all over the table. Emily starts putting the pictures away in their envelopes. LISA Oh my God, is that you? EMILY That's me. LISA And that's you and Monica obviously. Oh my God. Is that her daughter? EMILY Uh huh. LISA God... So how old was she when she died? EMILY Twelve. LISA God. I can't even imagine. EMILY Neither could we. Emily sits down and starts sorting through pictures to put them in the box. Lisa sits down too. 2nd Green Revised 11/20/05 - Page 128aA 143 CONTINUED: 143 LISA You know Monica asked about her when she was dying? 2nd Green Revised 11/20/05 - Page 128A-129 143 CONTINUED: (2) 143 Emily looks up. EMILY No. I didn't. LISA Yeah. I think she was confused... like, I think she thought I was her daughter for a minute. And then she was asking me to call her, like to tell her what happened: You know, like she didn't remember she was dead. EMILY What do you mean? What did she say? LISA She just asked if somebody could call her daughter. But then it got confusing because I said, "Sure, what's her name?" And she said her name was Lisa. And I said, "No, that's my name." Because it took me a minute -- I didn't realize we had the same name... Emily does not respond. LISA (CONT'D) But I couldn't tell if what I was saying was registering with her. Emily does not respond. LISA (CONT'D) But then when I found out her daughter was dead, ever since then I keep having this really strong feeling that some way, for those last five minutes I kind of was her daughter. You know? Like maybe that's the reason I was there: Like in some weird way, this obviously amazing woman got to see her daughter again for a few minutes, right before she died. EMILY (VERY DRY) I see. And is she still inhabiting your body? Or did she go right back to the spirit world after it was over? LISA I didn't mean she ws literally inhabiting my body. I don't believe in all that stuff at all. EMILY I don't give a fuck what you believe in. 2nd Green Revised 11/20/05 - Page 129aA 143 CONTINUED: ( 3) 143 LISA Oh my God! Why are you so mad at me!? EMILY Because this is not an opera! LISA (FLUSHING) What? You think I think this is an opera? 2nd Green Revised 11/20/05 - Page 129A-130 143 CONTINUED: ( 4) 143 EMILY Yes! LISA You think I'm making this into a dramatic situation because I think it's dramatic?!? EMILY I think you're very young. LISA What does that have to do with anything? If anything I think it means I care more than someone who's older! Because this kind of thing has never happened to me before! EMILY No, it means you care more easily! There's a big difference! Except that it's not you it's happening to! LISA Yes it is! I know I'm not the one who was run over -- EMILY That's right, you weren't. And you're not the one who died of leukemia, and you're not the one who just died in an earthquake in -- Algeria! But you will be. Do you understand me? You will be. And it's not an opera and it's not dramatic -- LISA I'm well aware of that! EMILY And this first-blush phony deepness of yours is worth nothing. LISA Oh wow. EMILY Do you understand? It's not worth anything, because it'll be troweled over in a month or two. And then when you get older, and you don't have a big reaction every time a d gets run over, then, then we'll find out what kind of a person you are! But this is nothing! I'm sorry, but I didn't start this conversation and I don't play these games. 2nd Green Revised 11/20/05 - Page 131 143 CONTINUED: ( 5) 143 LISA (drawing herself up) I am not -- EMILY And don't look so outraged! Because I'm not saying anything very outrageous! I'm telling you to knock it off! You have every right to falsify your own life, but you have no right to falsify anyone else's. It's what makes people into Nazis! And I'm sorry, but it's a little suspicious that you're making such a fuss about this when you didn't know her, and you're having troubles with your own mother -- LISA Oh my God! EMILY But this is nm life we're talking about, much more than it is yours! Because it's my real friend who got killed, who I'm never going to see again, really! Whom I have known since I was nineteen years old myself. OK? And I don't want that sucked into some kind of adolescent self- dramatization! LISA I'm not fucking dramatizing anything! EMILY (not having it) OK -- LISA I was there, and you weren't! And if I happen to express myself a little hyperbolically, Emily, that's just the way I talk! I can't help it if my mother is an actress! Why are you being so fucking strident? EMILY Strident? LISA Yeah. EMILY OK. Um, you should leave. LISA Why? Because I called you strident? 132 143 CONTINUED: ( 6) 143 EMILY Yeah: Strident? You should leave. Thanks. I don't wanna be called strident and you're deliberately misunderstanding me! LISA No I'm not! You're insulting me enough as it is: You don't have to call me stupid too! EMILY Well I can't stop you doing this so I think you had better go. LISA OK! I will. EMILY NOW! LISA OK! Let me get my purse! Lisa grabs her purse and coat. Emily half-walks, half-drives her toward the door. LISA (CONT'D) Does this mean we're dropping the whole inquiry? EMILY It means you're leaving. I don't know what else it means. LISA All I meant by saying you were strident was that you were being emphatic! I obviously misused the word! EMILY Look it up when you get home. LISA Jesus Christ. You're amazing. EMILY Yeah. Uh huh. I'm amazing. LISA (bursts into tears) Why are you doing this... .! EMILY Lisa, I'm not doing anything! I'm a human being! Monica was a human being! So was her daughter! And so is your mother! (MORE) 2nd Green Revised 11/20/05 - Page 133 143 CONTINUED: ( 7) 143 EMILY (CONT' D) We are not supporting characters in the fascinating story of your life! LISA I never said or thought you were...! And I really didn't mean to call you strident! I totally misused the word! I wasn't trying to insult you, Emily, I really wasn't! I feel so bad about what happened and I'm trying so hard to do something about it! And I don't understand why if I say something wrong you can't just give me a break! I didn't mean I thought her daughter took over my body. I'm not an idiot. It was just this feeling I had because she was holding onto my hand so hard before she died, and because we had the same first name! EMILY OK... LISA But I'm not trying to dramatize anything, Emily. I really know about that trend, and I really don't think I've been doing that. EMILY OK. I believe you. And look up "strident." LISA I will. They kiss and make up, but it's still a little ugly. 143A INT. COHEN LIVING ROOM. NIGHT 143A Lisa, Joan and Curtis are watching Joan being interviewed on TV. We don't see the screen. JOAN I've been in the theater my whole life and nothing like this has ever happened to me... INTERVIEWER ON TV(O.C.) Now, any talk of the play becoming a film? JOAN ON TV (O.C.) Oh, I'm sure. But I would never get cast in that. I'm not a movie star. INTERVIEWER ON TV (O.C.) But you're a theater star... JOAN ON TV (O.C.) I don't know about that either... 2nd Green Revised 11/20/05 - Page 133A 143A CONTINUED: 143A INTERVIEWER ON TV (O.C.) You are! JOAN ON TV (O . C . ) (CHARMINGLY) I guess...! JOAN Oh God. Joan buries her face in her hands. Lisa watches scowling. 134 143B INT. COHEN KITCHEN. NIGHT. 143B Joan is serving Lisa and Curtis dinner. JOAN Lisa? Do you think Emily would like to come see the play? I thought you could both come and them maybe we could go out afterwards. LISA All right. Let me ask her. JOAN Dig in everybody... They start eating. LISA I was thinking about spending next year with Dad. JOAN (SHOCKED) Oh? LISA Yeah. You're all worried about my grades. They have really good public schools in Santa Monica, and if Iofficially lived with him, you wouldn't have to worry about my scholarship. JOAN Have you talked to him about this? LISA We've had some general discussions. JOAN (TO CURTIS) Do you want to go too? CURTIS (SURPRISED) Me? JOAN Yeah. Do you want to move to LA too? CURTIS No. JOAN Well, just let me know if you do. 135 143B CONTINUED: 143B LISA Why are you being like this? JOAN Why am I being like what? LISA Why are you about to start crying? JOAN Because it's your intention to make me start crying! LISA No it's not -- - JOAN You want to move to LA. Move to LA. LISA But why can't this even be mentioned without you taking it personally? I'm just introducing a possibility! JOAN OH! Joan upsets everything on the table and starts to go. She comes back and upsets more things on the table. JOAN Here's a possibility that you can make your own fucking dinner! Here's a possibility LISA that you can do whatever you Jesus Christ! want to do, because I don't What is with you? even care anymore, you heartless little fuckin' bitch! LISA Fine! Keep it up! It really makes me want to stay here! JOAN You think you're so fucking perfect!? She breaks something else and walks out. LISA No. CURTIS Good one. LISA Shut up. Green Revised 10/7/05 - Page 136 144 OMIT 144 145 INT. HISTORY CLASS. DAY. 145 On the blackboard Klein finishes writing: SHOULD TEENAGERS RULE THE WORLD? YES OR NO? KLEIN OK. Go ahead: Kirsten. Lionel: Put your drum away. Lionel stops drumming on his desk with his fingers. KIRSTEN I think that teenagers should definitely rule the world, because teenagers aren't corrupted by adult life yet, and they're idealists and they care. And I know a lot of people feel that teenagers are really naive, which they are, many of them. But they still haven't had a chance to get burned out by the disappointments and the harsh realities of learning how to play the game. So yes, I would vote yes. KLEIN All right: Lisa? LISA I would tend to agree with all of that, except I do think that teenagers don't always necessarily think things through very carefully, and they don't have enough experience to know what the right thing to do is all the time. I also think they tend to adhere to ideologies really easily without having actually bothered to think them through for themselves.-- LEWIS Such as what? LISA Such as what? Such as, gee, I don't know: the Hitler Youth? KLEIN OK... Hitler Youth. LISA Or what about all these teenage suicide bombers? Not that I want to get into the whole Palestinian thing again, but assuming you don't think suicide bombing is a good thing, wouldn't you say that's an example of being idealistic without using your critical faculties? (MORE) Green Revised 10/7/05 - Page 137 145 CONTINUED: 145 LISA (CONT'D) And maybe running the risk of having your youthful enthusiasm be co-opted by adults for purposes of their own that you might not even ultimately agree with? Angie's hand shoots up. So do several others. LEWIS OK, Angie? ANGIE Yeah, I don't want to get into the whole Palestinian thing again either, because I realize I'm completely outnumbered -- ANTHONY Not unlike the Palestinians themselves. ANGIE That's not really funny, Anthony. ANGIE (to LISA) KLEIN -- and I'm not even going to Segal: Cut the comedy. comment on the fact that you just compared a 19-year-old ANTHONY Palestinian to a member of I thought it was funny... the Hitler Youth, which I personally find so offensive LISA I don't even know where to That's right! Because start -- Oh, it's not because they both like to kill they've been occupied and Jews. humiliated and bombed out of their homes for the last KLEIN fifty years? Hey! Hey! Lisa! Hey! LEWIS LISA Come on, guys... Yes! That's partly why they like it! There's ANGIE still a million Pale- If anyone's acting like stinians who don't blow Nazis it's the Israeli up children on busses government! because they're so "frustrated!" LEWIS OK, OK! Monica? MONICA Well, I don't know if this is good or bad, but speaking of ideology, it's interesting that the suicide bombers -- just for example -- care enough about what they believe in to sacrifice their lives for it. WHEREAS 2nd Blue Revised 10/28/05 - Page 138 145 CONTINUED: (2) 145 ANGIE Yes. Yes! LISA I think it's fine if you want to sacrifice your life for what you believe in. I actually think that's really noble. It's a little different when you're willing to sacrifice someone else's life, you know? I personally don't think that's such a big ideological achievement! ANGIE Um, even if there's no other way to get you out of my country? LEWIS LISA Raise your hands! They haven't tried any other ways! It's not ANGIE like killing civilians Yes they have! They're is their last resort! trying it right now! It's their first resort! Because it's easy and they like it! ANGIE (CONT'D) Oh they like it? They're just bad people and they like it? LISA Yes! There are bad people in the world! I think they liked blowing up the World Trade Center! They kill their own sisters when they get raped! It's called barbarism! MONICA LISA Who kills their own sisters? It's practically all people do is kill each other! LIONEL If they didn't like it they You guys are not the only wouldn't do it! Period! ones in this class! KLEIN & LEWIS Hey! Silence. LEWIS If you ladies can't make your points without yelling or interrupting each other or raising your hands, I'd say it was a pretty good argument for "No." LISA Why, adults don't yell and interrupt each

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116A 132A CONTINUED: 132A RAMON You don't think I should be? JOAN I just feel kind of ignorant about your whole world... RAMON You think it would be better if we knew about all the same things? JOAN Not really, not exclusively. It's just unusual. Don't you think it's unusual? 2nd Pink Revised 11/17/05 - Page 117 132A CONTINUED: (2) 132A RAMON Not for me. JOAN I guess you travel a lot. I've only been out of the country a few times in my whole life. RAMON You should travel more. JOAN I know. I've always wanted to. It's hard when you're in the theater... RAMON Still, you should try. It's a big world. You're an artist. You should see more of it. JOAN I know. You don't have to keep saying that. I've always wanted to travel. It's just a little difficult with two kids and no husband, but it's hard to make a lot of money in the theater. I was on a TV show a few years back and I socked away some money because of that, but my ex-husband -- RAMON Karl. JOAN Karl, yes, you remembered, very good. Karl's very generous with the kids when he can be, but he's struggling too: He's a director: he directs commercials, and now he's trying to produce them... Anyway, I'm not ignorant because I enjoy it. RAMON I don't say you're ignorant... Do you think Lisa will be interested in acting? JOAN I don't think so. I think's she's got a lot of contempt for it. Of course that may be the age. RAMON She would prefer the world with no plays? No films? JOAN Oh... Who knows. 2nd Pink Revised 11/17/05 - Page 117A 132A CONTINUED: (3) 132A RAMON Would you like to see a picture of my mother? JOAN Sure. RAMON These are all my aunts and uncles...See? Big family... JOAN Mmm. She looks at him as he turns the pages. 133 EXT. MIDTOWN OFFICE BUILDING. DAY. 133 Lisa and Emily meet in front of Dave's office building. 134 INT. DAVE'S LAW FIRM - STAIRCASE/OFFICE. DAY. 134 Dave walks Lisa and Emily into his office. DAVE So after I talked to you guys I called this P.I. I know and I asked him to -- Pink Revised 9/25/05 - Page 118 134 CONTINUED: 134 EMILY You called a what? A what? DAVE Private Investigator -- to see if he could find anything out about your bus driver -- LISA Really? DAVE EMILY Yeah: So he -- Dave! DAVE Wait, let me tell you what he said! So he called this guy he knows who used to be a cop for the MTA. Did you know the MTA have their own police? The MTA police? They have their own uniforms... EMILY Yeah? Yeah? Yeah? DAVE EMILY And -- Just a minutel Jesus Christ! What do we give a fuck about the MTA police and their uniforms?! DAVE -- so this guy got someone to let him sneak a look at your guy's file. And it turns out he's had two previous accidents -- less than two years apart -- one of them on the job, one in his own car -- EMILY What? DAVE -- where there was some allegation that he was drinking, which was dropped, but, that he's never been cited or disciplined, just moved around to different shifts -- EMILY Are you fucking kidding me? LISA Why does this not shock me? DAVE Because Surprise Surprise his brother-in- law is a very big muckety-muck in the Transit Workers Union -- Pink Revised 9/25/05 - Page 119 134 CONTINUED: (2) 134 EMILY (i.e., "I get it.") O-Kay...l DAVE And if you read the paper, you'll know they're going through a protracted labor dispute at the MTA right now, and according to my PI, the management doesn't want to aggravate the situation by firing this guy. Especially since the police have concluded he was not at fault. LISA This is making me sick. DAVE I know, but what it means, Lisa, is that we have a case. LISA We do? DAVE What it means, in fact, is that we have a very good case, because we can sue for what's called "Negligent Retention." Which means they should have known the guy was a bad risk and was irresponsible and they negligently retained him until he finally killed somebody. EMILY And you can prove that? DAVE Sure, because we can subpoena their Personnel records, which we already know contain damaging information, because my investigator got a look at them beforehand. Which you're not-supposed to do, but we did it anyway. LISA YOU'RE AWESOMEL EMILY And that means... DAVE That means we're in great shape and I think we should go in there and sue their fuckin' asses off. EMILY But you wouldn't be our lawyer, right? Pink Revised 9/25/05 - Page 120 134 CONTINUED: (3) 134 DAVE No no. Oh no. LISA Why not? DAVE EMILY I'm not a personal injury It's not his area. litigator. I don't know enough about it. I would lose. EMILY But you could recommend someone? DAVE Sure. I know a guy who's very good. His name is Russel Deutsch. He's not a sleazebag. Very experienced. Let me give you his number... EMILY Dave, thank you so much. LISA Really. My God. DAVE But you gotta get that crazy cousin on board because she's gonna be your beneficiary. EMILY She's not gonna want to come to New York, I can tell you that right now. DAVE If you win she gets anywhere from three to five hundred thousand dollars. She's gonna come to New York. 135 EXT. MIDTOWN -- 6TH AVENUE. DAY. 135 Lisa and Emily walk up the busy avenue. LISA What's with Monica and her cousin? EMILY Oh, Monica's father left some money to Abigail's kids and he made Monica the executor of the estate, because he didn't want Abigail and her idiot husband to get their hands on the money before the kids were grown up. (MORE) Green Revised 10/7/05 - Page 121 135 CONTINUED: 135 EMILY (CONT'D) For which Abigail rewarded her by badgering her about it on the phone for fifteen years: Always trying to borrow money against the estate, accusing her of making lousy investments with it, nasty phone calls, nasty letters, every month for fifteen years until Abigail's daughter turned twenty-one and got married. Then Monica goes to the wedding, in fucking Arizona, and Abigail literally won't speak to her. She's a dream. LISA So that's who we're getting the money for? EMILY It's not who we're getting it for, it's who we're getting it from. 136 INT. DEUTSCH'S OFFICE. DAY. 136 Emily and Lisa sit with RUSSEL DEUTSCH, 50s. His law office is slightly smaller and less nice than Dave's. DEUTSCH First thing we do is we file a summons and a complaint against the MTA. They get .twenty days to respond, and when they do we can make our Discovery requests: Accident reports, personnel records, et cetera. But you gotta realize it's gonna take some time. The law says you have to get a court date within a year. Usually it takes about six. Depending. LISA Six years! DEUTSCH Depending, yes. EMILY Now, I mentioned to Dave I have a friend who writes for the Metro section of the Times... DEUTSCH Yes: Now this, if it could really happen, this changes everything in our favor. If they think there's gonna be adverse publicity, especially in The New York Times, they're gonna want to settle right away, soon as possible, and as quietly as POSSIBLE -- EMILY So they'd.make it a condition that 122 136 CONTINUED: 136 DEUTSCH It's usually done, you get the money but you can't talk about it. Nobody knows the terms. LISA So what good does that do? DEUTSCH You get the money. (Pause) is that bad? (Pause) I thought that's what we're all here for. (Pause) This is how our society punishes people for doing bad things. LISA By getting money from their employers' insurance. companies? DEUTSCH Yes. It's called Punitive Damages. Pause. LISA Could we insist they fire the driver? As part of the settlement? DEUTSCH Yes, sure, why not? LISA But is that something people do? DEUTSCH Sure. It's one of your conditions. EMILY Great. LISA And you think we're gonna win? They're gonna settle? DEUTSCH Oh they're gonna settle. LISA This is -- Emily and Lisa take hands and squeeze. 137 INT. COHEN APARTMENT -- LIVING ROOM. LATER THAT DAY. 137 JOAN is reading LISA's C average REPORT CARD and an accompanying letter. Lisa comes in and stops short. 123 137 CONTINUED: 137 JOAN I want to talk to you. LISA What'd I do now? 138 INT. EMILY'S APARTMENT -- FRONT DOOR. DAY. 138 Emily opens the front door for Joan and Lisa. JOAN Hi. I'm Joan. It's nice to meet you. EMILY Nice to meet you too. Come on in. - LISA (SARDONICALLY) Hi Emily. 139 INT. EMILY'S APARTMENT -- LIVING ROOM. DAY. 139 Emily, Joan and Lisa settle on the sofa and chairs. JOAN .I had a friend who used to live on this block, at 262...? EMILY Oh...? JOAN Yeah, I don't know if you know her. Cheryl Rowan? She's a physiotherapist? EMILY No, I don't know her. LISA I think about a thousand people must... JOAN What? LISA Nothing... EMILY Lisa says you're in a play, Joan? JOAN Oh -- Yeah... LISA You should go see it, it's really good. 124 139 CONTINUED: 139 JOAN Well, the play is great, and it's a really nice cast..-. LISA She's just being modest. She's gonna win every award in New York. JOAN Oh -- all that stuff's a long way off. EMILY I don't go to the theater very much. JOAN Well, it's just nice, because you can work a long time in the theater and play really good parts without getting a lot of recognition. And even though you don't necessarily do it for that as your primary motive, it is very nice when people do notice something you've done. EMILY Uh huh... JOAN I was on a television show a few years ago, and I had been doing theater all my life, and suddenly all my relatives started calling me up to congratulate me because they thought I finally Made It. And it was really just this dumb show that paid the bills for a while... LISA That show was so stupid. JOAN It wasn't that bad...! Anyway: I realize this is horribly embarrassing for Lisa, but I really wanted to meet you, Emily, because you've frankly become such a big part of Lisa's life, and I don't want to be intrusive, but this whole court case seems to be suddenly dominating everything and I can't get Lisa to tell me anything about it LISA That's not true...! JOAN Well, I can't...! And I want you to know, Lisa, that I'm very, very proud of you for pursuing this the way you have. (MORE) 125 139 CONTINUED: (2) 139 JOAN (CONT'D) But I can't let you pursue it to the point where it's taking over your life or interfering with your school work. (To EMILY) It's really come down to a question of homework. Lisa is on a half-scholarship at her school. And I know she feels a real sense of responsibility about what happened LISA Yeah, I do. JOAN I know you do. I know you do. But you can't not do your homework, and you can't throw away your scholarship because of it. LISA I'm not. My grades slipped a little. They'll get better. Anyone can do their homework. You just sit down and do it. I've been distracted. I'll stop. JOAN All right -- LISA We didn't need to have a big conference about it. JOAN (EMBARRASSED) It's not a big conference, I just want to know what's going on. And I wanted to meet Emily... (to EMILY) I know it's a little awkward! EMILY Don't apologize. If Lisa hasn't been keeping you apprised of what's been going on, I think she should. You should. LISA There's nothing to keep her apprised of., We're just waiting for them to schedule the Discovery conference. JOAN Now what is that? LISA Mom? It really doesn't matter. 126 139 CONTINUED: (3) 139 EMILY A Discovery conference is a meeting with the court where they sign an order. authorizing our lawyer to begin getting the personnel records, interviewing witnesses, talking to Monica's cousin... JOAN OK, now where does she fit in? EMILY She gets the money. 140 EXT. MIDTOWN HOTEL. DAY. 140 ABIGAIL BERWITZ, 40s, gets out the taxi as the driver comes around with her matching luggage. 141 INT. DEUTSCH'S OFFICE. DAY. 141 Abigail sits with Deutsch. DEUTSCH How would you describe the relationship overall? Did you talk on the phone a lot? Were there a lot of visits -- ABIGAIL I would say we talked on the phone a couple of times a month at least. Sometimes more than that...I would call her, she would call me... DEUTSCH And what were the nature of these conversations? ABIGAIL. Oh, family stuff, mostly. Her family, my kids... DEUTSCH And she would advise you about your family? That kind of thing? ABIGAIL Oh, I would say so, yes. DEUTSCH Would you have any phone records? Or -- ABIGAIL I have all my phone bills, if that's what you mean. I didn't record the actual conversations... 127 141 CONTINUED: 141 DEUTSCH No no -- ABIGAIL (PRODUCES BILLS) You'll see we talked on the phone quite frequently. DEUTSCH OK, that's terrific. I see you came prepared...1 ABIGAIL Well, I wanted to bring everything. DEUTSCH Now when they take your deposition you're gonna say the same thing you just told me. Talk about the relationship... ABIGAIL Uh huh? DEUTSCH Kind of advice she used to give you... ABIGAIL OK...? 142 INT. MIDTOWN RESTAURANT. DAY. 142 Emily, Lisa and Abigail sit over their lunch. Abigail is drinking a white wine. ABIGAIL Now, Emily, where did you find this lawyer? EMILY He was recommended by a friend. ABIGAIL I'm asking because my husband knows a real good New York lawyer, and I'm not entirely comfortable with someone that no one has ever heard of -- EMILY My friend's heard of him. He says he's very good.. ABIGAIL I'm sure he does. But I have a responsibility in this situation, and I would feel a whole lot more comfortable with somebody who didn't just drop in out of the clear blue sky... 2nd Green Revised 11/20/05 - Page 128 142 CONTINUED: 142 EMILY He didn't drop in out of the clear blue sky. He was recommended by my friend. But even if we switched lawyers we'd still have to pay him. But it all comes out of the settlement, so it's really up to you. ABIGAIL No, if you all think he's good... EMILY I don't know whether he is or not. My friend thinks he is. ABIGAIL All right. Now Lisa, what is your involvement in all this? What's your angle? LISA I just wanted to...I was just there. 143 INT. EMILY'S DINING ROOM. DAY. 143 Emily comes into the dining room with a cup of coffee. Lisa is standing over the table looking at some of Monica's photos and belongings which are spread out all over the table. Emily starts putting the pictures away in their envelopes. LISA Oh my God, is that you? EMILY That's me. LISA And that's you and Monica obviously. Oh my God. Is that her daughter? EMILY Uh huh. LISA God... So how old was she when she died? EMILY Twelve. LISA God. I can't even imagine. EMILY Neither could we. Emily sits down and starts sorting through pictures to put them in the box. Lisa sits down too. 2nd Green Revised 11/20/05 - Page 128aA 143 CONTINUED: 143 LISA You know Monica asked about her when she was dying? 2nd Green Revised 11/20/05 - Page 128A-129 143 CONTINUED: (2) 143 Emily looks up. EMILY No. I didn't. LISA Yeah. I think she was confused... like, I think she thought I was her daughter for a minute. And then she was asking me to call her, like to tell her what happened: You know, like she didn't remember she was dead. EMILY What do you mean? What did she say? LISA She just asked if somebody could call her daughter. But then it got confusing because I said, "Sure, what's her name?" And she said her name was Lisa. And I said, "No, that's my name." Because it took me a minute -- I didn't realize we had the same name... Emily does not respond. LISA (CONT'D) But I couldn't tell if what I was saying was registering with her. Emily does not respond. LISA (CONT'D) But then when I found out her daughter was dead, ever since then I keep having this really strong feeling that some way, for those last five minutes I kind of was her daughter. You know? Like maybe that's the reason I was there: Like in some weird way, this obviously amazing woman got to see her daughter again for a few minutes, right before she died. EMILY (VERY DRY) I see. And is she still inhabiting your body? Or did she go right back to the spirit world after it was over? LISA I didn't mean she ws literally inhabiting my body. I don't believe in all that stuff at all. EMILY I don't give a fuck what you believe in. 2nd Green Revised 11/20/05 - Page 129aA 143 CONTINUED: ( 3) 143 LISA Oh my God! Why are you so mad at me!? EMILY Because this is not an opera! LISA (FLUSHING) What? You think I think this is an opera? 2nd Green Revised 11/20/05 - Page 129A-130 143 CONTINUED: ( 4) 143 EMILY Yes! LISA You think I'm making this into a dramatic situation because I think it's dramatic?!? EMILY I think you're very young. LISA What does that have to do with anything? If anything I think it means I care more than someone who's older! Because this kind of thing has never happened to me before! EMILY No, it means you care more easily! There's a big difference! Except that it's not you it's happening to! LISA Yes it is! I know I'm not the one who was run over -- EMILY That's right, you weren't. And you're not the one who died of leukemia, and you're not the one who just died in an earthquake in -- Algeria! But you will be. Do you understand me? You will be. And it's not an opera and it's not dramatic -- LISA I'm well aware of that! EMILY And this first-blush phony deepness of yours is worth nothing. LISA Oh wow. EMILY Do you understand? It's not worth anything, because it'll be troweled over in a month or two. And then when you get older, and you don't have a big reaction every time a d gets run over, then, then we'll find out what kind of a person you are! But this is nothing! I'm sorry, but I didn't start this conversation and I don't play these games. 2nd Green Revised 11/20/05 - Page 131 143 CONTINUED: ( 5) 143 LISA (drawing herself up) I am not -- EMILY And don't look so outraged! Because I'm not saying anything very outrageous! I'm telling you to knock it off! You have every right to falsify your own life, but you have no right to falsify anyone else's. It's what makes people into Nazis! And I'm sorry, but it's a little suspicious that you're making such a fuss about this when you didn't know her, and you're having troubles with your own mother -- LISA Oh my God! EMILY But this is nm life we're talking about, much more than it is yours! Because it's my real friend who got killed, who I'm never going to see again, really! Whom I have known since I was nineteen years old myself. OK? And I don't want that sucked into some kind of adolescent self- dramatization! LISA I'm not fucking dramatizing anything! EMILY (not having it) OK -- LISA I was there, and you weren't! And if I happen to express myself a little hyperbolically, Emily, that's just the way I talk! I can't help it if my mother is an actress! Why are you being so fucking strident? EMILY Strident? LISA Yeah. EMILY OK. Um, you should leave. LISA Why? Because I called you strident? 132 143 CONTINUED: ( 6) 143 EMILY Yeah: Strident? You should leave. Thanks. I don't wanna be called strident and you're deliberately misunderstanding me! LISA No I'm not! You're insulting me enough as it is: You don't have to call me stupid too! EMILY Well I can't stop you doing this so I think you had better go. LISA OK! I will. EMILY NOW! LISA OK! Let me get my purse! Lisa grabs her purse and coat. Emily half-walks, half-drives her toward the door. LISA (CONT'D) Does this mean we're dropping the whole inquiry? EMILY It means you're leaving. I don't know what else it means. LISA All I meant by saying you were strident was that you were being emphatic! I obviously misused the word! EMILY Look it up when you get home. LISA Jesus Christ. You're amazing. EMILY Yeah. Uh huh. I'm amazing. LISA (bursts into tears) Why are you doing this... .! EMILY Lisa, I'm not doing anything! I'm a human being! Monica was a human being! So was her daughter! And so is your mother! (MORE) 2nd Green Revised 11/20/05 - Page 133 143 CONTINUED: ( 7) 143 EMILY (CONT' D) We are not supporting characters in the fascinating story of your life! LISA I never said or thought you were...! And I really didn't mean to call you strident! I totally misused the word! I wasn't trying to insult you, Emily, I really wasn't! I feel so bad about what happened and I'm trying so hard to do something about it! And I don't understand why if I say something wrong you can't just give me a break! I didn't mean I thought her daughter took over my body. I'm not an idiot. It was just this feeling I had because she was holding onto my hand so hard before she died, and because we had the same first name! EMILY OK... LISA But I'm not trying to dramatize anything, Emily. I really know about that trend, and I really don't think I've been doing that. EMILY OK. I believe you. And look up "strident." LISA I will. They kiss and make up, but it's still a little ugly. 143A INT. COHEN LIVING ROOM. NIGHT 143A Lisa, Joan and Curtis are watching Joan being interviewed on TV. We don't see the screen. JOAN I've been in the theater my whole life and nothing like this has ever happened to me... INTERVIEWER ON TV(O.C.) Now, any talk of the play becoming a film? JOAN ON TV (O.C.) Oh, I'm sure. But I would never get cast in that. I'm not a movie star. INTERVIEWER ON TV (O.C.) But you're a theater star... JOAN ON TV (O.C.) I don't know about that either... 2nd Green Revised 11/20/05 - Page 133A 143A CONTINUED: 143A INTERVIEWER ON TV (O.C.) You are! JOAN ON TV (O . C . ) (CHARMINGLY) I guess...! JOAN Oh God. Joan buries her face in her hands. Lisa watches scowling. 134 143B INT. COHEN KITCHEN. NIGHT. 143B Joan is serving Lisa and Curtis dinner. JOAN Lisa? Do you think Emily would like to come see the play? I thought you could both come and them maybe we could go out afterwards. LISA All right. Let me ask her. JOAN Dig in everybody... They start eating. LISA I was thinking about spending next year with Dad. JOAN (SHOCKED) Oh? LISA Yeah. You're all worried about my grades. They have really good public schools in Santa Monica, and if Iofficially lived with him, you wouldn't have to worry about my scholarship. JOAN Have you talked to him about this? LISA We've had some general discussions. JOAN (TO CURTIS) Do you want to go too? CURTIS (SURPRISED) Me? JOAN Yeah. Do you want to move to LA too? CURTIS No. JOAN Well, just let me know if you do. 135 143B CONTINUED: 143B LISA Why are you being like this? JOAN Why am I being like what? LISA Why are you about to start crying? JOAN Because it's your intention to make me start crying! LISA No it's not -- - JOAN You want to move to LA. Move to LA. LISA But why can't this even be mentioned without you taking it personally? I'm just introducing a possibility! JOAN OH! Joan upsets everything on the table and starts to go. She comes back and upsets more things on the table. JOAN Here's a possibility that you can make your own fucking dinner! Here's a possibility LISA that you can do whatever you Jesus Christ! want to do, because I don't What is with you? even care anymore, you heartless little fuckin' bitch! LISA Fine! Keep it up! It really makes me want to stay here! JOAN You think you're so fucking perfect!? She breaks something else and walks out. LISA No. CURTIS Good one. LISA Shut up. Green Revised 10/7/05 - Page 136 144 OMIT 144 145 INT. HISTORY CLASS. DAY. 145 On the blackboard Klein finishes writing: SHOULD TEENAGERS RULE THE WORLD? YES OR NO? KLEIN OK. Go ahead: Kirsten. Lionel: Put your drum away. Lionel stops drumming on his desk with his fingers. KIRSTEN I think that teenagers should definitely rule the world, because teenagers aren't corrupted by adult life yet, and they're idealists and they care. And I know a lot of people feel that teenagers are really naive, which they are, many of them. But they still haven't had a chance to get burned out by the disappointments and the harsh realities of learning how to play the game. So yes, I would vote yes. KLEIN All right: Lisa? LISA I would tend to agree with all of that, except I do think that teenagers don't always necessarily think things through very carefully, and they don't have enough experience to know what the right thing to do is all the time. I also think they tend to adhere to ideologies really easily without having actually bothered to think them through for themselves.-- LEWIS Such as what? LISA Such as what? Such as, gee, I don't know: the Hitler Youth? KLEIN OK... Hitler Youth. LISA Or what about all these teenage suicide bombers? Not that I want to get into the whole Palestinian thing again, but assuming you don't think suicide bombing is a good thing, wouldn't you say that's an example of being idealistic without using your critical faculties? (MORE) Green Revised 10/7/05 - Page 137 145 CONTINUED: 145 LISA (CONT'D) And maybe running the risk of having your youthful enthusiasm be co-opted by adults for purposes of their own that you might not even ultimately agree with? Angie's hand shoots up. So do several others. LEWIS OK, Angie? ANGIE Yeah, I don't want to get into the whole Palestinian thing again either, because I realize I'm completely outnumbered -- ANTHONY Not unlike the Palestinians themselves. ANGIE That's not really funny, Anthony. ANGIE (to LISA) KLEIN -- and I'm not even going to Segal: Cut the comedy. comment on the fact that you just compared a 19-year-old ANTHONY Palestinian to a member of I thought it was funny... the Hitler Youth, which I personally find so offensive LISA I don't even know where to That's right! Because start -- Oh, it's not because they both like to kill they've been occupied and Jews. humiliated and bombed out of their homes for the last KLEIN fifty years? Hey! Hey! Lisa! Hey! LEWIS LISA Come on, guys... Yes! That's partly why they like it! There's ANGIE still a million Pale- If anyone's acting like stinians who don't blow Nazis it's the Israeli up children on busses government! because they're so "frustrated!" LEWIS OK, OK! Monica? MONICA Well, I don't know if this is good or bad, but speaking of ideology, it's interesting that the suicide bombers -- just for example -- care enough about what they believe in to sacrifice their lives for it. WHEREAS 2nd Blue Revised 10/28/05 - Page 138 145 CONTINUED: (2) 145 ANGIE Yes. Yes! LISA I think it's fine if you want to sacrifice your life for what you believe in. I actually think that's really noble. It's a little different when you're willing to sacrifice someone else's life, you know? I personally don't think that's such a big ideological achievement! ANGIE Um, even if there's no other way to get you out of my country? LEWIS LISA Raise your hands! They haven't tried any other ways! It's not ANGIE like killing civilians Yes they have! They're is their last resort! trying it right now! It's their first resort! Because it's easy and they like it! ANGIE (CONT'D) Oh they like it? They're just bad people and they like it? LISA Yes! There are bad people in the world! I think they liked blowing up the World Trade Center! They kill their own sisters when they get raped! It's called barbarism! MONICA LISA Who kills their own sisters? It's practically all people do is kill each other! LIONEL If they didn't like it they You guys are not the only wouldn't do it! Period! ones in this class! KLEIN & LEWIS Hey! Silence. LEWIS If you ladies can't make your points without yelling or interrupting each other or raising your hands, I'd say it was a pretty good argument for "No." LISA Why, adults don't yell and interrupt each

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116A 132A CONTINUED: 132A RAMON You don't think I should be? JOAN I just feel kind of ignorant about your whole world... RAMON You think it would be better if we knew about all the same things? JOAN Not really, not exclusively. It's just unusual. Don't you think it's unusual? 2nd Pink Revised 11/17/05 - Page 117 132A CONTINUED: (2) 132A RAMON Not for me. JOAN I guess you travel a lot. I've only been out of the country a few times in my whole life. RAMON You should travel more. JOAN I know. I've always wanted to. It's hard when you're in the theater... RAMON Still, you should try. It's a big world. You're an artist. You should see more of it. JOAN I know. You don't have to keep saying that. I've always wanted to travel. It's just a little difficult with two kids and no husband, but it's hard to make a lot of money in the theater. I was on a TV show a few years back and I socked away some money because of that, but my ex-husband -- RAMON Karl. JOAN Karl, yes, you remembered, very good. Karl's very generous with the kids when he can be, but he's struggling too: He's a director: he directs commercials, and now he's trying to produce them... Anyway, I'm not ignorant because I enjoy it. RAMON I don't say you're ignorant... Do you think Lisa will be interested in acting? JOAN I don't think so. I think's she's got a lot of contempt for it. Of course that may be the age. RAMON She would prefer the world with no plays? No films? JOAN Oh... Who knows. 2nd Pink Revised 11/17/05 - Page 117A 132A CONTINUED: (3) 132A RAMON Would you like to see a picture of my mother? JOAN Sure. RAMON These are all my aunts and uncles...See? Big family... JOAN Mmm. She looks at him as he turns the pages. 133 EXT. MIDTOWN OFFICE BUILDING. DAY. 133 Lisa and Emily meet in front of Dave's office building. 134 INT. DAVE'S LAW FIRM - STAIRCASE/OFFICE. DAY. 134 Dave walks Lisa and Emily into his office. DAVE So after I talked to you guys I called this P.I. I know and I asked him to -- Pink Revised 9/25/05 - Page 118 134 CONTINUED: 134 EMILY You called a what? A what? DAVE Private Investigator -- to see if he could find anything out about your bus driver -- LISA Really? DAVE EMILY Yeah: So he -- Dave! DAVE Wait, let me tell you what he said! So he called this guy he knows who used to be a cop for the MTA. Did you know the MTA have their own police? The MTA police? They have their own uniforms... EMILY Yeah? Yeah? Yeah? DAVE EMILY And -- Just a minutel Jesus Christ! What do we give a fuck about the MTA police and their uniforms?! DAVE -- so this guy got someone to let him sneak a look at your guy's file. And it turns out he's had two previous accidents -- less than two years apart -- one of them on the job, one in his own car -- EMILY What? DAVE -- where there was some allegation that he was drinking, which was dropped, but, that he's never been cited or disciplined, just moved around to different shifts -- EMILY Are you fucking kidding me? LISA Why does this not shock me? DAVE Because Surprise Surprise his brother-in- law is a very big muckety-muck in the Transit Workers Union -- Pink Revised 9/25/05 - Page 119 134 CONTINUED: (2) 134 EMILY (i.e., "I get it.") O-Kay...l DAVE And if you read the paper, you'll know they're going through a protracted labor dispute at the MTA right now, and according to my PI, the management doesn't want to aggravate the situation by firing this guy. Especially since the police have concluded he was not at fault. LISA This is making me sick. DAVE I know, but what it means, Lisa, is that we have a case. LISA We do? DAVE What it means, in fact, is that we have a very good case, because we can sue for what's called "Negligent Retention." Which means they should have known the guy was a bad risk and was irresponsible and they negligently retained him until he finally killed somebody. EMILY And you can prove that? DAVE Sure, because we can subpoena their Personnel records, which we already know contain damaging information, because my investigator got a look at them beforehand. Which you're not-supposed to do, but we did it anyway. LISA YOU'RE AWESOMEL EMILY And that means... DAVE That means we're in great shape and I think we should go in there and sue their fuckin' asses off. EMILY But you wouldn't be our lawyer, right? Pink Revised 9/25/05 - Page 120 134 CONTINUED: (3) 134 DAVE No no. Oh no. LISA Why not? DAVE EMILY I'm not a personal injury It's not his area. litigator. I don't know enough about it. I would lose. EMILY But you could recommend someone? DAVE Sure. I know a guy who's very good. His name is Russel Deutsch. He's not a sleazebag. Very experienced. Let me give you his number... EMILY Dave, thank you so much. LISA Really. My God. DAVE But you gotta get that crazy cousin on board because she's gonna be your beneficiary. EMILY She's not gonna want to come to New York, I can tell you that right now. DAVE If you win she gets anywhere from three to five hundred thousand dollars. She's gonna come to New York. 135 EXT. MIDTOWN -- 6TH AVENUE. DAY. 135 Lisa and Emily walk up the busy avenue. LISA What's with Monica and her cousin? EMILY Oh, Monica's father left some money to Abigail's kids and he made Monica the executor of the estate, because he didn't want Abigail and her idiot husband to get their hands on the money before the kids were grown up. (MORE) Green Revised 10/7/05 - Page 121 135 CONTINUED: 135 EMILY (CONT'D) For which Abigail rewarded her by badgering her about it on the phone for fifteen years: Always trying to borrow money against the estate, accusing her of making lousy investments with it, nasty phone calls, nasty letters, every month for fifteen years until Abigail's daughter turned twenty-one and got married. Then Monica goes to the wedding, in fucking Arizona, and Abigail literally won't speak to her. She's a dream. LISA So that's who we're getting the money for? EMILY It's not who we're getting it for, it's who we're getting it from. 136 INT. DEUTSCH'S OFFICE. DAY. 136 Emily and Lisa sit with RUSSEL DEUTSCH, 50s. His law office is slightly smaller and less nice than Dave's. DEUTSCH First thing we do is we file a summons and a complaint against the MTA. They get .twenty days to respond, and when they do we can make our Discovery requests: Accident reports, personnel records, et cetera. But you gotta realize it's gonna take some time. The law says you have to get a court date within a year. Usually it takes about six. Depending. LISA Six years! DEUTSCH Depending, yes. EMILY Now, I mentioned to Dave I have a friend who writes for the Metro section of the Times... DEUTSCH Yes: Now this, if it could really happen, this changes everything in our favor. If they think there's gonna be adverse publicity, especially in The New York Times, they're gonna want to settle right away, soon as possible, and as quietly as POSSIBLE -- EMILY So they'd.make it a condition that 122 136 CONTINUED: 136 DEUTSCH It's usually done, you get the money but you can't talk about it. Nobody knows the terms. LISA So what good does that do? DEUTSCH You get the money. (Pause) is that bad? (Pause) I thought that's what we're all here for. (Pause) This is how our society punishes people for doing bad things. LISA By getting money from their employers' insurance. companies? DEUTSCH Yes. It's called Punitive Damages. Pause. LISA Could we insist they fire the driver? As part of the settlement? DEUTSCH Yes, sure, why not? LISA But is that something people do? DEUTSCH Sure. It's one of your conditions. EMILY Great. LISA And you think we're gonna win? They're gonna settle? DEUTSCH Oh they're gonna settle. LISA This is -- Emily and Lisa take hands and squeeze. 137 INT. COHEN APARTMENT -- LIVING ROOM. LATER THAT DAY. 137 JOAN is reading LISA's C average REPORT CARD and an accompanying letter. Lisa comes in and stops short. 123 137 CONTINUED: 137 JOAN I want to talk to you. LISA What'd I do now? 138 INT. EMILY'S APARTMENT -- FRONT DOOR. DAY. 138 Emily opens the front door for Joan and Lisa. JOAN Hi. I'm Joan. It's nice to meet you. EMILY Nice to meet you too. Come on in. - LISA (SARDONICALLY) Hi Emily. 139 INT. EMILY'S APARTMENT -- LIVING ROOM. DAY. 139 Emily, Joan and Lisa settle on the sofa and chairs. JOAN .I had a friend who used to live on this block, at 262...? EMILY Oh...? JOAN Yeah, I don't know if you know her. Cheryl Rowan? She's a physiotherapist? EMILY No, I don't know her. LISA I think about a thousand people must... JOAN What? LISA Nothing... EMILY Lisa says you're in a play, Joan? JOAN Oh -- Yeah... LISA You should go see it, it's really good. 124 139 CONTINUED: 139 JOAN Well, the play is great, and it's a really nice cast..-. LISA She's just being modest. She's gonna win every award in New York. JOAN Oh -- all that stuff's a long way off. EMILY I don't go to the theater very much. JOAN Well, it's just nice, because you can work a long time in the theater and play really good parts without getting a lot of recognition. And even though you don't necessarily do it for that as your primary motive, it is very nice when people do notice something you've done. EMILY Uh huh... JOAN I was on a television show a few years ago, and I had been doing theater all my life, and suddenly all my relatives started calling me up to congratulate me because they thought I finally Made It. And it was really just this dumb show that paid the bills for a while... LISA That show was so stupid. JOAN It wasn't that bad...! Anyway: I realize this is horribly embarrassing for Lisa, but I really wanted to meet you, Emily, because you've frankly become such a big part of Lisa's life, and I don't want to be intrusive, but this whole court case seems to be suddenly dominating everything and I can't get Lisa to tell me anything about it LISA That's not true...! JOAN Well, I can't...! And I want you to know, Lisa, that I'm very, very proud of you for pursuing this the way you have. (MORE) 125 139 CONTINUED: (2) 139 JOAN (CONT'D) But I can't let you pursue it to the point where it's taking over your life or interfering with your school work. (To EMILY) It's really come down to a question of homework. Lisa is on a half-scholarship at her school. And I know she feels a real sense of responsibility about what happened LISA Yeah, I do. JOAN I know you do. I know you do. But you can't not do your homework, and you can't throw away your scholarship because of it. LISA I'm not. My grades slipped a little. They'll get better. Anyone can do their homework. You just sit down and do it. I've been distracted. I'll stop. JOAN All right -- LISA We didn't need to have a big conference about it. JOAN (EMBARRASSED) It's not a big conference, I just want to know what's going on. And I wanted to meet Emily... (to EMILY) I know it's a little awkward! EMILY Don't apologize. If Lisa hasn't been keeping you apprised of what's been going on, I think she should. You should. LISA There's nothing to keep her apprised of., We're just waiting for them to schedule the Discovery conference. JOAN Now what is that? LISA Mom? It really doesn't matter. 126 139 CONTINUED: (3) 139 EMILY A Discovery conference is a meeting with the court where they sign an order. authorizing our lawyer to begin getting the personnel records, interviewing witnesses, talking to Monica's cousin... JOAN OK, now where does she fit in? EMILY She gets the money. 140 EXT. MIDTOWN HOTEL. DAY. 140 ABIGAIL BERWITZ, 40s, gets out the taxi as the driver comes around with her matching luggage. 141 INT. DEUTSCH'S OFFICE. DAY. 141 Abigail sits with Deutsch. DEUTSCH How would you describe the relationship overall? Did you talk on the phone a lot? Were there a lot of visits -- ABIGAIL I would say we talked on the phone a couple of times a month at least. Sometimes more than that...I would call her, she would call me... DEUTSCH And what were the nature of these conversations? ABIGAIL. Oh, family stuff, mostly. Her family, my kids... DEUTSCH And she would advise you about your family? That kind of thing? ABIGAIL Oh, I would say so, yes. DEUTSCH Would you have any phone records? Or -- ABIGAIL I have all my phone bills, if that's what you mean. I didn't record the actual conversations... 127 141 CONTINUED: 141 DEUTSCH No no -- ABIGAIL (PRODUCES BILLS) You'll see we talked on the phone quite frequently. DEUTSCH OK, that's terrific. I see you came prepared...1 ABIGAIL Well, I wanted to bring everything. DEUTSCH Now when they take your deposition you're gonna say the same thing you just told me. Talk about the relationship... ABIGAIL Uh huh? DEUTSCH Kind of advice she used to give you... ABIGAIL OK...? 142 INT. MIDTOWN RESTAURANT. DAY. 142 Emily, Lisa and Abigail sit over their lunch. Abigail is drinking a white wine. ABIGAIL Now, Emily, where did you find this lawyer? EMILY He was recommended by a friend. ABIGAIL I'm asking because my husband knows a real good New York lawyer, and I'm not entirely comfortable with someone that no one has ever heard of -- EMILY My friend's heard of him. He says he's very good.. ABIGAIL I'm sure he does. But I have a responsibility in this situation, and I would feel a whole lot more comfortable with somebody who didn't just drop in out of the clear blue sky... 2nd Green Revised 11/20/05 - Page 128 142 CONTINUED: 142 EMILY He didn't drop in out of the clear blue sky. He was recommended by my friend. But even if we switched lawyers we'd still have to pay him. But it all comes out of the settlement, so it's really up to you. ABIGAIL No, if you all think he's good... EMILY I don't know whether he is or not. My friend thinks he is. ABIGAIL All right. Now Lisa, what is your involvement in all this? What's your angle? LISA I just wanted to...I was just there. 143 INT. EMILY'S DINING ROOM. DAY. 143 Emily comes into the dining room with a cup of coffee. Lisa is standing over the table looking at some of Monica's photos and belongings which are spread out all over the table. Emily starts putting the pictures away in their envelopes. LISA Oh my God, is that you? EMILY That's me. LISA And that's you and Monica obviously. Oh my God. Is that her daughter? EMILY Uh huh. LISA God... So how old was she when she died? EMILY Twelve. LISA God. I can't even imagine. EMILY Neither could we. Emily sits down and starts sorting through pictures to put them in the box. Lisa sits down too. 2nd Green Revised 11/20/05 - Page 128aA 143 CONTINUED: 143 LISA You know Monica asked about her when she was dying? 2nd Green Revised 11/20/05 - Page 128A-129 143 CONTINUED: (2) 143 Emily looks up. EMILY No. I didn't. LISA Yeah. I think she was confused... like, I think she thought I was her daughter for a minute. And then she was asking me to call her, like to tell her what happened: You know, like she didn't remember she was dead. EMILY What do you mean? What did she say? LISA She just asked if somebody could call her daughter. But then it got confusing because I said, "Sure, what's her name?" And she said her name was Lisa. And I said, "No, that's my name." Because it took me a minute -- I didn't realize we had the same name... Emily does not respond. LISA (CONT'D) But I couldn't tell if what I was saying was registering with her. Emily does not respond. LISA (CONT'D) But then when I found out her daughter was dead, ever since then I keep having this really strong feeling that some way, for those last five minutes I kind of was her daughter. You know? Like maybe that's the reason I was there: Like in some weird way, this obviously amazing woman got to see her daughter again for a few minutes, right before she died. EMILY (VERY DRY) I see. And is she still inhabiting your body? Or did she go right back to the spirit world after it was over? LISA I didn't mean she ws literally inhabiting my body. I don't believe in all that stuff at all. EMILY I don't give a fuck what you believe in. 2nd Green Revised 11/20/05 - Page 129aA 143 CONTINUED: ( 3) 143 LISA Oh my God! Why are you so mad at me!? EMILY Because this is not an opera! LISA (FLUSHING) What? You think I think this is an opera? 2nd Green Revised 11/20/05 - Page 129A-130 143 CONTINUED: ( 4) 143 EMILY Yes! LISA You think I'm making this into a dramatic situation because I think it's dramatic?!? EMILY I think you're very young. LISA What does that have to do with anything? If anything I think it means I care more than someone who's older! Because this kind of thing has never happened to me before! EMILY No, it means you care more easily! There's a big difference! Except that it's not you it's happening to! LISA Yes it is! I know I'm not the one who was run over -- EMILY That's right, you weren't. And you're not the one who died of leukemia, and you're not the one who just died in an earthquake in -- Algeria! But you will be. Do you understand me? You will be. And it's not an opera and it's not dramatic -- LISA I'm well aware of that! EMILY And this first-blush phony deepness of yours is worth nothing. LISA Oh wow. EMILY Do you understand? It's not worth anything, because it'll be troweled over in a month or two. And then when you get older, and you don't have a big reaction every time a d gets run over, then, then we'll find out what kind of a person you are! But this is nothing! I'm sorry, but I didn't start this conversation and I don't play these games. 2nd Green Revised 11/20/05 - Page 131 143 CONTINUED: ( 5) 143 LISA (drawing herself up) I am not -- EMILY And don't look so outraged! Because I'm not saying anything very outrageous! I'm telling you to knock it off! You have every right to falsify your own life, but you have no right to falsify anyone else's. It's what makes people into Nazis! And I'm sorry, but it's a little suspicious that you're making such a fuss about this when you didn't know her, and you're having troubles with your own mother -- LISA Oh my God! EMILY But this is nm life we're talking about, much more than it is yours! Because it's my real friend who got killed, who I'm never going to see again, really! Whom I have known since I was nineteen years old myself. OK? And I don't want that sucked into some kind of adolescent self- dramatization! LISA I'm not fucking dramatizing anything! EMILY (not having it) OK -- LISA I was there, and you weren't! And if I happen to express myself a little hyperbolically, Emily, that's just the way I talk! I can't help it if my mother is an actress! Why are you being so fucking strident? EMILY Strident? LISA Yeah. EMILY OK. Um, you should leave. LISA Why? Because I called you strident? 132 143 CONTINUED: ( 6) 143 EMILY Yeah: Strident? You should leave. Thanks. I don't wanna be called strident and you're deliberately misunderstanding me! LISA No I'm not! You're insulting me enough as it is: You don't have to call me stupid too! EMILY Well I can't stop you doing this so I think you had better go. LISA OK! I will. EMILY NOW! LISA OK! Let me get my purse! Lisa grabs her purse and coat. Emily half-walks, half-drives her toward the door. LISA (CONT'D) Does this mean we're dropping the whole inquiry? EMILY It means you're leaving. I don't know what else it means. LISA All I meant by saying you were strident was that you were being emphatic! I obviously misused the word! EMILY Look it up when you get home. LISA Jesus Christ. You're amazing. EMILY Yeah. Uh huh. I'm amazing. LISA (bursts into tears) Why are you doing this... .! EMILY Lisa, I'm not doing anything! I'm a human being! Monica was a human being! So was her daughter! And so is your mother! (MORE) 2nd Green Revised 11/20/05 - Page 133 143 CONTINUED: ( 7) 143 EMILY (CONT' D) We are not supporting characters in the fascinating story of your life! LISA I never said or thought you were...! And I really didn't mean to call you strident! I totally misused the word! I wasn't trying to insult you, Emily, I really wasn't! I feel so bad about what happened and I'm trying so hard to do something about it! And I don't understand why if I say something wrong you can't just give me a break! I didn't mean I thought her daughter took over my body. I'm not an idiot. It was just this feeling I had because she was holding onto my hand so hard before she died, and because we had the same first name! EMILY OK... LISA But I'm not trying to dramatize anything, Emily. I really know about that trend, and I really don't think I've been doing that. EMILY OK. I believe you. And look up "strident." LISA I will. They kiss and make up, but it's still a little ugly. 143A INT. COHEN LIVING ROOM. NIGHT 143A Lisa, Joan and Curtis are watching Joan being interviewed on TV. We don't see the screen. JOAN I've been in the theater my whole life and nothing like this has ever happened to me... INTERVIEWER ON TV(O.C.) Now, any talk of the play becoming a film? JOAN ON TV (O.C.) Oh, I'm sure. But I would never get cast in that. I'm not a movie star. INTERVIEWER ON TV (O.C.) But you're a theater star... JOAN ON TV (O.C.) I don't know about that either... 2nd Green Revised 11/20/05 - Page 133A 143A CONTINUED: 143A INTERVIEWER ON TV (O.C.) You are! JOAN ON TV (O . C . ) (CHARMINGLY) I guess...! JOAN Oh God. Joan buries her face in her hands. Lisa watches scowling. 134 143B INT. COHEN KITCHEN. NIGHT. 143B Joan is serving Lisa and Curtis dinner. JOAN Lisa? Do you think Emily would like to come see the play? I thought you could both come and them maybe we could go out afterwards. LISA All right. Let me ask her. JOAN Dig in everybody... They start eating. LISA I was thinking about spending next year with Dad. JOAN (SHOCKED) Oh? LISA Yeah. You're all worried about my grades. They have really good public schools in Santa Monica, and if Iofficially lived with him, you wouldn't have to worry about my scholarship. JOAN Have you talked to him about this? LISA We've had some general discussions. JOAN (TO CURTIS) Do you want to go too? CURTIS (SURPRISED) Me? JOAN Yeah. Do you want to move to LA too? CURTIS No. JOAN Well, just let me know if you do. 135 143B CONTINUED: 143B LISA Why are you being like this? JOAN Why am I being like what? LISA Why are you about to start crying? JOAN Because it's your intention to make me start crying! LISA No it's not -- - JOAN You want to move to LA. Move to LA. LISA But why can't this even be mentioned without you taking it personally? I'm just introducing a possibility! JOAN OH! Joan upsets everything on the table and starts to go. She comes back and upsets more things on the table. JOAN Here's a possibility that you can make your own fucking dinner! Here's a possibility LISA that you can do whatever you Jesus Christ! want to do, because I don't What is with you? even care anymore, you heartless little fuckin' bitch! LISA Fine! Keep it up! It really makes me want to stay here! JOAN You think you're so fucking perfect!? She breaks something else and walks out. LISA No. CURTIS Good one. LISA Shut up. Green Revised 10/7/05 - Page 136 144 OMIT 144 145 INT. HISTORY CLASS. DAY. 145 On the blackboard Klein finishes writing: SHOULD TEENAGERS RULE THE WORLD? YES OR NO? KLEIN OK. Go ahead: Kirsten. Lionel: Put your drum away. Lionel stops drumming on his desk with his fingers. KIRSTEN I think that teenagers should definitely rule the world, because teenagers aren't corrupted by adult life yet, and they're idealists and they care. And I know a lot of people feel that teenagers are really naive, which they are, many of them. But they still haven't had a chance to get burned out by the disappointments and the harsh realities of learning how to play the game. So yes, I would vote yes. KLEIN All right: Lisa? LISA I would tend to agree with all of that, except I do think that teenagers don't always necessarily think things through very carefully, and they don't have enough experience to know what the right thing to do is all the time. I also think they tend to adhere to ideologies really easily without having actually bothered to think them through for themselves.-- LEWIS Such as what? LISA Such as what? Such as, gee, I don't know: the Hitler Youth? KLEIN OK... Hitler Youth. LISA Or what about all these teenage suicide bombers? Not that I want to get into the whole Palestinian thing again, but assuming you don't think suicide bombing is a good thing, wouldn't you say that's an example of being idealistic without using your critical faculties? (MORE) Green Revised 10/7/05 - Page 137 145 CONTINUED: 145 LISA (CONT'D) And maybe running the risk of having your youthful enthusiasm be co-opted by adults for purposes of their own that you might not even ultimately agree with? Angie's hand shoots up. So do several others. LEWIS OK, Angie? ANGIE Yeah, I don't want to get into the whole Palestinian thing again either, because I realize I'm completely outnumbered -- ANTHONY Not unlike the Palestinians themselves. ANGIE That's not really funny, Anthony. ANGIE (to LISA) KLEIN -- and I'm not even going to Segal: Cut the comedy. comment on the fact that you just compared a 19-year-old ANTHONY Palestinian to a member of I thought it was funny... the Hitler Youth, which I personally find so offensive LISA I don't even know where to That's right! Because start -- Oh, it's not because they both like to kill they've been occupied and Jews. humiliated and bombed out of their homes for the last KLEIN fifty years? Hey! Hey! Lisa! Hey! LEWIS LISA Come on, guys... Yes! That's partly why they like it! There's ANGIE still a million Pale- If anyone's acting like stinians who don't blow Nazis it's the Israeli up children on busses government! because they're so "frustrated!" LEWIS OK, OK! Monica? MONICA Well, I don't know if this is good or bad, but speaking of ideology, it's interesting that the suicide bombers -- just for example -- care enough about what they believe in to sacrifice their lives for it. WHEREAS 2nd Blue Revised 10/28/05 - Page 138 145 CONTINUED: (2) 145 ANGIE Yes. Yes! LISA I think it's fine if you want to sacrifice your life for what you believe in. I actually think that's really noble. It's a little different when you're willing to sacrifice someone else's life, you know? I personally don't think that's such a big ideological achievement! ANGIE Um, even if there's no other way to get you out of my country? LEWIS LISA Raise your hands! They haven't tried any other ways! It's not ANGIE like killing civilians Yes they have! They're is their last resort! trying it right now! It's their first resort! Because it's easy and they like it! ANGIE (CONT'D) Oh they like it? They're just bad people and they like it? LISA Yes! There are bad people in the world! I think they liked blowing up the World Trade Center! They kill their own sisters when they get raped! It's called barbarism! MONICA LISA Who kills their own sisters? It's practically all people do is kill each other! LIONEL If they didn't like it they You guys are not the only wouldn't do it! Period! ones in this class! KLEIN & LEWIS Hey! Silence. LEWIS If you ladies can't make your points without yelling or interrupting each other or raising your hands, I'd say it was a pretty good argument for "No." LISA Why, adults don't yell and interrupt each

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116A 132A CONTINUED: 132A RAMON You don't think I should be? JOAN I just feel kind of ignorant about your whole world... RAMON You think it would be better if we knew about all the same things? JOAN Not really, not exclusively. It's just unusual. Don't you think it's unusual? 2nd Pink Revised 11/17/05 - Page 117 132A CONTINUED: (2) 132A RAMON Not for me. JOAN I guess you travel a lot. I've only been out of the country a few times in my whole life. RAMON You should travel more. JOAN I know. I've always wanted to. It's hard when you're in the theater... RAMON Still, you should try. It's a big world. You're an artist. You should see more of it. JOAN I know. You don't have to keep saying that. I've always wanted to travel. It's just a little difficult with two kids and no husband, but it's hard to make a lot of money in the theater. I was on a TV show a few years back and I socked away some money because of that, but my ex-husband -- RAMON Karl. JOAN Karl, yes, you remembered, very good. Karl's very generous with the kids when he can be, but he's struggling too: He's a director: he directs commercials, and now he's trying to produce them... Anyway, I'm not ignorant because I enjoy it. RAMON I don't say you're ignorant... Do you think Lisa will be interested in acting? JOAN I don't think so. I think's she's got a lot of contempt for it. Of course that may be the age. RAMON She would prefer the world with no plays? No films? JOAN Oh... Who knows. 2nd Pink Revised 11/17/05 - Page 117A 132A CONTINUED: (3) 132A RAMON Would you like to see a picture of my mother? JOAN Sure. RAMON These are all my aunts and uncles...See? Big family... JOAN Mmm. She looks at him as he turns the pages. 133 EXT. MIDTOWN OFFICE BUILDING. DAY. 133 Lisa and Emily meet in front of Dave's office building. 134 INT. DAVE'S LAW FIRM - STAIRCASE/OFFICE. DAY. 134 Dave walks Lisa and Emily into his office. DAVE So after I talked to you guys I called this P.I. I know and I asked him to -- Pink Revised 9/25/05 - Page 118 134 CONTINUED: 134 EMILY You called a what? A what? DAVE Private Investigator -- to see if he could find anything out about your bus driver -- LISA Really? DAVE EMILY Yeah: So he -- Dave! DAVE Wait, let me tell you what he said! So he called this guy he knows who used to be a cop for the MTA. Did you know the MTA have their own police? The MTA police? They have their own uniforms... EMILY Yeah? Yeah? Yeah? DAVE EMILY And -- Just a minutel Jesus Christ! What do we give a fuck about the MTA police and their uniforms?! DAVE -- so this guy got someone to let him sneak a look at your guy's file. And it turns out he's had two previous accidents -- less than two years apart -- one of them on the job, one in his own car -- EMILY What? DAVE -- where there was some allegation that he was drinking, which was dropped, but, that he's never been cited or disciplined, just moved around to different shifts -- EMILY Are you fucking kidding me? LISA Why does this not shock me? DAVE Because Surprise Surprise his brother-in- law is a very big muckety-muck in the Transit Workers Union -- Pink Revised 9/25/05 - Page 119 134 CONTINUED: (2) 134 EMILY (i.e., "I get it.") O-Kay...l DAVE And if you read the paper, you'll know they're going through a protracted labor dispute at the MTA right now, and according to my PI, the management doesn't want to aggravate the situation by firing this guy. Especially since the police have concluded he was not at fault. LISA This is making me sick. DAVE I know, but what it means, Lisa, is that we have a case. LISA We do? DAVE What it means, in fact, is that we have a very good case, because we can sue for what's called "Negligent Retention." Which means they should have known the guy was a bad risk and was irresponsible and they negligently retained him until he finally killed somebody. EMILY And you can prove that? DAVE Sure, because we can subpoena their Personnel records, which we already know contain damaging information, because my investigator got a look at them beforehand. Which you're not-supposed to do, but we did it anyway. LISA YOU'RE AWESOMEL EMILY And that means... DAVE That means we're in great shape and I think we should go in there and sue their fuckin' asses off. EMILY But you wouldn't be our lawyer, right? Pink Revised 9/25/05 - Page 120 134 CONTINUED: (3) 134 DAVE No no. Oh no. LISA Why not? DAVE EMILY I'm not a personal injury It's not his area. litigator. I don't know enough about it. I would lose. EMILY But you could recommend someone? DAVE Sure. I know a guy who's very good. His name is Russel Deutsch. He's not a sleazebag. Very experienced. Let me give you his number... EMILY Dave, thank you so much. LISA Really. My God. DAVE But you gotta get that crazy cousin on board because she's gonna be your beneficiary. EMILY She's not gonna want to come to New York, I can tell you that right now. DAVE If you win she gets anywhere from three to five hundred thousand dollars. She's gonna come to New York. 135 EXT. MIDTOWN -- 6TH AVENUE. DAY. 135 Lisa and Emily walk up the busy avenue. LISA What's with Monica and her cousin? EMILY Oh, Monica's father left some money to Abigail's kids and he made Monica the executor of the estate, because he didn't want Abigail and her idiot husband to get their hands on the money before the kids were grown up. (MORE) Green Revised 10/7/05 - Page 121 135 CONTINUED: 135 EMILY (CONT'D) For which Abigail rewarded her by badgering her about it on the phone for fifteen years: Always trying to borrow money against the estate, accusing her of making lousy investments with it, nasty phone calls, nasty letters, every month for fifteen years until Abigail's daughter turned twenty-one and got married. Then Monica goes to the wedding, in fucking Arizona, and Abigail literally won't speak to her. She's a dream. LISA So that's who we're getting the money for? EMILY It's not who we're getting it for, it's who we're getting it from. 136 INT. DEUTSCH'S OFFICE. DAY. 136 Emily and Lisa sit with RUSSEL DEUTSCH, 50s. His law office is slightly smaller and less nice than Dave's. DEUTSCH First thing we do is we file a summons and a complaint against the MTA. They get .twenty days to respond, and when they do we can make our Discovery requests: Accident reports, personnel records, et cetera. But you gotta realize it's gonna take some time. The law says you have to get a court date within a year. Usually it takes about six. Depending. LISA Six years! DEUTSCH Depending, yes. EMILY Now, I mentioned to Dave I have a friend who writes for the Metro section of the Times... DEUTSCH Yes: Now this, if it could really happen, this changes everything in our favor. If they think there's gonna be adverse publicity, especially in The New York Times, they're gonna want to settle right away, soon as possible, and as quietly as POSSIBLE -- EMILY So they'd.make it a condition that 122 136 CONTINUED: 136 DEUTSCH It's usually done, you get the money but you can't talk about it. Nobody knows the terms. LISA So what good does that do? DEUTSCH You get the money. (Pause) is that bad? (Pause) I thought that's what we're all here for. (Pause) This is how our society punishes people for doing bad things. LISA By getting money from their employers' insurance. companies? DEUTSCH Yes. It's called Punitive Damages. Pause. LISA Could we insist they fire the driver? As part of the settlement? DEUTSCH Yes, sure, why not? LISA But is that something people do? DEUTSCH Sure. It's one of your conditions. EMILY Great. LISA And you think we're gonna win? They're gonna settle? DEUTSCH Oh they're gonna settle. LISA This is -- Emily and Lisa take hands and squeeze. 137 INT. COHEN APARTMENT -- LIVING ROOM. LATER THAT DAY. 137 JOAN is reading LISA's C average REPORT CARD and an accompanying letter. Lisa comes in and stops short. 123 137 CONTINUED: 137 JOAN I want to talk to you. LISA What'd I do now? 138 INT. EMILY'S APARTMENT -- FRONT DOOR. DAY. 138 Emily opens the front door for Joan and Lisa. JOAN Hi. I'm Joan. It's nice to meet you. EMILY Nice to meet you too. Come on in. - LISA (SARDONICALLY) Hi Emily. 139 INT. EMILY'S APARTMENT -- LIVING ROOM. DAY. 139 Emily, Joan and Lisa settle on the sofa and chairs. JOAN .I had a friend who used to live on this block, at 262...? EMILY Oh...? JOAN Yeah, I don't know if you know her. Cheryl Rowan? She's a physiotherapist? EMILY No, I don't know her. LISA I think about a thousand people must... JOAN What? LISA Nothing... EMILY Lisa says you're in a play, Joan? JOAN Oh -- Yeah... LISA You should go see it, it's really good. 124 139 CONTINUED: 139 JOAN Well, the play is great, and it's a really nice cast..-. LISA She's just being modest. She's gonna win every award in New York. JOAN Oh -- all that stuff's a long way off. EMILY I don't go to the theater very much. JOAN Well, it's just nice, because you can work a long time in the theater and play really good parts without getting a lot of recognition. And even though you don't necessarily do it for that as your primary motive, it is very nice when people do notice something you've done. EMILY Uh huh... JOAN I was on a television show a few years ago, and I had been doing theater all my life, and suddenly all my relatives started calling me up to congratulate me because they thought I finally Made It. And it was really just this dumb show that paid the bills for a while... LISA That show was so stupid. JOAN It wasn't that bad...! Anyway: I realize this is horribly embarrassing for Lisa, but I really wanted to meet you, Emily, because you've frankly become such a big part of Lisa's life, and I don't want to be intrusive, but this whole court case seems to be suddenly dominating everything and I can't get Lisa to tell me anything about it LISA That's not true...! JOAN Well, I can't...! And I want you to know, Lisa, that I'm very, very proud of you for pursuing this the way you have. (MORE) 125 139 CONTINUED: (2) 139 JOAN (CONT'D) But I can't let you pursue it to the point where it's taking over your life or interfering with your school work. (To EMILY) It's really come down to a question of homework. Lisa is on a half-scholarship at her school. And I know she feels a real sense of responsibility about what happened LISA Yeah, I do. JOAN I know you do. I know you do. But you can't not do your homework, and you can't throw away your scholarship because of it. LISA I'm not. My grades slipped a little. They'll get better. Anyone can do their homework. You just sit down and do it. I've been distracted. I'll stop. JOAN All right -- LISA We didn't need to have a big conference about it. JOAN (EMBARRASSED) It's not a big conference, I just want to know what's going on. And I wanted to meet Emily... (to EMILY) I know it's a little awkward! EMILY Don't apologize. If Lisa hasn't been keeping you apprised of what's been going on, I think she should. You should. LISA There's nothing to keep her apprised of., We're just waiting for them to schedule the Discovery conference. JOAN Now what is that? LISA Mom? It really doesn't matter. 126 139 CONTINUED: (3) 139 EMILY A Discovery conference is a meeting with the court where they sign an order. authorizing our lawyer to begin getting the personnel records, interviewing witnesses, talking to Monica's cousin... JOAN OK, now where does she fit in? EMILY She gets the money. 140 EXT. MIDTOWN HOTEL. DAY. 140 ABIGAIL BERWITZ, 40s, gets out the taxi as the driver comes around with her matching luggage. 141 INT. DEUTSCH'S OFFICE. DAY. 141 Abigail sits with Deutsch. DEUTSCH How would you describe the relationship overall? Did you talk on the phone a lot? Were there a lot of visits -- ABIGAIL I would say we talked on the phone a couple of times a month at least. Sometimes more than that...I would call her, she would call me... DEUTSCH And what were the nature of these conversations? ABIGAIL. Oh, family stuff, mostly. Her family, my kids... DEUTSCH And she would advise you about your family? That kind of thing? ABIGAIL Oh, I would say so, yes. DEUTSCH Would you have any phone records? Or -- ABIGAIL I have all my phone bills, if that's what you mean. I didn't record the actual conversations... 127 141 CONTINUED: 141 DEUTSCH No no -- ABIGAIL (PRODUCES BILLS) You'll see we talked on the phone quite frequently. DEUTSCH OK, that's terrific. I see you came prepared...1 ABIGAIL Well, I wanted to bring everything. DEUTSCH Now when they take your deposition you're gonna say the same thing you just told me. Talk about the relationship... ABIGAIL Uh huh? DEUTSCH Kind of advice she used to give you... ABIGAIL OK...? 142 INT. MIDTOWN RESTAURANT. DAY. 142 Emily, Lisa and Abigail sit over their lunch. Abigail is drinking a white wine. ABIGAIL Now, Emily, where did you find this lawyer? EMILY He was recommended by a friend. ABIGAIL I'm asking because my husband knows a real good New York lawyer, and I'm not entirely comfortable with someone that no one has ever heard of -- EMILY My friend's heard of him. He says he's very good.. ABIGAIL I'm sure he does. But I have a responsibility in this situation, and I would feel a whole lot more comfortable with somebody who didn't just drop in out of the clear blue sky... 2nd Green Revised 11/20/05 - Page 128 142 CONTINUED: 142 EMILY He didn't drop in out of the clear blue sky. He was recommended by my friend. But even if we switched lawyers we'd still have to pay him. But it all comes out of the settlement, so it's really up to you. ABIGAIL No, if you all think he's good... EMILY I don't know whether he is or not. My friend thinks he is. ABIGAIL All right. Now Lisa, what is your involvement in all this? What's your angle? LISA I just wanted to...I was just there. 143 INT. EMILY'S DINING ROOM. DAY. 143 Emily comes into the dining room with a cup of coffee. Lisa is standing over the table looking at some of Monica's photos and belongings which are spread out all over the table. Emily starts putting the pictures away in their envelopes. LISA Oh my God, is that you? EMILY That's me. LISA And that's you and Monica obviously. Oh my God. Is that her daughter? EMILY Uh huh. LISA God... So how old was she when she died? EMILY Twelve. LISA God. I can't even imagine. EMILY Neither could we. Emily sits down and starts sorting through pictures to put them in the box. Lisa sits down too. 2nd Green Revised 11/20/05 - Page 128aA 143 CONTINUED: 143 LISA You know Monica asked about her when she was dying? 2nd Green Revised 11/20/05 - Page 128A-129 143 CONTINUED: (2) 143 Emily looks up. EMILY No. I didn't. LISA Yeah. I think she was confused... like, I think she thought I was her daughter for a minute. And then she was asking me to call her, like to tell her what happened: You know, like she didn't remember she was dead. EMILY What do you mean? What did she say? LISA She just asked if somebody could call her daughter. But then it got confusing because I said, "Sure, what's her name?" And she said her name was Lisa. And I said, "No, that's my name." Because it took me a minute -- I didn't realize we had the same name... Emily does not respond. LISA (CONT'D) But I couldn't tell if what I was saying was registering with her. Emily does not respond. LISA (CONT'D) But then when I found out her daughter was dead, ever since then I keep having this really strong feeling that some way, for those last five minutes I kind of was her daughter. You know? Like maybe that's the reason I was there: Like in some weird way, this obviously amazing woman got to see her daughter again for a few minutes, right before she died. EMILY (VERY DRY) I see. And is she still inhabiting your body? Or did she go right back to the spirit world after it was over? LISA I didn't mean she ws literally inhabiting my body. I don't believe in all that stuff at all. EMILY I don't give a fuck what you believe in. 2nd Green Revised 11/20/05 - Page 129aA 143 CONTINUED: ( 3) 143 LISA Oh my God! Why are you so mad at me!? EMILY Because this is not an opera! LISA (FLUSHING) What? You think I think this is an opera? 2nd Green Revised 11/20/05 - Page 129A-130 143 CONTINUED: ( 4) 143 EMILY Yes! LISA You think I'm making this into a dramatic situation because I think it's dramatic?!? EMILY I think you're very young. LISA What does that have to do with anything? If anything I think it means I care more than someone who's older! Because this kind of thing has never happened to me before! EMILY No, it means you care more easily! There's a big difference! Except that it's not you it's happening to! LISA Yes it is! I know I'm not the one who was run over -- EMILY That's right, you weren't. And you're not the one who died of leukemia, and you're not the one who just died in an earthquake in -- Algeria! But you will be. Do you understand me? You will be. And it's not an opera and it's not dramatic -- LISA I'm well aware of that! EMILY And this first-blush phony deepness of yours is worth nothing. LISA Oh wow. EMILY Do you understand? It's not worth anything, because it'll be troweled over in a month or two. And then when you get older, and you don't have a big reaction every time a d gets run over, then, then we'll find out what kind of a person you are! But this is nothing! I'm sorry, but I didn't start this conversation and I don't play these games. 2nd Green Revised 11/20/05 - Page 131 143 CONTINUED: ( 5) 143 LISA (drawing herself up) I am not -- EMILY And don't look so outraged! Because I'm not saying anything very outrageous! I'm telling you to knock it off! You have every right to falsify your own life, but you have no right to falsify anyone else's. It's what makes people into Nazis! And I'm sorry, but it's a little suspicious that you're making such a fuss about this when you didn't know her, and you're having troubles with your own mother -- LISA Oh my God! EMILY But this is nm life we're talking about, much more than it is yours! Because it's my real friend who got killed, who I'm never going to see again, really! Whom I have known since I was nineteen years old myself. OK? And I don't want that sucked into some kind of adolescent self- dramatization! LISA I'm not fucking dramatizing anything! EMILY (not having it) OK -- LISA I was there, and you weren't! And if I happen to express myself a little hyperbolically, Emily, that's just the way I talk! I can't help it if my mother is an actress! Why are you being so fucking strident? EMILY Strident? LISA Yeah. EMILY OK. Um, you should leave. LISA Why? Because I called you strident? 132 143 CONTINUED: ( 6) 143 EMILY Yeah: Strident? You should leave. Thanks. I don't wanna be called strident and you're deliberately misunderstanding me! LISA No I'm not! You're insulting me enough as it is: You don't have to call me stupid too! EMILY Well I can't stop you doing this so I think you had better go. LISA OK! I will. EMILY NOW! LISA OK! Let me get my purse! Lisa grabs her purse and coat. Emily half-walks, half-drives her toward the door. LISA (CONT'D) Does this mean we're dropping the whole inquiry? EMILY It means you're leaving. I don't know what else it means. LISA All I meant by saying you were strident was that you were being emphatic! I obviously misused the word! EMILY Look it up when you get home. LISA Jesus Christ. You're amazing. EMILY Yeah. Uh huh. I'm amazing. LISA (bursts into tears) Why are you doing this... .! EMILY Lisa, I'm not doing anything! I'm a human being! Monica was a human being! So was her daughter! And so is your mother! (MORE) 2nd Green Revised 11/20/05 - Page 133 143 CONTINUED: ( 7) 143 EMILY (CONT' D) We are not supporting characters in the fascinating story of your life! LISA I never said or thought you were...! And I really didn't mean to call you strident! I totally misused the word! I wasn't trying to insult you, Emily, I really wasn't! I feel so bad about what happened and I'm trying so hard to do something about it! And I don't understand why if I say something wrong you can't just give me a break! I didn't mean I thought her daughter took over my body. I'm not an idiot. It was just this feeling I had because she was holding onto my hand so hard before she died, and because we had the same first name! EMILY OK... LISA But I'm not trying to dramatize anything, Emily. I really know about that trend, and I really don't think I've been doing that. EMILY OK. I believe you. And look up "strident." LISA I will. They kiss and make up, but it's still a little ugly. 143A INT. COHEN LIVING ROOM. NIGHT 143A Lisa, Joan and Curtis are watching Joan being interviewed on TV. We don't see the screen. JOAN I've been in the theater my whole life and nothing like this has ever happened to me... INTERVIEWER ON TV(O.C.) Now, any talk of the play becoming a film? JOAN ON TV (O.C.) Oh, I'm sure. But I would never get cast in that. I'm not a movie star. INTERVIEWER ON TV (O.C.) But you're a theater star... JOAN ON TV (O.C.) I don't know about that either... 2nd Green Revised 11/20/05 - Page 133A 143A CONTINUED: 143A INTERVIEWER ON TV (O.C.) You are! JOAN ON TV (O . C . ) (CHARMINGLY) I guess...! JOAN Oh God. Joan buries her face in her hands. Lisa watches scowling. 134 143B INT. COHEN KITCHEN. NIGHT. 143B Joan is serving Lisa and Curtis dinner. JOAN Lisa? Do you think Emily would like to come see the play? I thought you could both come and them maybe we could go out afterwards. LISA All right. Let me ask her. JOAN Dig in everybody... They start eating. LISA I was thinking about spending next year with Dad. JOAN (SHOCKED) Oh? LISA Yeah. You're all worried about my grades. They have really good public schools in Santa Monica, and if Iofficially lived with him, you wouldn't have to worry about my scholarship. JOAN Have you talked to him about this? LISA We've had some general discussions. JOAN (TO CURTIS) Do you want to go too? CURTIS (SURPRISED) Me? JOAN Yeah. Do you want to move to LA too? CURTIS No. JOAN Well, just let me know if you do. 135 143B CONTINUED: 143B LISA Why are you being like this? JOAN Why am I being like what? LISA Why are you about to start crying? JOAN Because it's your intention to make me start crying! LISA No it's not -- - JOAN You want to move to LA. Move to LA. LISA But why can't this even be mentioned without you taking it personally? I'm just introducing a possibility! JOAN OH! Joan upsets everything on the table and starts to go. She comes back and upsets more things on the table. JOAN Here's a possibility that you can make your own fucking dinner! Here's a possibility LISA that you can do whatever you Jesus Christ! want to do, because I don't What is with you? even care anymore, you heartless little fuckin' bitch! LISA Fine! Keep it up! It really makes me want to stay here! JOAN You think you're so fucking perfect!? She breaks something else and walks out. LISA No. CURTIS Good one. LISA Shut up. Green Revised 10/7/05 - Page 136 144 OMIT 144 145 INT. HISTORY CLASS. DAY. 145 On the blackboard Klein finishes writing: SHOULD TEENAGERS RULE THE WORLD? YES OR NO? KLEIN OK. Go ahead: Kirsten. Lionel: Put your drum away. Lionel stops drumming on his desk with his fingers. KIRSTEN I think that teenagers should definitely rule the world, because teenagers aren't corrupted by adult life yet, and they're idealists and they care. And I know a lot of people feel that teenagers are really naive, which they are, many of them. But they still haven't had a chance to get burned out by the disappointments and the harsh realities of learning how to play the game. So yes, I would vote yes. KLEIN All right: Lisa? LISA I would tend to agree with all of that, except I do think that teenagers don't always necessarily think things through very carefully, and they don't have enough experience to know what the right thing to do is all the time. I also think they tend to adhere to ideologies really easily without having actually bothered to think them through for themselves.-- LEWIS Such as what? LISA Such as what? Such as, gee, I don't know: the Hitler Youth? KLEIN OK... Hitler Youth. LISA Or what about all these teenage suicide bombers? Not that I want to get into the whole Palestinian thing again, but assuming you don't think suicide bombing is a good thing, wouldn't you say that's an example of being idealistic without using your critical faculties? (MORE) Green Revised 10/7/05 - Page 137 145 CONTINUED: 145 LISA (CONT'D) And maybe running the risk of having your youthful enthusiasm be co-opted by adults for purposes of their own that you might not even ultimately agree with? Angie's hand shoots up. So do several others. LEWIS OK, Angie? ANGIE Yeah, I don't want to get into the whole Palestinian thing again either, because I realize I'm completely outnumbered -- ANTHONY Not unlike the Palestinians themselves. ANGIE That's not really funny, Anthony. ANGIE (to LISA) KLEIN -- and I'm not even going to Segal: Cut the comedy. comment on the fact that you just compared a 19-year-old ANTHONY Palestinian to a member of I thought it was funny... the Hitler Youth, which I personally find so offensive LISA I don't even know where to That's right! Because start -- Oh, it's not because they both like to kill they've been occupied and Jews. humiliated and bombed out of their homes for the last KLEIN fifty years? Hey! Hey! Lisa! Hey! LEWIS LISA Come on, guys... Yes! That's partly why they like it! There's ANGIE still a million Pale- If anyone's acting like stinians who don't blow Nazis it's the Israeli up children on busses government! because they're so "frustrated!" LEWIS OK, OK! Monica? MONICA Well, I don't know if this is good or bad, but speaking of ideology, it's interesting that the suicide bombers -- just for example -- care enough about what they believe in to sacrifice their lives for it. WHEREAS 2nd Blue Revised 10/28/05 - Page 138 145 CONTINUED: (2) 145 ANGIE Yes. Yes! LISA I think it's fine if you want to sacrifice your life for what you believe in. I actually think that's really noble. It's a little different when you're willing to sacrifice someone else's life, you know? I personally don't think that's such a big ideological achievement! ANGIE Um, even if there's no other way to get you out of my country? LEWIS LISA Raise your hands! They haven't tried any other ways! It's not ANGIE like killing civilians Yes they have! They're is their last resort! trying it right now! It's their first resort! Because it's easy and they like it! ANGIE (CONT'D) Oh they like it? They're just bad people and they like it? LISA Yes! There are bad people in the world! I think they liked blowing up the World Trade Center! They kill their own sisters when they get raped! It's called barbarism! MONICA LISA Who kills their own sisters? It's practically all people do is kill each other! LIONEL If they didn't like it they You guys are not the only wouldn't do it! Period! ones in this class! KLEIN & LEWIS Hey! Silence. LEWIS If you ladies can't make your points without yelling or interrupting each other or raising your hands, I'd say it was a pretty good argument for "No." LISA Why, adults don't yell and interrupt each

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How many times the word 'great' appears in the text?

116A 132A CONTINUED: 132A RAMON You don't think I should be? JOAN I just feel kind of ignorant about your whole world... RAMON You think it would be better if we knew about all the same things? JOAN Not really, not exclusively. It's just unusual. Don't you think it's unusual? 2nd Pink Revised 11/17/05 - Page 117 132A CONTINUED: (2) 132A RAMON Not for me. JOAN I guess you travel a lot. I've only been out of the country a few times in my whole life. RAMON You should travel more. JOAN I know. I've always wanted to. It's hard when you're in the theater... RAMON Still, you should try. It's a big world. You're an artist. You should see more of it. JOAN I know. You don't have to keep saying that. I've always wanted to travel. It's just a little difficult with two kids and no husband, but it's hard to make a lot of money in the theater. I was on a TV show a few years back and I socked away some money because of that, but my ex-husband -- RAMON Karl. JOAN Karl, yes, you remembered, very good. Karl's very generous with the kids when he can be, but he's struggling too: He's a director: he directs commercials, and now he's trying to produce them... Anyway, I'm not ignorant because I enjoy it. RAMON I don't say you're ignorant... Do you think Lisa will be interested in acting? JOAN I don't think so. I think's she's got a lot of contempt for it. Of course that may be the age. RAMON She would prefer the world with no plays? No films? JOAN Oh... Who knows. 2nd Pink Revised 11/17/05 - Page 117A 132A CONTINUED: (3) 132A RAMON Would you like to see a picture of my mother? JOAN Sure. RAMON These are all my aunts and uncles...See? Big family... JOAN Mmm. She looks at him as he turns the pages. 133 EXT. MIDTOWN OFFICE BUILDING. DAY. 133 Lisa and Emily meet in front of Dave's office building. 134 INT. DAVE'S LAW FIRM - STAIRCASE/OFFICE. DAY. 134 Dave walks Lisa and Emily into his office. DAVE So after I talked to you guys I called this P.I. I know and I asked him to -- Pink Revised 9/25/05 - Page 118 134 CONTINUED: 134 EMILY You called a what? A what? DAVE Private Investigator -- to see if he could find anything out about your bus driver -- LISA Really? DAVE EMILY Yeah: So he -- Dave! DAVE Wait, let me tell you what he said! So he called this guy he knows who used to be a cop for the MTA. Did you know the MTA have their own police? The MTA police? They have their own uniforms... EMILY Yeah? Yeah? Yeah? DAVE EMILY And -- Just a minutel Jesus Christ! What do we give a fuck about the MTA police and their uniforms?! DAVE -- so this guy got someone to let him sneak a look at your guy's file. And it turns out he's had two previous accidents -- less than two years apart -- one of them on the job, one in his own car -- EMILY What? DAVE -- where there was some allegation that he was drinking, which was dropped, but, that he's never been cited or disciplined, just moved around to different shifts -- EMILY Are you fucking kidding me? LISA Why does this not shock me? DAVE Because Surprise Surprise his brother-in- law is a very big muckety-muck in the Transit Workers Union -- Pink Revised 9/25/05 - Page 119 134 CONTINUED: (2) 134 EMILY (i.e., "I get it.") O-Kay...l DAVE And if you read the paper, you'll know they're going through a protracted labor dispute at the MTA right now, and according to my PI, the management doesn't want to aggravate the situation by firing this guy. Especially since the police have concluded he was not at fault. LISA This is making me sick. DAVE I know, but what it means, Lisa, is that we have a case. LISA We do? DAVE What it means, in fact, is that we have a very good case, because we can sue for what's called "Negligent Retention." Which means they should have known the guy was a bad risk and was irresponsible and they negligently retained him until he finally killed somebody. EMILY And you can prove that? DAVE Sure, because we can subpoena their Personnel records, which we already know contain damaging information, because my investigator got a look at them beforehand. Which you're not-supposed to do, but we did it anyway. LISA YOU'RE AWESOMEL EMILY And that means... DAVE That means we're in great shape and I think we should go in there and sue their fuckin' asses off. EMILY But you wouldn't be our lawyer, right? Pink Revised 9/25/05 - Page 120 134 CONTINUED: (3) 134 DAVE No no. Oh no. LISA Why not? DAVE EMILY I'm not a personal injury It's not his area. litigator. I don't know enough about it. I would lose. EMILY But you could recommend someone? DAVE Sure. I know a guy who's very good. His name is Russel Deutsch. He's not a sleazebag. Very experienced. Let me give you his number... EMILY Dave, thank you so much. LISA Really. My God. DAVE But you gotta get that crazy cousin on board because she's gonna be your beneficiary. EMILY She's not gonna want to come to New York, I can tell you that right now. DAVE If you win she gets anywhere from three to five hundred thousand dollars. She's gonna come to New York. 135 EXT. MIDTOWN -- 6TH AVENUE. DAY. 135 Lisa and Emily walk up the busy avenue. LISA What's with Monica and her cousin? EMILY Oh, Monica's father left some money to Abigail's kids and he made Monica the executor of the estate, because he didn't want Abigail and her idiot husband to get their hands on the money before the kids were grown up. (MORE) Green Revised 10/7/05 - Page 121 135 CONTINUED: 135 EMILY (CONT'D) For which Abigail rewarded her by badgering her about it on the phone for fifteen years: Always trying to borrow money against the estate, accusing her of making lousy investments with it, nasty phone calls, nasty letters, every month for fifteen years until Abigail's daughter turned twenty-one and got married. Then Monica goes to the wedding, in fucking Arizona, and Abigail literally won't speak to her. She's a dream. LISA So that's who we're getting the money for? EMILY It's not who we're getting it for, it's who we're getting it from. 136 INT. DEUTSCH'S OFFICE. DAY. 136 Emily and Lisa sit with RUSSEL DEUTSCH, 50s. His law office is slightly smaller and less nice than Dave's. DEUTSCH First thing we do is we file a summons and a complaint against the MTA. They get .twenty days to respond, and when they do we can make our Discovery requests: Accident reports, personnel records, et cetera. But you gotta realize it's gonna take some time. The law says you have to get a court date within a year. Usually it takes about six. Depending. LISA Six years! DEUTSCH Depending, yes. EMILY Now, I mentioned to Dave I have a friend who writes for the Metro section of the Times... DEUTSCH Yes: Now this, if it could really happen, this changes everything in our favor. If they think there's gonna be adverse publicity, especially in The New York Times, they're gonna want to settle right away, soon as possible, and as quietly as POSSIBLE -- EMILY So they'd.make it a condition that 122 136 CONTINUED: 136 DEUTSCH It's usually done, you get the money but you can't talk about it. Nobody knows the terms. LISA So what good does that do? DEUTSCH You get the money. (Pause) is that bad? (Pause) I thought that's what we're all here for. (Pause) This is how our society punishes people for doing bad things. LISA By getting money from their employers' insurance. companies? DEUTSCH Yes. It's called Punitive Damages. Pause. LISA Could we insist they fire the driver? As part of the settlement? DEUTSCH Yes, sure, why not? LISA But is that something people do? DEUTSCH Sure. It's one of your conditions. EMILY Great. LISA And you think we're gonna win? They're gonna settle? DEUTSCH Oh they're gonna settle. LISA This is -- Emily and Lisa take hands and squeeze. 137 INT. COHEN APARTMENT -- LIVING ROOM. LATER THAT DAY. 137 JOAN is reading LISA's C average REPORT CARD and an accompanying letter. Lisa comes in and stops short. 123 137 CONTINUED: 137 JOAN I want to talk to you. LISA What'd I do now? 138 INT. EMILY'S APARTMENT -- FRONT DOOR. DAY. 138 Emily opens the front door for Joan and Lisa. JOAN Hi. I'm Joan. It's nice to meet you. EMILY Nice to meet you too. Come on in. - LISA (SARDONICALLY) Hi Emily. 139 INT. EMILY'S APARTMENT -- LIVING ROOM. DAY. 139 Emily, Joan and Lisa settle on the sofa and chairs. JOAN .I had a friend who used to live on this block, at 262...? EMILY Oh...? JOAN Yeah, I don't know if you know her. Cheryl Rowan? She's a physiotherapist? EMILY No, I don't know her. LISA I think about a thousand people must... JOAN What? LISA Nothing... EMILY Lisa says you're in a play, Joan? JOAN Oh -- Yeah... LISA You should go see it, it's really good. 124 139 CONTINUED: 139 JOAN Well, the play is great, and it's a really nice cast..-. LISA She's just being modest. She's gonna win every award in New York. JOAN Oh -- all that stuff's a long way off. EMILY I don't go to the theater very much. JOAN Well, it's just nice, because you can work a long time in the theater and play really good parts without getting a lot of recognition. And even though you don't necessarily do it for that as your primary motive, it is very nice when people do notice something you've done. EMILY Uh huh... JOAN I was on a television show a few years ago, and I had been doing theater all my life, and suddenly all my relatives started calling me up to congratulate me because they thought I finally Made It. And it was really just this dumb show that paid the bills for a while... LISA That show was so stupid. JOAN It wasn't that bad...! Anyway: I realize this is horribly embarrassing for Lisa, but I really wanted to meet you, Emily, because you've frankly become such a big part of Lisa's life, and I don't want to be intrusive, but this whole court case seems to be suddenly dominating everything and I can't get Lisa to tell me anything about it LISA That's not true...! JOAN Well, I can't...! And I want you to know, Lisa, that I'm very, very proud of you for pursuing this the way you have. (MORE) 125 139 CONTINUED: (2) 139 JOAN (CONT'D) But I can't let you pursue it to the point where it's taking over your life or interfering with your school work. (To EMILY) It's really come down to a question of homework. Lisa is on a half-scholarship at her school. And I know she feels a real sense of responsibility about what happened LISA Yeah, I do. JOAN I know you do. I know you do. But you can't not do your homework, and you can't throw away your scholarship because of it. LISA I'm not. My grades slipped a little. They'll get better. Anyone can do their homework. You just sit down and do it. I've been distracted. I'll stop. JOAN All right -- LISA We didn't need to have a big conference about it. JOAN (EMBARRASSED) It's not a big conference, I just want to know what's going on. And I wanted to meet Emily... (to EMILY) I know it's a little awkward! EMILY Don't apologize. If Lisa hasn't been keeping you apprised of what's been going on, I think she should. You should. LISA There's nothing to keep her apprised of., We're just waiting for them to schedule the Discovery conference. JOAN Now what is that? LISA Mom? It really doesn't matter. 126 139 CONTINUED: (3) 139 EMILY A Discovery conference is a meeting with the court where they sign an order. authorizing our lawyer to begin getting the personnel records, interviewing witnesses, talking to Monica's cousin... JOAN OK, now where does she fit in? EMILY She gets the money. 140 EXT. MIDTOWN HOTEL. DAY. 140 ABIGAIL BERWITZ, 40s, gets out the taxi as the driver comes around with her matching luggage. 141 INT. DEUTSCH'S OFFICE. DAY. 141 Abigail sits with Deutsch. DEUTSCH How would you describe the relationship overall? Did you talk on the phone a lot? Were there a lot of visits -- ABIGAIL I would say we talked on the phone a couple of times a month at least. Sometimes more than that...I would call her, she would call me... DEUTSCH And what were the nature of these conversations? ABIGAIL. Oh, family stuff, mostly. Her family, my kids... DEUTSCH And she would advise you about your family? That kind of thing? ABIGAIL Oh, I would say so, yes. DEUTSCH Would you have any phone records? Or -- ABIGAIL I have all my phone bills, if that's what you mean. I didn't record the actual conversations... 127 141 CONTINUED: 141 DEUTSCH No no -- ABIGAIL (PRODUCES BILLS) You'll see we talked on the phone quite frequently. DEUTSCH OK, that's terrific. I see you came prepared...1 ABIGAIL Well, I wanted to bring everything. DEUTSCH Now when they take your deposition you're gonna say the same thing you just told me. Talk about the relationship... ABIGAIL Uh huh? DEUTSCH Kind of advice she used to give you... ABIGAIL OK...? 142 INT. MIDTOWN RESTAURANT. DAY. 142 Emily, Lisa and Abigail sit over their lunch. Abigail is drinking a white wine. ABIGAIL Now, Emily, where did you find this lawyer? EMILY He was recommended by a friend. ABIGAIL I'm asking because my husband knows a real good New York lawyer, and I'm not entirely comfortable with someone that no one has ever heard of -- EMILY My friend's heard of him. He says he's very good.. ABIGAIL I'm sure he does. But I have a responsibility in this situation, and I would feel a whole lot more comfortable with somebody who didn't just drop in out of the clear blue sky... 2nd Green Revised 11/20/05 - Page 128 142 CONTINUED: 142 EMILY He didn't drop in out of the clear blue sky. He was recommended by my friend. But even if we switched lawyers we'd still have to pay him. But it all comes out of the settlement, so it's really up to you. ABIGAIL No, if you all think he's good... EMILY I don't know whether he is or not. My friend thinks he is. ABIGAIL All right. Now Lisa, what is your involvement in all this? What's your angle? LISA I just wanted to...I was just there. 143 INT. EMILY'S DINING ROOM. DAY. 143 Emily comes into the dining room with a cup of coffee. Lisa is standing over the table looking at some of Monica's photos and belongings which are spread out all over the table. Emily starts putting the pictures away in their envelopes. LISA Oh my God, is that you? EMILY That's me. LISA And that's you and Monica obviously. Oh my God. Is that her daughter? EMILY Uh huh. LISA God... So how old was she when she died? EMILY Twelve. LISA God. I can't even imagine. EMILY Neither could we. Emily sits down and starts sorting through pictures to put them in the box. Lisa sits down too. 2nd Green Revised 11/20/05 - Page 128aA 143 CONTINUED: 143 LISA You know Monica asked about her when she was dying? 2nd Green Revised 11/20/05 - Page 128A-129 143 CONTINUED: (2) 143 Emily looks up. EMILY No. I didn't. LISA Yeah. I think she was confused... like, I think she thought I was her daughter for a minute. And then she was asking me to call her, like to tell her what happened: You know, like she didn't remember she was dead. EMILY What do you mean? What did she say? LISA She just asked if somebody could call her daughter. But then it got confusing because I said, "Sure, what's her name?" And she said her name was Lisa. And I said, "No, that's my name." Because it took me a minute -- I didn't realize we had the same name... Emily does not respond. LISA (CONT'D) But I couldn't tell if what I was saying was registering with her. Emily does not respond. LISA (CONT'D) But then when I found out her daughter was dead, ever since then I keep having this really strong feeling that some way, for those last five minutes I kind of was her daughter. You know? Like maybe that's the reason I was there: Like in some weird way, this obviously amazing woman got to see her daughter again for a few minutes, right before she died. EMILY (VERY DRY) I see. And is she still inhabiting your body? Or did she go right back to the spirit world after it was over? LISA I didn't mean she ws literally inhabiting my body. I don't believe in all that stuff at all. EMILY I don't give a fuck what you believe in. 2nd Green Revised 11/20/05 - Page 129aA 143 CONTINUED: ( 3) 143 LISA Oh my God! Why are you so mad at me!? EMILY Because this is not an opera! LISA (FLUSHING) What? You think I think this is an opera? 2nd Green Revised 11/20/05 - Page 129A-130 143 CONTINUED: ( 4) 143 EMILY Yes! LISA You think I'm making this into a dramatic situation because I think it's dramatic?!? EMILY I think you're very young. LISA What does that have to do with anything? If anything I think it means I care more than someone who's older! Because this kind of thing has never happened to me before! EMILY No, it means you care more easily! There's a big difference! Except that it's not you it's happening to! LISA Yes it is! I know I'm not the one who was run over -- EMILY That's right, you weren't. And you're not the one who died of leukemia, and you're not the one who just died in an earthquake in -- Algeria! But you will be. Do you understand me? You will be. And it's not an opera and it's not dramatic -- LISA I'm well aware of that! EMILY And this first-blush phony deepness of yours is worth nothing. LISA Oh wow. EMILY Do you understand? It's not worth anything, because it'll be troweled over in a month or two. And then when you get older, and you don't have a big reaction every time a d gets run over, then, then we'll find out what kind of a person you are! But this is nothing! I'm sorry, but I didn't start this conversation and I don't play these games. 2nd Green Revised 11/20/05 - Page 131 143 CONTINUED: ( 5) 143 LISA (drawing herself up) I am not -- EMILY And don't look so outraged! Because I'm not saying anything very outrageous! I'm telling you to knock it off! You have every right to falsify your own life, but you have no right to falsify anyone else's. It's what makes people into Nazis! And I'm sorry, but it's a little suspicious that you're making such a fuss about this when you didn't know her, and you're having troubles with your own mother -- LISA Oh my God! EMILY But this is nm life we're talking about, much more than it is yours! Because it's my real friend who got killed, who I'm never going to see again, really! Whom I have known since I was nineteen years old myself. OK? And I don't want that sucked into some kind of adolescent self- dramatization! LISA I'm not fucking dramatizing anything! EMILY (not having it) OK -- LISA I was there, and you weren't! And if I happen to express myself a little hyperbolically, Emily, that's just the way I talk! I can't help it if my mother is an actress! Why are you being so fucking strident? EMILY Strident? LISA Yeah. EMILY OK. Um, you should leave. LISA Why? Because I called you strident? 132 143 CONTINUED: ( 6) 143 EMILY Yeah: Strident? You should leave. Thanks. I don't wanna be called strident and you're deliberately misunderstanding me! LISA No I'm not! You're insulting me enough as it is: You don't have to call me stupid too! EMILY Well I can't stop you doing this so I think you had better go. LISA OK! I will. EMILY NOW! LISA OK! Let me get my purse! Lisa grabs her purse and coat. Emily half-walks, half-drives her toward the door. LISA (CONT'D) Does this mean we're dropping the whole inquiry? EMILY It means you're leaving. I don't know what else it means. LISA All I meant by saying you were strident was that you were being emphatic! I obviously misused the word! EMILY Look it up when you get home. LISA Jesus Christ. You're amazing. EMILY Yeah. Uh huh. I'm amazing. LISA (bursts into tears) Why are you doing this... .! EMILY Lisa, I'm not doing anything! I'm a human being! Monica was a human being! So was her daughter! And so is your mother! (MORE) 2nd Green Revised 11/20/05 - Page 133 143 CONTINUED: ( 7) 143 EMILY (CONT' D) We are not supporting characters in the fascinating story of your life! LISA I never said or thought you were...! And I really didn't mean to call you strident! I totally misused the word! I wasn't trying to insult you, Emily, I really wasn't! I feel so bad about what happened and I'm trying so hard to do something about it! And I don't understand why if I say something wrong you can't just give me a break! I didn't mean I thought her daughter took over my body. I'm not an idiot. It was just this feeling I had because she was holding onto my hand so hard before she died, and because we had the same first name! EMILY OK... LISA But I'm not trying to dramatize anything, Emily. I really know about that trend, and I really don't think I've been doing that. EMILY OK. I believe you. And look up "strident." LISA I will. They kiss and make up, but it's still a little ugly. 143A INT. COHEN LIVING ROOM. NIGHT 143A Lisa, Joan and Curtis are watching Joan being interviewed on TV. We don't see the screen. JOAN I've been in the theater my whole life and nothing like this has ever happened to me... INTERVIEWER ON TV(O.C.) Now, any talk of the play becoming a film? JOAN ON TV (O.C.) Oh, I'm sure. But I would never get cast in that. I'm not a movie star. INTERVIEWER ON TV (O.C.) But you're a theater star... JOAN ON TV (O.C.) I don't know about that either... 2nd Green Revised 11/20/05 - Page 133A 143A CONTINUED: 143A INTERVIEWER ON TV (O.C.) You are! JOAN ON TV (O . C . ) (CHARMINGLY) I guess...! JOAN Oh God. Joan buries her face in her hands. Lisa watches scowling. 134 143B INT. COHEN KITCHEN. NIGHT. 143B Joan is serving Lisa and Curtis dinner. JOAN Lisa? Do you think Emily would like to come see the play? I thought you could both come and them maybe we could go out afterwards. LISA All right. Let me ask her. JOAN Dig in everybody... They start eating. LISA I was thinking about spending next year with Dad. JOAN (SHOCKED) Oh? LISA Yeah. You're all worried about my grades. They have really good public schools in Santa Monica, and if Iofficially lived with him, you wouldn't have to worry about my scholarship. JOAN Have you talked to him about this? LISA We've had some general discussions. JOAN (TO CURTIS) Do you want to go too? CURTIS (SURPRISED) Me? JOAN Yeah. Do you want to move to LA too? CURTIS No. JOAN Well, just let me know if you do. 135 143B CONTINUED: 143B LISA Why are you being like this? JOAN Why am I being like what? LISA Why are you about to start crying? JOAN Because it's your intention to make me start crying! LISA No it's not -- - JOAN You want to move to LA. Move to LA. LISA But why can't this even be mentioned without you taking it personally? I'm just introducing a possibility! JOAN OH! Joan upsets everything on the table and starts to go. She comes back and upsets more things on the table. JOAN Here's a possibility that you can make your own fucking dinner! Here's a possibility LISA that you can do whatever you Jesus Christ! want to do, because I don't What is with you? even care anymore, you heartless little fuckin' bitch! LISA Fine! Keep it up! It really makes me want to stay here! JOAN You think you're so fucking perfect!? She breaks something else and walks out. LISA No. CURTIS Good one. LISA Shut up. Green Revised 10/7/05 - Page 136 144 OMIT 144 145 INT. HISTORY CLASS. DAY. 145 On the blackboard Klein finishes writing: SHOULD TEENAGERS RULE THE WORLD? YES OR NO? KLEIN OK. Go ahead: Kirsten. Lionel: Put your drum away. Lionel stops drumming on his desk with his fingers. KIRSTEN I think that teenagers should definitely rule the world, because teenagers aren't corrupted by adult life yet, and they're idealists and they care. And I know a lot of people feel that teenagers are really naive, which they are, many of them. But they still haven't had a chance to get burned out by the disappointments and the harsh realities of learning how to play the game. So yes, I would vote yes. KLEIN All right: Lisa? LISA I would tend to agree with all of that, except I do think that teenagers don't always necessarily think things through very carefully, and they don't have enough experience to know what the right thing to do is all the time. I also think they tend to adhere to ideologies really easily without having actually bothered to think them through for themselves.-- LEWIS Such as what? LISA Such as what? Such as, gee, I don't know: the Hitler Youth? KLEIN OK... Hitler Youth. LISA Or what about all these teenage suicide bombers? Not that I want to get into the whole Palestinian thing again, but assuming you don't think suicide bombing is a good thing, wouldn't you say that's an example of being idealistic without using your critical faculties? (MORE) Green Revised 10/7/05 - Page 137 145 CONTINUED: 145 LISA (CONT'D) And maybe running the risk of having your youthful enthusiasm be co-opted by adults for purposes of their own that you might not even ultimately agree with? Angie's hand shoots up. So do several others. LEWIS OK, Angie? ANGIE Yeah, I don't want to get into the whole Palestinian thing again either, because I realize I'm completely outnumbered -- ANTHONY Not unlike the Palestinians themselves. ANGIE That's not really funny, Anthony. ANGIE (to LISA) KLEIN -- and I'm not even going to Segal: Cut the comedy. comment on the fact that you just compared a 19-year-old ANTHONY Palestinian to a member of I thought it was funny... the Hitler Youth, which I personally find so offensive LISA I don't even know where to That's right! Because start -- Oh, it's not because they both like to kill they've been occupied and Jews. humiliated and bombed out of their homes for the last KLEIN fifty years? Hey! Hey! Lisa! Hey! LEWIS LISA Come on, guys... Yes! That's partly why they like it! There's ANGIE still a million Pale- If anyone's acting like stinians who don't blow Nazis it's the Israeli up children on busses government! because they're so "frustrated!" LEWIS OK, OK! Monica? MONICA Well, I don't know if this is good or bad, but speaking of ideology, it's interesting that the suicide bombers -- just for example -- care enough about what they believe in to sacrifice their lives for it. WHEREAS 2nd Blue Revised 10/28/05 - Page 138 145 CONTINUED: (2) 145 ANGIE Yes. Yes! LISA I think it's fine if you want to sacrifice your life for what you believe in. I actually think that's really noble. It's a little different when you're willing to sacrifice someone else's life, you know? I personally don't think that's such a big ideological achievement! ANGIE Um, even if there's no other way to get you out of my country? LEWIS LISA Raise your hands! They haven't tried any other ways! It's not ANGIE like killing civilians Yes they have! They're is their last resort! trying it right now! It's their first resort! Because it's easy and they like it! ANGIE (CONT'D) Oh they like it? They're just bad people and they like it? LISA Yes! There are bad people in the world! I think they liked blowing up the World Trade Center! They kill their own sisters when they get raped! It's called barbarism! MONICA LISA Who kills their own sisters? It's practically all people do is kill each other! LIONEL If they didn't like it they You guys are not the only wouldn't do it! Period! ones in this class! KLEIN & LEWIS Hey! Silence. LEWIS If you ladies can't make your points without yelling or interrupting each other or raising your hands, I'd say it was a pretty good argument for "No." LISA Why, adults don't yell and interrupt each

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116A 132A CONTINUED: 132A RAMON You don't think I should be? JOAN I just feel kind of ignorant about your whole world... RAMON You think it would be better if we knew about all the same things? JOAN Not really, not exclusively. It's just unusual. Don't you think it's unusual? 2nd Pink Revised 11/17/05 - Page 117 132A CONTINUED: (2) 132A RAMON Not for me. JOAN I guess you travel a lot. I've only been out of the country a few times in my whole life. RAMON You should travel more. JOAN I know. I've always wanted to. It's hard when you're in the theater... RAMON Still, you should try. It's a big world. You're an artist. You should see more of it. JOAN I know. You don't have to keep saying that. I've always wanted to travel. It's just a little difficult with two kids and no husband, but it's hard to make a lot of money in the theater. I was on a TV show a few years back and I socked away some money because of that, but my ex-husband -- RAMON Karl. JOAN Karl, yes, you remembered, very good. Karl's very generous with the kids when he can be, but he's struggling too: He's a director: he directs commercials, and now he's trying to produce them... Anyway, I'm not ignorant because I enjoy it. RAMON I don't say you're ignorant... Do you think Lisa will be interested in acting? JOAN I don't think so. I think's she's got a lot of contempt for it. Of course that may be the age. RAMON She would prefer the world with no plays? No films? JOAN Oh... Who knows. 2nd Pink Revised 11/17/05 - Page 117A 132A CONTINUED: (3) 132A RAMON Would you like to see a picture of my mother? JOAN Sure. RAMON These are all my aunts and uncles...See? Big family... JOAN Mmm. She looks at him as he turns the pages. 133 EXT. MIDTOWN OFFICE BUILDING. DAY. 133 Lisa and Emily meet in front of Dave's office building. 134 INT. DAVE'S LAW FIRM - STAIRCASE/OFFICE. DAY. 134 Dave walks Lisa and Emily into his office. DAVE So after I talked to you guys I called this P.I. I know and I asked him to -- Pink Revised 9/25/05 - Page 118 134 CONTINUED: 134 EMILY You called a what? A what? DAVE Private Investigator -- to see if he could find anything out about your bus driver -- LISA Really? DAVE EMILY Yeah: So he -- Dave! DAVE Wait, let me tell you what he said! So he called this guy he knows who used to be a cop for the MTA. Did you know the MTA have their own police? The MTA police? They have their own uniforms... EMILY Yeah? Yeah? Yeah? DAVE EMILY And -- Just a minutel Jesus Christ! What do we give a fuck about the MTA police and their uniforms?! DAVE -- so this guy got someone to let him sneak a look at your guy's file. And it turns out he's had two previous accidents -- less than two years apart -- one of them on the job, one in his own car -- EMILY What? DAVE -- where there was some allegation that he was drinking, which was dropped, but, that he's never been cited or disciplined, just moved around to different shifts -- EMILY Are you fucking kidding me? LISA Why does this not shock me? DAVE Because Surprise Surprise his brother-in- law is a very big muckety-muck in the Transit Workers Union -- Pink Revised 9/25/05 - Page 119 134 CONTINUED: (2) 134 EMILY (i.e., "I get it.") O-Kay...l DAVE And if you read the paper, you'll know they're going through a protracted labor dispute at the MTA right now, and according to my PI, the management doesn't want to aggravate the situation by firing this guy. Especially since the police have concluded he was not at fault. LISA This is making me sick. DAVE I know, but what it means, Lisa, is that we have a case. LISA We do? DAVE What it means, in fact, is that we have a very good case, because we can sue for what's called "Negligent Retention." Which means they should have known the guy was a bad risk and was irresponsible and they negligently retained him until he finally killed somebody. EMILY And you can prove that? DAVE Sure, because we can subpoena their Personnel records, which we already know contain damaging information, because my investigator got a look at them beforehand. Which you're not-supposed to do, but we did it anyway. LISA YOU'RE AWESOMEL EMILY And that means... DAVE That means we're in great shape and I think we should go in there and sue their fuckin' asses off. EMILY But you wouldn't be our lawyer, right? Pink Revised 9/25/05 - Page 120 134 CONTINUED: (3) 134 DAVE No no. Oh no. LISA Why not? DAVE EMILY I'm not a personal injury It's not his area. litigator. I don't know enough about it. I would lose. EMILY But you could recommend someone? DAVE Sure. I know a guy who's very good. His name is Russel Deutsch. He's not a sleazebag. Very experienced. Let me give you his number... EMILY Dave, thank you so much. LISA Really. My God. DAVE But you gotta get that crazy cousin on board because she's gonna be your beneficiary. EMILY She's not gonna want to come to New York, I can tell you that right now. DAVE If you win she gets anywhere from three to five hundred thousand dollars. She's gonna come to New York. 135 EXT. MIDTOWN -- 6TH AVENUE. DAY. 135 Lisa and Emily walk up the busy avenue. LISA What's with Monica and her cousin? EMILY Oh, Monica's father left some money to Abigail's kids and he made Monica the executor of the estate, because he didn't want Abigail and her idiot husband to get their hands on the money before the kids were grown up. (MORE) Green Revised 10/7/05 - Page 121 135 CONTINUED: 135 EMILY (CONT'D) For which Abigail rewarded her by badgering her about it on the phone for fifteen years: Always trying to borrow money against the estate, accusing her of making lousy investments with it, nasty phone calls, nasty letters, every month for fifteen years until Abigail's daughter turned twenty-one and got married. Then Monica goes to the wedding, in fucking Arizona, and Abigail literally won't speak to her. She's a dream. LISA So that's who we're getting the money for? EMILY It's not who we're getting it for, it's who we're getting it from. 136 INT. DEUTSCH'S OFFICE. DAY. 136 Emily and Lisa sit with RUSSEL DEUTSCH, 50s. His law office is slightly smaller and less nice than Dave's. DEUTSCH First thing we do is we file a summons and a complaint against the MTA. They get .twenty days to respond, and when they do we can make our Discovery requests: Accident reports, personnel records, et cetera. But you gotta realize it's gonna take some time. The law says you have to get a court date within a year. Usually it takes about six. Depending. LISA Six years! DEUTSCH Depending, yes. EMILY Now, I mentioned to Dave I have a friend who writes for the Metro section of the Times... DEUTSCH Yes: Now this, if it could really happen, this changes everything in our favor. If they think there's gonna be adverse publicity, especially in The New York Times, they're gonna want to settle right away, soon as possible, and as quietly as POSSIBLE -- EMILY So they'd.make it a condition that 122 136 CONTINUED: 136 DEUTSCH It's usually done, you get the money but you can't talk about it. Nobody knows the terms. LISA So what good does that do? DEUTSCH You get the money. (Pause) is that bad? (Pause) I thought that's what we're all here for. (Pause) This is how our society punishes people for doing bad things. LISA By getting money from their employers' insurance. companies? DEUTSCH Yes. It's called Punitive Damages. Pause. LISA Could we insist they fire the driver? As part of the settlement? DEUTSCH Yes, sure, why not? LISA But is that something people do? DEUTSCH Sure. It's one of your conditions. EMILY Great. LISA And you think we're gonna win? They're gonna settle? DEUTSCH Oh they're gonna settle. LISA This is -- Emily and Lisa take hands and squeeze. 137 INT. COHEN APARTMENT -- LIVING ROOM. LATER THAT DAY. 137 JOAN is reading LISA's C average REPORT CARD and an accompanying letter. Lisa comes in and stops short. 123 137 CONTINUED: 137 JOAN I want to talk to you. LISA What'd I do now? 138 INT. EMILY'S APARTMENT -- FRONT DOOR. DAY. 138 Emily opens the front door for Joan and Lisa. JOAN Hi. I'm Joan. It's nice to meet you. EMILY Nice to meet you too. Come on in. - LISA (SARDONICALLY) Hi Emily. 139 INT. EMILY'S APARTMENT -- LIVING ROOM. DAY. 139 Emily, Joan and Lisa settle on the sofa and chairs. JOAN .I had a friend who used to live on this block, at 262...? EMILY Oh...? JOAN Yeah, I don't know if you know her. Cheryl Rowan? She's a physiotherapist? EMILY No, I don't know her. LISA I think about a thousand people must... JOAN What? LISA Nothing... EMILY Lisa says you're in a play, Joan? JOAN Oh -- Yeah... LISA You should go see it, it's really good. 124 139 CONTINUED: 139 JOAN Well, the play is great, and it's a really nice cast..-. LISA She's just being modest. She's gonna win every award in New York. JOAN Oh -- all that stuff's a long way off. EMILY I don't go to the theater very much. JOAN Well, it's just nice, because you can work a long time in the theater and play really good parts without getting a lot of recognition. And even though you don't necessarily do it for that as your primary motive, it is very nice when people do notice something you've done. EMILY Uh huh... JOAN I was on a television show a few years ago, and I had been doing theater all my life, and suddenly all my relatives started calling me up to congratulate me because they thought I finally Made It. And it was really just this dumb show that paid the bills for a while... LISA That show was so stupid. JOAN It wasn't that bad...! Anyway: I realize this is horribly embarrassing for Lisa, but I really wanted to meet you, Emily, because you've frankly become such a big part of Lisa's life, and I don't want to be intrusive, but this whole court case seems to be suddenly dominating everything and I can't get Lisa to tell me anything about it LISA That's not true...! JOAN Well, I can't...! And I want you to know, Lisa, that I'm very, very proud of you for pursuing this the way you have. (MORE) 125 139 CONTINUED: (2) 139 JOAN (CONT'D) But I can't let you pursue it to the point where it's taking over your life or interfering with your school work. (To EMILY) It's really come down to a question of homework. Lisa is on a half-scholarship at her school. And I know she feels a real sense of responsibility about what happened LISA Yeah, I do. JOAN I know you do. I know you do. But you can't not do your homework, and you can't throw away your scholarship because of it. LISA I'm not. My grades slipped a little. They'll get better. Anyone can do their homework. You just sit down and do it. I've been distracted. I'll stop. JOAN All right -- LISA We didn't need to have a big conference about it. JOAN (EMBARRASSED) It's not a big conference, I just want to know what's going on. And I wanted to meet Emily... (to EMILY) I know it's a little awkward! EMILY Don't apologize. If Lisa hasn't been keeping you apprised of what's been going on, I think she should. You should. LISA There's nothing to keep her apprised of., We're just waiting for them to schedule the Discovery conference. JOAN Now what is that? LISA Mom? It really doesn't matter. 126 139 CONTINUED: (3) 139 EMILY A Discovery conference is a meeting with the court where they sign an order. authorizing our lawyer to begin getting the personnel records, interviewing witnesses, talking to Monica's cousin... JOAN OK, now where does she fit in? EMILY She gets the money. 140 EXT. MIDTOWN HOTEL. DAY. 140 ABIGAIL BERWITZ, 40s, gets out the taxi as the driver comes around with her matching luggage. 141 INT. DEUTSCH'S OFFICE. DAY. 141 Abigail sits with Deutsch. DEUTSCH How would you describe the relationship overall? Did you talk on the phone a lot? Were there a lot of visits -- ABIGAIL I would say we talked on the phone a couple of times a month at least. Sometimes more than that...I would call her, she would call me... DEUTSCH And what were the nature of these conversations? ABIGAIL. Oh, family stuff, mostly. Her family, my kids... DEUTSCH And she would advise you about your family? That kind of thing? ABIGAIL Oh, I would say so, yes. DEUTSCH Would you have any phone records? Or -- ABIGAIL I have all my phone bills, if that's what you mean. I didn't record the actual conversations... 127 141 CONTINUED: 141 DEUTSCH No no -- ABIGAIL (PRODUCES BILLS) You'll see we talked on the phone quite frequently. DEUTSCH OK, that's terrific. I see you came prepared...1 ABIGAIL Well, I wanted to bring everything. DEUTSCH Now when they take your deposition you're gonna say the same thing you just told me. Talk about the relationship... ABIGAIL Uh huh? DEUTSCH Kind of advice she used to give you... ABIGAIL OK...? 142 INT. MIDTOWN RESTAURANT. DAY. 142 Emily, Lisa and Abigail sit over their lunch. Abigail is drinking a white wine. ABIGAIL Now, Emily, where did you find this lawyer? EMILY He was recommended by a friend. ABIGAIL I'm asking because my husband knows a real good New York lawyer, and I'm not entirely comfortable with someone that no one has ever heard of -- EMILY My friend's heard of him. He says he's very good.. ABIGAIL I'm sure he does. But I have a responsibility in this situation, and I would feel a whole lot more comfortable with somebody who didn't just drop in out of the clear blue sky... 2nd Green Revised 11/20/05 - Page 128 142 CONTINUED: 142 EMILY He didn't drop in out of the clear blue sky. He was recommended by my friend. But even if we switched lawyers we'd still have to pay him. But it all comes out of the settlement, so it's really up to you. ABIGAIL No, if you all think he's good... EMILY I don't know whether he is or not. My friend thinks he is. ABIGAIL All right. Now Lisa, what is your involvement in all this? What's your angle? LISA I just wanted to...I was just there. 143 INT. EMILY'S DINING ROOM. DAY. 143 Emily comes into the dining room with a cup of coffee. Lisa is standing over the table looking at some of Monica's photos and belongings which are spread out all over the table. Emily starts putting the pictures away in their envelopes. LISA Oh my God, is that you? EMILY That's me. LISA And that's you and Monica obviously. Oh my God. Is that her daughter? EMILY Uh huh. LISA God... So how old was she when she died? EMILY Twelve. LISA God. I can't even imagine. EMILY Neither could we. Emily sits down and starts sorting through pictures to put them in the box. Lisa sits down too. 2nd Green Revised 11/20/05 - Page 128aA 143 CONTINUED: 143 LISA You know Monica asked about her when she was dying? 2nd Green Revised 11/20/05 - Page 128A-129 143 CONTINUED: (2) 143 Emily looks up. EMILY No. I didn't. LISA Yeah. I think she was confused... like, I think she thought I was her daughter for a minute. And then she was asking me to call her, like to tell her what happened: You know, like she didn't remember she was dead. EMILY What do you mean? What did she say? LISA She just asked if somebody could call her daughter. But then it got confusing because I said, "Sure, what's her name?" And she said her name was Lisa. And I said, "No, that's my name." Because it took me a minute -- I didn't realize we had the same name... Emily does not respond. LISA (CONT'D) But I couldn't tell if what I was saying was registering with her. Emily does not respond. LISA (CONT'D) But then when I found out her daughter was dead, ever since then I keep having this really strong feeling that some way, for those last five minutes I kind of was her daughter. You know? Like maybe that's the reason I was there: Like in some weird way, this obviously amazing woman got to see her daughter again for a few minutes, right before she died. EMILY (VERY DRY) I see. And is she still inhabiting your body? Or did she go right back to the spirit world after it was over? LISA I didn't mean she ws literally inhabiting my body. I don't believe in all that stuff at all. EMILY I don't give a fuck what you believe in. 2nd Green Revised 11/20/05 - Page 129aA 143 CONTINUED: ( 3) 143 LISA Oh my God! Why are you so mad at me!? EMILY Because this is not an opera! LISA (FLUSHING) What? You think I think this is an opera? 2nd Green Revised 11/20/05 - Page 129A-130 143 CONTINUED: ( 4) 143 EMILY Yes! LISA You think I'm making this into a dramatic situation because I think it's dramatic?!? EMILY I think you're very young. LISA What does that have to do with anything? If anything I think it means I care more than someone who's older! Because this kind of thing has never happened to me before! EMILY No, it means you care more easily! There's a big difference! Except that it's not you it's happening to! LISA Yes it is! I know I'm not the one who was run over -- EMILY That's right, you weren't. And you're not the one who died of leukemia, and you're not the one who just died in an earthquake in -- Algeria! But you will be. Do you understand me? You will be. And it's not an opera and it's not dramatic -- LISA I'm well aware of that! EMILY And this first-blush phony deepness of yours is worth nothing. LISA Oh wow. EMILY Do you understand? It's not worth anything, because it'll be troweled over in a month or two. And then when you get older, and you don't have a big reaction every time a d gets run over, then, then we'll find out what kind of a person you are! But this is nothing! I'm sorry, but I didn't start this conversation and I don't play these games. 2nd Green Revised 11/20/05 - Page 131 143 CONTINUED: ( 5) 143 LISA (drawing herself up) I am not -- EMILY And don't look so outraged! Because I'm not saying anything very outrageous! I'm telling you to knock it off! You have every right to falsify your own life, but you have no right to falsify anyone else's. It's what makes people into Nazis! And I'm sorry, but it's a little suspicious that you're making such a fuss about this when you didn't know her, and you're having troubles with your own mother -- LISA Oh my God! EMILY But this is nm life we're talking about, much more than it is yours! Because it's my real friend who got killed, who I'm never going to see again, really! Whom I have known since I was nineteen years old myself. OK? And I don't want that sucked into some kind of adolescent self- dramatization! LISA I'm not fucking dramatizing anything! EMILY (not having it) OK -- LISA I was there, and you weren't! And if I happen to express myself a little hyperbolically, Emily, that's just the way I talk! I can't help it if my mother is an actress! Why are you being so fucking strident? EMILY Strident? LISA Yeah. EMILY OK. Um, you should leave. LISA Why? Because I called you strident? 132 143 CONTINUED: ( 6) 143 EMILY Yeah: Strident? You should leave. Thanks. I don't wanna be called strident and you're deliberately misunderstanding me! LISA No I'm not! You're insulting me enough as it is: You don't have to call me stupid too! EMILY Well I can't stop you doing this so I think you had better go. LISA OK! I will. EMILY NOW! LISA OK! Let me get my purse! Lisa grabs her purse and coat. Emily half-walks, half-drives her toward the door. LISA (CONT'D) Does this mean we're dropping the whole inquiry? EMILY It means you're leaving. I don't know what else it means. LISA All I meant by saying you were strident was that you were being emphatic! I obviously misused the word! EMILY Look it up when you get home. LISA Jesus Christ. You're amazing. EMILY Yeah. Uh huh. I'm amazing. LISA (bursts into tears) Why are you doing this... .! EMILY Lisa, I'm not doing anything! I'm a human being! Monica was a human being! So was her daughter! And so is your mother! (MORE) 2nd Green Revised 11/20/05 - Page 133 143 CONTINUED: ( 7) 143 EMILY (CONT' D) We are not supporting characters in the fascinating story of your life! LISA I never said or thought you were...! And I really didn't mean to call you strident! I totally misused the word! I wasn't trying to insult you, Emily, I really wasn't! I feel so bad about what happened and I'm trying so hard to do something about it! And I don't understand why if I say something wrong you can't just give me a break! I didn't mean I thought her daughter took over my body. I'm not an idiot. It was just this feeling I had because she was holding onto my hand so hard before she died, and because we had the same first name! EMILY OK... LISA But I'm not trying to dramatize anything, Emily. I really know about that trend, and I really don't think I've been doing that. EMILY OK. I believe you. And look up "strident." LISA I will. They kiss and make up, but it's still a little ugly. 143A INT. COHEN LIVING ROOM. NIGHT 143A Lisa, Joan and Curtis are watching Joan being interviewed on TV. We don't see the screen. JOAN I've been in the theater my whole life and nothing like this has ever happened to me... INTERVIEWER ON TV(O.C.) Now, any talk of the play becoming a film? JOAN ON TV (O.C.) Oh, I'm sure. But I would never get cast in that. I'm not a movie star. INTERVIEWER ON TV (O.C.) But you're a theater star... JOAN ON TV (O.C.) I don't know about that either... 2nd Green Revised 11/20/05 - Page 133A 143A CONTINUED: 143A INTERVIEWER ON TV (O.C.) You are! JOAN ON TV (O . C . ) (CHARMINGLY) I guess...! JOAN Oh God. Joan buries her face in her hands. Lisa watches scowling. 134 143B INT. COHEN KITCHEN. NIGHT. 143B Joan is serving Lisa and Curtis dinner. JOAN Lisa? Do you think Emily would like to come see the play? I thought you could both come and them maybe we could go out afterwards. LISA All right. Let me ask her. JOAN Dig in everybody... They start eating. LISA I was thinking about spending next year with Dad. JOAN (SHOCKED) Oh? LISA Yeah. You're all worried about my grades. They have really good public schools in Santa Monica, and if Iofficially lived with him, you wouldn't have to worry about my scholarship. JOAN Have you talked to him about this? LISA We've had some general discussions. JOAN (TO CURTIS) Do you want to go too? CURTIS (SURPRISED) Me? JOAN Yeah. Do you want to move to LA too? CURTIS No. JOAN Well, just let me know if you do. 135 143B CONTINUED: 143B LISA Why are you being like this? JOAN Why am I being like what? LISA Why are you about to start crying? JOAN Because it's your intention to make me start crying! LISA No it's not -- - JOAN You want to move to LA. Move to LA. LISA But why can't this even be mentioned without you taking it personally? I'm just introducing a possibility! JOAN OH! Joan upsets everything on the table and starts to go. She comes back and upsets more things on the table. JOAN Here's a possibility that you can make your own fucking dinner! Here's a possibility LISA that you can do whatever you Jesus Christ! want to do, because I don't What is with you? even care anymore, you heartless little fuckin' bitch! LISA Fine! Keep it up! It really makes me want to stay here! JOAN You think you're so fucking perfect!? She breaks something else and walks out. LISA No. CURTIS Good one. LISA Shut up. Green Revised 10/7/05 - Page 136 144 OMIT 144 145 INT. HISTORY CLASS. DAY. 145 On the blackboard Klein finishes writing: SHOULD TEENAGERS RULE THE WORLD? YES OR NO? KLEIN OK. Go ahead: Kirsten. Lionel: Put your drum away. Lionel stops drumming on his desk with his fingers. KIRSTEN I think that teenagers should definitely rule the world, because teenagers aren't corrupted by adult life yet, and they're idealists and they care. And I know a lot of people feel that teenagers are really naive, which they are, many of them. But they still haven't had a chance to get burned out by the disappointments and the harsh realities of learning how to play the game. So yes, I would vote yes. KLEIN All right: Lisa? LISA I would tend to agree with all of that, except I do think that teenagers don't always necessarily think things through very carefully, and they don't have enough experience to know what the right thing to do is all the time. I also think they tend to adhere to ideologies really easily without having actually bothered to think them through for themselves.-- LEWIS Such as what? LISA Such as what? Such as, gee, I don't know: the Hitler Youth? KLEIN OK... Hitler Youth. LISA Or what about all these teenage suicide bombers? Not that I want to get into the whole Palestinian thing again, but assuming you don't think suicide bombing is a good thing, wouldn't you say that's an example of being idealistic without using your critical faculties? (MORE) Green Revised 10/7/05 - Page 137 145 CONTINUED: 145 LISA (CONT'D) And maybe running the risk of having your youthful enthusiasm be co-opted by adults for purposes of their own that you might not even ultimately agree with? Angie's hand shoots up. So do several others. LEWIS OK, Angie? ANGIE Yeah, I don't want to get into the whole Palestinian thing again either, because I realize I'm completely outnumbered -- ANTHONY Not unlike the Palestinians themselves. ANGIE That's not really funny, Anthony. ANGIE (to LISA) KLEIN -- and I'm not even going to Segal: Cut the comedy. comment on the fact that you just compared a 19-year-old ANTHONY Palestinian to a member of I thought it was funny... the Hitler Youth, which I personally find so offensive LISA I don't even know where to That's right! Because start -- Oh, it's not because they both like to kill they've been occupied and Jews. humiliated and bombed out of their homes for the last KLEIN fifty years? Hey! Hey! Lisa! Hey! LEWIS LISA Come on, guys... Yes! That's partly why they like it! There's ANGIE still a million Pale- If anyone's acting like stinians who don't blow Nazis it's the Israeli up children on busses government! because they're so "frustrated!" LEWIS OK, OK! Monica? MONICA Well, I don't know if this is good or bad, but speaking of ideology, it's interesting that the suicide bombers -- just for example -- care enough about what they believe in to sacrifice their lives for it. WHEREAS 2nd Blue Revised 10/28/05 - Page 138 145 CONTINUED: (2) 145 ANGIE Yes. Yes! LISA I think it's fine if you want to sacrifice your life for what you believe in. I actually think that's really noble. It's a little different when you're willing to sacrifice someone else's life, you know? I personally don't think that's such a big ideological achievement! ANGIE Um, even if there's no other way to get you out of my country? LEWIS LISA Raise your hands! They haven't tried any other ways! It's not ANGIE like killing civilians Yes they have! They're is their last resort! trying it right now! It's their first resort! Because it's easy and they like it! ANGIE (CONT'D) Oh they like it? They're just bad people and they like it? LISA Yes! There are bad people in the world! I think they liked blowing up the World Trade Center! They kill their own sisters when they get raped! It's called barbarism! MONICA LISA Who kills their own sisters? It's practically all people do is kill each other! LIONEL If they didn't like it they You guys are not the only wouldn't do it! Period! ones in this class! KLEIN & LEWIS Hey! Silence. LEWIS If you ladies can't make your points without yelling or interrupting each other or raising your hands, I'd say it was a pretty good argument for "No." LISA Why, adults don't yell and interrupt each

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116A 132A CONTINUED: 132A RAMON You don't think I should be? JOAN I just feel kind of ignorant about your whole world... RAMON You think it would be better if we knew about all the same things? JOAN Not really, not exclusively. It's just unusual. Don't you think it's unusual? 2nd Pink Revised 11/17/05 - Page 117 132A CONTINUED: (2) 132A RAMON Not for me. JOAN I guess you travel a lot. I've only been out of the country a few times in my whole life. RAMON You should travel more. JOAN I know. I've always wanted to. It's hard when you're in the theater... RAMON Still, you should try. It's a big world. You're an artist. You should see more of it. JOAN I know. You don't have to keep saying that. I've always wanted to travel. It's just a little difficult with two kids and no husband, but it's hard to make a lot of money in the theater. I was on a TV show a few years back and I socked away some money because of that, but my ex-husband -- RAMON Karl. JOAN Karl, yes, you remembered, very good. Karl's very generous with the kids when he can be, but he's struggling too: He's a director: he directs commercials, and now he's trying to produce them... Anyway, I'm not ignorant because I enjoy it. RAMON I don't say you're ignorant... Do you think Lisa will be interested in acting? JOAN I don't think so. I think's she's got a lot of contempt for it. Of course that may be the age. RAMON She would prefer the world with no plays? No films? JOAN Oh... Who knows. 2nd Pink Revised 11/17/05 - Page 117A 132A CONTINUED: (3) 132A RAMON Would you like to see a picture of my mother? JOAN Sure. RAMON These are all my aunts and uncles...See? Big family... JOAN Mmm. She looks at him as he turns the pages. 133 EXT. MIDTOWN OFFICE BUILDING. DAY. 133 Lisa and Emily meet in front of Dave's office building. 134 INT. DAVE'S LAW FIRM - STAIRCASE/OFFICE. DAY. 134 Dave walks Lisa and Emily into his office. DAVE So after I talked to you guys I called this P.I. I know and I asked him to -- Pink Revised 9/25/05 - Page 118 134 CONTINUED: 134 EMILY You called a what? A what? DAVE Private Investigator -- to see if he could find anything out about your bus driver -- LISA Really? DAVE EMILY Yeah: So he -- Dave! DAVE Wait, let me tell you what he said! So he called this guy he knows who used to be a cop for the MTA. Did you know the MTA have their own police? The MTA police? They have their own uniforms... EMILY Yeah? Yeah? Yeah? DAVE EMILY And -- Just a minutel Jesus Christ! What do we give a fuck about the MTA police and their uniforms?! DAVE -- so this guy got someone to let him sneak a look at your guy's file. And it turns out he's had two previous accidents -- less than two years apart -- one of them on the job, one in his own car -- EMILY What? DAVE -- where there was some allegation that he was drinking, which was dropped, but, that he's never been cited or disciplined, just moved around to different shifts -- EMILY Are you fucking kidding me? LISA Why does this not shock me? DAVE Because Surprise Surprise his brother-in- law is a very big muckety-muck in the Transit Workers Union -- Pink Revised 9/25/05 - Page 119 134 CONTINUED: (2) 134 EMILY (i.e., "I get it.") O-Kay...l DAVE And if you read the paper, you'll know they're going through a protracted labor dispute at the MTA right now, and according to my PI, the management doesn't want to aggravate the situation by firing this guy. Especially since the police have concluded he was not at fault. LISA This is making me sick. DAVE I know, but what it means, Lisa, is that we have a case. LISA We do? DAVE What it means, in fact, is that we have a very good case, because we can sue for what's called "Negligent Retention." Which means they should have known the guy was a bad risk and was irresponsible and they negligently retained him until he finally killed somebody. EMILY And you can prove that? DAVE Sure, because we can subpoena their Personnel records, which we already know contain damaging information, because my investigator got a look at them beforehand. Which you're not-supposed to do, but we did it anyway. LISA YOU'RE AWESOMEL EMILY And that means... DAVE That means we're in great shape and I think we should go in there and sue their fuckin' asses off. EMILY But you wouldn't be our lawyer, right? Pink Revised 9/25/05 - Page 120 134 CONTINUED: (3) 134 DAVE No no. Oh no. LISA Why not? DAVE EMILY I'm not a personal injury It's not his area. litigator. I don't know enough about it. I would lose. EMILY But you could recommend someone? DAVE Sure. I know a guy who's very good. His name is Russel Deutsch. He's not a sleazebag. Very experienced. Let me give you his number... EMILY Dave, thank you so much. LISA Really. My God. DAVE But you gotta get that crazy cousin on board because she's gonna be your beneficiary. EMILY She's not gonna want to come to New York, I can tell you that right now. DAVE If you win she gets anywhere from three to five hundred thousand dollars. She's gonna come to New York. 135 EXT. MIDTOWN -- 6TH AVENUE. DAY. 135 Lisa and Emily walk up the busy avenue. LISA What's with Monica and her cousin? EMILY Oh, Monica's father left some money to Abigail's kids and he made Monica the executor of the estate, because he didn't want Abigail and her idiot husband to get their hands on the money before the kids were grown up. (MORE) Green Revised 10/7/05 - Page 121 135 CONTINUED: 135 EMILY (CONT'D) For which Abigail rewarded her by badgering her about it on the phone for fifteen years: Always trying to borrow money against the estate, accusing her of making lousy investments with it, nasty phone calls, nasty letters, every month for fifteen years until Abigail's daughter turned twenty-one and got married. Then Monica goes to the wedding, in fucking Arizona, and Abigail literally won't speak to her. She's a dream. LISA So that's who we're getting the money for? EMILY It's not who we're getting it for, it's who we're getting it from. 136 INT. DEUTSCH'S OFFICE. DAY. 136 Emily and Lisa sit with RUSSEL DEUTSCH, 50s. His law office is slightly smaller and less nice than Dave's. DEUTSCH First thing we do is we file a summons and a complaint against the MTA. They get .twenty days to respond, and when they do we can make our Discovery requests: Accident reports, personnel records, et cetera. But you gotta realize it's gonna take some time. The law says you have to get a court date within a year. Usually it takes about six. Depending. LISA Six years! DEUTSCH Depending, yes. EMILY Now, I mentioned to Dave I have a friend who writes for the Metro section of the Times... DEUTSCH Yes: Now this, if it could really happen, this changes everything in our favor. If they think there's gonna be adverse publicity, especially in The New York Times, they're gonna want to settle right away, soon as possible, and as quietly as POSSIBLE -- EMILY So they'd.make it a condition that 122 136 CONTINUED: 136 DEUTSCH It's usually done, you get the money but you can't talk about it. Nobody knows the terms. LISA So what good does that do? DEUTSCH You get the money. (Pause) is that bad? (Pause) I thought that's what we're all here for. (Pause) This is how our society punishes people for doing bad things. LISA By getting money from their employers' insurance. companies? DEUTSCH Yes. It's called Punitive Damages. Pause. LISA Could we insist they fire the driver? As part of the settlement? DEUTSCH Yes, sure, why not? LISA But is that something people do? DEUTSCH Sure. It's one of your conditions. EMILY Great. LISA And you think we're gonna win? They're gonna settle? DEUTSCH Oh they're gonna settle. LISA This is -- Emily and Lisa take hands and squeeze. 137 INT. COHEN APARTMENT -- LIVING ROOM. LATER THAT DAY. 137 JOAN is reading LISA's C average REPORT CARD and an accompanying letter. Lisa comes in and stops short. 123 137 CONTINUED: 137 JOAN I want to talk to you. LISA What'd I do now? 138 INT. EMILY'S APARTMENT -- FRONT DOOR. DAY. 138 Emily opens the front door for Joan and Lisa. JOAN Hi. I'm Joan. It's nice to meet you. EMILY Nice to meet you too. Come on in. - LISA (SARDONICALLY) Hi Emily. 139 INT. EMILY'S APARTMENT -- LIVING ROOM. DAY. 139 Emily, Joan and Lisa settle on the sofa and chairs. JOAN .I had a friend who used to live on this block, at 262...? EMILY Oh...? JOAN Yeah, I don't know if you know her. Cheryl Rowan? She's a physiotherapist? EMILY No, I don't know her. LISA I think about a thousand people must... JOAN What? LISA Nothing... EMILY Lisa says you're in a play, Joan? JOAN Oh -- Yeah... LISA You should go see it, it's really good. 124 139 CONTINUED: 139 JOAN Well, the play is great, and it's a really nice cast..-. LISA She's just being modest. She's gonna win every award in New York. JOAN Oh -- all that stuff's a long way off. EMILY I don't go to the theater very much. JOAN Well, it's just nice, because you can work a long time in the theater and play really good parts without getting a lot of recognition. And even though you don't necessarily do it for that as your primary motive, it is very nice when people do notice something you've done. EMILY Uh huh... JOAN I was on a television show a few years ago, and I had been doing theater all my life, and suddenly all my relatives started calling me up to congratulate me because they thought I finally Made It. And it was really just this dumb show that paid the bills for a while... LISA That show was so stupid. JOAN It wasn't that bad...! Anyway: I realize this is horribly embarrassing for Lisa, but I really wanted to meet you, Emily, because you've frankly become such a big part of Lisa's life, and I don't want to be intrusive, but this whole court case seems to be suddenly dominating everything and I can't get Lisa to tell me anything about it LISA That's not true...! JOAN Well, I can't...! And I want you to know, Lisa, that I'm very, very proud of you for pursuing this the way you have. (MORE) 125 139 CONTINUED: (2) 139 JOAN (CONT'D) But I can't let you pursue it to the point where it's taking over your life or interfering with your school work. (To EMILY) It's really come down to a question of homework. Lisa is on a half-scholarship at her school. And I know she feels a real sense of responsibility about what happened LISA Yeah, I do. JOAN I know you do. I know you do. But you can't not do your homework, and you can't throw away your scholarship because of it. LISA I'm not. My grades slipped a little. They'll get better. Anyone can do their homework. You just sit down and do it. I've been distracted. I'll stop. JOAN All right -- LISA We didn't need to have a big conference about it. JOAN (EMBARRASSED) It's not a big conference, I just want to know what's going on. And I wanted to meet Emily... (to EMILY) I know it's a little awkward! EMILY Don't apologize. If Lisa hasn't been keeping you apprised of what's been going on, I think she should. You should. LISA There's nothing to keep her apprised of., We're just waiting for them to schedule the Discovery conference. JOAN Now what is that? LISA Mom? It really doesn't matter. 126 139 CONTINUED: (3) 139 EMILY A Discovery conference is a meeting with the court where they sign an order. authorizing our lawyer to begin getting the personnel records, interviewing witnesses, talking to Monica's cousin... JOAN OK, now where does she fit in? EMILY She gets the money. 140 EXT. MIDTOWN HOTEL. DAY. 140 ABIGAIL BERWITZ, 40s, gets out the taxi as the driver comes around with her matching luggage. 141 INT. DEUTSCH'S OFFICE. DAY. 141 Abigail sits with Deutsch. DEUTSCH How would you describe the relationship overall? Did you talk on the phone a lot? Were there a lot of visits -- ABIGAIL I would say we talked on the phone a couple of times a month at least. Sometimes more than that...I would call her, she would call me... DEUTSCH And what were the nature of these conversations? ABIGAIL. Oh, family stuff, mostly. Her family, my kids... DEUTSCH And she would advise you about your family? That kind of thing? ABIGAIL Oh, I would say so, yes. DEUTSCH Would you have any phone records? Or -- ABIGAIL I have all my phone bills, if that's what you mean. I didn't record the actual conversations... 127 141 CONTINUED: 141 DEUTSCH No no -- ABIGAIL (PRODUCES BILLS) You'll see we talked on the phone quite frequently. DEUTSCH OK, that's terrific. I see you came prepared...1 ABIGAIL Well, I wanted to bring everything. DEUTSCH Now when they take your deposition you're gonna say the same thing you just told me. Talk about the relationship... ABIGAIL Uh huh? DEUTSCH Kind of advice she used to give you... ABIGAIL OK...? 142 INT. MIDTOWN RESTAURANT. DAY. 142 Emily, Lisa and Abigail sit over their lunch. Abigail is drinking a white wine. ABIGAIL Now, Emily, where did you find this lawyer? EMILY He was recommended by a friend. ABIGAIL I'm asking because my husband knows a real good New York lawyer, and I'm not entirely comfortable with someone that no one has ever heard of -- EMILY My friend's heard of him. He says he's very good.. ABIGAIL I'm sure he does. But I have a responsibility in this situation, and I would feel a whole lot more comfortable with somebody who didn't just drop in out of the clear blue sky... 2nd Green Revised 11/20/05 - Page 128 142 CONTINUED: 142 EMILY He didn't drop in out of the clear blue sky. He was recommended by my friend. But even if we switched lawyers we'd still have to pay him. But it all comes out of the settlement, so it's really up to you. ABIGAIL No, if you all think he's good... EMILY I don't know whether he is or not. My friend thinks he is. ABIGAIL All right. Now Lisa, what is your involvement in all this? What's your angle? LISA I just wanted to...I was just there. 143 INT. EMILY'S DINING ROOM. DAY. 143 Emily comes into the dining room with a cup of coffee. Lisa is standing over the table looking at some of Monica's photos and belongings which are spread out all over the table. Emily starts putting the pictures away in their envelopes. LISA Oh my God, is that you? EMILY That's me. LISA And that's you and Monica obviously. Oh my God. Is that her daughter? EMILY Uh huh. LISA God... So how old was she when she died? EMILY Twelve. LISA God. I can't even imagine. EMILY Neither could we. Emily sits down and starts sorting through pictures to put them in the box. Lisa sits down too. 2nd Green Revised 11/20/05 - Page 128aA 143 CONTINUED: 143 LISA You know Monica asked about her when she was dying? 2nd Green Revised 11/20/05 - Page 128A-129 143 CONTINUED: (2) 143 Emily looks up. EMILY No. I didn't. LISA Yeah. I think she was confused... like, I think she thought I was her daughter for a minute. And then she was asking me to call her, like to tell her what happened: You know, like she didn't remember she was dead. EMILY What do you mean? What did she say? LISA She just asked if somebody could call her daughter. But then it got confusing because I said, "Sure, what's her name?" And she said her name was Lisa. And I said, "No, that's my name." Because it took me a minute -- I didn't realize we had the same name... Emily does not respond. LISA (CONT'D) But I couldn't tell if what I was saying was registering with her. Emily does not respond. LISA (CONT'D) But then when I found out her daughter was dead, ever since then I keep having this really strong feeling that some way, for those last five minutes I kind of was her daughter. You know? Like maybe that's the reason I was there: Like in some weird way, this obviously amazing woman got to see her daughter again for a few minutes, right before she died. EMILY (VERY DRY) I see. And is she still inhabiting your body? Or did she go right back to the spirit world after it was over? LISA I didn't mean she ws literally inhabiting my body. I don't believe in all that stuff at all. EMILY I don't give a fuck what you believe in. 2nd Green Revised 11/20/05 - Page 129aA 143 CONTINUED: ( 3) 143 LISA Oh my God! Why are you so mad at me!? EMILY Because this is not an opera! LISA (FLUSHING) What? You think I think this is an opera? 2nd Green Revised 11/20/05 - Page 129A-130 143 CONTINUED: ( 4) 143 EMILY Yes! LISA You think I'm making this into a dramatic situation because I think it's dramatic?!? EMILY I think you're very young. LISA What does that have to do with anything? If anything I think it means I care more than someone who's older! Because this kind of thing has never happened to me before! EMILY No, it means you care more easily! There's a big difference! Except that it's not you it's happening to! LISA Yes it is! I know I'm not the one who was run over -- EMILY That's right, you weren't. And you're not the one who died of leukemia, and you're not the one who just died in an earthquake in -- Algeria! But you will be. Do you understand me? You will be. And it's not an opera and it's not dramatic -- LISA I'm well aware of that! EMILY And this first-blush phony deepness of yours is worth nothing. LISA Oh wow. EMILY Do you understand? It's not worth anything, because it'll be troweled over in a month or two. And then when you get older, and you don't have a big reaction every time a d gets run over, then, then we'll find out what kind of a person you are! But this is nothing! I'm sorry, but I didn't start this conversation and I don't play these games. 2nd Green Revised 11/20/05 - Page 131 143 CONTINUED: ( 5) 143 LISA (drawing herself up) I am not -- EMILY And don't look so outraged! Because I'm not saying anything very outrageous! I'm telling you to knock it off! You have every right to falsify your own life, but you have no right to falsify anyone else's. It's what makes people into Nazis! And I'm sorry, but it's a little suspicious that you're making such a fuss about this when you didn't know her, and you're having troubles with your own mother -- LISA Oh my God! EMILY But this is nm life we're talking about, much more than it is yours! Because it's my real friend who got killed, who I'm never going to see again, really! Whom I have known since I was nineteen years old myself. OK? And I don't want that sucked into some kind of adolescent self- dramatization! LISA I'm not fucking dramatizing anything! EMILY (not having it) OK -- LISA I was there, and you weren't! And if I happen to express myself a little hyperbolically, Emily, that's just the way I talk! I can't help it if my mother is an actress! Why are you being so fucking strident? EMILY Strident? LISA Yeah. EMILY OK. Um, you should leave. LISA Why? Because I called you strident? 132 143 CONTINUED: ( 6) 143 EMILY Yeah: Strident? You should leave. Thanks. I don't wanna be called strident and you're deliberately misunderstanding me! LISA No I'm not! You're insulting me enough as it is: You don't have to call me stupid too! EMILY Well I can't stop you doing this so I think you had better go. LISA OK! I will. EMILY NOW! LISA OK! Let me get my purse! Lisa grabs her purse and coat. Emily half-walks, half-drives her toward the door. LISA (CONT'D) Does this mean we're dropping the whole inquiry? EMILY It means you're leaving. I don't know what else it means. LISA All I meant by saying you were strident was that you were being emphatic! I obviously misused the word! EMILY Look it up when you get home. LISA Jesus Christ. You're amazing. EMILY Yeah. Uh huh. I'm amazing. LISA (bursts into tears) Why are you doing this... .! EMILY Lisa, I'm not doing anything! I'm a human being! Monica was a human being! So was her daughter! And so is your mother! (MORE) 2nd Green Revised 11/20/05 - Page 133 143 CONTINUED: ( 7) 143 EMILY (CONT' D) We are not supporting characters in the fascinating story of your life! LISA I never said or thought you were...! And I really didn't mean to call you strident! I totally misused the word! I wasn't trying to insult you, Emily, I really wasn't! I feel so bad about what happened and I'm trying so hard to do something about it! And I don't understand why if I say something wrong you can't just give me a break! I didn't mean I thought her daughter took over my body. I'm not an idiot. It was just this feeling I had because she was holding onto my hand so hard before she died, and because we had the same first name! EMILY OK... LISA But I'm not trying to dramatize anything, Emily. I really know about that trend, and I really don't think I've been doing that. EMILY OK. I believe you. And look up "strident." LISA I will. They kiss and make up, but it's still a little ugly. 143A INT. COHEN LIVING ROOM. NIGHT 143A Lisa, Joan and Curtis are watching Joan being interviewed on TV. We don't see the screen. JOAN I've been in the theater my whole life and nothing like this has ever happened to me... INTERVIEWER ON TV(O.C.) Now, any talk of the play becoming a film? JOAN ON TV (O.C.) Oh, I'm sure. But I would never get cast in that. I'm not a movie star. INTERVIEWER ON TV (O.C.) But you're a theater star... JOAN ON TV (O.C.) I don't know about that either... 2nd Green Revised 11/20/05 - Page 133A 143A CONTINUED: 143A INTERVIEWER ON TV (O.C.) You are! JOAN ON TV (O . C . ) (CHARMINGLY) I guess...! JOAN Oh God. Joan buries her face in her hands. Lisa watches scowling. 134 143B INT. COHEN KITCHEN. NIGHT. 143B Joan is serving Lisa and Curtis dinner. JOAN Lisa? Do you think Emily would like to come see the play? I thought you could both come and them maybe we could go out afterwards. LISA All right. Let me ask her. JOAN Dig in everybody... They start eating. LISA I was thinking about spending next year with Dad. JOAN (SHOCKED) Oh? LISA Yeah. You're all worried about my grades. They have really good public schools in Santa Monica, and if Iofficially lived with him, you wouldn't have to worry about my scholarship. JOAN Have you talked to him about this? LISA We've had some general discussions. JOAN (TO CURTIS) Do you want to go too? CURTIS (SURPRISED) Me? JOAN Yeah. Do you want to move to LA too? CURTIS No. JOAN Well, just let me know if you do. 135 143B CONTINUED: 143B LISA Why are you being like this? JOAN Why am I being like what? LISA Why are you about to start crying? JOAN Because it's your intention to make me start crying! LISA No it's not -- - JOAN You want to move to LA. Move to LA. LISA But why can't this even be mentioned without you taking it personally? I'm just introducing a possibility! JOAN OH! Joan upsets everything on the table and starts to go. She comes back and upsets more things on the table. JOAN Here's a possibility that you can make your own fucking dinner! Here's a possibility LISA that you can do whatever you Jesus Christ! want to do, because I don't What is with you? even care anymore, you heartless little fuckin' bitch! LISA Fine! Keep it up! It really makes me want to stay here! JOAN You think you're so fucking perfect!? She breaks something else and walks out. LISA No. CURTIS Good one. LISA Shut up. Green Revised 10/7/05 - Page 136 144 OMIT 144 145 INT. HISTORY CLASS. DAY. 145 On the blackboard Klein finishes writing: SHOULD TEENAGERS RULE THE WORLD? YES OR NO? KLEIN OK. Go ahead: Kirsten. Lionel: Put your drum away. Lionel stops drumming on his desk with his fingers. KIRSTEN I think that teenagers should definitely rule the world, because teenagers aren't corrupted by adult life yet, and they're idealists and they care. And I know a lot of people feel that teenagers are really naive, which they are, many of them. But they still haven't had a chance to get burned out by the disappointments and the harsh realities of learning how to play the game. So yes, I would vote yes. KLEIN All right: Lisa? LISA I would tend to agree with all of that, except I do think that teenagers don't always necessarily think things through very carefully, and they don't have enough experience to know what the right thing to do is all the time. I also think they tend to adhere to ideologies really easily without having actually bothered to think them through for themselves.-- LEWIS Such as what? LISA Such as what? Such as, gee, I don't know: the Hitler Youth? KLEIN OK... Hitler Youth. LISA Or what about all these teenage suicide bombers? Not that I want to get into the whole Palestinian thing again, but assuming you don't think suicide bombing is a good thing, wouldn't you say that's an example of being idealistic without using your critical faculties? (MORE) Green Revised 10/7/05 - Page 137 145 CONTINUED: 145 LISA (CONT'D) And maybe running the risk of having your youthful enthusiasm be co-opted by adults for purposes of their own that you might not even ultimately agree with? Angie's hand shoots up. So do several others. LEWIS OK, Angie? ANGIE Yeah, I don't want to get into the whole Palestinian thing again either, because I realize I'm completely outnumbered -- ANTHONY Not unlike the Palestinians themselves. ANGIE That's not really funny, Anthony. ANGIE (to LISA) KLEIN -- and I'm not even going to Segal: Cut the comedy. comment on the fact that you just compared a 19-year-old ANTHONY Palestinian to a member of I thought it was funny... the Hitler Youth, which I personally find so offensive LISA I don't even know where to That's right! Because start -- Oh, it's not because they both like to kill they've been occupied and Jews. humiliated and bombed out of their homes for the last KLEIN fifty years? Hey! Hey! Lisa! Hey! LEWIS LISA Come on, guys... Yes! That's partly why they like it! There's ANGIE still a million Pale- If anyone's acting like stinians who don't blow Nazis it's the Israeli up children on busses government! because they're so "frustrated!" LEWIS OK, OK! Monica? MONICA Well, I don't know if this is good or bad, but speaking of ideology, it's interesting that the suicide bombers -- just for example -- care enough about what they believe in to sacrifice their lives for it. WHEREAS 2nd Blue Revised 10/28/05 - Page 138 145 CONTINUED: (2) 145 ANGIE Yes. Yes! LISA I think it's fine if you want to sacrifice your life for what you believe in. I actually think that's really noble. It's a little different when you're willing to sacrifice someone else's life, you know? I personally don't think that's such a big ideological achievement! ANGIE Um, even if there's no other way to get you out of my country? LEWIS LISA Raise your hands! They haven't tried any other ways! It's not ANGIE like killing civilians Yes they have! They're is their last resort! trying it right now! It's their first resort! Because it's easy and they like it! ANGIE (CONT'D) Oh they like it? They're just bad people and they like it? LISA Yes! There are bad people in the world! I think they liked blowing up the World Trade Center! They kill their own sisters when they get raped! It's called barbarism! MONICA LISA Who kills their own sisters? It's practically all people do is kill each other! LIONEL If they didn't like it they You guys are not the only wouldn't do it! Period! ones in this class! KLEIN & LEWIS Hey! Silence. LEWIS If you ladies can't make your points without yelling or interrupting each other or raising your hands, I'd say it was a pretty good argument for "No." LISA Why, adults don't yell and interrupt each

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116A 132A CONTINUED: 132A RAMON You don't think I should be? JOAN I just feel kind of ignorant about your whole world... RAMON You think it would be better if we knew about all the same things? JOAN Not really, not exclusively. It's just unusual. Don't you think it's unusual? 2nd Pink Revised 11/17/05 - Page 117 132A CONTINUED: (2) 132A RAMON Not for me. JOAN I guess you travel a lot. I've only been out of the country a few times in my whole life. RAMON You should travel more. JOAN I know. I've always wanted to. It's hard when you're in the theater... RAMON Still, you should try. It's a big world. You're an artist. You should see more of it. JOAN I know. You don't have to keep saying that. I've always wanted to travel. It's just a little difficult with two kids and no husband, but it's hard to make a lot of money in the theater. I was on a TV show a few years back and I socked away some money because of that, but my ex-husband -- RAMON Karl. JOAN Karl, yes, you remembered, very good. Karl's very generous with the kids when he can be, but he's struggling too: He's a director: he directs commercials, and now he's trying to produce them... Anyway, I'm not ignorant because I enjoy it. RAMON I don't say you're ignorant... Do you think Lisa will be interested in acting? JOAN I don't think so. I think's she's got a lot of contempt for it. Of course that may be the age. RAMON She would prefer the world with no plays? No films? JOAN Oh... Who knows. 2nd Pink Revised 11/17/05 - Page 117A 132A CONTINUED: (3) 132A RAMON Would you like to see a picture of my mother? JOAN Sure. RAMON These are all my aunts and uncles...See? Big family... JOAN Mmm. She looks at him as he turns the pages. 133 EXT. MIDTOWN OFFICE BUILDING. DAY. 133 Lisa and Emily meet in front of Dave's office building. 134 INT. DAVE'S LAW FIRM - STAIRCASE/OFFICE. DAY. 134 Dave walks Lisa and Emily into his office. DAVE So after I talked to you guys I called this P.I. I know and I asked him to -- Pink Revised 9/25/05 - Page 118 134 CONTINUED: 134 EMILY You called a what? A what? DAVE Private Investigator -- to see if he could find anything out about your bus driver -- LISA Really? DAVE EMILY Yeah: So he -- Dave! DAVE Wait, let me tell you what he said! So he called this guy he knows who used to be a cop for the MTA. Did you know the MTA have their own police? The MTA police? They have their own uniforms... EMILY Yeah? Yeah? Yeah? DAVE EMILY And -- Just a minutel Jesus Christ! What do we give a fuck about the MTA police and their uniforms?! DAVE -- so this guy got someone to let him sneak a look at your guy's file. And it turns out he's had two previous accidents -- less than two years apart -- one of them on the job, one in his own car -- EMILY What? DAVE -- where there was some allegation that he was drinking, which was dropped, but, that he's never been cited or disciplined, just moved around to different shifts -- EMILY Are you fucking kidding me? LISA Why does this not shock me? DAVE Because Surprise Surprise his brother-in- law is a very big muckety-muck in the Transit Workers Union -- Pink Revised 9/25/05 - Page 119 134 CONTINUED: (2) 134 EMILY (i.e., "I get it.") O-Kay...l DAVE And if you read the paper, you'll know they're going through a protracted labor dispute at the MTA right now, and according to my PI, the management doesn't want to aggravate the situation by firing this guy. Especially since the police have concluded he was not at fault. LISA This is making me sick. DAVE I know, but what it means, Lisa, is that we have a case. LISA We do? DAVE What it means, in fact, is that we have a very good case, because we can sue for what's called "Negligent Retention." Which means they should have known the guy was a bad risk and was irresponsible and they negligently retained him until he finally killed somebody. EMILY And you can prove that? DAVE Sure, because we can subpoena their Personnel records, which we already know contain damaging information, because my investigator got a look at them beforehand. Which you're not-supposed to do, but we did it anyway. LISA YOU'RE AWESOMEL EMILY And that means... DAVE That means we're in great shape and I think we should go in there and sue their fuckin' asses off. EMILY But you wouldn't be our lawyer, right? Pink Revised 9/25/05 - Page 120 134 CONTINUED: (3) 134 DAVE No no. Oh no. LISA Why not? DAVE EMILY I'm not a personal injury It's not his area. litigator. I don't know enough about it. I would lose. EMILY But you could recommend someone? DAVE Sure. I know a guy who's very good. His name is Russel Deutsch. He's not a sleazebag. Very experienced. Let me give you his number... EMILY Dave, thank you so much. LISA Really. My God. DAVE But you gotta get that crazy cousin on board because she's gonna be your beneficiary. EMILY She's not gonna want to come to New York, I can tell you that right now. DAVE If you win she gets anywhere from three to five hundred thousand dollars. She's gonna come to New York. 135 EXT. MIDTOWN -- 6TH AVENUE. DAY. 135 Lisa and Emily walk up the busy avenue. LISA What's with Monica and her cousin? EMILY Oh, Monica's father left some money to Abigail's kids and he made Monica the executor of the estate, because he didn't want Abigail and her idiot husband to get their hands on the money before the kids were grown up. (MORE) Green Revised 10/7/05 - Page 121 135 CONTINUED: 135 EMILY (CONT'D) For which Abigail rewarded her by badgering her about it on the phone for fifteen years: Always trying to borrow money against the estate, accusing her of making lousy investments with it, nasty phone calls, nasty letters, every month for fifteen years until Abigail's daughter turned twenty-one and got married. Then Monica goes to the wedding, in fucking Arizona, and Abigail literally won't speak to her. She's a dream. LISA So that's who we're getting the money for? EMILY It's not who we're getting it for, it's who we're getting it from. 136 INT. DEUTSCH'S OFFICE. DAY. 136 Emily and Lisa sit with RUSSEL DEUTSCH, 50s. His law office is slightly smaller and less nice than Dave's. DEUTSCH First thing we do is we file a summons and a complaint against the MTA. They get .twenty days to respond, and when they do we can make our Discovery requests: Accident reports, personnel records, et cetera. But you gotta realize it's gonna take some time. The law says you have to get a court date within a year. Usually it takes about six. Depending. LISA Six years! DEUTSCH Depending, yes. EMILY Now, I mentioned to Dave I have a friend who writes for the Metro section of the Times... DEUTSCH Yes: Now this, if it could really happen, this changes everything in our favor. If they think there's gonna be adverse publicity, especially in The New York Times, they're gonna want to settle right away, soon as possible, and as quietly as POSSIBLE -- EMILY So they'd.make it a condition that 122 136 CONTINUED: 136 DEUTSCH It's usually done, you get the money but you can't talk about it. Nobody knows the terms. LISA So what good does that do? DEUTSCH You get the money. (Pause) is that bad? (Pause) I thought that's what we're all here for. (Pause) This is how our society punishes people for doing bad things. LISA By getting money from their employers' insurance. companies? DEUTSCH Yes. It's called Punitive Damages. Pause. LISA Could we insist they fire the driver? As part of the settlement? DEUTSCH Yes, sure, why not? LISA But is that something people do? DEUTSCH Sure. It's one of your conditions. EMILY Great. LISA And you think we're gonna win? They're gonna settle? DEUTSCH Oh they're gonna settle. LISA This is -- Emily and Lisa take hands and squeeze. 137 INT. COHEN APARTMENT -- LIVING ROOM. LATER THAT DAY. 137 JOAN is reading LISA's C average REPORT CARD and an accompanying letter. Lisa comes in and stops short. 123 137 CONTINUED: 137 JOAN I want to talk to you. LISA What'd I do now? 138 INT. EMILY'S APARTMENT -- FRONT DOOR. DAY. 138 Emily opens the front door for Joan and Lisa. JOAN Hi. I'm Joan. It's nice to meet you. EMILY Nice to meet you too. Come on in. - LISA (SARDONICALLY) Hi Emily. 139 INT. EMILY'S APARTMENT -- LIVING ROOM. DAY. 139 Emily, Joan and Lisa settle on the sofa and chairs. JOAN .I had a friend who used to live on this block, at 262...? EMILY Oh...? JOAN Yeah, I don't know if you know her. Cheryl Rowan? She's a physiotherapist? EMILY No, I don't know her. LISA I think about a thousand people must... JOAN What? LISA Nothing... EMILY Lisa says you're in a play, Joan? JOAN Oh -- Yeah... LISA You should go see it, it's really good. 124 139 CONTINUED: 139 JOAN Well, the play is great, and it's a really nice cast..-. LISA She's just being modest. She's gonna win every award in New York. JOAN Oh -- all that stuff's a long way off. EMILY I don't go to the theater very much. JOAN Well, it's just nice, because you can work a long time in the theater and play really good parts without getting a lot of recognition. And even though you don't necessarily do it for that as your primary motive, it is very nice when people do notice something you've done. EMILY Uh huh... JOAN I was on a television show a few years ago, and I had been doing theater all my life, and suddenly all my relatives started calling me up to congratulate me because they thought I finally Made It. And it was really just this dumb show that paid the bills for a while... LISA That show was so stupid. JOAN It wasn't that bad...! Anyway: I realize this is horribly embarrassing for Lisa, but I really wanted to meet you, Emily, because you've frankly become such a big part of Lisa's life, and I don't want to be intrusive, but this whole court case seems to be suddenly dominating everything and I can't get Lisa to tell me anything about it LISA That's not true...! JOAN Well, I can't...! And I want you to know, Lisa, that I'm very, very proud of you for pursuing this the way you have. (MORE) 125 139 CONTINUED: (2) 139 JOAN (CONT'D) But I can't let you pursue it to the point where it's taking over your life or interfering with your school work. (To EMILY) It's really come down to a question of homework. Lisa is on a half-scholarship at her school. And I know she feels a real sense of responsibility about what happened LISA Yeah, I do. JOAN I know you do. I know you do. But you can't not do your homework, and you can't throw away your scholarship because of it. LISA I'm not. My grades slipped a little. They'll get better. Anyone can do their homework. You just sit down and do it. I've been distracted. I'll stop. JOAN All right -- LISA We didn't need to have a big conference about it. JOAN (EMBARRASSED) It's not a big conference, I just want to know what's going on. And I wanted to meet Emily... (to EMILY) I know it's a little awkward! EMILY Don't apologize. If Lisa hasn't been keeping you apprised of what's been going on, I think she should. You should. LISA There's nothing to keep her apprised of., We're just waiting for them to schedule the Discovery conference. JOAN Now what is that? LISA Mom? It really doesn't matter. 126 139 CONTINUED: (3) 139 EMILY A Discovery conference is a meeting with the court where they sign an order. authorizing our lawyer to begin getting the personnel records, interviewing witnesses, talking to Monica's cousin... JOAN OK, now where does she fit in? EMILY She gets the money. 140 EXT. MIDTOWN HOTEL. DAY. 140 ABIGAIL BERWITZ, 40s, gets out the taxi as the driver comes around with her matching luggage. 141 INT. DEUTSCH'S OFFICE. DAY. 141 Abigail sits with Deutsch. DEUTSCH How would you describe the relationship overall? Did you talk on the phone a lot? Were there a lot of visits -- ABIGAIL I would say we talked on the phone a couple of times a month at least. Sometimes more than that...I would call her, she would call me... DEUTSCH And what were the nature of these conversations? ABIGAIL. Oh, family stuff, mostly. Her family, my kids... DEUTSCH And she would advise you about your family? That kind of thing? ABIGAIL Oh, I would say so, yes. DEUTSCH Would you have any phone records? Or -- ABIGAIL I have all my phone bills, if that's what you mean. I didn't record the actual conversations... 127 141 CONTINUED: 141 DEUTSCH No no -- ABIGAIL (PRODUCES BILLS) You'll see we talked on the phone quite frequently. DEUTSCH OK, that's terrific. I see you came prepared...1 ABIGAIL Well, I wanted to bring everything. DEUTSCH Now when they take your deposition you're gonna say the same thing you just told me. Talk about the relationship... ABIGAIL Uh huh? DEUTSCH Kind of advice she used to give you... ABIGAIL OK...? 142 INT. MIDTOWN RESTAURANT. DAY. 142 Emily, Lisa and Abigail sit over their lunch. Abigail is drinking a white wine. ABIGAIL Now, Emily, where did you find this lawyer? EMILY He was recommended by a friend. ABIGAIL I'm asking because my husband knows a real good New York lawyer, and I'm not entirely comfortable with someone that no one has ever heard of -- EMILY My friend's heard of him. He says he's very good.. ABIGAIL I'm sure he does. But I have a responsibility in this situation, and I would feel a whole lot more comfortable with somebody who didn't just drop in out of the clear blue sky... 2nd Green Revised 11/20/05 - Page 128 142 CONTINUED: 142 EMILY He didn't drop in out of the clear blue sky. He was recommended by my friend. But even if we switched lawyers we'd still have to pay him. But it all comes out of the settlement, so it's really up to you. ABIGAIL No, if you all think he's good... EMILY I don't know whether he is or not. My friend thinks he is. ABIGAIL All right. Now Lisa, what is your involvement in all this? What's your angle? LISA I just wanted to...I was just there. 143 INT. EMILY'S DINING ROOM. DAY. 143 Emily comes into the dining room with a cup of coffee. Lisa is standing over the table looking at some of Monica's photos and belongings which are spread out all over the table. Emily starts putting the pictures away in their envelopes. LISA Oh my God, is that you? EMILY That's me. LISA And that's you and Monica obviously. Oh my God. Is that her daughter? EMILY Uh huh. LISA God... So how old was she when she died? EMILY Twelve. LISA God. I can't even imagine. EMILY Neither could we. Emily sits down and starts sorting through pictures to put them in the box. Lisa sits down too. 2nd Green Revised 11/20/05 - Page 128aA 143 CONTINUED: 143 LISA You know Monica asked about her when she was dying? 2nd Green Revised 11/20/05 - Page 128A-129 143 CONTINUED: (2) 143 Emily looks up. EMILY No. I didn't. LISA Yeah. I think she was confused... like, I think she thought I was her daughter for a minute. And then she was asking me to call her, like to tell her what happened: You know, like she didn't remember she was dead. EMILY What do you mean? What did she say? LISA She just asked if somebody could call her daughter. But then it got confusing because I said, "Sure, what's her name?" And she said her name was Lisa. And I said, "No, that's my name." Because it took me a minute -- I didn't realize we had the same name... Emily does not respond. LISA (CONT'D) But I couldn't tell if what I was saying was registering with her. Emily does not respond. LISA (CONT'D) But then when I found out her daughter was dead, ever since then I keep having this really strong feeling that some way, for those last five minutes I kind of was her daughter. You know? Like maybe that's the reason I was there: Like in some weird way, this obviously amazing woman got to see her daughter again for a few minutes, right before she died. EMILY (VERY DRY) I see. And is she still inhabiting your body? Or did she go right back to the spirit world after it was over? LISA I didn't mean she ws literally inhabiting my body. I don't believe in all that stuff at all. EMILY I don't give a fuck what you believe in. 2nd Green Revised 11/20/05 - Page 129aA 143 CONTINUED: ( 3) 143 LISA Oh my God! Why are you so mad at me!? EMILY Because this is not an opera! LISA (FLUSHING) What? You think I think this is an opera? 2nd Green Revised 11/20/05 - Page 129A-130 143 CONTINUED: ( 4) 143 EMILY Yes! LISA You think I'm making this into a dramatic situation because I think it's dramatic?!? EMILY I think you're very young. LISA What does that have to do with anything? If anything I think it means I care more than someone who's older! Because this kind of thing has never happened to me before! EMILY No, it means you care more easily! There's a big difference! Except that it's not you it's happening to! LISA Yes it is! I know I'm not the one who was run over -- EMILY That's right, you weren't. And you're not the one who died of leukemia, and you're not the one who just died in an earthquake in -- Algeria! But you will be. Do you understand me? You will be. And it's not an opera and it's not dramatic -- LISA I'm well aware of that! EMILY And this first-blush phony deepness of yours is worth nothing. LISA Oh wow. EMILY Do you understand? It's not worth anything, because it'll be troweled over in a month or two. And then when you get older, and you don't have a big reaction every time a d gets run over, then, then we'll find out what kind of a person you are! But this is nothing! I'm sorry, but I didn't start this conversation and I don't play these games. 2nd Green Revised 11/20/05 - Page 131 143 CONTINUED: ( 5) 143 LISA (drawing herself up) I am not -- EMILY And don't look so outraged! Because I'm not saying anything very outrageous! I'm telling you to knock it off! You have every right to falsify your own life, but you have no right to falsify anyone else's. It's what makes people into Nazis! And I'm sorry, but it's a little suspicious that you're making such a fuss about this when you didn't know her, and you're having troubles with your own mother -- LISA Oh my God! EMILY But this is nm life we're talking about, much more than it is yours! Because it's my real friend who got killed, who I'm never going to see again, really! Whom I have known since I was nineteen years old myself. OK? And I don't want that sucked into some kind of adolescent self- dramatization! LISA I'm not fucking dramatizing anything! EMILY (not having it) OK -- LISA I was there, and you weren't! And if I happen to express myself a little hyperbolically, Emily, that's just the way I talk! I can't help it if my mother is an actress! Why are you being so fucking strident? EMILY Strident? LISA Yeah. EMILY OK. Um, you should leave. LISA Why? Because I called you strident? 132 143 CONTINUED: ( 6) 143 EMILY Yeah: Strident? You should leave. Thanks. I don't wanna be called strident and you're deliberately misunderstanding me! LISA No I'm not! You're insulting me enough as it is: You don't have to call me stupid too! EMILY Well I can't stop you doing this so I think you had better go. LISA OK! I will. EMILY NOW! LISA OK! Let me get my purse! Lisa grabs her purse and coat. Emily half-walks, half-drives her toward the door. LISA (CONT'D) Does this mean we're dropping the whole inquiry? EMILY It means you're leaving. I don't know what else it means. LISA All I meant by saying you were strident was that you were being emphatic! I obviously misused the word! EMILY Look it up when you get home. LISA Jesus Christ. You're amazing. EMILY Yeah. Uh huh. I'm amazing. LISA (bursts into tears) Why are you doing this... .! EMILY Lisa, I'm not doing anything! I'm a human being! Monica was a human being! So was her daughter! And so is your mother! (MORE) 2nd Green Revised 11/20/05 - Page 133 143 CONTINUED: ( 7) 143 EMILY (CONT' D) We are not supporting characters in the fascinating story of your life! LISA I never said or thought you were...! And I really didn't mean to call you strident! I totally misused the word! I wasn't trying to insult you, Emily, I really wasn't! I feel so bad about what happened and I'm trying so hard to do something about it! And I don't understand why if I say something wrong you can't just give me a break! I didn't mean I thought her daughter took over my body. I'm not an idiot. It was just this feeling I had because she was holding onto my hand so hard before she died, and because we had the same first name! EMILY OK... LISA But I'm not trying to dramatize anything, Emily. I really know about that trend, and I really don't think I've been doing that. EMILY OK. I believe you. And look up "strident." LISA I will. They kiss and make up, but it's still a little ugly. 143A INT. COHEN LIVING ROOM. NIGHT 143A Lisa, Joan and Curtis are watching Joan being interviewed on TV. We don't see the screen. JOAN I've been in the theater my whole life and nothing like this has ever happened to me... INTERVIEWER ON TV(O.C.) Now, any talk of the play becoming a film? JOAN ON TV (O.C.) Oh, I'm sure. But I would never get cast in that. I'm not a movie star. INTERVIEWER ON TV (O.C.) But you're a theater star... JOAN ON TV (O.C.) I don't know about that either... 2nd Green Revised 11/20/05 - Page 133A 143A CONTINUED: 143A INTERVIEWER ON TV (O.C.) You are! JOAN ON TV (O . C . ) (CHARMINGLY) I guess...! JOAN Oh God. Joan buries her face in her hands. Lisa watches scowling. 134 143B INT. COHEN KITCHEN. NIGHT. 143B Joan is serving Lisa and Curtis dinner. JOAN Lisa? Do you think Emily would like to come see the play? I thought you could both come and them maybe we could go out afterwards. LISA All right. Let me ask her. JOAN Dig in everybody... They start eating. LISA I was thinking about spending next year with Dad. JOAN (SHOCKED) Oh? LISA Yeah. You're all worried about my grades. They have really good public schools in Santa Monica, and if Iofficially lived with him, you wouldn't have to worry about my scholarship. JOAN Have you talked to him about this? LISA We've had some general discussions. JOAN (TO CURTIS) Do you want to go too? CURTIS (SURPRISED) Me? JOAN Yeah. Do you want to move to LA too? CURTIS No. JOAN Well, just let me know if you do. 135 143B CONTINUED: 143B LISA Why are you being like this? JOAN Why am I being like what? LISA Why are you about to start crying? JOAN Because it's your intention to make me start crying! LISA No it's not -- - JOAN You want to move to LA. Move to LA. LISA But why can't this even be mentioned without you taking it personally? I'm just introducing a possibility! JOAN OH! Joan upsets everything on the table and starts to go. She comes back and upsets more things on the table. JOAN Here's a possibility that you can make your own fucking dinner! Here's a possibility LISA that you can do whatever you Jesus Christ! want to do, because I don't What is with you? even care anymore, you heartless little fuckin' bitch! LISA Fine! Keep it up! It really makes me want to stay here! JOAN You think you're so fucking perfect!? She breaks something else and walks out. LISA No. CURTIS Good one. LISA Shut up. Green Revised 10/7/05 - Page 136 144 OMIT 144 145 INT. HISTORY CLASS. DAY. 145 On the blackboard Klein finishes writing: SHOULD TEENAGERS RULE THE WORLD? YES OR NO? KLEIN OK. Go ahead: Kirsten. Lionel: Put your drum away. Lionel stops drumming on his desk with his fingers. KIRSTEN I think that teenagers should definitely rule the world, because teenagers aren't corrupted by adult life yet, and they're idealists and they care. And I know a lot of people feel that teenagers are really naive, which they are, many of them. But they still haven't had a chance to get burned out by the disappointments and the harsh realities of learning how to play the game. So yes, I would vote yes. KLEIN All right: Lisa? LISA I would tend to agree with all of that, except I do think that teenagers don't always necessarily think things through very carefully, and they don't have enough experience to know what the right thing to do is all the time. I also think they tend to adhere to ideologies really easily without having actually bothered to think them through for themselves.-- LEWIS Such as what? LISA Such as what? Such as, gee, I don't know: the Hitler Youth? KLEIN OK... Hitler Youth. LISA Or what about all these teenage suicide bombers? Not that I want to get into the whole Palestinian thing again, but assuming you don't think suicide bombing is a good thing, wouldn't you say that's an example of being idealistic without using your critical faculties? (MORE) Green Revised 10/7/05 - Page 137 145 CONTINUED: 145 LISA (CONT'D) And maybe running the risk of having your youthful enthusiasm be co-opted by adults for purposes of their own that you might not even ultimately agree with? Angie's hand shoots up. So do several others. LEWIS OK, Angie? ANGIE Yeah, I don't want to get into the whole Palestinian thing again either, because I realize I'm completely outnumbered -- ANTHONY Not unlike the Palestinians themselves. ANGIE That's not really funny, Anthony. ANGIE (to LISA) KLEIN -- and I'm not even going to Segal: Cut the comedy. comment on the fact that you just compared a 19-year-old ANTHONY Palestinian to a member of I thought it was funny... the Hitler Youth, which I personally find so offensive LISA I don't even know where to That's right! Because start -- Oh, it's not because they both like to kill they've been occupied and Jews. humiliated and bombed out of their homes for the last KLEIN fifty years? Hey! Hey! Lisa! Hey! LEWIS LISA Come on, guys... Yes! That's partly why they like it! There's ANGIE still a million Pale- If anyone's acting like stinians who don't blow Nazis it's the Israeli up children on busses government! because they're so "frustrated!" LEWIS OK, OK! Monica? MONICA Well, I don't know if this is good or bad, but speaking of ideology, it's interesting that the suicide bombers -- just for example -- care enough about what they believe in to sacrifice their lives for it. WHEREAS 2nd Blue Revised 10/28/05 - Page 138 145 CONTINUED: (2) 145 ANGIE Yes. Yes! LISA I think it's fine if you want to sacrifice your life for what you believe in. I actually think that's really noble. It's a little different when you're willing to sacrifice someone else's life, you know? I personally don't think that's such a big ideological achievement! ANGIE Um, even if there's no other way to get you out of my country? LEWIS LISA Raise your hands! They haven't tried any other ways! It's not ANGIE like killing civilians Yes they have! They're is their last resort! trying it right now! It's their first resort! Because it's easy and they like it! ANGIE (CONT'D) Oh they like it? They're just bad people and they like it? LISA Yes! There are bad people in the world! I think they liked blowing up the World Trade Center! They kill their own sisters when they get raped! It's called barbarism! MONICA LISA Who kills their own sisters? It's practically all people do is kill each other! LIONEL If they didn't like it they You guys are not the only wouldn't do it! Period! ones in this class! KLEIN & LEWIS Hey! Silence. LEWIS If you ladies can't make your points without yelling or interrupting each other or raising your hands, I'd say it was a pretty good argument for "No." LISA Why, adults don't yell and interrupt each

in-

How many times the word 'in-' appears in the text?

116A 132A CONTINUED: 132A RAMON You don't think I should be? JOAN I just feel kind of ignorant about your whole world... RAMON You think it would be better if we knew about all the same things? JOAN Not really, not exclusively. It's just unusual. Don't you think it's unusual? 2nd Pink Revised 11/17/05 - Page 117 132A CONTINUED: (2) 132A RAMON Not for me. JOAN I guess you travel a lot. I've only been out of the country a few times in my whole life. RAMON You should travel more. JOAN I know. I've always wanted to. It's hard when you're in the theater... RAMON Still, you should try. It's a big world. You're an artist. You should see more of it. JOAN I know. You don't have to keep saying that. I've always wanted to travel. It's just a little difficult with two kids and no husband, but it's hard to make a lot of money in the theater. I was on a TV show a few years back and I socked away some money because of that, but my ex-husband -- RAMON Karl. JOAN Karl, yes, you remembered, very good. Karl's very generous with the kids when he can be, but he's struggling too: He's a director: he directs commercials, and now he's trying to produce them... Anyway, I'm not ignorant because I enjoy it. RAMON I don't say you're ignorant... Do you think Lisa will be interested in acting? JOAN I don't think so. I think's she's got a lot of contempt for it. Of course that may be the age. RAMON She would prefer the world with no plays? No films? JOAN Oh... Who knows. 2nd Pink Revised 11/17/05 - Page 117A 132A CONTINUED: (3) 132A RAMON Would you like to see a picture of my mother? JOAN Sure. RAMON These are all my aunts and uncles...See? Big family... JOAN Mmm. She looks at him as he turns the pages. 133 EXT. MIDTOWN OFFICE BUILDING. DAY. 133 Lisa and Emily meet in front of Dave's office building. 134 INT. DAVE'S LAW FIRM - STAIRCASE/OFFICE. DAY. 134 Dave walks Lisa and Emily into his office. DAVE So after I talked to you guys I called this P.I. I know and I asked him to -- Pink Revised 9/25/05 - Page 118 134 CONTINUED: 134 EMILY You called a what? A what? DAVE Private Investigator -- to see if he could find anything out about your bus driver -- LISA Really? DAVE EMILY Yeah: So he -- Dave! DAVE Wait, let me tell you what he said! So he called this guy he knows who used to be a cop for the MTA. Did you know the MTA have their own police? The MTA police? They have their own uniforms... EMILY Yeah? Yeah? Yeah? DAVE EMILY And -- Just a minutel Jesus Christ! What do we give a fuck about the MTA police and their uniforms?! DAVE -- so this guy got someone to let him sneak a look at your guy's file. And it turns out he's had two previous accidents -- less than two years apart -- one of them on the job, one in his own car -- EMILY What? DAVE -- where there was some allegation that he was drinking, which was dropped, but, that he's never been cited or disciplined, just moved around to different shifts -- EMILY Are you fucking kidding me? LISA Why does this not shock me? DAVE Because Surprise Surprise his brother-in- law is a very big muckety-muck in the Transit Workers Union -- Pink Revised 9/25/05 - Page 119 134 CONTINUED: (2) 134 EMILY (i.e., "I get it.") O-Kay...l DAVE And if you read the paper, you'll know they're going through a protracted labor dispute at the MTA right now, and according to my PI, the management doesn't want to aggravate the situation by firing this guy. Especially since the police have concluded he was not at fault. LISA This is making me sick. DAVE I know, but what it means, Lisa, is that we have a case. LISA We do? DAVE What it means, in fact, is that we have a very good case, because we can sue for what's called "Negligent Retention." Which means they should have known the guy was a bad risk and was irresponsible and they negligently retained him until he finally killed somebody. EMILY And you can prove that? DAVE Sure, because we can subpoena their Personnel records, which we already know contain damaging information, because my investigator got a look at them beforehand. Which you're not-supposed to do, but we did it anyway. LISA YOU'RE AWESOMEL EMILY And that means... DAVE That means we're in great shape and I think we should go in there and sue their fuckin' asses off. EMILY But you wouldn't be our lawyer, right? Pink Revised 9/25/05 - Page 120 134 CONTINUED: (3) 134 DAVE No no. Oh no. LISA Why not? DAVE EMILY I'm not a personal injury It's not his area. litigator. I don't know enough about it. I would lose. EMILY But you could recommend someone? DAVE Sure. I know a guy who's very good. His name is Russel Deutsch. He's not a sleazebag. Very experienced. Let me give you his number... EMILY Dave, thank you so much. LISA Really. My God. DAVE But you gotta get that crazy cousin on board because she's gonna be your beneficiary. EMILY She's not gonna want to come to New York, I can tell you that right now. DAVE If you win she gets anywhere from three to five hundred thousand dollars. She's gonna come to New York. 135 EXT. MIDTOWN -- 6TH AVENUE. DAY. 135 Lisa and Emily walk up the busy avenue. LISA What's with Monica and her cousin? EMILY Oh, Monica's father left some money to Abigail's kids and he made Monica the executor of the estate, because he didn't want Abigail and her idiot husband to get their hands on the money before the kids were grown up. (MORE) Green Revised 10/7/05 - Page 121 135 CONTINUED: 135 EMILY (CONT'D) For which Abigail rewarded her by badgering her about it on the phone for fifteen years: Always trying to borrow money against the estate, accusing her of making lousy investments with it, nasty phone calls, nasty letters, every month for fifteen years until Abigail's daughter turned twenty-one and got married. Then Monica goes to the wedding, in fucking Arizona, and Abigail literally won't speak to her. She's a dream. LISA So that's who we're getting the money for? EMILY It's not who we're getting it for, it's who we're getting it from. 136 INT. DEUTSCH'S OFFICE. DAY. 136 Emily and Lisa sit with RUSSEL DEUTSCH, 50s. His law office is slightly smaller and less nice than Dave's. DEUTSCH First thing we do is we file a summons and a complaint against the MTA. They get .twenty days to respond, and when they do we can make our Discovery requests: Accident reports, personnel records, et cetera. But you gotta realize it's gonna take some time. The law says you have to get a court date within a year. Usually it takes about six. Depending. LISA Six years! DEUTSCH Depending, yes. EMILY Now, I mentioned to Dave I have a friend who writes for the Metro section of the Times... DEUTSCH Yes: Now this, if it could really happen, this changes everything in our favor. If they think there's gonna be adverse publicity, especially in The New York Times, they're gonna want to settle right away, soon as possible, and as quietly as POSSIBLE -- EMILY So they'd.make it a condition that 122 136 CONTINUED: 136 DEUTSCH It's usually done, you get the money but you can't talk about it. Nobody knows the terms. LISA So what good does that do? DEUTSCH You get the money. (Pause) is that bad? (Pause) I thought that's what we're all here for. (Pause) This is how our society punishes people for doing bad things. LISA By getting money from their employers' insurance. companies? DEUTSCH Yes. It's called Punitive Damages. Pause. LISA Could we insist they fire the driver? As part of the settlement? DEUTSCH Yes, sure, why not? LISA But is that something people do? DEUTSCH Sure. It's one of your conditions. EMILY Great. LISA And you think we're gonna win? They're gonna settle? DEUTSCH Oh they're gonna settle. LISA This is -- Emily and Lisa take hands and squeeze. 137 INT. COHEN APARTMENT -- LIVING ROOM. LATER THAT DAY. 137 JOAN is reading LISA's C average REPORT CARD and an accompanying letter. Lisa comes in and stops short. 123 137 CONTINUED: 137 JOAN I want to talk to you. LISA What'd I do now? 138 INT. EMILY'S APARTMENT -- FRONT DOOR. DAY. 138 Emily opens the front door for Joan and Lisa. JOAN Hi. I'm Joan. It's nice to meet you. EMILY Nice to meet you too. Come on in. - LISA (SARDONICALLY) Hi Emily. 139 INT. EMILY'S APARTMENT -- LIVING ROOM. DAY. 139 Emily, Joan and Lisa settle on the sofa and chairs. JOAN .I had a friend who used to live on this block, at 262...? EMILY Oh...? JOAN Yeah, I don't know if you know her. Cheryl Rowan? She's a physiotherapist? EMILY No, I don't know her. LISA I think about a thousand people must... JOAN What? LISA Nothing... EMILY Lisa says you're in a play, Joan? JOAN Oh -- Yeah... LISA You should go see it, it's really good. 124 139 CONTINUED: 139 JOAN Well, the play is great, and it's a really nice cast..-. LISA She's just being modest. She's gonna win every award in New York. JOAN Oh -- all that stuff's a long way off. EMILY I don't go to the theater very much. JOAN Well, it's just nice, because you can work a long time in the theater and play really good parts without getting a lot of recognition. And even though you don't necessarily do it for that as your primary motive, it is very nice when people do notice something you've done. EMILY Uh huh... JOAN I was on a television show a few years ago, and I had been doing theater all my life, and suddenly all my relatives started calling me up to congratulate me because they thought I finally Made It. And it was really just this dumb show that paid the bills for a while... LISA That show was so stupid. JOAN It wasn't that bad...! Anyway: I realize this is horribly embarrassing for Lisa, but I really wanted to meet you, Emily, because you've frankly become such a big part of Lisa's life, and I don't want to be intrusive, but this whole court case seems to be suddenly dominating everything and I can't get Lisa to tell me anything about it LISA That's not true...! JOAN Well, I can't...! And I want you to know, Lisa, that I'm very, very proud of you for pursuing this the way you have. (MORE) 125 139 CONTINUED: (2) 139 JOAN (CONT'D) But I can't let you pursue it to the point where it's taking over your life or interfering with your school work. (To EMILY) It's really come down to a question of homework. Lisa is on a half-scholarship at her school. And I know she feels a real sense of responsibility about what happened LISA Yeah, I do. JOAN I know you do. I know you do. But you can't not do your homework, and you can't throw away your scholarship because of it. LISA I'm not. My grades slipped a little. They'll get better. Anyone can do their homework. You just sit down and do it. I've been distracted. I'll stop. JOAN All right -- LISA We didn't need to have a big conference about it. JOAN (EMBARRASSED) It's not a big conference, I just want to know what's going on. And I wanted to meet Emily... (to EMILY) I know it's a little awkward! EMILY Don't apologize. If Lisa hasn't been keeping you apprised of what's been going on, I think she should. You should. LISA There's nothing to keep her apprised of., We're just waiting for them to schedule the Discovery conference. JOAN Now what is that? LISA Mom? It really doesn't matter. 126 139 CONTINUED: (3) 139 EMILY A Discovery conference is a meeting with the court where they sign an order. authorizing our lawyer to begin getting the personnel records, interviewing witnesses, talking to Monica's cousin... JOAN OK, now where does she fit in? EMILY She gets the money. 140 EXT. MIDTOWN HOTEL. DAY. 140 ABIGAIL BERWITZ, 40s, gets out the taxi as the driver comes around with her matching luggage. 141 INT. DEUTSCH'S OFFICE. DAY. 141 Abigail sits with Deutsch. DEUTSCH How would you describe the relationship overall? Did you talk on the phone a lot? Were there a lot of visits -- ABIGAIL I would say we talked on the phone a couple of times a month at least. Sometimes more than that...I would call her, she would call me... DEUTSCH And what were the nature of these conversations? ABIGAIL. Oh, family stuff, mostly. Her family, my kids... DEUTSCH And she would advise you about your family? That kind of thing? ABIGAIL Oh, I would say so, yes. DEUTSCH Would you have any phone records? Or -- ABIGAIL I have all my phone bills, if that's what you mean. I didn't record the actual conversations... 127 141 CONTINUED: 141 DEUTSCH No no -- ABIGAIL (PRODUCES BILLS) You'll see we talked on the phone quite frequently. DEUTSCH OK, that's terrific. I see you came prepared...1 ABIGAIL Well, I wanted to bring everything. DEUTSCH Now when they take your deposition you're gonna say the same thing you just told me. Talk about the relationship... ABIGAIL Uh huh? DEUTSCH Kind of advice she used to give you... ABIGAIL OK...? 142 INT. MIDTOWN RESTAURANT. DAY. 142 Emily, Lisa and Abigail sit over their lunch. Abigail is drinking a white wine. ABIGAIL Now, Emily, where did you find this lawyer? EMILY He was recommended by a friend. ABIGAIL I'm asking because my husband knows a real good New York lawyer, and I'm not entirely comfortable with someone that no one has ever heard of -- EMILY My friend's heard of him. He says he's very good.. ABIGAIL I'm sure he does. But I have a responsibility in this situation, and I would feel a whole lot more comfortable with somebody who didn't just drop in out of the clear blue sky... 2nd Green Revised 11/20/05 - Page 128 142 CONTINUED: 142 EMILY He didn't drop in out of the clear blue sky. He was recommended by my friend. But even if we switched lawyers we'd still have to pay him. But it all comes out of the settlement, so it's really up to you. ABIGAIL No, if you all think he's good... EMILY I don't know whether he is or not. My friend thinks he is. ABIGAIL All right. Now Lisa, what is your involvement in all this? What's your angle? LISA I just wanted to...I was just there. 143 INT. EMILY'S DINING ROOM. DAY. 143 Emily comes into the dining room with a cup of coffee. Lisa is standing over the table looking at some of Monica's photos and belongings which are spread out all over the table. Emily starts putting the pictures away in their envelopes. LISA Oh my God, is that you? EMILY That's me. LISA And that's you and Monica obviously. Oh my God. Is that her daughter? EMILY Uh huh. LISA God... So how old was she when she died? EMILY Twelve. LISA God. I can't even imagine. EMILY Neither could we. Emily sits down and starts sorting through pictures to put them in the box. Lisa sits down too. 2nd Green Revised 11/20/05 - Page 128aA 143 CONTINUED: 143 LISA You know Monica asked about her when she was dying? 2nd Green Revised 11/20/05 - Page 128A-129 143 CONTINUED: (2) 143 Emily looks up. EMILY No. I didn't. LISA Yeah. I think she was confused... like, I think she thought I was her daughter for a minute. And then she was asking me to call her, like to tell her what happened: You know, like she didn't remember she was dead. EMILY What do you mean? What did she say? LISA She just asked if somebody could call her daughter. But then it got confusing because I said, "Sure, what's her name?" And she said her name was Lisa. And I said, "No, that's my name." Because it took me a minute -- I didn't realize we had the same name... Emily does not respond. LISA (CONT'D) But I couldn't tell if what I was saying was registering with her. Emily does not respond. LISA (CONT'D) But then when I found out her daughter was dead, ever since then I keep having this really strong feeling that some way, for those last five minutes I kind of was her daughter. You know? Like maybe that's the reason I was there: Like in some weird way, this obviously amazing woman got to see her daughter again for a few minutes, right before she died. EMILY (VERY DRY) I see. And is she still inhabiting your body? Or did she go right back to the spirit world after it was over? LISA I didn't mean she ws literally inhabiting my body. I don't believe in all that stuff at all. EMILY I don't give a fuck what you believe in. 2nd Green Revised 11/20/05 - Page 129aA 143 CONTINUED: ( 3) 143 LISA Oh my God! Why are you so mad at me!? EMILY Because this is not an opera! LISA (FLUSHING) What? You think I think this is an opera? 2nd Green Revised 11/20/05 - Page 129A-130 143 CONTINUED: ( 4) 143 EMILY Yes! LISA You think I'm making this into a dramatic situation because I think it's dramatic?!? EMILY I think you're very young. LISA What does that have to do with anything? If anything I think it means I care more than someone who's older! Because this kind of thing has never happened to me before! EMILY No, it means you care more easily! There's a big difference! Except that it's not you it's happening to! LISA Yes it is! I know I'm not the one who was run over -- EMILY That's right, you weren't. And you're not the one who died of leukemia, and you're not the one who just died in an earthquake in -- Algeria! But you will be. Do you understand me? You will be. And it's not an opera and it's not dramatic -- LISA I'm well aware of that! EMILY And this first-blush phony deepness of yours is worth nothing. LISA Oh wow. EMILY Do you understand? It's not worth anything, because it'll be troweled over in a month or two. And then when you get older, and you don't have a big reaction every time a d gets run over, then, then we'll find out what kind of a person you are! But this is nothing! I'm sorry, but I didn't start this conversation and I don't play these games. 2nd Green Revised 11/20/05 - Page 131 143 CONTINUED: ( 5) 143 LISA (drawing herself up) I am not -- EMILY And don't look so outraged! Because I'm not saying anything very outrageous! I'm telling you to knock it off! You have every right to falsify your own life, but you have no right to falsify anyone else's. It's what makes people into Nazis! And I'm sorry, but it's a little suspicious that you're making such a fuss about this when you didn't know her, and you're having troubles with your own mother -- LISA Oh my God! EMILY But this is nm life we're talking about, much more than it is yours! Because it's my real friend who got killed, who I'm never going to see again, really! Whom I have known since I was nineteen years old myself. OK? And I don't want that sucked into some kind of adolescent self- dramatization! LISA I'm not fucking dramatizing anything! EMILY (not having it) OK -- LISA I was there, and you weren't! And if I happen to express myself a little hyperbolically, Emily, that's just the way I talk! I can't help it if my mother is an actress! Why are you being so fucking strident? EMILY Strident? LISA Yeah. EMILY OK. Um, you should leave. LISA Why? Because I called you strident? 132 143 CONTINUED: ( 6) 143 EMILY Yeah: Strident? You should leave. Thanks. I don't wanna be called strident and you're deliberately misunderstanding me! LISA No I'm not! You're insulting me enough as it is: You don't have to call me stupid too! EMILY Well I can't stop you doing this so I think you had better go. LISA OK! I will. EMILY NOW! LISA OK! Let me get my purse! Lisa grabs her purse and coat. Emily half-walks, half-drives her toward the door. LISA (CONT'D) Does this mean we're dropping the whole inquiry? EMILY It means you're leaving. I don't know what else it means. LISA All I meant by saying you were strident was that you were being emphatic! I obviously misused the word! EMILY Look it up when you get home. LISA Jesus Christ. You're amazing. EMILY Yeah. Uh huh. I'm amazing. LISA (bursts into tears) Why are you doing this... .! EMILY Lisa, I'm not doing anything! I'm a human being! Monica was a human being! So was her daughter! And so is your mother! (MORE) 2nd Green Revised 11/20/05 - Page 133 143 CONTINUED: ( 7) 143 EMILY (CONT' D) We are not supporting characters in the fascinating story of your life! LISA I never said or thought you were...! And I really didn't mean to call you strident! I totally misused the word! I wasn't trying to insult you, Emily, I really wasn't! I feel so bad about what happened and I'm trying so hard to do something about it! And I don't understand why if I say something wrong you can't just give me a break! I didn't mean I thought her daughter took over my body. I'm not an idiot. It was just this feeling I had because she was holding onto my hand so hard before she died, and because we had the same first name! EMILY OK... LISA But I'm not trying to dramatize anything, Emily. I really know about that trend, and I really don't think I've been doing that. EMILY OK. I believe you. And look up "strident." LISA I will. They kiss and make up, but it's still a little ugly. 143A INT. COHEN LIVING ROOM. NIGHT 143A Lisa, Joan and Curtis are watching Joan being interviewed on TV. We don't see the screen. JOAN I've been in the theater my whole life and nothing like this has ever happened to me... INTERVIEWER ON TV(O.C.) Now, any talk of the play becoming a film? JOAN ON TV (O.C.) Oh, I'm sure. But I would never get cast in that. I'm not a movie star. INTERVIEWER ON TV (O.C.) But you're a theater star... JOAN ON TV (O.C.) I don't know about that either... 2nd Green Revised 11/20/05 - Page 133A 143A CONTINUED: 143A INTERVIEWER ON TV (O.C.) You are! JOAN ON TV (O . C . ) (CHARMINGLY) I guess...! JOAN Oh God. Joan buries her face in her hands. Lisa watches scowling. 134 143B INT. COHEN KITCHEN. NIGHT. 143B Joan is serving Lisa and Curtis dinner. JOAN Lisa? Do you think Emily would like to come see the play? I thought you could both come and them maybe we could go out afterwards. LISA All right. Let me ask her. JOAN Dig in everybody... They start eating. LISA I was thinking about spending next year with Dad. JOAN (SHOCKED) Oh? LISA Yeah. You're all worried about my grades. They have really good public schools in Santa Monica, and if Iofficially lived with him, you wouldn't have to worry about my scholarship. JOAN Have you talked to him about this? LISA We've had some general discussions. JOAN (TO CURTIS) Do you want to go too? CURTIS (SURPRISED) Me? JOAN Yeah. Do you want to move to LA too? CURTIS No. JOAN Well, just let me know if you do. 135 143B CONTINUED: 143B LISA Why are you being like this? JOAN Why am I being like what? LISA Why are you about to start crying? JOAN Because it's your intention to make me start crying! LISA No it's not -- - JOAN You want to move to LA. Move to LA. LISA But why can't this even be mentioned without you taking it personally? I'm just introducing a possibility! JOAN OH! Joan upsets everything on the table and starts to go. She comes back and upsets more things on the table. JOAN Here's a possibility that you can make your own fucking dinner! Here's a possibility LISA that you can do whatever you Jesus Christ! want to do, because I don't What is with you? even care anymore, you heartless little fuckin' bitch! LISA Fine! Keep it up! It really makes me want to stay here! JOAN You think you're so fucking perfect!? She breaks something else and walks out. LISA No. CURTIS Good one. LISA Shut up. Green Revised 10/7/05 - Page 136 144 OMIT 144 145 INT. HISTORY CLASS. DAY. 145 On the blackboard Klein finishes writing: SHOULD TEENAGERS RULE THE WORLD? YES OR NO? KLEIN OK. Go ahead: Kirsten. Lionel: Put your drum away. Lionel stops drumming on his desk with his fingers. KIRSTEN I think that teenagers should definitely rule the world, because teenagers aren't corrupted by adult life yet, and they're idealists and they care. And I know a lot of people feel that teenagers are really naive, which they are, many of them. But they still haven't had a chance to get burned out by the disappointments and the harsh realities of learning how to play the game. So yes, I would vote yes. KLEIN All right: Lisa? LISA I would tend to agree with all of that, except I do think that teenagers don't always necessarily think things through very carefully, and they don't have enough experience to know what the right thing to do is all the time. I also think they tend to adhere to ideologies really easily without having actually bothered to think them through for themselves.-- LEWIS Such as what? LISA Such as what? Such as, gee, I don't know: the Hitler Youth? KLEIN OK... Hitler Youth. LISA Or what about all these teenage suicide bombers? Not that I want to get into the whole Palestinian thing again, but assuming you don't think suicide bombing is a good thing, wouldn't you say that's an example of being idealistic without using your critical faculties? (MORE) Green Revised 10/7/05 - Page 137 145 CONTINUED: 145 LISA (CONT'D) And maybe running the risk of having your youthful enthusiasm be co-opted by adults for purposes of their own that you might not even ultimately agree with? Angie's hand shoots up. So do several others. LEWIS OK, Angie? ANGIE Yeah, I don't want to get into the whole Palestinian thing again either, because I realize I'm completely outnumbered -- ANTHONY Not unlike the Palestinians themselves. ANGIE That's not really funny, Anthony. ANGIE (to LISA) KLEIN -- and I'm not even going to Segal: Cut the comedy. comment on the fact that you just compared a 19-year-old ANTHONY Palestinian to a member of I thought it was funny... the Hitler Youth, which I personally find so offensive LISA I don't even know where to That's right! Because start -- Oh, it's not because they both like to kill they've been occupied and Jews. humiliated and bombed out of their homes for the last KLEIN fifty years? Hey! Hey! Lisa! Hey! LEWIS LISA Come on, guys... Yes! That's partly why they like it! There's ANGIE still a million Pale- If anyone's acting like stinians who don't blow Nazis it's the Israeli up children on busses government! because they're so "frustrated!" LEWIS OK, OK! Monica? MONICA Well, I don't know if this is good or bad, but speaking of ideology, it's interesting that the suicide bombers -- just for example -- care enough about what they believe in to sacrifice their lives for it. WHEREAS 2nd Blue Revised 10/28/05 - Page 138 145 CONTINUED: (2) 145 ANGIE Yes. Yes! LISA I think it's fine if you want to sacrifice your life for what you believe in. I actually think that's really noble. It's a little different when you're willing to sacrifice someone else's life, you know? I personally don't think that's such a big ideological achievement! ANGIE Um, even if there's no other way to get you out of my country? LEWIS LISA Raise your hands! They haven't tried any other ways! It's not ANGIE like killing civilians Yes they have! They're is their last resort! trying it right now! It's their first resort! Because it's easy and they like it! ANGIE (CONT'D) Oh they like it? They're just bad people and they like it? LISA Yes! There are bad people in the world! I think they liked blowing up the World Trade Center! They kill their own sisters when they get raped! It's called barbarism! MONICA LISA Who kills their own sisters? It's practically all people do is kill each other! LIONEL If they didn't like it they You guys are not the only wouldn't do it! Period! ones in this class! KLEIN & LEWIS Hey! Silence. LEWIS If you ladies can't make your points without yelling or interrupting each other or raising your hands, I'd say it was a pretty good argument for "No." LISA Why, adults don't yell and interrupt each

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116A 132A CONTINUED: 132A RAMON You don't think I should be? JOAN I just feel kind of ignorant about your whole world... RAMON You think it would be better if we knew about all the same things? JOAN Not really, not exclusively. It's just unusual. Don't you think it's unusual? 2nd Pink Revised 11/17/05 - Page 117 132A CONTINUED: (2) 132A RAMON Not for me. JOAN I guess you travel a lot. I've only been out of the country a few times in my whole life. RAMON You should travel more. JOAN I know. I've always wanted to. It's hard when you're in the theater... RAMON Still, you should try. It's a big world. You're an artist. You should see more of it. JOAN I know. You don't have to keep saying that. I've always wanted to travel. It's just a little difficult with two kids and no husband, but it's hard to make a lot of money in the theater. I was on a TV show a few years back and I socked away some money because of that, but my ex-husband -- RAMON Karl. JOAN Karl, yes, you remembered, very good. Karl's very generous with the kids when he can be, but he's struggling too: He's a director: he directs commercials, and now he's trying to produce them... Anyway, I'm not ignorant because I enjoy it. RAMON I don't say you're ignorant... Do you think Lisa will be interested in acting? JOAN I don't think so. I think's she's got a lot of contempt for it. Of course that may be the age. RAMON She would prefer the world with no plays? No films? JOAN Oh... Who knows. 2nd Pink Revised 11/17/05 - Page 117A 132A CONTINUED: (3) 132A RAMON Would you like to see a picture of my mother? JOAN Sure. RAMON These are all my aunts and uncles...See? Big family... JOAN Mmm. She looks at him as he turns the pages. 133 EXT. MIDTOWN OFFICE BUILDING. DAY. 133 Lisa and Emily meet in front of Dave's office building. 134 INT. DAVE'S LAW FIRM - STAIRCASE/OFFICE. DAY. 134 Dave walks Lisa and Emily into his office. DAVE So after I talked to you guys I called this P.I. I know and I asked him to -- Pink Revised 9/25/05 - Page 118 134 CONTINUED: 134 EMILY You called a what? A what? DAVE Private Investigator -- to see if he could find anything out about your bus driver -- LISA Really? DAVE EMILY Yeah: So he -- Dave! DAVE Wait, let me tell you what he said! So he called this guy he knows who used to be a cop for the MTA. Did you know the MTA have their own police? The MTA police? They have their own uniforms... EMILY Yeah? Yeah? Yeah? DAVE EMILY And -- Just a minutel Jesus Christ! What do we give a fuck about the MTA police and their uniforms?! DAVE -- so this guy got someone to let him sneak a look at your guy's file. And it turns out he's had two previous accidents -- less than two years apart -- one of them on the job, one in his own car -- EMILY What? DAVE -- where there was some allegation that he was drinking, which was dropped, but, that he's never been cited or disciplined, just moved around to different shifts -- EMILY Are you fucking kidding me? LISA Why does this not shock me? DAVE Because Surprise Surprise his brother-in- law is a very big muckety-muck in the Transit Workers Union -- Pink Revised 9/25/05 - Page 119 134 CONTINUED: (2) 134 EMILY (i.e., "I get it.") O-Kay...l DAVE And if you read the paper, you'll know they're going through a protracted labor dispute at the MTA right now, and according to my PI, the management doesn't want to aggravate the situation by firing this guy. Especially since the police have concluded he was not at fault. LISA This is making me sick. DAVE I know, but what it means, Lisa, is that we have a case. LISA We do? DAVE What it means, in fact, is that we have a very good case, because we can sue for what's called "Negligent Retention." Which means they should have known the guy was a bad risk and was irresponsible and they negligently retained him until he finally killed somebody. EMILY And you can prove that? DAVE Sure, because we can subpoena their Personnel records, which we already know contain damaging information, because my investigator got a look at them beforehand. Which you're not-supposed to do, but we did it anyway. LISA YOU'RE AWESOMEL EMILY And that means... DAVE That means we're in great shape and I think we should go in there and sue their fuckin' asses off. EMILY But you wouldn't be our lawyer, right? Pink Revised 9/25/05 - Page 120 134 CONTINUED: (3) 134 DAVE No no. Oh no. LISA Why not? DAVE EMILY I'm not a personal injury It's not his area. litigator. I don't know enough about it. I would lose. EMILY But you could recommend someone? DAVE Sure. I know a guy who's very good. His name is Russel Deutsch. He's not a sleazebag. Very experienced. Let me give you his number... EMILY Dave, thank you so much. LISA Really. My God. DAVE But you gotta get that crazy cousin on board because she's gonna be your beneficiary. EMILY She's not gonna want to come to New York, I can tell you that right now. DAVE If you win she gets anywhere from three to five hundred thousand dollars. She's gonna come to New York. 135 EXT. MIDTOWN -- 6TH AVENUE. DAY. 135 Lisa and Emily walk up the busy avenue. LISA What's with Monica and her cousin? EMILY Oh, Monica's father left some money to Abigail's kids and he made Monica the executor of the estate, because he didn't want Abigail and her idiot husband to get their hands on the money before the kids were grown up. (MORE) Green Revised 10/7/05 - Page 121 135 CONTINUED: 135 EMILY (CONT'D) For which Abigail rewarded her by badgering her about it on the phone for fifteen years: Always trying to borrow money against the estate, accusing her of making lousy investments with it, nasty phone calls, nasty letters, every month for fifteen years until Abigail's daughter turned twenty-one and got married. Then Monica goes to the wedding, in fucking Arizona, and Abigail literally won't speak to her. She's a dream. LISA So that's who we're getting the money for? EMILY It's not who we're getting it for, it's who we're getting it from. 136 INT. DEUTSCH'S OFFICE. DAY. 136 Emily and Lisa sit with RUSSEL DEUTSCH, 50s. His law office is slightly smaller and less nice than Dave's. DEUTSCH First thing we do is we file a summons and a complaint against the MTA. They get .twenty days to respond, and when they do we can make our Discovery requests: Accident reports, personnel records, et cetera. But you gotta realize it's gonna take some time. The law says you have to get a court date within a year. Usually it takes about six. Depending. LISA Six years! DEUTSCH Depending, yes. EMILY Now, I mentioned to Dave I have a friend who writes for the Metro section of the Times... DEUTSCH Yes: Now this, if it could really happen, this changes everything in our favor. If they think there's gonna be adverse publicity, especially in The New York Times, they're gonna want to settle right away, soon as possible, and as quietly as POSSIBLE -- EMILY So they'd.make it a condition that 122 136 CONTINUED: 136 DEUTSCH It's usually done, you get the money but you can't talk about it. Nobody knows the terms. LISA So what good does that do? DEUTSCH You get the money. (Pause) is that bad? (Pause) I thought that's what we're all here for. (Pause) This is how our society punishes people for doing bad things. LISA By getting money from their employers' insurance. companies? DEUTSCH Yes. It's called Punitive Damages. Pause. LISA Could we insist they fire the driver? As part of the settlement? DEUTSCH Yes, sure, why not? LISA But is that something people do? DEUTSCH Sure. It's one of your conditions. EMILY Great. LISA And you think we're gonna win? They're gonna settle? DEUTSCH Oh they're gonna settle. LISA This is -- Emily and Lisa take hands and squeeze. 137 INT. COHEN APARTMENT -- LIVING ROOM. LATER THAT DAY. 137 JOAN is reading LISA's C average REPORT CARD and an accompanying letter. Lisa comes in and stops short. 123 137 CONTINUED: 137 JOAN I want to talk to you. LISA What'd I do now? 138 INT. EMILY'S APARTMENT -- FRONT DOOR. DAY. 138 Emily opens the front door for Joan and Lisa. JOAN Hi. I'm Joan. It's nice to meet you. EMILY Nice to meet you too. Come on in. - LISA (SARDONICALLY) Hi Emily. 139 INT. EMILY'S APARTMENT -- LIVING ROOM. DAY. 139 Emily, Joan and Lisa settle on the sofa and chairs. JOAN .I had a friend who used to live on this block, at 262...? EMILY Oh...? JOAN Yeah, I don't know if you know her. Cheryl Rowan? She's a physiotherapist? EMILY No, I don't know her. LISA I think about a thousand people must... JOAN What? LISA Nothing... EMILY Lisa says you're in a play, Joan? JOAN Oh -- Yeah... LISA You should go see it, it's really good. 124 139 CONTINUED: 139 JOAN Well, the play is great, and it's a really nice cast..-. LISA She's just being modest. She's gonna win every award in New York. JOAN Oh -- all that stuff's a long way off. EMILY I don't go to the theater very much. JOAN Well, it's just nice, because you can work a long time in the theater and play really good parts without getting a lot of recognition. And even though you don't necessarily do it for that as your primary motive, it is very nice when people do notice something you've done. EMILY Uh huh... JOAN I was on a television show a few years ago, and I had been doing theater all my life, and suddenly all my relatives started calling me up to congratulate me because they thought I finally Made It. And it was really just this dumb show that paid the bills for a while... LISA That show was so stupid. JOAN It wasn't that bad...! Anyway: I realize this is horribly embarrassing for Lisa, but I really wanted to meet you, Emily, because you've frankly become such a big part of Lisa's life, and I don't want to be intrusive, but this whole court case seems to be suddenly dominating everything and I can't get Lisa to tell me anything about it LISA That's not true...! JOAN Well, I can't...! And I want you to know, Lisa, that I'm very, very proud of you for pursuing this the way you have. (MORE) 125 139 CONTINUED: (2) 139 JOAN (CONT'D) But I can't let you pursue it to the point where it's taking over your life or interfering with your school work. (To EMILY) It's really come down to a question of homework. Lisa is on a half-scholarship at her school. And I know she feels a real sense of responsibility about what happened LISA Yeah, I do. JOAN I know you do. I know you do. But you can't not do your homework, and you can't throw away your scholarship because of it. LISA I'm not. My grades slipped a little. They'll get better. Anyone can do their homework. You just sit down and do it. I've been distracted. I'll stop. JOAN All right -- LISA We didn't need to have a big conference about it. JOAN (EMBARRASSED) It's not a big conference, I just want to know what's going on. And I wanted to meet Emily... (to EMILY) I know it's a little awkward! EMILY Don't apologize. If Lisa hasn't been keeping you apprised of what's been going on, I think she should. You should. LISA There's nothing to keep her apprised of., We're just waiting for them to schedule the Discovery conference. JOAN Now what is that? LISA Mom? It really doesn't matter. 126 139 CONTINUED: (3) 139 EMILY A Discovery conference is a meeting with the court where they sign an order. authorizing our lawyer to begin getting the personnel records, interviewing witnesses, talking to Monica's cousin... JOAN OK, now where does she fit in? EMILY She gets the money. 140 EXT. MIDTOWN HOTEL. DAY. 140 ABIGAIL BERWITZ, 40s, gets out the taxi as the driver comes around with her matching luggage. 141 INT. DEUTSCH'S OFFICE. DAY. 141 Abigail sits with Deutsch. DEUTSCH How would you describe the relationship overall? Did you talk on the phone a lot? Were there a lot of visits -- ABIGAIL I would say we talked on the phone a couple of times a month at least. Sometimes more than that...I would call her, she would call me... DEUTSCH And what were the nature of these conversations? ABIGAIL. Oh, family stuff, mostly. Her family, my kids... DEUTSCH And she would advise you about your family? That kind of thing? ABIGAIL Oh, I would say so, yes. DEUTSCH Would you have any phone records? Or -- ABIGAIL I have all my phone bills, if that's what you mean. I didn't record the actual conversations... 127 141 CONTINUED: 141 DEUTSCH No no -- ABIGAIL (PRODUCES BILLS) You'll see we talked on the phone quite frequently. DEUTSCH OK, that's terrific. I see you came prepared...1 ABIGAIL Well, I wanted to bring everything. DEUTSCH Now when they take your deposition you're gonna say the same thing you just told me. Talk about the relationship... ABIGAIL Uh huh? DEUTSCH Kind of advice she used to give you... ABIGAIL OK...? 142 INT. MIDTOWN RESTAURANT. DAY. 142 Emily, Lisa and Abigail sit over their lunch. Abigail is drinking a white wine. ABIGAIL Now, Emily, where did you find this lawyer? EMILY He was recommended by a friend. ABIGAIL I'm asking because my husband knows a real good New York lawyer, and I'm not entirely comfortable with someone that no one has ever heard of -- EMILY My friend's heard of him. He says he's very good.. ABIGAIL I'm sure he does. But I have a responsibility in this situation, and I would feel a whole lot more comfortable with somebody who didn't just drop in out of the clear blue sky... 2nd Green Revised 11/20/05 - Page 128 142 CONTINUED: 142 EMILY He didn't drop in out of the clear blue sky. He was recommended by my friend. But even if we switched lawyers we'd still have to pay him. But it all comes out of the settlement, so it's really up to you. ABIGAIL No, if you all think he's good... EMILY I don't know whether he is or not. My friend thinks he is. ABIGAIL All right. Now Lisa, what is your involvement in all this? What's your angle? LISA I just wanted to...I was just there. 143 INT. EMILY'S DINING ROOM. DAY. 143 Emily comes into the dining room with a cup of coffee. Lisa is standing over the table looking at some of Monica's photos and belongings which are spread out all over the table. Emily starts putting the pictures away in their envelopes. LISA Oh my God, is that you? EMILY That's me. LISA And that's you and Monica obviously. Oh my God. Is that her daughter? EMILY Uh huh. LISA God... So how old was she when she died? EMILY Twelve. LISA God. I can't even imagine. EMILY Neither could we. Emily sits down and starts sorting through pictures to put them in the box. Lisa sits down too. 2nd Green Revised 11/20/05 - Page 128aA 143 CONTINUED: 143 LISA You know Monica asked about her when she was dying? 2nd Green Revised 11/20/05 - Page 128A-129 143 CONTINUED: (2) 143 Emily looks up. EMILY No. I didn't. LISA Yeah. I think she was confused... like, I think she thought I was her daughter for a minute. And then she was asking me to call her, like to tell her what happened: You know, like she didn't remember she was dead. EMILY What do you mean? What did she say? LISA She just asked if somebody could call her daughter. But then it got confusing because I said, "Sure, what's her name?" And she said her name was Lisa. And I said, "No, that's my name." Because it took me a minute -- I didn't realize we had the same name... Emily does not respond. LISA (CONT'D) But I couldn't tell if what I was saying was registering with her. Emily does not respond. LISA (CONT'D) But then when I found out her daughter was dead, ever since then I keep having this really strong feeling that some way, for those last five minutes I kind of was her daughter. You know? Like maybe that's the reason I was there: Like in some weird way, this obviously amazing woman got to see her daughter again for a few minutes, right before she died. EMILY (VERY DRY) I see. And is she still inhabiting your body? Or did she go right back to the spirit world after it was over? LISA I didn't mean she ws literally inhabiting my body. I don't believe in all that stuff at all. EMILY I don't give a fuck what you believe in. 2nd Green Revised 11/20/05 - Page 129aA 143 CONTINUED: ( 3) 143 LISA Oh my God! Why are you so mad at me!? EMILY Because this is not an opera! LISA (FLUSHING) What? You think I think this is an opera? 2nd Green Revised 11/20/05 - Page 129A-130 143 CONTINUED: ( 4) 143 EMILY Yes! LISA You think I'm making this into a dramatic situation because I think it's dramatic?!? EMILY I think you're very young. LISA What does that have to do with anything? If anything I think it means I care more than someone who's older! Because this kind of thing has never happened to me before! EMILY No, it means you care more easily! There's a big difference! Except that it's not you it's happening to! LISA Yes it is! I know I'm not the one who was run over -- EMILY That's right, you weren't. And you're not the one who died of leukemia, and you're not the one who just died in an earthquake in -- Algeria! But you will be. Do you understand me? You will be. And it's not an opera and it's not dramatic -- LISA I'm well aware of that! EMILY And this first-blush phony deepness of yours is worth nothing. LISA Oh wow. EMILY Do you understand? It's not worth anything, because it'll be troweled over in a month or two. And then when you get older, and you don't have a big reaction every time a d gets run over, then, then we'll find out what kind of a person you are! But this is nothing! I'm sorry, but I didn't start this conversation and I don't play these games. 2nd Green Revised 11/20/05 - Page 131 143 CONTINUED: ( 5) 143 LISA (drawing herself up) I am not -- EMILY And don't look so outraged! Because I'm not saying anything very outrageous! I'm telling you to knock it off! You have every right to falsify your own life, but you have no right to falsify anyone else's. It's what makes people into Nazis! And I'm sorry, but it's a little suspicious that you're making such a fuss about this when you didn't know her, and you're having troubles with your own mother -- LISA Oh my God! EMILY But this is nm life we're talking about, much more than it is yours! Because it's my real friend who got killed, who I'm never going to see again, really! Whom I have known since I was nineteen years old myself. OK? And I don't want that sucked into some kind of adolescent self- dramatization! LISA I'm not fucking dramatizing anything! EMILY (not having it) OK -- LISA I was there, and you weren't! And if I happen to express myself a little hyperbolically, Emily, that's just the way I talk! I can't help it if my mother is an actress! Why are you being so fucking strident? EMILY Strident? LISA Yeah. EMILY OK. Um, you should leave. LISA Why? Because I called you strident? 132 143 CONTINUED: ( 6) 143 EMILY Yeah: Strident? You should leave. Thanks. I don't wanna be called strident and you're deliberately misunderstanding me! LISA No I'm not! You're insulting me enough as it is: You don't have to call me stupid too! EMILY Well I can't stop you doing this so I think you had better go. LISA OK! I will. EMILY NOW! LISA OK! Let me get my purse! Lisa grabs her purse and coat. Emily half-walks, half-drives her toward the door. LISA (CONT'D) Does this mean we're dropping the whole inquiry? EMILY It means you're leaving. I don't know what else it means. LISA All I meant by saying you were strident was that you were being emphatic! I obviously misused the word! EMILY Look it up when you get home. LISA Jesus Christ. You're amazing. EMILY Yeah. Uh huh. I'm amazing. LISA (bursts into tears) Why are you doing this... .! EMILY Lisa, I'm not doing anything! I'm a human being! Monica was a human being! So was her daughter! And so is your mother! (MORE) 2nd Green Revised 11/20/05 - Page 133 143 CONTINUED: ( 7) 143 EMILY (CONT' D) We are not supporting characters in the fascinating story of your life! LISA I never said or thought you were...! And I really didn't mean to call you strident! I totally misused the word! I wasn't trying to insult you, Emily, I really wasn't! I feel so bad about what happened and I'm trying so hard to do something about it! And I don't understand why if I say something wrong you can't just give me a break! I didn't mean I thought her daughter took over my body. I'm not an idiot. It was just this feeling I had because she was holding onto my hand so hard before she died, and because we had the same first name! EMILY OK... LISA But I'm not trying to dramatize anything, Emily. I really know about that trend, and I really don't think I've been doing that. EMILY OK. I believe you. And look up "strident." LISA I will. They kiss and make up, but it's still a little ugly. 143A INT. COHEN LIVING ROOM. NIGHT 143A Lisa, Joan and Curtis are watching Joan being interviewed on TV. We don't see the screen. JOAN I've been in the theater my whole life and nothing like this has ever happened to me... INTERVIEWER ON TV(O.C.) Now, any talk of the play becoming a film? JOAN ON TV (O.C.) Oh, I'm sure. But I would never get cast in that. I'm not a movie star. INTERVIEWER ON TV (O.C.) But you're a theater star... JOAN ON TV (O.C.) I don't know about that either... 2nd Green Revised 11/20/05 - Page 133A 143A CONTINUED: 143A INTERVIEWER ON TV (O.C.) You are! JOAN ON TV (O . C . ) (CHARMINGLY) I guess...! JOAN Oh God. Joan buries her face in her hands. Lisa watches scowling. 134 143B INT. COHEN KITCHEN. NIGHT. 143B Joan is serving Lisa and Curtis dinner. JOAN Lisa? Do you think Emily would like to come see the play? I thought you could both come and them maybe we could go out afterwards. LISA All right. Let me ask her. JOAN Dig in everybody... They start eating. LISA I was thinking about spending next year with Dad. JOAN (SHOCKED) Oh? LISA Yeah. You're all worried about my grades. They have really good public schools in Santa Monica, and if Iofficially lived with him, you wouldn't have to worry about my scholarship. JOAN Have you talked to him about this? LISA We've had some general discussions. JOAN (TO CURTIS) Do you want to go too? CURTIS (SURPRISED) Me? JOAN Yeah. Do you want to move to LA too? CURTIS No. JOAN Well, just let me know if you do. 135 143B CONTINUED: 143B LISA Why are you being like this? JOAN Why am I being like what? LISA Why are you about to start crying? JOAN Because it's your intention to make me start crying! LISA No it's not -- - JOAN You want to move to LA. Move to LA. LISA But why can't this even be mentioned without you taking it personally? I'm just introducing a possibility! JOAN OH! Joan upsets everything on the table and starts to go. She comes back and upsets more things on the table. JOAN Here's a possibility that you can make your own fucking dinner! Here's a possibility LISA that you can do whatever you Jesus Christ! want to do, because I don't What is with you? even care anymore, you heartless little fuckin' bitch! LISA Fine! Keep it up! It really makes me want to stay here! JOAN You think you're so fucking perfect!? She breaks something else and walks out. LISA No. CURTIS Good one. LISA Shut up. Green Revised 10/7/05 - Page 136 144 OMIT 144 145 INT. HISTORY CLASS. DAY. 145 On the blackboard Klein finishes writing: SHOULD TEENAGERS RULE THE WORLD? YES OR NO? KLEIN OK. Go ahead: Kirsten. Lionel: Put your drum away. Lionel stops drumming on his desk with his fingers. KIRSTEN I think that teenagers should definitely rule the world, because teenagers aren't corrupted by adult life yet, and they're idealists and they care. And I know a lot of people feel that teenagers are really naive, which they are, many of them. But they still haven't had a chance to get burned out by the disappointments and the harsh realities of learning how to play the game. So yes, I would vote yes. KLEIN All right: Lisa? LISA I would tend to agree with all of that, except I do think that teenagers don't always necessarily think things through very carefully, and they don't have enough experience to know what the right thing to do is all the time. I also think they tend to adhere to ideologies really easily without having actually bothered to think them through for themselves.-- LEWIS Such as what? LISA Such as what? Such as, gee, I don't know: the Hitler Youth? KLEIN OK... Hitler Youth. LISA Or what about all these teenage suicide bombers? Not that I want to get into the whole Palestinian thing again, but assuming you don't think suicide bombing is a good thing, wouldn't you say that's an example of being idealistic without using your critical faculties? (MORE) Green Revised 10/7/05 - Page 137 145 CONTINUED: 145 LISA (CONT'D) And maybe running the risk of having your youthful enthusiasm be co-opted by adults for purposes of their own that you might not even ultimately agree with? Angie's hand shoots up. So do several others. LEWIS OK, Angie? ANGIE Yeah, I don't want to get into the whole Palestinian thing again either, because I realize I'm completely outnumbered -- ANTHONY Not unlike the Palestinians themselves. ANGIE That's not really funny, Anthony. ANGIE (to LISA) KLEIN -- and I'm not even going to Segal: Cut the comedy. comment on the fact that you just compared a 19-year-old ANTHONY Palestinian to a member of I thought it was funny... the Hitler Youth, which I personally find so offensive LISA I don't even know where to That's right! Because start -- Oh, it's not because they both like to kill they've been occupied and Jews. humiliated and bombed out of their homes for the last KLEIN fifty years? Hey! Hey! Lisa! Hey! LEWIS LISA Come on, guys... Yes! That's partly why they like it! There's ANGIE still a million Pale- If anyone's acting like stinians who don't blow Nazis it's the Israeli up children on busses government! because they're so "frustrated!" LEWIS OK, OK! Monica? MONICA Well, I don't know if this is good or bad, but speaking of ideology, it's interesting that the suicide bombers -- just for example -- care enough about what they believe in to sacrifice their lives for it. WHEREAS 2nd Blue Revised 10/28/05 - Page 138 145 CONTINUED: (2) 145 ANGIE Yes. Yes! LISA I think it's fine if you want to sacrifice your life for what you believe in. I actually think that's really noble. It's a little different when you're willing to sacrifice someone else's life, you know? I personally don't think that's such a big ideological achievement! ANGIE Um, even if there's no other way to get you out of my country? LEWIS LISA Raise your hands! They haven't tried any other ways! It's not ANGIE like killing civilians Yes they have! They're is their last resort! trying it right now! It's their first resort! Because it's easy and they like it! ANGIE (CONT'D) Oh they like it? They're just bad people and they like it? LISA Yes! There are bad people in the world! I think they liked blowing up the World Trade Center! They kill their own sisters when they get raped! It's called barbarism! MONICA LISA Who kills their own sisters? It's practically all people do is kill each other! LIONEL If they didn't like it they You guys are not the only wouldn't do it! Period! ones in this class! KLEIN & LEWIS Hey! Silence. LEWIS If you ladies can't make your points without yelling or interrupting each other or raising your hands, I'd say it was a pretty good argument for "No." LISA Why, adults don't yell and interrupt each

punitive

How many times the word 'punitive' appears in the text?

116A 132A CONTINUED: 132A RAMON You don't think I should be? JOAN I just feel kind of ignorant about your whole world... RAMON You think it would be better if we knew about all the same things? JOAN Not really, not exclusively. It's just unusual. Don't you think it's unusual? 2nd Pink Revised 11/17/05 - Page 117 132A CONTINUED: (2) 132A RAMON Not for me. JOAN I guess you travel a lot. I've only been out of the country a few times in my whole life. RAMON You should travel more. JOAN I know. I've always wanted to. It's hard when you're in the theater... RAMON Still, you should try. It's a big world. You're an artist. You should see more of it. JOAN I know. You don't have to keep saying that. I've always wanted to travel. It's just a little difficult with two kids and no husband, but it's hard to make a lot of money in the theater. I was on a TV show a few years back and I socked away some money because of that, but my ex-husband -- RAMON Karl. JOAN Karl, yes, you remembered, very good. Karl's very generous with the kids when he can be, but he's struggling too: He's a director: he directs commercials, and now he's trying to produce them... Anyway, I'm not ignorant because I enjoy it. RAMON I don't say you're ignorant... Do you think Lisa will be interested in acting? JOAN I don't think so. I think's she's got a lot of contempt for it. Of course that may be the age. RAMON She would prefer the world with no plays? No films? JOAN Oh... Who knows. 2nd Pink Revised 11/17/05 - Page 117A 132A CONTINUED: (3) 132A RAMON Would you like to see a picture of my mother? JOAN Sure. RAMON These are all my aunts and uncles...See? Big family... JOAN Mmm. She looks at him as he turns the pages. 133 EXT. MIDTOWN OFFICE BUILDING. DAY. 133 Lisa and Emily meet in front of Dave's office building. 134 INT. DAVE'S LAW FIRM - STAIRCASE/OFFICE. DAY. 134 Dave walks Lisa and Emily into his office. DAVE So after I talked to you guys I called this P.I. I know and I asked him to -- Pink Revised 9/25/05 - Page 118 134 CONTINUED: 134 EMILY You called a what? A what? DAVE Private Investigator -- to see if he could find anything out about your bus driver -- LISA Really? DAVE EMILY Yeah: So he -- Dave! DAVE Wait, let me tell you what he said! So he called this guy he knows who used to be a cop for the MTA. Did you know the MTA have their own police? The MTA police? They have their own uniforms... EMILY Yeah? Yeah? Yeah? DAVE EMILY And -- Just a minutel Jesus Christ! What do we give a fuck about the MTA police and their uniforms?! DAVE -- so this guy got someone to let him sneak a look at your guy's file. And it turns out he's had two previous accidents -- less than two years apart -- one of them on the job, one in his own car -- EMILY What? DAVE -- where there was some allegation that he was drinking, which was dropped, but, that he's never been cited or disciplined, just moved around to different shifts -- EMILY Are you fucking kidding me? LISA Why does this not shock me? DAVE Because Surprise Surprise his brother-in- law is a very big muckety-muck in the Transit Workers Union -- Pink Revised 9/25/05 - Page 119 134 CONTINUED: (2) 134 EMILY (i.e., "I get it.") O-Kay...l DAVE And if you read the paper, you'll know they're going through a protracted labor dispute at the MTA right now, and according to my PI, the management doesn't want to aggravate the situation by firing this guy. Especially since the police have concluded he was not at fault. LISA This is making me sick. DAVE I know, but what it means, Lisa, is that we have a case. LISA We do? DAVE What it means, in fact, is that we have a very good case, because we can sue for what's called "Negligent Retention." Which means they should have known the guy was a bad risk and was irresponsible and they negligently retained him until he finally killed somebody. EMILY And you can prove that? DAVE Sure, because we can subpoena their Personnel records, which we already know contain damaging information, because my investigator got a look at them beforehand. Which you're not-supposed to do, but we did it anyway. LISA YOU'RE AWESOMEL EMILY And that means... DAVE That means we're in great shape and I think we should go in there and sue their fuckin' asses off. EMILY But you wouldn't be our lawyer, right? Pink Revised 9/25/05 - Page 120 134 CONTINUED: (3) 134 DAVE No no. Oh no. LISA Why not? DAVE EMILY I'm not a personal injury It's not his area. litigator. I don't know enough about it. I would lose. EMILY But you could recommend someone? DAVE Sure. I know a guy who's very good. His name is Russel Deutsch. He's not a sleazebag. Very experienced. Let me give you his number... EMILY Dave, thank you so much. LISA Really. My God. DAVE But you gotta get that crazy cousin on board because she's gonna be your beneficiary. EMILY She's not gonna want to come to New York, I can tell you that right now. DAVE If you win she gets anywhere from three to five hundred thousand dollars. She's gonna come to New York. 135 EXT. MIDTOWN -- 6TH AVENUE. DAY. 135 Lisa and Emily walk up the busy avenue. LISA What's with Monica and her cousin? EMILY Oh, Monica's father left some money to Abigail's kids and he made Monica the executor of the estate, because he didn't want Abigail and her idiot husband to get their hands on the money before the kids were grown up. (MORE) Green Revised 10/7/05 - Page 121 135 CONTINUED: 135 EMILY (CONT'D) For which Abigail rewarded her by badgering her about it on the phone for fifteen years: Always trying to borrow money against the estate, accusing her of making lousy investments with it, nasty phone calls, nasty letters, every month for fifteen years until Abigail's daughter turned twenty-one and got married. Then Monica goes to the wedding, in fucking Arizona, and Abigail literally won't speak to her. She's a dream. LISA So that's who we're getting the money for? EMILY It's not who we're getting it for, it's who we're getting it from. 136 INT. DEUTSCH'S OFFICE. DAY. 136 Emily and Lisa sit with RUSSEL DEUTSCH, 50s. His law office is slightly smaller and less nice than Dave's. DEUTSCH First thing we do is we file a summons and a complaint against the MTA. They get .twenty days to respond, and when they do we can make our Discovery requests: Accident reports, personnel records, et cetera. But you gotta realize it's gonna take some time. The law says you have to get a court date within a year. Usually it takes about six. Depending. LISA Six years! DEUTSCH Depending, yes. EMILY Now, I mentioned to Dave I have a friend who writes for the Metro section of the Times... DEUTSCH Yes: Now this, if it could really happen, this changes everything in our favor. If they think there's gonna be adverse publicity, especially in The New York Times, they're gonna want to settle right away, soon as possible, and as quietly as POSSIBLE -- EMILY So they'd.make it a condition that 122 136 CONTINUED: 136 DEUTSCH It's usually done, you get the money but you can't talk about it. Nobody knows the terms. LISA So what good does that do? DEUTSCH You get the money. (Pause) is that bad? (Pause) I thought that's what we're all here for. (Pause) This is how our society punishes people for doing bad things. LISA By getting money from their employers' insurance. companies? DEUTSCH Yes. It's called Punitive Damages. Pause. LISA Could we insist they fire the driver? As part of the settlement? DEUTSCH Yes, sure, why not? LISA But is that something people do? DEUTSCH Sure. It's one of your conditions. EMILY Great. LISA And you think we're gonna win? They're gonna settle? DEUTSCH Oh they're gonna settle. LISA This is -- Emily and Lisa take hands and squeeze. 137 INT. COHEN APARTMENT -- LIVING ROOM. LATER THAT DAY. 137 JOAN is reading LISA's C average REPORT CARD and an accompanying letter. Lisa comes in and stops short. 123 137 CONTINUED: 137 JOAN I want to talk to you. LISA What'd I do now? 138 INT. EMILY'S APARTMENT -- FRONT DOOR. DAY. 138 Emily opens the front door for Joan and Lisa. JOAN Hi. I'm Joan. It's nice to meet you. EMILY Nice to meet you too. Come on in. - LISA (SARDONICALLY) Hi Emily. 139 INT. EMILY'S APARTMENT -- LIVING ROOM. DAY. 139 Emily, Joan and Lisa settle on the sofa and chairs. JOAN .I had a friend who used to live on this block, at 262...? EMILY Oh...? JOAN Yeah, I don't know if you know her. Cheryl Rowan? She's a physiotherapist? EMILY No, I don't know her. LISA I think about a thousand people must... JOAN What? LISA Nothing... EMILY Lisa says you're in a play, Joan? JOAN Oh -- Yeah... LISA You should go see it, it's really good. 124 139 CONTINUED: 139 JOAN Well, the play is great, and it's a really nice cast..-. LISA She's just being modest. She's gonna win every award in New York. JOAN Oh -- all that stuff's a long way off. EMILY I don't go to the theater very much. JOAN Well, it's just nice, because you can work a long time in the theater and play really good parts without getting a lot of recognition. And even though you don't necessarily do it for that as your primary motive, it is very nice when people do notice something you've done. EMILY Uh huh... JOAN I was on a television show a few years ago, and I had been doing theater all my life, and suddenly all my relatives started calling me up to congratulate me because they thought I finally Made It. And it was really just this dumb show that paid the bills for a while... LISA That show was so stupid. JOAN It wasn't that bad...! Anyway: I realize this is horribly embarrassing for Lisa, but I really wanted to meet you, Emily, because you've frankly become such a big part of Lisa's life, and I don't want to be intrusive, but this whole court case seems to be suddenly dominating everything and I can't get Lisa to tell me anything about it LISA That's not true...! JOAN Well, I can't...! And I want you to know, Lisa, that I'm very, very proud of you for pursuing this the way you have. (MORE) 125 139 CONTINUED: (2) 139 JOAN (CONT'D) But I can't let you pursue it to the point where it's taking over your life or interfering with your school work. (To EMILY) It's really come down to a question of homework. Lisa is on a half-scholarship at her school. And I know she feels a real sense of responsibility about what happened LISA Yeah, I do. JOAN I know you do. I know you do. But you can't not do your homework, and you can't throw away your scholarship because of it. LISA I'm not. My grades slipped a little. They'll get better. Anyone can do their homework. You just sit down and do it. I've been distracted. I'll stop. JOAN All right -- LISA We didn't need to have a big conference about it. JOAN (EMBARRASSED) It's not a big conference, I just want to know what's going on. And I wanted to meet Emily... (to EMILY) I know it's a little awkward! EMILY Don't apologize. If Lisa hasn't been keeping you apprised of what's been going on, I think she should. You should. LISA There's nothing to keep her apprised of., We're just waiting for them to schedule the Discovery conference. JOAN Now what is that? LISA Mom? It really doesn't matter. 126 139 CONTINUED: (3) 139 EMILY A Discovery conference is a meeting with the court where they sign an order. authorizing our lawyer to begin getting the personnel records, interviewing witnesses, talking to Monica's cousin... JOAN OK, now where does she fit in? EMILY She gets the money. 140 EXT. MIDTOWN HOTEL. DAY. 140 ABIGAIL BERWITZ, 40s, gets out the taxi as the driver comes around with her matching luggage. 141 INT. DEUTSCH'S OFFICE. DAY. 141 Abigail sits with Deutsch. DEUTSCH How would you describe the relationship overall? Did you talk on the phone a lot? Were there a lot of visits -- ABIGAIL I would say we talked on the phone a couple of times a month at least. Sometimes more than that...I would call her, she would call me... DEUTSCH And what were the nature of these conversations? ABIGAIL. Oh, family stuff, mostly. Her family, my kids... DEUTSCH And she would advise you about your family? That kind of thing? ABIGAIL Oh, I would say so, yes. DEUTSCH Would you have any phone records? Or -- ABIGAIL I have all my phone bills, if that's what you mean. I didn't record the actual conversations... 127 141 CONTINUED: 141 DEUTSCH No no -- ABIGAIL (PRODUCES BILLS) You'll see we talked on the phone quite frequently. DEUTSCH OK, that's terrific. I see you came prepared...1 ABIGAIL Well, I wanted to bring everything. DEUTSCH Now when they take your deposition you're gonna say the same thing you just told me. Talk about the relationship... ABIGAIL Uh huh? DEUTSCH Kind of advice she used to give you... ABIGAIL OK...? 142 INT. MIDTOWN RESTAURANT. DAY. 142 Emily, Lisa and Abigail sit over their lunch. Abigail is drinking a white wine. ABIGAIL Now, Emily, where did you find this lawyer? EMILY He was recommended by a friend. ABIGAIL I'm asking because my husband knows a real good New York lawyer, and I'm not entirely comfortable with someone that no one has ever heard of -- EMILY My friend's heard of him. He says he's very good.. ABIGAIL I'm sure he does. But I have a responsibility in this situation, and I would feel a whole lot more comfortable with somebody who didn't just drop in out of the clear blue sky... 2nd Green Revised 11/20/05 - Page 128 142 CONTINUED: 142 EMILY He didn't drop in out of the clear blue sky. He was recommended by my friend. But even if we switched lawyers we'd still have to pay him. But it all comes out of the settlement, so it's really up to you. ABIGAIL No, if you all think he's good... EMILY I don't know whether he is or not. My friend thinks he is. ABIGAIL All right. Now Lisa, what is your involvement in all this? What's your angle? LISA I just wanted to...I was just there. 143 INT. EMILY'S DINING ROOM. DAY. 143 Emily comes into the dining room with a cup of coffee. Lisa is standing over the table looking at some of Monica's photos and belongings which are spread out all over the table. Emily starts putting the pictures away in their envelopes. LISA Oh my God, is that you? EMILY That's me. LISA And that's you and Monica obviously. Oh my God. Is that her daughter? EMILY Uh huh. LISA God... So how old was she when she died? EMILY Twelve. LISA God. I can't even imagine. EMILY Neither could we. Emily sits down and starts sorting through pictures to put them in the box. Lisa sits down too. 2nd Green Revised 11/20/05 - Page 128aA 143 CONTINUED: 143 LISA You know Monica asked about her when she was dying? 2nd Green Revised 11/20/05 - Page 128A-129 143 CONTINUED: (2) 143 Emily looks up. EMILY No. I didn't. LISA Yeah. I think she was confused... like, I think she thought I was her daughter for a minute. And then she was asking me to call her, like to tell her what happened: You know, like she didn't remember she was dead. EMILY What do you mean? What did she say? LISA She just asked if somebody could call her daughter. But then it got confusing because I said, "Sure, what's her name?" And she said her name was Lisa. And I said, "No, that's my name." Because it took me a minute -- I didn't realize we had the same name... Emily does not respond. LISA (CONT'D) But I couldn't tell if what I was saying was registering with her. Emily does not respond. LISA (CONT'D) But then when I found out her daughter was dead, ever since then I keep having this really strong feeling that some way, for those last five minutes I kind of was her daughter. You know? Like maybe that's the reason I was there: Like in some weird way, this obviously amazing woman got to see her daughter again for a few minutes, right before she died. EMILY (VERY DRY) I see. And is she still inhabiting your body? Or did she go right back to the spirit world after it was over? LISA I didn't mean she ws literally inhabiting my body. I don't believe in all that stuff at all. EMILY I don't give a fuck what you believe in. 2nd Green Revised 11/20/05 - Page 129aA 143 CONTINUED: ( 3) 143 LISA Oh my God! Why are you so mad at me!? EMILY Because this is not an opera! LISA (FLUSHING) What? You think I think this is an opera? 2nd Green Revised 11/20/05 - Page 129A-130 143 CONTINUED: ( 4) 143 EMILY Yes! LISA You think I'm making this into a dramatic situation because I think it's dramatic?!? EMILY I think you're very young. LISA What does that have to do with anything? If anything I think it means I care more than someone who's older! Because this kind of thing has never happened to me before! EMILY No, it means you care more easily! There's a big difference! Except that it's not you it's happening to! LISA Yes it is! I know I'm not the one who was run over -- EMILY That's right, you weren't. And you're not the one who died of leukemia, and you're not the one who just died in an earthquake in -- Algeria! But you will be. Do you understand me? You will be. And it's not an opera and it's not dramatic -- LISA I'm well aware of that! EMILY And this first-blush phony deepness of yours is worth nothing. LISA Oh wow. EMILY Do you understand? It's not worth anything, because it'll be troweled over in a month or two. And then when you get older, and you don't have a big reaction every time a d gets run over, then, then we'll find out what kind of a person you are! But this is nothing! I'm sorry, but I didn't start this conversation and I don't play these games. 2nd Green Revised 11/20/05 - Page 131 143 CONTINUED: ( 5) 143 LISA (drawing herself up) I am not -- EMILY And don't look so outraged! Because I'm not saying anything very outrageous! I'm telling you to knock it off! You have every right to falsify your own life, but you have no right to falsify anyone else's. It's what makes people into Nazis! And I'm sorry, but it's a little suspicious that you're making such a fuss about this when you didn't know her, and you're having troubles with your own mother -- LISA Oh my God! EMILY But this is nm life we're talking about, much more than it is yours! Because it's my real friend who got killed, who I'm never going to see again, really! Whom I have known since I was nineteen years old myself. OK? And I don't want that sucked into some kind of adolescent self- dramatization! LISA I'm not fucking dramatizing anything! EMILY (not having it) OK -- LISA I was there, and you weren't! And if I happen to express myself a little hyperbolically, Emily, that's just the way I talk! I can't help it if my mother is an actress! Why are you being so fucking strident? EMILY Strident? LISA Yeah. EMILY OK. Um, you should leave. LISA Why? Because I called you strident? 132 143 CONTINUED: ( 6) 143 EMILY Yeah: Strident? You should leave. Thanks. I don't wanna be called strident and you're deliberately misunderstanding me! LISA No I'm not! You're insulting me enough as it is: You don't have to call me stupid too! EMILY Well I can't stop you doing this so I think you had better go. LISA OK! I will. EMILY NOW! LISA OK! Let me get my purse! Lisa grabs her purse and coat. Emily half-walks, half-drives her toward the door. LISA (CONT'D) Does this mean we're dropping the whole inquiry? EMILY It means you're leaving. I don't know what else it means. LISA All I meant by saying you were strident was that you were being emphatic! I obviously misused the word! EMILY Look it up when you get home. LISA Jesus Christ. You're amazing. EMILY Yeah. Uh huh. I'm amazing. LISA (bursts into tears) Why are you doing this... .! EMILY Lisa, I'm not doing anything! I'm a human being! Monica was a human being! So was her daughter! And so is your mother! (MORE) 2nd Green Revised 11/20/05 - Page 133 143 CONTINUED: ( 7) 143 EMILY (CONT' D) We are not supporting characters in the fascinating story of your life! LISA I never said or thought you were...! And I really didn't mean to call you strident! I totally misused the word! I wasn't trying to insult you, Emily, I really wasn't! I feel so bad about what happened and I'm trying so hard to do something about it! And I don't understand why if I say something wrong you can't just give me a break! I didn't mean I thought her daughter took over my body. I'm not an idiot. It was just this feeling I had because she was holding onto my hand so hard before she died, and because we had the same first name! EMILY OK... LISA But I'm not trying to dramatize anything, Emily. I really know about that trend, and I really don't think I've been doing that. EMILY OK. I believe you. And look up "strident." LISA I will. They kiss and make up, but it's still a little ugly. 143A INT. COHEN LIVING ROOM. NIGHT 143A Lisa, Joan and Curtis are watching Joan being interviewed on TV. We don't see the screen. JOAN I've been in the theater my whole life and nothing like this has ever happened to me... INTERVIEWER ON TV(O.C.) Now, any talk of the play becoming a film? JOAN ON TV (O.C.) Oh, I'm sure. But I would never get cast in that. I'm not a movie star. INTERVIEWER ON TV (O.C.) But you're a theater star... JOAN ON TV (O.C.) I don't know about that either... 2nd Green Revised 11/20/05 - Page 133A 143A CONTINUED: 143A INTERVIEWER ON TV (O.C.) You are! JOAN ON TV (O . C . ) (CHARMINGLY) I guess...! JOAN Oh God. Joan buries her face in her hands. Lisa watches scowling. 134 143B INT. COHEN KITCHEN. NIGHT. 143B Joan is serving Lisa and Curtis dinner. JOAN Lisa? Do you think Emily would like to come see the play? I thought you could both come and them maybe we could go out afterwards. LISA All right. Let me ask her. JOAN Dig in everybody... They start eating. LISA I was thinking about spending next year with Dad. JOAN (SHOCKED) Oh? LISA Yeah. You're all worried about my grades. They have really good public schools in Santa Monica, and if Iofficially lived with him, you wouldn't have to worry about my scholarship. JOAN Have you talked to him about this? LISA We've had some general discussions. JOAN (TO CURTIS) Do you want to go too? CURTIS (SURPRISED) Me? JOAN Yeah. Do you want to move to LA too? CURTIS No. JOAN Well, just let me know if you do. 135 143B CONTINUED: 143B LISA Why are you being like this? JOAN Why am I being like what? LISA Why are you about to start crying? JOAN Because it's your intention to make me start crying! LISA No it's not -- - JOAN You want to move to LA. Move to LA. LISA But why can't this even be mentioned without you taking it personally? I'm just introducing a possibility! JOAN OH! Joan upsets everything on the table and starts to go. She comes back and upsets more things on the table. JOAN Here's a possibility that you can make your own fucking dinner! Here's a possibility LISA that you can do whatever you Jesus Christ! want to do, because I don't What is with you? even care anymore, you heartless little fuckin' bitch! LISA Fine! Keep it up! It really makes me want to stay here! JOAN You think you're so fucking perfect!? She breaks something else and walks out. LISA No. CURTIS Good one. LISA Shut up. Green Revised 10/7/05 - Page 136 144 OMIT 144 145 INT. HISTORY CLASS. DAY. 145 On the blackboard Klein finishes writing: SHOULD TEENAGERS RULE THE WORLD? YES OR NO? KLEIN OK. Go ahead: Kirsten. Lionel: Put your drum away. Lionel stops drumming on his desk with his fingers. KIRSTEN I think that teenagers should definitely rule the world, because teenagers aren't corrupted by adult life yet, and they're idealists and they care. And I know a lot of people feel that teenagers are really naive, which they are, many of them. But they still haven't had a chance to get burned out by the disappointments and the harsh realities of learning how to play the game. So yes, I would vote yes. KLEIN All right: Lisa? LISA I would tend to agree with all of that, except I do think that teenagers don't always necessarily think things through very carefully, and they don't have enough experience to know what the right thing to do is all the time. I also think they tend to adhere to ideologies really easily without having actually bothered to think them through for themselves.-- LEWIS Such as what? LISA Such as what? Such as, gee, I don't know: the Hitler Youth? KLEIN OK... Hitler Youth. LISA Or what about all these teenage suicide bombers? Not that I want to get into the whole Palestinian thing again, but assuming you don't think suicide bombing is a good thing, wouldn't you say that's an example of being idealistic without using your critical faculties? (MORE) Green Revised 10/7/05 - Page 137 145 CONTINUED: 145 LISA (CONT'D) And maybe running the risk of having your youthful enthusiasm be co-opted by adults for purposes of their own that you might not even ultimately agree with? Angie's hand shoots up. So do several others. LEWIS OK, Angie? ANGIE Yeah, I don't want to get into the whole Palestinian thing again either, because I realize I'm completely outnumbered -- ANTHONY Not unlike the Palestinians themselves. ANGIE That's not really funny, Anthony. ANGIE (to LISA) KLEIN -- and I'm not even going to Segal: Cut the comedy. comment on the fact that you just compared a 19-year-old ANTHONY Palestinian to a member of I thought it was funny... the Hitler Youth, which I personally find so offensive LISA I don't even know where to That's right! Because start -- Oh, it's not because they both like to kill they've been occupied and Jews. humiliated and bombed out of their homes for the last KLEIN fifty years? Hey! Hey! Lisa! Hey! LEWIS LISA Come on, guys... Yes! That's partly why they like it! There's ANGIE still a million Pale- If anyone's acting like stinians who don't blow Nazis it's the Israeli up children on busses government! because they're so "frustrated!" LEWIS OK, OK! Monica? MONICA Well, I don't know if this is good or bad, but speaking of ideology, it's interesting that the suicide bombers -- just for example -- care enough about what they believe in to sacrifice their lives for it. WHEREAS 2nd Blue Revised 10/28/05 - Page 138 145 CONTINUED: (2) 145 ANGIE Yes. Yes! LISA I think it's fine if you want to sacrifice your life for what you believe in. I actually think that's really noble. It's a little different when you're willing to sacrifice someone else's life, you know? I personally don't think that's such a big ideological achievement! ANGIE Um, even if there's no other way to get you out of my country? LEWIS LISA Raise your hands! They haven't tried any other ways! It's not ANGIE like killing civilians Yes they have! They're is their last resort! trying it right now! It's their first resort! Because it's easy and they like it! ANGIE (CONT'D) Oh they like it? They're just bad people and they like it? LISA Yes! There are bad people in the world! I think they liked blowing up the World Trade Center! They kill their own sisters when they get raped! It's called barbarism! MONICA LISA Who kills their own sisters? It's practically all people do is kill each other! LIONEL If they didn't like it they You guys are not the only wouldn't do it! Period! ones in this class! KLEIN & LEWIS Hey! Silence. LEWIS If you ladies can't make your points without yelling or interrupting each other or raising your hands, I'd say it was a pretty good argument for "No." LISA Why, adults don't yell and interrupt each

distress

How many times the word 'distress' appears in the text?

116A 132A CONTINUED: 132A RAMON You don't think I should be? JOAN I just feel kind of ignorant about your whole world... RAMON You think it would be better if we knew about all the same things? JOAN Not really, not exclusively. It's just unusual. Don't you think it's unusual? 2nd Pink Revised 11/17/05 - Page 117 132A CONTINUED: (2) 132A RAMON Not for me. JOAN I guess you travel a lot. I've only been out of the country a few times in my whole life. RAMON You should travel more. JOAN I know. I've always wanted to. It's hard when you're in the theater... RAMON Still, you should try. It's a big world. You're an artist. You should see more of it. JOAN I know. You don't have to keep saying that. I've always wanted to travel. It's just a little difficult with two kids and no husband, but it's hard to make a lot of money in the theater. I was on a TV show a few years back and I socked away some money because of that, but my ex-husband -- RAMON Karl. JOAN Karl, yes, you remembered, very good. Karl's very generous with the kids when he can be, but he's struggling too: He's a director: he directs commercials, and now he's trying to produce them... Anyway, I'm not ignorant because I enjoy it. RAMON I don't say you're ignorant... Do you think Lisa will be interested in acting? JOAN I don't think so. I think's she's got a lot of contempt for it. Of course that may be the age. RAMON She would prefer the world with no plays? No films? JOAN Oh... Who knows. 2nd Pink Revised 11/17/05 - Page 117A 132A CONTINUED: (3) 132A RAMON Would you like to see a picture of my mother? JOAN Sure. RAMON These are all my aunts and uncles...See? Big family... JOAN Mmm. She looks at him as he turns the pages. 133 EXT. MIDTOWN OFFICE BUILDING. DAY. 133 Lisa and Emily meet in front of Dave's office building. 134 INT. DAVE'S LAW FIRM - STAIRCASE/OFFICE. DAY. 134 Dave walks Lisa and Emily into his office. DAVE So after I talked to you guys I called this P.I. I know and I asked him to -- Pink Revised 9/25/05 - Page 118 134 CONTINUED: 134 EMILY You called a what? A what? DAVE Private Investigator -- to see if he could find anything out about your bus driver -- LISA Really? DAVE EMILY Yeah: So he -- Dave! DAVE Wait, let me tell you what he said! So he called this guy he knows who used to be a cop for the MTA. Did you know the MTA have their own police? The MTA police? They have their own uniforms... EMILY Yeah? Yeah? Yeah? DAVE EMILY And -- Just a minutel Jesus Christ! What do we give a fuck about the MTA police and their uniforms?! DAVE -- so this guy got someone to let him sneak a look at your guy's file. And it turns out he's had two previous accidents -- less than two years apart -- one of them on the job, one in his own car -- EMILY What? DAVE -- where there was some allegation that he was drinking, which was dropped, but, that he's never been cited or disciplined, just moved around to different shifts -- EMILY Are you fucking kidding me? LISA Why does this not shock me? DAVE Because Surprise Surprise his brother-in- law is a very big muckety-muck in the Transit Workers Union -- Pink Revised 9/25/05 - Page 119 134 CONTINUED: (2) 134 EMILY (i.e., "I get it.") O-Kay...l DAVE And if you read the paper, you'll know they're going through a protracted labor dispute at the MTA right now, and according to my PI, the management doesn't want to aggravate the situation by firing this guy. Especially since the police have concluded he was not at fault. LISA This is making me sick. DAVE I know, but what it means, Lisa, is that we have a case. LISA We do? DAVE What it means, in fact, is that we have a very good case, because we can sue for what's called "Negligent Retention." Which means they should have known the guy was a bad risk and was irresponsible and they negligently retained him until he finally killed somebody. EMILY And you can prove that? DAVE Sure, because we can subpoena their Personnel records, which we already know contain damaging information, because my investigator got a look at them beforehand. Which you're not-supposed to do, but we did it anyway. LISA YOU'RE AWESOMEL EMILY And that means... DAVE That means we're in great shape and I think we should go in there and sue their fuckin' asses off. EMILY But you wouldn't be our lawyer, right? Pink Revised 9/25/05 - Page 120 134 CONTINUED: (3) 134 DAVE No no. Oh no. LISA Why not? DAVE EMILY I'm not a personal injury It's not his area. litigator. I don't know enough about it. I would lose. EMILY But you could recommend someone? DAVE Sure. I know a guy who's very good. His name is Russel Deutsch. He's not a sleazebag. Very experienced. Let me give you his number... EMILY Dave, thank you so much. LISA Really. My God. DAVE But you gotta get that crazy cousin on board because she's gonna be your beneficiary. EMILY She's not gonna want to come to New York, I can tell you that right now. DAVE If you win she gets anywhere from three to five hundred thousand dollars. She's gonna come to New York. 135 EXT. MIDTOWN -- 6TH AVENUE. DAY. 135 Lisa and Emily walk up the busy avenue. LISA What's with Monica and her cousin? EMILY Oh, Monica's father left some money to Abigail's kids and he made Monica the executor of the estate, because he didn't want Abigail and her idiot husband to get their hands on the money before the kids were grown up. (MORE) Green Revised 10/7/05 - Page 121 135 CONTINUED: 135 EMILY (CONT'D) For which Abigail rewarded her by badgering her about it on the phone for fifteen years: Always trying to borrow money against the estate, accusing her of making lousy investments with it, nasty phone calls, nasty letters, every month for fifteen years until Abigail's daughter turned twenty-one and got married. Then Monica goes to the wedding, in fucking Arizona, and Abigail literally won't speak to her. She's a dream. LISA So that's who we're getting the money for? EMILY It's not who we're getting it for, it's who we're getting it from. 136 INT. DEUTSCH'S OFFICE. DAY. 136 Emily and Lisa sit with RUSSEL DEUTSCH, 50s. His law office is slightly smaller and less nice than Dave's. DEUTSCH First thing we do is we file a summons and a complaint against the MTA. They get .twenty days to respond, and when they do we can make our Discovery requests: Accident reports, personnel records, et cetera. But you gotta realize it's gonna take some time. The law says you have to get a court date within a year. Usually it takes about six. Depending. LISA Six years! DEUTSCH Depending, yes. EMILY Now, I mentioned to Dave I have a friend who writes for the Metro section of the Times... DEUTSCH Yes: Now this, if it could really happen, this changes everything in our favor. If they think there's gonna be adverse publicity, especially in The New York Times, they're gonna want to settle right away, soon as possible, and as quietly as POSSIBLE -- EMILY So they'd.make it a condition that 122 136 CONTINUED: 136 DEUTSCH It's usually done, you get the money but you can't talk about it. Nobody knows the terms. LISA So what good does that do? DEUTSCH You get the money. (Pause) is that bad? (Pause) I thought that's what we're all here for. (Pause) This is how our society punishes people for doing bad things. LISA By getting money from their employers' insurance. companies? DEUTSCH Yes. It's called Punitive Damages. Pause. LISA Could we insist they fire the driver? As part of the settlement? DEUTSCH Yes, sure, why not? LISA But is that something people do? DEUTSCH Sure. It's one of your conditions. EMILY Great. LISA And you think we're gonna win? They're gonna settle? DEUTSCH Oh they're gonna settle. LISA This is -- Emily and Lisa take hands and squeeze. 137 INT. COHEN APARTMENT -- LIVING ROOM. LATER THAT DAY. 137 JOAN is reading LISA's C average REPORT CARD and an accompanying letter. Lisa comes in and stops short. 123 137 CONTINUED: 137 JOAN I want to talk to you. LISA What'd I do now? 138 INT. EMILY'S APARTMENT -- FRONT DOOR. DAY. 138 Emily opens the front door for Joan and Lisa. JOAN Hi. I'm Joan. It's nice to meet you. EMILY Nice to meet you too. Come on in. - LISA (SARDONICALLY) Hi Emily. 139 INT. EMILY'S APARTMENT -- LIVING ROOM. DAY. 139 Emily, Joan and Lisa settle on the sofa and chairs. JOAN .I had a friend who used to live on this block, at 262...? EMILY Oh...? JOAN Yeah, I don't know if you know her. Cheryl Rowan? She's a physiotherapist? EMILY No, I don't know her. LISA I think about a thousand people must... JOAN What? LISA Nothing... EMILY Lisa says you're in a play, Joan? JOAN Oh -- Yeah... LISA You should go see it, it's really good. 124 139 CONTINUED: 139 JOAN Well, the play is great, and it's a really nice cast..-. LISA She's just being modest. She's gonna win every award in New York. JOAN Oh -- all that stuff's a long way off. EMILY I don't go to the theater very much. JOAN Well, it's just nice, because you can work a long time in the theater and play really good parts without getting a lot of recognition. And even though you don't necessarily do it for that as your primary motive, it is very nice when people do notice something you've done. EMILY Uh huh... JOAN I was on a television show a few years ago, and I had been doing theater all my life, and suddenly all my relatives started calling me up to congratulate me because they thought I finally Made It. And it was really just this dumb show that paid the bills for a while... LISA That show was so stupid. JOAN It wasn't that bad...! Anyway: I realize this is horribly embarrassing for Lisa, but I really wanted to meet you, Emily, because you've frankly become such a big part of Lisa's life, and I don't want to be intrusive, but this whole court case seems to be suddenly dominating everything and I can't get Lisa to tell me anything about it LISA That's not true...! JOAN Well, I can't...! And I want you to know, Lisa, that I'm very, very proud of you for pursuing this the way you have. (MORE) 125 139 CONTINUED: (2) 139 JOAN (CONT'D) But I can't let you pursue it to the point where it's taking over your life or interfering with your school work. (To EMILY) It's really come down to a question of homework. Lisa is on a half-scholarship at her school. And I know she feels a real sense of responsibility about what happened LISA Yeah, I do. JOAN I know you do. I know you do. But you can't not do your homework, and you can't throw away your scholarship because of it. LISA I'm not. My grades slipped a little. They'll get better. Anyone can do their homework. You just sit down and do it. I've been distracted. I'll stop. JOAN All right -- LISA We didn't need to have a big conference about it. JOAN (EMBARRASSED) It's not a big conference, I just want to know what's going on. And I wanted to meet Emily... (to EMILY) I know it's a little awkward! EMILY Don't apologize. If Lisa hasn't been keeping you apprised of what's been going on, I think she should. You should. LISA There's nothing to keep her apprised of., We're just waiting for them to schedule the Discovery conference. JOAN Now what is that? LISA Mom? It really doesn't matter. 126 139 CONTINUED: (3) 139 EMILY A Discovery conference is a meeting with the court where they sign an order. authorizing our lawyer to begin getting the personnel records, interviewing witnesses, talking to Monica's cousin... JOAN OK, now where does she fit in? EMILY She gets the money. 140 EXT. MIDTOWN HOTEL. DAY. 140 ABIGAIL BERWITZ, 40s, gets out the taxi as the driver comes around with her matching luggage. 141 INT. DEUTSCH'S OFFICE. DAY. 141 Abigail sits with Deutsch. DEUTSCH How would you describe the relationship overall? Did you talk on the phone a lot? Were there a lot of visits -- ABIGAIL I would say we talked on the phone a couple of times a month at least. Sometimes more than that...I would call her, she would call me... DEUTSCH And what were the nature of these conversations? ABIGAIL. Oh, family stuff, mostly. Her family, my kids... DEUTSCH And she would advise you about your family? That kind of thing? ABIGAIL Oh, I would say so, yes. DEUTSCH Would you have any phone records? Or -- ABIGAIL I have all my phone bills, if that's what you mean. I didn't record the actual conversations... 127 141 CONTINUED: 141 DEUTSCH No no -- ABIGAIL (PRODUCES BILLS) You'll see we talked on the phone quite frequently. DEUTSCH OK, that's terrific. I see you came prepared...1 ABIGAIL Well, I wanted to bring everything. DEUTSCH Now when they take your deposition you're gonna say the same thing you just told me. Talk about the relationship... ABIGAIL Uh huh? DEUTSCH Kind of advice she used to give you... ABIGAIL OK...? 142 INT. MIDTOWN RESTAURANT. DAY. 142 Emily, Lisa and Abigail sit over their lunch. Abigail is drinking a white wine. ABIGAIL Now, Emily, where did you find this lawyer? EMILY He was recommended by a friend. ABIGAIL I'm asking because my husband knows a real good New York lawyer, and I'm not entirely comfortable with someone that no one has ever heard of -- EMILY My friend's heard of him. He says he's very good.. ABIGAIL I'm sure he does. But I have a responsibility in this situation, and I would feel a whole lot more comfortable with somebody who didn't just drop in out of the clear blue sky... 2nd Green Revised 11/20/05 - Page 128 142 CONTINUED: 142 EMILY He didn't drop in out of the clear blue sky. He was recommended by my friend. But even if we switched lawyers we'd still have to pay him. But it all comes out of the settlement, so it's really up to you. ABIGAIL No, if you all think he's good... EMILY I don't know whether he is or not. My friend thinks he is. ABIGAIL All right. Now Lisa, what is your involvement in all this? What's your angle? LISA I just wanted to...I was just there. 143 INT. EMILY'S DINING ROOM. DAY. 143 Emily comes into the dining room with a cup of coffee. Lisa is standing over the table looking at some of Monica's photos and belongings which are spread out all over the table. Emily starts putting the pictures away in their envelopes. LISA Oh my God, is that you? EMILY That's me. LISA And that's you and Monica obviously. Oh my God. Is that her daughter? EMILY Uh huh. LISA God... So how old was she when she died? EMILY Twelve. LISA God. I can't even imagine. EMILY Neither could we. Emily sits down and starts sorting through pictures to put them in the box. Lisa sits down too. 2nd Green Revised 11/20/05 - Page 128aA 143 CONTINUED: 143 LISA You know Monica asked about her when she was dying? 2nd Green Revised 11/20/05 - Page 128A-129 143 CONTINUED: (2) 143 Emily looks up. EMILY No. I didn't. LISA Yeah. I think she was confused... like, I think she thought I was her daughter for a minute. And then she was asking me to call her, like to tell her what happened: You know, like she didn't remember she was dead. EMILY What do you mean? What did she say? LISA She just asked if somebody could call her daughter. But then it got confusing because I said, "Sure, what's her name?" And she said her name was Lisa. And I said, "No, that's my name." Because it took me a minute -- I didn't realize we had the same name... Emily does not respond. LISA (CONT'D) But I couldn't tell if what I was saying was registering with her. Emily does not respond. LISA (CONT'D) But then when I found out her daughter was dead, ever since then I keep having this really strong feeling that some way, for those last five minutes I kind of was her daughter. You know? Like maybe that's the reason I was there: Like in some weird way, this obviously amazing woman got to see her daughter again for a few minutes, right before she died. EMILY (VERY DRY) I see. And is she still inhabiting your body? Or did she go right back to the spirit world after it was over? LISA I didn't mean she ws literally inhabiting my body. I don't believe in all that stuff at all. EMILY I don't give a fuck what you believe in. 2nd Green Revised 11/20/05 - Page 129aA 143 CONTINUED: ( 3) 143 LISA Oh my God! Why are you so mad at me!? EMILY Because this is not an opera! LISA (FLUSHING) What? You think I think this is an opera? 2nd Green Revised 11/20/05 - Page 129A-130 143 CONTINUED: ( 4) 143 EMILY Yes! LISA You think I'm making this into a dramatic situation because I think it's dramatic?!? EMILY I think you're very young. LISA What does that have to do with anything? If anything I think it means I care more than someone who's older! Because this kind of thing has never happened to me before! EMILY No, it means you care more easily! There's a big difference! Except that it's not you it's happening to! LISA Yes it is! I know I'm not the one who was run over -- EMILY That's right, you weren't. And you're not the one who died of leukemia, and you're not the one who just died in an earthquake in -- Algeria! But you will be. Do you understand me? You will be. And it's not an opera and it's not dramatic -- LISA I'm well aware of that! EMILY And this first-blush phony deepness of yours is worth nothing. LISA Oh wow. EMILY Do you understand? It's not worth anything, because it'll be troweled over in a month or two. And then when you get older, and you don't have a big reaction every time a d gets run over, then, then we'll find out what kind of a person you are! But this is nothing! I'm sorry, but I didn't start this conversation and I don't play these games. 2nd Green Revised 11/20/05 - Page 131 143 CONTINUED: ( 5) 143 LISA (drawing herself up) I am not -- EMILY And don't look so outraged! Because I'm not saying anything very outrageous! I'm telling you to knock it off! You have every right to falsify your own life, but you have no right to falsify anyone else's. It's what makes people into Nazis! And I'm sorry, but it's a little suspicious that you're making such a fuss about this when you didn't know her, and you're having troubles with your own mother -- LISA Oh my God! EMILY But this is nm life we're talking about, much more than it is yours! Because it's my real friend who got killed, who I'm never going to see again, really! Whom I have known since I was nineteen years old myself. OK? And I don't want that sucked into some kind of adolescent self- dramatization! LISA I'm not fucking dramatizing anything! EMILY (not having it) OK -- LISA I was there, and you weren't! And if I happen to express myself a little hyperbolically, Emily, that's just the way I talk! I can't help it if my mother is an actress! Why are you being so fucking strident? EMILY Strident? LISA Yeah. EMILY OK. Um, you should leave. LISA Why? Because I called you strident? 132 143 CONTINUED: ( 6) 143 EMILY Yeah: Strident? You should leave. Thanks. I don't wanna be called strident and you're deliberately misunderstanding me! LISA No I'm not! You're insulting me enough as it is: You don't have to call me stupid too! EMILY Well I can't stop you doing this so I think you had better go. LISA OK! I will. EMILY NOW! LISA OK! Let me get my purse! Lisa grabs her purse and coat. Emily half-walks, half-drives her toward the door. LISA (CONT'D) Does this mean we're dropping the whole inquiry? EMILY It means you're leaving. I don't know what else it means. LISA All I meant by saying you were strident was that you were being emphatic! I obviously misused the word! EMILY Look it up when you get home. LISA Jesus Christ. You're amazing. EMILY Yeah. Uh huh. I'm amazing. LISA (bursts into tears) Why are you doing this... .! EMILY Lisa, I'm not doing anything! I'm a human being! Monica was a human being! So was her daughter! And so is your mother! (MORE) 2nd Green Revised 11/20/05 - Page 133 143 CONTINUED: ( 7) 143 EMILY (CONT' D) We are not supporting characters in the fascinating story of your life! LISA I never said or thought you were...! And I really didn't mean to call you strident! I totally misused the word! I wasn't trying to insult you, Emily, I really wasn't! I feel so bad about what happened and I'm trying so hard to do something about it! And I don't understand why if I say something wrong you can't just give me a break! I didn't mean I thought her daughter took over my body. I'm not an idiot. It was just this feeling I had because she was holding onto my hand so hard before she died, and because we had the same first name! EMILY OK... LISA But I'm not trying to dramatize anything, Emily. I really know about that trend, and I really don't think I've been doing that. EMILY OK. I believe you. And look up "strident." LISA I will. They kiss and make up, but it's still a little ugly. 143A INT. COHEN LIVING ROOM. NIGHT 143A Lisa, Joan and Curtis are watching Joan being interviewed on TV. We don't see the screen. JOAN I've been in the theater my whole life and nothing like this has ever happened to me... INTERVIEWER ON TV(O.C.) Now, any talk of the play becoming a film? JOAN ON TV (O.C.) Oh, I'm sure. But I would never get cast in that. I'm not a movie star. INTERVIEWER ON TV (O.C.) But you're a theater star... JOAN ON TV (O.C.) I don't know about that either... 2nd Green Revised 11/20/05 - Page 133A 143A CONTINUED: 143A INTERVIEWER ON TV (O.C.) You are! JOAN ON TV (O . C . ) (CHARMINGLY) I guess...! JOAN Oh God. Joan buries her face in her hands. Lisa watches scowling. 134 143B INT. COHEN KITCHEN. NIGHT. 143B Joan is serving Lisa and Curtis dinner. JOAN Lisa? Do you think Emily would like to come see the play? I thought you could both come and them maybe we could go out afterwards. LISA All right. Let me ask her. JOAN Dig in everybody... They start eating. LISA I was thinking about spending next year with Dad. JOAN (SHOCKED) Oh? LISA Yeah. You're all worried about my grades. They have really good public schools in Santa Monica, and if Iofficially lived with him, you wouldn't have to worry about my scholarship. JOAN Have you talked to him about this? LISA We've had some general discussions. JOAN (TO CURTIS) Do you want to go too? CURTIS (SURPRISED) Me? JOAN Yeah. Do you want to move to LA too? CURTIS No. JOAN Well, just let me know if you do. 135 143B CONTINUED: 143B LISA Why are you being like this? JOAN Why am I being like what? LISA Why are you about to start crying? JOAN Because it's your intention to make me start crying! LISA No it's not -- - JOAN You want to move to LA. Move to LA. LISA But why can't this even be mentioned without you taking it personally? I'm just introducing a possibility! JOAN OH! Joan upsets everything on the table and starts to go. She comes back and upsets more things on the table. JOAN Here's a possibility that you can make your own fucking dinner! Here's a possibility LISA that you can do whatever you Jesus Christ! want to do, because I don't What is with you? even care anymore, you heartless little fuckin' bitch! LISA Fine! Keep it up! It really makes me want to stay here! JOAN You think you're so fucking perfect!? She breaks something else and walks out. LISA No. CURTIS Good one. LISA Shut up. Green Revised 10/7/05 - Page 136 144 OMIT 144 145 INT. HISTORY CLASS. DAY. 145 On the blackboard Klein finishes writing: SHOULD TEENAGERS RULE THE WORLD? YES OR NO? KLEIN OK. Go ahead: Kirsten. Lionel: Put your drum away. Lionel stops drumming on his desk with his fingers. KIRSTEN I think that teenagers should definitely rule the world, because teenagers aren't corrupted by adult life yet, and they're idealists and they care. And I know a lot of people feel that teenagers are really naive, which they are, many of them. But they still haven't had a chance to get burned out by the disappointments and the harsh realities of learning how to play the game. So yes, I would vote yes. KLEIN All right: Lisa? LISA I would tend to agree with all of that, except I do think that teenagers don't always necessarily think things through very carefully, and they don't have enough experience to know what the right thing to do is all the time. I also think they tend to adhere to ideologies really easily without having actually bothered to think them through for themselves.-- LEWIS Such as what? LISA Such as what? Such as, gee, I don't know: the Hitler Youth? KLEIN OK... Hitler Youth. LISA Or what about all these teenage suicide bombers? Not that I want to get into the whole Palestinian thing again, but assuming you don't think suicide bombing is a good thing, wouldn't you say that's an example of being idealistic without using your critical faculties? (MORE) Green Revised 10/7/05 - Page 137 145 CONTINUED: 145 LISA (CONT'D) And maybe running the risk of having your youthful enthusiasm be co-opted by adults for purposes of their own that you might not even ultimately agree with? Angie's hand shoots up. So do several others. LEWIS OK, Angie? ANGIE Yeah, I don't want to get into the whole Palestinian thing again either, because I realize I'm completely outnumbered -- ANTHONY Not unlike the Palestinians themselves. ANGIE That's not really funny, Anthony. ANGIE (to LISA) KLEIN -- and I'm not even going to Segal: Cut the comedy. comment on the fact that you just compared a 19-year-old ANTHONY Palestinian to a member of I thought it was funny... the Hitler Youth, which I personally find so offensive LISA I don't even know where to That's right! Because start -- Oh, it's not because they both like to kill they've been occupied and Jews. humiliated and bombed out of their homes for the last KLEIN fifty years? Hey! Hey! Lisa! Hey! LEWIS LISA Come on, guys... Yes! That's partly why they like it! There's ANGIE still a million Pale- If anyone's acting like stinians who don't blow Nazis it's the Israeli up children on busses government! because they're so "frustrated!" LEWIS OK, OK! Monica? MONICA Well, I don't know if this is good or bad, but speaking of ideology, it's interesting that the suicide bombers -- just for example -- care enough about what they believe in to sacrifice their lives for it. WHEREAS 2nd Blue Revised 10/28/05 - Page 138 145 CONTINUED: (2) 145 ANGIE Yes. Yes! LISA I think it's fine if you want to sacrifice your life for what you believe in. I actually think that's really noble. It's a little different when you're willing to sacrifice someone else's life, you know? I personally don't think that's such a big ideological achievement! ANGIE Um, even if there's no other way to get you out of my country? LEWIS LISA Raise your hands! They haven't tried any other ways! It's not ANGIE like killing civilians Yes they have! They're is their last resort! trying it right now! It's their first resort! Because it's easy and they like it! ANGIE (CONT'D) Oh they like it? They're just bad people and they like it? LISA Yes! There are bad people in the world! I think they liked blowing up the World Trade Center! They kill their own sisters when they get raped! It's called barbarism! MONICA LISA Who kills their own sisters? It's practically all people do is kill each other! LIONEL If they didn't like it they You guys are not the only wouldn't do it! Period! ones in this class! KLEIN & LEWIS Hey! Silence. LEWIS If you ladies can't make your points without yelling or interrupting each other or raising your hands, I'd say it was a pretty good argument for "No." LISA Why, adults don't yell and interrupt each

spirit

How many times the word 'spirit' appears in the text?

116A 132A CONTINUED: 132A RAMON You don't think I should be? JOAN I just feel kind of ignorant about your whole world... RAMON You think it would be better if we knew about all the same things? JOAN Not really, not exclusively. It's just unusual. Don't you think it's unusual? 2nd Pink Revised 11/17/05 - Page 117 132A CONTINUED: (2) 132A RAMON Not for me. JOAN I guess you travel a lot. I've only been out of the country a few times in my whole life. RAMON You should travel more. JOAN I know. I've always wanted to. It's hard when you're in the theater... RAMON Still, you should try. It's a big world. You're an artist. You should see more of it. JOAN I know. You don't have to keep saying that. I've always wanted to travel. It's just a little difficult with two kids and no husband, but it's hard to make a lot of money in the theater. I was on a TV show a few years back and I socked away some money because of that, but my ex-husband -- RAMON Karl. JOAN Karl, yes, you remembered, very good. Karl's very generous with the kids when he can be, but he's struggling too: He's a director: he directs commercials, and now he's trying to produce them... Anyway, I'm not ignorant because I enjoy it. RAMON I don't say you're ignorant... Do you think Lisa will be interested in acting? JOAN I don't think so. I think's she's got a lot of contempt for it. Of course that may be the age. RAMON She would prefer the world with no plays? No films? JOAN Oh... Who knows. 2nd Pink Revised 11/17/05 - Page 117A 132A CONTINUED: (3) 132A RAMON Would you like to see a picture of my mother? JOAN Sure. RAMON These are all my aunts and uncles...See? Big family... JOAN Mmm. She looks at him as he turns the pages. 133 EXT. MIDTOWN OFFICE BUILDING. DAY. 133 Lisa and Emily meet in front of Dave's office building. 134 INT. DAVE'S LAW FIRM - STAIRCASE/OFFICE. DAY. 134 Dave walks Lisa and Emily into his office. DAVE So after I talked to you guys I called this P.I. I know and I asked him to -- Pink Revised 9/25/05 - Page 118 134 CONTINUED: 134 EMILY You called a what? A what? DAVE Private Investigator -- to see if he could find anything out about your bus driver -- LISA Really? DAVE EMILY Yeah: So he -- Dave! DAVE Wait, let me tell you what he said! So he called this guy he knows who used to be a cop for the MTA. Did you know the MTA have their own police? The MTA police? They have their own uniforms... EMILY Yeah? Yeah? Yeah? DAVE EMILY And -- Just a minutel Jesus Christ! What do we give a fuck about the MTA police and their uniforms?! DAVE -- so this guy got someone to let him sneak a look at your guy's file. And it turns out he's had two previous accidents -- less than two years apart -- one of them on the job, one in his own car -- EMILY What? DAVE -- where there was some allegation that he was drinking, which was dropped, but, that he's never been cited or disciplined, just moved around to different shifts -- EMILY Are you fucking kidding me? LISA Why does this not shock me? DAVE Because Surprise Surprise his brother-in- law is a very big muckety-muck in the Transit Workers Union -- Pink Revised 9/25/05 - Page 119 134 CONTINUED: (2) 134 EMILY (i.e., "I get it.") O-Kay...l DAVE And if you read the paper, you'll know they're going through a protracted labor dispute at the MTA right now, and according to my PI, the management doesn't want to aggravate the situation by firing this guy. Especially since the police have concluded he was not at fault. LISA This is making me sick. DAVE I know, but what it means, Lisa, is that we have a case. LISA We do? DAVE What it means, in fact, is that we have a very good case, because we can sue for what's called "Negligent Retention." Which means they should have known the guy was a bad risk and was irresponsible and they negligently retained him until he finally killed somebody. EMILY And you can prove that? DAVE Sure, because we can subpoena their Personnel records, which we already know contain damaging information, because my investigator got a look at them beforehand. Which you're not-supposed to do, but we did it anyway. LISA YOU'RE AWESOMEL EMILY And that means... DAVE That means we're in great shape and I think we should go in there and sue their fuckin' asses off. EMILY But you wouldn't be our lawyer, right? Pink Revised 9/25/05 - Page 120 134 CONTINUED: (3) 134 DAVE No no. Oh no. LISA Why not? DAVE EMILY I'm not a personal injury It's not his area. litigator. I don't know enough about it. I would lose. EMILY But you could recommend someone? DAVE Sure. I know a guy who's very good. His name is Russel Deutsch. He's not a sleazebag. Very experienced. Let me give you his number... EMILY Dave, thank you so much. LISA Really. My God. DAVE But you gotta get that crazy cousin on board because she's gonna be your beneficiary. EMILY She's not gonna want to come to New York, I can tell you that right now. DAVE If you win she gets anywhere from three to five hundred thousand dollars. She's gonna come to New York. 135 EXT. MIDTOWN -- 6TH AVENUE. DAY. 135 Lisa and Emily walk up the busy avenue. LISA What's with Monica and her cousin? EMILY Oh, Monica's father left some money to Abigail's kids and he made Monica the executor of the estate, because he didn't want Abigail and her idiot husband to get their hands on the money before the kids were grown up. (MORE) Green Revised 10/7/05 - Page 121 135 CONTINUED: 135 EMILY (CONT'D) For which Abigail rewarded her by badgering her about it on the phone for fifteen years: Always trying to borrow money against the estate, accusing her of making lousy investments with it, nasty phone calls, nasty letters, every month for fifteen years until Abigail's daughter turned twenty-one and got married. Then Monica goes to the wedding, in fucking Arizona, and Abigail literally won't speak to her. She's a dream. LISA So that's who we're getting the money for? EMILY It's not who we're getting it for, it's who we're getting it from. 136 INT. DEUTSCH'S OFFICE. DAY. 136 Emily and Lisa sit with RUSSEL DEUTSCH, 50s. His law office is slightly smaller and less nice than Dave's. DEUTSCH First thing we do is we file a summons and a complaint against the MTA. They get .twenty days to respond, and when they do we can make our Discovery requests: Accident reports, personnel records, et cetera. But you gotta realize it's gonna take some time. The law says you have to get a court date within a year. Usually it takes about six. Depending. LISA Six years! DEUTSCH Depending, yes. EMILY Now, I mentioned to Dave I have a friend who writes for the Metro section of the Times... DEUTSCH Yes: Now this, if it could really happen, this changes everything in our favor. If they think there's gonna be adverse publicity, especially in The New York Times, they're gonna want to settle right away, soon as possible, and as quietly as POSSIBLE -- EMILY So they'd.make it a condition that 122 136 CONTINUED: 136 DEUTSCH It's usually done, you get the money but you can't talk about it. Nobody knows the terms. LISA So what good does that do? DEUTSCH You get the money. (Pause) is that bad? (Pause) I thought that's what we're all here for. (Pause) This is how our society punishes people for doing bad things. LISA By getting money from their employers' insurance. companies? DEUTSCH Yes. It's called Punitive Damages. Pause. LISA Could we insist they fire the driver? As part of the settlement? DEUTSCH Yes, sure, why not? LISA But is that something people do? DEUTSCH Sure. It's one of your conditions. EMILY Great. LISA And you think we're gonna win? They're gonna settle? DEUTSCH Oh they're gonna settle. LISA This is -- Emily and Lisa take hands and squeeze. 137 INT. COHEN APARTMENT -- LIVING ROOM. LATER THAT DAY. 137 JOAN is reading LISA's C average REPORT CARD and an accompanying letter. Lisa comes in and stops short. 123 137 CONTINUED: 137 JOAN I want to talk to you. LISA What'd I do now? 138 INT. EMILY'S APARTMENT -- FRONT DOOR. DAY. 138 Emily opens the front door for Joan and Lisa. JOAN Hi. I'm Joan. It's nice to meet you. EMILY Nice to meet you too. Come on in. - LISA (SARDONICALLY) Hi Emily. 139 INT. EMILY'S APARTMENT -- LIVING ROOM. DAY. 139 Emily, Joan and Lisa settle on the sofa and chairs. JOAN .I had a friend who used to live on this block, at 262...? EMILY Oh...? JOAN Yeah, I don't know if you know her. Cheryl Rowan? She's a physiotherapist? EMILY No, I don't know her. LISA I think about a thousand people must... JOAN What? LISA Nothing... EMILY Lisa says you're in a play, Joan? JOAN Oh -- Yeah... LISA You should go see it, it's really good. 124 139 CONTINUED: 139 JOAN Well, the play is great, and it's a really nice cast..-. LISA She's just being modest. She's gonna win every award in New York. JOAN Oh -- all that stuff's a long way off. EMILY I don't go to the theater very much. JOAN Well, it's just nice, because you can work a long time in the theater and play really good parts without getting a lot of recognition. And even though you don't necessarily do it for that as your primary motive, it is very nice when people do notice something you've done. EMILY Uh huh... JOAN I was on a television show a few years ago, and I had been doing theater all my life, and suddenly all my relatives started calling me up to congratulate me because they thought I finally Made It. And it was really just this dumb show that paid the bills for a while... LISA That show was so stupid. JOAN It wasn't that bad...! Anyway: I realize this is horribly embarrassing for Lisa, but I really wanted to meet you, Emily, because you've frankly become such a big part of Lisa's life, and I don't want to be intrusive, but this whole court case seems to be suddenly dominating everything and I can't get Lisa to tell me anything about it LISA That's not true...! JOAN Well, I can't...! And I want you to know, Lisa, that I'm very, very proud of you for pursuing this the way you have. (MORE) 125 139 CONTINUED: (2) 139 JOAN (CONT'D) But I can't let you pursue it to the point where it's taking over your life or interfering with your school work. (To EMILY) It's really come down to a question of homework. Lisa is on a half-scholarship at her school. And I know she feels a real sense of responsibility about what happened LISA Yeah, I do. JOAN I know you do. I know you do. But you can't not do your homework, and you can't throw away your scholarship because of it. LISA I'm not. My grades slipped a little. They'll get better. Anyone can do their homework. You just sit down and do it. I've been distracted. I'll stop. JOAN All right -- LISA We didn't need to have a big conference about it. JOAN (EMBARRASSED) It's not a big conference, I just want to know what's going on. And I wanted to meet Emily... (to EMILY) I know it's a little awkward! EMILY Don't apologize. If Lisa hasn't been keeping you apprised of what's been going on, I think she should. You should. LISA There's nothing to keep her apprised of., We're just waiting for them to schedule the Discovery conference. JOAN Now what is that? LISA Mom? It really doesn't matter. 126 139 CONTINUED: (3) 139 EMILY A Discovery conference is a meeting with the court where they sign an order. authorizing our lawyer to begin getting the personnel records, interviewing witnesses, talking to Monica's cousin... JOAN OK, now where does she fit in? EMILY She gets the money. 140 EXT. MIDTOWN HOTEL. DAY. 140 ABIGAIL BERWITZ, 40s, gets out the taxi as the driver comes around with her matching luggage. 141 INT. DEUTSCH'S OFFICE. DAY. 141 Abigail sits with Deutsch. DEUTSCH How would you describe the relationship overall? Did you talk on the phone a lot? Were there a lot of visits -- ABIGAIL I would say we talked on the phone a couple of times a month at least. Sometimes more than that...I would call her, she would call me... DEUTSCH And what were the nature of these conversations? ABIGAIL. Oh, family stuff, mostly. Her family, my kids... DEUTSCH And she would advise you about your family? That kind of thing? ABIGAIL Oh, I would say so, yes. DEUTSCH Would you have any phone records? Or -- ABIGAIL I have all my phone bills, if that's what you mean. I didn't record the actual conversations... 127 141 CONTINUED: 141 DEUTSCH No no -- ABIGAIL (PRODUCES BILLS) You'll see we talked on the phone quite frequently. DEUTSCH OK, that's terrific. I see you came prepared...1 ABIGAIL Well, I wanted to bring everything. DEUTSCH Now when they take your deposition you're gonna say the same thing you just told me. Talk about the relationship... ABIGAIL Uh huh? DEUTSCH Kind of advice she used to give you... ABIGAIL OK...? 142 INT. MIDTOWN RESTAURANT. DAY. 142 Emily, Lisa and Abigail sit over their lunch. Abigail is drinking a white wine. ABIGAIL Now, Emily, where did you find this lawyer? EMILY He was recommended by a friend. ABIGAIL I'm asking because my husband knows a real good New York lawyer, and I'm not entirely comfortable with someone that no one has ever heard of -- EMILY My friend's heard of him. He says he's very good.. ABIGAIL I'm sure he does. But I have a responsibility in this situation, and I would feel a whole lot more comfortable with somebody who didn't just drop in out of the clear blue sky... 2nd Green Revised 11/20/05 - Page 128 142 CONTINUED: 142 EMILY He didn't drop in out of the clear blue sky. He was recommended by my friend. But even if we switched lawyers we'd still have to pay him. But it all comes out of the settlement, so it's really up to you. ABIGAIL No, if you all think he's good... EMILY I don't know whether he is or not. My friend thinks he is. ABIGAIL All right. Now Lisa, what is your involvement in all this? What's your angle? LISA I just wanted to...I was just there. 143 INT. EMILY'S DINING ROOM. DAY. 143 Emily comes into the dining room with a cup of coffee. Lisa is standing over the table looking at some of Monica's photos and belongings which are spread out all over the table. Emily starts putting the pictures away in their envelopes. LISA Oh my God, is that you? EMILY That's me. LISA And that's you and Monica obviously. Oh my God. Is that her daughter? EMILY Uh huh. LISA God... So how old was she when she died? EMILY Twelve. LISA God. I can't even imagine. EMILY Neither could we. Emily sits down and starts sorting through pictures to put them in the box. Lisa sits down too. 2nd Green Revised 11/20/05 - Page 128aA 143 CONTINUED: 143 LISA You know Monica asked about her when she was dying? 2nd Green Revised 11/20/05 - Page 128A-129 143 CONTINUED: (2) 143 Emily looks up. EMILY No. I didn't. LISA Yeah. I think she was confused... like, I think she thought I was her daughter for a minute. And then she was asking me to call her, like to tell her what happened: You know, like she didn't remember she was dead. EMILY What do you mean? What did she say? LISA She just asked if somebody could call her daughter. But then it got confusing because I said, "Sure, what's her name?" And she said her name was Lisa. And I said, "No, that's my name." Because it took me a minute -- I didn't realize we had the same name... Emily does not respond. LISA (CONT'D) But I couldn't tell if what I was saying was registering with her. Emily does not respond. LISA (CONT'D) But then when I found out her daughter was dead, ever since then I keep having this really strong feeling that some way, for those last five minutes I kind of was her daughter. You know? Like maybe that's the reason I was there: Like in some weird way, this obviously amazing woman got to see her daughter again for a few minutes, right before she died. EMILY (VERY DRY) I see. And is she still inhabiting your body? Or did she go right back to the spirit world after it was over? LISA I didn't mean she ws literally inhabiting my body. I don't believe in all that stuff at all. EMILY I don't give a fuck what you believe in. 2nd Green Revised 11/20/05 - Page 129aA 143 CONTINUED: ( 3) 143 LISA Oh my God! Why are you so mad at me!? EMILY Because this is not an opera! LISA (FLUSHING) What? You think I think this is an opera? 2nd Green Revised 11/20/05 - Page 129A-130 143 CONTINUED: ( 4) 143 EMILY Yes! LISA You think I'm making this into a dramatic situation because I think it's dramatic?!? EMILY I think you're very young. LISA What does that have to do with anything? If anything I think it means I care more than someone who's older! Because this kind of thing has never happened to me before! EMILY No, it means you care more easily! There's a big difference! Except that it's not you it's happening to! LISA Yes it is! I know I'm not the one who was run over -- EMILY That's right, you weren't. And you're not the one who died of leukemia, and you're not the one who just died in an earthquake in -- Algeria! But you will be. Do you understand me? You will be. And it's not an opera and it's not dramatic -- LISA I'm well aware of that! EMILY And this first-blush phony deepness of yours is worth nothing. LISA Oh wow. EMILY Do you understand? It's not worth anything, because it'll be troweled over in a month or two. And then when you get older, and you don't have a big reaction every time a d gets run over, then, then we'll find out what kind of a person you are! But this is nothing! I'm sorry, but I didn't start this conversation and I don't play these games. 2nd Green Revised 11/20/05 - Page 131 143 CONTINUED: ( 5) 143 LISA (drawing herself up) I am not -- EMILY And don't look so outraged! Because I'm not saying anything very outrageous! I'm telling you to knock it off! You have every right to falsify your own life, but you have no right to falsify anyone else's. It's what makes people into Nazis! And I'm sorry, but it's a little suspicious that you're making such a fuss about this when you didn't know her, and you're having troubles with your own mother -- LISA Oh my God! EMILY But this is nm life we're talking about, much more than it is yours! Because it's my real friend who got killed, who I'm never going to see again, really! Whom I have known since I was nineteen years old myself. OK? And I don't want that sucked into some kind of adolescent self- dramatization! LISA I'm not fucking dramatizing anything! EMILY (not having it) OK -- LISA I was there, and you weren't! And if I happen to express myself a little hyperbolically, Emily, that's just the way I talk! I can't help it if my mother is an actress! Why are you being so fucking strident? EMILY Strident? LISA Yeah. EMILY OK. Um, you should leave. LISA Why? Because I called you strident? 132 143 CONTINUED: ( 6) 143 EMILY Yeah: Strident? You should leave. Thanks. I don't wanna be called strident and you're deliberately misunderstanding me! LISA No I'm not! You're insulting me enough as it is: You don't have to call me stupid too! EMILY Well I can't stop you doing this so I think you had better go. LISA OK! I will. EMILY NOW! LISA OK! Let me get my purse! Lisa grabs her purse and coat. Emily half-walks, half-drives her toward the door. LISA (CONT'D) Does this mean we're dropping the whole inquiry? EMILY It means you're leaving. I don't know what else it means. LISA All I meant by saying you were strident was that you were being emphatic! I obviously misused the word! EMILY Look it up when you get home. LISA Jesus Christ. You're amazing. EMILY Yeah. Uh huh. I'm amazing. LISA (bursts into tears) Why are you doing this... .! EMILY Lisa, I'm not doing anything! I'm a human being! Monica was a human being! So was her daughter! And so is your mother! (MORE) 2nd Green Revised 11/20/05 - Page 133 143 CONTINUED: ( 7) 143 EMILY (CONT' D) We are not supporting characters in the fascinating story of your life! LISA I never said or thought you were...! And I really didn't mean to call you strident! I totally misused the word! I wasn't trying to insult you, Emily, I really wasn't! I feel so bad about what happened and I'm trying so hard to do something about it! And I don't understand why if I say something wrong you can't just give me a break! I didn't mean I thought her daughter took over my body. I'm not an idiot. It was just this feeling I had because she was holding onto my hand so hard before she died, and because we had the same first name! EMILY OK... LISA But I'm not trying to dramatize anything, Emily. I really know about that trend, and I really don't think I've been doing that. EMILY OK. I believe you. And look up "strident." LISA I will. They kiss and make up, but it's still a little ugly. 143A INT. COHEN LIVING ROOM. NIGHT 143A Lisa, Joan and Curtis are watching Joan being interviewed on TV. We don't see the screen. JOAN I've been in the theater my whole life and nothing like this has ever happened to me... INTERVIEWER ON TV(O.C.) Now, any talk of the play becoming a film? JOAN ON TV (O.C.) Oh, I'm sure. But I would never get cast in that. I'm not a movie star. INTERVIEWER ON TV (O.C.) But you're a theater star... JOAN ON TV (O.C.) I don't know about that either... 2nd Green Revised 11/20/05 - Page 133A 143A CONTINUED: 143A INTERVIEWER ON TV (O.C.) You are! JOAN ON TV (O . C . ) (CHARMINGLY) I guess...! JOAN Oh God. Joan buries her face in her hands. Lisa watches scowling. 134 143B INT. COHEN KITCHEN. NIGHT. 143B Joan is serving Lisa and Curtis dinner. JOAN Lisa? Do you think Emily would like to come see the play? I thought you could both come and them maybe we could go out afterwards. LISA All right. Let me ask her. JOAN Dig in everybody... They start eating. LISA I was thinking about spending next year with Dad. JOAN (SHOCKED) Oh? LISA Yeah. You're all worried about my grades. They have really good public schools in Santa Monica, and if Iofficially lived with him, you wouldn't have to worry about my scholarship. JOAN Have you talked to him about this? LISA We've had some general discussions. JOAN (TO CURTIS) Do you want to go too? CURTIS (SURPRISED) Me? JOAN Yeah. Do you want to move to LA too? CURTIS No. JOAN Well, just let me know if you do. 135 143B CONTINUED: 143B LISA Why are you being like this? JOAN Why am I being like what? LISA Why are you about to start crying? JOAN Because it's your intention to make me start crying! LISA No it's not -- - JOAN You want to move to LA. Move to LA. LISA But why can't this even be mentioned without you taking it personally? I'm just introducing a possibility! JOAN OH! Joan upsets everything on the table and starts to go. She comes back and upsets more things on the table. JOAN Here's a possibility that you can make your own fucking dinner! Here's a possibility LISA that you can do whatever you Jesus Christ! want to do, because I don't What is with you? even care anymore, you heartless little fuckin' bitch! LISA Fine! Keep it up! It really makes me want to stay here! JOAN You think you're so fucking perfect!? She breaks something else and walks out. LISA No. CURTIS Good one. LISA Shut up. Green Revised 10/7/05 - Page 136 144 OMIT 144 145 INT. HISTORY CLASS. DAY. 145 On the blackboard Klein finishes writing: SHOULD TEENAGERS RULE THE WORLD? YES OR NO? KLEIN OK. Go ahead: Kirsten. Lionel: Put your drum away. Lionel stops drumming on his desk with his fingers. KIRSTEN I think that teenagers should definitely rule the world, because teenagers aren't corrupted by adult life yet, and they're idealists and they care. And I know a lot of people feel that teenagers are really naive, which they are, many of them. But they still haven't had a chance to get burned out by the disappointments and the harsh realities of learning how to play the game. So yes, I would vote yes. KLEIN All right: Lisa? LISA I would tend to agree with all of that, except I do think that teenagers don't always necessarily think things through very carefully, and they don't have enough experience to know what the right thing to do is all the time. I also think they tend to adhere to ideologies really easily without having actually bothered to think them through for themselves.-- LEWIS Such as what? LISA Such as what? Such as, gee, I don't know: the Hitler Youth? KLEIN OK... Hitler Youth. LISA Or what about all these teenage suicide bombers? Not that I want to get into the whole Palestinian thing again, but assuming you don't think suicide bombing is a good thing, wouldn't you say that's an example of being idealistic without using your critical faculties? (MORE) Green Revised 10/7/05 - Page 137 145 CONTINUED: 145 LISA (CONT'D) And maybe running the risk of having your youthful enthusiasm be co-opted by adults for purposes of their own that you might not even ultimately agree with? Angie's hand shoots up. So do several others. LEWIS OK, Angie? ANGIE Yeah, I don't want to get into the whole Palestinian thing again either, because I realize I'm completely outnumbered -- ANTHONY Not unlike the Palestinians themselves. ANGIE That's not really funny, Anthony. ANGIE (to LISA) KLEIN -- and I'm not even going to Segal: Cut the comedy. comment on the fact that you just compared a 19-year-old ANTHONY Palestinian to a member of I thought it was funny... the Hitler Youth, which I personally find so offensive LISA I don't even know where to That's right! Because start -- Oh, it's not because they both like to kill they've been occupied and Jews. humiliated and bombed out of their homes for the last KLEIN fifty years? Hey! Hey! Lisa! Hey! LEWIS LISA Come on, guys... Yes! That's partly why they like it! There's ANGIE still a million Pale- If anyone's acting like stinians who don't blow Nazis it's the Israeli up children on busses government! because they're so "frustrated!" LEWIS OK, OK! Monica? MONICA Well, I don't know if this is good or bad, but speaking of ideology, it's interesting that the suicide bombers -- just for example -- care enough about what they believe in to sacrifice their lives for it. WHEREAS 2nd Blue Revised 10/28/05 - Page 138 145 CONTINUED: (2) 145 ANGIE Yes. Yes! LISA I think it's fine if you want to sacrifice your life for what you believe in. I actually think that's really noble. It's a little different when you're willing to sacrifice someone else's life, you know? I personally don't think that's such a big ideological achievement! ANGIE Um, even if there's no other way to get you out of my country? LEWIS LISA Raise your hands! They haven't tried any other ways! It's not ANGIE like killing civilians Yes they have! They're is their last resort! trying it right now! It's their first resort! Because it's easy and they like it! ANGIE (CONT'D) Oh they like it? They're just bad people and they like it? LISA Yes! There are bad people in the world! I think they liked blowing up the World Trade Center! They kill their own sisters when they get raped! It's called barbarism! MONICA LISA Who kills their own sisters? It's practically all people do is kill each other! LIONEL If they didn't like it they You guys are not the only wouldn't do it! Period! ones in this class! KLEIN & LEWIS Hey! Silence. LEWIS If you ladies can't make your points without yelling or interrupting each other or raising your hands, I'd say it was a pretty good argument for "No." LISA Why, adults don't yell and interrupt each

negligently

How many times the word 'negligently' appears in the text?

116A 132A CONTINUED: 132A RAMON You don't think I should be? JOAN I just feel kind of ignorant about your whole world... RAMON You think it would be better if we knew about all the same things? JOAN Not really, not exclusively. It's just unusual. Don't you think it's unusual? 2nd Pink Revised 11/17/05 - Page 117 132A CONTINUED: (2) 132A RAMON Not for me. JOAN I guess you travel a lot. I've only been out of the country a few times in my whole life. RAMON You should travel more. JOAN I know. I've always wanted to. It's hard when you're in the theater... RAMON Still, you should try. It's a big world. You're an artist. You should see more of it. JOAN I know. You don't have to keep saying that. I've always wanted to travel. It's just a little difficult with two kids and no husband, but it's hard to make a lot of money in the theater. I was on a TV show a few years back and I socked away some money because of that, but my ex-husband -- RAMON Karl. JOAN Karl, yes, you remembered, very good. Karl's very generous with the kids when he can be, but he's struggling too: He's a director: he directs commercials, and now he's trying to produce them... Anyway, I'm not ignorant because I enjoy it. RAMON I don't say you're ignorant... Do you think Lisa will be interested in acting? JOAN I don't think so. I think's she's got a lot of contempt for it. Of course that may be the age. RAMON She would prefer the world with no plays? No films? JOAN Oh... Who knows. 2nd Pink Revised 11/17/05 - Page 117A 132A CONTINUED: (3) 132A RAMON Would you like to see a picture of my mother? JOAN Sure. RAMON These are all my aunts and uncles...See? Big family... JOAN Mmm. She looks at him as he turns the pages. 133 EXT. MIDTOWN OFFICE BUILDING. DAY. 133 Lisa and Emily meet in front of Dave's office building. 134 INT. DAVE'S LAW FIRM - STAIRCASE/OFFICE. DAY. 134 Dave walks Lisa and Emily into his office. DAVE So after I talked to you guys I called this P.I. I know and I asked him to -- Pink Revised 9/25/05 - Page 118 134 CONTINUED: 134 EMILY You called a what? A what? DAVE Private Investigator -- to see if he could find anything out about your bus driver -- LISA Really? DAVE EMILY Yeah: So he -- Dave! DAVE Wait, let me tell you what he said! So he called this guy he knows who used to be a cop for the MTA. Did you know the MTA have their own police? The MTA police? They have their own uniforms... EMILY Yeah? Yeah? Yeah? DAVE EMILY And -- Just a minutel Jesus Christ! What do we give a fuck about the MTA police and their uniforms?! DAVE -- so this guy got someone to let him sneak a look at your guy's file. And it turns out he's had two previous accidents -- less than two years apart -- one of them on the job, one in his own car -- EMILY What? DAVE -- where there was some allegation that he was drinking, which was dropped, but, that he's never been cited or disciplined, just moved around to different shifts -- EMILY Are you fucking kidding me? LISA Why does this not shock me? DAVE Because Surprise Surprise his brother-in- law is a very big muckety-muck in the Transit Workers Union -- Pink Revised 9/25/05 - Page 119 134 CONTINUED: (2) 134 EMILY (i.e., "I get it.") O-Kay...l DAVE And if you read the paper, you'll know they're going through a protracted labor dispute at the MTA right now, and according to my PI, the management doesn't want to aggravate the situation by firing this guy. Especially since the police have concluded he was not at fault. LISA This is making me sick. DAVE I know, but what it means, Lisa, is that we have a case. LISA We do? DAVE What it means, in fact, is that we have a very good case, because we can sue for what's called "Negligent Retention." Which means they should have known the guy was a bad risk and was irresponsible and they negligently retained him until he finally killed somebody. EMILY And you can prove that? DAVE Sure, because we can subpoena their Personnel records, which we already know contain damaging information, because my investigator got a look at them beforehand. Which you're not-supposed to do, but we did it anyway. LISA YOU'RE AWESOMEL EMILY And that means... DAVE That means we're in great shape and I think we should go in there and sue their fuckin' asses off. EMILY But you wouldn't be our lawyer, right? Pink Revised 9/25/05 - Page 120 134 CONTINUED: (3) 134 DAVE No no. Oh no. LISA Why not? DAVE EMILY I'm not a personal injury It's not his area. litigator. I don't know enough about it. I would lose. EMILY But you could recommend someone? DAVE Sure. I know a guy who's very good. His name is Russel Deutsch. He's not a sleazebag. Very experienced. Let me give you his number... EMILY Dave, thank you so much. LISA Really. My God. DAVE But you gotta get that crazy cousin on board because she's gonna be your beneficiary. EMILY She's not gonna want to come to New York, I can tell you that right now. DAVE If you win she gets anywhere from three to five hundred thousand dollars. She's gonna come to New York. 135 EXT. MIDTOWN -- 6TH AVENUE. DAY. 135 Lisa and Emily walk up the busy avenue. LISA What's with Monica and her cousin? EMILY Oh, Monica's father left some money to Abigail's kids and he made Monica the executor of the estate, because he didn't want Abigail and her idiot husband to get their hands on the money before the kids were grown up. (MORE) Green Revised 10/7/05 - Page 121 135 CONTINUED: 135 EMILY (CONT'D) For which Abigail rewarded her by badgering her about it on the phone for fifteen years: Always trying to borrow money against the estate, accusing her of making lousy investments with it, nasty phone calls, nasty letters, every month for fifteen years until Abigail's daughter turned twenty-one and got married. Then Monica goes to the wedding, in fucking Arizona, and Abigail literally won't speak to her. She's a dream. LISA So that's who we're getting the money for? EMILY It's not who we're getting it for, it's who we're getting it from. 136 INT. DEUTSCH'S OFFICE. DAY. 136 Emily and Lisa sit with RUSSEL DEUTSCH, 50s. His law office is slightly smaller and less nice than Dave's. DEUTSCH First thing we do is we file a summons and a complaint against the MTA. They get .twenty days to respond, and when they do we can make our Discovery requests: Accident reports, personnel records, et cetera. But you gotta realize it's gonna take some time. The law says you have to get a court date within a year. Usually it takes about six. Depending. LISA Six years! DEUTSCH Depending, yes. EMILY Now, I mentioned to Dave I have a friend who writes for the Metro section of the Times... DEUTSCH Yes: Now this, if it could really happen, this changes everything in our favor. If they think there's gonna be adverse publicity, especially in The New York Times, they're gonna want to settle right away, soon as possible, and as quietly as POSSIBLE -- EMILY So they'd.make it a condition that 122 136 CONTINUED: 136 DEUTSCH It's usually done, you get the money but you can't talk about it. Nobody knows the terms. LISA So what good does that do? DEUTSCH You get the money. (Pause) is that bad? (Pause) I thought that's what we're all here for. (Pause) This is how our society punishes people for doing bad things. LISA By getting money from their employers' insurance. companies? DEUTSCH Yes. It's called Punitive Damages. Pause. LISA Could we insist they fire the driver? As part of the settlement? DEUTSCH Yes, sure, why not? LISA But is that something people do? DEUTSCH Sure. It's one of your conditions. EMILY Great. LISA And you think we're gonna win? They're gonna settle? DEUTSCH Oh they're gonna settle. LISA This is -- Emily and Lisa take hands and squeeze. 137 INT. COHEN APARTMENT -- LIVING ROOM. LATER THAT DAY. 137 JOAN is reading LISA's C average REPORT CARD and an accompanying letter. Lisa comes in and stops short. 123 137 CONTINUED: 137 JOAN I want to talk to you. LISA What'd I do now? 138 INT. EMILY'S APARTMENT -- FRONT DOOR. DAY. 138 Emily opens the front door for Joan and Lisa. JOAN Hi. I'm Joan. It's nice to meet you. EMILY Nice to meet you too. Come on in. - LISA (SARDONICALLY) Hi Emily. 139 INT. EMILY'S APARTMENT -- LIVING ROOM. DAY. 139 Emily, Joan and Lisa settle on the sofa and chairs. JOAN .I had a friend who used to live on this block, at 262...? EMILY Oh...? JOAN Yeah, I don't know if you know her. Cheryl Rowan? She's a physiotherapist? EMILY No, I don't know her. LISA I think about a thousand people must... JOAN What? LISA Nothing... EMILY Lisa says you're in a play, Joan? JOAN Oh -- Yeah... LISA You should go see it, it's really good. 124 139 CONTINUED: 139 JOAN Well, the play is great, and it's a really nice cast..-. LISA She's just being modest. She's gonna win every award in New York. JOAN Oh -- all that stuff's a long way off. EMILY I don't go to the theater very much. JOAN Well, it's just nice, because you can work a long time in the theater and play really good parts without getting a lot of recognition. And even though you don't necessarily do it for that as your primary motive, it is very nice when people do notice something you've done. EMILY Uh huh... JOAN I was on a television show a few years ago, and I had been doing theater all my life, and suddenly all my relatives started calling me up to congratulate me because they thought I finally Made It. And it was really just this dumb show that paid the bills for a while... LISA That show was so stupid. JOAN It wasn't that bad...! Anyway: I realize this is horribly embarrassing for Lisa, but I really wanted to meet you, Emily, because you've frankly become such a big part of Lisa's life, and I don't want to be intrusive, but this whole court case seems to be suddenly dominating everything and I can't get Lisa to tell me anything about it LISA That's not true...! JOAN Well, I can't...! And I want you to know, Lisa, that I'm very, very proud of you for pursuing this the way you have. (MORE) 125 139 CONTINUED: (2) 139 JOAN (CONT'D) But I can't let you pursue it to the point where it's taking over your life or interfering with your school work. (To EMILY) It's really come down to a question of homework. Lisa is on a half-scholarship at her school. And I know she feels a real sense of responsibility about what happened LISA Yeah, I do. JOAN I know you do. I know you do. But you can't not do your homework, and you can't throw away your scholarship because of it. LISA I'm not. My grades slipped a little. They'll get better. Anyone can do their homework. You just sit down and do it. I've been distracted. I'll stop. JOAN All right -- LISA We didn't need to have a big conference about it. JOAN (EMBARRASSED) It's not a big conference, I just want to know what's going on. And I wanted to meet Emily... (to EMILY) I know it's a little awkward! EMILY Don't apologize. If Lisa hasn't been keeping you apprised of what's been going on, I think she should. You should. LISA There's nothing to keep her apprised of., We're just waiting for them to schedule the Discovery conference. JOAN Now what is that? LISA Mom? It really doesn't matter. 126 139 CONTINUED: (3) 139 EMILY A Discovery conference is a meeting with the court where they sign an order. authorizing our lawyer to begin getting the personnel records, interviewing witnesses, talking to Monica's cousin... JOAN OK, now where does she fit in? EMILY She gets the money. 140 EXT. MIDTOWN HOTEL. DAY. 140 ABIGAIL BERWITZ, 40s, gets out the taxi as the driver comes around with her matching luggage. 141 INT. DEUTSCH'S OFFICE. DAY. 141 Abigail sits with Deutsch. DEUTSCH How would you describe the relationship overall? Did you talk on the phone a lot? Were there a lot of visits -- ABIGAIL I would say we talked on the phone a couple of times a month at least. Sometimes more than that...I would call her, she would call me... DEUTSCH And what were the nature of these conversations? ABIGAIL. Oh, family stuff, mostly. Her family, my kids... DEUTSCH And she would advise you about your family? That kind of thing? ABIGAIL Oh, I would say so, yes. DEUTSCH Would you have any phone records? Or -- ABIGAIL I have all my phone bills, if that's what you mean. I didn't record the actual conversations... 127 141 CONTINUED: 141 DEUTSCH No no -- ABIGAIL (PRODUCES BILLS) You'll see we talked on the phone quite frequently. DEUTSCH OK, that's terrific. I see you came prepared...1 ABIGAIL Well, I wanted to bring everything. DEUTSCH Now when they take your deposition you're gonna say the same thing you just told me. Talk about the relationship... ABIGAIL Uh huh? DEUTSCH Kind of advice she used to give you... ABIGAIL OK...? 142 INT. MIDTOWN RESTAURANT. DAY. 142 Emily, Lisa and Abigail sit over their lunch. Abigail is drinking a white wine. ABIGAIL Now, Emily, where did you find this lawyer? EMILY He was recommended by a friend. ABIGAIL I'm asking because my husband knows a real good New York lawyer, and I'm not entirely comfortable with someone that no one has ever heard of -- EMILY My friend's heard of him. He says he's very good.. ABIGAIL I'm sure he does. But I have a responsibility in this situation, and I would feel a whole lot more comfortable with somebody who didn't just drop in out of the clear blue sky... 2nd Green Revised 11/20/05 - Page 128 142 CONTINUED: 142 EMILY He didn't drop in out of the clear blue sky. He was recommended by my friend. But even if we switched lawyers we'd still have to pay him. But it all comes out of the settlement, so it's really up to you. ABIGAIL No, if you all think he's good... EMILY I don't know whether he is or not. My friend thinks he is. ABIGAIL All right. Now Lisa, what is your involvement in all this? What's your angle? LISA I just wanted to...I was just there. 143 INT. EMILY'S DINING ROOM. DAY. 143 Emily comes into the dining room with a cup of coffee. Lisa is standing over the table looking at some of Monica's photos and belongings which are spread out all over the table. Emily starts putting the pictures away in their envelopes. LISA Oh my God, is that you? EMILY That's me. LISA And that's you and Monica obviously. Oh my God. Is that her daughter? EMILY Uh huh. LISA God... So how old was she when she died? EMILY Twelve. LISA God. I can't even imagine. EMILY Neither could we. Emily sits down and starts sorting through pictures to put them in the box. Lisa sits down too. 2nd Green Revised 11/20/05 - Page 128aA 143 CONTINUED: 143 LISA You know Monica asked about her when she was dying? 2nd Green Revised 11/20/05 - Page 128A-129 143 CONTINUED: (2) 143 Emily looks up. EMILY No. I didn't. LISA Yeah. I think she was confused... like, I think she thought I was her daughter for a minute. And then she was asking me to call her, like to tell her what happened: You know, like she didn't remember she was dead. EMILY What do you mean? What did she say? LISA She just asked if somebody could call her daughter. But then it got confusing because I said, "Sure, what's her name?" And she said her name was Lisa. And I said, "No, that's my name." Because it took me a minute -- I didn't realize we had the same name... Emily does not respond. LISA (CONT'D) But I couldn't tell if what I was saying was registering with her. Emily does not respond. LISA (CONT'D) But then when I found out her daughter was dead, ever since then I keep having this really strong feeling that some way, for those last five minutes I kind of was her daughter. You know? Like maybe that's the reason I was there: Like in some weird way, this obviously amazing woman got to see her daughter again for a few minutes, right before she died. EMILY (VERY DRY) I see. And is she still inhabiting your body? Or did she go right back to the spirit world after it was over? LISA I didn't mean she ws literally inhabiting my body. I don't believe in all that stuff at all. EMILY I don't give a fuck what you believe in. 2nd Green Revised 11/20/05 - Page 129aA 143 CONTINUED: ( 3) 143 LISA Oh my God! Why are you so mad at me!? EMILY Because this is not an opera! LISA (FLUSHING) What? You think I think this is an opera? 2nd Green Revised 11/20/05 - Page 129A-130 143 CONTINUED: ( 4) 143 EMILY Yes! LISA You think I'm making this into a dramatic situation because I think it's dramatic?!? EMILY I think you're very young. LISA What does that have to do with anything? If anything I think it means I care more than someone who's older! Because this kind of thing has never happened to me before! EMILY No, it means you care more easily! There's a big difference! Except that it's not you it's happening to! LISA Yes it is! I know I'm not the one who was run over -- EMILY That's right, you weren't. And you're not the one who died of leukemia, and you're not the one who just died in an earthquake in -- Algeria! But you will be. Do you understand me? You will be. And it's not an opera and it's not dramatic -- LISA I'm well aware of that! EMILY And this first-blush phony deepness of yours is worth nothing. LISA Oh wow. EMILY Do you understand? It's not worth anything, because it'll be troweled over in a month or two. And then when you get older, and you don't have a big reaction every time a d gets run over, then, then we'll find out what kind of a person you are! But this is nothing! I'm sorry, but I didn't start this conversation and I don't play these games. 2nd Green Revised 11/20/05 - Page 131 143 CONTINUED: ( 5) 143 LISA (drawing herself up) I am not -- EMILY And don't look so outraged! Because I'm not saying anything very outrageous! I'm telling you to knock it off! You have every right to falsify your own life, but you have no right to falsify anyone else's. It's what makes people into Nazis! And I'm sorry, but it's a little suspicious that you're making such a fuss about this when you didn't know her, and you're having troubles with your own mother -- LISA Oh my God! EMILY But this is nm life we're talking about, much more than it is yours! Because it's my real friend who got killed, who I'm never going to see again, really! Whom I have known since I was nineteen years old myself. OK? And I don't want that sucked into some kind of adolescent self- dramatization! LISA I'm not fucking dramatizing anything! EMILY (not having it) OK -- LISA I was there, and you weren't! And if I happen to express myself a little hyperbolically, Emily, that's just the way I talk! I can't help it if my mother is an actress! Why are you being so fucking strident? EMILY Strident? LISA Yeah. EMILY OK. Um, you should leave. LISA Why? Because I called you strident? 132 143 CONTINUED: ( 6) 143 EMILY Yeah: Strident? You should leave. Thanks. I don't wanna be called strident and you're deliberately misunderstanding me! LISA No I'm not! You're insulting me enough as it is: You don't have to call me stupid too! EMILY Well I can't stop you doing this so I think you had better go. LISA OK! I will. EMILY NOW! LISA OK! Let me get my purse! Lisa grabs her purse and coat. Emily half-walks, half-drives her toward the door. LISA (CONT'D) Does this mean we're dropping the whole inquiry? EMILY It means you're leaving. I don't know what else it means. LISA All I meant by saying you were strident was that you were being emphatic! I obviously misused the word! EMILY Look it up when you get home. LISA Jesus Christ. You're amazing. EMILY Yeah. Uh huh. I'm amazing. LISA (bursts into tears) Why are you doing this... .! EMILY Lisa, I'm not doing anything! I'm a human being! Monica was a human being! So was her daughter! And so is your mother! (MORE) 2nd Green Revised 11/20/05 - Page 133 143 CONTINUED: ( 7) 143 EMILY (CONT' D) We are not supporting characters in the fascinating story of your life! LISA I never said or thought you were...! And I really didn't mean to call you strident! I totally misused the word! I wasn't trying to insult you, Emily, I really wasn't! I feel so bad about what happened and I'm trying so hard to do something about it! And I don't understand why if I say something wrong you can't just give me a break! I didn't mean I thought her daughter took over my body. I'm not an idiot. It was just this feeling I had because she was holding onto my hand so hard before she died, and because we had the same first name! EMILY OK... LISA But I'm not trying to dramatize anything, Emily. I really know about that trend, and I really don't think I've been doing that. EMILY OK. I believe you. And look up "strident." LISA I will. They kiss and make up, but it's still a little ugly. 143A INT. COHEN LIVING ROOM. NIGHT 143A Lisa, Joan and Curtis are watching Joan being interviewed on TV. We don't see the screen. JOAN I've been in the theater my whole life and nothing like this has ever happened to me... INTERVIEWER ON TV(O.C.) Now, any talk of the play becoming a film? JOAN ON TV (O.C.) Oh, I'm sure. But I would never get cast in that. I'm not a movie star. INTERVIEWER ON TV (O.C.) But you're a theater star... JOAN ON TV (O.C.) I don't know about that either... 2nd Green Revised 11/20/05 - Page 133A 143A CONTINUED: 143A INTERVIEWER ON TV (O.C.) You are! JOAN ON TV (O . C . ) (CHARMINGLY) I guess...! JOAN Oh God. Joan buries her face in her hands. Lisa watches scowling. 134 143B INT. COHEN KITCHEN. NIGHT. 143B Joan is serving Lisa and Curtis dinner. JOAN Lisa? Do you think Emily would like to come see the play? I thought you could both come and them maybe we could go out afterwards. LISA All right. Let me ask her. JOAN Dig in everybody... They start eating. LISA I was thinking about spending next year with Dad. JOAN (SHOCKED) Oh? LISA Yeah. You're all worried about my grades. They have really good public schools in Santa Monica, and if Iofficially lived with him, you wouldn't have to worry about my scholarship. JOAN Have you talked to him about this? LISA We've had some general discussions. JOAN (TO CURTIS) Do you want to go too? CURTIS (SURPRISED) Me? JOAN Yeah. Do you want to move to LA too? CURTIS No. JOAN Well, just let me know if you do. 135 143B CONTINUED: 143B LISA Why are you being like this? JOAN Why am I being like what? LISA Why are you about to start crying? JOAN Because it's your intention to make me start crying! LISA No it's not -- - JOAN You want to move to LA. Move to LA. LISA But why can't this even be mentioned without you taking it personally? I'm just introducing a possibility! JOAN OH! Joan upsets everything on the table and starts to go. She comes back and upsets more things on the table. JOAN Here's a possibility that you can make your own fucking dinner! Here's a possibility LISA that you can do whatever you Jesus Christ! want to do, because I don't What is with you? even care anymore, you heartless little fuckin' bitch! LISA Fine! Keep it up! It really makes me want to stay here! JOAN You think you're so fucking perfect!? She breaks something else and walks out. LISA No. CURTIS Good one. LISA Shut up. Green Revised 10/7/05 - Page 136 144 OMIT 144 145 INT. HISTORY CLASS. DAY. 145 On the blackboard Klein finishes writing: SHOULD TEENAGERS RULE THE WORLD? YES OR NO? KLEIN OK. Go ahead: Kirsten. Lionel: Put your drum away. Lionel stops drumming on his desk with his fingers. KIRSTEN I think that teenagers should definitely rule the world, because teenagers aren't corrupted by adult life yet, and they're idealists and they care. And I know a lot of people feel that teenagers are really naive, which they are, many of them. But they still haven't had a chance to get burned out by the disappointments and the harsh realities of learning how to play the game. So yes, I would vote yes. KLEIN All right: Lisa? LISA I would tend to agree with all of that, except I do think that teenagers don't always necessarily think things through very carefully, and they don't have enough experience to know what the right thing to do is all the time. I also think they tend to adhere to ideologies really easily without having actually bothered to think them through for themselves.-- LEWIS Such as what? LISA Such as what? Such as, gee, I don't know: the Hitler Youth? KLEIN OK... Hitler Youth. LISA Or what about all these teenage suicide bombers? Not that I want to get into the whole Palestinian thing again, but assuming you don't think suicide bombing is a good thing, wouldn't you say that's an example of being idealistic without using your critical faculties? (MORE) Green Revised 10/7/05 - Page 137 145 CONTINUED: 145 LISA (CONT'D) And maybe running the risk of having your youthful enthusiasm be co-opted by adults for purposes of their own that you might not even ultimately agree with? Angie's hand shoots up. So do several others. LEWIS OK, Angie? ANGIE Yeah, I don't want to get into the whole Palestinian thing again either, because I realize I'm completely outnumbered -- ANTHONY Not unlike the Palestinians themselves. ANGIE That's not really funny, Anthony. ANGIE (to LISA) KLEIN -- and I'm not even going to Segal: Cut the comedy. comment on the fact that you just compared a 19-year-old ANTHONY Palestinian to a member of I thought it was funny... the Hitler Youth, which I personally find so offensive LISA I don't even know where to That's right! Because start -- Oh, it's not because they both like to kill they've been occupied and Jews. humiliated and bombed out of their homes for the last KLEIN fifty years? Hey! Hey! Lisa! Hey! LEWIS LISA Come on, guys... Yes! That's partly why they like it! There's ANGIE still a million Pale- If anyone's acting like stinians who don't blow Nazis it's the Israeli up children on busses government! because they're so "frustrated!" LEWIS OK, OK! Monica? MONICA Well, I don't know if this is good or bad, but speaking of ideology, it's interesting that the suicide bombers -- just for example -- care enough about what they believe in to sacrifice their lives for it. WHEREAS 2nd Blue Revised 10/28/05 - Page 138 145 CONTINUED: (2) 145 ANGIE Yes. Yes! LISA I think it's fine if you want to sacrifice your life for what you believe in. I actually think that's really noble. It's a little different when you're willing to sacrifice someone else's life, you know? I personally don't think that's such a big ideological achievement! ANGIE Um, even if there's no other way to get you out of my country? LEWIS LISA Raise your hands! They haven't tried any other ways! It's not ANGIE like killing civilians Yes they have! They're is their last resort! trying it right now! It's their first resort! Because it's easy and they like it! ANGIE (CONT'D) Oh they like it? They're just bad people and they like it? LISA Yes! There are bad people in the world! I think they liked blowing up the World Trade Center! They kill their own sisters when they get raped! It's called barbarism! MONICA LISA Who kills their own sisters? It's practically all people do is kill each other! LIONEL If they didn't like it they You guys are not the only wouldn't do it! Period! ones in this class! KLEIN & LEWIS Hey! Silence. LEWIS If you ladies can't make your points without yelling or interrupting each other or raising your hands, I'd say it was a pretty good argument for "No." LISA Why, adults don't yell and interrupt each

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116A 132A CONTINUED: 132A RAMON You don't think I should be? JOAN I just feel kind of ignorant about your whole world... RAMON You think it would be better if we knew about all the same things? JOAN Not really, not exclusively. It's just unusual. Don't you think it's unusual? 2nd Pink Revised 11/17/05 - Page 117 132A CONTINUED: (2) 132A RAMON Not for me. JOAN I guess you travel a lot. I've only been out of the country a few times in my whole life. RAMON You should travel more. JOAN I know. I've always wanted to. It's hard when you're in the theater... RAMON Still, you should try. It's a big world. You're an artist. You should see more of it. JOAN I know. You don't have to keep saying that. I've always wanted to travel. It's just a little difficult with two kids and no husband, but it's hard to make a lot of money in the theater. I was on a TV show a few years back and I socked away some money because of that, but my ex-husband -- RAMON Karl. JOAN Karl, yes, you remembered, very good. Karl's very generous with the kids when he can be, but he's struggling too: He's a director: he directs commercials, and now he's trying to produce them... Anyway, I'm not ignorant because I enjoy it. RAMON I don't say you're ignorant... Do you think Lisa will be interested in acting? JOAN I don't think so. I think's she's got a lot of contempt for it. Of course that may be the age. RAMON She would prefer the world with no plays? No films? JOAN Oh... Who knows. 2nd Pink Revised 11/17/05 - Page 117A 132A CONTINUED: (3) 132A RAMON Would you like to see a picture of my mother? JOAN Sure. RAMON These are all my aunts and uncles...See? Big family... JOAN Mmm. She looks at him as he turns the pages. 133 EXT. MIDTOWN OFFICE BUILDING. DAY. 133 Lisa and Emily meet in front of Dave's office building. 134 INT. DAVE'S LAW FIRM - STAIRCASE/OFFICE. DAY. 134 Dave walks Lisa and Emily into his office. DAVE So after I talked to you guys I called this P.I. I know and I asked him to -- Pink Revised 9/25/05 - Page 118 134 CONTINUED: 134 EMILY You called a what? A what? DAVE Private Investigator -- to see if he could find anything out about your bus driver -- LISA Really? DAVE EMILY Yeah: So he -- Dave! DAVE Wait, let me tell you what he said! So he called this guy he knows who used to be a cop for the MTA. Did you know the MTA have their own police? The MTA police? They have their own uniforms... EMILY Yeah? Yeah? Yeah? DAVE EMILY And -- Just a minutel Jesus Christ! What do we give a fuck about the MTA police and their uniforms?! DAVE -- so this guy got someone to let him sneak a look at your guy's file. And it turns out he's had two previous accidents -- less than two years apart -- one of them on the job, one in his own car -- EMILY What? DAVE -- where there was some allegation that he was drinking, which was dropped, but, that he's never been cited or disciplined, just moved around to different shifts -- EMILY Are you fucking kidding me? LISA Why does this not shock me? DAVE Because Surprise Surprise his brother-in- law is a very big muckety-muck in the Transit Workers Union -- Pink Revised 9/25/05 - Page 119 134 CONTINUED: (2) 134 EMILY (i.e., "I get it.") O-Kay...l DAVE And if you read the paper, you'll know they're going through a protracted labor dispute at the MTA right now, and according to my PI, the management doesn't want to aggravate the situation by firing this guy. Especially since the police have concluded he was not at fault. LISA This is making me sick. DAVE I know, but what it means, Lisa, is that we have a case. LISA We do? DAVE What it means, in fact, is that we have a very good case, because we can sue for what's called "Negligent Retention." Which means they should have known the guy was a bad risk and was irresponsible and they negligently retained him until he finally killed somebody. EMILY And you can prove that? DAVE Sure, because we can subpoena their Personnel records, which we already know contain damaging information, because my investigator got a look at them beforehand. Which you're not-supposed to do, but we did it anyway. LISA YOU'RE AWESOMEL EMILY And that means... DAVE That means we're in great shape and I think we should go in there and sue their fuckin' asses off. EMILY But you wouldn't be our lawyer, right? Pink Revised 9/25/05 - Page 120 134 CONTINUED: (3) 134 DAVE No no. Oh no. LISA Why not? DAVE EMILY I'm not a personal injury It's not his area. litigator. I don't know enough about it. I would lose. EMILY But you could recommend someone? DAVE Sure. I know a guy who's very good. His name is Russel Deutsch. He's not a sleazebag. Very experienced. Let me give you his number... EMILY Dave, thank you so much. LISA Really. My God. DAVE But you gotta get that crazy cousin on board because she's gonna be your beneficiary. EMILY She's not gonna want to come to New York, I can tell you that right now. DAVE If you win she gets anywhere from three to five hundred thousand dollars. She's gonna come to New York. 135 EXT. MIDTOWN -- 6TH AVENUE. DAY. 135 Lisa and Emily walk up the busy avenue. LISA What's with Monica and her cousin? EMILY Oh, Monica's father left some money to Abigail's kids and he made Monica the executor of the estate, because he didn't want Abigail and her idiot husband to get their hands on the money before the kids were grown up. (MORE) Green Revised 10/7/05 - Page 121 135 CONTINUED: 135 EMILY (CONT'D) For which Abigail rewarded her by badgering her about it on the phone for fifteen years: Always trying to borrow money against the estate, accusing her of making lousy investments with it, nasty phone calls, nasty letters, every month for fifteen years until Abigail's daughter turned twenty-one and got married. Then Monica goes to the wedding, in fucking Arizona, and Abigail literally won't speak to her. She's a dream. LISA So that's who we're getting the money for? EMILY It's not who we're getting it for, it's who we're getting it from. 136 INT. DEUTSCH'S OFFICE. DAY. 136 Emily and Lisa sit with RUSSEL DEUTSCH, 50s. His law office is slightly smaller and less nice than Dave's. DEUTSCH First thing we do is we file a summons and a complaint against the MTA. They get .twenty days to respond, and when they do we can make our Discovery requests: Accident reports, personnel records, et cetera. But you gotta realize it's gonna take some time. The law says you have to get a court date within a year. Usually it takes about six. Depending. LISA Six years! DEUTSCH Depending, yes. EMILY Now, I mentioned to Dave I have a friend who writes for the Metro section of the Times... DEUTSCH Yes: Now this, if it could really happen, this changes everything in our favor. If they think there's gonna be adverse publicity, especially in The New York Times, they're gonna want to settle right away, soon as possible, and as quietly as POSSIBLE -- EMILY So they'd.make it a condition that 122 136 CONTINUED: 136 DEUTSCH It's usually done, you get the money but you can't talk about it. Nobody knows the terms. LISA So what good does that do? DEUTSCH You get the money. (Pause) is that bad? (Pause) I thought that's what we're all here for. (Pause) This is how our society punishes people for doing bad things. LISA By getting money from their employers' insurance. companies? DEUTSCH Yes. It's called Punitive Damages. Pause. LISA Could we insist they fire the driver? As part of the settlement? DEUTSCH Yes, sure, why not? LISA But is that something people do? DEUTSCH Sure. It's one of your conditions. EMILY Great. LISA And you think we're gonna win? They're gonna settle? DEUTSCH Oh they're gonna settle. LISA This is -- Emily and Lisa take hands and squeeze. 137 INT. COHEN APARTMENT -- LIVING ROOM. LATER THAT DAY. 137 JOAN is reading LISA's C average REPORT CARD and an accompanying letter. Lisa comes in and stops short. 123 137 CONTINUED: 137 JOAN I want to talk to you. LISA What'd I do now? 138 INT. EMILY'S APARTMENT -- FRONT DOOR. DAY. 138 Emily opens the front door for Joan and Lisa. JOAN Hi. I'm Joan. It's nice to meet you. EMILY Nice to meet you too. Come on in. - LISA (SARDONICALLY) Hi Emily. 139 INT. EMILY'S APARTMENT -- LIVING ROOM. DAY. 139 Emily, Joan and Lisa settle on the sofa and chairs. JOAN .I had a friend who used to live on this block, at 262...? EMILY Oh...? JOAN Yeah, I don't know if you know her. Cheryl Rowan? She's a physiotherapist? EMILY No, I don't know her. LISA I think about a thousand people must... JOAN What? LISA Nothing... EMILY Lisa says you're in a play, Joan? JOAN Oh -- Yeah... LISA You should go see it, it's really good. 124 139 CONTINUED: 139 JOAN Well, the play is great, and it's a really nice cast..-. LISA She's just being modest. She's gonna win every award in New York. JOAN Oh -- all that stuff's a long way off. EMILY I don't go to the theater very much. JOAN Well, it's just nice, because you can work a long time in the theater and play really good parts without getting a lot of recognition. And even though you don't necessarily do it for that as your primary motive, it is very nice when people do notice something you've done. EMILY Uh huh... JOAN I was on a television show a few years ago, and I had been doing theater all my life, and suddenly all my relatives started calling me up to congratulate me because they thought I finally Made It. And it was really just this dumb show that paid the bills for a while... LISA That show was so stupid. JOAN It wasn't that bad...! Anyway: I realize this is horribly embarrassing for Lisa, but I really wanted to meet you, Emily, because you've frankly become such a big part of Lisa's life, and I don't want to be intrusive, but this whole court case seems to be suddenly dominating everything and I can't get Lisa to tell me anything about it LISA That's not true...! JOAN Well, I can't...! And I want you to know, Lisa, that I'm very, very proud of you for pursuing this the way you have. (MORE) 125 139 CONTINUED: (2) 139 JOAN (CONT'D) But I can't let you pursue it to the point where it's taking over your life or interfering with your school work. (To EMILY) It's really come down to a question of homework. Lisa is on a half-scholarship at her school. And I know she feels a real sense of responsibility about what happened LISA Yeah, I do. JOAN I know you do. I know you do. But you can't not do your homework, and you can't throw away your scholarship because of it. LISA I'm not. My grades slipped a little. They'll get better. Anyone can do their homework. You just sit down and do it. I've been distracted. I'll stop. JOAN All right -- LISA We didn't need to have a big conference about it. JOAN (EMBARRASSED) It's not a big conference, I just want to know what's going on. And I wanted to meet Emily... (to EMILY) I know it's a little awkward! EMILY Don't apologize. If Lisa hasn't been keeping you apprised of what's been going on, I think she should. You should. LISA There's nothing to keep her apprised of., We're just waiting for them to schedule the Discovery conference. JOAN Now what is that? LISA Mom? It really doesn't matter. 126 139 CONTINUED: (3) 139 EMILY A Discovery conference is a meeting with the court where they sign an order. authorizing our lawyer to begin getting the personnel records, interviewing witnesses, talking to Monica's cousin... JOAN OK, now where does she fit in? EMILY She gets the money. 140 EXT. MIDTOWN HOTEL. DAY. 140 ABIGAIL BERWITZ, 40s, gets out the taxi as the driver comes around with her matching luggage. 141 INT. DEUTSCH'S OFFICE. DAY. 141 Abigail sits with Deutsch. DEUTSCH How would you describe the relationship overall? Did you talk on the phone a lot? Were there a lot of visits -- ABIGAIL I would say we talked on the phone a couple of times a month at least. Sometimes more than that...I would call her, she would call me... DEUTSCH And what were the nature of these conversations? ABIGAIL. Oh, family stuff, mostly. Her family, my kids... DEUTSCH And she would advise you about your family? That kind of thing? ABIGAIL Oh, I would say so, yes. DEUTSCH Would you have any phone records? Or -- ABIGAIL I have all my phone bills, if that's what you mean. I didn't record the actual conversations... 127 141 CONTINUED: 141 DEUTSCH No no -- ABIGAIL (PRODUCES BILLS) You'll see we talked on the phone quite frequently. DEUTSCH OK, that's terrific. I see you came prepared...1 ABIGAIL Well, I wanted to bring everything. DEUTSCH Now when they take your deposition you're gonna say the same thing you just told me. Talk about the relationship... ABIGAIL Uh huh? DEUTSCH Kind of advice she used to give you... ABIGAIL OK...? 142 INT. MIDTOWN RESTAURANT. DAY. 142 Emily, Lisa and Abigail sit over their lunch. Abigail is drinking a white wine. ABIGAIL Now, Emily, where did you find this lawyer? EMILY He was recommended by a friend. ABIGAIL I'm asking because my husband knows a real good New York lawyer, and I'm not entirely comfortable with someone that no one has ever heard of -- EMILY My friend's heard of him. He says he's very good.. ABIGAIL I'm sure he does. But I have a responsibility in this situation, and I would feel a whole lot more comfortable with somebody who didn't just drop in out of the clear blue sky... 2nd Green Revised 11/20/05 - Page 128 142 CONTINUED: 142 EMILY He didn't drop in out of the clear blue sky. He was recommended by my friend. But even if we switched lawyers we'd still have to pay him. But it all comes out of the settlement, so it's really up to you. ABIGAIL No, if you all think he's good... EMILY I don't know whether he is or not. My friend thinks he is. ABIGAIL All right. Now Lisa, what is your involvement in all this? What's your angle? LISA I just wanted to...I was just there. 143 INT. EMILY'S DINING ROOM. DAY. 143 Emily comes into the dining room with a cup of coffee. Lisa is standing over the table looking at some of Monica's photos and belongings which are spread out all over the table. Emily starts putting the pictures away in their envelopes. LISA Oh my God, is that you? EMILY That's me. LISA And that's you and Monica obviously. Oh my God. Is that her daughter? EMILY Uh huh. LISA God... So how old was she when she died? EMILY Twelve. LISA God. I can't even imagine. EMILY Neither could we. Emily sits down and starts sorting through pictures to put them in the box. Lisa sits down too. 2nd Green Revised 11/20/05 - Page 128aA 143 CONTINUED: 143 LISA You know Monica asked about her when she was dying? 2nd Green Revised 11/20/05 - Page 128A-129 143 CONTINUED: (2) 143 Emily looks up. EMILY No. I didn't. LISA Yeah. I think she was confused... like, I think she thought I was her daughter for a minute. And then she was asking me to call her, like to tell her what happened: You know, like she didn't remember she was dead. EMILY What do you mean? What did she say? LISA She just asked if somebody could call her daughter. But then it got confusing because I said, "Sure, what's her name?" And she said her name was Lisa. And I said, "No, that's my name." Because it took me a minute -- I didn't realize we had the same name... Emily does not respond. LISA (CONT'D) But I couldn't tell if what I was saying was registering with her. Emily does not respond. LISA (CONT'D) But then when I found out her daughter was dead, ever since then I keep having this really strong feeling that some way, for those last five minutes I kind of was her daughter. You know? Like maybe that's the reason I was there: Like in some weird way, this obviously amazing woman got to see her daughter again for a few minutes, right before she died. EMILY (VERY DRY) I see. And is she still inhabiting your body? Or did she go right back to the spirit world after it was over? LISA I didn't mean she ws literally inhabiting my body. I don't believe in all that stuff at all. EMILY I don't give a fuck what you believe in. 2nd Green Revised 11/20/05 - Page 129aA 143 CONTINUED: ( 3) 143 LISA Oh my God! Why are you so mad at me!? EMILY Because this is not an opera! LISA (FLUSHING) What? You think I think this is an opera? 2nd Green Revised 11/20/05 - Page 129A-130 143 CONTINUED: ( 4) 143 EMILY Yes! LISA You think I'm making this into a dramatic situation because I think it's dramatic?!? EMILY I think you're very young. LISA What does that have to do with anything? If anything I think it means I care more than someone who's older! Because this kind of thing has never happened to me before! EMILY No, it means you care more easily! There's a big difference! Except that it's not you it's happening to! LISA Yes it is! I know I'm not the one who was run over -- EMILY That's right, you weren't. And you're not the one who died of leukemia, and you're not the one who just died in an earthquake in -- Algeria! But you will be. Do you understand me? You will be. And it's not an opera and it's not dramatic -- LISA I'm well aware of that! EMILY And this first-blush phony deepness of yours is worth nothing. LISA Oh wow. EMILY Do you understand? It's not worth anything, because it'll be troweled over in a month or two. And then when you get older, and you don't have a big reaction every time a d gets run over, then, then we'll find out what kind of a person you are! But this is nothing! I'm sorry, but I didn't start this conversation and I don't play these games. 2nd Green Revised 11/20/05 - Page 131 143 CONTINUED: ( 5) 143 LISA (drawing herself up) I am not -- EMILY And don't look so outraged! Because I'm not saying anything very outrageous! I'm telling you to knock it off! You have every right to falsify your own life, but you have no right to falsify anyone else's. It's what makes people into Nazis! And I'm sorry, but it's a little suspicious that you're making such a fuss about this when you didn't know her, and you're having troubles with your own mother -- LISA Oh my God! EMILY But this is nm life we're talking about, much more than it is yours! Because it's my real friend who got killed, who I'm never going to see again, really! Whom I have known since I was nineteen years old myself. OK? And I don't want that sucked into some kind of adolescent self- dramatization! LISA I'm not fucking dramatizing anything! EMILY (not having it) OK -- LISA I was there, and you weren't! And if I happen to express myself a little hyperbolically, Emily, that's just the way I talk! I can't help it if my mother is an actress! Why are you being so fucking strident? EMILY Strident? LISA Yeah. EMILY OK. Um, you should leave. LISA Why? Because I called you strident? 132 143 CONTINUED: ( 6) 143 EMILY Yeah: Strident? You should leave. Thanks. I don't wanna be called strident and you're deliberately misunderstanding me! LISA No I'm not! You're insulting me enough as it is: You don't have to call me stupid too! EMILY Well I can't stop you doing this so I think you had better go. LISA OK! I will. EMILY NOW! LISA OK! Let me get my purse! Lisa grabs her purse and coat. Emily half-walks, half-drives her toward the door. LISA (CONT'D) Does this mean we're dropping the whole inquiry? EMILY It means you're leaving. I don't know what else it means. LISA All I meant by saying you were strident was that you were being emphatic! I obviously misused the word! EMILY Look it up when you get home. LISA Jesus Christ. You're amazing. EMILY Yeah. Uh huh. I'm amazing. LISA (bursts into tears) Why are you doing this... .! EMILY Lisa, I'm not doing anything! I'm a human being! Monica was a human being! So was her daughter! And so is your mother! (MORE) 2nd Green Revised 11/20/05 - Page 133 143 CONTINUED: ( 7) 143 EMILY (CONT' D) We are not supporting characters in the fascinating story of your life! LISA I never said or thought you were...! And I really didn't mean to call you strident! I totally misused the word! I wasn't trying to insult you, Emily, I really wasn't! I feel so bad about what happened and I'm trying so hard to do something about it! And I don't understand why if I say something wrong you can't just give me a break! I didn't mean I thought her daughter took over my body. I'm not an idiot. It was just this feeling I had because she was holding onto my hand so hard before she died, and because we had the same first name! EMILY OK... LISA But I'm not trying to dramatize anything, Emily. I really know about that trend, and I really don't think I've been doing that. EMILY OK. I believe you. And look up "strident." LISA I will. They kiss and make up, but it's still a little ugly. 143A INT. COHEN LIVING ROOM. NIGHT 143A Lisa, Joan and Curtis are watching Joan being interviewed on TV. We don't see the screen. JOAN I've been in the theater my whole life and nothing like this has ever happened to me... INTERVIEWER ON TV(O.C.) Now, any talk of the play becoming a film? JOAN ON TV (O.C.) Oh, I'm sure. But I would never get cast in that. I'm not a movie star. INTERVIEWER ON TV (O.C.) But you're a theater star... JOAN ON TV (O.C.) I don't know about that either... 2nd Green Revised 11/20/05 - Page 133A 143A CONTINUED: 143A INTERVIEWER ON TV (O.C.) You are! JOAN ON TV (O . C . ) (CHARMINGLY) I guess...! JOAN Oh God. Joan buries her face in her hands. Lisa watches scowling. 134 143B INT. COHEN KITCHEN. NIGHT. 143B Joan is serving Lisa and Curtis dinner. JOAN Lisa? Do you think Emily would like to come see the play? I thought you could both come and them maybe we could go out afterwards. LISA All right. Let me ask her. JOAN Dig in everybody... They start eating. LISA I was thinking about spending next year with Dad. JOAN (SHOCKED) Oh? LISA Yeah. You're all worried about my grades. They have really good public schools in Santa Monica, and if Iofficially lived with him, you wouldn't have to worry about my scholarship. JOAN Have you talked to him about this? LISA We've had some general discussions. JOAN (TO CURTIS) Do you want to go too? CURTIS (SURPRISED) Me? JOAN Yeah. Do you want to move to LA too? CURTIS No. JOAN Well, just let me know if you do. 135 143B CONTINUED: 143B LISA Why are you being like this? JOAN Why am I being like what? LISA Why are you about to start crying? JOAN Because it's your intention to make me start crying! LISA No it's not -- - JOAN You want to move to LA. Move to LA. LISA But why can't this even be mentioned without you taking it personally? I'm just introducing a possibility! JOAN OH! Joan upsets everything on the table and starts to go. She comes back and upsets more things on the table. JOAN Here's a possibility that you can make your own fucking dinner! Here's a possibility LISA that you can do whatever you Jesus Christ! want to do, because I don't What is with you? even care anymore, you heartless little fuckin' bitch! LISA Fine! Keep it up! It really makes me want to stay here! JOAN You think you're so fucking perfect!? She breaks something else and walks out. LISA No. CURTIS Good one. LISA Shut up. Green Revised 10/7/05 - Page 136 144 OMIT 144 145 INT. HISTORY CLASS. DAY. 145 On the blackboard Klein finishes writing: SHOULD TEENAGERS RULE THE WORLD? YES OR NO? KLEIN OK. Go ahead: Kirsten. Lionel: Put your drum away. Lionel stops drumming on his desk with his fingers. KIRSTEN I think that teenagers should definitely rule the world, because teenagers aren't corrupted by adult life yet, and they're idealists and they care. And I know a lot of people feel that teenagers are really naive, which they are, many of them. But they still haven't had a chance to get burned out by the disappointments and the harsh realities of learning how to play the game. So yes, I would vote yes. KLEIN All right: Lisa? LISA I would tend to agree with all of that, except I do think that teenagers don't always necessarily think things through very carefully, and they don't have enough experience to know what the right thing to do is all the time. I also think they tend to adhere to ideologies really easily without having actually bothered to think them through for themselves.-- LEWIS Such as what? LISA Such as what? Such as, gee, I don't know: the Hitler Youth? KLEIN OK... Hitler Youth. LISA Or what about all these teenage suicide bombers? Not that I want to get into the whole Palestinian thing again, but assuming you don't think suicide bombing is a good thing, wouldn't you say that's an example of being idealistic without using your critical faculties? (MORE) Green Revised 10/7/05 - Page 137 145 CONTINUED: 145 LISA (CONT'D) And maybe running the risk of having your youthful enthusiasm be co-opted by adults for purposes of their own that you might not even ultimately agree with? Angie's hand shoots up. So do several others. LEWIS OK, Angie? ANGIE Yeah, I don't want to get into the whole Palestinian thing again either, because I realize I'm completely outnumbered -- ANTHONY Not unlike the Palestinians themselves. ANGIE That's not really funny, Anthony. ANGIE (to LISA) KLEIN -- and I'm not even going to Segal: Cut the comedy. comment on the fact that you just compared a 19-year-old ANTHONY Palestinian to a member of I thought it was funny... the Hitler Youth, which I personally find so offensive LISA I don't even know where to That's right! Because start -- Oh, it's not because they both like to kill they've been occupied and Jews. humiliated and bombed out of their homes for the last KLEIN fifty years? Hey! Hey! Lisa! Hey! LEWIS LISA Come on, guys... Yes! That's partly why they like it! There's ANGIE still a million Pale- If anyone's acting like stinians who don't blow Nazis it's the Israeli up children on busses government! because they're so "frustrated!" LEWIS OK, OK! Monica? MONICA Well, I don't know if this is good or bad, but speaking of ideology, it's interesting that the suicide bombers -- just for example -- care enough about what they believe in to sacrifice their lives for it. WHEREAS 2nd Blue Revised 10/28/05 - Page 138 145 CONTINUED: (2) 145 ANGIE Yes. Yes! LISA I think it's fine if you want to sacrifice your life for what you believe in. I actually think that's really noble. It's a little different when you're willing to sacrifice someone else's life, you know? I personally don't think that's such a big ideological achievement! ANGIE Um, even if there's no other way to get you out of my country? LEWIS LISA Raise your hands! They haven't tried any other ways! It's not ANGIE like killing civilians Yes they have! They're is their last resort! trying it right now! It's their first resort! Because it's easy and they like it! ANGIE (CONT'D) Oh they like it? They're just bad people and they like it? LISA Yes! There are bad people in the world! I think they liked blowing up the World Trade Center! They kill their own sisters when they get raped! It's called barbarism! MONICA LISA Who kills their own sisters? It's practically all people do is kill each other! LIONEL If they didn't like it they You guys are not the only wouldn't do it! Period! ones in this class! KLEIN & LEWIS Hey! Silence. LEWIS If you ladies can't make your points without yelling or interrupting each other or raising your hands, I'd say it was a pretty good argument for "No." LISA Why, adults don't yell and interrupt each

veins

How many times the word 'veins' appears in the text?

2.) [15] VOUS M'EN DIREZ DES NOUVELLES. See _le jeu de l'amour et du hasard_, note 242. [16] DIANTRE. See _le Legs_, note 101. [17] L . _Dans la t te_, with a gesture. [18] D RANG . 'Disorderly' or 'irregular' (in his affairs). [19] SERVITEUR AU COLLAT RAL, 'Then the collateral heirs will have to go without.' _Serviteur au_ is here used in the sense of _tant pis pour. Serviteur_ is not infrequently used as a formula of dismissal. [20] VOUS METTEZ. An inverted order quite common in the seventeenth and eighteenth centuries, when the second of two imperatives is construed with an object pronoun. Compare: "Quittez cette chim re, et m'aimez " (Corneille). "Polissez-le sans cesse et le repolissez" (Boileau, _Art Po tique_, Chant 1). [21] DONT. _Que would preferably be used to-day, so as not to repeat the construction of the antecedent. Compare _le Jeu de l'amour et du hasard_, note 175. [22] QU'IL VOUS REVIENNE, 'That you like him.' [23] MONSIEUR PR VIENT EN SA FAVEUR, 'The gentleman's appearance speaks in his favour.' [24] GR CES. In modern French the singular is preferred. [25] EST-CE VOUS QUI IL EN VEUT, 'Is it you whom he has come to see?' See _le Jeu de l'amour et du hasard_, note 68; _le Jeu de l'amour et du hasard_, note 175 and note 176; _le Legs_, note 132, and _le Legs_, note 135. [26] COMME S'EN ALLANT, for, _comme en s'en allant. [27] PARTI, 'Position' (Littr , 10 ). The idea of 'salary' is conveyed by the word as used here. [28] RENVERRAI TOUT. That is to say, _tout ce qui se pr sentera_; 'I will dismiss all other applicants.' [29] PARTI. See note 27. [30] REPR SENTE, 'call attention, 'set forth'; a form often used in petitions. [31] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [32] A VOTRE AISE LE RESTE, 'The rest when you like.' [33] D'O VIENT PR F RER CELUI-CI. See _le Jeu de l'amour et du hasard_, note 220. [34] ARR T , for the modern French _engag _ ('engaged'). [35] IL ME TARDE, 'I long.' [36] EN PASSE, 'In a position to.' [37] D'ALLER TOUT. For the more modern expression _d'arriver tout_, 'to attain any height.' [38] D FAITE, 'Excuse' or 'pretext' (Littr ", 4 , also Diet, de l'Acad. 1878). [39] L VATION. Used here with the unusual meaning of 'desire for social eminence.' [40] ELLE S'ENDORT DANS CET TAT, 'She is satisfied with her condition.' While already in the seventeenth century the ambition of rich _bourgeois_ to gain admission to the exclusive circles of the nobility had been sufficiently marked to induce Moli re to attack it in his _Bourgeois gentilhomme_, it was even more noticeable in the eighteenth, and _m salliances_ between noblemen and women of the middle class became much more frequent. [41] R FLEXION ROTURI RE. _Roture_ was the expression used to denote the _bourgeoisie_ as distinguished from the nobility. [42] JE N'Y ENTENDS POINT DE FINESSE, 'I cannot enter into such subtle distinctions on the question of happiness.' She refuses to discuss the possibility of Araminte's preferring happiness to rank. For her, rank means happiness, as would wealth. [43] IL ME L'A PARU = _Cela nil a paru ainsi_. [44] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [45] J'Y METTRAI BON ORDRE. See _le Jeu de l'amour et du hasard_, note 169. [46] PLAISANT. See _le Jeu de l'amour et du hasard_, note 37. [47] TIMBR COMME CENT, 'As crazy as a loon.' It is difficult to preserve the figure in an idiomatic translation. Compare the colloquial English, "You act like _sixty_." [48] CERVELLE BR L E. A peculiar use of _cervelle_. _Br l e_ is used here by Marivaux in the sense _troubl e_, as in the passage from Mme. de S vign : "Mme. de Saint-G ran est toute br l e du d part de son mari." [49] IL EN EST COMME UN PERDU, 'He is like a man who has lost his reason.' Cf. _le Jeu de l'amour et du hasard_, note 120. [50] UN PEU BOUDANT. Nowadays the adverb follows the verb. Here _boudant_ might at first thought be taken for an adjective, but it is a present participle used verbally and consequently invariable. [51] ON A BIEN AFFAIRE DE, 'I have no use for.' This idiom must not be confounded with _avoir affaire _, which means 'to have to deal with.' [52] ESPRIT RENVERS , 'A crazy man.' [53] MALEPESTE. See _le Legs_, note 48. [54] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [55] IL N'Y AVOIT PLUS PERSONNE AU LOGIS, 'He was quite unconscious.' (Littr , "logis," 1 .) [56] D' PIER. Later editions print _qu' pier_, as _d' pier_ would not be admissible in modern French. _Que de r ver... que d' pier_ would be the most natural modern form. [57] PAYOIS BOUTEILLE = _Payais boire_. [58] LA COM DIE. The _Com die-Fran aise_, or _Th tre-Fran ais_, then, as now, the leading theatre in Paris. [59] D S QUATRE HEURES. The performance did not begin before five o'clock, in the eighteenth century, [60] DANS L'HIVER. The modern form is _en hiver_. [61] JURANT PAR CI PAR L , 'Swearing every now and then.' [62] AUX TUILERIES. The Cours-la-Reine, in the Champs-Elys es, the Tuileries gardens, and the Palais-Royal, with its covered galleries and its garden, were the fashionable resorts of promenaders in the eighteenth century. [63] CE QU'IL. The _ce_ is superfluous. [64] PERCER = _S'apercevoir_. [65] JE ME REMETS = _J'y suis_. [66] OUI-DA. See _Le Jeu de l'amour et du hasard_, note 21. [67] COMME PASSANT, for _comme en passant_. Compare _les Fausses Confidences_, note 26. [68] C'EST AUTANT DE PRIS. See _le Jeu de l'amour et du hasard_, note 54. [69] QU'EST-IL = _Pourquoi est-il_? [70] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [71] IL LES FAIT COMME IL LES A. Untranslatable, save by an quivalent. It is a pun on Dubois' remark: "making eyes at her." [72] PRENEZ TOUJOURS, 'Take note of them nevertheless." [73] LE. The text of 1758 prints _le_; _ce_ would carry out the sense even better. See _le Legs_, note 38. [74] APPAREMMENT, 'Evidently.' This adverb may be used with or without the conjunction _que_ to introduce a verb. [75] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [76] UNE GUENON, 'a fool.' [77] QUI SE FASSE = _Qu'il y ait_. [78] LES PETITES-MAISONS. The old Maladrerie de Saint-Germain, which in 1554 became the H pital Saint-Germain, later known as les Petites-Maisons, on account of the great number of cells into which it was divided. It was used to house infirm old men and women, who received a small weekly dole, lunatics, and patients suffering from loathsome diseases. The name became synonymous with either a mad-house or a hospital for certain diseases: it was changed in 1801 to les Petits-M nages, the insane having then been transferred, the men to Bic tre, the women to La Salp tri re. [79] BIEN VENANTS, 'Paid regularly.' Marivaux, like the authors of the preceding century, considered _bien venants_ as an adjective, and hence declinable: but _livre_ is feminine, and we should expect here the form _bien venantes_. The Academy has declared the expression indeclinable. Compare: "Je le voyais avec vingt-huit mille livres de rente bien venantes" (Mme. de S vign , Dec. 28, 1689). [80] APPAREMMENT. See _les Fausses Confidences_, note 74. [81] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [82] VOUS N'AVEZ POINT DE GR ME SAVOIR. A well-known idiom, better expressed to-day: _Vous n'avez point me savoir gr _. [83] D'AVEC. A shortened form for some such phrase as _d'une conversation avec. D'avec_ is generally to be translated 'from,' 'in contradiction to.' [84] A QUEL HOMME EN VEUT-IL? 'For what man is he looking?' Compare _le Jeu de l'amour et du hasard_, note 68. [85] A VOUS. _Aupr s de vous_ would be the modern expression. [86] LE FAISANT SORTIR. Note the peculiar use of _le_, which nowadays would be replaced by the noun to which it refers--_le gar on_. [87] DONT. Better _que_. See _Le Jeu de l'amour et du hasard_, note 175. [88] DESSUS. For _l -dessus_. [89] SANS DIFFICULT . See _le Jeu de l'amour et du hasard_, note 154. [90] DE NE VOUS PAS AIMER. _De ne pas vous aimer_ is the more natural order in modern French. [91] IL N'A QUE FAIRE DE, 'He has no need to.' Compare _le Jeu de l'amour et du hasard_, note, 141. [92] C'EST UN PORTRAIT DE FEMME. The construction of the sentence is peculiar and incomplete. It requires the introduction, before _c'est un portrait_, of the words _c'est que_. In modern French the awkwardness of this form would be obviated. In the second clause _que_ would have to be prefixed to _c'est ici_. [93] QUAND. _Puisque_ is also found in incomplete expressions of this kind. The thought might be completed as follows: _Mais, quand_ (or _puisque_) _je vous dis, etc., vous devriez me croire_. [94] ENTENDU, used here in the sense of _compris_. [95] HUPP ES, 'Fancy,' 'smartly dressed.' It often means 'smart.' Compare; "Combien en as-tu vu, je dis des plus hupp es." (Racine, _Les Plaideurs_, J, 4); "Bien hupp qui pourra m'attraper sur ce point!" (Moli re, _ cole des femmes_, 1, I). [96] JE N'EN RABATS RIEN, 'I retract nothing.' That is to say, 'I insist that it is the Count.' [97] PLAISANT, 'Ridiculous.' [98] COMME DE CELA. With some gesture of contempt. See _le Legs_, note 108. [99] LUI. For _le_. The verb _d fier_ governs to-day the accusative and not the dative. [100] QU'IL. Later editions print _qui_, which is the correct form. The thought may be expressed more simply by the phrase _Je l'avais vu le contempler_. [101] CE QUI EST DE S R = _Ce qu'il y a de s r_. [102] LE SUJET = _La raison_. [103] DE BONNE MAIN, 'By a reliable person.' (Littr , "main," 17 .) [104] CONSENS... DE. The verb _consentir_ takes either _de_ or _ _, before a following infinitive, although in modern French the latter is the more common. [105] TOUS PROC S. Later editions print _tout proc s_, which is the more natural modern form. The plural, in the sense of 'each' or 'every' is, however, sometimes found without the article. Compare: "L'auteur des dialogues a dit que les belles sont de tous pays, et moi je dis que les sottises sont de tous les si cles " (Fontenelle, _Jugement de Pluton_). [106] AVOIR PRISE ... AVEC, 'To have a dispute with.' PRISE, 'Quarrel,' 'dispute' (Littr , 6 , also Dict. de l'Acad., 1878). [107] TOUS. Later editions print _tout_, which is the modern form. In the seventeenth and early eighteenth centuries is was not customary to consider the adverbial _tout_ as necessarily invariable. [108] MOUVEMENT. See _le Jeu de l'amour et du hasard_, note 162. [109] DONT. _Que is preferable. See _Le Jeu de l'amour et du hasard_, note 175. [110] SAVOIS. A not uncommon use of the imperfect indicative in the sense of the conditional. [111] JE N'AUROIS QUE FAIRE DE. See _le Jeu de l'amour et du hasard_, note 68. Compare _le Jeu de l'amour et du hasard_, note 141, and _le Legs_, note 85. [112] A TOI. The English idiom is 'of you.' [113] AU MOINS, 'Nevertheless.' [114] CAPABLE. Most editions print _incapable_, beginning the sentence with _s'il_, and punctuating with a comma after _incapable_. The sense is better carried out with such a rendering. [115] Des biais = _Des moyens d tourn s_. [116] L'EN D DIRE = _Le d mentir_. [117] COMME S'EN ALLANT. See _les Fausses Confidences_, note 26. [118] A CE QU'IL EST N = _A sa naissance_. [119] C'EST DE DORANTE, for _Il est de Dorante_: 'It has been painted by Dorante.' [120] M'EN FAIRE ACCROIRE, 'To impose upon me.' [121] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [122] This speech of Dorante's and Araminte's answer seem to have inspired Augier and Sandeau in the scene between Bertrand and H l ne, in _Mlle. de la Seigli re_, Act III, sc. 7. [123] QUE MON AMOUR N'EN AUGMENTE. See _Le jeu de l'amour et du hasard_, note 137. [124] JE L'AI PEINTE. The _peinte_ refers to and agrees with _la_ in Dorante's preceding speech. [125] AVANT QUE DE. See _Le jeu de l'amour et du hasard_, note 117. [126] RUE DU FIGUIER. A very ancient and historic street in Paris, situated not far from the Lyc e Charlemagne, and making a triangle with the rue Charlemagne and the rue Fauconnier. Even before the year 1300 it bore this name, from a fine fig-tree which stood at its juncture with the rue Fauconnier, and which was standing as late as 1605. The most important edifice of the street is the H tel de Sens, built in the sixteenth century by the Archbishop Tristan de Salazar. It was for a time the residence of Marguerite, first wife of Henry IV. [127] JE LUI RECOMMANDERAI. Later editions print _je le lui recommanderai_. Attention has already been called to Marivaux's custom of omitting the direct object pronoun in similar constructions. Compare _le Jeu de l'amour et du hasard_, note 210, and _le Legs_, note 29. [128] MOUVEMENTS. See _Le jeu de l'amour et du hasard_, note 162. [129] LUI. See note 99. [130] FATIGUE, 'Importune' (Littr , 4 ).' Compare: "Ainsi donc mes bont s vous fatiguent peut- tre" (Racine, _B r nice_, II, 4). [131] AMUSER. See _Le jeu de l'amour et du hasard_, note 41. [132] EN FAIT DE DISCR TION, JE M RITERAIS D' TRE FEMME. _Discr tion_ means here 'the ability to keep a secret' (Littr , 5 ). Compare; "Rien ne p se tant qu'un secret: Le porter loin est difficile aux dames; Et je sais m me sur ce fait Bon nombre d'hommes qui sont femmes.' (La Fontaine, _Fables_, viii, 6.) [133] LE DIABLE N'Y PERD RIEN, is said of a person who restrains his feelings with difficulty, or only temporarily (Littr , "diable." 2 ). The whole phrase might here be translated by: 'She cannot conceal the matter, nor will I.' [134] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [135] OUI-DA. See _le Jeu de l'amour et du hasard_, note 21. [136] DEMEURE. The incorrect use of this verb by Harlequin adds to the comic of the piece. For correct French one might substitute _se trouve_. [137] LA RUE DU FIGUIER. See note 126. [138] SAIS. _Savoir_ as used here means 'to know about the street,' 'to know that it exists,' 'to know where it may be found'; _conna tre_ would mean 'to be acquainted with it.' [139] RENDRA = _Remettra_. [140] RENDREZ. Some of the later editions print _rendez_. [141] QUE JE N'AIE VU, 'Until I have seen.' The negative particle _ne_ is required in a phrase introduced by _que_, when this conjunction stands in the place of _avant que_. [142] PR SOMPTIONS. 'Presumptions' or 'reasonable suppositions.' Compare: "Ce ne sont pas l des convictions enti res; mais ce sont les pr somptions les plus fortes" (Voltaire, _Essai sur les moeurs et l'esprit des nations_, chap. 166). [143] DE VOTRE FA ON, 'Of your choosing.' [144] TOUT. Later editions print _tout le monde_, which is evidently the sense in which this word is used. [145] ROGUE, 'Arrogant.' In the edition of 1758 the word is printed _roque_, which has led some editors into the error of correcting to _rauque_ (hoarse). [146] NOUS N'AVONS QUE FAIRE ENSEMBLE, 'We have no dealings together.' [147] NON QUE JE SACHE. _Non, pas que je sache_ is the more complete modern expression. [148] A CAUSE QUE. _Parce que_ is more modern. Littr favors the retention of _ cause que_, since it is used by good authors, and, in certain cases, is preferable to _parce que_. [149] AMPLIFIE, 'Exaggerates.' [150] HORS D'OEUVRE = _Hors de propos_. Generally used to-day as a substantive, but in the seventeenth and eighteenth centuries often used adverbially as here. Compare: "Dans le _Cid_, toutes celles (the scenes) de l'infante sont d tach es, et paraissent hors d'oeuvre" (Corneille, _Horace_, Examen). [151] ENFANCE. For the more modern word _enfantillage_, although the Dict. de l'Acad., 1878, retains the word in this sense. Compare: "Ils ne font que des enfances" (Mme. de S vign , Jan. 26, 1689). "On passait encore les enfances Mme. la duchesse de Bourgogne par la gr ce qu'elle y mettait" (St. Simon. 294, 6). "Ce sont des b tises ou des enfances dont il n'y a que de bonnes gens qui soient capables" (_Marianne_, 2e partie.) See _le Legs_, note 29. [152] TOUT L'HEURE. In the sense of _tout de suite_ the expression is to-day obsolete, and is not admitted by the Dict. de l'Acad., 1878. See _le Legs_, note 76. [153] CAUSE QUE. See note 147. [154] ENTEND. See _le Jeu de l'amour et du hasard_, note 247. [155] APPAREMMENT, 'Manifestly,' 'Of course.' In this sense the word has become obsolete, and is not admitted by the Dict. de l'Acad., 1878. [156] VOUS N'Y SONGEZ PAS. See _le Legs_, note 58, _le Legs_, note 102. [157] D LIVR E. The edition of 1758 prints _d livr es_, which will be accounted for by the speaker's including madame Argante in his mind. The singular is, however, preferable. [158] EUS. The edition of 1758 prints the past participle _eu_, without making it agree with the preceding object pronoun. See _le Legs_, note 56. [159] NOUS DIS. For the position of the object pronoun see note 18. [160] EUES. The edition of 1738 prints _eu_. For similar carelessness in Marivaux's use of the past participle compare _le Legs_, note 56, and note 158. [161] AFFRONT , 'Deceived' (Littr , 2 , also the Dict. de l'Acad., 1878). [162] FERMIER, 'Farmer,' 'One holding a farm by lease.' [163] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [164] A CAUSE QUE. See note 147. [165] OUF! MA GLOIRE M'ACCABLE; ET JE M RITEROIS BIEN D'APPELER CETTE FEMME-L MA BRU. This expression, seeming too violent to the spectators of to-day, was suppressed by the Com die-Fran aise, March 5, 1881. The play ends with the words of Araminte. See Larroumet, p. 227, note 1. [166] PARDI. See _le Jeu de l'amour et du hasard_, note 15. End of the Project Gutenberg EBook of A Selection from the Comedies of Marivaux, by Pierre Carlet de Chamblain de Marivaux *** END OF THIS PROJECT GUTENBERG EBOOK COMEDIES OF MARIVAUX *** ***** This file should be named 12504-8.txt or 12504-8.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.net/1/2/5/0/12504/ Produced by Anne Soulard, Charles Aldarondo, Keren Vergon and the Online Distributed Proofreading Team. Updated editions will replace the previous one--the old editions will be renamed. 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demeure

How many times the word 'demeure' appears in the text?

2.) [15] VOUS M'EN DIREZ DES NOUVELLES. See _le jeu de l'amour et du hasard_, note 242. [16] DIANTRE. See _le Legs_, note 101. [17] L . _Dans la t te_, with a gesture. [18] D RANG . 'Disorderly' or 'irregular' (in his affairs). [19] SERVITEUR AU COLLAT RAL, 'Then the collateral heirs will have to go without.' _Serviteur au_ is here used in the sense of _tant pis pour. Serviteur_ is not infrequently used as a formula of dismissal. [20] VOUS METTEZ. An inverted order quite common in the seventeenth and eighteenth centuries, when the second of two imperatives is construed with an object pronoun. Compare: "Quittez cette chim re, et m'aimez " (Corneille). "Polissez-le sans cesse et le repolissez" (Boileau, _Art Po tique_, Chant 1). [21] DONT. _Que would preferably be used to-day, so as not to repeat the construction of the antecedent. Compare _le Jeu de l'amour et du hasard_, note 175. [22] QU'IL VOUS REVIENNE, 'That you like him.' [23] MONSIEUR PR VIENT EN SA FAVEUR, 'The gentleman's appearance speaks in his favour.' [24] GR CES. In modern French the singular is preferred. [25] EST-CE VOUS QUI IL EN VEUT, 'Is it you whom he has come to see?' See _le Jeu de l'amour et du hasard_, note 68; _le Jeu de l'amour et du hasard_, note 175 and note 176; _le Legs_, note 132, and _le Legs_, note 135. [26] COMME S'EN ALLANT, for, _comme en s'en allant. [27] PARTI, 'Position' (Littr , 10 ). The idea of 'salary' is conveyed by the word as used here. [28] RENVERRAI TOUT. That is to say, _tout ce qui se pr sentera_; 'I will dismiss all other applicants.' [29] PARTI. See note 27. [30] REPR SENTE, 'call attention, 'set forth'; a form often used in petitions. [31] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [32] A VOTRE AISE LE RESTE, 'The rest when you like.' [33] D'O VIENT PR F RER CELUI-CI. See _le Jeu de l'amour et du hasard_, note 220. [34] ARR T , for the modern French _engag _ ('engaged'). [35] IL ME TARDE, 'I long.' [36] EN PASSE, 'In a position to.' [37] D'ALLER TOUT. For the more modern expression _d'arriver tout_, 'to attain any height.' [38] D FAITE, 'Excuse' or 'pretext' (Littr ", 4 , also Diet, de l'Acad. 1878). [39] L VATION. Used here with the unusual meaning of 'desire for social eminence.' [40] ELLE S'ENDORT DANS CET TAT, 'She is satisfied with her condition.' While already in the seventeenth century the ambition of rich _bourgeois_ to gain admission to the exclusive circles of the nobility had been sufficiently marked to induce Moli re to attack it in his _Bourgeois gentilhomme_, it was even more noticeable in the eighteenth, and _m salliances_ between noblemen and women of the middle class became much more frequent. [41] R FLEXION ROTURI RE. _Roture_ was the expression used to denote the _bourgeoisie_ as distinguished from the nobility. [42] JE N'Y ENTENDS POINT DE FINESSE, 'I cannot enter into such subtle distinctions on the question of happiness.' She refuses to discuss the possibility of Araminte's preferring happiness to rank. For her, rank means happiness, as would wealth. [43] IL ME L'A PARU = _Cela nil a paru ainsi_. [44] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [45] J'Y METTRAI BON ORDRE. See _le Jeu de l'amour et du hasard_, note 169. [46] PLAISANT. See _le Jeu de l'amour et du hasard_, note 37. [47] TIMBR COMME CENT, 'As crazy as a loon.' It is difficult to preserve the figure in an idiomatic translation. Compare the colloquial English, "You act like _sixty_." [48] CERVELLE BR L E. A peculiar use of _cervelle_. _Br l e_ is used here by Marivaux in the sense _troubl e_, as in the passage from Mme. de S vign : "Mme. de Saint-G ran est toute br l e du d part de son mari." [49] IL EN EST COMME UN PERDU, 'He is like a man who has lost his reason.' Cf. _le Jeu de l'amour et du hasard_, note 120. [50] UN PEU BOUDANT. Nowadays the adverb follows the verb. Here _boudant_ might at first thought be taken for an adjective, but it is a present participle used verbally and consequently invariable. [51] ON A BIEN AFFAIRE DE, 'I have no use for.' This idiom must not be confounded with _avoir affaire _, which means 'to have to deal with.' [52] ESPRIT RENVERS , 'A crazy man.' [53] MALEPESTE. See _le Legs_, note 48. [54] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [55] IL N'Y AVOIT PLUS PERSONNE AU LOGIS, 'He was quite unconscious.' (Littr , "logis," 1 .) [56] D' PIER. Later editions print _qu' pier_, as _d' pier_ would not be admissible in modern French. _Que de r ver... que d' pier_ would be the most natural modern form. [57] PAYOIS BOUTEILLE = _Payais boire_. [58] LA COM DIE. The _Com die-Fran aise_, or _Th tre-Fran ais_, then, as now, the leading theatre in Paris. [59] D S QUATRE HEURES. The performance did not begin before five o'clock, in the eighteenth century, [60] DANS L'HIVER. The modern form is _en hiver_. [61] JURANT PAR CI PAR L , 'Swearing every now and then.' [62] AUX TUILERIES. The Cours-la-Reine, in the Champs-Elys es, the Tuileries gardens, and the Palais-Royal, with its covered galleries and its garden, were the fashionable resorts of promenaders in the eighteenth century. [63] CE QU'IL. The _ce_ is superfluous. [64] PERCER = _S'apercevoir_. [65] JE ME REMETS = _J'y suis_. [66] OUI-DA. See _Le Jeu de l'amour et du hasard_, note 21. [67] COMME PASSANT, for _comme en passant_. Compare _les Fausses Confidences_, note 26. [68] C'EST AUTANT DE PRIS. See _le Jeu de l'amour et du hasard_, note 54. [69] QU'EST-IL = _Pourquoi est-il_? [70] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [71] IL LES FAIT COMME IL LES A. Untranslatable, save by an quivalent. It is a pun on Dubois' remark: "making eyes at her." [72] PRENEZ TOUJOURS, 'Take note of them nevertheless." [73] LE. The text of 1758 prints _le_; _ce_ would carry out the sense even better. See _le Legs_, note 38. [74] APPAREMMENT, 'Evidently.' This adverb may be used with or without the conjunction _que_ to introduce a verb. [75] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [76] UNE GUENON, 'a fool.' [77] QUI SE FASSE = _Qu'il y ait_. [78] LES PETITES-MAISONS. The old Maladrerie de Saint-Germain, which in 1554 became the H pital Saint-Germain, later known as les Petites-Maisons, on account of the great number of cells into which it was divided. It was used to house infirm old men and women, who received a small weekly dole, lunatics, and patients suffering from loathsome diseases. The name became synonymous with either a mad-house or a hospital for certain diseases: it was changed in 1801 to les Petits-M nages, the insane having then been transferred, the men to Bic tre, the women to La Salp tri re. [79] BIEN VENANTS, 'Paid regularly.' Marivaux, like the authors of the preceding century, considered _bien venants_ as an adjective, and hence declinable: but _livre_ is feminine, and we should expect here the form _bien venantes_. The Academy has declared the expression indeclinable. Compare: "Je le voyais avec vingt-huit mille livres de rente bien venantes" (Mme. de S vign , Dec. 28, 1689). [80] APPAREMMENT. See _les Fausses Confidences_, note 74. [81] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [82] VOUS N'AVEZ POINT DE GR ME SAVOIR. A well-known idiom, better expressed to-day: _Vous n'avez point me savoir gr _. [83] D'AVEC. A shortened form for some such phrase as _d'une conversation avec. D'avec_ is generally to be translated 'from,' 'in contradiction to.' [84] A QUEL HOMME EN VEUT-IL? 'For what man is he looking?' Compare _le Jeu de l'amour et du hasard_, note 68. [85] A VOUS. _Aupr s de vous_ would be the modern expression. [86] LE FAISANT SORTIR. Note the peculiar use of _le_, which nowadays would be replaced by the noun to which it refers--_le gar on_. [87] DONT. Better _que_. See _Le Jeu de l'amour et du hasard_, note 175. [88] DESSUS. For _l -dessus_. [89] SANS DIFFICULT . See _le Jeu de l'amour et du hasard_, note 154. [90] DE NE VOUS PAS AIMER. _De ne pas vous aimer_ is the more natural order in modern French. [91] IL N'A QUE FAIRE DE, 'He has no need to.' Compare _le Jeu de l'amour et du hasard_, note, 141. [92] C'EST UN PORTRAIT DE FEMME. The construction of the sentence is peculiar and incomplete. It requires the introduction, before _c'est un portrait_, of the words _c'est que_. In modern French the awkwardness of this form would be obviated. In the second clause _que_ would have to be prefixed to _c'est ici_. [93] QUAND. _Puisque_ is also found in incomplete expressions of this kind. The thought might be completed as follows: _Mais, quand_ (or _puisque_) _je vous dis, etc., vous devriez me croire_. [94] ENTENDU, used here in the sense of _compris_. [95] HUPP ES, 'Fancy,' 'smartly dressed.' It often means 'smart.' Compare; "Combien en as-tu vu, je dis des plus hupp es." (Racine, _Les Plaideurs_, J, 4); "Bien hupp qui pourra m'attraper sur ce point!" (Moli re, _ cole des femmes_, 1, I). [96] JE N'EN RABATS RIEN, 'I retract nothing.' That is to say, 'I insist that it is the Count.' [97] PLAISANT, 'Ridiculous.' [98] COMME DE CELA. With some gesture of contempt. See _le Legs_, note 108. [99] LUI. For _le_. The verb _d fier_ governs to-day the accusative and not the dative. [100] QU'IL. Later editions print _qui_, which is the correct form. The thought may be expressed more simply by the phrase _Je l'avais vu le contempler_. [101] CE QUI EST DE S R = _Ce qu'il y a de s r_. [102] LE SUJET = _La raison_. [103] DE BONNE MAIN, 'By a reliable person.' (Littr , "main," 17 .) [104] CONSENS... DE. The verb _consentir_ takes either _de_ or _ _, before a following infinitive, although in modern French the latter is the more common. [105] TOUS PROC S. Later editions print _tout proc s_, which is the more natural modern form. The plural, in the sense of 'each' or 'every' is, however, sometimes found without the article. Compare: "L'auteur des dialogues a dit que les belles sont de tous pays, et moi je dis que les sottises sont de tous les si cles " (Fontenelle, _Jugement de Pluton_). [106] AVOIR PRISE ... AVEC, 'To have a dispute with.' PRISE, 'Quarrel,' 'dispute' (Littr , 6 , also Dict. de l'Acad., 1878). [107] TOUS. Later editions print _tout_, which is the modern form. In the seventeenth and early eighteenth centuries is was not customary to consider the adverbial _tout_ as necessarily invariable. [108] MOUVEMENT. See _le Jeu de l'amour et du hasard_, note 162. [109] DONT. _Que is preferable. See _Le Jeu de l'amour et du hasard_, note 175. [110] SAVOIS. A not uncommon use of the imperfect indicative in the sense of the conditional. [111] JE N'AUROIS QUE FAIRE DE. See _le Jeu de l'amour et du hasard_, note 68. Compare _le Jeu de l'amour et du hasard_, note 141, and _le Legs_, note 85. [112] A TOI. The English idiom is 'of you.' [113] AU MOINS, 'Nevertheless.' [114] CAPABLE. Most editions print _incapable_, beginning the sentence with _s'il_, and punctuating with a comma after _incapable_. The sense is better carried out with such a rendering. [115] Des biais = _Des moyens d tourn s_. [116] L'EN D DIRE = _Le d mentir_. [117] COMME S'EN ALLANT. See _les Fausses Confidences_, note 26. [118] A CE QU'IL EST N = _A sa naissance_. [119] C'EST DE DORANTE, for _Il est de Dorante_: 'It has been painted by Dorante.' [120] M'EN FAIRE ACCROIRE, 'To impose upon me.' [121] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [122] This speech of Dorante's and Araminte's answer seem to have inspired Augier and Sandeau in the scene between Bertrand and H l ne, in _Mlle. de la Seigli re_, Act III, sc. 7. [123] QUE MON AMOUR N'EN AUGMENTE. See _Le jeu de l'amour et du hasard_, note 137. [124] JE L'AI PEINTE. The _peinte_ refers to and agrees with _la_ in Dorante's preceding speech. [125] AVANT QUE DE. See _Le jeu de l'amour et du hasard_, note 117. [126] RUE DU FIGUIER. A very ancient and historic street in Paris, situated not far from the Lyc e Charlemagne, and making a triangle with the rue Charlemagne and the rue Fauconnier. Even before the year 1300 it bore this name, from a fine fig-tree which stood at its juncture with the rue Fauconnier, and which was standing as late as 1605. The most important edifice of the street is the H tel de Sens, built in the sixteenth century by the Archbishop Tristan de Salazar. It was for a time the residence of Marguerite, first wife of Henry IV. [127] JE LUI RECOMMANDERAI. Later editions print _je le lui recommanderai_. Attention has already been called to Marivaux's custom of omitting the direct object pronoun in similar constructions. Compare _le Jeu de l'amour et du hasard_, note 210, and _le Legs_, note 29. [128] MOUVEMENTS. See _Le jeu de l'amour et du hasard_, note 162. [129] LUI. See note 99. [130] FATIGUE, 'Importune' (Littr , 4 ).' Compare: "Ainsi donc mes bont s vous fatiguent peut- tre" (Racine, _B r nice_, II, 4). [131] AMUSER. See _Le jeu de l'amour et du hasard_, note 41. [132] EN FAIT DE DISCR TION, JE M RITERAIS D' TRE FEMME. _Discr tion_ means here 'the ability to keep a secret' (Littr , 5 ). Compare; "Rien ne p se tant qu'un secret: Le porter loin est difficile aux dames; Et je sais m me sur ce fait Bon nombre d'hommes qui sont femmes.' (La Fontaine, _Fables_, viii, 6.) [133] LE DIABLE N'Y PERD RIEN, is said of a person who restrains his feelings with difficulty, or only temporarily (Littr , "diable." 2 ). The whole phrase might here be translated by: 'She cannot conceal the matter, nor will I.' [134] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [135] OUI-DA. See _le Jeu de l'amour et du hasard_, note 21. [136] DEMEURE. The incorrect use of this verb by Harlequin adds to the comic of the piece. For correct French one might substitute _se trouve_. [137] LA RUE DU FIGUIER. See note 126. [138] SAIS. _Savoir_ as used here means 'to know about the street,' 'to know that it exists,' 'to know where it may be found'; _conna tre_ would mean 'to be acquainted with it.' [139] RENDRA = _Remettra_. [140] RENDREZ. Some of the later editions print _rendez_. [141] QUE JE N'AIE VU, 'Until I have seen.' The negative particle _ne_ is required in a phrase introduced by _que_, when this conjunction stands in the place of _avant que_. [142] PR SOMPTIONS. 'Presumptions' or 'reasonable suppositions.' Compare: "Ce ne sont pas l des convictions enti res; mais ce sont les pr somptions les plus fortes" (Voltaire, _Essai sur les moeurs et l'esprit des nations_, chap. 166). [143] DE VOTRE FA ON, 'Of your choosing.' [144] TOUT. Later editions print _tout le monde_, which is evidently the sense in which this word is used. [145] ROGUE, 'Arrogant.' In the edition of 1758 the word is printed _roque_, which has led some editors into the error of correcting to _rauque_ (hoarse). [146] NOUS N'AVONS QUE FAIRE ENSEMBLE, 'We have no dealings together.' [147] NON QUE JE SACHE. _Non, pas que je sache_ is the more complete modern expression. [148] A CAUSE QUE. _Parce que_ is more modern. Littr favors the retention of _ cause que_, since it is used by good authors, and, in certain cases, is preferable to _parce que_. [149] AMPLIFIE, 'Exaggerates.' [150] HORS D'OEUVRE = _Hors de propos_. Generally used to-day as a substantive, but in the seventeenth and eighteenth centuries often used adverbially as here. Compare: "Dans le _Cid_, toutes celles (the scenes) de l'infante sont d tach es, et paraissent hors d'oeuvre" (Corneille, _Horace_, Examen). [151] ENFANCE. For the more modern word _enfantillage_, although the Dict. de l'Acad., 1878, retains the word in this sense. Compare: "Ils ne font que des enfances" (Mme. de S vign , Jan. 26, 1689). "On passait encore les enfances Mme. la duchesse de Bourgogne par la gr ce qu'elle y mettait" (St. Simon. 294, 6). "Ce sont des b tises ou des enfances dont il n'y a que de bonnes gens qui soient capables" (_Marianne_, 2e partie.) See _le Legs_, note 29. [152] TOUT L'HEURE. In the sense of _tout de suite_ the expression is to-day obsolete, and is not admitted by the Dict. de l'Acad., 1878. See _le Legs_, note 76. [153] CAUSE QUE. See note 147. [154] ENTEND. See _le Jeu de l'amour et du hasard_, note 247. [155] APPAREMMENT, 'Manifestly,' 'Of course.' In this sense the word has become obsolete, and is not admitted by the Dict. de l'Acad., 1878. [156] VOUS N'Y SONGEZ PAS. See _le Legs_, note 58, _le Legs_, note 102. [157] D LIVR E. The edition of 1758 prints _d livr es_, which will be accounted for by the speaker's including madame Argante in his mind. The singular is, however, preferable. [158] EUS. The edition of 1758 prints the past participle _eu_, without making it agree with the preceding object pronoun. See _le Legs_, note 56. [159] NOUS DIS. For the position of the object pronoun see note 18. [160] EUES. The edition of 1738 prints _eu_. For similar carelessness in Marivaux's use of the past participle compare _le Legs_, note 56, and note 158. [161] AFFRONT , 'Deceived' (Littr , 2 , also the Dict. de l'Acad., 1878). [162] FERMIER, 'Farmer,' 'One holding a farm by lease.' [163] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [164] A CAUSE QUE. See note 147. [165] OUF! MA GLOIRE M'ACCABLE; ET JE M RITEROIS BIEN D'APPELER CETTE FEMME-L MA BRU. This expression, seeming too violent to the spectators of to-day, was suppressed by the Com die-Fran aise, March 5, 1881. The play ends with the words of Araminte. See Larroumet, p. 227, note 1. [166] PARDI. See _le Jeu de l'amour et du hasard_, note 15. End of the Project Gutenberg EBook of A Selection from the Comedies of Marivaux, by Pierre Carlet de Chamblain de Marivaux *** END OF THIS PROJECT GUTENBERG EBOOK COMEDIES OF MARIVAUX *** ***** This file should be named 12504-8.txt or 12504-8.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.net/1/2/5/0/12504/ Produced by Anne Soulard, Charles Aldarondo, Keren Vergon and the Online Distributed Proofreading Team. Updated editions will replace the previous one--the old editions will be renamed. 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reste

How many times the word 'reste' appears in the text?

2.) [15] VOUS M'EN DIREZ DES NOUVELLES. See _le jeu de l'amour et du hasard_, note 242. [16] DIANTRE. See _le Legs_, note 101. [17] L . _Dans la t te_, with a gesture. [18] D RANG . 'Disorderly' or 'irregular' (in his affairs). [19] SERVITEUR AU COLLAT RAL, 'Then the collateral heirs will have to go without.' _Serviteur au_ is here used in the sense of _tant pis pour. Serviteur_ is not infrequently used as a formula of dismissal. [20] VOUS METTEZ. An inverted order quite common in the seventeenth and eighteenth centuries, when the second of two imperatives is construed with an object pronoun. Compare: "Quittez cette chim re, et m'aimez " (Corneille). "Polissez-le sans cesse et le repolissez" (Boileau, _Art Po tique_, Chant 1). [21] DONT. _Que would preferably be used to-day, so as not to repeat the construction of the antecedent. Compare _le Jeu de l'amour et du hasard_, note 175. [22] QU'IL VOUS REVIENNE, 'That you like him.' [23] MONSIEUR PR VIENT EN SA FAVEUR, 'The gentleman's appearance speaks in his favour.' [24] GR CES. In modern French the singular is preferred. [25] EST-CE VOUS QUI IL EN VEUT, 'Is it you whom he has come to see?' See _le Jeu de l'amour et du hasard_, note 68; _le Jeu de l'amour et du hasard_, note 175 and note 176; _le Legs_, note 132, and _le Legs_, note 135. [26] COMME S'EN ALLANT, for, _comme en s'en allant. [27] PARTI, 'Position' (Littr , 10 ). The idea of 'salary' is conveyed by the word as used here. [28] RENVERRAI TOUT. That is to say, _tout ce qui se pr sentera_; 'I will dismiss all other applicants.' [29] PARTI. See note 27. [30] REPR SENTE, 'call attention, 'set forth'; a form often used in petitions. [31] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [32] A VOTRE AISE LE RESTE, 'The rest when you like.' [33] D'O VIENT PR F RER CELUI-CI. See _le Jeu de l'amour et du hasard_, note 220. [34] ARR T , for the modern French _engag _ ('engaged'). [35] IL ME TARDE, 'I long.' [36] EN PASSE, 'In a position to.' [37] D'ALLER TOUT. For the more modern expression _d'arriver tout_, 'to attain any height.' [38] D FAITE, 'Excuse' or 'pretext' (Littr ", 4 , also Diet, de l'Acad. 1878). [39] L VATION. Used here with the unusual meaning of 'desire for social eminence.' [40] ELLE S'ENDORT DANS CET TAT, 'She is satisfied with her condition.' While already in the seventeenth century the ambition of rich _bourgeois_ to gain admission to the exclusive circles of the nobility had been sufficiently marked to induce Moli re to attack it in his _Bourgeois gentilhomme_, it was even more noticeable in the eighteenth, and _m salliances_ between noblemen and women of the middle class became much more frequent. [41] R FLEXION ROTURI RE. _Roture_ was the expression used to denote the _bourgeoisie_ as distinguished from the nobility. [42] JE N'Y ENTENDS POINT DE FINESSE, 'I cannot enter into such subtle distinctions on the question of happiness.' She refuses to discuss the possibility of Araminte's preferring happiness to rank. For her, rank means happiness, as would wealth. [43] IL ME L'A PARU = _Cela nil a paru ainsi_. [44] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [45] J'Y METTRAI BON ORDRE. See _le Jeu de l'amour et du hasard_, note 169. [46] PLAISANT. See _le Jeu de l'amour et du hasard_, note 37. [47] TIMBR COMME CENT, 'As crazy as a loon.' It is difficult to preserve the figure in an idiomatic translation. Compare the colloquial English, "You act like _sixty_." [48] CERVELLE BR L E. A peculiar use of _cervelle_. _Br l e_ is used here by Marivaux in the sense _troubl e_, as in the passage from Mme. de S vign : "Mme. de Saint-G ran est toute br l e du d part de son mari." [49] IL EN EST COMME UN PERDU, 'He is like a man who has lost his reason.' Cf. _le Jeu de l'amour et du hasard_, note 120. [50] UN PEU BOUDANT. Nowadays the adverb follows the verb. Here _boudant_ might at first thought be taken for an adjective, but it is a present participle used verbally and consequently invariable. [51] ON A BIEN AFFAIRE DE, 'I have no use for.' This idiom must not be confounded with _avoir affaire _, which means 'to have to deal with.' [52] ESPRIT RENVERS , 'A crazy man.' [53] MALEPESTE. See _le Legs_, note 48. [54] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [55] IL N'Y AVOIT PLUS PERSONNE AU LOGIS, 'He was quite unconscious.' (Littr , "logis," 1 .) [56] D' PIER. Later editions print _qu' pier_, as _d' pier_ would not be admissible in modern French. _Que de r ver... que d' pier_ would be the most natural modern form. [57] PAYOIS BOUTEILLE = _Payais boire_. [58] LA COM DIE. The _Com die-Fran aise_, or _Th tre-Fran ais_, then, as now, the leading theatre in Paris. [59] D S QUATRE HEURES. The performance did not begin before five o'clock, in the eighteenth century, [60] DANS L'HIVER. The modern form is _en hiver_. [61] JURANT PAR CI PAR L , 'Swearing every now and then.' [62] AUX TUILERIES. The Cours-la-Reine, in the Champs-Elys es, the Tuileries gardens, and the Palais-Royal, with its covered galleries and its garden, were the fashionable resorts of promenaders in the eighteenth century. [63] CE QU'IL. The _ce_ is superfluous. [64] PERCER = _S'apercevoir_. [65] JE ME REMETS = _J'y suis_. [66] OUI-DA. See _Le Jeu de l'amour et du hasard_, note 21. [67] COMME PASSANT, for _comme en passant_. Compare _les Fausses Confidences_, note 26. [68] C'EST AUTANT DE PRIS. See _le Jeu de l'amour et du hasard_, note 54. [69] QU'EST-IL = _Pourquoi est-il_? [70] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [71] IL LES FAIT COMME IL LES A. Untranslatable, save by an quivalent. It is a pun on Dubois' remark: "making eyes at her." [72] PRENEZ TOUJOURS, 'Take note of them nevertheless." [73] LE. The text of 1758 prints _le_; _ce_ would carry out the sense even better. See _le Legs_, note 38. [74] APPAREMMENT, 'Evidently.' This adverb may be used with or without the conjunction _que_ to introduce a verb. [75] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [76] UNE GUENON, 'a fool.' [77] QUI SE FASSE = _Qu'il y ait_. [78] LES PETITES-MAISONS. The old Maladrerie de Saint-Germain, which in 1554 became the H pital Saint-Germain, later known as les Petites-Maisons, on account of the great number of cells into which it was divided. It was used to house infirm old men and women, who received a small weekly dole, lunatics, and patients suffering from loathsome diseases. The name became synonymous with either a mad-house or a hospital for certain diseases: it was changed in 1801 to les Petits-M nages, the insane having then been transferred, the men to Bic tre, the women to La Salp tri re. [79] BIEN VENANTS, 'Paid regularly.' Marivaux, like the authors of the preceding century, considered _bien venants_ as an adjective, and hence declinable: but _livre_ is feminine, and we should expect here the form _bien venantes_. The Academy has declared the expression indeclinable. Compare: "Je le voyais avec vingt-huit mille livres de rente bien venantes" (Mme. de S vign , Dec. 28, 1689). [80] APPAREMMENT. See _les Fausses Confidences_, note 74. [81] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [82] VOUS N'AVEZ POINT DE GR ME SAVOIR. A well-known idiom, better expressed to-day: _Vous n'avez point me savoir gr _. [83] D'AVEC. A shortened form for some such phrase as _d'une conversation avec. D'avec_ is generally to be translated 'from,' 'in contradiction to.' [84] A QUEL HOMME EN VEUT-IL? 'For what man is he looking?' Compare _le Jeu de l'amour et du hasard_, note 68. [85] A VOUS. _Aupr s de vous_ would be the modern expression. [86] LE FAISANT SORTIR. Note the peculiar use of _le_, which nowadays would be replaced by the noun to which it refers--_le gar on_. [87] DONT. Better _que_. See _Le Jeu de l'amour et du hasard_, note 175. [88] DESSUS. For _l -dessus_. [89] SANS DIFFICULT . See _le Jeu de l'amour et du hasard_, note 154. [90] DE NE VOUS PAS AIMER. _De ne pas vous aimer_ is the more natural order in modern French. [91] IL N'A QUE FAIRE DE, 'He has no need to.' Compare _le Jeu de l'amour et du hasard_, note, 141. [92] C'EST UN PORTRAIT DE FEMME. The construction of the sentence is peculiar and incomplete. It requires the introduction, before _c'est un portrait_, of the words _c'est que_. In modern French the awkwardness of this form would be obviated. In the second clause _que_ would have to be prefixed to _c'est ici_. [93] QUAND. _Puisque_ is also found in incomplete expressions of this kind. The thought might be completed as follows: _Mais, quand_ (or _puisque_) _je vous dis, etc., vous devriez me croire_. [94] ENTENDU, used here in the sense of _compris_. [95] HUPP ES, 'Fancy,' 'smartly dressed.' It often means 'smart.' Compare; "Combien en as-tu vu, je dis des plus hupp es." (Racine, _Les Plaideurs_, J, 4); "Bien hupp qui pourra m'attraper sur ce point!" (Moli re, _ cole des femmes_, 1, I). [96] JE N'EN RABATS RIEN, 'I retract nothing.' That is to say, 'I insist that it is the Count.' [97] PLAISANT, 'Ridiculous.' [98] COMME DE CELA. With some gesture of contempt. See _le Legs_, note 108. [99] LUI. For _le_. The verb _d fier_ governs to-day the accusative and not the dative. [100] QU'IL. Later editions print _qui_, which is the correct form. The thought may be expressed more simply by the phrase _Je l'avais vu le contempler_. [101] CE QUI EST DE S R = _Ce qu'il y a de s r_. [102] LE SUJET = _La raison_. [103] DE BONNE MAIN, 'By a reliable person.' (Littr , "main," 17 .) [104] CONSENS... DE. The verb _consentir_ takes either _de_ or _ _, before a following infinitive, although in modern French the latter is the more common. [105] TOUS PROC S. Later editions print _tout proc s_, which is the more natural modern form. The plural, in the sense of 'each' or 'every' is, however, sometimes found without the article. Compare: "L'auteur des dialogues a dit que les belles sont de tous pays, et moi je dis que les sottises sont de tous les si cles " (Fontenelle, _Jugement de Pluton_). [106] AVOIR PRISE ... AVEC, 'To have a dispute with.' PRISE, 'Quarrel,' 'dispute' (Littr , 6 , also Dict. de l'Acad., 1878). [107] TOUS. Later editions print _tout_, which is the modern form. In the seventeenth and early eighteenth centuries is was not customary to consider the adverbial _tout_ as necessarily invariable. [108] MOUVEMENT. See _le Jeu de l'amour et du hasard_, note 162. [109] DONT. _Que is preferable. See _Le Jeu de l'amour et du hasard_, note 175. [110] SAVOIS. A not uncommon use of the imperfect indicative in the sense of the conditional. [111] JE N'AUROIS QUE FAIRE DE. See _le Jeu de l'amour et du hasard_, note 68. Compare _le Jeu de l'amour et du hasard_, note 141, and _le Legs_, note 85. [112] A TOI. The English idiom is 'of you.' [113] AU MOINS, 'Nevertheless.' [114] CAPABLE. Most editions print _incapable_, beginning the sentence with _s'il_, and punctuating with a comma after _incapable_. The sense is better carried out with such a rendering. [115] Des biais = _Des moyens d tourn s_. [116] L'EN D DIRE = _Le d mentir_. [117] COMME S'EN ALLANT. See _les Fausses Confidences_, note 26. [118] A CE QU'IL EST N = _A sa naissance_. [119] C'EST DE DORANTE, for _Il est de Dorante_: 'It has been painted by Dorante.' [120] M'EN FAIRE ACCROIRE, 'To impose upon me.' [121] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [122] This speech of Dorante's and Araminte's answer seem to have inspired Augier and Sandeau in the scene between Bertrand and H l ne, in _Mlle. de la Seigli re_, Act III, sc. 7. [123] QUE MON AMOUR N'EN AUGMENTE. See _Le jeu de l'amour et du hasard_, note 137. [124] JE L'AI PEINTE. The _peinte_ refers to and agrees with _la_ in Dorante's preceding speech. [125] AVANT QUE DE. See _Le jeu de l'amour et du hasard_, note 117. [126] RUE DU FIGUIER. A very ancient and historic street in Paris, situated not far from the Lyc e Charlemagne, and making a triangle with the rue Charlemagne and the rue Fauconnier. Even before the year 1300 it bore this name, from a fine fig-tree which stood at its juncture with the rue Fauconnier, and which was standing as late as 1605. The most important edifice of the street is the H tel de Sens, built in the sixteenth century by the Archbishop Tristan de Salazar. It was for a time the residence of Marguerite, first wife of Henry IV. [127] JE LUI RECOMMANDERAI. Later editions print _je le lui recommanderai_. Attention has already been called to Marivaux's custom of omitting the direct object pronoun in similar constructions. Compare _le Jeu de l'amour et du hasard_, note 210, and _le Legs_, note 29. [128] MOUVEMENTS. See _Le jeu de l'amour et du hasard_, note 162. [129] LUI. See note 99. [130] FATIGUE, 'Importune' (Littr , 4 ).' Compare: "Ainsi donc mes bont s vous fatiguent peut- tre" (Racine, _B r nice_, II, 4). [131] AMUSER. See _Le jeu de l'amour et du hasard_, note 41. [132] EN FAIT DE DISCR TION, JE M RITERAIS D' TRE FEMME. _Discr tion_ means here 'the ability to keep a secret' (Littr , 5 ). Compare; "Rien ne p se tant qu'un secret: Le porter loin est difficile aux dames; Et je sais m me sur ce fait Bon nombre d'hommes qui sont femmes.' (La Fontaine, _Fables_, viii, 6.) [133] LE DIABLE N'Y PERD RIEN, is said of a person who restrains his feelings with difficulty, or only temporarily (Littr , "diable." 2 ). The whole phrase might here be translated by: 'She cannot conceal the matter, nor will I.' [134] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [135] OUI-DA. See _le Jeu de l'amour et du hasard_, note 21. [136] DEMEURE. The incorrect use of this verb by Harlequin adds to the comic of the piece. For correct French one might substitute _se trouve_. [137] LA RUE DU FIGUIER. See note 126. [138] SAIS. _Savoir_ as used here means 'to know about the street,' 'to know that it exists,' 'to know where it may be found'; _conna tre_ would mean 'to be acquainted with it.' [139] RENDRA = _Remettra_. [140] RENDREZ. Some of the later editions print _rendez_. [141] QUE JE N'AIE VU, 'Until I have seen.' The negative particle _ne_ is required in a phrase introduced by _que_, when this conjunction stands in the place of _avant que_. [142] PR SOMPTIONS. 'Presumptions' or 'reasonable suppositions.' Compare: "Ce ne sont pas l des convictions enti res; mais ce sont les pr somptions les plus fortes" (Voltaire, _Essai sur les moeurs et l'esprit des nations_, chap. 166). [143] DE VOTRE FA ON, 'Of your choosing.' [144] TOUT. Later editions print _tout le monde_, which is evidently the sense in which this word is used. [145] ROGUE, 'Arrogant.' In the edition of 1758 the word is printed _roque_, which has led some editors into the error of correcting to _rauque_ (hoarse). [146] NOUS N'AVONS QUE FAIRE ENSEMBLE, 'We have no dealings together.' [147] NON QUE JE SACHE. _Non, pas que je sache_ is the more complete modern expression. [148] A CAUSE QUE. _Parce que_ is more modern. Littr favors the retention of _ cause que_, since it is used by good authors, and, in certain cases, is preferable to _parce que_. [149] AMPLIFIE, 'Exaggerates.' [150] HORS D'OEUVRE = _Hors de propos_. Generally used to-day as a substantive, but in the seventeenth and eighteenth centuries often used adverbially as here. Compare: "Dans le _Cid_, toutes celles (the scenes) de l'infante sont d tach es, et paraissent hors d'oeuvre" (Corneille, _Horace_, Examen). [151] ENFANCE. For the more modern word _enfantillage_, although the Dict. de l'Acad., 1878, retains the word in this sense. Compare: "Ils ne font que des enfances" (Mme. de S vign , Jan. 26, 1689). "On passait encore les enfances Mme. la duchesse de Bourgogne par la gr ce qu'elle y mettait" (St. Simon. 294, 6). "Ce sont des b tises ou des enfances dont il n'y a que de bonnes gens qui soient capables" (_Marianne_, 2e partie.) See _le Legs_, note 29. [152] TOUT L'HEURE. In the sense of _tout de suite_ the expression is to-day obsolete, and is not admitted by the Dict. de l'Acad., 1878. See _le Legs_, note 76. [153] CAUSE QUE. See note 147. [154] ENTEND. See _le Jeu de l'amour et du hasard_, note 247. [155] APPAREMMENT, 'Manifestly,' 'Of course.' In this sense the word has become obsolete, and is not admitted by the Dict. de l'Acad., 1878. [156] VOUS N'Y SONGEZ PAS. See _le Legs_, note 58, _le Legs_, note 102. [157] D LIVR E. The edition of 1758 prints _d livr es_, which will be accounted for by the speaker's including madame Argante in his mind. The singular is, however, preferable. [158] EUS. The edition of 1758 prints the past participle _eu_, without making it agree with the preceding object pronoun. See _le Legs_, note 56. [159] NOUS DIS. For the position of the object pronoun see note 18. [160] EUES. The edition of 1738 prints _eu_. For similar carelessness in Marivaux's use of the past participle compare _le Legs_, note 56, and note 158. [161] AFFRONT , 'Deceived' (Littr , 2 , also the Dict. de l'Acad., 1878). [162] FERMIER, 'Farmer,' 'One holding a farm by lease.' [163] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [164] A CAUSE QUE. See note 147. [165] OUF! MA GLOIRE M'ACCABLE; ET JE M RITEROIS BIEN D'APPELER CETTE FEMME-L MA BRU. This expression, seeming too violent to the spectators of to-day, was suppressed by the Com die-Fran aise, March 5, 1881. The play ends with the words of Araminte. See Larroumet, p. 227, note 1. [166] PARDI. See _le Jeu de l'amour et du hasard_, note 15. End of the Project Gutenberg EBook of A Selection from the Comedies of Marivaux, by Pierre Carlet de Chamblain de Marivaux *** END OF THIS PROJECT GUTENBERG EBOOK COMEDIES OF MARIVAUX *** ***** This file should be named 12504-8.txt or 12504-8.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.net/1/2/5/0/12504/ Produced by Anne Soulard, Charles Aldarondo, Keren Vergon and the Online Distributed Proofreading Team. Updated editions will replace the previous one--the old editions will be renamed. 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cf

How many times the word 'cf' appears in the text?

2.) [15] VOUS M'EN DIREZ DES NOUVELLES. See _le jeu de l'amour et du hasard_, note 242. [16] DIANTRE. See _le Legs_, note 101. [17] L . _Dans la t te_, with a gesture. [18] D RANG . 'Disorderly' or 'irregular' (in his affairs). [19] SERVITEUR AU COLLAT RAL, 'Then the collateral heirs will have to go without.' _Serviteur au_ is here used in the sense of _tant pis pour. Serviteur_ is not infrequently used as a formula of dismissal. [20] VOUS METTEZ. An inverted order quite common in the seventeenth and eighteenth centuries, when the second of two imperatives is construed with an object pronoun. Compare: "Quittez cette chim re, et m'aimez " (Corneille). "Polissez-le sans cesse et le repolissez" (Boileau, _Art Po tique_, Chant 1). [21] DONT. _Que would preferably be used to-day, so as not to repeat the construction of the antecedent. Compare _le Jeu de l'amour et du hasard_, note 175. [22] QU'IL VOUS REVIENNE, 'That you like him.' [23] MONSIEUR PR VIENT EN SA FAVEUR, 'The gentleman's appearance speaks in his favour.' [24] GR CES. In modern French the singular is preferred. [25] EST-CE VOUS QUI IL EN VEUT, 'Is it you whom he has come to see?' See _le Jeu de l'amour et du hasard_, note 68; _le Jeu de l'amour et du hasard_, note 175 and note 176; _le Legs_, note 132, and _le Legs_, note 135. [26] COMME S'EN ALLANT, for, _comme en s'en allant. [27] PARTI, 'Position' (Littr , 10 ). The idea of 'salary' is conveyed by the word as used here. [28] RENVERRAI TOUT. That is to say, _tout ce qui se pr sentera_; 'I will dismiss all other applicants.' [29] PARTI. See note 27. [30] REPR SENTE, 'call attention, 'set forth'; a form often used in petitions. [31] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [32] A VOTRE AISE LE RESTE, 'The rest when you like.' [33] D'O VIENT PR F RER CELUI-CI. See _le Jeu de l'amour et du hasard_, note 220. [34] ARR T , for the modern French _engag _ ('engaged'). [35] IL ME TARDE, 'I long.' [36] EN PASSE, 'In a position to.' [37] D'ALLER TOUT. For the more modern expression _d'arriver tout_, 'to attain any height.' [38] D FAITE, 'Excuse' or 'pretext' (Littr ", 4 , also Diet, de l'Acad. 1878). [39] L VATION. Used here with the unusual meaning of 'desire for social eminence.' [40] ELLE S'ENDORT DANS CET TAT, 'She is satisfied with her condition.' While already in the seventeenth century the ambition of rich _bourgeois_ to gain admission to the exclusive circles of the nobility had been sufficiently marked to induce Moli re to attack it in his _Bourgeois gentilhomme_, it was even more noticeable in the eighteenth, and _m salliances_ between noblemen and women of the middle class became much more frequent. [41] R FLEXION ROTURI RE. _Roture_ was the expression used to denote the _bourgeoisie_ as distinguished from the nobility. [42] JE N'Y ENTENDS POINT DE FINESSE, 'I cannot enter into such subtle distinctions on the question of happiness.' She refuses to discuss the possibility of Araminte's preferring happiness to rank. For her, rank means happiness, as would wealth. [43] IL ME L'A PARU = _Cela nil a paru ainsi_. [44] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [45] J'Y METTRAI BON ORDRE. See _le Jeu de l'amour et du hasard_, note 169. [46] PLAISANT. See _le Jeu de l'amour et du hasard_, note 37. [47] TIMBR COMME CENT, 'As crazy as a loon.' It is difficult to preserve the figure in an idiomatic translation. Compare the colloquial English, "You act like _sixty_." [48] CERVELLE BR L E. A peculiar use of _cervelle_. _Br l e_ is used here by Marivaux in the sense _troubl e_, as in the passage from Mme. de S vign : "Mme. de Saint-G ran est toute br l e du d part de son mari." [49] IL EN EST COMME UN PERDU, 'He is like a man who has lost his reason.' Cf. _le Jeu de l'amour et du hasard_, note 120. [50] UN PEU BOUDANT. Nowadays the adverb follows the verb. Here _boudant_ might at first thought be taken for an adjective, but it is a present participle used verbally and consequently invariable. [51] ON A BIEN AFFAIRE DE, 'I have no use for.' This idiom must not be confounded with _avoir affaire _, which means 'to have to deal with.' [52] ESPRIT RENVERS , 'A crazy man.' [53] MALEPESTE. See _le Legs_, note 48. [54] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [55] IL N'Y AVOIT PLUS PERSONNE AU LOGIS, 'He was quite unconscious.' (Littr , "logis," 1 .) [56] D' PIER. Later editions print _qu' pier_, as _d' pier_ would not be admissible in modern French. _Que de r ver... que d' pier_ would be the most natural modern form. [57] PAYOIS BOUTEILLE = _Payais boire_. [58] LA COM DIE. The _Com die-Fran aise_, or _Th tre-Fran ais_, then, as now, the leading theatre in Paris. [59] D S QUATRE HEURES. The performance did not begin before five o'clock, in the eighteenth century, [60] DANS L'HIVER. The modern form is _en hiver_. [61] JURANT PAR CI PAR L , 'Swearing every now and then.' [62] AUX TUILERIES. The Cours-la-Reine, in the Champs-Elys es, the Tuileries gardens, and the Palais-Royal, with its covered galleries and its garden, were the fashionable resorts of promenaders in the eighteenth century. [63] CE QU'IL. The _ce_ is superfluous. [64] PERCER = _S'apercevoir_. [65] JE ME REMETS = _J'y suis_. [66] OUI-DA. See _Le Jeu de l'amour et du hasard_, note 21. [67] COMME PASSANT, for _comme en passant_. Compare _les Fausses Confidences_, note 26. [68] C'EST AUTANT DE PRIS. See _le Jeu de l'amour et du hasard_, note 54. [69] QU'EST-IL = _Pourquoi est-il_? [70] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [71] IL LES FAIT COMME IL LES A. Untranslatable, save by an quivalent. It is a pun on Dubois' remark: "making eyes at her." [72] PRENEZ TOUJOURS, 'Take note of them nevertheless." [73] LE. The text of 1758 prints _le_; _ce_ would carry out the sense even better. See _le Legs_, note 38. [74] APPAREMMENT, 'Evidently.' This adverb may be used with or without the conjunction _que_ to introduce a verb. [75] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [76] UNE GUENON, 'a fool.' [77] QUI SE FASSE = _Qu'il y ait_. [78] LES PETITES-MAISONS. The old Maladrerie de Saint-Germain, which in 1554 became the H pital Saint-Germain, later known as les Petites-Maisons, on account of the great number of cells into which it was divided. It was used to house infirm old men and women, who received a small weekly dole, lunatics, and patients suffering from loathsome diseases. The name became synonymous with either a mad-house or a hospital for certain diseases: it was changed in 1801 to les Petits-M nages, the insane having then been transferred, the men to Bic tre, the women to La Salp tri re. [79] BIEN VENANTS, 'Paid regularly.' Marivaux, like the authors of the preceding century, considered _bien venants_ as an adjective, and hence declinable: but _livre_ is feminine, and we should expect here the form _bien venantes_. The Academy has declared the expression indeclinable. Compare: "Je le voyais avec vingt-huit mille livres de rente bien venantes" (Mme. de S vign , Dec. 28, 1689). [80] APPAREMMENT. See _les Fausses Confidences_, note 74. [81] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [82] VOUS N'AVEZ POINT DE GR ME SAVOIR. A well-known idiom, better expressed to-day: _Vous n'avez point me savoir gr _. [83] D'AVEC. A shortened form for some such phrase as _d'une conversation avec. D'avec_ is generally to be translated 'from,' 'in contradiction to.' [84] A QUEL HOMME EN VEUT-IL? 'For what man is he looking?' Compare _le Jeu de l'amour et du hasard_, note 68. [85] A VOUS. _Aupr s de vous_ would be the modern expression. [86] LE FAISANT SORTIR. Note the peculiar use of _le_, which nowadays would be replaced by the noun to which it refers--_le gar on_. [87] DONT. Better _que_. See _Le Jeu de l'amour et du hasard_, note 175. [88] DESSUS. For _l -dessus_. [89] SANS DIFFICULT . See _le Jeu de l'amour et du hasard_, note 154. [90] DE NE VOUS PAS AIMER. _De ne pas vous aimer_ is the more natural order in modern French. [91] IL N'A QUE FAIRE DE, 'He has no need to.' Compare _le Jeu de l'amour et du hasard_, note, 141. [92] C'EST UN PORTRAIT DE FEMME. The construction of the sentence is peculiar and incomplete. It requires the introduction, before _c'est un portrait_, of the words _c'est que_. In modern French the awkwardness of this form would be obviated. In the second clause _que_ would have to be prefixed to _c'est ici_. [93] QUAND. _Puisque_ is also found in incomplete expressions of this kind. The thought might be completed as follows: _Mais, quand_ (or _puisque_) _je vous dis, etc., vous devriez me croire_. [94] ENTENDU, used here in the sense of _compris_. [95] HUPP ES, 'Fancy,' 'smartly dressed.' It often means 'smart.' Compare; "Combien en as-tu vu, je dis des plus hupp es." (Racine, _Les Plaideurs_, J, 4); "Bien hupp qui pourra m'attraper sur ce point!" (Moli re, _ cole des femmes_, 1, I). [96] JE N'EN RABATS RIEN, 'I retract nothing.' That is to say, 'I insist that it is the Count.' [97] PLAISANT, 'Ridiculous.' [98] COMME DE CELA. With some gesture of contempt. See _le Legs_, note 108. [99] LUI. For _le_. The verb _d fier_ governs to-day the accusative and not the dative. [100] QU'IL. Later editions print _qui_, which is the correct form. The thought may be expressed more simply by the phrase _Je l'avais vu le contempler_. [101] CE QUI EST DE S R = _Ce qu'il y a de s r_. [102] LE SUJET = _La raison_. [103] DE BONNE MAIN, 'By a reliable person.' (Littr , "main," 17 .) [104] CONSENS... DE. The verb _consentir_ takes either _de_ or _ _, before a following infinitive, although in modern French the latter is the more common. [105] TOUS PROC S. Later editions print _tout proc s_, which is the more natural modern form. The plural, in the sense of 'each' or 'every' is, however, sometimes found without the article. Compare: "L'auteur des dialogues a dit que les belles sont de tous pays, et moi je dis que les sottises sont de tous les si cles " (Fontenelle, _Jugement de Pluton_). [106] AVOIR PRISE ... AVEC, 'To have a dispute with.' PRISE, 'Quarrel,' 'dispute' (Littr , 6 , also Dict. de l'Acad., 1878). [107] TOUS. Later editions print _tout_, which is the modern form. In the seventeenth and early eighteenth centuries is was not customary to consider the adverbial _tout_ as necessarily invariable. [108] MOUVEMENT. See _le Jeu de l'amour et du hasard_, note 162. [109] DONT. _Que is preferable. See _Le Jeu de l'amour et du hasard_, note 175. [110] SAVOIS. A not uncommon use of the imperfect indicative in the sense of the conditional. [111] JE N'AUROIS QUE FAIRE DE. See _le Jeu de l'amour et du hasard_, note 68. Compare _le Jeu de l'amour et du hasard_, note 141, and _le Legs_, note 85. [112] A TOI. The English idiom is 'of you.' [113] AU MOINS, 'Nevertheless.' [114] CAPABLE. Most editions print _incapable_, beginning the sentence with _s'il_, and punctuating with a comma after _incapable_. The sense is better carried out with such a rendering. [115] Des biais = _Des moyens d tourn s_. [116] L'EN D DIRE = _Le d mentir_. [117] COMME S'EN ALLANT. See _les Fausses Confidences_, note 26. [118] A CE QU'IL EST N = _A sa naissance_. [119] C'EST DE DORANTE, for _Il est de Dorante_: 'It has been painted by Dorante.' [120] M'EN FAIRE ACCROIRE, 'To impose upon me.' [121] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [122] This speech of Dorante's and Araminte's answer seem to have inspired Augier and Sandeau in the scene between Bertrand and H l ne, in _Mlle. de la Seigli re_, Act III, sc. 7. [123] QUE MON AMOUR N'EN AUGMENTE. See _Le jeu de l'amour et du hasard_, note 137. [124] JE L'AI PEINTE. The _peinte_ refers to and agrees with _la_ in Dorante's preceding speech. [125] AVANT QUE DE. See _Le jeu de l'amour et du hasard_, note 117. [126] RUE DU FIGUIER. A very ancient and historic street in Paris, situated not far from the Lyc e Charlemagne, and making a triangle with the rue Charlemagne and the rue Fauconnier. Even before the year 1300 it bore this name, from a fine fig-tree which stood at its juncture with the rue Fauconnier, and which was standing as late as 1605. The most important edifice of the street is the H tel de Sens, built in the sixteenth century by the Archbishop Tristan de Salazar. It was for a time the residence of Marguerite, first wife of Henry IV. [127] JE LUI RECOMMANDERAI. Later editions print _je le lui recommanderai_. Attention has already been called to Marivaux's custom of omitting the direct object pronoun in similar constructions. Compare _le Jeu de l'amour et du hasard_, note 210, and _le Legs_, note 29. [128] MOUVEMENTS. See _Le jeu de l'amour et du hasard_, note 162. [129] LUI. See note 99. [130] FATIGUE, 'Importune' (Littr , 4 ).' Compare: "Ainsi donc mes bont s vous fatiguent peut- tre" (Racine, _B r nice_, II, 4). [131] AMUSER. See _Le jeu de l'amour et du hasard_, note 41. [132] EN FAIT DE DISCR TION, JE M RITERAIS D' TRE FEMME. _Discr tion_ means here 'the ability to keep a secret' (Littr , 5 ). Compare; "Rien ne p se tant qu'un secret: Le porter loin est difficile aux dames; Et je sais m me sur ce fait Bon nombre d'hommes qui sont femmes.' (La Fontaine, _Fables_, viii, 6.) [133] LE DIABLE N'Y PERD RIEN, is said of a person who restrains his feelings with difficulty, or only temporarily (Littr , "diable." 2 ). The whole phrase might here be translated by: 'She cannot conceal the matter, nor will I.' [134] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [135] OUI-DA. See _le Jeu de l'amour et du hasard_, note 21. [136] DEMEURE. The incorrect use of this verb by Harlequin adds to the comic of the piece. For correct French one might substitute _se trouve_. [137] LA RUE DU FIGUIER. See note 126. [138] SAIS. _Savoir_ as used here means 'to know about the street,' 'to know that it exists,' 'to know where it may be found'; _conna tre_ would mean 'to be acquainted with it.' [139] RENDRA = _Remettra_. [140] RENDREZ. Some of the later editions print _rendez_. [141] QUE JE N'AIE VU, 'Until I have seen.' The negative particle _ne_ is required in a phrase introduced by _que_, when this conjunction stands in the place of _avant que_. [142] PR SOMPTIONS. 'Presumptions' or 'reasonable suppositions.' Compare: "Ce ne sont pas l des convictions enti res; mais ce sont les pr somptions les plus fortes" (Voltaire, _Essai sur les moeurs et l'esprit des nations_, chap. 166). [143] DE VOTRE FA ON, 'Of your choosing.' [144] TOUT. Later editions print _tout le monde_, which is evidently the sense in which this word is used. [145] ROGUE, 'Arrogant.' In the edition of 1758 the word is printed _roque_, which has led some editors into the error of correcting to _rauque_ (hoarse). [146] NOUS N'AVONS QUE FAIRE ENSEMBLE, 'We have no dealings together.' [147] NON QUE JE SACHE. _Non, pas que je sache_ is the more complete modern expression. [148] A CAUSE QUE. _Parce que_ is more modern. Littr favors the retention of _ cause que_, since it is used by good authors, and, in certain cases, is preferable to _parce que_. [149] AMPLIFIE, 'Exaggerates.' [150] HORS D'OEUVRE = _Hors de propos_. Generally used to-day as a substantive, but in the seventeenth and eighteenth centuries often used adverbially as here. Compare: "Dans le _Cid_, toutes celles (the scenes) de l'infante sont d tach es, et paraissent hors d'oeuvre" (Corneille, _Horace_, Examen). [151] ENFANCE. For the more modern word _enfantillage_, although the Dict. de l'Acad., 1878, retains the word in this sense. Compare: "Ils ne font que des enfances" (Mme. de S vign , Jan. 26, 1689). "On passait encore les enfances Mme. la duchesse de Bourgogne par la gr ce qu'elle y mettait" (St. Simon. 294, 6). "Ce sont des b tises ou des enfances dont il n'y a que de bonnes gens qui soient capables" (_Marianne_, 2e partie.) See _le Legs_, note 29. [152] TOUT L'HEURE. In the sense of _tout de suite_ the expression is to-day obsolete, and is not admitted by the Dict. de l'Acad., 1878. See _le Legs_, note 76. [153] CAUSE QUE. See note 147. [154] ENTEND. See _le Jeu de l'amour et du hasard_, note 247. [155] APPAREMMENT, 'Manifestly,' 'Of course.' In this sense the word has become obsolete, and is not admitted by the Dict. de l'Acad., 1878. [156] VOUS N'Y SONGEZ PAS. See _le Legs_, note 58, _le Legs_, note 102. [157] D LIVR E. The edition of 1758 prints _d livr es_, which will be accounted for by the speaker's including madame Argante in his mind. The singular is, however, preferable. [158] EUS. The edition of 1758 prints the past participle _eu_, without making it agree with the preceding object pronoun. See _le Legs_, note 56. [159] NOUS DIS. For the position of the object pronoun see note 18. [160] EUES. The edition of 1738 prints _eu_. For similar carelessness in Marivaux's use of the past participle compare _le Legs_, note 56, and note 158. [161] AFFRONT , 'Deceived' (Littr , 2 , also the Dict. de l'Acad., 1878). [162] FERMIER, 'Farmer,' 'One holding a farm by lease.' [163] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [164] A CAUSE QUE. See note 147. [165] OUF! MA GLOIRE M'ACCABLE; ET JE M RITEROIS BIEN D'APPELER CETTE FEMME-L MA BRU. This expression, seeming too violent to the spectators of to-day, was suppressed by the Com die-Fran aise, March 5, 1881. The play ends with the words of Araminte. See Larroumet, p. 227, note 1. [166] PARDI. See _le Jeu de l'amour et du hasard_, note 15. End of the Project Gutenberg EBook of A Selection from the Comedies of Marivaux, by Pierre Carlet de Chamblain de Marivaux *** END OF THIS PROJECT GUTENBERG EBOOK COMEDIES OF MARIVAUX *** ***** This file should be named 12504-8.txt or 12504-8.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.net/1/2/5/0/12504/ Produced by Anne Soulard, Charles Aldarondo, Keren Vergon and the Online Distributed Proofreading Team. Updated editions will replace the previous one--the old editions will be renamed. 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devriez

How many times the word 'devriez' appears in the text?

2.) [15] VOUS M'EN DIREZ DES NOUVELLES. See _le jeu de l'amour et du hasard_, note 242. [16] DIANTRE. See _le Legs_, note 101. [17] L . _Dans la t te_, with a gesture. [18] D RANG . 'Disorderly' or 'irregular' (in his affairs). [19] SERVITEUR AU COLLAT RAL, 'Then the collateral heirs will have to go without.' _Serviteur au_ is here used in the sense of _tant pis pour. Serviteur_ is not infrequently used as a formula of dismissal. [20] VOUS METTEZ. An inverted order quite common in the seventeenth and eighteenth centuries, when the second of two imperatives is construed with an object pronoun. Compare: "Quittez cette chim re, et m'aimez " (Corneille). "Polissez-le sans cesse et le repolissez" (Boileau, _Art Po tique_, Chant 1). [21] DONT. _Que would preferably be used to-day, so as not to repeat the construction of the antecedent. Compare _le Jeu de l'amour et du hasard_, note 175. [22] QU'IL VOUS REVIENNE, 'That you like him.' [23] MONSIEUR PR VIENT EN SA FAVEUR, 'The gentleman's appearance speaks in his favour.' [24] GR CES. In modern French the singular is preferred. [25] EST-CE VOUS QUI IL EN VEUT, 'Is it you whom he has come to see?' See _le Jeu de l'amour et du hasard_, note 68; _le Jeu de l'amour et du hasard_, note 175 and note 176; _le Legs_, note 132, and _le Legs_, note 135. [26] COMME S'EN ALLANT, for, _comme en s'en allant. [27] PARTI, 'Position' (Littr , 10 ). The idea of 'salary' is conveyed by the word as used here. [28] RENVERRAI TOUT. That is to say, _tout ce qui se pr sentera_; 'I will dismiss all other applicants.' [29] PARTI. See note 27. [30] REPR SENTE, 'call attention, 'set forth'; a form often used in petitions. [31] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [32] A VOTRE AISE LE RESTE, 'The rest when you like.' [33] D'O VIENT PR F RER CELUI-CI. See _le Jeu de l'amour et du hasard_, note 220. [34] ARR T , for the modern French _engag _ ('engaged'). [35] IL ME TARDE, 'I long.' [36] EN PASSE, 'In a position to.' [37] D'ALLER TOUT. For the more modern expression _d'arriver tout_, 'to attain any height.' [38] D FAITE, 'Excuse' or 'pretext' (Littr ", 4 , also Diet, de l'Acad. 1878). [39] L VATION. Used here with the unusual meaning of 'desire for social eminence.' [40] ELLE S'ENDORT DANS CET TAT, 'She is satisfied with her condition.' While already in the seventeenth century the ambition of rich _bourgeois_ to gain admission to the exclusive circles of the nobility had been sufficiently marked to induce Moli re to attack it in his _Bourgeois gentilhomme_, it was even more noticeable in the eighteenth, and _m salliances_ between noblemen and women of the middle class became much more frequent. [41] R FLEXION ROTURI RE. _Roture_ was the expression used to denote the _bourgeoisie_ as distinguished from the nobility. [42] JE N'Y ENTENDS POINT DE FINESSE, 'I cannot enter into such subtle distinctions on the question of happiness.' She refuses to discuss the possibility of Araminte's preferring happiness to rank. For her, rank means happiness, as would wealth. [43] IL ME L'A PARU = _Cela nil a paru ainsi_. [44] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [45] J'Y METTRAI BON ORDRE. See _le Jeu de l'amour et du hasard_, note 169. [46] PLAISANT. See _le Jeu de l'amour et du hasard_, note 37. [47] TIMBR COMME CENT, 'As crazy as a loon.' It is difficult to preserve the figure in an idiomatic translation. Compare the colloquial English, "You act like _sixty_." [48] CERVELLE BR L E. A peculiar use of _cervelle_. _Br l e_ is used here by Marivaux in the sense _troubl e_, as in the passage from Mme. de S vign : "Mme. de Saint-G ran est toute br l e du d part de son mari." [49] IL EN EST COMME UN PERDU, 'He is like a man who has lost his reason.' Cf. _le Jeu de l'amour et du hasard_, note 120. [50] UN PEU BOUDANT. Nowadays the adverb follows the verb. Here _boudant_ might at first thought be taken for an adjective, but it is a present participle used verbally and consequently invariable. [51] ON A BIEN AFFAIRE DE, 'I have no use for.' This idiom must not be confounded with _avoir affaire _, which means 'to have to deal with.' [52] ESPRIT RENVERS , 'A crazy man.' [53] MALEPESTE. See _le Legs_, note 48. [54] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [55] IL N'Y AVOIT PLUS PERSONNE AU LOGIS, 'He was quite unconscious.' (Littr , "logis," 1 .) [56] D' PIER. Later editions print _qu' pier_, as _d' pier_ would not be admissible in modern French. _Que de r ver... que d' pier_ would be the most natural modern form. [57] PAYOIS BOUTEILLE = _Payais boire_. [58] LA COM DIE. The _Com die-Fran aise_, or _Th tre-Fran ais_, then, as now, the leading theatre in Paris. [59] D S QUATRE HEURES. The performance did not begin before five o'clock, in the eighteenth century, [60] DANS L'HIVER. The modern form is _en hiver_. [61] JURANT PAR CI PAR L , 'Swearing every now and then.' [62] AUX TUILERIES. The Cours-la-Reine, in the Champs-Elys es, the Tuileries gardens, and the Palais-Royal, with its covered galleries and its garden, were the fashionable resorts of promenaders in the eighteenth century. [63] CE QU'IL. The _ce_ is superfluous. [64] PERCER = _S'apercevoir_. [65] JE ME REMETS = _J'y suis_. [66] OUI-DA. See _Le Jeu de l'amour et du hasard_, note 21. [67] COMME PASSANT, for _comme en passant_. Compare _les Fausses Confidences_, note 26. [68] C'EST AUTANT DE PRIS. See _le Jeu de l'amour et du hasard_, note 54. [69] QU'EST-IL = _Pourquoi est-il_? [70] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [71] IL LES FAIT COMME IL LES A. Untranslatable, save by an quivalent. It is a pun on Dubois' remark: "making eyes at her." [72] PRENEZ TOUJOURS, 'Take note of them nevertheless." [73] LE. The text of 1758 prints _le_; _ce_ would carry out the sense even better. See _le Legs_, note 38. [74] APPAREMMENT, 'Evidently.' This adverb may be used with or without the conjunction _que_ to introduce a verb. [75] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [76] UNE GUENON, 'a fool.' [77] QUI SE FASSE = _Qu'il y ait_. [78] LES PETITES-MAISONS. The old Maladrerie de Saint-Germain, which in 1554 became the H pital Saint-Germain, later known as les Petites-Maisons, on account of the great number of cells into which it was divided. It was used to house infirm old men and women, who received a small weekly dole, lunatics, and patients suffering from loathsome diseases. The name became synonymous with either a mad-house or a hospital for certain diseases: it was changed in 1801 to les Petits-M nages, the insane having then been transferred, the men to Bic tre, the women to La Salp tri re. [79] BIEN VENANTS, 'Paid regularly.' Marivaux, like the authors of the preceding century, considered _bien venants_ as an adjective, and hence declinable: but _livre_ is feminine, and we should expect here the form _bien venantes_. The Academy has declared the expression indeclinable. Compare: "Je le voyais avec vingt-huit mille livres de rente bien venantes" (Mme. de S vign , Dec. 28, 1689). [80] APPAREMMENT. See _les Fausses Confidences_, note 74. [81] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [82] VOUS N'AVEZ POINT DE GR ME SAVOIR. A well-known idiom, better expressed to-day: _Vous n'avez point me savoir gr _. [83] D'AVEC. A shortened form for some such phrase as _d'une conversation avec. D'avec_ is generally to be translated 'from,' 'in contradiction to.' [84] A QUEL HOMME EN VEUT-IL? 'For what man is he looking?' Compare _le Jeu de l'amour et du hasard_, note 68. [85] A VOUS. _Aupr s de vous_ would be the modern expression. [86] LE FAISANT SORTIR. Note the peculiar use of _le_, which nowadays would be replaced by the noun to which it refers--_le gar on_. [87] DONT. Better _que_. See _Le Jeu de l'amour et du hasard_, note 175. [88] DESSUS. For _l -dessus_. [89] SANS DIFFICULT . See _le Jeu de l'amour et du hasard_, note 154. [90] DE NE VOUS PAS AIMER. _De ne pas vous aimer_ is the more natural order in modern French. [91] IL N'A QUE FAIRE DE, 'He has no need to.' Compare _le Jeu de l'amour et du hasard_, note, 141. [92] C'EST UN PORTRAIT DE FEMME. The construction of the sentence is peculiar and incomplete. It requires the introduction, before _c'est un portrait_, of the words _c'est que_. In modern French the awkwardness of this form would be obviated. In the second clause _que_ would have to be prefixed to _c'est ici_. [93] QUAND. _Puisque_ is also found in incomplete expressions of this kind. The thought might be completed as follows: _Mais, quand_ (or _puisque_) _je vous dis, etc., vous devriez me croire_. [94] ENTENDU, used here in the sense of _compris_. [95] HUPP ES, 'Fancy,' 'smartly dressed.' It often means 'smart.' Compare; "Combien en as-tu vu, je dis des plus hupp es." (Racine, _Les Plaideurs_, J, 4); "Bien hupp qui pourra m'attraper sur ce point!" (Moli re, _ cole des femmes_, 1, I). [96] JE N'EN RABATS RIEN, 'I retract nothing.' That is to say, 'I insist that it is the Count.' [97] PLAISANT, 'Ridiculous.' [98] COMME DE CELA. With some gesture of contempt. See _le Legs_, note 108. [99] LUI. For _le_. The verb _d fier_ governs to-day the accusative and not the dative. [100] QU'IL. Later editions print _qui_, which is the correct form. The thought may be expressed more simply by the phrase _Je l'avais vu le contempler_. [101] CE QUI EST DE S R = _Ce qu'il y a de s r_. [102] LE SUJET = _La raison_. [103] DE BONNE MAIN, 'By a reliable person.' (Littr , "main," 17 .) [104] CONSENS... DE. The verb _consentir_ takes either _de_ or _ _, before a following infinitive, although in modern French the latter is the more common. [105] TOUS PROC S. Later editions print _tout proc s_, which is the more natural modern form. The plural, in the sense of 'each' or 'every' is, however, sometimes found without the article. Compare: "L'auteur des dialogues a dit que les belles sont de tous pays, et moi je dis que les sottises sont de tous les si cles " (Fontenelle, _Jugement de Pluton_). [106] AVOIR PRISE ... AVEC, 'To have a dispute with.' PRISE, 'Quarrel,' 'dispute' (Littr , 6 , also Dict. de l'Acad., 1878). [107] TOUS. Later editions print _tout_, which is the modern form. In the seventeenth and early eighteenth centuries is was not customary to consider the adverbial _tout_ as necessarily invariable. [108] MOUVEMENT. See _le Jeu de l'amour et du hasard_, note 162. [109] DONT. _Que is preferable. See _Le Jeu de l'amour et du hasard_, note 175. [110] SAVOIS. A not uncommon use of the imperfect indicative in the sense of the conditional. [111] JE N'AUROIS QUE FAIRE DE. See _le Jeu de l'amour et du hasard_, note 68. Compare _le Jeu de l'amour et du hasard_, note 141, and _le Legs_, note 85. [112] A TOI. The English idiom is 'of you.' [113] AU MOINS, 'Nevertheless.' [114] CAPABLE. Most editions print _incapable_, beginning the sentence with _s'il_, and punctuating with a comma after _incapable_. The sense is better carried out with such a rendering. [115] Des biais = _Des moyens d tourn s_. [116] L'EN D DIRE = _Le d mentir_. [117] COMME S'EN ALLANT. See _les Fausses Confidences_, note 26. [118] A CE QU'IL EST N = _A sa naissance_. [119] C'EST DE DORANTE, for _Il est de Dorante_: 'It has been painted by Dorante.' [120] M'EN FAIRE ACCROIRE, 'To impose upon me.' [121] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [122] This speech of Dorante's and Araminte's answer seem to have inspired Augier and Sandeau in the scene between Bertrand and H l ne, in _Mlle. de la Seigli re_, Act III, sc. 7. [123] QUE MON AMOUR N'EN AUGMENTE. See _Le jeu de l'amour et du hasard_, note 137. [124] JE L'AI PEINTE. The _peinte_ refers to and agrees with _la_ in Dorante's preceding speech. [125] AVANT QUE DE. See _Le jeu de l'amour et du hasard_, note 117. [126] RUE DU FIGUIER. A very ancient and historic street in Paris, situated not far from the Lyc e Charlemagne, and making a triangle with the rue Charlemagne and the rue Fauconnier. Even before the year 1300 it bore this name, from a fine fig-tree which stood at its juncture with the rue Fauconnier, and which was standing as late as 1605. The most important edifice of the street is the H tel de Sens, built in the sixteenth century by the Archbishop Tristan de Salazar. It was for a time the residence of Marguerite, first wife of Henry IV. [127] JE LUI RECOMMANDERAI. Later editions print _je le lui recommanderai_. Attention has already been called to Marivaux's custom of omitting the direct object pronoun in similar constructions. Compare _le Jeu de l'amour et du hasard_, note 210, and _le Legs_, note 29. [128] MOUVEMENTS. See _Le jeu de l'amour et du hasard_, note 162. [129] LUI. See note 99. [130] FATIGUE, 'Importune' (Littr , 4 ).' Compare: "Ainsi donc mes bont s vous fatiguent peut- tre" (Racine, _B r nice_, II, 4). [131] AMUSER. See _Le jeu de l'amour et du hasard_, note 41. [132] EN FAIT DE DISCR TION, JE M RITERAIS D' TRE FEMME. _Discr tion_ means here 'the ability to keep a secret' (Littr , 5 ). Compare; "Rien ne p se tant qu'un secret: Le porter loin est difficile aux dames; Et je sais m me sur ce fait Bon nombre d'hommes qui sont femmes.' (La Fontaine, _Fables_, viii, 6.) [133] LE DIABLE N'Y PERD RIEN, is said of a person who restrains his feelings with difficulty, or only temporarily (Littr , "diable." 2 ). The whole phrase might here be translated by: 'She cannot conceal the matter, nor will I.' [134] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [135] OUI-DA. See _le Jeu de l'amour et du hasard_, note 21. [136] DEMEURE. The incorrect use of this verb by Harlequin adds to the comic of the piece. For correct French one might substitute _se trouve_. [137] LA RUE DU FIGUIER. See note 126. [138] SAIS. _Savoir_ as used here means 'to know about the street,' 'to know that it exists,' 'to know where it may be found'; _conna tre_ would mean 'to be acquainted with it.' [139] RENDRA = _Remettra_. [140] RENDREZ. Some of the later editions print _rendez_. [141] QUE JE N'AIE VU, 'Until I have seen.' The negative particle _ne_ is required in a phrase introduced by _que_, when this conjunction stands in the place of _avant que_. [142] PR SOMPTIONS. 'Presumptions' or 'reasonable suppositions.' Compare: "Ce ne sont pas l des convictions enti res; mais ce sont les pr somptions les plus fortes" (Voltaire, _Essai sur les moeurs et l'esprit des nations_, chap. 166). [143] DE VOTRE FA ON, 'Of your choosing.' [144] TOUT. Later editions print _tout le monde_, which is evidently the sense in which this word is used. [145] ROGUE, 'Arrogant.' In the edition of 1758 the word is printed _roque_, which has led some editors into the error of correcting to _rauque_ (hoarse). [146] NOUS N'AVONS QUE FAIRE ENSEMBLE, 'We have no dealings together.' [147] NON QUE JE SACHE. _Non, pas que je sache_ is the more complete modern expression. [148] A CAUSE QUE. _Parce que_ is more modern. Littr favors the retention of _ cause que_, since it is used by good authors, and, in certain cases, is preferable to _parce que_. [149] AMPLIFIE, 'Exaggerates.' [150] HORS D'OEUVRE = _Hors de propos_. Generally used to-day as a substantive, but in the seventeenth and eighteenth centuries often used adverbially as here. Compare: "Dans le _Cid_, toutes celles (the scenes) de l'infante sont d tach es, et paraissent hors d'oeuvre" (Corneille, _Horace_, Examen). [151] ENFANCE. For the more modern word _enfantillage_, although the Dict. de l'Acad., 1878, retains the word in this sense. Compare: "Ils ne font que des enfances" (Mme. de S vign , Jan. 26, 1689). "On passait encore les enfances Mme. la duchesse de Bourgogne par la gr ce qu'elle y mettait" (St. Simon. 294, 6). "Ce sont des b tises ou des enfances dont il n'y a que de bonnes gens qui soient capables" (_Marianne_, 2e partie.) See _le Legs_, note 29. [152] TOUT L'HEURE. In the sense of _tout de suite_ the expression is to-day obsolete, and is not admitted by the Dict. de l'Acad., 1878. See _le Legs_, note 76. [153] CAUSE QUE. See note 147. [154] ENTEND. See _le Jeu de l'amour et du hasard_, note 247. [155] APPAREMMENT, 'Manifestly,' 'Of course.' In this sense the word has become obsolete, and is not admitted by the Dict. de l'Acad., 1878. [156] VOUS N'Y SONGEZ PAS. See _le Legs_, note 58, _le Legs_, note 102. [157] D LIVR E. The edition of 1758 prints _d livr es_, which will be accounted for by the speaker's including madame Argante in his mind. The singular is, however, preferable. [158] EUS. The edition of 1758 prints the past participle _eu_, without making it agree with the preceding object pronoun. See _le Legs_, note 56. [159] NOUS DIS. For the position of the object pronoun see note 18. [160] EUES. The edition of 1738 prints _eu_. For similar carelessness in Marivaux's use of the past participle compare _le Legs_, note 56, and note 158. [161] AFFRONT , 'Deceived' (Littr , 2 , also the Dict. de l'Acad., 1878). [162] FERMIER, 'Farmer,' 'One holding a farm by lease.' [163] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [164] A CAUSE QUE. See note 147. [165] OUF! MA GLOIRE M'ACCABLE; ET JE M RITEROIS BIEN D'APPELER CETTE FEMME-L MA BRU. This expression, seeming too violent to the spectators of to-day, was suppressed by the Com die-Fran aise, March 5, 1881. The play ends with the words of Araminte. See Larroumet, p. 227, note 1. [166] PARDI. See _le Jeu de l'amour et du hasard_, note 15. End of the Project Gutenberg EBook of A Selection from the Comedies of Marivaux, by Pierre Carlet de Chamblain de Marivaux *** END OF THIS PROJECT GUTENBERG EBOOK COMEDIES OF MARIVAUX *** ***** This file should be named 12504-8.txt or 12504-8.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.net/1/2/5/0/12504/ Produced by Anne Soulard, Charles Aldarondo, Keren Vergon and the Online Distributed Proofreading Team. Updated editions will replace the previous one--the old editions will be renamed. 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happiness

How many times the word 'happiness' appears in the text?

2.) [15] VOUS M'EN DIREZ DES NOUVELLES. See _le jeu de l'amour et du hasard_, note 242. [16] DIANTRE. See _le Legs_, note 101. [17] L . _Dans la t te_, with a gesture. [18] D RANG . 'Disorderly' or 'irregular' (in his affairs). [19] SERVITEUR AU COLLAT RAL, 'Then the collateral heirs will have to go without.' _Serviteur au_ is here used in the sense of _tant pis pour. Serviteur_ is not infrequently used as a formula of dismissal. [20] VOUS METTEZ. An inverted order quite common in the seventeenth and eighteenth centuries, when the second of two imperatives is construed with an object pronoun. Compare: "Quittez cette chim re, et m'aimez " (Corneille). "Polissez-le sans cesse et le repolissez" (Boileau, _Art Po tique_, Chant 1). [21] DONT. _Que would preferably be used to-day, so as not to repeat the construction of the antecedent. Compare _le Jeu de l'amour et du hasard_, note 175. [22] QU'IL VOUS REVIENNE, 'That you like him.' [23] MONSIEUR PR VIENT EN SA FAVEUR, 'The gentleman's appearance speaks in his favour.' [24] GR CES. In modern French the singular is preferred. [25] EST-CE VOUS QUI IL EN VEUT, 'Is it you whom he has come to see?' See _le Jeu de l'amour et du hasard_, note 68; _le Jeu de l'amour et du hasard_, note 175 and note 176; _le Legs_, note 132, and _le Legs_, note 135. [26] COMME S'EN ALLANT, for, _comme en s'en allant. [27] PARTI, 'Position' (Littr , 10 ). The idea of 'salary' is conveyed by the word as used here. [28] RENVERRAI TOUT. That is to say, _tout ce qui se pr sentera_; 'I will dismiss all other applicants.' [29] PARTI. See note 27. [30] REPR SENTE, 'call attention, 'set forth'; a form often used in petitions. [31] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [32] A VOTRE AISE LE RESTE, 'The rest when you like.' [33] D'O VIENT PR F RER CELUI-CI. See _le Jeu de l'amour et du hasard_, note 220. [34] ARR T , for the modern French _engag _ ('engaged'). [35] IL ME TARDE, 'I long.' [36] EN PASSE, 'In a position to.' [37] D'ALLER TOUT. For the more modern expression _d'arriver tout_, 'to attain any height.' [38] D FAITE, 'Excuse' or 'pretext' (Littr ", 4 , also Diet, de l'Acad. 1878). [39] L VATION. Used here with the unusual meaning of 'desire for social eminence.' [40] ELLE S'ENDORT DANS CET TAT, 'She is satisfied with her condition.' While already in the seventeenth century the ambition of rich _bourgeois_ to gain admission to the exclusive circles of the nobility had been sufficiently marked to induce Moli re to attack it in his _Bourgeois gentilhomme_, it was even more noticeable in the eighteenth, and _m salliances_ between noblemen and women of the middle class became much more frequent. [41] R FLEXION ROTURI RE. _Roture_ was the expression used to denote the _bourgeoisie_ as distinguished from the nobility. [42] JE N'Y ENTENDS POINT DE FINESSE, 'I cannot enter into such subtle distinctions on the question of happiness.' She refuses to discuss the possibility of Araminte's preferring happiness to rank. For her, rank means happiness, as would wealth. [43] IL ME L'A PARU = _Cela nil a paru ainsi_. [44] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [45] J'Y METTRAI BON ORDRE. See _le Jeu de l'amour et du hasard_, note 169. [46] PLAISANT. See _le Jeu de l'amour et du hasard_, note 37. [47] TIMBR COMME CENT, 'As crazy as a loon.' It is difficult to preserve the figure in an idiomatic translation. Compare the colloquial English, "You act like _sixty_." [48] CERVELLE BR L E. A peculiar use of _cervelle_. _Br l e_ is used here by Marivaux in the sense _troubl e_, as in the passage from Mme. de S vign : "Mme. de Saint-G ran est toute br l e du d part de son mari." [49] IL EN EST COMME UN PERDU, 'He is like a man who has lost his reason.' Cf. _le Jeu de l'amour et du hasard_, note 120. [50] UN PEU BOUDANT. Nowadays the adverb follows the verb. Here _boudant_ might at first thought be taken for an adjective, but it is a present participle used verbally and consequently invariable. [51] ON A BIEN AFFAIRE DE, 'I have no use for.' This idiom must not be confounded with _avoir affaire _, which means 'to have to deal with.' [52] ESPRIT RENVERS , 'A crazy man.' [53] MALEPESTE. See _le Legs_, note 48. [54] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [55] IL N'Y AVOIT PLUS PERSONNE AU LOGIS, 'He was quite unconscious.' (Littr , "logis," 1 .) [56] D' PIER. Later editions print _qu' pier_, as _d' pier_ would not be admissible in modern French. _Que de r ver... que d' pier_ would be the most natural modern form. [57] PAYOIS BOUTEILLE = _Payais boire_. [58] LA COM DIE. The _Com die-Fran aise_, or _Th tre-Fran ais_, then, as now, the leading theatre in Paris. [59] D S QUATRE HEURES. The performance did not begin before five o'clock, in the eighteenth century, [60] DANS L'HIVER. The modern form is _en hiver_. [61] JURANT PAR CI PAR L , 'Swearing every now and then.' [62] AUX TUILERIES. The Cours-la-Reine, in the Champs-Elys es, the Tuileries gardens, and the Palais-Royal, with its covered galleries and its garden, were the fashionable resorts of promenaders in the eighteenth century. [63] CE QU'IL. The _ce_ is superfluous. [64] PERCER = _S'apercevoir_. [65] JE ME REMETS = _J'y suis_. [66] OUI-DA. See _Le Jeu de l'amour et du hasard_, note 21. [67] COMME PASSANT, for _comme en passant_. Compare _les Fausses Confidences_, note 26. [68] C'EST AUTANT DE PRIS. See _le Jeu de l'amour et du hasard_, note 54. [69] QU'EST-IL = _Pourquoi est-il_? [70] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [71] IL LES FAIT COMME IL LES A. Untranslatable, save by an quivalent. It is a pun on Dubois' remark: "making eyes at her." [72] PRENEZ TOUJOURS, 'Take note of them nevertheless." [73] LE. The text of 1758 prints _le_; _ce_ would carry out the sense even better. See _le Legs_, note 38. [74] APPAREMMENT, 'Evidently.' This adverb may be used with or without the conjunction _que_ to introduce a verb. [75] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [76] UNE GUENON, 'a fool.' [77] QUI SE FASSE = _Qu'il y ait_. [78] LES PETITES-MAISONS. The old Maladrerie de Saint-Germain, which in 1554 became the H pital Saint-Germain, later known as les Petites-Maisons, on account of the great number of cells into which it was divided. It was used to house infirm old men and women, who received a small weekly dole, lunatics, and patients suffering from loathsome diseases. The name became synonymous with either a mad-house or a hospital for certain diseases: it was changed in 1801 to les Petits-M nages, the insane having then been transferred, the men to Bic tre, the women to La Salp tri re. [79] BIEN VENANTS, 'Paid regularly.' Marivaux, like the authors of the preceding century, considered _bien venants_ as an adjective, and hence declinable: but _livre_ is feminine, and we should expect here the form _bien venantes_. The Academy has declared the expression indeclinable. Compare: "Je le voyais avec vingt-huit mille livres de rente bien venantes" (Mme. de S vign , Dec. 28, 1689). [80] APPAREMMENT. See _les Fausses Confidences_, note 74. [81] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [82] VOUS N'AVEZ POINT DE GR ME SAVOIR. A well-known idiom, better expressed to-day: _Vous n'avez point me savoir gr _. [83] D'AVEC. A shortened form for some such phrase as _d'une conversation avec. D'avec_ is generally to be translated 'from,' 'in contradiction to.' [84] A QUEL HOMME EN VEUT-IL? 'For what man is he looking?' Compare _le Jeu de l'amour et du hasard_, note 68. [85] A VOUS. _Aupr s de vous_ would be the modern expression. [86] LE FAISANT SORTIR. Note the peculiar use of _le_, which nowadays would be replaced by the noun to which it refers--_le gar on_. [87] DONT. Better _que_. See _Le Jeu de l'amour et du hasard_, note 175. [88] DESSUS. For _l -dessus_. [89] SANS DIFFICULT . See _le Jeu de l'amour et du hasard_, note 154. [90] DE NE VOUS PAS AIMER. _De ne pas vous aimer_ is the more natural order in modern French. [91] IL N'A QUE FAIRE DE, 'He has no need to.' Compare _le Jeu de l'amour et du hasard_, note, 141. [92] C'EST UN PORTRAIT DE FEMME. The construction of the sentence is peculiar and incomplete. It requires the introduction, before _c'est un portrait_, of the words _c'est que_. In modern French the awkwardness of this form would be obviated. In the second clause _que_ would have to be prefixed to _c'est ici_. [93] QUAND. _Puisque_ is also found in incomplete expressions of this kind. The thought might be completed as follows: _Mais, quand_ (or _puisque_) _je vous dis, etc., vous devriez me croire_. [94] ENTENDU, used here in the sense of _compris_. [95] HUPP ES, 'Fancy,' 'smartly dressed.' It often means 'smart.' Compare; "Combien en as-tu vu, je dis des plus hupp es." (Racine, _Les Plaideurs_, J, 4); "Bien hupp qui pourra m'attraper sur ce point!" (Moli re, _ cole des femmes_, 1, I). [96] JE N'EN RABATS RIEN, 'I retract nothing.' That is to say, 'I insist that it is the Count.' [97] PLAISANT, 'Ridiculous.' [98] COMME DE CELA. With some gesture of contempt. See _le Legs_, note 108. [99] LUI. For _le_. The verb _d fier_ governs to-day the accusative and not the dative. [100] QU'IL. Later editions print _qui_, which is the correct form. The thought may be expressed more simply by the phrase _Je l'avais vu le contempler_. [101] CE QUI EST DE S R = _Ce qu'il y a de s r_. [102] LE SUJET = _La raison_. [103] DE BONNE MAIN, 'By a reliable person.' (Littr , "main," 17 .) [104] CONSENS... DE. The verb _consentir_ takes either _de_ or _ _, before a following infinitive, although in modern French the latter is the more common. [105] TOUS PROC S. Later editions print _tout proc s_, which is the more natural modern form. The plural, in the sense of 'each' or 'every' is, however, sometimes found without the article. Compare: "L'auteur des dialogues a dit que les belles sont de tous pays, et moi je dis que les sottises sont de tous les si cles " (Fontenelle, _Jugement de Pluton_). [106] AVOIR PRISE ... AVEC, 'To have a dispute with.' PRISE, 'Quarrel,' 'dispute' (Littr , 6 , also Dict. de l'Acad., 1878). [107] TOUS. Later editions print _tout_, which is the modern form. In the seventeenth and early eighteenth centuries is was not customary to consider the adverbial _tout_ as necessarily invariable. [108] MOUVEMENT. See _le Jeu de l'amour et du hasard_, note 162. [109] DONT. _Que is preferable. See _Le Jeu de l'amour et du hasard_, note 175. [110] SAVOIS. A not uncommon use of the imperfect indicative in the sense of the conditional. [111] JE N'AUROIS QUE FAIRE DE. See _le Jeu de l'amour et du hasard_, note 68. Compare _le Jeu de l'amour et du hasard_, note 141, and _le Legs_, note 85. [112] A TOI. The English idiom is 'of you.' [113] AU MOINS, 'Nevertheless.' [114] CAPABLE. Most editions print _incapable_, beginning the sentence with _s'il_, and punctuating with a comma after _incapable_. The sense is better carried out with such a rendering. [115] Des biais = _Des moyens d tourn s_. [116] L'EN D DIRE = _Le d mentir_. [117] COMME S'EN ALLANT. See _les Fausses Confidences_, note 26. [118] A CE QU'IL EST N = _A sa naissance_. [119] C'EST DE DORANTE, for _Il est de Dorante_: 'It has been painted by Dorante.' [120] M'EN FAIRE ACCROIRE, 'To impose upon me.' [121] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [122] This speech of Dorante's and Araminte's answer seem to have inspired Augier and Sandeau in the scene between Bertrand and H l ne, in _Mlle. de la Seigli re_, Act III, sc. 7. [123] QUE MON AMOUR N'EN AUGMENTE. See _Le jeu de l'amour et du hasard_, note 137. [124] JE L'AI PEINTE. The _peinte_ refers to and agrees with _la_ in Dorante's preceding speech. [125] AVANT QUE DE. See _Le jeu de l'amour et du hasard_, note 117. [126] RUE DU FIGUIER. A very ancient and historic street in Paris, situated not far from the Lyc e Charlemagne, and making a triangle with the rue Charlemagne and the rue Fauconnier. Even before the year 1300 it bore this name, from a fine fig-tree which stood at its juncture with the rue Fauconnier, and which was standing as late as 1605. The most important edifice of the street is the H tel de Sens, built in the sixteenth century by the Archbishop Tristan de Salazar. It was for a time the residence of Marguerite, first wife of Henry IV. [127] JE LUI RECOMMANDERAI. Later editions print _je le lui recommanderai_. Attention has already been called to Marivaux's custom of omitting the direct object pronoun in similar constructions. Compare _le Jeu de l'amour et du hasard_, note 210, and _le Legs_, note 29. [128] MOUVEMENTS. See _Le jeu de l'amour et du hasard_, note 162. [129] LUI. See note 99. [130] FATIGUE, 'Importune' (Littr , 4 ).' Compare: "Ainsi donc mes bont s vous fatiguent peut- tre" (Racine, _B r nice_, II, 4). [131] AMUSER. See _Le jeu de l'amour et du hasard_, note 41. [132] EN FAIT DE DISCR TION, JE M RITERAIS D' TRE FEMME. _Discr tion_ means here 'the ability to keep a secret' (Littr , 5 ). Compare; "Rien ne p se tant qu'un secret: Le porter loin est difficile aux dames; Et je sais m me sur ce fait Bon nombre d'hommes qui sont femmes.' (La Fontaine, _Fables_, viii, 6.) [133] LE DIABLE N'Y PERD RIEN, is said of a person who restrains his feelings with difficulty, or only temporarily (Littr , "diable." 2 ). The whole phrase might here be translated by: 'She cannot conceal the matter, nor will I.' [134] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [135] OUI-DA. See _le Jeu de l'amour et du hasard_, note 21. [136] DEMEURE. The incorrect use of this verb by Harlequin adds to the comic of the piece. For correct French one might substitute _se trouve_. [137] LA RUE DU FIGUIER. See note 126. [138] SAIS. _Savoir_ as used here means 'to know about the street,' 'to know that it exists,' 'to know where it may be found'; _conna tre_ would mean 'to be acquainted with it.' [139] RENDRA = _Remettra_. [140] RENDREZ. Some of the later editions print _rendez_. [141] QUE JE N'AIE VU, 'Until I have seen.' The negative particle _ne_ is required in a phrase introduced by _que_, when this conjunction stands in the place of _avant que_. [142] PR SOMPTIONS. 'Presumptions' or 'reasonable suppositions.' Compare: "Ce ne sont pas l des convictions enti res; mais ce sont les pr somptions les plus fortes" (Voltaire, _Essai sur les moeurs et l'esprit des nations_, chap. 166). [143] DE VOTRE FA ON, 'Of your choosing.' [144] TOUT. Later editions print _tout le monde_, which is evidently the sense in which this word is used. [145] ROGUE, 'Arrogant.' In the edition of 1758 the word is printed _roque_, which has led some editors into the error of correcting to _rauque_ (hoarse). [146] NOUS N'AVONS QUE FAIRE ENSEMBLE, 'We have no dealings together.' [147] NON QUE JE SACHE. _Non, pas que je sache_ is the more complete modern expression. [148] A CAUSE QUE. _Parce que_ is more modern. Littr favors the retention of _ cause que_, since it is used by good authors, and, in certain cases, is preferable to _parce que_. [149] AMPLIFIE, 'Exaggerates.' [150] HORS D'OEUVRE = _Hors de propos_. Generally used to-day as a substantive, but in the seventeenth and eighteenth centuries often used adverbially as here. Compare: "Dans le _Cid_, toutes celles (the scenes) de l'infante sont d tach es, et paraissent hors d'oeuvre" (Corneille, _Horace_, Examen). [151] ENFANCE. For the more modern word _enfantillage_, although the Dict. de l'Acad., 1878, retains the word in this sense. Compare: "Ils ne font que des enfances" (Mme. de S vign , Jan. 26, 1689). "On passait encore les enfances Mme. la duchesse de Bourgogne par la gr ce qu'elle y mettait" (St. Simon. 294, 6). "Ce sont des b tises ou des enfances dont il n'y a que de bonnes gens qui soient capables" (_Marianne_, 2e partie.) See _le Legs_, note 29. [152] TOUT L'HEURE. In the sense of _tout de suite_ the expression is to-day obsolete, and is not admitted by the Dict. de l'Acad., 1878. See _le Legs_, note 76. [153] CAUSE QUE. See note 147. [154] ENTEND. See _le Jeu de l'amour et du hasard_, note 247. [155] APPAREMMENT, 'Manifestly,' 'Of course.' In this sense the word has become obsolete, and is not admitted by the Dict. de l'Acad., 1878. [156] VOUS N'Y SONGEZ PAS. See _le Legs_, note 58, _le Legs_, note 102. [157] D LIVR E. The edition of 1758 prints _d livr es_, which will be accounted for by the speaker's including madame Argante in his mind. The singular is, however, preferable. [158] EUS. The edition of 1758 prints the past participle _eu_, without making it agree with the preceding object pronoun. See _le Legs_, note 56. [159] NOUS DIS. For the position of the object pronoun see note 18. [160] EUES. The edition of 1738 prints _eu_. For similar carelessness in Marivaux's use of the past participle compare _le Legs_, note 56, and note 158. [161] AFFRONT , 'Deceived' (Littr , 2 , also the Dict. de l'Acad., 1878). [162] FERMIER, 'Farmer,' 'One holding a farm by lease.' [163] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [164] A CAUSE QUE. See note 147. [165] OUF! MA GLOIRE M'ACCABLE; ET JE M RITEROIS BIEN D'APPELER CETTE FEMME-L MA BRU. This expression, seeming too violent to the spectators of to-day, was suppressed by the Com die-Fran aise, March 5, 1881. The play ends with the words of Araminte. See Larroumet, p. 227, note 1. [166] PARDI. See _le Jeu de l'amour et du hasard_, note 15. End of the Project Gutenberg EBook of A Selection from the Comedies of Marivaux, by Pierre Carlet de Chamblain de Marivaux *** END OF THIS PROJECT GUTENBERG EBOOK COMEDIES OF MARIVAUX *** ***** This file should be named 12504-8.txt or 12504-8.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.net/1/2/5/0/12504/ Produced by Anne Soulard, Charles Aldarondo, Keren Vergon and the Online Distributed Proofreading Team. Updated editions will replace the previous one--the old editions will be renamed. 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da

How many times the word 'da' appears in the text?

2.) [15] VOUS M'EN DIREZ DES NOUVELLES. See _le jeu de l'amour et du hasard_, note 242. [16] DIANTRE. See _le Legs_, note 101. [17] L . _Dans la t te_, with a gesture. [18] D RANG . 'Disorderly' or 'irregular' (in his affairs). [19] SERVITEUR AU COLLAT RAL, 'Then the collateral heirs will have to go without.' _Serviteur au_ is here used in the sense of _tant pis pour. Serviteur_ is not infrequently used as a formula of dismissal. [20] VOUS METTEZ. An inverted order quite common in the seventeenth and eighteenth centuries, when the second of two imperatives is construed with an object pronoun. Compare: "Quittez cette chim re, et m'aimez " (Corneille). "Polissez-le sans cesse et le repolissez" (Boileau, _Art Po tique_, Chant 1). [21] DONT. _Que would preferably be used to-day, so as not to repeat the construction of the antecedent. Compare _le Jeu de l'amour et du hasard_, note 175. [22] QU'IL VOUS REVIENNE, 'That you like him.' [23] MONSIEUR PR VIENT EN SA FAVEUR, 'The gentleman's appearance speaks in his favour.' [24] GR CES. In modern French the singular is preferred. [25] EST-CE VOUS QUI IL EN VEUT, 'Is it you whom he has come to see?' See _le Jeu de l'amour et du hasard_, note 68; _le Jeu de l'amour et du hasard_, note 175 and note 176; _le Legs_, note 132, and _le Legs_, note 135. [26] COMME S'EN ALLANT, for, _comme en s'en allant. [27] PARTI, 'Position' (Littr , 10 ). The idea of 'salary' is conveyed by the word as used here. [28] RENVERRAI TOUT. That is to say, _tout ce qui se pr sentera_; 'I will dismiss all other applicants.' [29] PARTI. See note 27. [30] REPR SENTE, 'call attention, 'set forth'; a form often used in petitions. [31] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [32] A VOTRE AISE LE RESTE, 'The rest when you like.' [33] D'O VIENT PR F RER CELUI-CI. See _le Jeu de l'amour et du hasard_, note 220. [34] ARR T , for the modern French _engag _ ('engaged'). [35] IL ME TARDE, 'I long.' [36] EN PASSE, 'In a position to.' [37] D'ALLER TOUT. For the more modern expression _d'arriver tout_, 'to attain any height.' [38] D FAITE, 'Excuse' or 'pretext' (Littr ", 4 , also Diet, de l'Acad. 1878). [39] L VATION. Used here with the unusual meaning of 'desire for social eminence.' [40] ELLE S'ENDORT DANS CET TAT, 'She is satisfied with her condition.' While already in the seventeenth century the ambition of rich _bourgeois_ to gain admission to the exclusive circles of the nobility had been sufficiently marked to induce Moli re to attack it in his _Bourgeois gentilhomme_, it was even more noticeable in the eighteenth, and _m salliances_ between noblemen and women of the middle class became much more frequent. [41] R FLEXION ROTURI RE. _Roture_ was the expression used to denote the _bourgeoisie_ as distinguished from the nobility. [42] JE N'Y ENTENDS POINT DE FINESSE, 'I cannot enter into such subtle distinctions on the question of happiness.' She refuses to discuss the possibility of Araminte's preferring happiness to rank. For her, rank means happiness, as would wealth. [43] IL ME L'A PARU = _Cela nil a paru ainsi_. [44] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [45] J'Y METTRAI BON ORDRE. See _le Jeu de l'amour et du hasard_, note 169. [46] PLAISANT. See _le Jeu de l'amour et du hasard_, note 37. [47] TIMBR COMME CENT, 'As crazy as a loon.' It is difficult to preserve the figure in an idiomatic translation. Compare the colloquial English, "You act like _sixty_." [48] CERVELLE BR L E. A peculiar use of _cervelle_. _Br l e_ is used here by Marivaux in the sense _troubl e_, as in the passage from Mme. de S vign : "Mme. de Saint-G ran est toute br l e du d part de son mari." [49] IL EN EST COMME UN PERDU, 'He is like a man who has lost his reason.' Cf. _le Jeu de l'amour et du hasard_, note 120. [50] UN PEU BOUDANT. Nowadays the adverb follows the verb. Here _boudant_ might at first thought be taken for an adjective, but it is a present participle used verbally and consequently invariable. [51] ON A BIEN AFFAIRE DE, 'I have no use for.' This idiom must not be confounded with _avoir affaire _, which means 'to have to deal with.' [52] ESPRIT RENVERS , 'A crazy man.' [53] MALEPESTE. See _le Legs_, note 48. [54] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [55] IL N'Y AVOIT PLUS PERSONNE AU LOGIS, 'He was quite unconscious.' (Littr , "logis," 1 .) [56] D' PIER. Later editions print _qu' pier_, as _d' pier_ would not be admissible in modern French. _Que de r ver... que d' pier_ would be the most natural modern form. [57] PAYOIS BOUTEILLE = _Payais boire_. [58] LA COM DIE. The _Com die-Fran aise_, or _Th tre-Fran ais_, then, as now, the leading theatre in Paris. [59] D S QUATRE HEURES. The performance did not begin before five o'clock, in the eighteenth century, [60] DANS L'HIVER. The modern form is _en hiver_. [61] JURANT PAR CI PAR L , 'Swearing every now and then.' [62] AUX TUILERIES. The Cours-la-Reine, in the Champs-Elys es, the Tuileries gardens, and the Palais-Royal, with its covered galleries and its garden, were the fashionable resorts of promenaders in the eighteenth century. [63] CE QU'IL. The _ce_ is superfluous. [64] PERCER = _S'apercevoir_. [65] JE ME REMETS = _J'y suis_. [66] OUI-DA. See _Le Jeu de l'amour et du hasard_, note 21. [67] COMME PASSANT, for _comme en passant_. Compare _les Fausses Confidences_, note 26. [68] C'EST AUTANT DE PRIS. See _le Jeu de l'amour et du hasard_, note 54. [69] QU'EST-IL = _Pourquoi est-il_? [70] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [71] IL LES FAIT COMME IL LES A. Untranslatable, save by an quivalent. It is a pun on Dubois' remark: "making eyes at her." [72] PRENEZ TOUJOURS, 'Take note of them nevertheless." [73] LE. The text of 1758 prints _le_; _ce_ would carry out the sense even better. See _le Legs_, note 38. [74] APPAREMMENT, 'Evidently.' This adverb may be used with or without the conjunction _que_ to introduce a verb. [75] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [76] UNE GUENON, 'a fool.' [77] QUI SE FASSE = _Qu'il y ait_. [78] LES PETITES-MAISONS. The old Maladrerie de Saint-Germain, which in 1554 became the H pital Saint-Germain, later known as les Petites-Maisons, on account of the great number of cells into which it was divided. It was used to house infirm old men and women, who received a small weekly dole, lunatics, and patients suffering from loathsome diseases. The name became synonymous with either a mad-house or a hospital for certain diseases: it was changed in 1801 to les Petits-M nages, the insane having then been transferred, the men to Bic tre, the women to La Salp tri re. [79] BIEN VENANTS, 'Paid regularly.' Marivaux, like the authors of the preceding century, considered _bien venants_ as an adjective, and hence declinable: but _livre_ is feminine, and we should expect here the form _bien venantes_. The Academy has declared the expression indeclinable. Compare: "Je le voyais avec vingt-huit mille livres de rente bien venantes" (Mme. de S vign , Dec. 28, 1689). [80] APPAREMMENT. See _les Fausses Confidences_, note 74. [81] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [82] VOUS N'AVEZ POINT DE GR ME SAVOIR. A well-known idiom, better expressed to-day: _Vous n'avez point me savoir gr _. [83] D'AVEC. A shortened form for some such phrase as _d'une conversation avec. D'avec_ is generally to be translated 'from,' 'in contradiction to.' [84] A QUEL HOMME EN VEUT-IL? 'For what man is he looking?' Compare _le Jeu de l'amour et du hasard_, note 68. [85] A VOUS. _Aupr s de vous_ would be the modern expression. [86] LE FAISANT SORTIR. Note the peculiar use of _le_, which nowadays would be replaced by the noun to which it refers--_le gar on_. [87] DONT. Better _que_. See _Le Jeu de l'amour et du hasard_, note 175. [88] DESSUS. For _l -dessus_. [89] SANS DIFFICULT . See _le Jeu de l'amour et du hasard_, note 154. [90] DE NE VOUS PAS AIMER. _De ne pas vous aimer_ is the more natural order in modern French. [91] IL N'A QUE FAIRE DE, 'He has no need to.' Compare _le Jeu de l'amour et du hasard_, note, 141. [92] C'EST UN PORTRAIT DE FEMME. The construction of the sentence is peculiar and incomplete. It requires the introduction, before _c'est un portrait_, of the words _c'est que_. In modern French the awkwardness of this form would be obviated. In the second clause _que_ would have to be prefixed to _c'est ici_. [93] QUAND. _Puisque_ is also found in incomplete expressions of this kind. The thought might be completed as follows: _Mais, quand_ (or _puisque_) _je vous dis, etc., vous devriez me croire_. [94] ENTENDU, used here in the sense of _compris_. [95] HUPP ES, 'Fancy,' 'smartly dressed.' It often means 'smart.' Compare; "Combien en as-tu vu, je dis des plus hupp es." (Racine, _Les Plaideurs_, J, 4); "Bien hupp qui pourra m'attraper sur ce point!" (Moli re, _ cole des femmes_, 1, I). [96] JE N'EN RABATS RIEN, 'I retract nothing.' That is to say, 'I insist that it is the Count.' [97] PLAISANT, 'Ridiculous.' [98] COMME DE CELA. With some gesture of contempt. See _le Legs_, note 108. [99] LUI. For _le_. The verb _d fier_ governs to-day the accusative and not the dative. [100] QU'IL. Later editions print _qui_, which is the correct form. The thought may be expressed more simply by the phrase _Je l'avais vu le contempler_. [101] CE QUI EST DE S R = _Ce qu'il y a de s r_. [102] LE SUJET = _La raison_. [103] DE BONNE MAIN, 'By a reliable person.' (Littr , "main," 17 .) [104] CONSENS... DE. The verb _consentir_ takes either _de_ or _ _, before a following infinitive, although in modern French the latter is the more common. [105] TOUS PROC S. Later editions print _tout proc s_, which is the more natural modern form. The plural, in the sense of 'each' or 'every' is, however, sometimes found without the article. Compare: "L'auteur des dialogues a dit que les belles sont de tous pays, et moi je dis que les sottises sont de tous les si cles " (Fontenelle, _Jugement de Pluton_). [106] AVOIR PRISE ... AVEC, 'To have a dispute with.' PRISE, 'Quarrel,' 'dispute' (Littr , 6 , also Dict. de l'Acad., 1878). [107] TOUS. Later editions print _tout_, which is the modern form. In the seventeenth and early eighteenth centuries is was not customary to consider the adverbial _tout_ as necessarily invariable. [108] MOUVEMENT. See _le Jeu de l'amour et du hasard_, note 162. [109] DONT. _Que is preferable. See _Le Jeu de l'amour et du hasard_, note 175. [110] SAVOIS. A not uncommon use of the imperfect indicative in the sense of the conditional. [111] JE N'AUROIS QUE FAIRE DE. See _le Jeu de l'amour et du hasard_, note 68. Compare _le Jeu de l'amour et du hasard_, note 141, and _le Legs_, note 85. [112] A TOI. The English idiom is 'of you.' [113] AU MOINS, 'Nevertheless.' [114] CAPABLE. Most editions print _incapable_, beginning the sentence with _s'il_, and punctuating with a comma after _incapable_. The sense is better carried out with such a rendering. [115] Des biais = _Des moyens d tourn s_. [116] L'EN D DIRE = _Le d mentir_. [117] COMME S'EN ALLANT. See _les Fausses Confidences_, note 26. [118] A CE QU'IL EST N = _A sa naissance_. [119] C'EST DE DORANTE, for _Il est de Dorante_: 'It has been painted by Dorante.' [120] M'EN FAIRE ACCROIRE, 'To impose upon me.' [121] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [122] This speech of Dorante's and Araminte's answer seem to have inspired Augier and Sandeau in the scene between Bertrand and H l ne, in _Mlle. de la Seigli re_, Act III, sc. 7. [123] QUE MON AMOUR N'EN AUGMENTE. See _Le jeu de l'amour et du hasard_, note 137. [124] JE L'AI PEINTE. The _peinte_ refers to and agrees with _la_ in Dorante's preceding speech. [125] AVANT QUE DE. See _Le jeu de l'amour et du hasard_, note 117. [126] RUE DU FIGUIER. A very ancient and historic street in Paris, situated not far from the Lyc e Charlemagne, and making a triangle with the rue Charlemagne and the rue Fauconnier. Even before the year 1300 it bore this name, from a fine fig-tree which stood at its juncture with the rue Fauconnier, and which was standing as late as 1605. The most important edifice of the street is the H tel de Sens, built in the sixteenth century by the Archbishop Tristan de Salazar. It was for a time the residence of Marguerite, first wife of Henry IV. [127] JE LUI RECOMMANDERAI. Later editions print _je le lui recommanderai_. Attention has already been called to Marivaux's custom of omitting the direct object pronoun in similar constructions. Compare _le Jeu de l'amour et du hasard_, note 210, and _le Legs_, note 29. [128] MOUVEMENTS. See _Le jeu de l'amour et du hasard_, note 162. [129] LUI. See note 99. [130] FATIGUE, 'Importune' (Littr , 4 ).' Compare: "Ainsi donc mes bont s vous fatiguent peut- tre" (Racine, _B r nice_, II, 4). [131] AMUSER. See _Le jeu de l'amour et du hasard_, note 41. [132] EN FAIT DE DISCR TION, JE M RITERAIS D' TRE FEMME. _Discr tion_ means here 'the ability to keep a secret' (Littr , 5 ). Compare; "Rien ne p se tant qu'un secret: Le porter loin est difficile aux dames; Et je sais m me sur ce fait Bon nombre d'hommes qui sont femmes.' (La Fontaine, _Fables_, viii, 6.) [133] LE DIABLE N'Y PERD RIEN, is said of a person who restrains his feelings with difficulty, or only temporarily (Littr , "diable." 2 ). The whole phrase might here be translated by: 'She cannot conceal the matter, nor will I.' [134] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [135] OUI-DA. See _le Jeu de l'amour et du hasard_, note 21. [136] DEMEURE. The incorrect use of this verb by Harlequin adds to the comic of the piece. For correct French one might substitute _se trouve_. [137] LA RUE DU FIGUIER. See note 126. [138] SAIS. _Savoir_ as used here means 'to know about the street,' 'to know that it exists,' 'to know where it may be found'; _conna tre_ would mean 'to be acquainted with it.' [139] RENDRA = _Remettra_. [140] RENDREZ. Some of the later editions print _rendez_. [141] QUE JE N'AIE VU, 'Until I have seen.' The negative particle _ne_ is required in a phrase introduced by _que_, when this conjunction stands in the place of _avant que_. [142] PR SOMPTIONS. 'Presumptions' or 'reasonable suppositions.' Compare: "Ce ne sont pas l des convictions enti res; mais ce sont les pr somptions les plus fortes" (Voltaire, _Essai sur les moeurs et l'esprit des nations_, chap. 166). [143] DE VOTRE FA ON, 'Of your choosing.' [144] TOUT. Later editions print _tout le monde_, which is evidently the sense in which this word is used. [145] ROGUE, 'Arrogant.' In the edition of 1758 the word is printed _roque_, which has led some editors into the error of correcting to _rauque_ (hoarse). [146] NOUS N'AVONS QUE FAIRE ENSEMBLE, 'We have no dealings together.' [147] NON QUE JE SACHE. _Non, pas que je sache_ is the more complete modern expression. [148] A CAUSE QUE. _Parce que_ is more modern. Littr favors the retention of _ cause que_, since it is used by good authors, and, in certain cases, is preferable to _parce que_. [149] AMPLIFIE, 'Exaggerates.' [150] HORS D'OEUVRE = _Hors de propos_. Generally used to-day as a substantive, but in the seventeenth and eighteenth centuries often used adverbially as here. Compare: "Dans le _Cid_, toutes celles (the scenes) de l'infante sont d tach es, et paraissent hors d'oeuvre" (Corneille, _Horace_, Examen). [151] ENFANCE. For the more modern word _enfantillage_, although the Dict. de l'Acad., 1878, retains the word in this sense. Compare: "Ils ne font que des enfances" (Mme. de S vign , Jan. 26, 1689). "On passait encore les enfances Mme. la duchesse de Bourgogne par la gr ce qu'elle y mettait" (St. Simon. 294, 6). "Ce sont des b tises ou des enfances dont il n'y a que de bonnes gens qui soient capables" (_Marianne_, 2e partie.) See _le Legs_, note 29. [152] TOUT L'HEURE. In the sense of _tout de suite_ the expression is to-day obsolete, and is not admitted by the Dict. de l'Acad., 1878. See _le Legs_, note 76. [153] CAUSE QUE. See note 147. [154] ENTEND. See _le Jeu de l'amour et du hasard_, note 247. [155] APPAREMMENT, 'Manifestly,' 'Of course.' In this sense the word has become obsolete, and is not admitted by the Dict. de l'Acad., 1878. [156] VOUS N'Y SONGEZ PAS. See _le Legs_, note 58, _le Legs_, note 102. [157] D LIVR E. The edition of 1758 prints _d livr es_, which will be accounted for by the speaker's including madame Argante in his mind. The singular is, however, preferable. [158] EUS. The edition of 1758 prints the past participle _eu_, without making it agree with the preceding object pronoun. See _le Legs_, note 56. [159] NOUS DIS. For the position of the object pronoun see note 18. [160] EUES. The edition of 1738 prints _eu_. For similar carelessness in Marivaux's use of the past participle compare _le Legs_, note 56, and note 158. [161] AFFRONT , 'Deceived' (Littr , 2 , also the Dict. de l'Acad., 1878). [162] FERMIER, 'Farmer,' 'One holding a farm by lease.' [163] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [164] A CAUSE QUE. See note 147. [165] OUF! MA GLOIRE M'ACCABLE; ET JE M RITEROIS BIEN D'APPELER CETTE FEMME-L MA BRU. This expression, seeming too violent to the spectators of to-day, was suppressed by the Com die-Fran aise, March 5, 1881. The play ends with the words of Araminte. See Larroumet, p. 227, note 1. [166] PARDI. See _le Jeu de l'amour et du hasard_, note 15. End of the Project Gutenberg EBook of A Selection from the Comedies of Marivaux, by Pierre Carlet de Chamblain de Marivaux *** END OF THIS PROJECT GUTENBERG EBOOK COMEDIES OF MARIVAUX *** ***** This file should be named 12504-8.txt or 12504-8.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.net/1/2/5/0/12504/ Produced by Anne Soulard, Charles Aldarondo, Keren Vergon and the Online Distributed Proofreading Team. Updated editions will replace the previous one--the old editions will be renamed. 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avec

How many times the word 'avec' appears in the text?

2.) [15] VOUS M'EN DIREZ DES NOUVELLES. See _le jeu de l'amour et du hasard_, note 242. [16] DIANTRE. See _le Legs_, note 101. [17] L . _Dans la t te_, with a gesture. [18] D RANG . 'Disorderly' or 'irregular' (in his affairs). [19] SERVITEUR AU COLLAT RAL, 'Then the collateral heirs will have to go without.' _Serviteur au_ is here used in the sense of _tant pis pour. Serviteur_ is not infrequently used as a formula of dismissal. [20] VOUS METTEZ. An inverted order quite common in the seventeenth and eighteenth centuries, when the second of two imperatives is construed with an object pronoun. Compare: "Quittez cette chim re, et m'aimez " (Corneille). "Polissez-le sans cesse et le repolissez" (Boileau, _Art Po tique_, Chant 1). [21] DONT. _Que would preferably be used to-day, so as not to repeat the construction of the antecedent. Compare _le Jeu de l'amour et du hasard_, note 175. [22] QU'IL VOUS REVIENNE, 'That you like him.' [23] MONSIEUR PR VIENT EN SA FAVEUR, 'The gentleman's appearance speaks in his favour.' [24] GR CES. In modern French the singular is preferred. [25] EST-CE VOUS QUI IL EN VEUT, 'Is it you whom he has come to see?' See _le Jeu de l'amour et du hasard_, note 68; _le Jeu de l'amour et du hasard_, note 175 and note 176; _le Legs_, note 132, and _le Legs_, note 135. [26] COMME S'EN ALLANT, for, _comme en s'en allant. [27] PARTI, 'Position' (Littr , 10 ). The idea of 'salary' is conveyed by the word as used here. [28] RENVERRAI TOUT. That is to say, _tout ce qui se pr sentera_; 'I will dismiss all other applicants.' [29] PARTI. See note 27. [30] REPR SENTE, 'call attention, 'set forth'; a form often used in petitions. [31] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [32] A VOTRE AISE LE RESTE, 'The rest when you like.' [33] D'O VIENT PR F RER CELUI-CI. See _le Jeu de l'amour et du hasard_, note 220. [34] ARR T , for the modern French _engag _ ('engaged'). [35] IL ME TARDE, 'I long.' [36] EN PASSE, 'In a position to.' [37] D'ALLER TOUT. For the more modern expression _d'arriver tout_, 'to attain any height.' [38] D FAITE, 'Excuse' or 'pretext' (Littr ", 4 , also Diet, de l'Acad. 1878). [39] L VATION. Used here with the unusual meaning of 'desire for social eminence.' [40] ELLE S'ENDORT DANS CET TAT, 'She is satisfied with her condition.' While already in the seventeenth century the ambition of rich _bourgeois_ to gain admission to the exclusive circles of the nobility had been sufficiently marked to induce Moli re to attack it in his _Bourgeois gentilhomme_, it was even more noticeable in the eighteenth, and _m salliances_ between noblemen and women of the middle class became much more frequent. [41] R FLEXION ROTURI RE. _Roture_ was the expression used to denote the _bourgeoisie_ as distinguished from the nobility. [42] JE N'Y ENTENDS POINT DE FINESSE, 'I cannot enter into such subtle distinctions on the question of happiness.' She refuses to discuss the possibility of Araminte's preferring happiness to rank. For her, rank means happiness, as would wealth. [43] IL ME L'A PARU = _Cela nil a paru ainsi_. [44] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [45] J'Y METTRAI BON ORDRE. See _le Jeu de l'amour et du hasard_, note 169. [46] PLAISANT. See _le Jeu de l'amour et du hasard_, note 37. [47] TIMBR COMME CENT, 'As crazy as a loon.' It is difficult to preserve the figure in an idiomatic translation. Compare the colloquial English, "You act like _sixty_." [48] CERVELLE BR L E. A peculiar use of _cervelle_. _Br l e_ is used here by Marivaux in the sense _troubl e_, as in the passage from Mme. de S vign : "Mme. de Saint-G ran est toute br l e du d part de son mari." [49] IL EN EST COMME UN PERDU, 'He is like a man who has lost his reason.' Cf. _le Jeu de l'amour et du hasard_, note 120. [50] UN PEU BOUDANT. Nowadays the adverb follows the verb. Here _boudant_ might at first thought be taken for an adjective, but it is a present participle used verbally and consequently invariable. [51] ON A BIEN AFFAIRE DE, 'I have no use for.' This idiom must not be confounded with _avoir affaire _, which means 'to have to deal with.' [52] ESPRIT RENVERS , 'A crazy man.' [53] MALEPESTE. See _le Legs_, note 48. [54] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [55] IL N'Y AVOIT PLUS PERSONNE AU LOGIS, 'He was quite unconscious.' (Littr , "logis," 1 .) [56] D' PIER. Later editions print _qu' pier_, as _d' pier_ would not be admissible in modern French. _Que de r ver... que d' pier_ would be the most natural modern form. [57] PAYOIS BOUTEILLE = _Payais boire_. [58] LA COM DIE. The _Com die-Fran aise_, or _Th tre-Fran ais_, then, as now, the leading theatre in Paris. [59] D S QUATRE HEURES. The performance did not begin before five o'clock, in the eighteenth century, [60] DANS L'HIVER. The modern form is _en hiver_. [61] JURANT PAR CI PAR L , 'Swearing every now and then.' [62] AUX TUILERIES. The Cours-la-Reine, in the Champs-Elys es, the Tuileries gardens, and the Palais-Royal, with its covered galleries and its garden, were the fashionable resorts of promenaders in the eighteenth century. [63] CE QU'IL. The _ce_ is superfluous. [64] PERCER = _S'apercevoir_. [65] JE ME REMETS = _J'y suis_. [66] OUI-DA. See _Le Jeu de l'amour et du hasard_, note 21. [67] COMME PASSANT, for _comme en passant_. Compare _les Fausses Confidences_, note 26. [68] C'EST AUTANT DE PRIS. See _le Jeu de l'amour et du hasard_, note 54. [69] QU'EST-IL = _Pourquoi est-il_? [70] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [71] IL LES FAIT COMME IL LES A. Untranslatable, save by an quivalent. It is a pun on Dubois' remark: "making eyes at her." [72] PRENEZ TOUJOURS, 'Take note of them nevertheless." [73] LE. The text of 1758 prints _le_; _ce_ would carry out the sense even better. See _le Legs_, note 38. [74] APPAREMMENT, 'Evidently.' This adverb may be used with or without the conjunction _que_ to introduce a verb. [75] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [76] UNE GUENON, 'a fool.' [77] QUI SE FASSE = _Qu'il y ait_. [78] LES PETITES-MAISONS. The old Maladrerie de Saint-Germain, which in 1554 became the H pital Saint-Germain, later known as les Petites-Maisons, on account of the great number of cells into which it was divided. It was used to house infirm old men and women, who received a small weekly dole, lunatics, and patients suffering from loathsome diseases. The name became synonymous with either a mad-house or a hospital for certain diseases: it was changed in 1801 to les Petits-M nages, the insane having then been transferred, the men to Bic tre, the women to La Salp tri re. [79] BIEN VENANTS, 'Paid regularly.' Marivaux, like the authors of the preceding century, considered _bien venants_ as an adjective, and hence declinable: but _livre_ is feminine, and we should expect here the form _bien venantes_. The Academy has declared the expression indeclinable. Compare: "Je le voyais avec vingt-huit mille livres de rente bien venantes" (Mme. de S vign , Dec. 28, 1689). [80] APPAREMMENT. See _les Fausses Confidences_, note 74. [81] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [82] VOUS N'AVEZ POINT DE GR ME SAVOIR. A well-known idiom, better expressed to-day: _Vous n'avez point me savoir gr _. [83] D'AVEC. A shortened form for some such phrase as _d'une conversation avec. D'avec_ is generally to be translated 'from,' 'in contradiction to.' [84] A QUEL HOMME EN VEUT-IL? 'For what man is he looking?' Compare _le Jeu de l'amour et du hasard_, note 68. [85] A VOUS. _Aupr s de vous_ would be the modern expression. [86] LE FAISANT SORTIR. Note the peculiar use of _le_, which nowadays would be replaced by the noun to which it refers--_le gar on_. [87] DONT. Better _que_. See _Le Jeu de l'amour et du hasard_, note 175. [88] DESSUS. For _l -dessus_. [89] SANS DIFFICULT . See _le Jeu de l'amour et du hasard_, note 154. [90] DE NE VOUS PAS AIMER. _De ne pas vous aimer_ is the more natural order in modern French. [91] IL N'A QUE FAIRE DE, 'He has no need to.' Compare _le Jeu de l'amour et du hasard_, note, 141. [92] C'EST UN PORTRAIT DE FEMME. The construction of the sentence is peculiar and incomplete. It requires the introduction, before _c'est un portrait_, of the words _c'est que_. In modern French the awkwardness of this form would be obviated. In the second clause _que_ would have to be prefixed to _c'est ici_. [93] QUAND. _Puisque_ is also found in incomplete expressions of this kind. The thought might be completed as follows: _Mais, quand_ (or _puisque_) _je vous dis, etc., vous devriez me croire_. [94] ENTENDU, used here in the sense of _compris_. [95] HUPP ES, 'Fancy,' 'smartly dressed.' It often means 'smart.' Compare; "Combien en as-tu vu, je dis des plus hupp es." (Racine, _Les Plaideurs_, J, 4); "Bien hupp qui pourra m'attraper sur ce point!" (Moli re, _ cole des femmes_, 1, I). [96] JE N'EN RABATS RIEN, 'I retract nothing.' That is to say, 'I insist that it is the Count.' [97] PLAISANT, 'Ridiculous.' [98] COMME DE CELA. With some gesture of contempt. See _le Legs_, note 108. [99] LUI. For _le_. The verb _d fier_ governs to-day the accusative and not the dative. [100] QU'IL. Later editions print _qui_, which is the correct form. The thought may be expressed more simply by the phrase _Je l'avais vu le contempler_. [101] CE QUI EST DE S R = _Ce qu'il y a de s r_. [102] LE SUJET = _La raison_. [103] DE BONNE MAIN, 'By a reliable person.' (Littr , "main," 17 .) [104] CONSENS... DE. The verb _consentir_ takes either _de_ or _ _, before a following infinitive, although in modern French the latter is the more common. [105] TOUS PROC S. Later editions print _tout proc s_, which is the more natural modern form. The plural, in the sense of 'each' or 'every' is, however, sometimes found without the article. Compare: "L'auteur des dialogues a dit que les belles sont de tous pays, et moi je dis que les sottises sont de tous les si cles " (Fontenelle, _Jugement de Pluton_). [106] AVOIR PRISE ... AVEC, 'To have a dispute with.' PRISE, 'Quarrel,' 'dispute' (Littr , 6 , also Dict. de l'Acad., 1878). [107] TOUS. Later editions print _tout_, which is the modern form. In the seventeenth and early eighteenth centuries is was not customary to consider the adverbial _tout_ as necessarily invariable. [108] MOUVEMENT. See _le Jeu de l'amour et du hasard_, note 162. [109] DONT. _Que is preferable. See _Le Jeu de l'amour et du hasard_, note 175. [110] SAVOIS. A not uncommon use of the imperfect indicative in the sense of the conditional. [111] JE N'AUROIS QUE FAIRE DE. See _le Jeu de l'amour et du hasard_, note 68. Compare _le Jeu de l'amour et du hasard_, note 141, and _le Legs_, note 85. [112] A TOI. The English idiom is 'of you.' [113] AU MOINS, 'Nevertheless.' [114] CAPABLE. Most editions print _incapable_, beginning the sentence with _s'il_, and punctuating with a comma after _incapable_. The sense is better carried out with such a rendering. [115] Des biais = _Des moyens d tourn s_. [116] L'EN D DIRE = _Le d mentir_. [117] COMME S'EN ALLANT. See _les Fausses Confidences_, note 26. [118] A CE QU'IL EST N = _A sa naissance_. [119] C'EST DE DORANTE, for _Il est de Dorante_: 'It has been painted by Dorante.' [120] M'EN FAIRE ACCROIRE, 'To impose upon me.' [121] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [122] This speech of Dorante's and Araminte's answer seem to have inspired Augier and Sandeau in the scene between Bertrand and H l ne, in _Mlle. de la Seigli re_, Act III, sc. 7. [123] QUE MON AMOUR N'EN AUGMENTE. See _Le jeu de l'amour et du hasard_, note 137. [124] JE L'AI PEINTE. The _peinte_ refers to and agrees with _la_ in Dorante's preceding speech. [125] AVANT QUE DE. See _Le jeu de l'amour et du hasard_, note 117. [126] RUE DU FIGUIER. A very ancient and historic street in Paris, situated not far from the Lyc e Charlemagne, and making a triangle with the rue Charlemagne and the rue Fauconnier. Even before the year 1300 it bore this name, from a fine fig-tree which stood at its juncture with the rue Fauconnier, and which was standing as late as 1605. The most important edifice of the street is the H tel de Sens, built in the sixteenth century by the Archbishop Tristan de Salazar. It was for a time the residence of Marguerite, first wife of Henry IV. [127] JE LUI RECOMMANDERAI. Later editions print _je le lui recommanderai_. Attention has already been called to Marivaux's custom of omitting the direct object pronoun in similar constructions. Compare _le Jeu de l'amour et du hasard_, note 210, and _le Legs_, note 29. [128] MOUVEMENTS. See _Le jeu de l'amour et du hasard_, note 162. [129] LUI. See note 99. [130] FATIGUE, 'Importune' (Littr , 4 ).' Compare: "Ainsi donc mes bont s vous fatiguent peut- tre" (Racine, _B r nice_, II, 4). [131] AMUSER. See _Le jeu de l'amour et du hasard_, note 41. [132] EN FAIT DE DISCR TION, JE M RITERAIS D' TRE FEMME. _Discr tion_ means here 'the ability to keep a secret' (Littr , 5 ). Compare; "Rien ne p se tant qu'un secret: Le porter loin est difficile aux dames; Et je sais m me sur ce fait Bon nombre d'hommes qui sont femmes.' (La Fontaine, _Fables_, viii, 6.) [133] LE DIABLE N'Y PERD RIEN, is said of a person who restrains his feelings with difficulty, or only temporarily (Littr , "diable." 2 ). The whole phrase might here be translated by: 'She cannot conceal the matter, nor will I.' [134] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [135] OUI-DA. See _le Jeu de l'amour et du hasard_, note 21. [136] DEMEURE. The incorrect use of this verb by Harlequin adds to the comic of the piece. For correct French one might substitute _se trouve_. [137] LA RUE DU FIGUIER. See note 126. [138] SAIS. _Savoir_ as used here means 'to know about the street,' 'to know that it exists,' 'to know where it may be found'; _conna tre_ would mean 'to be acquainted with it.' [139] RENDRA = _Remettra_. [140] RENDREZ. Some of the later editions print _rendez_. [141] QUE JE N'AIE VU, 'Until I have seen.' The negative particle _ne_ is required in a phrase introduced by _que_, when this conjunction stands in the place of _avant que_. [142] PR SOMPTIONS. 'Presumptions' or 'reasonable suppositions.' Compare: "Ce ne sont pas l des convictions enti res; mais ce sont les pr somptions les plus fortes" (Voltaire, _Essai sur les moeurs et l'esprit des nations_, chap. 166). [143] DE VOTRE FA ON, 'Of your choosing.' [144] TOUT. Later editions print _tout le monde_, which is evidently the sense in which this word is used. [145] ROGUE, 'Arrogant.' In the edition of 1758 the word is printed _roque_, which has led some editors into the error of correcting to _rauque_ (hoarse). [146] NOUS N'AVONS QUE FAIRE ENSEMBLE, 'We have no dealings together.' [147] NON QUE JE SACHE. _Non, pas que je sache_ is the more complete modern expression. [148] A CAUSE QUE. _Parce que_ is more modern. Littr favors the retention of _ cause que_, since it is used by good authors, and, in certain cases, is preferable to _parce que_. [149] AMPLIFIE, 'Exaggerates.' [150] HORS D'OEUVRE = _Hors de propos_. Generally used to-day as a substantive, but in the seventeenth and eighteenth centuries often used adverbially as here. Compare: "Dans le _Cid_, toutes celles (the scenes) de l'infante sont d tach es, et paraissent hors d'oeuvre" (Corneille, _Horace_, Examen). [151] ENFANCE. For the more modern word _enfantillage_, although the Dict. de l'Acad., 1878, retains the word in this sense. Compare: "Ils ne font que des enfances" (Mme. de S vign , Jan. 26, 1689). "On passait encore les enfances Mme. la duchesse de Bourgogne par la gr ce qu'elle y mettait" (St. Simon. 294, 6). "Ce sont des b tises ou des enfances dont il n'y a que de bonnes gens qui soient capables" (_Marianne_, 2e partie.) See _le Legs_, note 29. [152] TOUT L'HEURE. In the sense of _tout de suite_ the expression is to-day obsolete, and is not admitted by the Dict. de l'Acad., 1878. See _le Legs_, note 76. [153] CAUSE QUE. See note 147. [154] ENTEND. See _le Jeu de l'amour et du hasard_, note 247. [155] APPAREMMENT, 'Manifestly,' 'Of course.' In this sense the word has become obsolete, and is not admitted by the Dict. de l'Acad., 1878. [156] VOUS N'Y SONGEZ PAS. See _le Legs_, note 58, _le Legs_, note 102. [157] D LIVR E. The edition of 1758 prints _d livr es_, which will be accounted for by the speaker's including madame Argante in his mind. The singular is, however, preferable. [158] EUS. The edition of 1758 prints the past participle _eu_, without making it agree with the preceding object pronoun. See _le Legs_, note 56. [159] NOUS DIS. For the position of the object pronoun see note 18. [160] EUES. The edition of 1738 prints _eu_. For similar carelessness in Marivaux's use of the past participle compare _le Legs_, note 56, and note 158. [161] AFFRONT , 'Deceived' (Littr , 2 , also the Dict. de l'Acad., 1878). [162] FERMIER, 'Farmer,' 'One holding a farm by lease.' [163] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [164] A CAUSE QUE. See note 147. [165] OUF! MA GLOIRE M'ACCABLE; ET JE M RITEROIS BIEN D'APPELER CETTE FEMME-L MA BRU. This expression, seeming too violent to the spectators of to-day, was suppressed by the Com die-Fran aise, March 5, 1881. The play ends with the words of Araminte. See Larroumet, p. 227, note 1. [166] PARDI. See _le Jeu de l'amour et du hasard_, note 15. End of the Project Gutenberg EBook of A Selection from the Comedies of Marivaux, by Pierre Carlet de Chamblain de Marivaux *** END OF THIS PROJECT GUTENBERG EBOOK COMEDIES OF MARIVAUX *** ***** This file should be named 12504-8.txt or 12504-8.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.net/1/2/5/0/12504/ Produced by Anne Soulard, Charles Aldarondo, Keren Vergon and the Online Distributed Proofreading Team. Updated editions will replace the previous one--the old editions will be renamed. 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moli

How many times the word 'moli' appears in the text?

2.) [15] VOUS M'EN DIREZ DES NOUVELLES. See _le jeu de l'amour et du hasard_, note 242. [16] DIANTRE. See _le Legs_, note 101. [17] L . _Dans la t te_, with a gesture. [18] D RANG . 'Disorderly' or 'irregular' (in his affairs). [19] SERVITEUR AU COLLAT RAL, 'Then the collateral heirs will have to go without.' _Serviteur au_ is here used in the sense of _tant pis pour. Serviteur_ is not infrequently used as a formula of dismissal. [20] VOUS METTEZ. An inverted order quite common in the seventeenth and eighteenth centuries, when the second of two imperatives is construed with an object pronoun. Compare: "Quittez cette chim re, et m'aimez " (Corneille). "Polissez-le sans cesse et le repolissez" (Boileau, _Art Po tique_, Chant 1). [21] DONT. _Que would preferably be used to-day, so as not to repeat the construction of the antecedent. Compare _le Jeu de l'amour et du hasard_, note 175. [22] QU'IL VOUS REVIENNE, 'That you like him.' [23] MONSIEUR PR VIENT EN SA FAVEUR, 'The gentleman's appearance speaks in his favour.' [24] GR CES. In modern French the singular is preferred. [25] EST-CE VOUS QUI IL EN VEUT, 'Is it you whom he has come to see?' See _le Jeu de l'amour et du hasard_, note 68; _le Jeu de l'amour et du hasard_, note 175 and note 176; _le Legs_, note 132, and _le Legs_, note 135. [26] COMME S'EN ALLANT, for, _comme en s'en allant. [27] PARTI, 'Position' (Littr , 10 ). The idea of 'salary' is conveyed by the word as used here. [28] RENVERRAI TOUT. That is to say, _tout ce qui se pr sentera_; 'I will dismiss all other applicants.' [29] PARTI. See note 27. [30] REPR SENTE, 'call attention, 'set forth'; a form often used in petitions. [31] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [32] A VOTRE AISE LE RESTE, 'The rest when you like.' [33] D'O VIENT PR F RER CELUI-CI. See _le Jeu de l'amour et du hasard_, note 220. [34] ARR T , for the modern French _engag _ ('engaged'). [35] IL ME TARDE, 'I long.' [36] EN PASSE, 'In a position to.' [37] D'ALLER TOUT. For the more modern expression _d'arriver tout_, 'to attain any height.' [38] D FAITE, 'Excuse' or 'pretext' (Littr ", 4 , also Diet, de l'Acad. 1878). [39] L VATION. Used here with the unusual meaning of 'desire for social eminence.' [40] ELLE S'ENDORT DANS CET TAT, 'She is satisfied with her condition.' While already in the seventeenth century the ambition of rich _bourgeois_ to gain admission to the exclusive circles of the nobility had been sufficiently marked to induce Moli re to attack it in his _Bourgeois gentilhomme_, it was even more noticeable in the eighteenth, and _m salliances_ between noblemen and women of the middle class became much more frequent. [41] R FLEXION ROTURI RE. _Roture_ was the expression used to denote the _bourgeoisie_ as distinguished from the nobility. [42] JE N'Y ENTENDS POINT DE FINESSE, 'I cannot enter into such subtle distinctions on the question of happiness.' She refuses to discuss the possibility of Araminte's preferring happiness to rank. For her, rank means happiness, as would wealth. [43] IL ME L'A PARU = _Cela nil a paru ainsi_. [44] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [45] J'Y METTRAI BON ORDRE. See _le Jeu de l'amour et du hasard_, note 169. [46] PLAISANT. See _le Jeu de l'amour et du hasard_, note 37. [47] TIMBR COMME CENT, 'As crazy as a loon.' It is difficult to preserve the figure in an idiomatic translation. Compare the colloquial English, "You act like _sixty_." [48] CERVELLE BR L E. A peculiar use of _cervelle_. _Br l e_ is used here by Marivaux in the sense _troubl e_, as in the passage from Mme. de S vign : "Mme. de Saint-G ran est toute br l e du d part de son mari." [49] IL EN EST COMME UN PERDU, 'He is like a man who has lost his reason.' Cf. _le Jeu de l'amour et du hasard_, note 120. [50] UN PEU BOUDANT. Nowadays the adverb follows the verb. Here _boudant_ might at first thought be taken for an adjective, but it is a present participle used verbally and consequently invariable. [51] ON A BIEN AFFAIRE DE, 'I have no use for.' This idiom must not be confounded with _avoir affaire _, which means 'to have to deal with.' [52] ESPRIT RENVERS , 'A crazy man.' [53] MALEPESTE. See _le Legs_, note 48. [54] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [55] IL N'Y AVOIT PLUS PERSONNE AU LOGIS, 'He was quite unconscious.' (Littr , "logis," 1 .) [56] D' PIER. Later editions print _qu' pier_, as _d' pier_ would not be admissible in modern French. _Que de r ver... que d' pier_ would be the most natural modern form. [57] PAYOIS BOUTEILLE = _Payais boire_. [58] LA COM DIE. The _Com die-Fran aise_, or _Th tre-Fran ais_, then, as now, the leading theatre in Paris. [59] D S QUATRE HEURES. The performance did not begin before five o'clock, in the eighteenth century, [60] DANS L'HIVER. The modern form is _en hiver_. [61] JURANT PAR CI PAR L , 'Swearing every now and then.' [62] AUX TUILERIES. The Cours-la-Reine, in the Champs-Elys es, the Tuileries gardens, and the Palais-Royal, with its covered galleries and its garden, were the fashionable resorts of promenaders in the eighteenth century. [63] CE QU'IL. The _ce_ is superfluous. [64] PERCER = _S'apercevoir_. [65] JE ME REMETS = _J'y suis_. [66] OUI-DA. See _Le Jeu de l'amour et du hasard_, note 21. [67] COMME PASSANT, for _comme en passant_. Compare _les Fausses Confidences_, note 26. [68] C'EST AUTANT DE PRIS. See _le Jeu de l'amour et du hasard_, note 54. [69] QU'EST-IL = _Pourquoi est-il_? [70] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [71] IL LES FAIT COMME IL LES A. Untranslatable, save by an quivalent. It is a pun on Dubois' remark: "making eyes at her." [72] PRENEZ TOUJOURS, 'Take note of them nevertheless." [73] LE. The text of 1758 prints _le_; _ce_ would carry out the sense even better. See _le Legs_, note 38. [74] APPAREMMENT, 'Evidently.' This adverb may be used with or without the conjunction _que_ to introduce a verb. [75] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [76] UNE GUENON, 'a fool.' [77] QUI SE FASSE = _Qu'il y ait_. [78] LES PETITES-MAISONS. The old Maladrerie de Saint-Germain, which in 1554 became the H pital Saint-Germain, later known as les Petites-Maisons, on account of the great number of cells into which it was divided. It was used to house infirm old men and women, who received a small weekly dole, lunatics, and patients suffering from loathsome diseases. The name became synonymous with either a mad-house or a hospital for certain diseases: it was changed in 1801 to les Petits-M nages, the insane having then been transferred, the men to Bic tre, the women to La Salp tri re. [79] BIEN VENANTS, 'Paid regularly.' Marivaux, like the authors of the preceding century, considered _bien venants_ as an adjective, and hence declinable: but _livre_ is feminine, and we should expect here the form _bien venantes_. The Academy has declared the expression indeclinable. Compare: "Je le voyais avec vingt-huit mille livres de rente bien venantes" (Mme. de S vign , Dec. 28, 1689). [80] APPAREMMENT. See _les Fausses Confidences_, note 74. [81] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [82] VOUS N'AVEZ POINT DE GR ME SAVOIR. A well-known idiom, better expressed to-day: _Vous n'avez point me savoir gr _. [83] D'AVEC. A shortened form for some such phrase as _d'une conversation avec. D'avec_ is generally to be translated 'from,' 'in contradiction to.' [84] A QUEL HOMME EN VEUT-IL? 'For what man is he looking?' Compare _le Jeu de l'amour et du hasard_, note 68. [85] A VOUS. _Aupr s de vous_ would be the modern expression. [86] LE FAISANT SORTIR. Note the peculiar use of _le_, which nowadays would be replaced by the noun to which it refers--_le gar on_. [87] DONT. Better _que_. See _Le Jeu de l'amour et du hasard_, note 175. [88] DESSUS. For _l -dessus_. [89] SANS DIFFICULT . See _le Jeu de l'amour et du hasard_, note 154. [90] DE NE VOUS PAS AIMER. _De ne pas vous aimer_ is the more natural order in modern French. [91] IL N'A QUE FAIRE DE, 'He has no need to.' Compare _le Jeu de l'amour et du hasard_, note, 141. [92] C'EST UN PORTRAIT DE FEMME. The construction of the sentence is peculiar and incomplete. It requires the introduction, before _c'est un portrait_, of the words _c'est que_. In modern French the awkwardness of this form would be obviated. In the second clause _que_ would have to be prefixed to _c'est ici_. [93] QUAND. _Puisque_ is also found in incomplete expressions of this kind. The thought might be completed as follows: _Mais, quand_ (or _puisque_) _je vous dis, etc., vous devriez me croire_. [94] ENTENDU, used here in the sense of _compris_. [95] HUPP ES, 'Fancy,' 'smartly dressed.' It often means 'smart.' Compare; "Combien en as-tu vu, je dis des plus hupp es." (Racine, _Les Plaideurs_, J, 4); "Bien hupp qui pourra m'attraper sur ce point!" (Moli re, _ cole des femmes_, 1, I). [96] JE N'EN RABATS RIEN, 'I retract nothing.' That is to say, 'I insist that it is the Count.' [97] PLAISANT, 'Ridiculous.' [98] COMME DE CELA. With some gesture of contempt. See _le Legs_, note 108. [99] LUI. For _le_. The verb _d fier_ governs to-day the accusative and not the dative. [100] QU'IL. Later editions print _qui_, which is the correct form. The thought may be expressed more simply by the phrase _Je l'avais vu le contempler_. [101] CE QUI EST DE S R = _Ce qu'il y a de s r_. [102] LE SUJET = _La raison_. [103] DE BONNE MAIN, 'By a reliable person.' (Littr , "main," 17 .) [104] CONSENS... DE. The verb _consentir_ takes either _de_ or _ _, before a following infinitive, although in modern French the latter is the more common. [105] TOUS PROC S. Later editions print _tout proc s_, which is the more natural modern form. The plural, in the sense of 'each' or 'every' is, however, sometimes found without the article. Compare: "L'auteur des dialogues a dit que les belles sont de tous pays, et moi je dis que les sottises sont de tous les si cles " (Fontenelle, _Jugement de Pluton_). [106] AVOIR PRISE ... AVEC, 'To have a dispute with.' PRISE, 'Quarrel,' 'dispute' (Littr , 6 , also Dict. de l'Acad., 1878). [107] TOUS. Later editions print _tout_, which is the modern form. In the seventeenth and early eighteenth centuries is was not customary to consider the adverbial _tout_ as necessarily invariable. [108] MOUVEMENT. See _le Jeu de l'amour et du hasard_, note 162. [109] DONT. _Que is preferable. See _Le Jeu de l'amour et du hasard_, note 175. [110] SAVOIS. A not uncommon use of the imperfect indicative in the sense of the conditional. [111] JE N'AUROIS QUE FAIRE DE. See _le Jeu de l'amour et du hasard_, note 68. Compare _le Jeu de l'amour et du hasard_, note 141, and _le Legs_, note 85. [112] A TOI. The English idiom is 'of you.' [113] AU MOINS, 'Nevertheless.' [114] CAPABLE. Most editions print _incapable_, beginning the sentence with _s'il_, and punctuating with a comma after _incapable_. The sense is better carried out with such a rendering. [115] Des biais = _Des moyens d tourn s_. [116] L'EN D DIRE = _Le d mentir_. [117] COMME S'EN ALLANT. See _les Fausses Confidences_, note 26. [118] A CE QU'IL EST N = _A sa naissance_. [119] C'EST DE DORANTE, for _Il est de Dorante_: 'It has been painted by Dorante.' [120] M'EN FAIRE ACCROIRE, 'To impose upon me.' [121] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [122] This speech of Dorante's and Araminte's answer seem to have inspired Augier and Sandeau in the scene between Bertrand and H l ne, in _Mlle. de la Seigli re_, Act III, sc. 7. [123] QUE MON AMOUR N'EN AUGMENTE. See _Le jeu de l'amour et du hasard_, note 137. [124] JE L'AI PEINTE. The _peinte_ refers to and agrees with _la_ in Dorante's preceding speech. [125] AVANT QUE DE. See _Le jeu de l'amour et du hasard_, note 117. [126] RUE DU FIGUIER. A very ancient and historic street in Paris, situated not far from the Lyc e Charlemagne, and making a triangle with the rue Charlemagne and the rue Fauconnier. Even before the year 1300 it bore this name, from a fine fig-tree which stood at its juncture with the rue Fauconnier, and which was standing as late as 1605. The most important edifice of the street is the H tel de Sens, built in the sixteenth century by the Archbishop Tristan de Salazar. It was for a time the residence of Marguerite, first wife of Henry IV. [127] JE LUI RECOMMANDERAI. Later editions print _je le lui recommanderai_. Attention has already been called to Marivaux's custom of omitting the direct object pronoun in similar constructions. Compare _le Jeu de l'amour et du hasard_, note 210, and _le Legs_, note 29. [128] MOUVEMENTS. See _Le jeu de l'amour et du hasard_, note 162. [129] LUI. See note 99. [130] FATIGUE, 'Importune' (Littr , 4 ).' Compare: "Ainsi donc mes bont s vous fatiguent peut- tre" (Racine, _B r nice_, II, 4). [131] AMUSER. See _Le jeu de l'amour et du hasard_, note 41. [132] EN FAIT DE DISCR TION, JE M RITERAIS D' TRE FEMME. _Discr tion_ means here 'the ability to keep a secret' (Littr , 5 ). Compare; "Rien ne p se tant qu'un secret: Le porter loin est difficile aux dames; Et je sais m me sur ce fait Bon nombre d'hommes qui sont femmes.' (La Fontaine, _Fables_, viii, 6.) [133] LE DIABLE N'Y PERD RIEN, is said of a person who restrains his feelings with difficulty, or only temporarily (Littr , "diable." 2 ). The whole phrase might here be translated by: 'She cannot conceal the matter, nor will I.' [134] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [135] OUI-DA. See _le Jeu de l'amour et du hasard_, note 21. [136] DEMEURE. The incorrect use of this verb by Harlequin adds to the comic of the piece. For correct French one might substitute _se trouve_. [137] LA RUE DU FIGUIER. See note 126. [138] SAIS. _Savoir_ as used here means 'to know about the street,' 'to know that it exists,' 'to know where it may be found'; _conna tre_ would mean 'to be acquainted with it.' [139] RENDRA = _Remettra_. [140] RENDREZ. Some of the later editions print _rendez_. [141] QUE JE N'AIE VU, 'Until I have seen.' The negative particle _ne_ is required in a phrase introduced by _que_, when this conjunction stands in the place of _avant que_. [142] PR SOMPTIONS. 'Presumptions' or 'reasonable suppositions.' Compare: "Ce ne sont pas l des convictions enti res; mais ce sont les pr somptions les plus fortes" (Voltaire, _Essai sur les moeurs et l'esprit des nations_, chap. 166). [143] DE VOTRE FA ON, 'Of your choosing.' [144] TOUT. Later editions print _tout le monde_, which is evidently the sense in which this word is used. [145] ROGUE, 'Arrogant.' In the edition of 1758 the word is printed _roque_, which has led some editors into the error of correcting to _rauque_ (hoarse). [146] NOUS N'AVONS QUE FAIRE ENSEMBLE, 'We have no dealings together.' [147] NON QUE JE SACHE. _Non, pas que je sache_ is the more complete modern expression. [148] A CAUSE QUE. _Parce que_ is more modern. Littr favors the retention of _ cause que_, since it is used by good authors, and, in certain cases, is preferable to _parce que_. [149] AMPLIFIE, 'Exaggerates.' [150] HORS D'OEUVRE = _Hors de propos_. Generally used to-day as a substantive, but in the seventeenth and eighteenth centuries often used adverbially as here. Compare: "Dans le _Cid_, toutes celles (the scenes) de l'infante sont d tach es, et paraissent hors d'oeuvre" (Corneille, _Horace_, Examen). [151] ENFANCE. For the more modern word _enfantillage_, although the Dict. de l'Acad., 1878, retains the word in this sense. Compare: "Ils ne font que des enfances" (Mme. de S vign , Jan. 26, 1689). "On passait encore les enfances Mme. la duchesse de Bourgogne par la gr ce qu'elle y mettait" (St. Simon. 294, 6). "Ce sont des b tises ou des enfances dont il n'y a que de bonnes gens qui soient capables" (_Marianne_, 2e partie.) See _le Legs_, note 29. [152] TOUT L'HEURE. In the sense of _tout de suite_ the expression is to-day obsolete, and is not admitted by the Dict. de l'Acad., 1878. See _le Legs_, note 76. [153] CAUSE QUE. See note 147. [154] ENTEND. See _le Jeu de l'amour et du hasard_, note 247. [155] APPAREMMENT, 'Manifestly,' 'Of course.' In this sense the word has become obsolete, and is not admitted by the Dict. de l'Acad., 1878. [156] VOUS N'Y SONGEZ PAS. See _le Legs_, note 58, _le Legs_, note 102. [157] D LIVR E. The edition of 1758 prints _d livr es_, which will be accounted for by the speaker's including madame Argante in his mind. The singular is, however, preferable. [158] EUS. The edition of 1758 prints the past participle _eu_, without making it agree with the preceding object pronoun. See _le Legs_, note 56. [159] NOUS DIS. For the position of the object pronoun see note 18. [160] EUES. The edition of 1738 prints _eu_. For similar carelessness in Marivaux's use of the past participle compare _le Legs_, note 56, and note 158. [161] AFFRONT , 'Deceived' (Littr , 2 , also the Dict. de l'Acad., 1878). [162] FERMIER, 'Farmer,' 'One holding a farm by lease.' [163] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [164] A CAUSE QUE. See note 147. [165] OUF! MA GLOIRE M'ACCABLE; ET JE M RITEROIS BIEN D'APPELER CETTE FEMME-L MA BRU. This expression, seeming too violent to the spectators of to-day, was suppressed by the Com die-Fran aise, March 5, 1881. The play ends with the words of Araminte. See Larroumet, p. 227, note 1. [166] PARDI. See _le Jeu de l'amour et du hasard_, note 15. End of the Project Gutenberg EBook of A Selection from the Comedies of Marivaux, by Pierre Carlet de Chamblain de Marivaux *** END OF THIS PROJECT GUTENBERG EBOOK COMEDIES OF MARIVAUX *** ***** This file should be named 12504-8.txt or 12504-8.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.net/1/2/5/0/12504/ Produced by Anne Soulard, Charles Aldarondo, Keren Vergon and the Online Distributed Proofreading Team. Updated editions will replace the previous one--the old editions will be renamed. 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sufficiently

How many times the word 'sufficiently' appears in the text?

2.) [15] VOUS M'EN DIREZ DES NOUVELLES. See _le jeu de l'amour et du hasard_, note 242. [16] DIANTRE. See _le Legs_, note 101. [17] L . _Dans la t te_, with a gesture. [18] D RANG . 'Disorderly' or 'irregular' (in his affairs). [19] SERVITEUR AU COLLAT RAL, 'Then the collateral heirs will have to go without.' _Serviteur au_ is here used in the sense of _tant pis pour. Serviteur_ is not infrequently used as a formula of dismissal. [20] VOUS METTEZ. An inverted order quite common in the seventeenth and eighteenth centuries, when the second of two imperatives is construed with an object pronoun. Compare: "Quittez cette chim re, et m'aimez " (Corneille). "Polissez-le sans cesse et le repolissez" (Boileau, _Art Po tique_, Chant 1). [21] DONT. _Que would preferably be used to-day, so as not to repeat the construction of the antecedent. Compare _le Jeu de l'amour et du hasard_, note 175. [22] QU'IL VOUS REVIENNE, 'That you like him.' [23] MONSIEUR PR VIENT EN SA FAVEUR, 'The gentleman's appearance speaks in his favour.' [24] GR CES. In modern French the singular is preferred. [25] EST-CE VOUS QUI IL EN VEUT, 'Is it you whom he has come to see?' See _le Jeu de l'amour et du hasard_, note 68; _le Jeu de l'amour et du hasard_, note 175 and note 176; _le Legs_, note 132, and _le Legs_, note 135. [26] COMME S'EN ALLANT, for, _comme en s'en allant. [27] PARTI, 'Position' (Littr , 10 ). The idea of 'salary' is conveyed by the word as used here. [28] RENVERRAI TOUT. That is to say, _tout ce qui se pr sentera_; 'I will dismiss all other applicants.' [29] PARTI. See note 27. [30] REPR SENTE, 'call attention, 'set forth'; a form often used in petitions. [31] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [32] A VOTRE AISE LE RESTE, 'The rest when you like.' [33] D'O VIENT PR F RER CELUI-CI. See _le Jeu de l'amour et du hasard_, note 220. [34] ARR T , for the modern French _engag _ ('engaged'). [35] IL ME TARDE, 'I long.' [36] EN PASSE, 'In a position to.' [37] D'ALLER TOUT. For the more modern expression _d'arriver tout_, 'to attain any height.' [38] D FAITE, 'Excuse' or 'pretext' (Littr ", 4 , also Diet, de l'Acad. 1878). [39] L VATION. Used here with the unusual meaning of 'desire for social eminence.' [40] ELLE S'ENDORT DANS CET TAT, 'She is satisfied with her condition.' While already in the seventeenth century the ambition of rich _bourgeois_ to gain admission to the exclusive circles of the nobility had been sufficiently marked to induce Moli re to attack it in his _Bourgeois gentilhomme_, it was even more noticeable in the eighteenth, and _m salliances_ between noblemen and women of the middle class became much more frequent. [41] R FLEXION ROTURI RE. _Roture_ was the expression used to denote the _bourgeoisie_ as distinguished from the nobility. [42] JE N'Y ENTENDS POINT DE FINESSE, 'I cannot enter into such subtle distinctions on the question of happiness.' She refuses to discuss the possibility of Araminte's preferring happiness to rank. For her, rank means happiness, as would wealth. [43] IL ME L'A PARU = _Cela nil a paru ainsi_. [44] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [45] J'Y METTRAI BON ORDRE. See _le Jeu de l'amour et du hasard_, note 169. [46] PLAISANT. See _le Jeu de l'amour et du hasard_, note 37. [47] TIMBR COMME CENT, 'As crazy as a loon.' It is difficult to preserve the figure in an idiomatic translation. Compare the colloquial English, "You act like _sixty_." [48] CERVELLE BR L E. A peculiar use of _cervelle_. _Br l e_ is used here by Marivaux in the sense _troubl e_, as in the passage from Mme. de S vign : "Mme. de Saint-G ran est toute br l e du d part de son mari." [49] IL EN EST COMME UN PERDU, 'He is like a man who has lost his reason.' Cf. _le Jeu de l'amour et du hasard_, note 120. [50] UN PEU BOUDANT. Nowadays the adverb follows the verb. Here _boudant_ might at first thought be taken for an adjective, but it is a present participle used verbally and consequently invariable. [51] ON A BIEN AFFAIRE DE, 'I have no use for.' This idiom must not be confounded with _avoir affaire _, which means 'to have to deal with.' [52] ESPRIT RENVERS , 'A crazy man.' [53] MALEPESTE. See _le Legs_, note 48. [54] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [55] IL N'Y AVOIT PLUS PERSONNE AU LOGIS, 'He was quite unconscious.' (Littr , "logis," 1 .) [56] D' PIER. Later editions print _qu' pier_, as _d' pier_ would not be admissible in modern French. _Que de r ver... que d' pier_ would be the most natural modern form. [57] PAYOIS BOUTEILLE = _Payais boire_. [58] LA COM DIE. The _Com die-Fran aise_, or _Th tre-Fran ais_, then, as now, the leading theatre in Paris. [59] D S QUATRE HEURES. The performance did not begin before five o'clock, in the eighteenth century, [60] DANS L'HIVER. The modern form is _en hiver_. [61] JURANT PAR CI PAR L , 'Swearing every now and then.' [62] AUX TUILERIES. The Cours-la-Reine, in the Champs-Elys es, the Tuileries gardens, and the Palais-Royal, with its covered galleries and its garden, were the fashionable resorts of promenaders in the eighteenth century. [63] CE QU'IL. The _ce_ is superfluous. [64] PERCER = _S'apercevoir_. [65] JE ME REMETS = _J'y suis_. [66] OUI-DA. See _Le Jeu de l'amour et du hasard_, note 21. [67] COMME PASSANT, for _comme en passant_. Compare _les Fausses Confidences_, note 26. [68] C'EST AUTANT DE PRIS. See _le Jeu de l'amour et du hasard_, note 54. [69] QU'EST-IL = _Pourquoi est-il_? [70] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [71] IL LES FAIT COMME IL LES A. Untranslatable, save by an quivalent. It is a pun on Dubois' remark: "making eyes at her." [72] PRENEZ TOUJOURS, 'Take note of them nevertheless." [73] LE. The text of 1758 prints _le_; _ce_ would carry out the sense even better. See _le Legs_, note 38. [74] APPAREMMENT, 'Evidently.' This adverb may be used with or without the conjunction _que_ to introduce a verb. [75] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [76] UNE GUENON, 'a fool.' [77] QUI SE FASSE = _Qu'il y ait_. [78] LES PETITES-MAISONS. The old Maladrerie de Saint-Germain, which in 1554 became the H pital Saint-Germain, later known as les Petites-Maisons, on account of the great number of cells into which it was divided. It was used to house infirm old men and women, who received a small weekly dole, lunatics, and patients suffering from loathsome diseases. The name became synonymous with either a mad-house or a hospital for certain diseases: it was changed in 1801 to les Petits-M nages, the insane having then been transferred, the men to Bic tre, the women to La Salp tri re. [79] BIEN VENANTS, 'Paid regularly.' Marivaux, like the authors of the preceding century, considered _bien venants_ as an adjective, and hence declinable: but _livre_ is feminine, and we should expect here the form _bien venantes_. The Academy has declared the expression indeclinable. Compare: "Je le voyais avec vingt-huit mille livres de rente bien venantes" (Mme. de S vign , Dec. 28, 1689). [80] APPAREMMENT. See _les Fausses Confidences_, note 74. [81] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [82] VOUS N'AVEZ POINT DE GR ME SAVOIR. A well-known idiom, better expressed to-day: _Vous n'avez point me savoir gr _. [83] D'AVEC. A shortened form for some such phrase as _d'une conversation avec. D'avec_ is generally to be translated 'from,' 'in contradiction to.' [84] A QUEL HOMME EN VEUT-IL? 'For what man is he looking?' Compare _le Jeu de l'amour et du hasard_, note 68. [85] A VOUS. _Aupr s de vous_ would be the modern expression. [86] LE FAISANT SORTIR. Note the peculiar use of _le_, which nowadays would be replaced by the noun to which it refers--_le gar on_. [87] DONT. Better _que_. See _Le Jeu de l'amour et du hasard_, note 175. [88] DESSUS. For _l -dessus_. [89] SANS DIFFICULT . See _le Jeu de l'amour et du hasard_, note 154. [90] DE NE VOUS PAS AIMER. _De ne pas vous aimer_ is the more natural order in modern French. [91] IL N'A QUE FAIRE DE, 'He has no need to.' Compare _le Jeu de l'amour et du hasard_, note, 141. [92] C'EST UN PORTRAIT DE FEMME. The construction of the sentence is peculiar and incomplete. It requires the introduction, before _c'est un portrait_, of the words _c'est que_. In modern French the awkwardness of this form would be obviated. In the second clause _que_ would have to be prefixed to _c'est ici_. [93] QUAND. _Puisque_ is also found in incomplete expressions of this kind. The thought might be completed as follows: _Mais, quand_ (or _puisque_) _je vous dis, etc., vous devriez me croire_. [94] ENTENDU, used here in the sense of _compris_. [95] HUPP ES, 'Fancy,' 'smartly dressed.' It often means 'smart.' Compare; "Combien en as-tu vu, je dis des plus hupp es." (Racine, _Les Plaideurs_, J, 4); "Bien hupp qui pourra m'attraper sur ce point!" (Moli re, _ cole des femmes_, 1, I). [96] JE N'EN RABATS RIEN, 'I retract nothing.' That is to say, 'I insist that it is the Count.' [97] PLAISANT, 'Ridiculous.' [98] COMME DE CELA. With some gesture of contempt. See _le Legs_, note 108. [99] LUI. For _le_. The verb _d fier_ governs to-day the accusative and not the dative. [100] QU'IL. Later editions print _qui_, which is the correct form. The thought may be expressed more simply by the phrase _Je l'avais vu le contempler_. [101] CE QUI EST DE S R = _Ce qu'il y a de s r_. [102] LE SUJET = _La raison_. [103] DE BONNE MAIN, 'By a reliable person.' (Littr , "main," 17 .) [104] CONSENS... DE. The verb _consentir_ takes either _de_ or _ _, before a following infinitive, although in modern French the latter is the more common. [105] TOUS PROC S. Later editions print _tout proc s_, which is the more natural modern form. The plural, in the sense of 'each' or 'every' is, however, sometimes found without the article. Compare: "L'auteur des dialogues a dit que les belles sont de tous pays, et moi je dis que les sottises sont de tous les si cles " (Fontenelle, _Jugement de Pluton_). [106] AVOIR PRISE ... AVEC, 'To have a dispute with.' PRISE, 'Quarrel,' 'dispute' (Littr , 6 , also Dict. de l'Acad., 1878). [107] TOUS. Later editions print _tout_, which is the modern form. In the seventeenth and early eighteenth centuries is was not customary to consider the adverbial _tout_ as necessarily invariable. [108] MOUVEMENT. See _le Jeu de l'amour et du hasard_, note 162. [109] DONT. _Que is preferable. See _Le Jeu de l'amour et du hasard_, note 175. [110] SAVOIS. A not uncommon use of the imperfect indicative in the sense of the conditional. [111] JE N'AUROIS QUE FAIRE DE. See _le Jeu de l'amour et du hasard_, note 68. Compare _le Jeu de l'amour et du hasard_, note 141, and _le Legs_, note 85. [112] A TOI. The English idiom is 'of you.' [113] AU MOINS, 'Nevertheless.' [114] CAPABLE. Most editions print _incapable_, beginning the sentence with _s'il_, and punctuating with a comma after _incapable_. The sense is better carried out with such a rendering. [115] Des biais = _Des moyens d tourn s_. [116] L'EN D DIRE = _Le d mentir_. [117] COMME S'EN ALLANT. See _les Fausses Confidences_, note 26. [118] A CE QU'IL EST N = _A sa naissance_. [119] C'EST DE DORANTE, for _Il est de Dorante_: 'It has been painted by Dorante.' [120] M'EN FAIRE ACCROIRE, 'To impose upon me.' [121] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [122] This speech of Dorante's and Araminte's answer seem to have inspired Augier and Sandeau in the scene between Bertrand and H l ne, in _Mlle. de la Seigli re_, Act III, sc. 7. [123] QUE MON AMOUR N'EN AUGMENTE. See _Le jeu de l'amour et du hasard_, note 137. [124] JE L'AI PEINTE. The _peinte_ refers to and agrees with _la_ in Dorante's preceding speech. [125] AVANT QUE DE. See _Le jeu de l'amour et du hasard_, note 117. [126] RUE DU FIGUIER. A very ancient and historic street in Paris, situated not far from the Lyc e Charlemagne, and making a triangle with the rue Charlemagne and the rue Fauconnier. Even before the year 1300 it bore this name, from a fine fig-tree which stood at its juncture with the rue Fauconnier, and which was standing as late as 1605. The most important edifice of the street is the H tel de Sens, built in the sixteenth century by the Archbishop Tristan de Salazar. It was for a time the residence of Marguerite, first wife of Henry IV. [127] JE LUI RECOMMANDERAI. Later editions print _je le lui recommanderai_. Attention has already been called to Marivaux's custom of omitting the direct object pronoun in similar constructions. Compare _le Jeu de l'amour et du hasard_, note 210, and _le Legs_, note 29. [128] MOUVEMENTS. See _Le jeu de l'amour et du hasard_, note 162. [129] LUI. See note 99. [130] FATIGUE, 'Importune' (Littr , 4 ).' Compare: "Ainsi donc mes bont s vous fatiguent peut- tre" (Racine, _B r nice_, II, 4). [131] AMUSER. See _Le jeu de l'amour et du hasard_, note 41. [132] EN FAIT DE DISCR TION, JE M RITERAIS D' TRE FEMME. _Discr tion_ means here 'the ability to keep a secret' (Littr , 5 ). Compare; "Rien ne p se tant qu'un secret: Le porter loin est difficile aux dames; Et je sais m me sur ce fait Bon nombre d'hommes qui sont femmes.' (La Fontaine, _Fables_, viii, 6.) [133] LE DIABLE N'Y PERD RIEN, is said of a person who restrains his feelings with difficulty, or only temporarily (Littr , "diable." 2 ). The whole phrase might here be translated by: 'She cannot conceal the matter, nor will I.' [134] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [135] OUI-DA. See _le Jeu de l'amour et du hasard_, note 21. [136] DEMEURE. The incorrect use of this verb by Harlequin adds to the comic of the piece. For correct French one might substitute _se trouve_. [137] LA RUE DU FIGUIER. See note 126. [138] SAIS. _Savoir_ as used here means 'to know about the street,' 'to know that it exists,' 'to know where it may be found'; _conna tre_ would mean 'to be acquainted with it.' [139] RENDRA = _Remettra_. [140] RENDREZ. Some of the later editions print _rendez_. [141] QUE JE N'AIE VU, 'Until I have seen.' The negative particle _ne_ is required in a phrase introduced by _que_, when this conjunction stands in the place of _avant que_. [142] PR SOMPTIONS. 'Presumptions' or 'reasonable suppositions.' Compare: "Ce ne sont pas l des convictions enti res; mais ce sont les pr somptions les plus fortes" (Voltaire, _Essai sur les moeurs et l'esprit des nations_, chap. 166). [143] DE VOTRE FA ON, 'Of your choosing.' [144] TOUT. Later editions print _tout le monde_, which is evidently the sense in which this word is used. [145] ROGUE, 'Arrogant.' In the edition of 1758 the word is printed _roque_, which has led some editors into the error of correcting to _rauque_ (hoarse). [146] NOUS N'AVONS QUE FAIRE ENSEMBLE, 'We have no dealings together.' [147] NON QUE JE SACHE. _Non, pas que je sache_ is the more complete modern expression. [148] A CAUSE QUE. _Parce que_ is more modern. Littr favors the retention of _ cause que_, since it is used by good authors, and, in certain cases, is preferable to _parce que_. [149] AMPLIFIE, 'Exaggerates.' [150] HORS D'OEUVRE = _Hors de propos_. Generally used to-day as a substantive, but in the seventeenth and eighteenth centuries often used adverbially as here. Compare: "Dans le _Cid_, toutes celles (the scenes) de l'infante sont d tach es, et paraissent hors d'oeuvre" (Corneille, _Horace_, Examen). [151] ENFANCE. For the more modern word _enfantillage_, although the Dict. de l'Acad., 1878, retains the word in this sense. Compare: "Ils ne font que des enfances" (Mme. de S vign , Jan. 26, 1689). "On passait encore les enfances Mme. la duchesse de Bourgogne par la gr ce qu'elle y mettait" (St. Simon. 294, 6). "Ce sont des b tises ou des enfances dont il n'y a que de bonnes gens qui soient capables" (_Marianne_, 2e partie.) See _le Legs_, note 29. [152] TOUT L'HEURE. In the sense of _tout de suite_ the expression is to-day obsolete, and is not admitted by the Dict. de l'Acad., 1878. See _le Legs_, note 76. [153] CAUSE QUE. See note 147. [154] ENTEND. See _le Jeu de l'amour et du hasard_, note 247. [155] APPAREMMENT, 'Manifestly,' 'Of course.' In this sense the word has become obsolete, and is not admitted by the Dict. de l'Acad., 1878. [156] VOUS N'Y SONGEZ PAS. See _le Legs_, note 58, _le Legs_, note 102. [157] D LIVR E. The edition of 1758 prints _d livr es_, which will be accounted for by the speaker's including madame Argante in his mind. The singular is, however, preferable. [158] EUS. The edition of 1758 prints the past participle _eu_, without making it agree with the preceding object pronoun. See _le Legs_, note 56. [159] NOUS DIS. For the position of the object pronoun see note 18. [160] EUES. The edition of 1738 prints _eu_. For similar carelessness in Marivaux's use of the past participle compare _le Legs_, note 56, and note 158. [161] AFFRONT , 'Deceived' (Littr , 2 , also the Dict. de l'Acad., 1878). [162] FERMIER, 'Farmer,' 'One holding a farm by lease.' [163] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [164] A CAUSE QUE. See note 147. [165] OUF! MA GLOIRE M'ACCABLE; ET JE M RITEROIS BIEN D'APPELER CETTE FEMME-L MA BRU. This expression, seeming too violent to the spectators of to-day, was suppressed by the Com die-Fran aise, March 5, 1881. The play ends with the words of Araminte. See Larroumet, p. 227, note 1. [166] PARDI. See _le Jeu de l'amour et du hasard_, note 15. End of the Project Gutenberg EBook of A Selection from the Comedies of Marivaux, by Pierre Carlet de Chamblain de Marivaux *** END OF THIS PROJECT GUTENBERG EBOOK COMEDIES OF MARIVAUX *** ***** This file should be named 12504-8.txt or 12504-8.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.net/1/2/5/0/12504/ Produced by Anne Soulard, Charles Aldarondo, Keren Vergon and the Online Distributed Proofreading Team. Updated editions will replace the previous one--the old editions will be renamed. 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pleased

How many times the word 'pleased' appears in the text?

2.) [15] VOUS M'EN DIREZ DES NOUVELLES. See _le jeu de l'amour et du hasard_, note 242. [16] DIANTRE. See _le Legs_, note 101. [17] L . _Dans la t te_, with a gesture. [18] D RANG . 'Disorderly' or 'irregular' (in his affairs). [19] SERVITEUR AU COLLAT RAL, 'Then the collateral heirs will have to go without.' _Serviteur au_ is here used in the sense of _tant pis pour. Serviteur_ is not infrequently used as a formula of dismissal. [20] VOUS METTEZ. An inverted order quite common in the seventeenth and eighteenth centuries, when the second of two imperatives is construed with an object pronoun. Compare: "Quittez cette chim re, et m'aimez " (Corneille). "Polissez-le sans cesse et le repolissez" (Boileau, _Art Po tique_, Chant 1). [21] DONT. _Que would preferably be used to-day, so as not to repeat the construction of the antecedent. Compare _le Jeu de l'amour et du hasard_, note 175. [22] QU'IL VOUS REVIENNE, 'That you like him.' [23] MONSIEUR PR VIENT EN SA FAVEUR, 'The gentleman's appearance speaks in his favour.' [24] GR CES. In modern French the singular is preferred. [25] EST-CE VOUS QUI IL EN VEUT, 'Is it you whom he has come to see?' See _le Jeu de l'amour et du hasard_, note 68; _le Jeu de l'amour et du hasard_, note 175 and note 176; _le Legs_, note 132, and _le Legs_, note 135. [26] COMME S'EN ALLANT, for, _comme en s'en allant. [27] PARTI, 'Position' (Littr , 10 ). The idea of 'salary' is conveyed by the word as used here. [28] RENVERRAI TOUT. That is to say, _tout ce qui se pr sentera_; 'I will dismiss all other applicants.' [29] PARTI. See note 27. [30] REPR SENTE, 'call attention, 'set forth'; a form often used in petitions. [31] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [32] A VOTRE AISE LE RESTE, 'The rest when you like.' [33] D'O VIENT PR F RER CELUI-CI. See _le Jeu de l'amour et du hasard_, note 220. [34] ARR T , for the modern French _engag _ ('engaged'). [35] IL ME TARDE, 'I long.' [36] EN PASSE, 'In a position to.' [37] D'ALLER TOUT. For the more modern expression _d'arriver tout_, 'to attain any height.' [38] D FAITE, 'Excuse' or 'pretext' (Littr ", 4 , also Diet, de l'Acad. 1878). [39] L VATION. Used here with the unusual meaning of 'desire for social eminence.' [40] ELLE S'ENDORT DANS CET TAT, 'She is satisfied with her condition.' While already in the seventeenth century the ambition of rich _bourgeois_ to gain admission to the exclusive circles of the nobility had been sufficiently marked to induce Moli re to attack it in his _Bourgeois gentilhomme_, it was even more noticeable in the eighteenth, and _m salliances_ between noblemen and women of the middle class became much more frequent. [41] R FLEXION ROTURI RE. _Roture_ was the expression used to denote the _bourgeoisie_ as distinguished from the nobility. [42] JE N'Y ENTENDS POINT DE FINESSE, 'I cannot enter into such subtle distinctions on the question of happiness.' She refuses to discuss the possibility of Araminte's preferring happiness to rank. For her, rank means happiness, as would wealth. [43] IL ME L'A PARU = _Cela nil a paru ainsi_. [44] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [45] J'Y METTRAI BON ORDRE. See _le Jeu de l'amour et du hasard_, note 169. [46] PLAISANT. See _le Jeu de l'amour et du hasard_, note 37. [47] TIMBR COMME CENT, 'As crazy as a loon.' It is difficult to preserve the figure in an idiomatic translation. Compare the colloquial English, "You act like _sixty_." [48] CERVELLE BR L E. A peculiar use of _cervelle_. _Br l e_ is used here by Marivaux in the sense _troubl e_, as in the passage from Mme. de S vign : "Mme. de Saint-G ran est toute br l e du d part de son mari." [49] IL EN EST COMME UN PERDU, 'He is like a man who has lost his reason.' Cf. _le Jeu de l'amour et du hasard_, note 120. [50] UN PEU BOUDANT. Nowadays the adverb follows the verb. Here _boudant_ might at first thought be taken for an adjective, but it is a present participle used verbally and consequently invariable. [51] ON A BIEN AFFAIRE DE, 'I have no use for.' This idiom must not be confounded with _avoir affaire _, which means 'to have to deal with.' [52] ESPRIT RENVERS , 'A crazy man.' [53] MALEPESTE. See _le Legs_, note 48. [54] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [55] IL N'Y AVOIT PLUS PERSONNE AU LOGIS, 'He was quite unconscious.' (Littr , "logis," 1 .) [56] D' PIER. Later editions print _qu' pier_, as _d' pier_ would not be admissible in modern French. _Que de r ver... que d' pier_ would be the most natural modern form. [57] PAYOIS BOUTEILLE = _Payais boire_. [58] LA COM DIE. The _Com die-Fran aise_, or _Th tre-Fran ais_, then, as now, the leading theatre in Paris. [59] D S QUATRE HEURES. The performance did not begin before five o'clock, in the eighteenth century, [60] DANS L'HIVER. The modern form is _en hiver_. [61] JURANT PAR CI PAR L , 'Swearing every now and then.' [62] AUX TUILERIES. The Cours-la-Reine, in the Champs-Elys es, the Tuileries gardens, and the Palais-Royal, with its covered galleries and its garden, were the fashionable resorts of promenaders in the eighteenth century. [63] CE QU'IL. The _ce_ is superfluous. [64] PERCER = _S'apercevoir_. [65] JE ME REMETS = _J'y suis_. [66] OUI-DA. See _Le Jeu de l'amour et du hasard_, note 21. [67] COMME PASSANT, for _comme en passant_. Compare _les Fausses Confidences_, note 26. [68] C'EST AUTANT DE PRIS. See _le Jeu de l'amour et du hasard_, note 54. [69] QU'EST-IL = _Pourquoi est-il_? [70] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [71] IL LES FAIT COMME IL LES A. Untranslatable, save by an quivalent. It is a pun on Dubois' remark: "making eyes at her." [72] PRENEZ TOUJOURS, 'Take note of them nevertheless." [73] LE. The text of 1758 prints _le_; _ce_ would carry out the sense even better. See _le Legs_, note 38. [74] APPAREMMENT, 'Evidently.' This adverb may be used with or without the conjunction _que_ to introduce a verb. [75] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [76] UNE GUENON, 'a fool.' [77] QUI SE FASSE = _Qu'il y ait_. [78] LES PETITES-MAISONS. The old Maladrerie de Saint-Germain, which in 1554 became the H pital Saint-Germain, later known as les Petites-Maisons, on account of the great number of cells into which it was divided. It was used to house infirm old men and women, who received a small weekly dole, lunatics, and patients suffering from loathsome diseases. The name became synonymous with either a mad-house or a hospital for certain diseases: it was changed in 1801 to les Petits-M nages, the insane having then been transferred, the men to Bic tre, the women to La Salp tri re. [79] BIEN VENANTS, 'Paid regularly.' Marivaux, like the authors of the preceding century, considered _bien venants_ as an adjective, and hence declinable: but _livre_ is feminine, and we should expect here the form _bien venantes_. The Academy has declared the expression indeclinable. Compare: "Je le voyais avec vingt-huit mille livres de rente bien venantes" (Mme. de S vign , Dec. 28, 1689). [80] APPAREMMENT. See _les Fausses Confidences_, note 74. [81] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [82] VOUS N'AVEZ POINT DE GR ME SAVOIR. A well-known idiom, better expressed to-day: _Vous n'avez point me savoir gr _. [83] D'AVEC. A shortened form for some such phrase as _d'une conversation avec. D'avec_ is generally to be translated 'from,' 'in contradiction to.' [84] A QUEL HOMME EN VEUT-IL? 'For what man is he looking?' Compare _le Jeu de l'amour et du hasard_, note 68. [85] A VOUS. _Aupr s de vous_ would be the modern expression. [86] LE FAISANT SORTIR. Note the peculiar use of _le_, which nowadays would be replaced by the noun to which it refers--_le gar on_. [87] DONT. Better _que_. See _Le Jeu de l'amour et du hasard_, note 175. [88] DESSUS. For _l -dessus_. [89] SANS DIFFICULT . See _le Jeu de l'amour et du hasard_, note 154. [90] DE NE VOUS PAS AIMER. _De ne pas vous aimer_ is the more natural order in modern French. [91] IL N'A QUE FAIRE DE, 'He has no need to.' Compare _le Jeu de l'amour et du hasard_, note, 141. [92] C'EST UN PORTRAIT DE FEMME. The construction of the sentence is peculiar and incomplete. It requires the introduction, before _c'est un portrait_, of the words _c'est que_. In modern French the awkwardness of this form would be obviated. In the second clause _que_ would have to be prefixed to _c'est ici_. [93] QUAND. _Puisque_ is also found in incomplete expressions of this kind. The thought might be completed as follows: _Mais, quand_ (or _puisque_) _je vous dis, etc., vous devriez me croire_. [94] ENTENDU, used here in the sense of _compris_. [95] HUPP ES, 'Fancy,' 'smartly dressed.' It often means 'smart.' Compare; "Combien en as-tu vu, je dis des plus hupp es." (Racine, _Les Plaideurs_, J, 4); "Bien hupp qui pourra m'attraper sur ce point!" (Moli re, _ cole des femmes_, 1, I). [96] JE N'EN RABATS RIEN, 'I retract nothing.' That is to say, 'I insist that it is the Count.' [97] PLAISANT, 'Ridiculous.' [98] COMME DE CELA. With some gesture of contempt. See _le Legs_, note 108. [99] LUI. For _le_. The verb _d fier_ governs to-day the accusative and not the dative. [100] QU'IL. Later editions print _qui_, which is the correct form. The thought may be expressed more simply by the phrase _Je l'avais vu le contempler_. [101] CE QUI EST DE S R = _Ce qu'il y a de s r_. [102] LE SUJET = _La raison_. [103] DE BONNE MAIN, 'By a reliable person.' (Littr , "main," 17 .) [104] CONSENS... DE. The verb _consentir_ takes either _de_ or _ _, before a following infinitive, although in modern French the latter is the more common. [105] TOUS PROC S. Later editions print _tout proc s_, which is the more natural modern form. The plural, in the sense of 'each' or 'every' is, however, sometimes found without the article. Compare: "L'auteur des dialogues a dit que les belles sont de tous pays, et moi je dis que les sottises sont de tous les si cles " (Fontenelle, _Jugement de Pluton_). [106] AVOIR PRISE ... AVEC, 'To have a dispute with.' PRISE, 'Quarrel,' 'dispute' (Littr , 6 , also Dict. de l'Acad., 1878). [107] TOUS. Later editions print _tout_, which is the modern form. In the seventeenth and early eighteenth centuries is was not customary to consider the adverbial _tout_ as necessarily invariable. [108] MOUVEMENT. See _le Jeu de l'amour et du hasard_, note 162. [109] DONT. _Que is preferable. See _Le Jeu de l'amour et du hasard_, note 175. [110] SAVOIS. A not uncommon use of the imperfect indicative in the sense of the conditional. [111] JE N'AUROIS QUE FAIRE DE. See _le Jeu de l'amour et du hasard_, note 68. Compare _le Jeu de l'amour et du hasard_, note 141, and _le Legs_, note 85. [112] A TOI. The English idiom is 'of you.' [113] AU MOINS, 'Nevertheless.' [114] CAPABLE. Most editions print _incapable_, beginning the sentence with _s'il_, and punctuating with a comma after _incapable_. The sense is better carried out with such a rendering. [115] Des biais = _Des moyens d tourn s_. [116] L'EN D DIRE = _Le d mentir_. [117] COMME S'EN ALLANT. See _les Fausses Confidences_, note 26. [118] A CE QU'IL EST N = _A sa naissance_. [119] C'EST DE DORANTE, for _Il est de Dorante_: 'It has been painted by Dorante.' [120] M'EN FAIRE ACCROIRE, 'To impose upon me.' [121] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [122] This speech of Dorante's and Araminte's answer seem to have inspired Augier and Sandeau in the scene between Bertrand and H l ne, in _Mlle. de la Seigli re_, Act III, sc. 7. [123] QUE MON AMOUR N'EN AUGMENTE. See _Le jeu de l'amour et du hasard_, note 137. [124] JE L'AI PEINTE. The _peinte_ refers to and agrees with _la_ in Dorante's preceding speech. [125] AVANT QUE DE. See _Le jeu de l'amour et du hasard_, note 117. [126] RUE DU FIGUIER. A very ancient and historic street in Paris, situated not far from the Lyc e Charlemagne, and making a triangle with the rue Charlemagne and the rue Fauconnier. Even before the year 1300 it bore this name, from a fine fig-tree which stood at its juncture with the rue Fauconnier, and which was standing as late as 1605. The most important edifice of the street is the H tel de Sens, built in the sixteenth century by the Archbishop Tristan de Salazar. It was for a time the residence of Marguerite, first wife of Henry IV. [127] JE LUI RECOMMANDERAI. Later editions print _je le lui recommanderai_. Attention has already been called to Marivaux's custom of omitting the direct object pronoun in similar constructions. Compare _le Jeu de l'amour et du hasard_, note 210, and _le Legs_, note 29. [128] MOUVEMENTS. See _Le jeu de l'amour et du hasard_, note 162. [129] LUI. See note 99. [130] FATIGUE, 'Importune' (Littr , 4 ).' Compare: "Ainsi donc mes bont s vous fatiguent peut- tre" (Racine, _B r nice_, II, 4). [131] AMUSER. See _Le jeu de l'amour et du hasard_, note 41. [132] EN FAIT DE DISCR TION, JE M RITERAIS D' TRE FEMME. _Discr tion_ means here 'the ability to keep a secret' (Littr , 5 ). Compare; "Rien ne p se tant qu'un secret: Le porter loin est difficile aux dames; Et je sais m me sur ce fait Bon nombre d'hommes qui sont femmes.' (La Fontaine, _Fables_, viii, 6.) [133] LE DIABLE N'Y PERD RIEN, is said of a person who restrains his feelings with difficulty, or only temporarily (Littr , "diable." 2 ). The whole phrase might here be translated by: 'She cannot conceal the matter, nor will I.' [134] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [135] OUI-DA. See _le Jeu de l'amour et du hasard_, note 21. [136] DEMEURE. The incorrect use of this verb by Harlequin adds to the comic of the piece. For correct French one might substitute _se trouve_. [137] LA RUE DU FIGUIER. See note 126. [138] SAIS. _Savoir_ as used here means 'to know about the street,' 'to know that it exists,' 'to know where it may be found'; _conna tre_ would mean 'to be acquainted with it.' [139] RENDRA = _Remettra_. [140] RENDREZ. Some of the later editions print _rendez_. [141] QUE JE N'AIE VU, 'Until I have seen.' The negative particle _ne_ is required in a phrase introduced by _que_, when this conjunction stands in the place of _avant que_. [142] PR SOMPTIONS. 'Presumptions' or 'reasonable suppositions.' Compare: "Ce ne sont pas l des convictions enti res; mais ce sont les pr somptions les plus fortes" (Voltaire, _Essai sur les moeurs et l'esprit des nations_, chap. 166). [143] DE VOTRE FA ON, 'Of your choosing.' [144] TOUT. Later editions print _tout le monde_, which is evidently the sense in which this word is used. [145] ROGUE, 'Arrogant.' In the edition of 1758 the word is printed _roque_, which has led some editors into the error of correcting to _rauque_ (hoarse). [146] NOUS N'AVONS QUE FAIRE ENSEMBLE, 'We have no dealings together.' [147] NON QUE JE SACHE. _Non, pas que je sache_ is the more complete modern expression. [148] A CAUSE QUE. _Parce que_ is more modern. Littr favors the retention of _ cause que_, since it is used by good authors, and, in certain cases, is preferable to _parce que_. [149] AMPLIFIE, 'Exaggerates.' [150] HORS D'OEUVRE = _Hors de propos_. Generally used to-day as a substantive, but in the seventeenth and eighteenth centuries often used adverbially as here. Compare: "Dans le _Cid_, toutes celles (the scenes) de l'infante sont d tach es, et paraissent hors d'oeuvre" (Corneille, _Horace_, Examen). [151] ENFANCE. For the more modern word _enfantillage_, although the Dict. de l'Acad., 1878, retains the word in this sense. Compare: "Ils ne font que des enfances" (Mme. de S vign , Jan. 26, 1689). "On passait encore les enfances Mme. la duchesse de Bourgogne par la gr ce qu'elle y mettait" (St. Simon. 294, 6). "Ce sont des b tises ou des enfances dont il n'y a que de bonnes gens qui soient capables" (_Marianne_, 2e partie.) See _le Legs_, note 29. [152] TOUT L'HEURE. In the sense of _tout de suite_ the expression is to-day obsolete, and is not admitted by the Dict. de l'Acad., 1878. See _le Legs_, note 76. [153] CAUSE QUE. See note 147. [154] ENTEND. See _le Jeu de l'amour et du hasard_, note 247. [155] APPAREMMENT, 'Manifestly,' 'Of course.' In this sense the word has become obsolete, and is not admitted by the Dict. de l'Acad., 1878. [156] VOUS N'Y SONGEZ PAS. See _le Legs_, note 58, _le Legs_, note 102. [157] D LIVR E. The edition of 1758 prints _d livr es_, which will be accounted for by the speaker's including madame Argante in his mind. The singular is, however, preferable. [158] EUS. The edition of 1758 prints the past participle _eu_, without making it agree with the preceding object pronoun. See _le Legs_, note 56. [159] NOUS DIS. For the position of the object pronoun see note 18. [160] EUES. The edition of 1738 prints _eu_. For similar carelessness in Marivaux's use of the past participle compare _le Legs_, note 56, and note 158. [161] AFFRONT , 'Deceived' (Littr , 2 , also the Dict. de l'Acad., 1878). [162] FERMIER, 'Farmer,' 'One holding a farm by lease.' [163] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [164] A CAUSE QUE. See note 147. [165] OUF! MA GLOIRE M'ACCABLE; ET JE M RITEROIS BIEN D'APPELER CETTE FEMME-L MA BRU. This expression, seeming too violent to the spectators of to-day, was suppressed by the Com die-Fran aise, March 5, 1881. The play ends with the words of Araminte. See Larroumet, p. 227, note 1. [166] PARDI. See _le Jeu de l'amour et du hasard_, note 15. End of the Project Gutenberg EBook of A Selection from the Comedies of Marivaux, by Pierre Carlet de Chamblain de Marivaux *** END OF THIS PROJECT GUTENBERG EBOOK COMEDIES OF MARIVAUX *** ***** This file should be named 12504-8.txt or 12504-8.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.net/1/2/5/0/12504/ Produced by Anne Soulard, Charles Aldarondo, Keren Vergon and the Online Distributed Proofreading Team. Updated editions will replace the previous one--the old editions will be renamed. 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loin

How many times the word 'loin' appears in the text?

2.) [15] VOUS M'EN DIREZ DES NOUVELLES. See _le jeu de l'amour et du hasard_, note 242. [16] DIANTRE. See _le Legs_, note 101. [17] L . _Dans la t te_, with a gesture. [18] D RANG . 'Disorderly' or 'irregular' (in his affairs). [19] SERVITEUR AU COLLAT RAL, 'Then the collateral heirs will have to go without.' _Serviteur au_ is here used in the sense of _tant pis pour. Serviteur_ is not infrequently used as a formula of dismissal. [20] VOUS METTEZ. An inverted order quite common in the seventeenth and eighteenth centuries, when the second of two imperatives is construed with an object pronoun. Compare: "Quittez cette chim re, et m'aimez " (Corneille). "Polissez-le sans cesse et le repolissez" (Boileau, _Art Po tique_, Chant 1). [21] DONT. _Que would preferably be used to-day, so as not to repeat the construction of the antecedent. Compare _le Jeu de l'amour et du hasard_, note 175. [22] QU'IL VOUS REVIENNE, 'That you like him.' [23] MONSIEUR PR VIENT EN SA FAVEUR, 'The gentleman's appearance speaks in his favour.' [24] GR CES. In modern French the singular is preferred. [25] EST-CE VOUS QUI IL EN VEUT, 'Is it you whom he has come to see?' See _le Jeu de l'amour et du hasard_, note 68; _le Jeu de l'amour et du hasard_, note 175 and note 176; _le Legs_, note 132, and _le Legs_, note 135. [26] COMME S'EN ALLANT, for, _comme en s'en allant. [27] PARTI, 'Position' (Littr , 10 ). The idea of 'salary' is conveyed by the word as used here. [28] RENVERRAI TOUT. That is to say, _tout ce qui se pr sentera_; 'I will dismiss all other applicants.' [29] PARTI. See note 27. [30] REPR SENTE, 'call attention, 'set forth'; a form often used in petitions. [31] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [32] A VOTRE AISE LE RESTE, 'The rest when you like.' [33] D'O VIENT PR F RER CELUI-CI. See _le Jeu de l'amour et du hasard_, note 220. [34] ARR T , for the modern French _engag _ ('engaged'). [35] IL ME TARDE, 'I long.' [36] EN PASSE, 'In a position to.' [37] D'ALLER TOUT. For the more modern expression _d'arriver tout_, 'to attain any height.' [38] D FAITE, 'Excuse' or 'pretext' (Littr ", 4 , also Diet, de l'Acad. 1878). [39] L VATION. Used here with the unusual meaning of 'desire for social eminence.' [40] ELLE S'ENDORT DANS CET TAT, 'She is satisfied with her condition.' While already in the seventeenth century the ambition of rich _bourgeois_ to gain admission to the exclusive circles of the nobility had been sufficiently marked to induce Moli re to attack it in his _Bourgeois gentilhomme_, it was even more noticeable in the eighteenth, and _m salliances_ between noblemen and women of the middle class became much more frequent. [41] R FLEXION ROTURI RE. _Roture_ was the expression used to denote the _bourgeoisie_ as distinguished from the nobility. [42] JE N'Y ENTENDS POINT DE FINESSE, 'I cannot enter into such subtle distinctions on the question of happiness.' She refuses to discuss the possibility of Araminte's preferring happiness to rank. For her, rank means happiness, as would wealth. [43] IL ME L'A PARU = _Cela nil a paru ainsi_. [44] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [45] J'Y METTRAI BON ORDRE. See _le Jeu de l'amour et du hasard_, note 169. [46] PLAISANT. See _le Jeu de l'amour et du hasard_, note 37. [47] TIMBR COMME CENT, 'As crazy as a loon.' It is difficult to preserve the figure in an idiomatic translation. Compare the colloquial English, "You act like _sixty_." [48] CERVELLE BR L E. A peculiar use of _cervelle_. _Br l e_ is used here by Marivaux in the sense _troubl e_, as in the passage from Mme. de S vign : "Mme. de Saint-G ran est toute br l e du d part de son mari." [49] IL EN EST COMME UN PERDU, 'He is like a man who has lost his reason.' Cf. _le Jeu de l'amour et du hasard_, note 120. [50] UN PEU BOUDANT. Nowadays the adverb follows the verb. Here _boudant_ might at first thought be taken for an adjective, but it is a present participle used verbally and consequently invariable. [51] ON A BIEN AFFAIRE DE, 'I have no use for.' This idiom must not be confounded with _avoir affaire _, which means 'to have to deal with.' [52] ESPRIT RENVERS , 'A crazy man.' [53] MALEPESTE. See _le Legs_, note 48. [54] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [55] IL N'Y AVOIT PLUS PERSONNE AU LOGIS, 'He was quite unconscious.' (Littr , "logis," 1 .) [56] D' PIER. Later editions print _qu' pier_, as _d' pier_ would not be admissible in modern French. _Que de r ver... que d' pier_ would be the most natural modern form. [57] PAYOIS BOUTEILLE = _Payais boire_. [58] LA COM DIE. The _Com die-Fran aise_, or _Th tre-Fran ais_, then, as now, the leading theatre in Paris. [59] D S QUATRE HEURES. The performance did not begin before five o'clock, in the eighteenth century, [60] DANS L'HIVER. The modern form is _en hiver_. [61] JURANT PAR CI PAR L , 'Swearing every now and then.' [62] AUX TUILERIES. The Cours-la-Reine, in the Champs-Elys es, the Tuileries gardens, and the Palais-Royal, with its covered galleries and its garden, were the fashionable resorts of promenaders in the eighteenth century. [63] CE QU'IL. The _ce_ is superfluous. [64] PERCER = _S'apercevoir_. [65] JE ME REMETS = _J'y suis_. [66] OUI-DA. See _Le Jeu de l'amour et du hasard_, note 21. [67] COMME PASSANT, for _comme en passant_. Compare _les Fausses Confidences_, note 26. [68] C'EST AUTANT DE PRIS. See _le Jeu de l'amour et du hasard_, note 54. [69] QU'EST-IL = _Pourquoi est-il_? [70] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [71] IL LES FAIT COMME IL LES A. Untranslatable, save by an quivalent. It is a pun on Dubois' remark: "making eyes at her." [72] PRENEZ TOUJOURS, 'Take note of them nevertheless." [73] LE. The text of 1758 prints _le_; _ce_ would carry out the sense even better. See _le Legs_, note 38. [74] APPAREMMENT, 'Evidently.' This adverb may be used with or without the conjunction _que_ to introduce a verb. [75] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [76] UNE GUENON, 'a fool.' [77] QUI SE FASSE = _Qu'il y ait_. [78] LES PETITES-MAISONS. The old Maladrerie de Saint-Germain, which in 1554 became the H pital Saint-Germain, later known as les Petites-Maisons, on account of the great number of cells into which it was divided. It was used to house infirm old men and women, who received a small weekly dole, lunatics, and patients suffering from loathsome diseases. The name became synonymous with either a mad-house or a hospital for certain diseases: it was changed in 1801 to les Petits-M nages, the insane having then been transferred, the men to Bic tre, the women to La Salp tri re. [79] BIEN VENANTS, 'Paid regularly.' Marivaux, like the authors of the preceding century, considered _bien venants_ as an adjective, and hence declinable: but _livre_ is feminine, and we should expect here the form _bien venantes_. The Academy has declared the expression indeclinable. Compare: "Je le voyais avec vingt-huit mille livres de rente bien venantes" (Mme. de S vign , Dec. 28, 1689). [80] APPAREMMENT. See _les Fausses Confidences_, note 74. [81] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [82] VOUS N'AVEZ POINT DE GR ME SAVOIR. A well-known idiom, better expressed to-day: _Vous n'avez point me savoir gr _. [83] D'AVEC. A shortened form for some such phrase as _d'une conversation avec. D'avec_ is generally to be translated 'from,' 'in contradiction to.' [84] A QUEL HOMME EN VEUT-IL? 'For what man is he looking?' Compare _le Jeu de l'amour et du hasard_, note 68. [85] A VOUS. _Aupr s de vous_ would be the modern expression. [86] LE FAISANT SORTIR. Note the peculiar use of _le_, which nowadays would be replaced by the noun to which it refers--_le gar on_. [87] DONT. Better _que_. See _Le Jeu de l'amour et du hasard_, note 175. [88] DESSUS. For _l -dessus_. [89] SANS DIFFICULT . See _le Jeu de l'amour et du hasard_, note 154. [90] DE NE VOUS PAS AIMER. _De ne pas vous aimer_ is the more natural order in modern French. [91] IL N'A QUE FAIRE DE, 'He has no need to.' Compare _le Jeu de l'amour et du hasard_, note, 141. [92] C'EST UN PORTRAIT DE FEMME. The construction of the sentence is peculiar and incomplete. It requires the introduction, before _c'est un portrait_, of the words _c'est que_. In modern French the awkwardness of this form would be obviated. In the second clause _que_ would have to be prefixed to _c'est ici_. [93] QUAND. _Puisque_ is also found in incomplete expressions of this kind. The thought might be completed as follows: _Mais, quand_ (or _puisque_) _je vous dis, etc., vous devriez me croire_. [94] ENTENDU, used here in the sense of _compris_. [95] HUPP ES, 'Fancy,' 'smartly dressed.' It often means 'smart.' Compare; "Combien en as-tu vu, je dis des plus hupp es." (Racine, _Les Plaideurs_, J, 4); "Bien hupp qui pourra m'attraper sur ce point!" (Moli re, _ cole des femmes_, 1, I). [96] JE N'EN RABATS RIEN, 'I retract nothing.' That is to say, 'I insist that it is the Count.' [97] PLAISANT, 'Ridiculous.' [98] COMME DE CELA. With some gesture of contempt. See _le Legs_, note 108. [99] LUI. For _le_. The verb _d fier_ governs to-day the accusative and not the dative. [100] QU'IL. Later editions print _qui_, which is the correct form. The thought may be expressed more simply by the phrase _Je l'avais vu le contempler_. [101] CE QUI EST DE S R = _Ce qu'il y a de s r_. [102] LE SUJET = _La raison_. [103] DE BONNE MAIN, 'By a reliable person.' (Littr , "main," 17 .) [104] CONSENS... DE. The verb _consentir_ takes either _de_ or _ _, before a following infinitive, although in modern French the latter is the more common. [105] TOUS PROC S. Later editions print _tout proc s_, which is the more natural modern form. The plural, in the sense of 'each' or 'every' is, however, sometimes found without the article. Compare: "L'auteur des dialogues a dit que les belles sont de tous pays, et moi je dis que les sottises sont de tous les si cles " (Fontenelle, _Jugement de Pluton_). [106] AVOIR PRISE ... AVEC, 'To have a dispute with.' PRISE, 'Quarrel,' 'dispute' (Littr , 6 , also Dict. de l'Acad., 1878). [107] TOUS. Later editions print _tout_, which is the modern form. In the seventeenth and early eighteenth centuries is was not customary to consider the adverbial _tout_ as necessarily invariable. [108] MOUVEMENT. See _le Jeu de l'amour et du hasard_, note 162. [109] DONT. _Que is preferable. See _Le Jeu de l'amour et du hasard_, note 175. [110] SAVOIS. A not uncommon use of the imperfect indicative in the sense of the conditional. [111] JE N'AUROIS QUE FAIRE DE. See _le Jeu de l'amour et du hasard_, note 68. Compare _le Jeu de l'amour et du hasard_, note 141, and _le Legs_, note 85. [112] A TOI. The English idiom is 'of you.' [113] AU MOINS, 'Nevertheless.' [114] CAPABLE. Most editions print _incapable_, beginning the sentence with _s'il_, and punctuating with a comma after _incapable_. The sense is better carried out with such a rendering. [115] Des biais = _Des moyens d tourn s_. [116] L'EN D DIRE = _Le d mentir_. [117] COMME S'EN ALLANT. See _les Fausses Confidences_, note 26. [118] A CE QU'IL EST N = _A sa naissance_. [119] C'EST DE DORANTE, for _Il est de Dorante_: 'It has been painted by Dorante.' [120] M'EN FAIRE ACCROIRE, 'To impose upon me.' [121] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [122] This speech of Dorante's and Araminte's answer seem to have inspired Augier and Sandeau in the scene between Bertrand and H l ne, in _Mlle. de la Seigli re_, Act III, sc. 7. [123] QUE MON AMOUR N'EN AUGMENTE. See _Le jeu de l'amour et du hasard_, note 137. [124] JE L'AI PEINTE. The _peinte_ refers to and agrees with _la_ in Dorante's preceding speech. [125] AVANT QUE DE. See _Le jeu de l'amour et du hasard_, note 117. [126] RUE DU FIGUIER. A very ancient and historic street in Paris, situated not far from the Lyc e Charlemagne, and making a triangle with the rue Charlemagne and the rue Fauconnier. Even before the year 1300 it bore this name, from a fine fig-tree which stood at its juncture with the rue Fauconnier, and which was standing as late as 1605. The most important edifice of the street is the H tel de Sens, built in the sixteenth century by the Archbishop Tristan de Salazar. It was for a time the residence of Marguerite, first wife of Henry IV. [127] JE LUI RECOMMANDERAI. Later editions print _je le lui recommanderai_. Attention has already been called to Marivaux's custom of omitting the direct object pronoun in similar constructions. Compare _le Jeu de l'amour et du hasard_, note 210, and _le Legs_, note 29. [128] MOUVEMENTS. See _Le jeu de l'amour et du hasard_, note 162. [129] LUI. See note 99. [130] FATIGUE, 'Importune' (Littr , 4 ).' Compare: "Ainsi donc mes bont s vous fatiguent peut- tre" (Racine, _B r nice_, II, 4). [131] AMUSER. See _Le jeu de l'amour et du hasard_, note 41. [132] EN FAIT DE DISCR TION, JE M RITERAIS D' TRE FEMME. _Discr tion_ means here 'the ability to keep a secret' (Littr , 5 ). Compare; "Rien ne p se tant qu'un secret: Le porter loin est difficile aux dames; Et je sais m me sur ce fait Bon nombre d'hommes qui sont femmes.' (La Fontaine, _Fables_, viii, 6.) [133] LE DIABLE N'Y PERD RIEN, is said of a person who restrains his feelings with difficulty, or only temporarily (Littr , "diable." 2 ). The whole phrase might here be translated by: 'She cannot conceal the matter, nor will I.' [134] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [135] OUI-DA. See _le Jeu de l'amour et du hasard_, note 21. [136] DEMEURE. The incorrect use of this verb by Harlequin adds to the comic of the piece. For correct French one might substitute _se trouve_. [137] LA RUE DU FIGUIER. See note 126. [138] SAIS. _Savoir_ as used here means 'to know about the street,' 'to know that it exists,' 'to know where it may be found'; _conna tre_ would mean 'to be acquainted with it.' [139] RENDRA = _Remettra_. [140] RENDREZ. Some of the later editions print _rendez_. [141] QUE JE N'AIE VU, 'Until I have seen.' The negative particle _ne_ is required in a phrase introduced by _que_, when this conjunction stands in the place of _avant que_. [142] PR SOMPTIONS. 'Presumptions' or 'reasonable suppositions.' Compare: "Ce ne sont pas l des convictions enti res; mais ce sont les pr somptions les plus fortes" (Voltaire, _Essai sur les moeurs et l'esprit des nations_, chap. 166). [143] DE VOTRE FA ON, 'Of your choosing.' [144] TOUT. Later editions print _tout le monde_, which is evidently the sense in which this word is used. [145] ROGUE, 'Arrogant.' In the edition of 1758 the word is printed _roque_, which has led some editors into the error of correcting to _rauque_ (hoarse). [146] NOUS N'AVONS QUE FAIRE ENSEMBLE, 'We have no dealings together.' [147] NON QUE JE SACHE. _Non, pas que je sache_ is the more complete modern expression. [148] A CAUSE QUE. _Parce que_ is more modern. Littr favors the retention of _ cause que_, since it is used by good authors, and, in certain cases, is preferable to _parce que_. [149] AMPLIFIE, 'Exaggerates.' [150] HORS D'OEUVRE = _Hors de propos_. Generally used to-day as a substantive, but in the seventeenth and eighteenth centuries often used adverbially as here. Compare: "Dans le _Cid_, toutes celles (the scenes) de l'infante sont d tach es, et paraissent hors d'oeuvre" (Corneille, _Horace_, Examen). [151] ENFANCE. For the more modern word _enfantillage_, although the Dict. de l'Acad., 1878, retains the word in this sense. Compare: "Ils ne font que des enfances" (Mme. de S vign , Jan. 26, 1689). "On passait encore les enfances Mme. la duchesse de Bourgogne par la gr ce qu'elle y mettait" (St. Simon. 294, 6). "Ce sont des b tises ou des enfances dont il n'y a que de bonnes gens qui soient capables" (_Marianne_, 2e partie.) See _le Legs_, note 29. [152] TOUT L'HEURE. In the sense of _tout de suite_ the expression is to-day obsolete, and is not admitted by the Dict. de l'Acad., 1878. See _le Legs_, note 76. [153] CAUSE QUE. See note 147. [154] ENTEND. See _le Jeu de l'amour et du hasard_, note 247. [155] APPAREMMENT, 'Manifestly,' 'Of course.' In this sense the word has become obsolete, and is not admitted by the Dict. de l'Acad., 1878. [156] VOUS N'Y SONGEZ PAS. See _le Legs_, note 58, _le Legs_, note 102. [157] D LIVR E. The edition of 1758 prints _d livr es_, which will be accounted for by the speaker's including madame Argante in his mind. The singular is, however, preferable. [158] EUS. The edition of 1758 prints the past participle _eu_, without making it agree with the preceding object pronoun. See _le Legs_, note 56. [159] NOUS DIS. For the position of the object pronoun see note 18. [160] EUES. The edition of 1738 prints _eu_. For similar carelessness in Marivaux's use of the past participle compare _le Legs_, note 56, and note 158. [161] AFFRONT , 'Deceived' (Littr , 2 , also the Dict. de l'Acad., 1878). [162] FERMIER, 'Farmer,' 'One holding a farm by lease.' [163] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [164] A CAUSE QUE. See note 147. [165] OUF! MA GLOIRE M'ACCABLE; ET JE M RITEROIS BIEN D'APPELER CETTE FEMME-L MA BRU. This expression, seeming too violent to the spectators of to-day, was suppressed by the Com die-Fran aise, March 5, 1881. The play ends with the words of Araminte. See Larroumet, p. 227, note 1. [166] PARDI. See _le Jeu de l'amour et du hasard_, note 15. End of the Project Gutenberg EBook of A Selection from the Comedies of Marivaux, by Pierre Carlet de Chamblain de Marivaux *** END OF THIS PROJECT GUTENBERG EBOOK COMEDIES OF MARIVAUX *** ***** This file should be named 12504-8.txt or 12504-8.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.net/1/2/5/0/12504/ Produced by Anne Soulard, Charles Aldarondo, Keren Vergon and the Online Distributed Proofreading Team. Updated editions will replace the previous one--the old editions will be renamed. 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uptown

How many times the word 'uptown' appears in the text?

2.) [15] VOUS M'EN DIREZ DES NOUVELLES. See _le jeu de l'amour et du hasard_, note 242. [16] DIANTRE. See _le Legs_, note 101. [17] L . _Dans la t te_, with a gesture. [18] D RANG . 'Disorderly' or 'irregular' (in his affairs). [19] SERVITEUR AU COLLAT RAL, 'Then the collateral heirs will have to go without.' _Serviteur au_ is here used in the sense of _tant pis pour. Serviteur_ is not infrequently used as a formula of dismissal. [20] VOUS METTEZ. An inverted order quite common in the seventeenth and eighteenth centuries, when the second of two imperatives is construed with an object pronoun. Compare: "Quittez cette chim re, et m'aimez " (Corneille). "Polissez-le sans cesse et le repolissez" (Boileau, _Art Po tique_, Chant 1). [21] DONT. _Que would preferably be used to-day, so as not to repeat the construction of the antecedent. Compare _le Jeu de l'amour et du hasard_, note 175. [22] QU'IL VOUS REVIENNE, 'That you like him.' [23] MONSIEUR PR VIENT EN SA FAVEUR, 'The gentleman's appearance speaks in his favour.' [24] GR CES. In modern French the singular is preferred. [25] EST-CE VOUS QUI IL EN VEUT, 'Is it you whom he has come to see?' See _le Jeu de l'amour et du hasard_, note 68; _le Jeu de l'amour et du hasard_, note 175 and note 176; _le Legs_, note 132, and _le Legs_, note 135. [26] COMME S'EN ALLANT, for, _comme en s'en allant. [27] PARTI, 'Position' (Littr , 10 ). The idea of 'salary' is conveyed by the word as used here. [28] RENVERRAI TOUT. That is to say, _tout ce qui se pr sentera_; 'I will dismiss all other applicants.' [29] PARTI. See note 27. [30] REPR SENTE, 'call attention, 'set forth'; a form often used in petitions. [31] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [32] A VOTRE AISE LE RESTE, 'The rest when you like.' [33] D'O VIENT PR F RER CELUI-CI. See _le Jeu de l'amour et du hasard_, note 220. [34] ARR T , for the modern French _engag _ ('engaged'). [35] IL ME TARDE, 'I long.' [36] EN PASSE, 'In a position to.' [37] D'ALLER TOUT. For the more modern expression _d'arriver tout_, 'to attain any height.' [38] D FAITE, 'Excuse' or 'pretext' (Littr ", 4 , also Diet, de l'Acad. 1878). [39] L VATION. Used here with the unusual meaning of 'desire for social eminence.' [40] ELLE S'ENDORT DANS CET TAT, 'She is satisfied with her condition.' While already in the seventeenth century the ambition of rich _bourgeois_ to gain admission to the exclusive circles of the nobility had been sufficiently marked to induce Moli re to attack it in his _Bourgeois gentilhomme_, it was even more noticeable in the eighteenth, and _m salliances_ between noblemen and women of the middle class became much more frequent. [41] R FLEXION ROTURI RE. _Roture_ was the expression used to denote the _bourgeoisie_ as distinguished from the nobility. [42] JE N'Y ENTENDS POINT DE FINESSE, 'I cannot enter into such subtle distinctions on the question of happiness.' She refuses to discuss the possibility of Araminte's preferring happiness to rank. For her, rank means happiness, as would wealth. [43] IL ME L'A PARU = _Cela nil a paru ainsi_. [44] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [45] J'Y METTRAI BON ORDRE. See _le Jeu de l'amour et du hasard_, note 169. [46] PLAISANT. See _le Jeu de l'amour et du hasard_, note 37. [47] TIMBR COMME CENT, 'As crazy as a loon.' It is difficult to preserve the figure in an idiomatic translation. Compare the colloquial English, "You act like _sixty_." [48] CERVELLE BR L E. A peculiar use of _cervelle_. _Br l e_ is used here by Marivaux in the sense _troubl e_, as in the passage from Mme. de S vign : "Mme. de Saint-G ran est toute br l e du d part de son mari." [49] IL EN EST COMME UN PERDU, 'He is like a man who has lost his reason.' Cf. _le Jeu de l'amour et du hasard_, note 120. [50] UN PEU BOUDANT. Nowadays the adverb follows the verb. Here _boudant_ might at first thought be taken for an adjective, but it is a present participle used verbally and consequently invariable. [51] ON A BIEN AFFAIRE DE, 'I have no use for.' This idiom must not be confounded with _avoir affaire _, which means 'to have to deal with.' [52] ESPRIT RENVERS , 'A crazy man.' [53] MALEPESTE. See _le Legs_, note 48. [54] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [55] IL N'Y AVOIT PLUS PERSONNE AU LOGIS, 'He was quite unconscious.' (Littr , "logis," 1 .) [56] D' PIER. Later editions print _qu' pier_, as _d' pier_ would not be admissible in modern French. _Que de r ver... que d' pier_ would be the most natural modern form. [57] PAYOIS BOUTEILLE = _Payais boire_. [58] LA COM DIE. The _Com die-Fran aise_, or _Th tre-Fran ais_, then, as now, the leading theatre in Paris. [59] D S QUATRE HEURES. The performance did not begin before five o'clock, in the eighteenth century, [60] DANS L'HIVER. The modern form is _en hiver_. [61] JURANT PAR CI PAR L , 'Swearing every now and then.' [62] AUX TUILERIES. The Cours-la-Reine, in the Champs-Elys es, the Tuileries gardens, and the Palais-Royal, with its covered galleries and its garden, were the fashionable resorts of promenaders in the eighteenth century. [63] CE QU'IL. The _ce_ is superfluous. [64] PERCER = _S'apercevoir_. [65] JE ME REMETS = _J'y suis_. [66] OUI-DA. See _Le Jeu de l'amour et du hasard_, note 21. [67] COMME PASSANT, for _comme en passant_. Compare _les Fausses Confidences_, note 26. [68] C'EST AUTANT DE PRIS. See _le Jeu de l'amour et du hasard_, note 54. [69] QU'EST-IL = _Pourquoi est-il_? [70] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [71] IL LES FAIT COMME IL LES A. Untranslatable, save by an quivalent. It is a pun on Dubois' remark: "making eyes at her." [72] PRENEZ TOUJOURS, 'Take note of them nevertheless." [73] LE. The text of 1758 prints _le_; _ce_ would carry out the sense even better. See _le Legs_, note 38. [74] APPAREMMENT, 'Evidently.' This adverb may be used with or without the conjunction _que_ to introduce a verb. [75] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [76] UNE GUENON, 'a fool.' [77] QUI SE FASSE = _Qu'il y ait_. [78] LES PETITES-MAISONS. The old Maladrerie de Saint-Germain, which in 1554 became the H pital Saint-Germain, later known as les Petites-Maisons, on account of the great number of cells into which it was divided. It was used to house infirm old men and women, who received a small weekly dole, lunatics, and patients suffering from loathsome diseases. The name became synonymous with either a mad-house or a hospital for certain diseases: it was changed in 1801 to les Petits-M nages, the insane having then been transferred, the men to Bic tre, the women to La Salp tri re. [79] BIEN VENANTS, 'Paid regularly.' Marivaux, like the authors of the preceding century, considered _bien venants_ as an adjective, and hence declinable: but _livre_ is feminine, and we should expect here the form _bien venantes_. The Academy has declared the expression indeclinable. Compare: "Je le voyais avec vingt-huit mille livres de rente bien venantes" (Mme. de S vign , Dec. 28, 1689). [80] APPAREMMENT. See _les Fausses Confidences_, note 74. [81] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [82] VOUS N'AVEZ POINT DE GR ME SAVOIR. A well-known idiom, better expressed to-day: _Vous n'avez point me savoir gr _. [83] D'AVEC. A shortened form for some such phrase as _d'une conversation avec. D'avec_ is generally to be translated 'from,' 'in contradiction to.' [84] A QUEL HOMME EN VEUT-IL? 'For what man is he looking?' Compare _le Jeu de l'amour et du hasard_, note 68. [85] A VOUS. _Aupr s de vous_ would be the modern expression. [86] LE FAISANT SORTIR. Note the peculiar use of _le_, which nowadays would be replaced by the noun to which it refers--_le gar on_. [87] DONT. Better _que_. See _Le Jeu de l'amour et du hasard_, note 175. [88] DESSUS. For _l -dessus_. [89] SANS DIFFICULT . See _le Jeu de l'amour et du hasard_, note 154. [90] DE NE VOUS PAS AIMER. _De ne pas vous aimer_ is the more natural order in modern French. [91] IL N'A QUE FAIRE DE, 'He has no need to.' Compare _le Jeu de l'amour et du hasard_, note, 141. [92] C'EST UN PORTRAIT DE FEMME. The construction of the sentence is peculiar and incomplete. It requires the introduction, before _c'est un portrait_, of the words _c'est que_. In modern French the awkwardness of this form would be obviated. In the second clause _que_ would have to be prefixed to _c'est ici_. [93] QUAND. _Puisque_ is also found in incomplete expressions of this kind. The thought might be completed as follows: _Mais, quand_ (or _puisque_) _je vous dis, etc., vous devriez me croire_. [94] ENTENDU, used here in the sense of _compris_. [95] HUPP ES, 'Fancy,' 'smartly dressed.' It often means 'smart.' Compare; "Combien en as-tu vu, je dis des plus hupp es." (Racine, _Les Plaideurs_, J, 4); "Bien hupp qui pourra m'attraper sur ce point!" (Moli re, _ cole des femmes_, 1, I). [96] JE N'EN RABATS RIEN, 'I retract nothing.' That is to say, 'I insist that it is the Count.' [97] PLAISANT, 'Ridiculous.' [98] COMME DE CELA. With some gesture of contempt. See _le Legs_, note 108. [99] LUI. For _le_. The verb _d fier_ governs to-day the accusative and not the dative. [100] QU'IL. Later editions print _qui_, which is the correct form. The thought may be expressed more simply by the phrase _Je l'avais vu le contempler_. [101] CE QUI EST DE S R = _Ce qu'il y a de s r_. [102] LE SUJET = _La raison_. [103] DE BONNE MAIN, 'By a reliable person.' (Littr , "main," 17 .) [104] CONSENS... DE. The verb _consentir_ takes either _de_ or _ _, before a following infinitive, although in modern French the latter is the more common. [105] TOUS PROC S. Later editions print _tout proc s_, which is the more natural modern form. The plural, in the sense of 'each' or 'every' is, however, sometimes found without the article. Compare: "L'auteur des dialogues a dit que les belles sont de tous pays, et moi je dis que les sottises sont de tous les si cles " (Fontenelle, _Jugement de Pluton_). [106] AVOIR PRISE ... AVEC, 'To have a dispute with.' PRISE, 'Quarrel,' 'dispute' (Littr , 6 , also Dict. de l'Acad., 1878). [107] TOUS. Later editions print _tout_, which is the modern form. In the seventeenth and early eighteenth centuries is was not customary to consider the adverbial _tout_ as necessarily invariable. [108] MOUVEMENT. See _le Jeu de l'amour et du hasard_, note 162. [109] DONT. _Que is preferable. See _Le Jeu de l'amour et du hasard_, note 175. [110] SAVOIS. A not uncommon use of the imperfect indicative in the sense of the conditional. [111] JE N'AUROIS QUE FAIRE DE. See _le Jeu de l'amour et du hasard_, note 68. Compare _le Jeu de l'amour et du hasard_, note 141, and _le Legs_, note 85. [112] A TOI. The English idiom is 'of you.' [113] AU MOINS, 'Nevertheless.' [114] CAPABLE. Most editions print _incapable_, beginning the sentence with _s'il_, and punctuating with a comma after _incapable_. The sense is better carried out with such a rendering. [115] Des biais = _Des moyens d tourn s_. [116] L'EN D DIRE = _Le d mentir_. [117] COMME S'EN ALLANT. See _les Fausses Confidences_, note 26. [118] A CE QU'IL EST N = _A sa naissance_. [119] C'EST DE DORANTE, for _Il est de Dorante_: 'It has been painted by Dorante.' [120] M'EN FAIRE ACCROIRE, 'To impose upon me.' [121] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [122] This speech of Dorante's and Araminte's answer seem to have inspired Augier and Sandeau in the scene between Bertrand and H l ne, in _Mlle. de la Seigli re_, Act III, sc. 7. [123] QUE MON AMOUR N'EN AUGMENTE. See _Le jeu de l'amour et du hasard_, note 137. [124] JE L'AI PEINTE. The _peinte_ refers to and agrees with _la_ in Dorante's preceding speech. [125] AVANT QUE DE. See _Le jeu de l'amour et du hasard_, note 117. [126] RUE DU FIGUIER. A very ancient and historic street in Paris, situated not far from the Lyc e Charlemagne, and making a triangle with the rue Charlemagne and the rue Fauconnier. Even before the year 1300 it bore this name, from a fine fig-tree which stood at its juncture with the rue Fauconnier, and which was standing as late as 1605. The most important edifice of the street is the H tel de Sens, built in the sixteenth century by the Archbishop Tristan de Salazar. It was for a time the residence of Marguerite, first wife of Henry IV. [127] JE LUI RECOMMANDERAI. Later editions print _je le lui recommanderai_. Attention has already been called to Marivaux's custom of omitting the direct object pronoun in similar constructions. Compare _le Jeu de l'amour et du hasard_, note 210, and _le Legs_, note 29. [128] MOUVEMENTS. See _Le jeu de l'amour et du hasard_, note 162. [129] LUI. See note 99. [130] FATIGUE, 'Importune' (Littr , 4 ).' Compare: "Ainsi donc mes bont s vous fatiguent peut- tre" (Racine, _B r nice_, II, 4). [131] AMUSER. See _Le jeu de l'amour et du hasard_, note 41. [132] EN FAIT DE DISCR TION, JE M RITERAIS D' TRE FEMME. _Discr tion_ means here 'the ability to keep a secret' (Littr , 5 ). Compare; "Rien ne p se tant qu'un secret: Le porter loin est difficile aux dames; Et je sais m me sur ce fait Bon nombre d'hommes qui sont femmes.' (La Fontaine, _Fables_, viii, 6.) [133] LE DIABLE N'Y PERD RIEN, is said of a person who restrains his feelings with difficulty, or only temporarily (Littr , "diable." 2 ). The whole phrase might here be translated by: 'She cannot conceal the matter, nor will I.' [134] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [135] OUI-DA. See _le Jeu de l'amour et du hasard_, note 21. [136] DEMEURE. The incorrect use of this verb by Harlequin adds to the comic of the piece. For correct French one might substitute _se trouve_. [137] LA RUE DU FIGUIER. See note 126. [138] SAIS. _Savoir_ as used here means 'to know about the street,' 'to know that it exists,' 'to know where it may be found'; _conna tre_ would mean 'to be acquainted with it.' [139] RENDRA = _Remettra_. [140] RENDREZ. Some of the later editions print _rendez_. [141] QUE JE N'AIE VU, 'Until I have seen.' The negative particle _ne_ is required in a phrase introduced by _que_, when this conjunction stands in the place of _avant que_. [142] PR SOMPTIONS. 'Presumptions' or 'reasonable suppositions.' Compare: "Ce ne sont pas l des convictions enti res; mais ce sont les pr somptions les plus fortes" (Voltaire, _Essai sur les moeurs et l'esprit des nations_, chap. 166). [143] DE VOTRE FA ON, 'Of your choosing.' [144] TOUT. Later editions print _tout le monde_, which is evidently the sense in which this word is used. [145] ROGUE, 'Arrogant.' In the edition of 1758 the word is printed _roque_, which has led some editors into the error of correcting to _rauque_ (hoarse). [146] NOUS N'AVONS QUE FAIRE ENSEMBLE, 'We have no dealings together.' [147] NON QUE JE SACHE. _Non, pas que je sache_ is the more complete modern expression. [148] A CAUSE QUE. _Parce que_ is more modern. Littr favors the retention of _ cause que_, since it is used by good authors, and, in certain cases, is preferable to _parce que_. [149] AMPLIFIE, 'Exaggerates.' [150] HORS D'OEUVRE = _Hors de propos_. Generally used to-day as a substantive, but in the seventeenth and eighteenth centuries often used adverbially as here. Compare: "Dans le _Cid_, toutes celles (the scenes) de l'infante sont d tach es, et paraissent hors d'oeuvre" (Corneille, _Horace_, Examen). [151] ENFANCE. For the more modern word _enfantillage_, although the Dict. de l'Acad., 1878, retains the word in this sense. Compare: "Ils ne font que des enfances" (Mme. de S vign , Jan. 26, 1689). "On passait encore les enfances Mme. la duchesse de Bourgogne par la gr ce qu'elle y mettait" (St. Simon. 294, 6). "Ce sont des b tises ou des enfances dont il n'y a que de bonnes gens qui soient capables" (_Marianne_, 2e partie.) See _le Legs_, note 29. [152] TOUT L'HEURE. In the sense of _tout de suite_ the expression is to-day obsolete, and is not admitted by the Dict. de l'Acad., 1878. See _le Legs_, note 76. [153] CAUSE QUE. See note 147. [154] ENTEND. See _le Jeu de l'amour et du hasard_, note 247. [155] APPAREMMENT, 'Manifestly,' 'Of course.' In this sense the word has become obsolete, and is not admitted by the Dict. de l'Acad., 1878. [156] VOUS N'Y SONGEZ PAS. See _le Legs_, note 58, _le Legs_, note 102. [157] D LIVR E. The edition of 1758 prints _d livr es_, which will be accounted for by the speaker's including madame Argante in his mind. The singular is, however, preferable. [158] EUS. The edition of 1758 prints the past participle _eu_, without making it agree with the preceding object pronoun. See _le Legs_, note 56. [159] NOUS DIS. For the position of the object pronoun see note 18. [160] EUES. The edition of 1738 prints _eu_. For similar carelessness in Marivaux's use of the past participle compare _le Legs_, note 56, and note 158. [161] AFFRONT , 'Deceived' (Littr , 2 , also the Dict. de l'Acad., 1878). [162] FERMIER, 'Farmer,' 'One holding a farm by lease.' [163] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [164] A CAUSE QUE. See note 147. [165] OUF! MA GLOIRE M'ACCABLE; ET JE M RITEROIS BIEN D'APPELER CETTE FEMME-L MA BRU. This expression, seeming too violent to the spectators of to-day, was suppressed by the Com die-Fran aise, March 5, 1881. The play ends with the words of Araminte. See Larroumet, p. 227, note 1. [166] PARDI. See _le Jeu de l'amour et du hasard_, note 15. End of the Project Gutenberg EBook of A Selection from the Comedies of Marivaux, by Pierre Carlet de Chamblain de Marivaux *** END OF THIS PROJECT GUTENBERG EBOOK COMEDIES OF MARIVAUX *** ***** This file should be named 12504-8.txt or 12504-8.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.net/1/2/5/0/12504/ Produced by Anne Soulard, Charles Aldarondo, Keren Vergon and the Online Distributed Proofreading Team. Updated editions will replace the previous one--the old editions will be renamed. 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civil

How many times the word 'civil' appears in the text?

2.) [15] VOUS M'EN DIREZ DES NOUVELLES. See _le jeu de l'amour et du hasard_, note 242. [16] DIANTRE. See _le Legs_, note 101. [17] L . _Dans la t te_, with a gesture. [18] D RANG . 'Disorderly' or 'irregular' (in his affairs). [19] SERVITEUR AU COLLAT RAL, 'Then the collateral heirs will have to go without.' _Serviteur au_ is here used in the sense of _tant pis pour. Serviteur_ is not infrequently used as a formula of dismissal. [20] VOUS METTEZ. An inverted order quite common in the seventeenth and eighteenth centuries, when the second of two imperatives is construed with an object pronoun. Compare: "Quittez cette chim re, et m'aimez " (Corneille). "Polissez-le sans cesse et le repolissez" (Boileau, _Art Po tique_, Chant 1). [21] DONT. _Que would preferably be used to-day, so as not to repeat the construction of the antecedent. Compare _le Jeu de l'amour et du hasard_, note 175. [22] QU'IL VOUS REVIENNE, 'That you like him.' [23] MONSIEUR PR VIENT EN SA FAVEUR, 'The gentleman's appearance speaks in his favour.' [24] GR CES. In modern French the singular is preferred. [25] EST-CE VOUS QUI IL EN VEUT, 'Is it you whom he has come to see?' See _le Jeu de l'amour et du hasard_, note 68; _le Jeu de l'amour et du hasard_, note 175 and note 176; _le Legs_, note 132, and _le Legs_, note 135. [26] COMME S'EN ALLANT, for, _comme en s'en allant. [27] PARTI, 'Position' (Littr , 10 ). The idea of 'salary' is conveyed by the word as used here. [28] RENVERRAI TOUT. That is to say, _tout ce qui se pr sentera_; 'I will dismiss all other applicants.' [29] PARTI. See note 27. [30] REPR SENTE, 'call attention, 'set forth'; a form often used in petitions. [31] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [32] A VOTRE AISE LE RESTE, 'The rest when you like.' [33] D'O VIENT PR F RER CELUI-CI. See _le Jeu de l'amour et du hasard_, note 220. [34] ARR T , for the modern French _engag _ ('engaged'). [35] IL ME TARDE, 'I long.' [36] EN PASSE, 'In a position to.' [37] D'ALLER TOUT. For the more modern expression _d'arriver tout_, 'to attain any height.' [38] D FAITE, 'Excuse' or 'pretext' (Littr ", 4 , also Diet, de l'Acad. 1878). [39] L VATION. Used here with the unusual meaning of 'desire for social eminence.' [40] ELLE S'ENDORT DANS CET TAT, 'She is satisfied with her condition.' While already in the seventeenth century the ambition of rich _bourgeois_ to gain admission to the exclusive circles of the nobility had been sufficiently marked to induce Moli re to attack it in his _Bourgeois gentilhomme_, it was even more noticeable in the eighteenth, and _m salliances_ between noblemen and women of the middle class became much more frequent. [41] R FLEXION ROTURI RE. _Roture_ was the expression used to denote the _bourgeoisie_ as distinguished from the nobility. [42] JE N'Y ENTENDS POINT DE FINESSE, 'I cannot enter into such subtle distinctions on the question of happiness.' She refuses to discuss the possibility of Araminte's preferring happiness to rank. For her, rank means happiness, as would wealth. [43] IL ME L'A PARU = _Cela nil a paru ainsi_. [44] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [45] J'Y METTRAI BON ORDRE. See _le Jeu de l'amour et du hasard_, note 169. [46] PLAISANT. See _le Jeu de l'amour et du hasard_, note 37. [47] TIMBR COMME CENT, 'As crazy as a loon.' It is difficult to preserve the figure in an idiomatic translation. Compare the colloquial English, "You act like _sixty_." [48] CERVELLE BR L E. A peculiar use of _cervelle_. _Br l e_ is used here by Marivaux in the sense _troubl e_, as in the passage from Mme. de S vign : "Mme. de Saint-G ran est toute br l e du d part de son mari." [49] IL EN EST COMME UN PERDU, 'He is like a man who has lost his reason.' Cf. _le Jeu de l'amour et du hasard_, note 120. [50] UN PEU BOUDANT. Nowadays the adverb follows the verb. Here _boudant_ might at first thought be taken for an adjective, but it is a present participle used verbally and consequently invariable. [51] ON A BIEN AFFAIRE DE, 'I have no use for.' This idiom must not be confounded with _avoir affaire _, which means 'to have to deal with.' [52] ESPRIT RENVERS , 'A crazy man.' [53] MALEPESTE. See _le Legs_, note 48. [54] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [55] IL N'Y AVOIT PLUS PERSONNE AU LOGIS, 'He was quite unconscious.' (Littr , "logis," 1 .) [56] D' PIER. Later editions print _qu' pier_, as _d' pier_ would not be admissible in modern French. _Que de r ver... que d' pier_ would be the most natural modern form. [57] PAYOIS BOUTEILLE = _Payais boire_. [58] LA COM DIE. The _Com die-Fran aise_, or _Th tre-Fran ais_, then, as now, the leading theatre in Paris. [59] D S QUATRE HEURES. The performance did not begin before five o'clock, in the eighteenth century, [60] DANS L'HIVER. The modern form is _en hiver_. [61] JURANT PAR CI PAR L , 'Swearing every now and then.' [62] AUX TUILERIES. The Cours-la-Reine, in the Champs-Elys es, the Tuileries gardens, and the Palais-Royal, with its covered galleries and its garden, were the fashionable resorts of promenaders in the eighteenth century. [63] CE QU'IL. The _ce_ is superfluous. [64] PERCER = _S'apercevoir_. [65] JE ME REMETS = _J'y suis_. [66] OUI-DA. See _Le Jeu de l'amour et du hasard_, note 21. [67] COMME PASSANT, for _comme en passant_. Compare _les Fausses Confidences_, note 26. [68] C'EST AUTANT DE PRIS. See _le Jeu de l'amour et du hasard_, note 54. [69] QU'EST-IL = _Pourquoi est-il_? [70] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [71] IL LES FAIT COMME IL LES A. Untranslatable, save by an quivalent. It is a pun on Dubois' remark: "making eyes at her." [72] PRENEZ TOUJOURS, 'Take note of them nevertheless." [73] LE. The text of 1758 prints _le_; _ce_ would carry out the sense even better. See _le Legs_, note 38. [74] APPAREMMENT, 'Evidently.' This adverb may be used with or without the conjunction _que_ to introduce a verb. [75] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [76] UNE GUENON, 'a fool.' [77] QUI SE FASSE = _Qu'il y ait_. [78] LES PETITES-MAISONS. The old Maladrerie de Saint-Germain, which in 1554 became the H pital Saint-Germain, later known as les Petites-Maisons, on account of the great number of cells into which it was divided. It was used to house infirm old men and women, who received a small weekly dole, lunatics, and patients suffering from loathsome diseases. The name became synonymous with either a mad-house or a hospital for certain diseases: it was changed in 1801 to les Petits-M nages, the insane having then been transferred, the men to Bic tre, the women to La Salp tri re. [79] BIEN VENANTS, 'Paid regularly.' Marivaux, like the authors of the preceding century, considered _bien venants_ as an adjective, and hence declinable: but _livre_ is feminine, and we should expect here the form _bien venantes_. The Academy has declared the expression indeclinable. Compare: "Je le voyais avec vingt-huit mille livres de rente bien venantes" (Mme. de S vign , Dec. 28, 1689). [80] APPAREMMENT. See _les Fausses Confidences_, note 74. [81] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [82] VOUS N'AVEZ POINT DE GR ME SAVOIR. A well-known idiom, better expressed to-day: _Vous n'avez point me savoir gr _. [83] D'AVEC. A shortened form for some such phrase as _d'une conversation avec. D'avec_ is generally to be translated 'from,' 'in contradiction to.' [84] A QUEL HOMME EN VEUT-IL? 'For what man is he looking?' Compare _le Jeu de l'amour et du hasard_, note 68. [85] A VOUS. _Aupr s de vous_ would be the modern expression. [86] LE FAISANT SORTIR. Note the peculiar use of _le_, which nowadays would be replaced by the noun to which it refers--_le gar on_. [87] DONT. Better _que_. See _Le Jeu de l'amour et du hasard_, note 175. [88] DESSUS. For _l -dessus_. [89] SANS DIFFICULT . See _le Jeu de l'amour et du hasard_, note 154. [90] DE NE VOUS PAS AIMER. _De ne pas vous aimer_ is the more natural order in modern French. [91] IL N'A QUE FAIRE DE, 'He has no need to.' Compare _le Jeu de l'amour et du hasard_, note, 141. [92] C'EST UN PORTRAIT DE FEMME. The construction of the sentence is peculiar and incomplete. It requires the introduction, before _c'est un portrait_, of the words _c'est que_. In modern French the awkwardness of this form would be obviated. In the second clause _que_ would have to be prefixed to _c'est ici_. [93] QUAND. _Puisque_ is also found in incomplete expressions of this kind. The thought might be completed as follows: _Mais, quand_ (or _puisque_) _je vous dis, etc., vous devriez me croire_. [94] ENTENDU, used here in the sense of _compris_. [95] HUPP ES, 'Fancy,' 'smartly dressed.' It often means 'smart.' Compare; "Combien en as-tu vu, je dis des plus hupp es." (Racine, _Les Plaideurs_, J, 4); "Bien hupp qui pourra m'attraper sur ce point!" (Moli re, _ cole des femmes_, 1, I). [96] JE N'EN RABATS RIEN, 'I retract nothing.' That is to say, 'I insist that it is the Count.' [97] PLAISANT, 'Ridiculous.' [98] COMME DE CELA. With some gesture of contempt. See _le Legs_, note 108. [99] LUI. For _le_. The verb _d fier_ governs to-day the accusative and not the dative. [100] QU'IL. Later editions print _qui_, which is the correct form. The thought may be expressed more simply by the phrase _Je l'avais vu le contempler_. [101] CE QUI EST DE S R = _Ce qu'il y a de s r_. [102] LE SUJET = _La raison_. [103] DE BONNE MAIN, 'By a reliable person.' (Littr , "main," 17 .) [104] CONSENS... DE. The verb _consentir_ takes either _de_ or _ _, before a following infinitive, although in modern French the latter is the more common. [105] TOUS PROC S. Later editions print _tout proc s_, which is the more natural modern form. The plural, in the sense of 'each' or 'every' is, however, sometimes found without the article. Compare: "L'auteur des dialogues a dit que les belles sont de tous pays, et moi je dis que les sottises sont de tous les si cles " (Fontenelle, _Jugement de Pluton_). [106] AVOIR PRISE ... AVEC, 'To have a dispute with.' PRISE, 'Quarrel,' 'dispute' (Littr , 6 , also Dict. de l'Acad., 1878). [107] TOUS. Later editions print _tout_, which is the modern form. In the seventeenth and early eighteenth centuries is was not customary to consider the adverbial _tout_ as necessarily invariable. [108] MOUVEMENT. See _le Jeu de l'amour et du hasard_, note 162. [109] DONT. _Que is preferable. See _Le Jeu de l'amour et du hasard_, note 175. [110] SAVOIS. A not uncommon use of the imperfect indicative in the sense of the conditional. [111] JE N'AUROIS QUE FAIRE DE. See _le Jeu de l'amour et du hasard_, note 68. Compare _le Jeu de l'amour et du hasard_, note 141, and _le Legs_, note 85. [112] A TOI. The English idiom is 'of you.' [113] AU MOINS, 'Nevertheless.' [114] CAPABLE. Most editions print _incapable_, beginning the sentence with _s'il_, and punctuating with a comma after _incapable_. The sense is better carried out with such a rendering. [115] Des biais = _Des moyens d tourn s_. [116] L'EN D DIRE = _Le d mentir_. [117] COMME S'EN ALLANT. See _les Fausses Confidences_, note 26. [118] A CE QU'IL EST N = _A sa naissance_. [119] C'EST DE DORANTE, for _Il est de Dorante_: 'It has been painted by Dorante.' [120] M'EN FAIRE ACCROIRE, 'To impose upon me.' [121] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [122] This speech of Dorante's and Araminte's answer seem to have inspired Augier and Sandeau in the scene between Bertrand and H l ne, in _Mlle. de la Seigli re_, Act III, sc. 7. [123] QUE MON AMOUR N'EN AUGMENTE. See _Le jeu de l'amour et du hasard_, note 137. [124] JE L'AI PEINTE. The _peinte_ refers to and agrees with _la_ in Dorante's preceding speech. [125] AVANT QUE DE. See _Le jeu de l'amour et du hasard_, note 117. [126] RUE DU FIGUIER. A very ancient and historic street in Paris, situated not far from the Lyc e Charlemagne, and making a triangle with the rue Charlemagne and the rue Fauconnier. Even before the year 1300 it bore this name, from a fine fig-tree which stood at its juncture with the rue Fauconnier, and which was standing as late as 1605. The most important edifice of the street is the H tel de Sens, built in the sixteenth century by the Archbishop Tristan de Salazar. It was for a time the residence of Marguerite, first wife of Henry IV. [127] JE LUI RECOMMANDERAI. Later editions print _je le lui recommanderai_. Attention has already been called to Marivaux's custom of omitting the direct object pronoun in similar constructions. Compare _le Jeu de l'amour et du hasard_, note 210, and _le Legs_, note 29. [128] MOUVEMENTS. See _Le jeu de l'amour et du hasard_, note 162. [129] LUI. See note 99. [130] FATIGUE, 'Importune' (Littr , 4 ).' Compare: "Ainsi donc mes bont s vous fatiguent peut- tre" (Racine, _B r nice_, II, 4). [131] AMUSER. See _Le jeu de l'amour et du hasard_, note 41. [132] EN FAIT DE DISCR TION, JE M RITERAIS D' TRE FEMME. _Discr tion_ means here 'the ability to keep a secret' (Littr , 5 ). Compare; "Rien ne p se tant qu'un secret: Le porter loin est difficile aux dames; Et je sais m me sur ce fait Bon nombre d'hommes qui sont femmes.' (La Fontaine, _Fables_, viii, 6.) [133] LE DIABLE N'Y PERD RIEN, is said of a person who restrains his feelings with difficulty, or only temporarily (Littr , "diable." 2 ). The whole phrase might here be translated by: 'She cannot conceal the matter, nor will I.' [134] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [135] OUI-DA. See _le Jeu de l'amour et du hasard_, note 21. [136] DEMEURE. The incorrect use of this verb by Harlequin adds to the comic of the piece. For correct French one might substitute _se trouve_. [137] LA RUE DU FIGUIER. See note 126. [138] SAIS. _Savoir_ as used here means 'to know about the street,' 'to know that it exists,' 'to know where it may be found'; _conna tre_ would mean 'to be acquainted with it.' [139] RENDRA = _Remettra_. [140] RENDREZ. Some of the later editions print _rendez_. [141] QUE JE N'AIE VU, 'Until I have seen.' The negative particle _ne_ is required in a phrase introduced by _que_, when this conjunction stands in the place of _avant que_. [142] PR SOMPTIONS. 'Presumptions' or 'reasonable suppositions.' Compare: "Ce ne sont pas l des convictions enti res; mais ce sont les pr somptions les plus fortes" (Voltaire, _Essai sur les moeurs et l'esprit des nations_, chap. 166). [143] DE VOTRE FA ON, 'Of your choosing.' [144] TOUT. Later editions print _tout le monde_, which is evidently the sense in which this word is used. [145] ROGUE, 'Arrogant.' In the edition of 1758 the word is printed _roque_, which has led some editors into the error of correcting to _rauque_ (hoarse). [146] NOUS N'AVONS QUE FAIRE ENSEMBLE, 'We have no dealings together.' [147] NON QUE JE SACHE. _Non, pas que je sache_ is the more complete modern expression. [148] A CAUSE QUE. _Parce que_ is more modern. Littr favors the retention of _ cause que_, since it is used by good authors, and, in certain cases, is preferable to _parce que_. [149] AMPLIFIE, 'Exaggerates.' [150] HORS D'OEUVRE = _Hors de propos_. Generally used to-day as a substantive, but in the seventeenth and eighteenth centuries often used adverbially as here. Compare: "Dans le _Cid_, toutes celles (the scenes) de l'infante sont d tach es, et paraissent hors d'oeuvre" (Corneille, _Horace_, Examen). [151] ENFANCE. For the more modern word _enfantillage_, although the Dict. de l'Acad., 1878, retains the word in this sense. Compare: "Ils ne font que des enfances" (Mme. de S vign , Jan. 26, 1689). "On passait encore les enfances Mme. la duchesse de Bourgogne par la gr ce qu'elle y mettait" (St. Simon. 294, 6). "Ce sont des b tises ou des enfances dont il n'y a que de bonnes gens qui soient capables" (_Marianne_, 2e partie.) See _le Legs_, note 29. [152] TOUT L'HEURE. In the sense of _tout de suite_ the expression is to-day obsolete, and is not admitted by the Dict. de l'Acad., 1878. See _le Legs_, note 76. [153] CAUSE QUE. See note 147. [154] ENTEND. See _le Jeu de l'amour et du hasard_, note 247. [155] APPAREMMENT, 'Manifestly,' 'Of course.' In this sense the word has become obsolete, and is not admitted by the Dict. de l'Acad., 1878. [156] VOUS N'Y SONGEZ PAS. See _le Legs_, note 58, _le Legs_, note 102. [157] D LIVR E. The edition of 1758 prints _d livr es_, which will be accounted for by the speaker's including madame Argante in his mind. The singular is, however, preferable. [158] EUS. The edition of 1758 prints the past participle _eu_, without making it agree with the preceding object pronoun. See _le Legs_, note 56. [159] NOUS DIS. For the position of the object pronoun see note 18. [160] EUES. The edition of 1738 prints _eu_. For similar carelessness in Marivaux's use of the past participle compare _le Legs_, note 56, and note 158. [161] AFFRONT , 'Deceived' (Littr , 2 , also the Dict. de l'Acad., 1878). [162] FERMIER, 'Farmer,' 'One holding a farm by lease.' [163] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [164] A CAUSE QUE. See note 147. [165] OUF! MA GLOIRE M'ACCABLE; ET JE M RITEROIS BIEN D'APPELER CETTE FEMME-L MA BRU. This expression, seeming too violent to the spectators of to-day, was suppressed by the Com die-Fran aise, March 5, 1881. The play ends with the words of Araminte. See Larroumet, p. 227, note 1. [166] PARDI. See _le Jeu de l'amour et du hasard_, note 15. End of the Project Gutenberg EBook of A Selection from the Comedies of Marivaux, by Pierre Carlet de Chamblain de Marivaux *** END OF THIS PROJECT GUTENBERG EBOOK COMEDIES OF MARIVAUX *** ***** This file should be named 12504-8.txt or 12504-8.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.net/1/2/5/0/12504/ Produced by Anne Soulard, Charles Aldarondo, Keren Vergon and the Online Distributed Proofreading Team. Updated editions will replace the previous one--the old editions will be renamed. 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serviteur

How many times the word 'serviteur' appears in the text?

2.) [15] VOUS M'EN DIREZ DES NOUVELLES. See _le jeu de l'amour et du hasard_, note 242. [16] DIANTRE. See _le Legs_, note 101. [17] L . _Dans la t te_, with a gesture. [18] D RANG . 'Disorderly' or 'irregular' (in his affairs). [19] SERVITEUR AU COLLAT RAL, 'Then the collateral heirs will have to go without.' _Serviteur au_ is here used in the sense of _tant pis pour. Serviteur_ is not infrequently used as a formula of dismissal. [20] VOUS METTEZ. An inverted order quite common in the seventeenth and eighteenth centuries, when the second of two imperatives is construed with an object pronoun. Compare: "Quittez cette chim re, et m'aimez " (Corneille). "Polissez-le sans cesse et le repolissez" (Boileau, _Art Po tique_, Chant 1). [21] DONT. _Que would preferably be used to-day, so as not to repeat the construction of the antecedent. Compare _le Jeu de l'amour et du hasard_, note 175. [22] QU'IL VOUS REVIENNE, 'That you like him.' [23] MONSIEUR PR VIENT EN SA FAVEUR, 'The gentleman's appearance speaks in his favour.' [24] GR CES. In modern French the singular is preferred. [25] EST-CE VOUS QUI IL EN VEUT, 'Is it you whom he has come to see?' See _le Jeu de l'amour et du hasard_, note 68; _le Jeu de l'amour et du hasard_, note 175 and note 176; _le Legs_, note 132, and _le Legs_, note 135. [26] COMME S'EN ALLANT, for, _comme en s'en allant. [27] PARTI, 'Position' (Littr , 10 ). The idea of 'salary' is conveyed by the word as used here. [28] RENVERRAI TOUT. That is to say, _tout ce qui se pr sentera_; 'I will dismiss all other applicants.' [29] PARTI. See note 27. [30] REPR SENTE, 'call attention, 'set forth'; a form often used in petitions. [31] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [32] A VOTRE AISE LE RESTE, 'The rest when you like.' [33] D'O VIENT PR F RER CELUI-CI. See _le Jeu de l'amour et du hasard_, note 220. [34] ARR T , for the modern French _engag _ ('engaged'). [35] IL ME TARDE, 'I long.' [36] EN PASSE, 'In a position to.' [37] D'ALLER TOUT. For the more modern expression _d'arriver tout_, 'to attain any height.' [38] D FAITE, 'Excuse' or 'pretext' (Littr ", 4 , also Diet, de l'Acad. 1878). [39] L VATION. Used here with the unusual meaning of 'desire for social eminence.' [40] ELLE S'ENDORT DANS CET TAT, 'She is satisfied with her condition.' While already in the seventeenth century the ambition of rich _bourgeois_ to gain admission to the exclusive circles of the nobility had been sufficiently marked to induce Moli re to attack it in his _Bourgeois gentilhomme_, it was even more noticeable in the eighteenth, and _m salliances_ between noblemen and women of the middle class became much more frequent. [41] R FLEXION ROTURI RE. _Roture_ was the expression used to denote the _bourgeoisie_ as distinguished from the nobility. [42] JE N'Y ENTENDS POINT DE FINESSE, 'I cannot enter into such subtle distinctions on the question of happiness.' She refuses to discuss the possibility of Araminte's preferring happiness to rank. For her, rank means happiness, as would wealth. [43] IL ME L'A PARU = _Cela nil a paru ainsi_. [44] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [45] J'Y METTRAI BON ORDRE. See _le Jeu de l'amour et du hasard_, note 169. [46] PLAISANT. See _le Jeu de l'amour et du hasard_, note 37. [47] TIMBR COMME CENT, 'As crazy as a loon.' It is difficult to preserve the figure in an idiomatic translation. Compare the colloquial English, "You act like _sixty_." [48] CERVELLE BR L E. A peculiar use of _cervelle_. _Br l e_ is used here by Marivaux in the sense _troubl e_, as in the passage from Mme. de S vign : "Mme. de Saint-G ran est toute br l e du d part de son mari." [49] IL EN EST COMME UN PERDU, 'He is like a man who has lost his reason.' Cf. _le Jeu de l'amour et du hasard_, note 120. [50] UN PEU BOUDANT. Nowadays the adverb follows the verb. Here _boudant_ might at first thought be taken for an adjective, but it is a present participle used verbally and consequently invariable. [51] ON A BIEN AFFAIRE DE, 'I have no use for.' This idiom must not be confounded with _avoir affaire _, which means 'to have to deal with.' [52] ESPRIT RENVERS , 'A crazy man.' [53] MALEPESTE. See _le Legs_, note 48. [54] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [55] IL N'Y AVOIT PLUS PERSONNE AU LOGIS, 'He was quite unconscious.' (Littr , "logis," 1 .) [56] D' PIER. Later editions print _qu' pier_, as _d' pier_ would not be admissible in modern French. _Que de r ver... que d' pier_ would be the most natural modern form. [57] PAYOIS BOUTEILLE = _Payais boire_. [58] LA COM DIE. The _Com die-Fran aise_, or _Th tre-Fran ais_, then, as now, the leading theatre in Paris. [59] D S QUATRE HEURES. The performance did not begin before five o'clock, in the eighteenth century, [60] DANS L'HIVER. The modern form is _en hiver_. [61] JURANT PAR CI PAR L , 'Swearing every now and then.' [62] AUX TUILERIES. The Cours-la-Reine, in the Champs-Elys es, the Tuileries gardens, and the Palais-Royal, with its covered galleries and its garden, were the fashionable resorts of promenaders in the eighteenth century. [63] CE QU'IL. The _ce_ is superfluous. [64] PERCER = _S'apercevoir_. [65] JE ME REMETS = _J'y suis_. [66] OUI-DA. See _Le Jeu de l'amour et du hasard_, note 21. [67] COMME PASSANT, for _comme en passant_. Compare _les Fausses Confidences_, note 26. [68] C'EST AUTANT DE PRIS. See _le Jeu de l'amour et du hasard_, note 54. [69] QU'EST-IL = _Pourquoi est-il_? [70] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [71] IL LES FAIT COMME IL LES A. Untranslatable, save by an quivalent. It is a pun on Dubois' remark: "making eyes at her." [72] PRENEZ TOUJOURS, 'Take note of them nevertheless." [73] LE. The text of 1758 prints _le_; _ce_ would carry out the sense even better. See _le Legs_, note 38. [74] APPAREMMENT, 'Evidently.' This adverb may be used with or without the conjunction _que_ to introduce a verb. [75] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [76] UNE GUENON, 'a fool.' [77] QUI SE FASSE = _Qu'il y ait_. [78] LES PETITES-MAISONS. The old Maladrerie de Saint-Germain, which in 1554 became the H pital Saint-Germain, later known as les Petites-Maisons, on account of the great number of cells into which it was divided. It was used to house infirm old men and women, who received a small weekly dole, lunatics, and patients suffering from loathsome diseases. The name became synonymous with either a mad-house or a hospital for certain diseases: it was changed in 1801 to les Petits-M nages, the insane having then been transferred, the men to Bic tre, the women to La Salp tri re. [79] BIEN VENANTS, 'Paid regularly.' Marivaux, like the authors of the preceding century, considered _bien venants_ as an adjective, and hence declinable: but _livre_ is feminine, and we should expect here the form _bien venantes_. The Academy has declared the expression indeclinable. Compare: "Je le voyais avec vingt-huit mille livres de rente bien venantes" (Mme. de S vign , Dec. 28, 1689). [80] APPAREMMENT. See _les Fausses Confidences_, note 74. [81] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [82] VOUS N'AVEZ POINT DE GR ME SAVOIR. A well-known idiom, better expressed to-day: _Vous n'avez point me savoir gr _. [83] D'AVEC. A shortened form for some such phrase as _d'une conversation avec. D'avec_ is generally to be translated 'from,' 'in contradiction to.' [84] A QUEL HOMME EN VEUT-IL? 'For what man is he looking?' Compare _le Jeu de l'amour et du hasard_, note 68. [85] A VOUS. _Aupr s de vous_ would be the modern expression. [86] LE FAISANT SORTIR. Note the peculiar use of _le_, which nowadays would be replaced by the noun to which it refers--_le gar on_. [87] DONT. Better _que_. See _Le Jeu de l'amour et du hasard_, note 175. [88] DESSUS. For _l -dessus_. [89] SANS DIFFICULT . See _le Jeu de l'amour et du hasard_, note 154. [90] DE NE VOUS PAS AIMER. _De ne pas vous aimer_ is the more natural order in modern French. [91] IL N'A QUE FAIRE DE, 'He has no need to.' Compare _le Jeu de l'amour et du hasard_, note, 141. [92] C'EST UN PORTRAIT DE FEMME. The construction of the sentence is peculiar and incomplete. It requires the introduction, before _c'est un portrait_, of the words _c'est que_. In modern French the awkwardness of this form would be obviated. In the second clause _que_ would have to be prefixed to _c'est ici_. [93] QUAND. _Puisque_ is also found in incomplete expressions of this kind. The thought might be completed as follows: _Mais, quand_ (or _puisque_) _je vous dis, etc., vous devriez me croire_. [94] ENTENDU, used here in the sense of _compris_. [95] HUPP ES, 'Fancy,' 'smartly dressed.' It often means 'smart.' Compare; "Combien en as-tu vu, je dis des plus hupp es." (Racine, _Les Plaideurs_, J, 4); "Bien hupp qui pourra m'attraper sur ce point!" (Moli re, _ cole des femmes_, 1, I). [96] JE N'EN RABATS RIEN, 'I retract nothing.' That is to say, 'I insist that it is the Count.' [97] PLAISANT, 'Ridiculous.' [98] COMME DE CELA. With some gesture of contempt. See _le Legs_, note 108. [99] LUI. For _le_. The verb _d fier_ governs to-day the accusative and not the dative. [100] QU'IL. Later editions print _qui_, which is the correct form. The thought may be expressed more simply by the phrase _Je l'avais vu le contempler_. [101] CE QUI EST DE S R = _Ce qu'il y a de s r_. [102] LE SUJET = _La raison_. [103] DE BONNE MAIN, 'By a reliable person.' (Littr , "main," 17 .) [104] CONSENS... DE. The verb _consentir_ takes either _de_ or _ _, before a following infinitive, although in modern French the latter is the more common. [105] TOUS PROC S. Later editions print _tout proc s_, which is the more natural modern form. The plural, in the sense of 'each' or 'every' is, however, sometimes found without the article. Compare: "L'auteur des dialogues a dit que les belles sont de tous pays, et moi je dis que les sottises sont de tous les si cles " (Fontenelle, _Jugement de Pluton_). [106] AVOIR PRISE ... AVEC, 'To have a dispute with.' PRISE, 'Quarrel,' 'dispute' (Littr , 6 , also Dict. de l'Acad., 1878). [107] TOUS. Later editions print _tout_, which is the modern form. In the seventeenth and early eighteenth centuries is was not customary to consider the adverbial _tout_ as necessarily invariable. [108] MOUVEMENT. See _le Jeu de l'amour et du hasard_, note 162. [109] DONT. _Que is preferable. See _Le Jeu de l'amour et du hasard_, note 175. [110] SAVOIS. A not uncommon use of the imperfect indicative in the sense of the conditional. [111] JE N'AUROIS QUE FAIRE DE. See _le Jeu de l'amour et du hasard_, note 68. Compare _le Jeu de l'amour et du hasard_, note 141, and _le Legs_, note 85. [112] A TOI. The English idiom is 'of you.' [113] AU MOINS, 'Nevertheless.' [114] CAPABLE. Most editions print _incapable_, beginning the sentence with _s'il_, and punctuating with a comma after _incapable_. The sense is better carried out with such a rendering. [115] Des biais = _Des moyens d tourn s_. [116] L'EN D DIRE = _Le d mentir_. [117] COMME S'EN ALLANT. See _les Fausses Confidences_, note 26. [118] A CE QU'IL EST N = _A sa naissance_. [119] C'EST DE DORANTE, for _Il est de Dorante_: 'It has been painted by Dorante.' [120] M'EN FAIRE ACCROIRE, 'To impose upon me.' [121] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [122] This speech of Dorante's and Araminte's answer seem to have inspired Augier and Sandeau in the scene between Bertrand and H l ne, in _Mlle. de la Seigli re_, Act III, sc. 7. [123] QUE MON AMOUR N'EN AUGMENTE. See _Le jeu de l'amour et du hasard_, note 137. [124] JE L'AI PEINTE. The _peinte_ refers to and agrees with _la_ in Dorante's preceding speech. [125] AVANT QUE DE. See _Le jeu de l'amour et du hasard_, note 117. [126] RUE DU FIGUIER. A very ancient and historic street in Paris, situated not far from the Lyc e Charlemagne, and making a triangle with the rue Charlemagne and the rue Fauconnier. Even before the year 1300 it bore this name, from a fine fig-tree which stood at its juncture with the rue Fauconnier, and which was standing as late as 1605. The most important edifice of the street is the H tel de Sens, built in the sixteenth century by the Archbishop Tristan de Salazar. It was for a time the residence of Marguerite, first wife of Henry IV. [127] JE LUI RECOMMANDERAI. Later editions print _je le lui recommanderai_. Attention has already been called to Marivaux's custom of omitting the direct object pronoun in similar constructions. Compare _le Jeu de l'amour et du hasard_, note 210, and _le Legs_, note 29. [128] MOUVEMENTS. See _Le jeu de l'amour et du hasard_, note 162. [129] LUI. See note 99. [130] FATIGUE, 'Importune' (Littr , 4 ).' Compare: "Ainsi donc mes bont s vous fatiguent peut- tre" (Racine, _B r nice_, II, 4). [131] AMUSER. See _Le jeu de l'amour et du hasard_, note 41. [132] EN FAIT DE DISCR TION, JE M RITERAIS D' TRE FEMME. _Discr tion_ means here 'the ability to keep a secret' (Littr , 5 ). Compare; "Rien ne p se tant qu'un secret: Le porter loin est difficile aux dames; Et je sais m me sur ce fait Bon nombre d'hommes qui sont femmes.' (La Fontaine, _Fables_, viii, 6.) [133] LE DIABLE N'Y PERD RIEN, is said of a person who restrains his feelings with difficulty, or only temporarily (Littr , "diable." 2 ). The whole phrase might here be translated by: 'She cannot conceal the matter, nor will I.' [134] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [135] OUI-DA. See _le Jeu de l'amour et du hasard_, note 21. [136] DEMEURE. The incorrect use of this verb by Harlequin adds to the comic of the piece. For correct French one might substitute _se trouve_. [137] LA RUE DU FIGUIER. See note 126. [138] SAIS. _Savoir_ as used here means 'to know about the street,' 'to know that it exists,' 'to know where it may be found'; _conna tre_ would mean 'to be acquainted with it.' [139] RENDRA = _Remettra_. [140] RENDREZ. Some of the later editions print _rendez_. [141] QUE JE N'AIE VU, 'Until I have seen.' The negative particle _ne_ is required in a phrase introduced by _que_, when this conjunction stands in the place of _avant que_. [142] PR SOMPTIONS. 'Presumptions' or 'reasonable suppositions.' Compare: "Ce ne sont pas l des convictions enti res; mais ce sont les pr somptions les plus fortes" (Voltaire, _Essai sur les moeurs et l'esprit des nations_, chap. 166). [143] DE VOTRE FA ON, 'Of your choosing.' [144] TOUT. Later editions print _tout le monde_, which is evidently the sense in which this word is used. [145] ROGUE, 'Arrogant.' In the edition of 1758 the word is printed _roque_, which has led some editors into the error of correcting to _rauque_ (hoarse). [146] NOUS N'AVONS QUE FAIRE ENSEMBLE, 'We have no dealings together.' [147] NON QUE JE SACHE. _Non, pas que je sache_ is the more complete modern expression. [148] A CAUSE QUE. _Parce que_ is more modern. Littr favors the retention of _ cause que_, since it is used by good authors, and, in certain cases, is preferable to _parce que_. [149] AMPLIFIE, 'Exaggerates.' [150] HORS D'OEUVRE = _Hors de propos_. Generally used to-day as a substantive, but in the seventeenth and eighteenth centuries often used adverbially as here. Compare: "Dans le _Cid_, toutes celles (the scenes) de l'infante sont d tach es, et paraissent hors d'oeuvre" (Corneille, _Horace_, Examen). [151] ENFANCE. For the more modern word _enfantillage_, although the Dict. de l'Acad., 1878, retains the word in this sense. Compare: "Ils ne font que des enfances" (Mme. de S vign , Jan. 26, 1689). "On passait encore les enfances Mme. la duchesse de Bourgogne par la gr ce qu'elle y mettait" (St. Simon. 294, 6). "Ce sont des b tises ou des enfances dont il n'y a que de bonnes gens qui soient capables" (_Marianne_, 2e partie.) See _le Legs_, note 29. [152] TOUT L'HEURE. In the sense of _tout de suite_ the expression is to-day obsolete, and is not admitted by the Dict. de l'Acad., 1878. See _le Legs_, note 76. [153] CAUSE QUE. See note 147. [154] ENTEND. See _le Jeu de l'amour et du hasard_, note 247. [155] APPAREMMENT, 'Manifestly,' 'Of course.' In this sense the word has become obsolete, and is not admitted by the Dict. de l'Acad., 1878. [156] VOUS N'Y SONGEZ PAS. See _le Legs_, note 58, _le Legs_, note 102. [157] D LIVR E. The edition of 1758 prints _d livr es_, which will be accounted for by the speaker's including madame Argante in his mind. The singular is, however, preferable. [158] EUS. The edition of 1758 prints the past participle _eu_, without making it agree with the preceding object pronoun. See _le Legs_, note 56. [159] NOUS DIS. For the position of the object pronoun see note 18. [160] EUES. The edition of 1738 prints _eu_. For similar carelessness in Marivaux's use of the past participle compare _le Legs_, note 56, and note 158. [161] AFFRONT , 'Deceived' (Littr , 2 , also the Dict. de l'Acad., 1878). [162] FERMIER, 'Farmer,' 'One holding a farm by lease.' [163] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [164] A CAUSE QUE. See note 147. [165] OUF! MA GLOIRE M'ACCABLE; ET JE M RITEROIS BIEN D'APPELER CETTE FEMME-L MA BRU. This expression, seeming too violent to the spectators of to-day, was suppressed by the Com die-Fran aise, March 5, 1881. The play ends with the words of Araminte. See Larroumet, p. 227, note 1. [166] PARDI. See _le Jeu de l'amour et du hasard_, note 15. End of the Project Gutenberg EBook of A Selection from the Comedies of Marivaux, by Pierre Carlet de Chamblain de Marivaux *** END OF THIS PROJECT GUTENBERG EBOOK COMEDIES OF MARIVAUX *** ***** This file should be named 12504-8.txt or 12504-8.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.net/1/2/5/0/12504/ Produced by Anne Soulard, Charles Aldarondo, Keren Vergon and the Online Distributed Proofreading Team. Updated editions will replace the previous one--the old editions will be renamed. 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he

How many times the word 'he' appears in the text?

2.) [15] VOUS M'EN DIREZ DES NOUVELLES. See _le jeu de l'amour et du hasard_, note 242. [16] DIANTRE. See _le Legs_, note 101. [17] L . _Dans la t te_, with a gesture. [18] D RANG . 'Disorderly' or 'irregular' (in his affairs). [19] SERVITEUR AU COLLAT RAL, 'Then the collateral heirs will have to go without.' _Serviteur au_ is here used in the sense of _tant pis pour. Serviteur_ is not infrequently used as a formula of dismissal. [20] VOUS METTEZ. An inverted order quite common in the seventeenth and eighteenth centuries, when the second of two imperatives is construed with an object pronoun. Compare: "Quittez cette chim re, et m'aimez " (Corneille). "Polissez-le sans cesse et le repolissez" (Boileau, _Art Po tique_, Chant 1). [21] DONT. _Que would preferably be used to-day, so as not to repeat the construction of the antecedent. Compare _le Jeu de l'amour et du hasard_, note 175. [22] QU'IL VOUS REVIENNE, 'That you like him.' [23] MONSIEUR PR VIENT EN SA FAVEUR, 'The gentleman's appearance speaks in his favour.' [24] GR CES. In modern French the singular is preferred. [25] EST-CE VOUS QUI IL EN VEUT, 'Is it you whom he has come to see?' See _le Jeu de l'amour et du hasard_, note 68; _le Jeu de l'amour et du hasard_, note 175 and note 176; _le Legs_, note 132, and _le Legs_, note 135. [26] COMME S'EN ALLANT, for, _comme en s'en allant. [27] PARTI, 'Position' (Littr , 10 ). The idea of 'salary' is conveyed by the word as used here. [28] RENVERRAI TOUT. That is to say, _tout ce qui se pr sentera_; 'I will dismiss all other applicants.' [29] PARTI. See note 27. [30] REPR SENTE, 'call attention, 'set forth'; a form often used in petitions. [31] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [32] A VOTRE AISE LE RESTE, 'The rest when you like.' [33] D'O VIENT PR F RER CELUI-CI. See _le Jeu de l'amour et du hasard_, note 220. [34] ARR T , for the modern French _engag _ ('engaged'). [35] IL ME TARDE, 'I long.' [36] EN PASSE, 'In a position to.' [37] D'ALLER TOUT. For the more modern expression _d'arriver tout_, 'to attain any height.' [38] D FAITE, 'Excuse' or 'pretext' (Littr ", 4 , also Diet, de l'Acad. 1878). [39] L VATION. Used here with the unusual meaning of 'desire for social eminence.' [40] ELLE S'ENDORT DANS CET TAT, 'She is satisfied with her condition.' While already in the seventeenth century the ambition of rich _bourgeois_ to gain admission to the exclusive circles of the nobility had been sufficiently marked to induce Moli re to attack it in his _Bourgeois gentilhomme_, it was even more noticeable in the eighteenth, and _m salliances_ between noblemen and women of the middle class became much more frequent. [41] R FLEXION ROTURI RE. _Roture_ was the expression used to denote the _bourgeoisie_ as distinguished from the nobility. [42] JE N'Y ENTENDS POINT DE FINESSE, 'I cannot enter into such subtle distinctions on the question of happiness.' She refuses to discuss the possibility of Araminte's preferring happiness to rank. For her, rank means happiness, as would wealth. [43] IL ME L'A PARU = _Cela nil a paru ainsi_. [44] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [45] J'Y METTRAI BON ORDRE. See _le Jeu de l'amour et du hasard_, note 169. [46] PLAISANT. See _le Jeu de l'amour et du hasard_, note 37. [47] TIMBR COMME CENT, 'As crazy as a loon.' It is difficult to preserve the figure in an idiomatic translation. Compare the colloquial English, "You act like _sixty_." [48] CERVELLE BR L E. A peculiar use of _cervelle_. _Br l e_ is used here by Marivaux in the sense _troubl e_, as in the passage from Mme. de S vign : "Mme. de Saint-G ran est toute br l e du d part de son mari." [49] IL EN EST COMME UN PERDU, 'He is like a man who has lost his reason.' Cf. _le Jeu de l'amour et du hasard_, note 120. [50] UN PEU BOUDANT. Nowadays the adverb follows the verb. Here _boudant_ might at first thought be taken for an adjective, but it is a present participle used verbally and consequently invariable. [51] ON A BIEN AFFAIRE DE, 'I have no use for.' This idiom must not be confounded with _avoir affaire _, which means 'to have to deal with.' [52] ESPRIT RENVERS , 'A crazy man.' [53] MALEPESTE. See _le Legs_, note 48. [54] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [55] IL N'Y AVOIT PLUS PERSONNE AU LOGIS, 'He was quite unconscious.' (Littr , "logis," 1 .) [56] D' PIER. Later editions print _qu' pier_, as _d' pier_ would not be admissible in modern French. _Que de r ver... que d' pier_ would be the most natural modern form. [57] PAYOIS BOUTEILLE = _Payais boire_. [58] LA COM DIE. The _Com die-Fran aise_, or _Th tre-Fran ais_, then, as now, the leading theatre in Paris. [59] D S QUATRE HEURES. The performance did not begin before five o'clock, in the eighteenth century, [60] DANS L'HIVER. The modern form is _en hiver_. [61] JURANT PAR CI PAR L , 'Swearing every now and then.' [62] AUX TUILERIES. The Cours-la-Reine, in the Champs-Elys es, the Tuileries gardens, and the Palais-Royal, with its covered galleries and its garden, were the fashionable resorts of promenaders in the eighteenth century. [63] CE QU'IL. The _ce_ is superfluous. [64] PERCER = _S'apercevoir_. [65] JE ME REMETS = _J'y suis_. [66] OUI-DA. See _Le Jeu de l'amour et du hasard_, note 21. [67] COMME PASSANT, for _comme en passant_. Compare _les Fausses Confidences_, note 26. [68] C'EST AUTANT DE PRIS. See _le Jeu de l'amour et du hasard_, note 54. [69] QU'EST-IL = _Pourquoi est-il_? [70] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [71] IL LES FAIT COMME IL LES A. Untranslatable, save by an quivalent. It is a pun on Dubois' remark: "making eyes at her." [72] PRENEZ TOUJOURS, 'Take note of them nevertheless." [73] LE. The text of 1758 prints _le_; _ce_ would carry out the sense even better. See _le Legs_, note 38. [74] APPAREMMENT, 'Evidently.' This adverb may be used with or without the conjunction _que_ to introduce a verb. [75] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [76] UNE GUENON, 'a fool.' [77] QUI SE FASSE = _Qu'il y ait_. [78] LES PETITES-MAISONS. The old Maladrerie de Saint-Germain, which in 1554 became the H pital Saint-Germain, later known as les Petites-Maisons, on account of the great number of cells into which it was divided. It was used to house infirm old men and women, who received a small weekly dole, lunatics, and patients suffering from loathsome diseases. The name became synonymous with either a mad-house or a hospital for certain diseases: it was changed in 1801 to les Petits-M nages, the insane having then been transferred, the men to Bic tre, the women to La Salp tri re. [79] BIEN VENANTS, 'Paid regularly.' Marivaux, like the authors of the preceding century, considered _bien venants_ as an adjective, and hence declinable: but _livre_ is feminine, and we should expect here the form _bien venantes_. The Academy has declared the expression indeclinable. Compare: "Je le voyais avec vingt-huit mille livres de rente bien venantes" (Mme. de S vign , Dec. 28, 1689). [80] APPAREMMENT. See _les Fausses Confidences_, note 74. [81] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [82] VOUS N'AVEZ POINT DE GR ME SAVOIR. A well-known idiom, better expressed to-day: _Vous n'avez point me savoir gr _. [83] D'AVEC. A shortened form for some such phrase as _d'une conversation avec. D'avec_ is generally to be translated 'from,' 'in contradiction to.' [84] A QUEL HOMME EN VEUT-IL? 'For what man is he looking?' Compare _le Jeu de l'amour et du hasard_, note 68. [85] A VOUS. _Aupr s de vous_ would be the modern expression. [86] LE FAISANT SORTIR. Note the peculiar use of _le_, which nowadays would be replaced by the noun to which it refers--_le gar on_. [87] DONT. Better _que_. See _Le Jeu de l'amour et du hasard_, note 175. [88] DESSUS. For _l -dessus_. [89] SANS DIFFICULT . See _le Jeu de l'amour et du hasard_, note 154. [90] DE NE VOUS PAS AIMER. _De ne pas vous aimer_ is the more natural order in modern French. [91] IL N'A QUE FAIRE DE, 'He has no need to.' Compare _le Jeu de l'amour et du hasard_, note, 141. [92] C'EST UN PORTRAIT DE FEMME. The construction of the sentence is peculiar and incomplete. It requires the introduction, before _c'est un portrait_, of the words _c'est que_. In modern French the awkwardness of this form would be obviated. In the second clause _que_ would have to be prefixed to _c'est ici_. [93] QUAND. _Puisque_ is also found in incomplete expressions of this kind. The thought might be completed as follows: _Mais, quand_ (or _puisque_) _je vous dis, etc., vous devriez me croire_. [94] ENTENDU, used here in the sense of _compris_. [95] HUPP ES, 'Fancy,' 'smartly dressed.' It often means 'smart.' Compare; "Combien en as-tu vu, je dis des plus hupp es." (Racine, _Les Plaideurs_, J, 4); "Bien hupp qui pourra m'attraper sur ce point!" (Moli re, _ cole des femmes_, 1, I). [96] JE N'EN RABATS RIEN, 'I retract nothing.' That is to say, 'I insist that it is the Count.' [97] PLAISANT, 'Ridiculous.' [98] COMME DE CELA. With some gesture of contempt. See _le Legs_, note 108. [99] LUI. For _le_. The verb _d fier_ governs to-day the accusative and not the dative. [100] QU'IL. Later editions print _qui_, which is the correct form. The thought may be expressed more simply by the phrase _Je l'avais vu le contempler_. [101] CE QUI EST DE S R = _Ce qu'il y a de s r_. [102] LE SUJET = _La raison_. [103] DE BONNE MAIN, 'By a reliable person.' (Littr , "main," 17 .) [104] CONSENS... DE. The verb _consentir_ takes either _de_ or _ _, before a following infinitive, although in modern French the latter is the more common. [105] TOUS PROC S. Later editions print _tout proc s_, which is the more natural modern form. The plural, in the sense of 'each' or 'every' is, however, sometimes found without the article. Compare: "L'auteur des dialogues a dit que les belles sont de tous pays, et moi je dis que les sottises sont de tous les si cles " (Fontenelle, _Jugement de Pluton_). [106] AVOIR PRISE ... AVEC, 'To have a dispute with.' PRISE, 'Quarrel,' 'dispute' (Littr , 6 , also Dict. de l'Acad., 1878). [107] TOUS. Later editions print _tout_, which is the modern form. In the seventeenth and early eighteenth centuries is was not customary to consider the adverbial _tout_ as necessarily invariable. [108] MOUVEMENT. See _le Jeu de l'amour et du hasard_, note 162. [109] DONT. _Que is preferable. See _Le Jeu de l'amour et du hasard_, note 175. [110] SAVOIS. A not uncommon use of the imperfect indicative in the sense of the conditional. [111] JE N'AUROIS QUE FAIRE DE. See _le Jeu de l'amour et du hasard_, note 68. Compare _le Jeu de l'amour et du hasard_, note 141, and _le Legs_, note 85. [112] A TOI. The English idiom is 'of you.' [113] AU MOINS, 'Nevertheless.' [114] CAPABLE. Most editions print _incapable_, beginning the sentence with _s'il_, and punctuating with a comma after _incapable_. The sense is better carried out with such a rendering. [115] Des biais = _Des moyens d tourn s_. [116] L'EN D DIRE = _Le d mentir_. [117] COMME S'EN ALLANT. See _les Fausses Confidences_, note 26. [118] A CE QU'IL EST N = _A sa naissance_. [119] C'EST DE DORANTE, for _Il est de Dorante_: 'It has been painted by Dorante.' [120] M'EN FAIRE ACCROIRE, 'To impose upon me.' [121] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [122] This speech of Dorante's and Araminte's answer seem to have inspired Augier and Sandeau in the scene between Bertrand and H l ne, in _Mlle. de la Seigli re_, Act III, sc. 7. [123] QUE MON AMOUR N'EN AUGMENTE. See _Le jeu de l'amour et du hasard_, note 137. [124] JE L'AI PEINTE. The _peinte_ refers to and agrees with _la_ in Dorante's preceding speech. [125] AVANT QUE DE. See _Le jeu de l'amour et du hasard_, note 117. [126] RUE DU FIGUIER. A very ancient and historic street in Paris, situated not far from the Lyc e Charlemagne, and making a triangle with the rue Charlemagne and the rue Fauconnier. Even before the year 1300 it bore this name, from a fine fig-tree which stood at its juncture with the rue Fauconnier, and which was standing as late as 1605. The most important edifice of the street is the H tel de Sens, built in the sixteenth century by the Archbishop Tristan de Salazar. It was for a time the residence of Marguerite, first wife of Henry IV. [127] JE LUI RECOMMANDERAI. Later editions print _je le lui recommanderai_. Attention has already been called to Marivaux's custom of omitting the direct object pronoun in similar constructions. Compare _le Jeu de l'amour et du hasard_, note 210, and _le Legs_, note 29. [128] MOUVEMENTS. See _Le jeu de l'amour et du hasard_, note 162. [129] LUI. See note 99. [130] FATIGUE, 'Importune' (Littr , 4 ).' Compare: "Ainsi donc mes bont s vous fatiguent peut- tre" (Racine, _B r nice_, II, 4). [131] AMUSER. See _Le jeu de l'amour et du hasard_, note 41. [132] EN FAIT DE DISCR TION, JE M RITERAIS D' TRE FEMME. _Discr tion_ means here 'the ability to keep a secret' (Littr , 5 ). Compare; "Rien ne p se tant qu'un secret: Le porter loin est difficile aux dames; Et je sais m me sur ce fait Bon nombre d'hommes qui sont femmes.' (La Fontaine, _Fables_, viii, 6.) [133] LE DIABLE N'Y PERD RIEN, is said of a person who restrains his feelings with difficulty, or only temporarily (Littr , "diable." 2 ). The whole phrase might here be translated by: 'She cannot conceal the matter, nor will I.' [134] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [135] OUI-DA. See _le Jeu de l'amour et du hasard_, note 21. [136] DEMEURE. The incorrect use of this verb by Harlequin adds to the comic of the piece. For correct French one might substitute _se trouve_. [137] LA RUE DU FIGUIER. See note 126. [138] SAIS. _Savoir_ as used here means 'to know about the street,' 'to know that it exists,' 'to know where it may be found'; _conna tre_ would mean 'to be acquainted with it.' [139] RENDRA = _Remettra_. [140] RENDREZ. Some of the later editions print _rendez_. [141] QUE JE N'AIE VU, 'Until I have seen.' The negative particle _ne_ is required in a phrase introduced by _que_, when this conjunction stands in the place of _avant que_. [142] PR SOMPTIONS. 'Presumptions' or 'reasonable suppositions.' Compare: "Ce ne sont pas l des convictions enti res; mais ce sont les pr somptions les plus fortes" (Voltaire, _Essai sur les moeurs et l'esprit des nations_, chap. 166). [143] DE VOTRE FA ON, 'Of your choosing.' [144] TOUT. Later editions print _tout le monde_, which is evidently the sense in which this word is used. [145] ROGUE, 'Arrogant.' In the edition of 1758 the word is printed _roque_, which has led some editors into the error of correcting to _rauque_ (hoarse). [146] NOUS N'AVONS QUE FAIRE ENSEMBLE, 'We have no dealings together.' [147] NON QUE JE SACHE. _Non, pas que je sache_ is the more complete modern expression. [148] A CAUSE QUE. _Parce que_ is more modern. Littr favors the retention of _ cause que_, since it is used by good authors, and, in certain cases, is preferable to _parce que_. [149] AMPLIFIE, 'Exaggerates.' [150] HORS D'OEUVRE = _Hors de propos_. Generally used to-day as a substantive, but in the seventeenth and eighteenth centuries often used adverbially as here. Compare: "Dans le _Cid_, toutes celles (the scenes) de l'infante sont d tach es, et paraissent hors d'oeuvre" (Corneille, _Horace_, Examen). [151] ENFANCE. For the more modern word _enfantillage_, although the Dict. de l'Acad., 1878, retains the word in this sense. Compare: "Ils ne font que des enfances" (Mme. de S vign , Jan. 26, 1689). "On passait encore les enfances Mme. la duchesse de Bourgogne par la gr ce qu'elle y mettait" (St. Simon. 294, 6). "Ce sont des b tises ou des enfances dont il n'y a que de bonnes gens qui soient capables" (_Marianne_, 2e partie.) See _le Legs_, note 29. [152] TOUT L'HEURE. In the sense of _tout de suite_ the expression is to-day obsolete, and is not admitted by the Dict. de l'Acad., 1878. See _le Legs_, note 76. [153] CAUSE QUE. See note 147. [154] ENTEND. See _le Jeu de l'amour et du hasard_, note 247. [155] APPAREMMENT, 'Manifestly,' 'Of course.' In this sense the word has become obsolete, and is not admitted by the Dict. de l'Acad., 1878. [156] VOUS N'Y SONGEZ PAS. See _le Legs_, note 58, _le Legs_, note 102. [157] D LIVR E. The edition of 1758 prints _d livr es_, which will be accounted for by the speaker's including madame Argante in his mind. The singular is, however, preferable. [158] EUS. The edition of 1758 prints the past participle _eu_, without making it agree with the preceding object pronoun. See _le Legs_, note 56. [159] NOUS DIS. For the position of the object pronoun see note 18. [160] EUES. The edition of 1738 prints _eu_. For similar carelessness in Marivaux's use of the past participle compare _le Legs_, note 56, and note 158. [161] AFFRONT , 'Deceived' (Littr , 2 , also the Dict. de l'Acad., 1878). [162] FERMIER, 'Farmer,' 'One holding a farm by lease.' [163] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [164] A CAUSE QUE. See note 147. [165] OUF! MA GLOIRE M'ACCABLE; ET JE M RITEROIS BIEN D'APPELER CETTE FEMME-L MA BRU. This expression, seeming too violent to the spectators of to-day, was suppressed by the Com die-Fran aise, March 5, 1881. The play ends with the words of Araminte. See Larroumet, p. 227, note 1. [166] PARDI. See _le Jeu de l'amour et du hasard_, note 15. End of the Project Gutenberg EBook of A Selection from the Comedies of Marivaux, by Pierre Carlet de Chamblain de Marivaux *** END OF THIS PROJECT GUTENBERG EBOOK COMEDIES OF MARIVAUX *** ***** This file should be named 12504-8.txt or 12504-8.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.net/1/2/5/0/12504/ Produced by Anne Soulard, Charles Aldarondo, Keren Vergon and the Online Distributed Proofreading Team. Updated editions will replace the previous one--the old editions will be renamed. 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nombre

How many times the word 'nombre' appears in the text?

2.) [15] VOUS M'EN DIREZ DES NOUVELLES. See _le jeu de l'amour et du hasard_, note 242. [16] DIANTRE. See _le Legs_, note 101. [17] L . _Dans la t te_, with a gesture. [18] D RANG . 'Disorderly' or 'irregular' (in his affairs). [19] SERVITEUR AU COLLAT RAL, 'Then the collateral heirs will have to go without.' _Serviteur au_ is here used in the sense of _tant pis pour. Serviteur_ is not infrequently used as a formula of dismissal. [20] VOUS METTEZ. An inverted order quite common in the seventeenth and eighteenth centuries, when the second of two imperatives is construed with an object pronoun. Compare: "Quittez cette chim re, et m'aimez " (Corneille). "Polissez-le sans cesse et le repolissez" (Boileau, _Art Po tique_, Chant 1). [21] DONT. _Que would preferably be used to-day, so as not to repeat the construction of the antecedent. Compare _le Jeu de l'amour et du hasard_, note 175. [22] QU'IL VOUS REVIENNE, 'That you like him.' [23] MONSIEUR PR VIENT EN SA FAVEUR, 'The gentleman's appearance speaks in his favour.' [24] GR CES. In modern French the singular is preferred. [25] EST-CE VOUS QUI IL EN VEUT, 'Is it you whom he has come to see?' See _le Jeu de l'amour et du hasard_, note 68; _le Jeu de l'amour et du hasard_, note 175 and note 176; _le Legs_, note 132, and _le Legs_, note 135. [26] COMME S'EN ALLANT, for, _comme en s'en allant. [27] PARTI, 'Position' (Littr , 10 ). The idea of 'salary' is conveyed by the word as used here. [28] RENVERRAI TOUT. That is to say, _tout ce qui se pr sentera_; 'I will dismiss all other applicants.' [29] PARTI. See note 27. [30] REPR SENTE, 'call attention, 'set forth'; a form often used in petitions. [31] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [32] A VOTRE AISE LE RESTE, 'The rest when you like.' [33] D'O VIENT PR F RER CELUI-CI. See _le Jeu de l'amour et du hasard_, note 220. [34] ARR T , for the modern French _engag _ ('engaged'). [35] IL ME TARDE, 'I long.' [36] EN PASSE, 'In a position to.' [37] D'ALLER TOUT. For the more modern expression _d'arriver tout_, 'to attain any height.' [38] D FAITE, 'Excuse' or 'pretext' (Littr ", 4 , also Diet, de l'Acad. 1878). [39] L VATION. Used here with the unusual meaning of 'desire for social eminence.' [40] ELLE S'ENDORT DANS CET TAT, 'She is satisfied with her condition.' While already in the seventeenth century the ambition of rich _bourgeois_ to gain admission to the exclusive circles of the nobility had been sufficiently marked to induce Moli re to attack it in his _Bourgeois gentilhomme_, it was even more noticeable in the eighteenth, and _m salliances_ between noblemen and women of the middle class became much more frequent. [41] R FLEXION ROTURI RE. _Roture_ was the expression used to denote the _bourgeoisie_ as distinguished from the nobility. [42] JE N'Y ENTENDS POINT DE FINESSE, 'I cannot enter into such subtle distinctions on the question of happiness.' She refuses to discuss the possibility of Araminte's preferring happiness to rank. For her, rank means happiness, as would wealth. [43] IL ME L'A PARU = _Cela nil a paru ainsi_. [44] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [45] J'Y METTRAI BON ORDRE. See _le Jeu de l'amour et du hasard_, note 169. [46] PLAISANT. See _le Jeu de l'amour et du hasard_, note 37. [47] TIMBR COMME CENT, 'As crazy as a loon.' It is difficult to preserve the figure in an idiomatic translation. Compare the colloquial English, "You act like _sixty_." [48] CERVELLE BR L E. A peculiar use of _cervelle_. _Br l e_ is used here by Marivaux in the sense _troubl e_, as in the passage from Mme. de S vign : "Mme. de Saint-G ran est toute br l e du d part de son mari." [49] IL EN EST COMME UN PERDU, 'He is like a man who has lost his reason.' Cf. _le Jeu de l'amour et du hasard_, note 120. [50] UN PEU BOUDANT. Nowadays the adverb follows the verb. Here _boudant_ might at first thought be taken for an adjective, but it is a present participle used verbally and consequently invariable. [51] ON A BIEN AFFAIRE DE, 'I have no use for.' This idiom must not be confounded with _avoir affaire _, which means 'to have to deal with.' [52] ESPRIT RENVERS , 'A crazy man.' [53] MALEPESTE. See _le Legs_, note 48. [54] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [55] IL N'Y AVOIT PLUS PERSONNE AU LOGIS, 'He was quite unconscious.' (Littr , "logis," 1 .) [56] D' PIER. Later editions print _qu' pier_, as _d' pier_ would not be admissible in modern French. _Que de r ver... que d' pier_ would be the most natural modern form. [57] PAYOIS BOUTEILLE = _Payais boire_. [58] LA COM DIE. The _Com die-Fran aise_, or _Th tre-Fran ais_, then, as now, the leading theatre in Paris. [59] D S QUATRE HEURES. The performance did not begin before five o'clock, in the eighteenth century, [60] DANS L'HIVER. The modern form is _en hiver_. [61] JURANT PAR CI PAR L , 'Swearing every now and then.' [62] AUX TUILERIES. The Cours-la-Reine, in the Champs-Elys es, the Tuileries gardens, and the Palais-Royal, with its covered galleries and its garden, were the fashionable resorts of promenaders in the eighteenth century. [63] CE QU'IL. The _ce_ is superfluous. [64] PERCER = _S'apercevoir_. [65] JE ME REMETS = _J'y suis_. [66] OUI-DA. See _Le Jeu de l'amour et du hasard_, note 21. [67] COMME PASSANT, for _comme en passant_. Compare _les Fausses Confidences_, note 26. [68] C'EST AUTANT DE PRIS. See _le Jeu de l'amour et du hasard_, note 54. [69] QU'EST-IL = _Pourquoi est-il_? [70] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [71] IL LES FAIT COMME IL LES A. Untranslatable, save by an quivalent. It is a pun on Dubois' remark: "making eyes at her." [72] PRENEZ TOUJOURS, 'Take note of them nevertheless." [73] LE. The text of 1758 prints _le_; _ce_ would carry out the sense even better. See _le Legs_, note 38. [74] APPAREMMENT, 'Evidently.' This adverb may be used with or without the conjunction _que_ to introduce a verb. [75] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [76] UNE GUENON, 'a fool.' [77] QUI SE FASSE = _Qu'il y ait_. [78] LES PETITES-MAISONS. The old Maladrerie de Saint-Germain, which in 1554 became the H pital Saint-Germain, later known as les Petites-Maisons, on account of the great number of cells into which it was divided. It was used to house infirm old men and women, who received a small weekly dole, lunatics, and patients suffering from loathsome diseases. The name became synonymous with either a mad-house or a hospital for certain diseases: it was changed in 1801 to les Petits-M nages, the insane having then been transferred, the men to Bic tre, the women to La Salp tri re. [79] BIEN VENANTS, 'Paid regularly.' Marivaux, like the authors of the preceding century, considered _bien venants_ as an adjective, and hence declinable: but _livre_ is feminine, and we should expect here the form _bien venantes_. The Academy has declared the expression indeclinable. Compare: "Je le voyais avec vingt-huit mille livres de rente bien venantes" (Mme. de S vign , Dec. 28, 1689). [80] APPAREMMENT. See _les Fausses Confidences_, note 74. [81] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [82] VOUS N'AVEZ POINT DE GR ME SAVOIR. A well-known idiom, better expressed to-day: _Vous n'avez point me savoir gr _. [83] D'AVEC. A shortened form for some such phrase as _d'une conversation avec. D'avec_ is generally to be translated 'from,' 'in contradiction to.' [84] A QUEL HOMME EN VEUT-IL? 'For what man is he looking?' Compare _le Jeu de l'amour et du hasard_, note 68. [85] A VOUS. _Aupr s de vous_ would be the modern expression. [86] LE FAISANT SORTIR. Note the peculiar use of _le_, which nowadays would be replaced by the noun to which it refers--_le gar on_. [87] DONT. Better _que_. See _Le Jeu de l'amour et du hasard_, note 175. [88] DESSUS. For _l -dessus_. [89] SANS DIFFICULT . See _le Jeu de l'amour et du hasard_, note 154. [90] DE NE VOUS PAS AIMER. _De ne pas vous aimer_ is the more natural order in modern French. [91] IL N'A QUE FAIRE DE, 'He has no need to.' Compare _le Jeu de l'amour et du hasard_, note, 141. [92] C'EST UN PORTRAIT DE FEMME. The construction of the sentence is peculiar and incomplete. It requires the introduction, before _c'est un portrait_, of the words _c'est que_. In modern French the awkwardness of this form would be obviated. In the second clause _que_ would have to be prefixed to _c'est ici_. [93] QUAND. _Puisque_ is also found in incomplete expressions of this kind. The thought might be completed as follows: _Mais, quand_ (or _puisque_) _je vous dis, etc., vous devriez me croire_. [94] ENTENDU, used here in the sense of _compris_. [95] HUPP ES, 'Fancy,' 'smartly dressed.' It often means 'smart.' Compare; "Combien en as-tu vu, je dis des plus hupp es." (Racine, _Les Plaideurs_, J, 4); "Bien hupp qui pourra m'attraper sur ce point!" (Moli re, _ cole des femmes_, 1, I). [96] JE N'EN RABATS RIEN, 'I retract nothing.' That is to say, 'I insist that it is the Count.' [97] PLAISANT, 'Ridiculous.' [98] COMME DE CELA. With some gesture of contempt. See _le Legs_, note 108. [99] LUI. For _le_. The verb _d fier_ governs to-day the accusative and not the dative. [100] QU'IL. Later editions print _qui_, which is the correct form. The thought may be expressed more simply by the phrase _Je l'avais vu le contempler_. [101] CE QUI EST DE S R = _Ce qu'il y a de s r_. [102] LE SUJET = _La raison_. [103] DE BONNE MAIN, 'By a reliable person.' (Littr , "main," 17 .) [104] CONSENS... DE. The verb _consentir_ takes either _de_ or _ _, before a following infinitive, although in modern French the latter is the more common. [105] TOUS PROC S. Later editions print _tout proc s_, which is the more natural modern form. The plural, in the sense of 'each' or 'every' is, however, sometimes found without the article. Compare: "L'auteur des dialogues a dit que les belles sont de tous pays, et moi je dis que les sottises sont de tous les si cles " (Fontenelle, _Jugement de Pluton_). [106] AVOIR PRISE ... AVEC, 'To have a dispute with.' PRISE, 'Quarrel,' 'dispute' (Littr , 6 , also Dict. de l'Acad., 1878). [107] TOUS. Later editions print _tout_, which is the modern form. In the seventeenth and early eighteenth centuries is was not customary to consider the adverbial _tout_ as necessarily invariable. [108] MOUVEMENT. See _le Jeu de l'amour et du hasard_, note 162. [109] DONT. _Que is preferable. See _Le Jeu de l'amour et du hasard_, note 175. [110] SAVOIS. A not uncommon use of the imperfect indicative in the sense of the conditional. [111] JE N'AUROIS QUE FAIRE DE. See _le Jeu de l'amour et du hasard_, note 68. Compare _le Jeu de l'amour et du hasard_, note 141, and _le Legs_, note 85. [112] A TOI. The English idiom is 'of you.' [113] AU MOINS, 'Nevertheless.' [114] CAPABLE. Most editions print _incapable_, beginning the sentence with _s'il_, and punctuating with a comma after _incapable_. The sense is better carried out with such a rendering. [115] Des biais = _Des moyens d tourn s_. [116] L'EN D DIRE = _Le d mentir_. [117] COMME S'EN ALLANT. See _les Fausses Confidences_, note 26. [118] A CE QU'IL EST N = _A sa naissance_. [119] C'EST DE DORANTE, for _Il est de Dorante_: 'It has been painted by Dorante.' [120] M'EN FAIRE ACCROIRE, 'To impose upon me.' [121] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [122] This speech of Dorante's and Araminte's answer seem to have inspired Augier and Sandeau in the scene between Bertrand and H l ne, in _Mlle. de la Seigli re_, Act III, sc. 7. [123] QUE MON AMOUR N'EN AUGMENTE. See _Le jeu de l'amour et du hasard_, note 137. [124] JE L'AI PEINTE. The _peinte_ refers to and agrees with _la_ in Dorante's preceding speech. [125] AVANT QUE DE. See _Le jeu de l'amour et du hasard_, note 117. [126] RUE DU FIGUIER. A very ancient and historic street in Paris, situated not far from the Lyc e Charlemagne, and making a triangle with the rue Charlemagne and the rue Fauconnier. Even before the year 1300 it bore this name, from a fine fig-tree which stood at its juncture with the rue Fauconnier, and which was standing as late as 1605. The most important edifice of the street is the H tel de Sens, built in the sixteenth century by the Archbishop Tristan de Salazar. It was for a time the residence of Marguerite, first wife of Henry IV. [127] JE LUI RECOMMANDERAI. Later editions print _je le lui recommanderai_. Attention has already been called to Marivaux's custom of omitting the direct object pronoun in similar constructions. Compare _le Jeu de l'amour et du hasard_, note 210, and _le Legs_, note 29. [128] MOUVEMENTS. See _Le jeu de l'amour et du hasard_, note 162. [129] LUI. See note 99. [130] FATIGUE, 'Importune' (Littr , 4 ).' Compare: "Ainsi donc mes bont s vous fatiguent peut- tre" (Racine, _B r nice_, II, 4). [131] AMUSER. See _Le jeu de l'amour et du hasard_, note 41. [132] EN FAIT DE DISCR TION, JE M RITERAIS D' TRE FEMME. _Discr tion_ means here 'the ability to keep a secret' (Littr , 5 ). Compare; "Rien ne p se tant qu'un secret: Le porter loin est difficile aux dames; Et je sais m me sur ce fait Bon nombre d'hommes qui sont femmes.' (La Fontaine, _Fables_, viii, 6.) [133] LE DIABLE N'Y PERD RIEN, is said of a person who restrains his feelings with difficulty, or only temporarily (Littr , "diable." 2 ). The whole phrase might here be translated by: 'She cannot conceal the matter, nor will I.' [134] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [135] OUI-DA. See _le Jeu de l'amour et du hasard_, note 21. [136] DEMEURE. The incorrect use of this verb by Harlequin adds to the comic of the piece. For correct French one might substitute _se trouve_. [137] LA RUE DU FIGUIER. See note 126. [138] SAIS. _Savoir_ as used here means 'to know about the street,' 'to know that it exists,' 'to know where it may be found'; _conna tre_ would mean 'to be acquainted with it.' [139] RENDRA = _Remettra_. [140] RENDREZ. Some of the later editions print _rendez_. [141] QUE JE N'AIE VU, 'Until I have seen.' The negative particle _ne_ is required in a phrase introduced by _que_, when this conjunction stands in the place of _avant que_. [142] PR SOMPTIONS. 'Presumptions' or 'reasonable suppositions.' Compare: "Ce ne sont pas l des convictions enti res; mais ce sont les pr somptions les plus fortes" (Voltaire, _Essai sur les moeurs et l'esprit des nations_, chap. 166). [143] DE VOTRE FA ON, 'Of your choosing.' [144] TOUT. Later editions print _tout le monde_, which is evidently the sense in which this word is used. [145] ROGUE, 'Arrogant.' In the edition of 1758 the word is printed _roque_, which has led some editors into the error of correcting to _rauque_ (hoarse). [146] NOUS N'AVONS QUE FAIRE ENSEMBLE, 'We have no dealings together.' [147] NON QUE JE SACHE. _Non, pas que je sache_ is the more complete modern expression. [148] A CAUSE QUE. _Parce que_ is more modern. Littr favors the retention of _ cause que_, since it is used by good authors, and, in certain cases, is preferable to _parce que_. [149] AMPLIFIE, 'Exaggerates.' [150] HORS D'OEUVRE = _Hors de propos_. Generally used to-day as a substantive, but in the seventeenth and eighteenth centuries often used adverbially as here. Compare: "Dans le _Cid_, toutes celles (the scenes) de l'infante sont d tach es, et paraissent hors d'oeuvre" (Corneille, _Horace_, Examen). [151] ENFANCE. For the more modern word _enfantillage_, although the Dict. de l'Acad., 1878, retains the word in this sense. Compare: "Ils ne font que des enfances" (Mme. de S vign , Jan. 26, 1689). "On passait encore les enfances Mme. la duchesse de Bourgogne par la gr ce qu'elle y mettait" (St. Simon. 294, 6). "Ce sont des b tises ou des enfances dont il n'y a que de bonnes gens qui soient capables" (_Marianne_, 2e partie.) See _le Legs_, note 29. [152] TOUT L'HEURE. In the sense of _tout de suite_ the expression is to-day obsolete, and is not admitted by the Dict. de l'Acad., 1878. See _le Legs_, note 76. [153] CAUSE QUE. See note 147. [154] ENTEND. See _le Jeu de l'amour et du hasard_, note 247. [155] APPAREMMENT, 'Manifestly,' 'Of course.' In this sense the word has become obsolete, and is not admitted by the Dict. de l'Acad., 1878. [156] VOUS N'Y SONGEZ PAS. See _le Legs_, note 58, _le Legs_, note 102. [157] D LIVR E. The edition of 1758 prints _d livr es_, which will be accounted for by the speaker's including madame Argante in his mind. The singular is, however, preferable. [158] EUS. The edition of 1758 prints the past participle _eu_, without making it agree with the preceding object pronoun. See _le Legs_, note 56. [159] NOUS DIS. For the position of the object pronoun see note 18. [160] EUES. The edition of 1738 prints _eu_. For similar carelessness in Marivaux's use of the past participle compare _le Legs_, note 56, and note 158. [161] AFFRONT , 'Deceived' (Littr , 2 , also the Dict. de l'Acad., 1878). [162] FERMIER, 'Farmer,' 'One holding a farm by lease.' [163] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [164] A CAUSE QUE. See note 147. [165] OUF! MA GLOIRE M'ACCABLE; ET JE M RITEROIS BIEN D'APPELER CETTE FEMME-L MA BRU. This expression, seeming too violent to the spectators of to-day, was suppressed by the Com die-Fran aise, March 5, 1881. The play ends with the words of Araminte. See Larroumet, p. 227, note 1. [166] PARDI. See _le Jeu de l'amour et du hasard_, note 15. End of the Project Gutenberg EBook of A Selection from the Comedies of Marivaux, by Pierre Carlet de Chamblain de Marivaux *** END OF THIS PROJECT GUTENBERG EBOOK COMEDIES OF MARIVAUX *** ***** This file should be named 12504-8.txt or 12504-8.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.net/1/2/5/0/12504/ Produced by Anne Soulard, Charles Aldarondo, Keren Vergon and the Online Distributed Proofreading Team. Updated editions will replace the previous one--the old editions will be renamed. 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bourgeois

How many times the word 'bourgeois' appears in the text?

2.) [15] VOUS M'EN DIREZ DES NOUVELLES. See _le jeu de l'amour et du hasard_, note 242. [16] DIANTRE. See _le Legs_, note 101. [17] L . _Dans la t te_, with a gesture. [18] D RANG . 'Disorderly' or 'irregular' (in his affairs). [19] SERVITEUR AU COLLAT RAL, 'Then the collateral heirs will have to go without.' _Serviteur au_ is here used in the sense of _tant pis pour. Serviteur_ is not infrequently used as a formula of dismissal. [20] VOUS METTEZ. An inverted order quite common in the seventeenth and eighteenth centuries, when the second of two imperatives is construed with an object pronoun. Compare: "Quittez cette chim re, et m'aimez " (Corneille). "Polissez-le sans cesse et le repolissez" (Boileau, _Art Po tique_, Chant 1). [21] DONT. _Que would preferably be used to-day, so as not to repeat the construction of the antecedent. Compare _le Jeu de l'amour et du hasard_, note 175. [22] QU'IL VOUS REVIENNE, 'That you like him.' [23] MONSIEUR PR VIENT EN SA FAVEUR, 'The gentleman's appearance speaks in his favour.' [24] GR CES. In modern French the singular is preferred. [25] EST-CE VOUS QUI IL EN VEUT, 'Is it you whom he has come to see?' See _le Jeu de l'amour et du hasard_, note 68; _le Jeu de l'amour et du hasard_, note 175 and note 176; _le Legs_, note 132, and _le Legs_, note 135. [26] COMME S'EN ALLANT, for, _comme en s'en allant. [27] PARTI, 'Position' (Littr , 10 ). The idea of 'salary' is conveyed by the word as used here. [28] RENVERRAI TOUT. That is to say, _tout ce qui se pr sentera_; 'I will dismiss all other applicants.' [29] PARTI. See note 27. [30] REPR SENTE, 'call attention, 'set forth'; a form often used in petitions. [31] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [32] A VOTRE AISE LE RESTE, 'The rest when you like.' [33] D'O VIENT PR F RER CELUI-CI. See _le Jeu de l'amour et du hasard_, note 220. [34] ARR T , for the modern French _engag _ ('engaged'). [35] IL ME TARDE, 'I long.' [36] EN PASSE, 'In a position to.' [37] D'ALLER TOUT. For the more modern expression _d'arriver tout_, 'to attain any height.' [38] D FAITE, 'Excuse' or 'pretext' (Littr ", 4 , also Diet, de l'Acad. 1878). [39] L VATION. Used here with the unusual meaning of 'desire for social eminence.' [40] ELLE S'ENDORT DANS CET TAT, 'She is satisfied with her condition.' While already in the seventeenth century the ambition of rich _bourgeois_ to gain admission to the exclusive circles of the nobility had been sufficiently marked to induce Moli re to attack it in his _Bourgeois gentilhomme_, it was even more noticeable in the eighteenth, and _m salliances_ between noblemen and women of the middle class became much more frequent. [41] R FLEXION ROTURI RE. _Roture_ was the expression used to denote the _bourgeoisie_ as distinguished from the nobility. [42] JE N'Y ENTENDS POINT DE FINESSE, 'I cannot enter into such subtle distinctions on the question of happiness.' She refuses to discuss the possibility of Araminte's preferring happiness to rank. For her, rank means happiness, as would wealth. [43] IL ME L'A PARU = _Cela nil a paru ainsi_. [44] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [45] J'Y METTRAI BON ORDRE. See _le Jeu de l'amour et du hasard_, note 169. [46] PLAISANT. See _le Jeu de l'amour et du hasard_, note 37. [47] TIMBR COMME CENT, 'As crazy as a loon.' It is difficult to preserve the figure in an idiomatic translation. Compare the colloquial English, "You act like _sixty_." [48] CERVELLE BR L E. A peculiar use of _cervelle_. _Br l e_ is used here by Marivaux in the sense _troubl e_, as in the passage from Mme. de S vign : "Mme. de Saint-G ran est toute br l e du d part de son mari." [49] IL EN EST COMME UN PERDU, 'He is like a man who has lost his reason.' Cf. _le Jeu de l'amour et du hasard_, note 120. [50] UN PEU BOUDANT. Nowadays the adverb follows the verb. Here _boudant_ might at first thought be taken for an adjective, but it is a present participle used verbally and consequently invariable. [51] ON A BIEN AFFAIRE DE, 'I have no use for.' This idiom must not be confounded with _avoir affaire _, which means 'to have to deal with.' [52] ESPRIT RENVERS , 'A crazy man.' [53] MALEPESTE. See _le Legs_, note 48. [54] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [55] IL N'Y AVOIT PLUS PERSONNE AU LOGIS, 'He was quite unconscious.' (Littr , "logis," 1 .) [56] D' PIER. Later editions print _qu' pier_, as _d' pier_ would not be admissible in modern French. _Que de r ver... que d' pier_ would be the most natural modern form. [57] PAYOIS BOUTEILLE = _Payais boire_. [58] LA COM DIE. The _Com die-Fran aise_, or _Th tre-Fran ais_, then, as now, the leading theatre in Paris. [59] D S QUATRE HEURES. The performance did not begin before five o'clock, in the eighteenth century, [60] DANS L'HIVER. The modern form is _en hiver_. [61] JURANT PAR CI PAR L , 'Swearing every now and then.' [62] AUX TUILERIES. The Cours-la-Reine, in the Champs-Elys es, the Tuileries gardens, and the Palais-Royal, with its covered galleries and its garden, were the fashionable resorts of promenaders in the eighteenth century. [63] CE QU'IL. The _ce_ is superfluous. [64] PERCER = _S'apercevoir_. [65] JE ME REMETS = _J'y suis_. [66] OUI-DA. See _Le Jeu de l'amour et du hasard_, note 21. [67] COMME PASSANT, for _comme en passant_. Compare _les Fausses Confidences_, note 26. [68] C'EST AUTANT DE PRIS. See _le Jeu de l'amour et du hasard_, note 54. [69] QU'EST-IL = _Pourquoi est-il_? [70] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [71] IL LES FAIT COMME IL LES A. Untranslatable, save by an quivalent. It is a pun on Dubois' remark: "making eyes at her." [72] PRENEZ TOUJOURS, 'Take note of them nevertheless." [73] LE. The text of 1758 prints _le_; _ce_ would carry out the sense even better. See _le Legs_, note 38. [74] APPAREMMENT, 'Evidently.' This adverb may be used with or without the conjunction _que_ to introduce a verb. [75] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [76] UNE GUENON, 'a fool.' [77] QUI SE FASSE = _Qu'il y ait_. [78] LES PETITES-MAISONS. The old Maladrerie de Saint-Germain, which in 1554 became the H pital Saint-Germain, later known as les Petites-Maisons, on account of the great number of cells into which it was divided. It was used to house infirm old men and women, who received a small weekly dole, lunatics, and patients suffering from loathsome diseases. The name became synonymous with either a mad-house or a hospital for certain diseases: it was changed in 1801 to les Petits-M nages, the insane having then been transferred, the men to Bic tre, the women to La Salp tri re. [79] BIEN VENANTS, 'Paid regularly.' Marivaux, like the authors of the preceding century, considered _bien venants_ as an adjective, and hence declinable: but _livre_ is feminine, and we should expect here the form _bien venantes_. The Academy has declared the expression indeclinable. Compare: "Je le voyais avec vingt-huit mille livres de rente bien venantes" (Mme. de S vign , Dec. 28, 1689). [80] APPAREMMENT. See _les Fausses Confidences_, note 74. [81] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [82] VOUS N'AVEZ POINT DE GR ME SAVOIR. A well-known idiom, better expressed to-day: _Vous n'avez point me savoir gr _. [83] D'AVEC. A shortened form for some such phrase as _d'une conversation avec. D'avec_ is generally to be translated 'from,' 'in contradiction to.' [84] A QUEL HOMME EN VEUT-IL? 'For what man is he looking?' Compare _le Jeu de l'amour et du hasard_, note 68. [85] A VOUS. _Aupr s de vous_ would be the modern expression. [86] LE FAISANT SORTIR. Note the peculiar use of _le_, which nowadays would be replaced by the noun to which it refers--_le gar on_. [87] DONT. Better _que_. See _Le Jeu de l'amour et du hasard_, note 175. [88] DESSUS. For _l -dessus_. [89] SANS DIFFICULT . See _le Jeu de l'amour et du hasard_, note 154. [90] DE NE VOUS PAS AIMER. _De ne pas vous aimer_ is the more natural order in modern French. [91] IL N'A QUE FAIRE DE, 'He has no need to.' Compare _le Jeu de l'amour et du hasard_, note, 141. [92] C'EST UN PORTRAIT DE FEMME. The construction of the sentence is peculiar and incomplete. It requires the introduction, before _c'est un portrait_, of the words _c'est que_. In modern French the awkwardness of this form would be obviated. In the second clause _que_ would have to be prefixed to _c'est ici_. [93] QUAND. _Puisque_ is also found in incomplete expressions of this kind. The thought might be completed as follows: _Mais, quand_ (or _puisque_) _je vous dis, etc., vous devriez me croire_. [94] ENTENDU, used here in the sense of _compris_. [95] HUPP ES, 'Fancy,' 'smartly dressed.' It often means 'smart.' Compare; "Combien en as-tu vu, je dis des plus hupp es." (Racine, _Les Plaideurs_, J, 4); "Bien hupp qui pourra m'attraper sur ce point!" (Moli re, _ cole des femmes_, 1, I). [96] JE N'EN RABATS RIEN, 'I retract nothing.' That is to say, 'I insist that it is the Count.' [97] PLAISANT, 'Ridiculous.' [98] COMME DE CELA. With some gesture of contempt. See _le Legs_, note 108. [99] LUI. For _le_. The verb _d fier_ governs to-day the accusative and not the dative. [100] QU'IL. Later editions print _qui_, which is the correct form. The thought may be expressed more simply by the phrase _Je l'avais vu le contempler_. [101] CE QUI EST DE S R = _Ce qu'il y a de s r_. [102] LE SUJET = _La raison_. [103] DE BONNE MAIN, 'By a reliable person.' (Littr , "main," 17 .) [104] CONSENS... DE. The verb _consentir_ takes either _de_ or _ _, before a following infinitive, although in modern French the latter is the more common. [105] TOUS PROC S. Later editions print _tout proc s_, which is the more natural modern form. The plural, in the sense of 'each' or 'every' is, however, sometimes found without the article. Compare: "L'auteur des dialogues a dit que les belles sont de tous pays, et moi je dis que les sottises sont de tous les si cles " (Fontenelle, _Jugement de Pluton_). [106] AVOIR PRISE ... AVEC, 'To have a dispute with.' PRISE, 'Quarrel,' 'dispute' (Littr , 6 , also Dict. de l'Acad., 1878). [107] TOUS. Later editions print _tout_, which is the modern form. In the seventeenth and early eighteenth centuries is was not customary to consider the adverbial _tout_ as necessarily invariable. [108] MOUVEMENT. See _le Jeu de l'amour et du hasard_, note 162. [109] DONT. _Que is preferable. See _Le Jeu de l'amour et du hasard_, note 175. [110] SAVOIS. A not uncommon use of the imperfect indicative in the sense of the conditional. [111] JE N'AUROIS QUE FAIRE DE. See _le Jeu de l'amour et du hasard_, note 68. Compare _le Jeu de l'amour et du hasard_, note 141, and _le Legs_, note 85. [112] A TOI. The English idiom is 'of you.' [113] AU MOINS, 'Nevertheless.' [114] CAPABLE. Most editions print _incapable_, beginning the sentence with _s'il_, and punctuating with a comma after _incapable_. The sense is better carried out with such a rendering. [115] Des biais = _Des moyens d tourn s_. [116] L'EN D DIRE = _Le d mentir_. [117] COMME S'EN ALLANT. See _les Fausses Confidences_, note 26. [118] A CE QU'IL EST N = _A sa naissance_. [119] C'EST DE DORANTE, for _Il est de Dorante_: 'It has been painted by Dorante.' [120] M'EN FAIRE ACCROIRE, 'To impose upon me.' [121] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [122] This speech of Dorante's and Araminte's answer seem to have inspired Augier and Sandeau in the scene between Bertrand and H l ne, in _Mlle. de la Seigli re_, Act III, sc. 7. [123] QUE MON AMOUR N'EN AUGMENTE. See _Le jeu de l'amour et du hasard_, note 137. [124] JE L'AI PEINTE. The _peinte_ refers to and agrees with _la_ in Dorante's preceding speech. [125] AVANT QUE DE. See _Le jeu de l'amour et du hasard_, note 117. [126] RUE DU FIGUIER. A very ancient and historic street in Paris, situated not far from the Lyc e Charlemagne, and making a triangle with the rue Charlemagne and the rue Fauconnier. Even before the year 1300 it bore this name, from a fine fig-tree which stood at its juncture with the rue Fauconnier, and which was standing as late as 1605. The most important edifice of the street is the H tel de Sens, built in the sixteenth century by the Archbishop Tristan de Salazar. It was for a time the residence of Marguerite, first wife of Henry IV. [127] JE LUI RECOMMANDERAI. Later editions print _je le lui recommanderai_. Attention has already been called to Marivaux's custom of omitting the direct object pronoun in similar constructions. Compare _le Jeu de l'amour et du hasard_, note 210, and _le Legs_, note 29. [128] MOUVEMENTS. See _Le jeu de l'amour et du hasard_, note 162. [129] LUI. See note 99. [130] FATIGUE, 'Importune' (Littr , 4 ).' Compare: "Ainsi donc mes bont s vous fatiguent peut- tre" (Racine, _B r nice_, II, 4). [131] AMUSER. See _Le jeu de l'amour et du hasard_, note 41. [132] EN FAIT DE DISCR TION, JE M RITERAIS D' TRE FEMME. _Discr tion_ means here 'the ability to keep a secret' (Littr , 5 ). Compare; "Rien ne p se tant qu'un secret: Le porter loin est difficile aux dames; Et je sais m me sur ce fait Bon nombre d'hommes qui sont femmes.' (La Fontaine, _Fables_, viii, 6.) [133] LE DIABLE N'Y PERD RIEN, is said of a person who restrains his feelings with difficulty, or only temporarily (Littr , "diable." 2 ). The whole phrase might here be translated by: 'She cannot conceal the matter, nor will I.' [134] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [135] OUI-DA. See _le Jeu de l'amour et du hasard_, note 21. [136] DEMEURE. The incorrect use of this verb by Harlequin adds to the comic of the piece. For correct French one might substitute _se trouve_. [137] LA RUE DU FIGUIER. See note 126. [138] SAIS. _Savoir_ as used here means 'to know about the street,' 'to know that it exists,' 'to know where it may be found'; _conna tre_ would mean 'to be acquainted with it.' [139] RENDRA = _Remettra_. [140] RENDREZ. Some of the later editions print _rendez_. [141] QUE JE N'AIE VU, 'Until I have seen.' The negative particle _ne_ is required in a phrase introduced by _que_, when this conjunction stands in the place of _avant que_. [142] PR SOMPTIONS. 'Presumptions' or 'reasonable suppositions.' Compare: "Ce ne sont pas l des convictions enti res; mais ce sont les pr somptions les plus fortes" (Voltaire, _Essai sur les moeurs et l'esprit des nations_, chap. 166). [143] DE VOTRE FA ON, 'Of your choosing.' [144] TOUT. Later editions print _tout le monde_, which is evidently the sense in which this word is used. [145] ROGUE, 'Arrogant.' In the edition of 1758 the word is printed _roque_, which has led some editors into the error of correcting to _rauque_ (hoarse). [146] NOUS N'AVONS QUE FAIRE ENSEMBLE, 'We have no dealings together.' [147] NON QUE JE SACHE. _Non, pas que je sache_ is the more complete modern expression. [148] A CAUSE QUE. _Parce que_ is more modern. Littr favors the retention of _ cause que_, since it is used by good authors, and, in certain cases, is preferable to _parce que_. [149] AMPLIFIE, 'Exaggerates.' [150] HORS D'OEUVRE = _Hors de propos_. Generally used to-day as a substantive, but in the seventeenth and eighteenth centuries often used adverbially as here. Compare: "Dans le _Cid_, toutes celles (the scenes) de l'infante sont d tach es, et paraissent hors d'oeuvre" (Corneille, _Horace_, Examen). [151] ENFANCE. For the more modern word _enfantillage_, although the Dict. de l'Acad., 1878, retains the word in this sense. Compare: "Ils ne font que des enfances" (Mme. de S vign , Jan. 26, 1689). "On passait encore les enfances Mme. la duchesse de Bourgogne par la gr ce qu'elle y mettait" (St. Simon. 294, 6). "Ce sont des b tises ou des enfances dont il n'y a que de bonnes gens qui soient capables" (_Marianne_, 2e partie.) See _le Legs_, note 29. [152] TOUT L'HEURE. In the sense of _tout de suite_ the expression is to-day obsolete, and is not admitted by the Dict. de l'Acad., 1878. See _le Legs_, note 76. [153] CAUSE QUE. See note 147. [154] ENTEND. See _le Jeu de l'amour et du hasard_, note 247. [155] APPAREMMENT, 'Manifestly,' 'Of course.' In this sense the word has become obsolete, and is not admitted by the Dict. de l'Acad., 1878. [156] VOUS N'Y SONGEZ PAS. See _le Legs_, note 58, _le Legs_, note 102. [157] D LIVR E. The edition of 1758 prints _d livr es_, which will be accounted for by the speaker's including madame Argante in his mind. The singular is, however, preferable. [158] EUS. The edition of 1758 prints the past participle _eu_, without making it agree with the preceding object pronoun. See _le Legs_, note 56. [159] NOUS DIS. For the position of the object pronoun see note 18. [160] EUES. The edition of 1738 prints _eu_. For similar carelessness in Marivaux's use of the past participle compare _le Legs_, note 56, and note 158. [161] AFFRONT , 'Deceived' (Littr , 2 , also the Dict. de l'Acad., 1878). [162] FERMIER, 'Farmer,' 'One holding a farm by lease.' [163] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [164] A CAUSE QUE. See note 147. [165] OUF! MA GLOIRE M'ACCABLE; ET JE M RITEROIS BIEN D'APPELER CETTE FEMME-L MA BRU. This expression, seeming too violent to the spectators of to-day, was suppressed by the Com die-Fran aise, March 5, 1881. The play ends with the words of Araminte. See Larroumet, p. 227, note 1. [166] PARDI. See _le Jeu de l'amour et du hasard_, note 15. End of the Project Gutenberg EBook of A Selection from the Comedies of Marivaux, by Pierre Carlet de Chamblain de Marivaux *** END OF THIS PROJECT GUTENBERG EBOOK COMEDIES OF MARIVAUX *** ***** This file should be named 12504-8.txt or 12504-8.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.net/1/2/5/0/12504/ Produced by Anne Soulard, Charles Aldarondo, Keren Vergon and the Online Distributed Proofreading Team. Updated editions will replace the previous one--the old editions will be renamed. 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quickly

How many times the word 'quickly' appears in the text?

2.) [15] VOUS M'EN DIREZ DES NOUVELLES. See _le jeu de l'amour et du hasard_, note 242. [16] DIANTRE. See _le Legs_, note 101. [17] L . _Dans la t te_, with a gesture. [18] D RANG . 'Disorderly' or 'irregular' (in his affairs). [19] SERVITEUR AU COLLAT RAL, 'Then the collateral heirs will have to go without.' _Serviteur au_ is here used in the sense of _tant pis pour. Serviteur_ is not infrequently used as a formula of dismissal. [20] VOUS METTEZ. An inverted order quite common in the seventeenth and eighteenth centuries, when the second of two imperatives is construed with an object pronoun. Compare: "Quittez cette chim re, et m'aimez " (Corneille). "Polissez-le sans cesse et le repolissez" (Boileau, _Art Po tique_, Chant 1). [21] DONT. _Que would preferably be used to-day, so as not to repeat the construction of the antecedent. Compare _le Jeu de l'amour et du hasard_, note 175. [22] QU'IL VOUS REVIENNE, 'That you like him.' [23] MONSIEUR PR VIENT EN SA FAVEUR, 'The gentleman's appearance speaks in his favour.' [24] GR CES. In modern French the singular is preferred. [25] EST-CE VOUS QUI IL EN VEUT, 'Is it you whom he has come to see?' See _le Jeu de l'amour et du hasard_, note 68; _le Jeu de l'amour et du hasard_, note 175 and note 176; _le Legs_, note 132, and _le Legs_, note 135. [26] COMME S'EN ALLANT, for, _comme en s'en allant. [27] PARTI, 'Position' (Littr , 10 ). The idea of 'salary' is conveyed by the word as used here. [28] RENVERRAI TOUT. That is to say, _tout ce qui se pr sentera_; 'I will dismiss all other applicants.' [29] PARTI. See note 27. [30] REPR SENTE, 'call attention, 'set forth'; a form often used in petitions. [31] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [32] A VOTRE AISE LE RESTE, 'The rest when you like.' [33] D'O VIENT PR F RER CELUI-CI. See _le Jeu de l'amour et du hasard_, note 220. [34] ARR T , for the modern French _engag _ ('engaged'). [35] IL ME TARDE, 'I long.' [36] EN PASSE, 'In a position to.' [37] D'ALLER TOUT. For the more modern expression _d'arriver tout_, 'to attain any height.' [38] D FAITE, 'Excuse' or 'pretext' (Littr ", 4 , also Diet, de l'Acad. 1878). [39] L VATION. Used here with the unusual meaning of 'desire for social eminence.' [40] ELLE S'ENDORT DANS CET TAT, 'She is satisfied with her condition.' While already in the seventeenth century the ambition of rich _bourgeois_ to gain admission to the exclusive circles of the nobility had been sufficiently marked to induce Moli re to attack it in his _Bourgeois gentilhomme_, it was even more noticeable in the eighteenth, and _m salliances_ between noblemen and women of the middle class became much more frequent. [41] R FLEXION ROTURI RE. _Roture_ was the expression used to denote the _bourgeoisie_ as distinguished from the nobility. [42] JE N'Y ENTENDS POINT DE FINESSE, 'I cannot enter into such subtle distinctions on the question of happiness.' She refuses to discuss the possibility of Araminte's preferring happiness to rank. For her, rank means happiness, as would wealth. [43] IL ME L'A PARU = _Cela nil a paru ainsi_. [44] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [45] J'Y METTRAI BON ORDRE. See _le Jeu de l'amour et du hasard_, note 169. [46] PLAISANT. See _le Jeu de l'amour et du hasard_, note 37. [47] TIMBR COMME CENT, 'As crazy as a loon.' It is difficult to preserve the figure in an idiomatic translation. Compare the colloquial English, "You act like _sixty_." [48] CERVELLE BR L E. A peculiar use of _cervelle_. _Br l e_ is used here by Marivaux in the sense _troubl e_, as in the passage from Mme. de S vign : "Mme. de Saint-G ran est toute br l e du d part de son mari." [49] IL EN EST COMME UN PERDU, 'He is like a man who has lost his reason.' Cf. _le Jeu de l'amour et du hasard_, note 120. [50] UN PEU BOUDANT. Nowadays the adverb follows the verb. Here _boudant_ might at first thought be taken for an adjective, but it is a present participle used verbally and consequently invariable. [51] ON A BIEN AFFAIRE DE, 'I have no use for.' This idiom must not be confounded with _avoir affaire _, which means 'to have to deal with.' [52] ESPRIT RENVERS , 'A crazy man.' [53] MALEPESTE. See _le Legs_, note 48. [54] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [55] IL N'Y AVOIT PLUS PERSONNE AU LOGIS, 'He was quite unconscious.' (Littr , "logis," 1 .) [56] D' PIER. Later editions print _qu' pier_, as _d' pier_ would not be admissible in modern French. _Que de r ver... que d' pier_ would be the most natural modern form. [57] PAYOIS BOUTEILLE = _Payais boire_. [58] LA COM DIE. The _Com die-Fran aise_, or _Th tre-Fran ais_, then, as now, the leading theatre in Paris. [59] D S QUATRE HEURES. The performance did not begin before five o'clock, in the eighteenth century, [60] DANS L'HIVER. The modern form is _en hiver_. [61] JURANT PAR CI PAR L , 'Swearing every now and then.' [62] AUX TUILERIES. The Cours-la-Reine, in the Champs-Elys es, the Tuileries gardens, and the Palais-Royal, with its covered galleries and its garden, were the fashionable resorts of promenaders in the eighteenth century. [63] CE QU'IL. The _ce_ is superfluous. [64] PERCER = _S'apercevoir_. [65] JE ME REMETS = _J'y suis_. [66] OUI-DA. See _Le Jeu de l'amour et du hasard_, note 21. [67] COMME PASSANT, for _comme en passant_. Compare _les Fausses Confidences_, note 26. [68] C'EST AUTANT DE PRIS. See _le Jeu de l'amour et du hasard_, note 54. [69] QU'EST-IL = _Pourquoi est-il_? [70] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [71] IL LES FAIT COMME IL LES A. Untranslatable, save by an quivalent. It is a pun on Dubois' remark: "making eyes at her." [72] PRENEZ TOUJOURS, 'Take note of them nevertheless." [73] LE. The text of 1758 prints _le_; _ce_ would carry out the sense even better. See _le Legs_, note 38. [74] APPAREMMENT, 'Evidently.' This adverb may be used with or without the conjunction _que_ to introduce a verb. [75] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [76] UNE GUENON, 'a fool.' [77] QUI SE FASSE = _Qu'il y ait_. [78] LES PETITES-MAISONS. The old Maladrerie de Saint-Germain, which in 1554 became the H pital Saint-Germain, later known as les Petites-Maisons, on account of the great number of cells into which it was divided. It was used to house infirm old men and women, who received a small weekly dole, lunatics, and patients suffering from loathsome diseases. The name became synonymous with either a mad-house or a hospital for certain diseases: it was changed in 1801 to les Petits-M nages, the insane having then been transferred, the men to Bic tre, the women to La Salp tri re. [79] BIEN VENANTS, 'Paid regularly.' Marivaux, like the authors of the preceding century, considered _bien venants_ as an adjective, and hence declinable: but _livre_ is feminine, and we should expect here the form _bien venantes_. The Academy has declared the expression indeclinable. Compare: "Je le voyais avec vingt-huit mille livres de rente bien venantes" (Mme. de S vign , Dec. 28, 1689). [80] APPAREMMENT. See _les Fausses Confidences_, note 74. [81] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [82] VOUS N'AVEZ POINT DE GR ME SAVOIR. A well-known idiom, better expressed to-day: _Vous n'avez point me savoir gr _. [83] D'AVEC. A shortened form for some such phrase as _d'une conversation avec. D'avec_ is generally to be translated 'from,' 'in contradiction to.' [84] A QUEL HOMME EN VEUT-IL? 'For what man is he looking?' Compare _le Jeu de l'amour et du hasard_, note 68. [85] A VOUS. _Aupr s de vous_ would be the modern expression. [86] LE FAISANT SORTIR. Note the peculiar use of _le_, which nowadays would be replaced by the noun to which it refers--_le gar on_. [87] DONT. Better _que_. See _Le Jeu de l'amour et du hasard_, note 175. [88] DESSUS. For _l -dessus_. [89] SANS DIFFICULT . See _le Jeu de l'amour et du hasard_, note 154. [90] DE NE VOUS PAS AIMER. _De ne pas vous aimer_ is the more natural order in modern French. [91] IL N'A QUE FAIRE DE, 'He has no need to.' Compare _le Jeu de l'amour et du hasard_, note, 141. [92] C'EST UN PORTRAIT DE FEMME. The construction of the sentence is peculiar and incomplete. It requires the introduction, before _c'est un portrait_, of the words _c'est que_. In modern French the awkwardness of this form would be obviated. In the second clause _que_ would have to be prefixed to _c'est ici_. [93] QUAND. _Puisque_ is also found in incomplete expressions of this kind. The thought might be completed as follows: _Mais, quand_ (or _puisque_) _je vous dis, etc., vous devriez me croire_. [94] ENTENDU, used here in the sense of _compris_. [95] HUPP ES, 'Fancy,' 'smartly dressed.' It often means 'smart.' Compare; "Combien en as-tu vu, je dis des plus hupp es." (Racine, _Les Plaideurs_, J, 4); "Bien hupp qui pourra m'attraper sur ce point!" (Moli re, _ cole des femmes_, 1, I). [96] JE N'EN RABATS RIEN, 'I retract nothing.' That is to say, 'I insist that it is the Count.' [97] PLAISANT, 'Ridiculous.' [98] COMME DE CELA. With some gesture of contempt. See _le Legs_, note 108. [99] LUI. For _le_. The verb _d fier_ governs to-day the accusative and not the dative. [100] QU'IL. Later editions print _qui_, which is the correct form. The thought may be expressed more simply by the phrase _Je l'avais vu le contempler_. [101] CE QUI EST DE S R = _Ce qu'il y a de s r_. [102] LE SUJET = _La raison_. [103] DE BONNE MAIN, 'By a reliable person.' (Littr , "main," 17 .) [104] CONSENS... DE. The verb _consentir_ takes either _de_ or _ _, before a following infinitive, although in modern French the latter is the more common. [105] TOUS PROC S. Later editions print _tout proc s_, which is the more natural modern form. The plural, in the sense of 'each' or 'every' is, however, sometimes found without the article. Compare: "L'auteur des dialogues a dit que les belles sont de tous pays, et moi je dis que les sottises sont de tous les si cles " (Fontenelle, _Jugement de Pluton_). [106] AVOIR PRISE ... AVEC, 'To have a dispute with.' PRISE, 'Quarrel,' 'dispute' (Littr , 6 , also Dict. de l'Acad., 1878). [107] TOUS. Later editions print _tout_, which is the modern form. In the seventeenth and early eighteenth centuries is was not customary to consider the adverbial _tout_ as necessarily invariable. [108] MOUVEMENT. See _le Jeu de l'amour et du hasard_, note 162. [109] DONT. _Que is preferable. See _Le Jeu de l'amour et du hasard_, note 175. [110] SAVOIS. A not uncommon use of the imperfect indicative in the sense of the conditional. [111] JE N'AUROIS QUE FAIRE DE. See _le Jeu de l'amour et du hasard_, note 68. Compare _le Jeu de l'amour et du hasard_, note 141, and _le Legs_, note 85. [112] A TOI. The English idiom is 'of you.' [113] AU MOINS, 'Nevertheless.' [114] CAPABLE. Most editions print _incapable_, beginning the sentence with _s'il_, and punctuating with a comma after _incapable_. The sense is better carried out with such a rendering. [115] Des biais = _Des moyens d tourn s_. [116] L'EN D DIRE = _Le d mentir_. [117] COMME S'EN ALLANT. See _les Fausses Confidences_, note 26. [118] A CE QU'IL EST N = _A sa naissance_. [119] C'EST DE DORANTE, for _Il est de Dorante_: 'It has been painted by Dorante.' [120] M'EN FAIRE ACCROIRE, 'To impose upon me.' [121] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [122] This speech of Dorante's and Araminte's answer seem to have inspired Augier and Sandeau in the scene between Bertrand and H l ne, in _Mlle. de la Seigli re_, Act III, sc. 7. [123] QUE MON AMOUR N'EN AUGMENTE. See _Le jeu de l'amour et du hasard_, note 137. [124] JE L'AI PEINTE. The _peinte_ refers to and agrees with _la_ in Dorante's preceding speech. [125] AVANT QUE DE. See _Le jeu de l'amour et du hasard_, note 117. [126] RUE DU FIGUIER. A very ancient and historic street in Paris, situated not far from the Lyc e Charlemagne, and making a triangle with the rue Charlemagne and the rue Fauconnier. Even before the year 1300 it bore this name, from a fine fig-tree which stood at its juncture with the rue Fauconnier, and which was standing as late as 1605. The most important edifice of the street is the H tel de Sens, built in the sixteenth century by the Archbishop Tristan de Salazar. It was for a time the residence of Marguerite, first wife of Henry IV. [127] JE LUI RECOMMANDERAI. Later editions print _je le lui recommanderai_. Attention has already been called to Marivaux's custom of omitting the direct object pronoun in similar constructions. Compare _le Jeu de l'amour et du hasard_, note 210, and _le Legs_, note 29. [128] MOUVEMENTS. See _Le jeu de l'amour et du hasard_, note 162. [129] LUI. See note 99. [130] FATIGUE, 'Importune' (Littr , 4 ).' Compare: "Ainsi donc mes bont s vous fatiguent peut- tre" (Racine, _B r nice_, II, 4). [131] AMUSER. See _Le jeu de l'amour et du hasard_, note 41. [132] EN FAIT DE DISCR TION, JE M RITERAIS D' TRE FEMME. _Discr tion_ means here 'the ability to keep a secret' (Littr , 5 ). Compare; "Rien ne p se tant qu'un secret: Le porter loin est difficile aux dames; Et je sais m me sur ce fait Bon nombre d'hommes qui sont femmes.' (La Fontaine, _Fables_, viii, 6.) [133] LE DIABLE N'Y PERD RIEN, is said of a person who restrains his feelings with difficulty, or only temporarily (Littr , "diable." 2 ). The whole phrase might here be translated by: 'She cannot conceal the matter, nor will I.' [134] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [135] OUI-DA. See _le Jeu de l'amour et du hasard_, note 21. [136] DEMEURE. The incorrect use of this verb by Harlequin adds to the comic of the piece. For correct French one might substitute _se trouve_. [137] LA RUE DU FIGUIER. See note 126. [138] SAIS. _Savoir_ as used here means 'to know about the street,' 'to know that it exists,' 'to know where it may be found'; _conna tre_ would mean 'to be acquainted with it.' [139] RENDRA = _Remettra_. [140] RENDREZ. Some of the later editions print _rendez_. [141] QUE JE N'AIE VU, 'Until I have seen.' The negative particle _ne_ is required in a phrase introduced by _que_, when this conjunction stands in the place of _avant que_. [142] PR SOMPTIONS. 'Presumptions' or 'reasonable suppositions.' Compare: "Ce ne sont pas l des convictions enti res; mais ce sont les pr somptions les plus fortes" (Voltaire, _Essai sur les moeurs et l'esprit des nations_, chap. 166). [143] DE VOTRE FA ON, 'Of your choosing.' [144] TOUT. Later editions print _tout le monde_, which is evidently the sense in which this word is used. [145] ROGUE, 'Arrogant.' In the edition of 1758 the word is printed _roque_, which has led some editors into the error of correcting to _rauque_ (hoarse). [146] NOUS N'AVONS QUE FAIRE ENSEMBLE, 'We have no dealings together.' [147] NON QUE JE SACHE. _Non, pas que je sache_ is the more complete modern expression. [148] A CAUSE QUE. _Parce que_ is more modern. Littr favors the retention of _ cause que_, since it is used by good authors, and, in certain cases, is preferable to _parce que_. [149] AMPLIFIE, 'Exaggerates.' [150] HORS D'OEUVRE = _Hors de propos_. Generally used to-day as a substantive, but in the seventeenth and eighteenth centuries often used adverbially as here. Compare: "Dans le _Cid_, toutes celles (the scenes) de l'infante sont d tach es, et paraissent hors d'oeuvre" (Corneille, _Horace_, Examen). [151] ENFANCE. For the more modern word _enfantillage_, although the Dict. de l'Acad., 1878, retains the word in this sense. Compare: "Ils ne font que des enfances" (Mme. de S vign , Jan. 26, 1689). "On passait encore les enfances Mme. la duchesse de Bourgogne par la gr ce qu'elle y mettait" (St. Simon. 294, 6). "Ce sont des b tises ou des enfances dont il n'y a que de bonnes gens qui soient capables" (_Marianne_, 2e partie.) See _le Legs_, note 29. [152] TOUT L'HEURE. In the sense of _tout de suite_ the expression is to-day obsolete, and is not admitted by the Dict. de l'Acad., 1878. See _le Legs_, note 76. [153] CAUSE QUE. See note 147. [154] ENTEND. See _le Jeu de l'amour et du hasard_, note 247. [155] APPAREMMENT, 'Manifestly,' 'Of course.' In this sense the word has become obsolete, and is not admitted by the Dict. de l'Acad., 1878. [156] VOUS N'Y SONGEZ PAS. See _le Legs_, note 58, _le Legs_, note 102. [157] D LIVR E. The edition of 1758 prints _d livr es_, which will be accounted for by the speaker's including madame Argante in his mind. The singular is, however, preferable. [158] EUS. The edition of 1758 prints the past participle _eu_, without making it agree with the preceding object pronoun. See _le Legs_, note 56. [159] NOUS DIS. For the position of the object pronoun see note 18. [160] EUES. The edition of 1738 prints _eu_. For similar carelessness in Marivaux's use of the past participle compare _le Legs_, note 56, and note 158. [161] AFFRONT , 'Deceived' (Littr , 2 , also the Dict. de l'Acad., 1878). [162] FERMIER, 'Farmer,' 'One holding a farm by lease.' [163] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [164] A CAUSE QUE. See note 147. [165] OUF! MA GLOIRE M'ACCABLE; ET JE M RITEROIS BIEN D'APPELER CETTE FEMME-L MA BRU. This expression, seeming too violent to the spectators of to-day, was suppressed by the Com die-Fran aise, March 5, 1881. The play ends with the words of Araminte. See Larroumet, p. 227, note 1. [166] PARDI. See _le Jeu de l'amour et du hasard_, note 15. End of the Project Gutenberg EBook of A Selection from the Comedies of Marivaux, by Pierre Carlet de Chamblain de Marivaux *** END OF THIS PROJECT GUTENBERG EBOOK COMEDIES OF MARIVAUX *** ***** This file should be named 12504-8.txt or 12504-8.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.net/1/2/5/0/12504/ Produced by Anne Soulard, Charles Aldarondo, Keren Vergon and the Online Distributed Proofreading Team. Updated editions will replace the previous one--the old editions will be renamed. 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ability

How many times the word 'ability' appears in the text?

2.) [15] VOUS M'EN DIREZ DES NOUVELLES. See _le jeu de l'amour et du hasard_, note 242. [16] DIANTRE. See _le Legs_, note 101. [17] L . _Dans la t te_, with a gesture. [18] D RANG . 'Disorderly' or 'irregular' (in his affairs). [19] SERVITEUR AU COLLAT RAL, 'Then the collateral heirs will have to go without.' _Serviteur au_ is here used in the sense of _tant pis pour. Serviteur_ is not infrequently used as a formula of dismissal. [20] VOUS METTEZ. An inverted order quite common in the seventeenth and eighteenth centuries, when the second of two imperatives is construed with an object pronoun. Compare: "Quittez cette chim re, et m'aimez " (Corneille). "Polissez-le sans cesse et le repolissez" (Boileau, _Art Po tique_, Chant 1). [21] DONT. _Que would preferably be used to-day, so as not to repeat the construction of the antecedent. Compare _le Jeu de l'amour et du hasard_, note 175. [22] QU'IL VOUS REVIENNE, 'That you like him.' [23] MONSIEUR PR VIENT EN SA FAVEUR, 'The gentleman's appearance speaks in his favour.' [24] GR CES. In modern French the singular is preferred. [25] EST-CE VOUS QUI IL EN VEUT, 'Is it you whom he has come to see?' See _le Jeu de l'amour et du hasard_, note 68; _le Jeu de l'amour et du hasard_, note 175 and note 176; _le Legs_, note 132, and _le Legs_, note 135. [26] COMME S'EN ALLANT, for, _comme en s'en allant. [27] PARTI, 'Position' (Littr , 10 ). The idea of 'salary' is conveyed by the word as used here. [28] RENVERRAI TOUT. That is to say, _tout ce qui se pr sentera_; 'I will dismiss all other applicants.' [29] PARTI. See note 27. [30] REPR SENTE, 'call attention, 'set forth'; a form often used in petitions. [31] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [32] A VOTRE AISE LE RESTE, 'The rest when you like.' [33] D'O VIENT PR F RER CELUI-CI. See _le Jeu de l'amour et du hasard_, note 220. [34] ARR T , for the modern French _engag _ ('engaged'). [35] IL ME TARDE, 'I long.' [36] EN PASSE, 'In a position to.' [37] D'ALLER TOUT. For the more modern expression _d'arriver tout_, 'to attain any height.' [38] D FAITE, 'Excuse' or 'pretext' (Littr ", 4 , also Diet, de l'Acad. 1878). [39] L VATION. Used here with the unusual meaning of 'desire for social eminence.' [40] ELLE S'ENDORT DANS CET TAT, 'She is satisfied with her condition.' While already in the seventeenth century the ambition of rich _bourgeois_ to gain admission to the exclusive circles of the nobility had been sufficiently marked to induce Moli re to attack it in his _Bourgeois gentilhomme_, it was even more noticeable in the eighteenth, and _m salliances_ between noblemen and women of the middle class became much more frequent. [41] R FLEXION ROTURI RE. _Roture_ was the expression used to denote the _bourgeoisie_ as distinguished from the nobility. [42] JE N'Y ENTENDS POINT DE FINESSE, 'I cannot enter into such subtle distinctions on the question of happiness.' She refuses to discuss the possibility of Araminte's preferring happiness to rank. For her, rank means happiness, as would wealth. [43] IL ME L'A PARU = _Cela nil a paru ainsi_. [44] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [45] J'Y METTRAI BON ORDRE. See _le Jeu de l'amour et du hasard_, note 169. [46] PLAISANT. See _le Jeu de l'amour et du hasard_, note 37. [47] TIMBR COMME CENT, 'As crazy as a loon.' It is difficult to preserve the figure in an idiomatic translation. Compare the colloquial English, "You act like _sixty_." [48] CERVELLE BR L E. A peculiar use of _cervelle_. _Br l e_ is used here by Marivaux in the sense _troubl e_, as in the passage from Mme. de S vign : "Mme. de Saint-G ran est toute br l e du d part de son mari." [49] IL EN EST COMME UN PERDU, 'He is like a man who has lost his reason.' Cf. _le Jeu de l'amour et du hasard_, note 120. [50] UN PEU BOUDANT. Nowadays the adverb follows the verb. Here _boudant_ might at first thought be taken for an adjective, but it is a present participle used verbally and consequently invariable. [51] ON A BIEN AFFAIRE DE, 'I have no use for.' This idiom must not be confounded with _avoir affaire _, which means 'to have to deal with.' [52] ESPRIT RENVERS , 'A crazy man.' [53] MALEPESTE. See _le Legs_, note 48. [54] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [55] IL N'Y AVOIT PLUS PERSONNE AU LOGIS, 'He was quite unconscious.' (Littr , "logis," 1 .) [56] D' PIER. Later editions print _qu' pier_, as _d' pier_ would not be admissible in modern French. _Que de r ver... que d' pier_ would be the most natural modern form. [57] PAYOIS BOUTEILLE = _Payais boire_. [58] LA COM DIE. The _Com die-Fran aise_, or _Th tre-Fran ais_, then, as now, the leading theatre in Paris. [59] D S QUATRE HEURES. The performance did not begin before five o'clock, in the eighteenth century, [60] DANS L'HIVER. The modern form is _en hiver_. [61] JURANT PAR CI PAR L , 'Swearing every now and then.' [62] AUX TUILERIES. The Cours-la-Reine, in the Champs-Elys es, the Tuileries gardens, and the Palais-Royal, with its covered galleries and its garden, were the fashionable resorts of promenaders in the eighteenth century. [63] CE QU'IL. The _ce_ is superfluous. [64] PERCER = _S'apercevoir_. [65] JE ME REMETS = _J'y suis_. [66] OUI-DA. See _Le Jeu de l'amour et du hasard_, note 21. [67] COMME PASSANT, for _comme en passant_. Compare _les Fausses Confidences_, note 26. [68] C'EST AUTANT DE PRIS. See _le Jeu de l'amour et du hasard_, note 54. [69] QU'EST-IL = _Pourquoi est-il_? [70] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [71] IL LES FAIT COMME IL LES A. Untranslatable, save by an quivalent. It is a pun on Dubois' remark: "making eyes at her." [72] PRENEZ TOUJOURS, 'Take note of them nevertheless." [73] LE. The text of 1758 prints _le_; _ce_ would carry out the sense even better. See _le Legs_, note 38. [74] APPAREMMENT, 'Evidently.' This adverb may be used with or without the conjunction _que_ to introduce a verb. [75] D'O VIENT. See _le Jeu de l'amour et du hasard_, note 220. [76] UNE GUENON, 'a fool.' [77] QUI SE FASSE = _Qu'il y ait_. [78] LES PETITES-MAISONS. The old Maladrerie de Saint-Germain, which in 1554 became the H pital Saint-Germain, later known as les Petites-Maisons, on account of the great number of cells into which it was divided. It was used to house infirm old men and women, who received a small weekly dole, lunatics, and patients suffering from loathsome diseases. The name became synonymous with either a mad-house or a hospital for certain diseases: it was changed in 1801 to les Petits-M nages, the insane having then been transferred, the men to Bic tre, the women to La Salp tri re. [79] BIEN VENANTS, 'Paid regularly.' Marivaux, like the authors of the preceding century, considered _bien venants_ as an adjective, and hence declinable: but _livre_ is feminine, and we should expect here the form _bien venantes_. The Academy has declared the expression indeclinable. Compare: "Je le voyais avec vingt-huit mille livres de rente bien venantes" (Mme. de S vign , Dec. 28, 1689). [80] APPAREMMENT. See _les Fausses Confidences_, note 74. [81] PARDI. See _le Jeu de l'amour et du hasard_, note 15. [82] VOUS N'AVEZ POINT DE GR ME SAVOIR. A well-known idiom, better expressed to-day: _Vous n'avez point me savoir gr _. [83] D'AVEC. A shortened form for some such phrase as _d'une conversation avec. D'avec_ is generally to be translated 'from,' 'in contradiction to.' [84] A QUEL HOMME EN VEUT-IL? 'For what man is he looking?' Compare _le Jeu de l'amour et du hasard_, note 68. [85] A VOUS. _Aupr s de vous_ would be the modern expression. [86] LE FAISANT SORTIR. Note the peculiar use of _le_, which nowadays would be replaced by the noun to which it refers--_le gar on_. [87] DONT. Better _que_. See _Le Jeu de l'amour et du hasard_, note 175. [88] DESSUS. For _l -dessus_. [89] SANS DIFFICULT . See _le Jeu de l'amour et du hasard_, note 154. [90] DE NE VOUS PAS AIMER. _De ne pas vous aimer_ is the more natural order in modern French. [91] IL N'A QUE FAIRE DE, 'He has no need to.' Compare _le Jeu de l'amour et du hasard_, note, 141. [92] C'EST UN PORTRAIT DE FEMME. The construction of the sentence is peculiar and incomplete. It requires the introduction, before _c'est un portrait_, of the words _c'est que_. In modern French the awkwardness of this form would be obviated. In the second clause _que_ would have to be prefixed to _c'est ici_. [93] QUAND. _Puisque_ is also found in incomplete expressions of this kind. The thought might be completed as follows: _Mais, quand_ (or _puisque_) _je vous dis, etc., vous devriez me croire_. [94] ENTENDU, used here in the sense of _compris_. [95] HUPP ES, 'Fancy,' 'smartly dressed.' It often means 'smart.' Compare; "Combien en as-tu vu, je dis des plus hupp es." (Racine, _Les Plaideurs_, J, 4); "Bien hupp qui pourra m'attraper sur ce point!" (Moli re, _ cole des femmes_, 1, I). [96] JE N'EN RABATS RIEN, 'I retract nothing.' That is to say, 'I insist that it is the Count.' [97] PLAISANT, 'Ridiculous.' [98] COMME DE CELA. With some gesture of contempt. See _le Legs_, note 108. [99] LUI. For _le_. The verb _d fier_ governs to-day the accusative and not the dative. [100] QU'IL. Later editions print _qui_, which is the correct form. The thought may be expressed more simply by the phrase _Je l'avais vu le contempler_. [101] CE QUI EST DE S R = _Ce qu'il y a de s r_. [102] LE SUJET = _La raison_. [103] DE BONNE MAIN, 'By a reliable person.' (Littr , "main," 17 .) [104] CONSENS... DE. The verb _consentir_ takes either _de_ or _ _, before a following infinitive, although in modern French the latter is the more common. [105] TOUS PROC S. Later editions print _tout proc s_, which is the more natural modern form. The plural, in the sense of 'each' or 'every' is, however, sometimes found without the article. Compare: "L'auteur des dialogues a dit que les belles sont de tous pays, et moi je dis que les sottises sont de tous les si cles " (Fontenelle, _Jugement de Pluton_). [106] AVOIR PRISE ... AVEC, 'To have a dispute with.' PRISE, 'Quarrel,' 'dispute' (Littr , 6 , also Dict. de l'Acad., 1878). [107] TOUS. Later editions print _tout_, which is the modern form. In the seventeenth and early eighteenth centuries is was not customary to consider the adverbial _tout_ as necessarily invariable. [108] MOUVEMENT. See _le Jeu de l'amour et du hasard_, note 162. [109] DONT. _Que is preferable. See _Le Jeu de l'amour et du hasard_, note 175. [110] SAVOIS. A not uncommon use of the imperfect indicative in the sense of the conditional. [111] JE N'AUROIS QUE FAIRE DE. See _le Jeu de l'amour et du hasard_, note 68. Compare _le Jeu de l'amour et du hasard_, note 141, and _le Legs_, note 85. [112] A TOI. The English idiom is 'of you.' [113] AU MOINS, 'Nevertheless.' [114] CAPABLE. Most editions print _incapable_, beginning the sentence with _s'il_, and punctuating with a comma after _incapable_. The sense is better carried out with such a rendering. [115] Des biais = _Des moyens d tourn s_. [116] L'EN D DIRE = _Le d mentir_. [117] COMME S'EN ALLANT. See _les Fausses Confidences_, note 26. [118] A CE QU'IL EST N = _A sa naissance_. [119] C'EST DE DORANTE, for _Il est de Dorante_: 'It has been painted by Dorante.' [120] M'EN FAIRE ACCROIRE, 'To impose upon me.' [121] AVANT QUE DE. See _le Jeu de l'amour et du hasard_, note 93. [122] This speech of Dorante's and Araminte's answer seem to have inspired Augier and Sandeau in the scene between Bertrand and H l ne, in _Mlle. de la Seigli re_, Act III, sc. 7. [123] QUE MON AMOUR N'EN AUGMENTE. See _Le jeu de l'amour et du hasard_, note 137. [124] JE L'AI PEINTE. The _peinte_ refers to and agrees with _la_ in Dorante's preceding speech. [125] AVANT QUE DE. See _Le jeu de l'amour et du hasard_, note 117. [126] RUE DU FIGUIER. A very ancient and historic street in Paris, situated not far from the Lyc e Charlemagne, and making a triangle with the rue Charlemagne and the rue Fauconnier. Even before the year 1300 it bore this name, from a fine fig-tree which stood at its juncture with the rue Fauconnier, and which was standing as late as 1605. The most important edifice of the street is the H tel de Sens, built in the sixteenth century by the Archbishop Tristan de Salazar. It was for a time the residence of Marguerite, first wife of Henry IV. [127] JE LUI RECOMMANDERAI. Later editions print _je le lui recommanderai_. Attention has already been called to Marivaux's custom of omitting the direct object pronoun in similar constructions. Compare _le Jeu de l'amour et du hasard_, note 210, and _le Legs_, note 29. [128] MOUVEMENTS. See _Le jeu de l'amour et du hasard_, note 162. [129] LUI. See note 99. [130] FATIGUE, 'Importune' (Littr , 4 ).' Compare: "Ainsi donc mes bont s vous fatiguent peut- tre" (Racine, _B r nice_, II, 4). [131] AMUSER. See _Le jeu de l'amour et du hasard_, note 41. [132] EN FAIT DE DISCR TION, JE M RITERAIS D' TRE FEMME. _Discr tion_ means here 'the ability to keep a secret' (Littr , 5 ). Compare; "Rien ne p se tant qu'un secret: Le porter loin est difficile aux dames; Et je sais m me sur ce fait Bon nombre d'hommes qui sont femmes.' (La Fontaine, _Fables_, viii, 6.) [133] LE DIABLE N'Y PERD RIEN, is said of a person who restrains his feelings with difficulty, or only temporarily (Littr , "diable." 2 ). The whole phrase might here be translated by: 'She cannot conceal the matter, nor will I.' [134] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [135] OUI-DA. See _le Jeu de l'amour et du hasard_, note 21. [136] DEMEURE. The incorrect use of this verb by Harlequin adds to the comic of the piece. For correct French one might substitute _se trouve_. [137] LA RUE DU FIGUIER. See note 126. [138] SAIS. _Savoir_ as used here means 'to know about the street,' 'to know that it exists,' 'to know where it may be found'; _conna tre_ would mean 'to be acquainted with it.' [139] RENDRA = _Remettra_. [140] RENDREZ. Some of the later editions print _rendez_. [141] QUE JE N'AIE VU, 'Until I have seen.' The negative particle _ne_ is required in a phrase introduced by _que_, when this conjunction stands in the place of _avant que_. [142] PR SOMPTIONS. 'Presumptions' or 'reasonable suppositions.' Compare: "Ce ne sont pas l des convictions enti res; mais ce sont les pr somptions les plus fortes" (Voltaire, _Essai sur les moeurs et l'esprit des nations_, chap. 166). [143] DE VOTRE FA ON, 'Of your choosing.' [144] TOUT. Later editions print _tout le monde_, which is evidently the sense in which this word is used. [145] ROGUE, 'Arrogant.' In the edition of 1758 the word is printed _roque_, which has led some editors into the error of correcting to _rauque_ (hoarse). [146] NOUS N'AVONS QUE FAIRE ENSEMBLE, 'We have no dealings together.' [147] NON QUE JE SACHE. _Non, pas que je sache_ is the more complete modern expression. [148] A CAUSE QUE. _Parce que_ is more modern. Littr favors the retention of _ cause que_, since it is used by good authors, and, in certain cases, is preferable to _parce que_. [149] AMPLIFIE, 'Exaggerates.' [150] HORS D'OEUVRE = _Hors de propos_. Generally used to-day as a substantive, but in the seventeenth and eighteenth centuries often used adverbially as here. Compare: "Dans le _Cid_, toutes celles (the scenes) de l'infante sont d tach es, et paraissent hors d'oeuvre" (Corneille, _Horace_, Examen). [151] ENFANCE. For the more modern word _enfantillage_, although the Dict. de l'Acad., 1878, retains the word in this sense. Compare: "Ils ne font que des enfances" (Mme. de S vign , Jan. 26, 1689). "On passait encore les enfances Mme. la duchesse de Bourgogne par la gr ce qu'elle y mettait" (St. Simon. 294, 6). "Ce sont des b tises ou des enfances dont il n'y a que de bonnes gens qui soient capables" (_Marianne_, 2e partie.) See _le Legs_, note 29. [152] TOUT L'HEURE. In the sense of _tout de suite_ the expression is to-day obsolete, and is not admitted by the Dict. de l'Acad., 1878. See _le Legs_, note 76. [153] CAUSE QUE. See note 147. [154] ENTEND. See _le Jeu de l'amour et du hasard_, note 247. [155] APPAREMMENT, 'Manifestly,' 'Of course.' In this sense the word has become obsolete, and is not admitted by the Dict. de l'Acad., 1878. [156] VOUS N'Y SONGEZ PAS. See _le Legs_, note 58, _le Legs_, note 102. [157] D LIVR E. The edition of 1758 prints _d livr es_, which will be accounted for by the speaker's including madame Argante in his mind. The singular is, however, preferable. [158] EUS. The edition of 1758 prints the past participle _eu_, without making it agree with the preceding object pronoun. See _le Legs_, note 56. [159] NOUS DIS. For the position of the object pronoun see note 18. [160] EUES. The edition of 1738 prints _eu_. For similar carelessness in Marivaux's use of the past participle compare _le Legs_, note 56, and note 158. [161] AFFRONT , 'Deceived' (Littr , 2 , also the Dict. de l'Acad., 1878). [162] FERMIER, 'Farmer,' 'One holding a farm by lease.' [163] ENTENDS. See _le Jeu de l'amour et du hasard_, note 247. [164] A CAUSE QUE. See note 147. [165] OUF! MA GLOIRE M'ACCABLE; ET JE M RITEROIS BIEN D'APPELER CETTE FEMME-L MA BRU. This expression, seeming too violent to the spectators of to-day, was suppressed by the Com die-Fran aise, March 5, 1881. The play ends with the words of Araminte. See Larroumet, p. 227, note 1. [166] PARDI. See _le Jeu de l'amour et du hasard_, note 15. End of the Project Gutenberg EBook of A Selection from the Comedies of Marivaux, by Pierre Carlet de Chamblain de Marivaux *** END OF THIS PROJECT GUTENBERG EBOOK COMEDIES OF MARIVAUX *** ***** This file should be named 12504-8.txt or 12504-8.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.net/1/2/5/0/12504/ Produced by Anne Soulard, Charles Aldarondo, Keren Vergon and the Online Distributed Proofreading Team. Updated editions will replace the previous one--the old editions will be renamed. 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42 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 42 Written by Brian Helgeland White - March 14, 2012 Blue Revised - April 7, 2012 Pink Revised - April 19, 2012 Yellow Revised - April 24, 2012 Green Revised - April 27, 2012 Goldenrod Revised - May 9, 2012 Buff Revised - May 29, 2012 Salmon Revised - June 4, 2012 Cherry Revised - June 11, 2012 Tan Revised - June 25, 2012 Double White Revised - June 28, 2012 Double Blue Revised - July 9, 2012 PINK REV 4-19-12 1. A1 WHITE A1 Fills the screen. Falling from the top of frame to the bottom. Pluming off into dust. White, white, white. We move toward it even as it recedes, always out of reach. Finally we pop out wide and high to reveal... The white is chalk. An old BLACK GROUNDSKEEPER lays down the right field line on a baseball diamond. 1 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 1 Blinds closed. Dust motes in the air. A large GOLDFISH TANK bubbles. BRANCH RICKEY at his desk. Two photos on the wall: Abe Lincoln & Leo Durocher. CHALKBOARDS covered with 100's OF NAMES, every player in the Dodger organization. CLYDE SUKEFORTH and HAROLD PARROTT sit across from Rickey who stares at them. Sukeforth stares back. Parrott nervous. RICKEY Gentlemen, I have a plan... As of now, only the Board of Directors and my family know. Sukeforth and Parrott exchange a look. SUKEFORTH A plan's always good, Mr. Rickey. And you always got one. RICKEY My wife says I'm too old, That my health isn't up to it. My son says that every one in baseball will be against me. But I'm going to do it. Parrott looks to Sukeforth who keeps his eyes on Rickey. SUKEFORTH Do what, Mr. Rickey? RICKEY I'm going to bring a Negro ballplayer to the Brooklyn Dodgers. PARROTT With all due respect, sir, have you lost your mind? Imagine the abuse you'll take from the newspapers alone. Never mind how it'll play on Flatbush. Please, Mr. Rickey. Rickey looks dismissively at Parrott, over to Sukeforth. PINK REV 4-19-12 1A. RICKEY There's no law against it, Clyde. SUKEFORTH There's a code. Break a law and get away with it, some people think you're smart. Break an unwritten law though, you'll be an outcast. YELLOW REV 4-24-12 2. RICKEY So be it. New York is full of Negro baseball fans; every dollar is green. I don't know who he is, or where he is, but he's coming. CUT TO: 2 EXT. RICKWOOD FIELD - BIRMINGHAM, ALABAMA - NIGHT 2 The big Birmingham Black Barons CATCHER behind the plate as Kansas City Monarchs JOHN SCOTT stands at bat. The catcher's attention on the RUNNER DANCING off first. Stomping a foot, feinting, hard to see clearly in the glare of the lights. CATCHER Where'd you learn to move like that, runner?! At dime a dance night?! Stay quiet! INSERT: Birmingham, Alabama. April 8, 1945. On the first pitch the runner takes off. The catcher fires to second. See it from his POV as the runner slides in SAFE! A foot on the bag, the runner dusts off, heckles the catcher: RUNNER Is that the best you got?! Huh?! I'm going to steal nine, ten bases today! You better start counting! The catcher frowns. Standing, we see he is a big, big man. CATCHER (ALABAMAN) Where's your shortstop from? JOHN SCOTT (LOUISIANAN) California. CATCHER He's got a mouth on him. Shaking his head, the catcher gets back in his crouch, signals the PITCHER. On the wind-up, the Runner is off again. The catcher fires to THIRD: Safe! RUNNER You got a rag arm, catcher! CATCHER Steal home! You'll find out what kind of arm I got! DBL. BLUE REV 7-9-12 3. RUNNER Okay, I'm coming! The Catcher looks over at Scott who chuckles. CATCHER California, huh? (SCOTT NODS) Well California here he goes, if he comes down here. The Catcher gets back down in his squat. Signals the pitcher: fastball. Scott digs in, ready. The runner dancing off third. Here comes the wind-up... The Runner takes off even as the pitcher fires it in. The Birmingham Catcher receives it. As the Runner slides -- The Catcher intentionally drives his glove, the ball and both hands into the runner's face -- WHALLOP! Sound drops as we're knocked flat senseless along with the runner. ON HIM now as he tries to push himself up from the dirt. A close look at JACK ROOSEVELT ROBINSON. A born battler, he shakes out the cobwebs, finally lurches to his feet, looks to the UMPIRE. He never heard the call. JACK What was I? The umpire passes one hand over the other: Safe. Jack looks over at the catcher, gives him a pointed look as he goes -- The catcher shoves him in the back. Jack turns, shoves back. As the two men wrestles each other to the ground -- CUT TO: 3 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 3 Rickey and Sukeforth going through stacks of FILES on the desk. A black ballplayer's picture is clipped to each. As Rickey reviews one, Sukeforth tries to hand him another. SUKEFORTH Josh Gibson. Oh boy can he hit. RICKEY No. SUKEFORTH No? Rickey won't take the file; the answer is no. DBL. BLUE REV 7-9-12 4. SUKEFORTH Alright. Roy Campanella. Sukeforth holds it out; Rickey won't take it. RICKEY A heck of a player. But too sweet, they'll eat him alive. SUKEFORTH (holds up file) Satchel Paige then. Parrott enters carrying an armful of files. RICKEY Too old. We need a man with a future not a past. (holds up his own FILE) Here. Jack Roosevelt Robinson. As Parrott sets them on the desk, they start to slide off, spilling to the floor. Helpless to stem the tide, Parrott looks down, surrounded by black faces... RICKEY (flips through file) A four sport college man, out of UCLA. That means he's played with white boys. (SCANS FILE) Twenty-six years old, now with the Kansas City Monarchs. Batting over 350 even as we speak. 350! And he was a commissioned army officer! SUKEFORTH He was court-martialed. A trouble maker. He argues with umpires. A quick temper is his reputation. Rickey is obviously keen on him. PARROT What was he court-martialed for? RICKEY For refusing to sit in the back of a military bus. (checks the file) Ft. Hood, Texas. The driver asked him to move back. The MPs had to take him off. DBL. BLUE REV 7-9-12 5. SUKEFORTH Do you see? RICKEY I see he resents segregation. If he were white, we'd call it spirit! PARROT If he were white, sir, we wouldn't be looking for him. Rickey ends the debate... RICKEY Robinson's a Methodist. I'm a Methodist. God's a Methodist. We can't go wrong. Find him. Bring him here. CUT TO: 4 EXT. FILLING STATION - INTERSTATE 24 - DAY 4 A BLOODHOUND watches as a BUS pulls into a SERVICE STATION, the tires RING the bell hose. A million miles easy on this road rumbler. The BANNER reads: KC Monarchs. Insert: Interstate 24, Missouri - August 24, 1945. The DRIVER steps off. The fellas follow, getting off to stretch their legs. Hot and tired. A WHITE ATTENDANT saunters out. The driver steps over to meet him. ATTENDANT Fill her up? DRIVER Yes, sir. The attendant starts unscrewing caps on two 50-GALLON TANKS. ATTENDANT Where you all headed? DRIVER Chicago. As the attendant shoves down a pump, starts filling, Jack steps off. He spots and heads for a restroom. White Men Only lettered on the door. The attendant roused as he sees. ATTENDANT Hey! Where you going, boy!? BLUE REV 4-07-12 6. Everyone looking over as Jack stops. JACK I'm going to the toilet. ATTENDANT Shit, boy, c'mon. You know you can't go in there. Jack does a slow burn, then suddenly strides toward the attendant. The air rife with tension. JACK Take that hose out of the tank. ATTENDANT Huh? DRIVER ROBINSON -- JACK Take it out. We'll get our ninety- nine gallons of gas someplace else. The attendant blinks. He takes a look from Jack to up and down the deserted highway. No business in sight. ATTENDANT Okay, use it. But don't stay in there too long. Jack heads back. The Driver, the players, a bit stunned. CUT TO: 5 INT. WHITE MEN ONLY REST ROOM - FILLING STATION - DAY 5 Jack splashes water on his face, rips a paper towels from the dispenser, pats his face dry. He balls the wad up, squeezes it in his fist before firing it into the trash. He considers his reflection in the mirror. As he regards himself, we hear the SERVICE BELL ring outside. CUT TO: 6 EXT. FILLING STATION - HIGHWAY 24 - DAY 6 A car has pulled up. The driver talks to several players. They look over as Jack exits. The driver is Clyde Sukeforth. SUKEFORTH Are you Jackie Robinson? CUT TO: TAN REV 6-25-12 7. 7 OMITTED 7 8 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 8 Blinds closed. Jack sits across the desk from Rickey. Sukeforth sits a little further back. Rickey is staring at Jack. Bushy eyebrows flared, light gleams off his glasses. INSERT: August 28, 1945. Brooklyn. Jack doesn't know what to do, looks to Sukeforth. Finally... RICKEY Do you have a girl? JACK Excuse me? RICKEY A man needs a family relying on him. It insures he'll behave responsibly. Do you have a girl? JACK I think so. RICKEY You think so? Jack looks to Sukeforth who smiles placidly. Back to Rickey. WHITE 3-14-12 8. JACK I don't make much money. Between the army and now baseball I've been away a lot. And Rae, Rachel, she wants to finish school. Considering all that, I say I think so. RICKEY Do you love her? Rachel? (JACK CONFUSED) Don't you know? JACK Yes, sir, very much. RICKEY Marry her. What? Rickey stands, walks to a window. Jack looks at Sukeforth who raises a hand as if to say: Give it a chance. RICKEY (CONT'D) Baseball's a hard life; a man needs a good woman by his side. You don't want the only person waiting for you at home to be a catcher. Sukeforth chuckles at that. Rickey fingers open a slat on the blind and peers out. Jack looks hard at him. JACK Coach Sukeforth here said you were starting a new Negro League. That doesn't make sense to me. MR. RICKEY It doesn't, huh? Are you calling us liars, Jack? JACK What's this about, Mr. Rickey? RICKEY This is about baseball. Rickey opens the shade. Sunlight floods in. Rickey follows it to the chalkboard, to the list of players under Montreal. RICKEY (CONT'D) I see you starting in the spring with our affiliate in Montreal. If you make it there, we'll try you down here with the Dodgers. The white Brooklyn Dodgers. Jack looks to Sukeforth who nods: Yes, you heard right. BLUE REV 4-07-12 9. RICKEY (CONT'D) I'll pay you $600 a month and a $3,500 bonus when you sign the contract. Is that agreeable? Believe it or not that's a lot of money to Jack on this day in time. This is all becoming a bit overwhelming. JACK Yes, sir. That's fine. RICKEY There is one condition. I have a pile of scouting reports. I know you can hit behind the runner, that you can read a pitch. The question is can you control your temper? JACK My temper? RICKEY Yes your temper! Are you deaf?! Rickey furious, the avuncular old man gone. Jack sits there, fists now balled. Rickey to Sukeforth like he's not there: RICKEY (CONT'D) He looks proud. Willful. SUKEFORTH He'll need to be. Rickey looks back to Jack who is as angry as he is confused. RICKEY I want to win! I want ballplayers who can win! Are you one of them?! JACK Yes. RICKEY A black man in white baseball. Imagine the reaction. The vitriol. Rickey strides forward, gets in his face. RICKEY (CONT'D) The Dodgers check into a hotel. A decent good hotel. You're worn out from the road and some clerk won't give you the pen to sign in. (SOUTHERN DRAWL) We got no room, boy, not even down in the coal bin where you belong. BLUE REV 4-07-12 10. Jack looks like he wants to tear Rickey apart. RICKEY (CONT'D) The team stops at a restaurant. The waiter won't take your order. (adopts a new voice) Didn't you see the sign on the door? No animals allowed. (LOOMING) What are you going to do then? Fight him? Ruin all my plans? Answer me, you black sonofabitch! JACK (MASTERS HIMSELF) Do you want a ballplayer who doesn't have the guts to fight back? Is that what you want? RICKEY I want one who has the guts not to fight back! There are people who will not like this. They will do anything to get you to react. If you echo a curse with a curse, they will only hear yours. Follow a blow with a blow and they will say a Negro lost his temper; that the Negro does not belong. Your enemy will be out in force, but you can not meet him on his own low ground. We win with hitting, running and fielding, nothing else. We win if the world is convinced of two things: that you are a fine gentlemen and a great ballplayer. Like our Savior, you must have the guts to turn the other cheek. Jack considers Rickey. Rickey looks worn out. RICKEY (CONT'D) Can you do it? Jack poised at what will be his Rubicon. He crosses. JACK Mr. Rickey, you give me a uniform, you give me a number on my back, and I'll give you the guts. CUT TO: PINK REV 4-19-12 11. 9 INT. HALLWAY - ISUM HOUSE - LOS ANGELES - DAY 9 A phone RINGS on a table. RACHEL ISUM steps in, 23, possessed of style that you can only be graced with. RACHEL Hello? CUT TO: 10 INT. LOBBY PAYPHONE - 215 MONTAGUE STREET - BROOKLYN - DAY 10 Jack in a PHONE BOOTH, the lobby busy beyond. JACK Rae, I'm in Brooklyn. INTERCUT THE FOLLOWING: RACHEL Brooklyn? For what? JACK I don't want to say on the phone. In fact, I'm not supposed to tell anyone. She can hear the tingle in his voice. RACHEL Jack? JACK I'm here, Rae RACHEL What's going on? You're supposed to be playing in Chicago? JACK We've been tested you and me. Our loyalty, our faith. We've done everything the right way. Me trying to make money. You finishing school. Separated by the war, now by baseball. We don't owe the world a thing. Only each other. She's actually getting a little scared now. RACHEL Jack, what are you talking about? What happened? GOLDENROD REV 5-9-12 12. JACK The Brooklyn Dodgers just signed me to play ball up in Montreal. It might lead to bigger things. To something wonderful. RACHEL What does it mean? For you and me? JACK Rae. Will you marry me? RACHEL Absolutely. When? JACK Now. RACHEL (LAUGHING) Jack, I don't think we can get married in a phone booth. CUT TO: 11 OMITTED 11 11 A INT. HALLWAY - THE CLARK HOTEL - LOS ANGELES - NIGHT 11 A Jack rounds a corner in a TUXEDO, the bow tie undone. Rachel follows in her WEDDING GOWN. They look beautiful. RACHEL Did my mom look happy? JACK Yes. They reach the door. Jack gets out a key to unlock it. Rachel looks nervous, steps back across the hall. RACHEL Did my gram look happy? Swinging the door open, he looks at her. The air charged. JACK Everyone looked happy. I've never seen so many people looking happy. GOLDENROD REV 5-9-12 12A. RACHEL Did Jack Robinson look happy? (SOFT) What if I can't make you happy? He steps over, aware of her shyness. JACK Too late. You already do. It's you and me, Rae. RACHEL Until the wheels fall off. (UNCERTAIN) The world is waiting for us. JACK It can wait one more night (KISSES HER) Are you coming, Mrs. Robinson? RACHEL (kisses him back) I'd follow you anywhere, Mr. Robinson. He picks her up, carries her over the threshold. As the door clicks shut behind them... CUT TO: 12 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 12 The shades closed; we're scheming again. WENDELL SMITH sits across from Rickey who stares back intently. Bespectacled, 32, Smith covers baseball for the Pittsburgh Courier. RICKEY Who's the best shortstop you ever saw? SMITH Rabbit Tavener. RICKEY Rabbit Tavener? And you call yourself a sports writer? WHITE 3-14-12 13. SMITH Yes, a sentimental one. I'm from Detroit. He was the Tiger shortstop when I was a boy. How about you? Who's your best? RICKEY Pop Lloyd. SMITH Not Honus Wagner? RICKEY Wagner is number two. And Rabbit Tavener would not break my top 25. Where do you suppose Jackie Robinson will end up on that list? SMITH He won't break it. He doesn't have a shortstop's arm. Robinson belongs on second base. RICKEY Alright then, where would he rate at second? SMITH If he was playing now he'd be the best second baseman in the majors. RICKEY High praise. He'll have to be the best in the minor leagues first. SMITH What are you saying, Mr. Rickey? RICKEY I'm saying it's going to be a very interesting spring training. A lot of players are coming back from the war and with gas rationing over, we can train down in Florida again. SMITH Daytona Beach? (RICKEY NODS) You're aware in the past six months a black boy was lynched in Madison, Florida and a black man down in Live Oaks? RICKEY Those towns may as well be a million miles from Daytona. WHITE 3-14-12 14. SMITH Live Oaks is 150 actually. RICKEY I spoke to the Daytona mayor. He assures me there'll be no trouble. But Rickey doesn't sound so sure. They consider each other. RICKEY (CONT'D) Mr. Smith, are you a Communist? SMITH I'm a Democrat. Why do you ask? RICKEY I have a business proposition. What's your salary at the Courier? SMITH Fifty dollars a week. RICKEY I will pay you an additional fifty dollars a week plus expenses if you will attend spring training with Jackie Robinson. You will watch over him, help him to avoid the harm that could come if he were to do or say anything out of turn. You will act as his chauffeur, you will secure accommodations for him wherever the team may be, help him find restaurants, etc... SMITH What's in it for me? Besides the fifty dollars and a whole lot of aggravation? RICKEY Unprecedented access for any reportage you feel appropriate. What do you say, Mr. Smith? SMITH I say yes, sir. If a Negro is good enough to stop a Nazi bullet in France; he's good enough to stop a line drive at Yankee Stadium. RICKEY Ebbets Field actually, but yes, I agree. The world is ready. CUT TO: TAN REV 6-25-12 15. 13 OMITTED 13 14 INT. BALLROOM - THE WALDORF ASTORIA HOTEL - NIGHT 14 Over 500 guests: journalists, players and politicians all listen politely as a SPEECH drones to an end. INSERT: New York City. 23rd Annual Baseball Writer's Association Dinner February 3, 1946. SPEAKER As our former President Herbert Hoover remarked in his tribute to our national pastime: The rigid voluntary rules of right and wrong, as applied in baseball, are second only to religion in strengthening the morals of the American people.' Polite applause as the speaker steps off. The clapping more enthusiastic as the lights dim on all but an impromptu set: plantation house columns. Hoots as a BUTLER appears wearing satin knee breeches and a MONTREAL ROYALS jersey. He holds a ring like a lawn jockey, a WHITE MAN in BLACK FACE. The laughs get louder as he peers out with exaggerated wide eyes. BUTLER Lordy, lordy, it's looking like da massa will be late dis ebning. As the LAUGHS from the audience subside, a sportswriter dressed as a COLONEL enters from stage right. COLONEL Robbie! Robbie! BUTLER Yassuh, Massa Kunl. Here Ah is. Huge LAUGHS as he struts and dances his way over. WHITE 3-14-12 16. COLONEL Jackie, you woolly headed rascal. How long yo' been in the family? BUTLER Ebber since Massa Rickey done bots me from da Kansas City Monarchs. COLONEL (aside to audience) Rickey that no good carpetbagger! What could he be thinking! Huge LAUGHS from that one. Two people enjoying it we'll recognize later as HERB PENNOCK and BOB COOKE. BUTLER Ah came near bein' killed last night, Kunl. COLONEL How's that, Jackie boy? BUTLER Ah was comin' up a dark street and three men was behind me. And they tried to do me with a baseball bat. COLONEL You don't say? BUTLER Yes, suh. Ah recognized one of dem. Ah'm gonna hab him arrested. COLONEL But I thought you said it was dark? BUTLER It was. But I know he played for the Philadelphia Baseball Club. On account of he struck at me three times and never hit me once. That brings the house down. Check out their laughing faces. CUT TO: 15 EXT. LOCKHEED TERMINAL - BURBANK - DAY 15 A gleaming American Airlines DC-3 angled up on the tarmac. PASSENGERS climb the portable stairs and disappear inside. INSERT: February 28, 1946. Burbank, California CUT TO: GOLDENROD REV 5-9-12 17. 16 INT. TERMINAL - BURBANK - DAY 16 Jack and Rachel are being seen off by FRIENDS from the wedding and his mother MALLIE. Jack is in a natty suit with Rachel in a beautiful coat. MALLIE You knock the cover off that ball. JACK I will, Mama. Mallie hugs Jack and then kisses Rachel. MALLIE Look after each other. RACHEL We will. She reaches in her bag, brings out a cardboard SHOEBOX; it's ever so slightly greasy at the bottom. MALLIE Take this. It's chicken. JACK They have food on the plane, Mama. MALLIE You never know what might happen. I don't want you getting there starving and too weak to hit. Rachel gives Jack a subtle but emphatic look: No. CUT TO: 17 EXT. LOCKHEED TARMAC - BURBANK - DAY 17 Jack escorts Rachel to the plane, the shoebox in hand. JACK I couldn't tell her no. RACHEL I know she means well; I just don't want to be seen eating chicken out of a box like some country bumpkin. Jack runs his hand over her coat. JACK No one's going to mistake you for a bumpkin in this. PINK REV 4-19-12 18. RACHEL Well, they'll know I belong on that plane or wherever I happen to be. CUT TO: 18 EXT. DC-3 - DAY (STOCK FOOTAGE) 18 Descending toward a runway. Landing gear coming down. CUT TO: 19 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 19 A WOMAN exits the lady's room, passing a SIGN: White Only. REVERSE to show Rachel looking at it like she's been slapped. Jack joins Rae from the TICKET COUNTER, with the chicken box. INSERT: New Orleans Lakefront Airport. JACK The flight to Pensacola leaves in an hour... You okay? RACHEL I've just never seen one before. JACK (follows her look) We're not in Pasadena anymore. A sudden momentum carries her forward. JACK Honey... Rae -- He takes a step after her, stops as she disappears inside. Jack unsure what to do. He looks around. Looks back. He doesn't need this right now. 20 OMITTED 20 21 OMITTED 21 PINK REV 4-19-12 19. 22 INT. AIRPORT COFFEE SHOP - DAY 22 A black BUSBOY reacts as a bickering Jack and Rachel enter. JACK I promised Mr. Rickey we'd stay out of trouble. RACHEL Did you promise him we wouldn't go to the bathroom? You've done it. JACK Before I promised. RACHEL It was just a toilet. You'd think the commodes were made of gold. The busboy watches as Jack and Rachel slide into a booth. As Jack reaches for a MENU, here comes the COOK. COOK You folks can't sit here. JACK Excuse me? COOK It's white only. Jack looking to Rachel; it's equanimity time. Not easy. COOK I'll sell you some sandwiches. But you gotta take em to go. Jack looks to the busboy, back to the cook. JACK No. You hang onto those. Mastering himself, Jack slides out. Drilling the cook with a look, he offers his hand to Rachel as she slides out as well. CUT TO: 23 OMITTED 23 GREEN REV 4-27-12 20. 24 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 24 Seen from on high. Jack and Rachel, sitting on a bench, two little figures as passengers move along the concourse. They sit a bit apart from each other, the world a wedge. CUT TO: 25 EXT. RUNWAY - PENSACOLA AIRPORT - NIGHT 25 SMOKE PINWHEELS as the wheels of a BOEING 247 touch down. INSERT: Pensacola, Florida. Later that day. CUT TO: 26 INT. BOEING 247 - TARMAC - NIGHT 26 Jack and Rachel worn out among eight other passengers. As the door is opened, FOUR of the eight get up and disembark. After a beat, FOUR NEW PASSENGERS board and take their seat. JACK Just a hop to Daytona now. As Rachel nods, an AIRLINE EMPLOYEE boards, MISS BISHOP. She makes her way over. She spots who she's looking for. MISS BISHOP Jack Robinson? Come with me. She starts away without explaining, looks back at them a bit impatiently. MISS BISHOP Come on now. Both of you. CUT TO: BLUE REV 4-07-12 21. 27 INT. TICKET COUNTER - PENSACOLA AIRPORT - NIGHT 27 The shoe box sitting on the counter, Jack in mid discussion with Miss Bishop. Rachel just behind Jack. MISS BISHOP We have to lighten the plane. There's some bad weather east of here. A heavy plane's dangerous. RACHEL (LOW) Tell her you're with the Dodgers. Jack would rather not play that card. JACK When's the next flight? MISS BISHOP Tomorrow morning. But it's booked. So someone'll have to cancel. Jack and Rachel unaware as a WHITE COUPLE are ushered out a door and onto the tarmac behind them. JACK Look, I'm with the Brooklyn Dodger organization. I've got to get down to Daytona. I'm supposed to report to spring training in the morning. MISS BISHOP We'll do our best to get you down there by tomorrow afternoon, but it might be the day after. RACHEL JACK -- He follows her gaze to where the white couple get on the plane they got off. Jack wheels on Miss Bishop, furious. JACK You gave away our seats! Get us back on that plane! Miss Bishop picks up a PHONE, holds it in Jack's face. MISS BISHOP Do you want to call the Sheriff? Or should I? CUT TO: YELLOW REV 4-24-12 22. 28 EXT. BUS STATION - PENSACOLA - NIGHT 28 Closed. A line of EMPTY BUSES; the BANNER on one: Daytona Beach. Across from it Rachel sits at one end of a BENCH, her fur pulled around her. Jack at the other, staring off into the night. Finally, he reaches down, picks up the shoebox. He pulls out a DRUMSTICK, considers it, then takes a bite. JACK Mama knew... He holds it out to Rachel. She slides over, takes it, takes a bite as well, smiles at him. He smiles back. RACHEL It's good. CUT TO: 29 EXT. BASEBALL FIELD - DAYTONA BEACH, FLORIDA - DAY 29 LEO DUROCHER hitting fungoes. One after the next. PEE WEE REESE and EDDIE STANKY both settle under the same ball. REESE STANKY I got it! I got it! I got it! I got it! They both back off at the last second and it drops to the ground between them. Durocher chuckles. DUROCHER That's what spring training's for, boys! Sort out our differences! He hits another. This time to the outfield where veteran DIXIE WALKER gives chase, finally gives up on it. DUROCHER C'mon, Dixie, get after it! WALKER (LAUGHING) I'm old! DUROCHER I'm gonna squeeze one more year out of that worn out body of yours! WALKER If you could, skipper, my wife would sure appreciate it! DUROCHER Keeping the women happy! That's what it's all about! BLUE REV 4-07-12 23. 29 A EXT./INT. CONVERTIBLE - DAY 29 A Rickey drives a dirt road through the training field singing Two Sleepy People along with the radio: Passing BROOKLYN DODGERS, MONTREAL ROYALS & ST. PAUL SAINTS on either side. Durocher hits another as Rickey pulls up. RICKEY How are they looking, Leo? DUROCHER Rusty, Mr. Rickey. But we'll get em oiled up and ready in no time. You find your lost sheep yet? Troubled, Rickey shakes his head no'. As he does, Harold Parrot hurries over. He's the Dodgers travelling secretary. PARROTT Jackie Robinson's on a bus leaving Pensacola. RICKEY A bus? Harold, how in blazes did he end up on a bus?!

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42 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 42 Written by Brian Helgeland White - March 14, 2012 Blue Revised - April 7, 2012 Pink Revised - April 19, 2012 Yellow Revised - April 24, 2012 Green Revised - April 27, 2012 Goldenrod Revised - May 9, 2012 Buff Revised - May 29, 2012 Salmon Revised - June 4, 2012 Cherry Revised - June 11, 2012 Tan Revised - June 25, 2012 Double White Revised - June 28, 2012 Double Blue Revised - July 9, 2012 PINK REV 4-19-12 1. A1 WHITE A1 Fills the screen. Falling from the top of frame to the bottom. Pluming off into dust. White, white, white. We move toward it even as it recedes, always out of reach. Finally we pop out wide and high to reveal... The white is chalk. An old BLACK GROUNDSKEEPER lays down the right field line on a baseball diamond. 1 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 1 Blinds closed. Dust motes in the air. A large GOLDFISH TANK bubbles. BRANCH RICKEY at his desk. Two photos on the wall: Abe Lincoln & Leo Durocher. CHALKBOARDS covered with 100's OF NAMES, every player in the Dodger organization. CLYDE SUKEFORTH and HAROLD PARROTT sit across from Rickey who stares at them. Sukeforth stares back. Parrott nervous. RICKEY Gentlemen, I have a plan... As of now, only the Board of Directors and my family know. Sukeforth and Parrott exchange a look. SUKEFORTH A plan's always good, Mr. Rickey. And you always got one. RICKEY My wife says I'm too old, That my health isn't up to it. My son says that every one in baseball will be against me. But I'm going to do it. Parrott looks to Sukeforth who keeps his eyes on Rickey. SUKEFORTH Do what, Mr. Rickey? RICKEY I'm going to bring a Negro ballplayer to the Brooklyn Dodgers. PARROTT With all due respect, sir, have you lost your mind? Imagine the abuse you'll take from the newspapers alone. Never mind how it'll play on Flatbush. Please, Mr. Rickey. Rickey looks dismissively at Parrott, over to Sukeforth. PINK REV 4-19-12 1A. RICKEY There's no law against it, Clyde. SUKEFORTH There's a code. Break a law and get away with it, some people think you're smart. Break an unwritten law though, you'll be an outcast. YELLOW REV 4-24-12 2. RICKEY So be it. New York is full of Negro baseball fans; every dollar is green. I don't know who he is, or where he is, but he's coming. CUT TO: 2 EXT. RICKWOOD FIELD - BIRMINGHAM, ALABAMA - NIGHT 2 The big Birmingham Black Barons CATCHER behind the plate as Kansas City Monarchs JOHN SCOTT stands at bat. The catcher's attention on the RUNNER DANCING off first. Stomping a foot, feinting, hard to see clearly in the glare of the lights. CATCHER Where'd you learn to move like that, runner?! At dime a dance night?! Stay quiet! INSERT: Birmingham, Alabama. April 8, 1945. On the first pitch the runner takes off. The catcher fires to second. See it from his POV as the runner slides in SAFE! A foot on the bag, the runner dusts off, heckles the catcher: RUNNER Is that the best you got?! Huh?! I'm going to steal nine, ten bases today! You better start counting! The catcher frowns. Standing, we see he is a big, big man. CATCHER (ALABAMAN) Where's your shortstop from? JOHN SCOTT (LOUISIANAN) California. CATCHER He's got a mouth on him. Shaking his head, the catcher gets back in his crouch, signals the PITCHER. On the wind-up, the Runner is off again. The catcher fires to THIRD: Safe! RUNNER You got a rag arm, catcher! CATCHER Steal home! You'll find out what kind of arm I got! DBL. BLUE REV 7-9-12 3. RUNNER Okay, I'm coming! The Catcher looks over at Scott who chuckles. CATCHER California, huh? (SCOTT NODS) Well California here he goes, if he comes down here. The Catcher gets back down in his squat. Signals the pitcher: fastball. Scott digs in, ready. The runner dancing off third. Here comes the wind-up... The Runner takes off even as the pitcher fires it in. The Birmingham Catcher receives it. As the Runner slides -- The Catcher intentionally drives his glove, the ball and both hands into the runner's face -- WHALLOP! Sound drops as we're knocked flat senseless along with the runner. ON HIM now as he tries to push himself up from the dirt. A close look at JACK ROOSEVELT ROBINSON. A born battler, he shakes out the cobwebs, finally lurches to his feet, looks to the UMPIRE. He never heard the call. JACK What was I? The umpire passes one hand over the other: Safe. Jack looks over at the catcher, gives him a pointed look as he goes -- The catcher shoves him in the back. Jack turns, shoves back. As the two men wrestles each other to the ground -- CUT TO: 3 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 3 Rickey and Sukeforth going through stacks of FILES on the desk. A black ballplayer's picture is clipped to each. As Rickey reviews one, Sukeforth tries to hand him another. SUKEFORTH Josh Gibson. Oh boy can he hit. RICKEY No. SUKEFORTH No? Rickey won't take the file; the answer is no. DBL. BLUE REV 7-9-12 4. SUKEFORTH Alright. Roy Campanella. Sukeforth holds it out; Rickey won't take it. RICKEY A heck of a player. But too sweet, they'll eat him alive. SUKEFORTH (holds up file) Satchel Paige then. Parrott enters carrying an armful of files. RICKEY Too old. We need a man with a future not a past. (holds up his own FILE) Here. Jack Roosevelt Robinson. As Parrott sets them on the desk, they start to slide off, spilling to the floor. Helpless to stem the tide, Parrott looks down, surrounded by black faces... RICKEY (flips through file) A four sport college man, out of UCLA. That means he's played with white boys. (SCANS FILE) Twenty-six years old, now with the Kansas City Monarchs. Batting over 350 even as we speak. 350! And he was a commissioned army officer! SUKEFORTH He was court-martialed. A trouble maker. He argues with umpires. A quick temper is his reputation. Rickey is obviously keen on him. PARROT What was he court-martialed for? RICKEY For refusing to sit in the back of a military bus. (checks the file) Ft. Hood, Texas. The driver asked him to move back. The MPs had to take him off. DBL. BLUE REV 7-9-12 5. SUKEFORTH Do you see? RICKEY I see he resents segregation. If he were white, we'd call it spirit! PARROT If he were white, sir, we wouldn't be looking for him. Rickey ends the debate... RICKEY Robinson's a Methodist. I'm a Methodist. God's a Methodist. We can't go wrong. Find him. Bring him here. CUT TO: 4 EXT. FILLING STATION - INTERSTATE 24 - DAY 4 A BLOODHOUND watches as a BUS pulls into a SERVICE STATION, the tires RING the bell hose. A million miles easy on this road rumbler. The BANNER reads: KC Monarchs. Insert: Interstate 24, Missouri - August 24, 1945. The DRIVER steps off. The fellas follow, getting off to stretch their legs. Hot and tired. A WHITE ATTENDANT saunters out. The driver steps over to meet him. ATTENDANT Fill her up? DRIVER Yes, sir. The attendant starts unscrewing caps on two 50-GALLON TANKS. ATTENDANT Where you all headed? DRIVER Chicago. As the attendant shoves down a pump, starts filling, Jack steps off. He spots and heads for a restroom. White Men Only lettered on the door. The attendant roused as he sees. ATTENDANT Hey! Where you going, boy!? BLUE REV 4-07-12 6. Everyone looking over as Jack stops. JACK I'm going to the toilet. ATTENDANT Shit, boy, c'mon. You know you can't go in there. Jack does a slow burn, then suddenly strides toward the attendant. The air rife with tension. JACK Take that hose out of the tank. ATTENDANT Huh? DRIVER ROBINSON -- JACK Take it out. We'll get our ninety- nine gallons of gas someplace else. The attendant blinks. He takes a look from Jack to up and down the deserted highway. No business in sight. ATTENDANT Okay, use it. But don't stay in there too long. Jack heads back. The Driver, the players, a bit stunned. CUT TO: 5 INT. WHITE MEN ONLY REST ROOM - FILLING STATION - DAY 5 Jack splashes water on his face, rips a paper towels from the dispenser, pats his face dry. He balls the wad up, squeezes it in his fist before firing it into the trash. He considers his reflection in the mirror. As he regards himself, we hear the SERVICE BELL ring outside. CUT TO: 6 EXT. FILLING STATION - HIGHWAY 24 - DAY 6 A car has pulled up. The driver talks to several players. They look over as Jack exits. The driver is Clyde Sukeforth. SUKEFORTH Are you Jackie Robinson? CUT TO: TAN REV 6-25-12 7. 7 OMITTED 7 8 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 8 Blinds closed. Jack sits across the desk from Rickey. Sukeforth sits a little further back. Rickey is staring at Jack. Bushy eyebrows flared, light gleams off his glasses. INSERT: August 28, 1945. Brooklyn. Jack doesn't know what to do, looks to Sukeforth. Finally... RICKEY Do you have a girl? JACK Excuse me? RICKEY A man needs a family relying on him. It insures he'll behave responsibly. Do you have a girl? JACK I think so. RICKEY You think so? Jack looks to Sukeforth who smiles placidly. Back to Rickey. WHITE 3-14-12 8. JACK I don't make much money. Between the army and now baseball I've been away a lot. And Rae, Rachel, she wants to finish school. Considering all that, I say I think so. RICKEY Do you love her? Rachel? (JACK CONFUSED) Don't you know? JACK Yes, sir, very much. RICKEY Marry her. What? Rickey stands, walks to a window. Jack looks at Sukeforth who raises a hand as if to say: Give it a chance. RICKEY (CONT'D) Baseball's a hard life; a man needs a good woman by his side. You don't want the only person waiting for you at home to be a catcher. Sukeforth chuckles at that. Rickey fingers open a slat on the blind and peers out. Jack looks hard at him. JACK Coach Sukeforth here said you were starting a new Negro League. That doesn't make sense to me. MR. RICKEY It doesn't, huh? Are you calling us liars, Jack? JACK What's this about, Mr. Rickey? RICKEY This is about baseball. Rickey opens the shade. Sunlight floods in. Rickey follows it to the chalkboard, to the list of players under Montreal. RICKEY (CONT'D) I see you starting in the spring with our affiliate in Montreal. If you make it there, we'll try you down here with the Dodgers. The white Brooklyn Dodgers. Jack looks to Sukeforth who nods: Yes, you heard right. BLUE REV 4-07-12 9. RICKEY (CONT'D) I'll pay you $600 a month and a $3,500 bonus when you sign the contract. Is that agreeable? Believe it or not that's a lot of money to Jack on this day in time. This is all becoming a bit overwhelming. JACK Yes, sir. That's fine. RICKEY There is one condition. I have a pile of scouting reports. I know you can hit behind the runner, that you can read a pitch. The question is can you control your temper? JACK My temper? RICKEY Yes your temper! Are you deaf?! Rickey furious, the avuncular old man gone. Jack sits there, fists now balled. Rickey to Sukeforth like he's not there: RICKEY (CONT'D) He looks proud. Willful. SUKEFORTH He'll need to be. Rickey looks back to Jack who is as angry as he is confused. RICKEY I want to win! I want ballplayers who can win! Are you one of them?! JACK Yes. RICKEY A black man in white baseball. Imagine the reaction. The vitriol. Rickey strides forward, gets in his face. RICKEY (CONT'D) The Dodgers check into a hotel. A decent good hotel. You're worn out from the road and some clerk won't give you the pen to sign in. (SOUTHERN DRAWL) We got no room, boy, not even down in the coal bin where you belong. BLUE REV 4-07-12 10. Jack looks like he wants to tear Rickey apart. RICKEY (CONT'D) The team stops at a restaurant. The waiter won't take your order. (adopts a new voice) Didn't you see the sign on the door? No animals allowed. (LOOMING) What are you going to do then? Fight him? Ruin all my plans? Answer me, you black sonofabitch! JACK (MASTERS HIMSELF) Do you want a ballplayer who doesn't have the guts to fight back? Is that what you want? RICKEY I want one who has the guts not to fight back! There are people who will not like this. They will do anything to get you to react. If you echo a curse with a curse, they will only hear yours. Follow a blow with a blow and they will say a Negro lost his temper; that the Negro does not belong. Your enemy will be out in force, but you can not meet him on his own low ground. We win with hitting, running and fielding, nothing else. We win if the world is convinced of two things: that you are a fine gentlemen and a great ballplayer. Like our Savior, you must have the guts to turn the other cheek. Jack considers Rickey. Rickey looks worn out. RICKEY (CONT'D) Can you do it? Jack poised at what will be his Rubicon. He crosses. JACK Mr. Rickey, you give me a uniform, you give me a number on my back, and I'll give you the guts. CUT TO: PINK REV 4-19-12 11. 9 INT. HALLWAY - ISUM HOUSE - LOS ANGELES - DAY 9 A phone RINGS on a table. RACHEL ISUM steps in, 23, possessed of style that you can only be graced with. RACHEL Hello? CUT TO: 10 INT. LOBBY PAYPHONE - 215 MONTAGUE STREET - BROOKLYN - DAY 10 Jack in a PHONE BOOTH, the lobby busy beyond. JACK Rae, I'm in Brooklyn. INTERCUT THE FOLLOWING: RACHEL Brooklyn? For what? JACK I don't want to say on the phone. In fact, I'm not supposed to tell anyone. She can hear the tingle in his voice. RACHEL Jack? JACK I'm here, Rae RACHEL What's going on? You're supposed to be playing in Chicago? JACK We've been tested you and me. Our loyalty, our faith. We've done everything the right way. Me trying to make money. You finishing school. Separated by the war, now by baseball. We don't owe the world a thing. Only each other. She's actually getting a little scared now. RACHEL Jack, what are you talking about? What happened? GOLDENROD REV 5-9-12 12. JACK The Brooklyn Dodgers just signed me to play ball up in Montreal. It might lead to bigger things. To something wonderful. RACHEL What does it mean? For you and me? JACK Rae. Will you marry me? RACHEL Absolutely. When? JACK Now. RACHEL (LAUGHING) Jack, I don't think we can get married in a phone booth. CUT TO: 11 OMITTED 11 11 A INT. HALLWAY - THE CLARK HOTEL - LOS ANGELES - NIGHT 11 A Jack rounds a corner in a TUXEDO, the bow tie undone. Rachel follows in her WEDDING GOWN. They look beautiful. RACHEL Did my mom look happy? JACK Yes. They reach the door. Jack gets out a key to unlock it. Rachel looks nervous, steps back across the hall. RACHEL Did my gram look happy? Swinging the door open, he looks at her. The air charged. JACK Everyone looked happy. I've never seen so many people looking happy. GOLDENROD REV 5-9-12 12A. RACHEL Did Jack Robinson look happy? (SOFT) What if I can't make you happy? He steps over, aware of her shyness. JACK Too late. You already do. It's you and me, Rae. RACHEL Until the wheels fall off. (UNCERTAIN) The world is waiting for us. JACK It can wait one more night (KISSES HER) Are you coming, Mrs. Robinson? RACHEL (kisses him back) I'd follow you anywhere, Mr. Robinson. He picks her up, carries her over the threshold. As the door clicks shut behind them... CUT TO: 12 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 12 The shades closed; we're scheming again. WENDELL SMITH sits across from Rickey who stares back intently. Bespectacled, 32, Smith covers baseball for the Pittsburgh Courier. RICKEY Who's the best shortstop you ever saw? SMITH Rabbit Tavener. RICKEY Rabbit Tavener? And you call yourself a sports writer? WHITE 3-14-12 13. SMITH Yes, a sentimental one. I'm from Detroit. He was the Tiger shortstop when I was a boy. How about you? Who's your best? RICKEY Pop Lloyd. SMITH Not Honus Wagner? RICKEY Wagner is number two. And Rabbit Tavener would not break my top 25. Where do you suppose Jackie Robinson will end up on that list? SMITH He won't break it. He doesn't have a shortstop's arm. Robinson belongs on second base. RICKEY Alright then, where would he rate at second? SMITH If he was playing now he'd be the best second baseman in the majors. RICKEY High praise. He'll have to be the best in the minor leagues first. SMITH What are you saying, Mr. Rickey? RICKEY I'm saying it's going to be a very interesting spring training. A lot of players are coming back from the war and with gas rationing over, we can train down in Florida again. SMITH Daytona Beach? (RICKEY NODS) You're aware in the past six months a black boy was lynched in Madison, Florida and a black man down in Live Oaks? RICKEY Those towns may as well be a million miles from Daytona. WHITE 3-14-12 14. SMITH Live Oaks is 150 actually. RICKEY I spoke to the Daytona mayor. He assures me there'll be no trouble. But Rickey doesn't sound so sure. They consider each other. RICKEY (CONT'D) Mr. Smith, are you a Communist? SMITH I'm a Democrat. Why do you ask? RICKEY I have a business proposition. What's your salary at the Courier? SMITH Fifty dollars a week. RICKEY I will pay you an additional fifty dollars a week plus expenses if you will attend spring training with Jackie Robinson. You will watch over him, help him to avoid the harm that could come if he were to do or say anything out of turn. You will act as his chauffeur, you will secure accommodations for him wherever the team may be, help him find restaurants, etc... SMITH What's in it for me? Besides the fifty dollars and a whole lot of aggravation? RICKEY Unprecedented access for any reportage you feel appropriate. What do you say, Mr. Smith? SMITH I say yes, sir. If a Negro is good enough to stop a Nazi bullet in France; he's good enough to stop a line drive at Yankee Stadium. RICKEY Ebbets Field actually, but yes, I agree. The world is ready. CUT TO: TAN REV 6-25-12 15. 13 OMITTED 13 14 INT. BALLROOM - THE WALDORF ASTORIA HOTEL - NIGHT 14 Over 500 guests: journalists, players and politicians all listen politely as a SPEECH drones to an end. INSERT: New York City. 23rd Annual Baseball Writer's Association Dinner February 3, 1946. SPEAKER As our former President Herbert Hoover remarked in his tribute to our national pastime: The rigid voluntary rules of right and wrong, as applied in baseball, are second only to religion in strengthening the morals of the American people.' Polite applause as the speaker steps off. The clapping more enthusiastic as the lights dim on all but an impromptu set: plantation house columns. Hoots as a BUTLER appears wearing satin knee breeches and a MONTREAL ROYALS jersey. He holds a ring like a lawn jockey, a WHITE MAN in BLACK FACE. The laughs get louder as he peers out with exaggerated wide eyes. BUTLER Lordy, lordy, it's looking like da massa will be late dis ebning. As the LAUGHS from the audience subside, a sportswriter dressed as a COLONEL enters from stage right. COLONEL Robbie! Robbie! BUTLER Yassuh, Massa Kunl. Here Ah is. Huge LAUGHS as he struts and dances his way over. WHITE 3-14-12 16. COLONEL Jackie, you woolly headed rascal. How long yo' been in the family? BUTLER Ebber since Massa Rickey done bots me from da Kansas City Monarchs. COLONEL (aside to audience) Rickey that no good carpetbagger! What could he be thinking! Huge LAUGHS from that one. Two people enjoying it we'll recognize later as HERB PENNOCK and BOB COOKE. BUTLER Ah came near bein' killed last night, Kunl. COLONEL How's that, Jackie boy? BUTLER Ah was comin' up a dark street and three men was behind me. And they tried to do me with a baseball bat. COLONEL You don't say? BUTLER Yes, suh. Ah recognized one of dem. Ah'm gonna hab him arrested. COLONEL But I thought you said it was dark? BUTLER It was. But I know he played for the Philadelphia Baseball Club. On account of he struck at me three times and never hit me once. That brings the house down. Check out their laughing faces. CUT TO: 15 EXT. LOCKHEED TERMINAL - BURBANK - DAY 15 A gleaming American Airlines DC-3 angled up on the tarmac. PASSENGERS climb the portable stairs and disappear inside. INSERT: February 28, 1946. Burbank, California CUT TO: GOLDENROD REV 5-9-12 17. 16 INT. TERMINAL - BURBANK - DAY 16 Jack and Rachel are being seen off by FRIENDS from the wedding and his mother MALLIE. Jack is in a natty suit with Rachel in a beautiful coat. MALLIE You knock the cover off that ball. JACK I will, Mama. Mallie hugs Jack and then kisses Rachel. MALLIE Look after each other. RACHEL We will. She reaches in her bag, brings out a cardboard SHOEBOX; it's ever so slightly greasy at the bottom. MALLIE Take this. It's chicken. JACK They have food on the plane, Mama. MALLIE You never know what might happen. I don't want you getting there starving and too weak to hit. Rachel gives Jack a subtle but emphatic look: No. CUT TO: 17 EXT. LOCKHEED TARMAC - BURBANK - DAY 17 Jack escorts Rachel to the plane, the shoebox in hand. JACK I couldn't tell her no. RACHEL I know she means well; I just don't want to be seen eating chicken out of a box like some country bumpkin. Jack runs his hand over her coat. JACK No one's going to mistake you for a bumpkin in this. PINK REV 4-19-12 18. RACHEL Well, they'll know I belong on that plane or wherever I happen to be. CUT TO: 18 EXT. DC-3 - DAY (STOCK FOOTAGE) 18 Descending toward a runway. Landing gear coming down. CUT TO: 19 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 19 A WOMAN exits the lady's room, passing a SIGN: White Only. REVERSE to show Rachel looking at it like she's been slapped. Jack joins Rae from the TICKET COUNTER, with the chicken box. INSERT: New Orleans Lakefront Airport. JACK The flight to Pensacola leaves in an hour... You okay? RACHEL I've just never seen one before. JACK (follows her look) We're not in Pasadena anymore. A sudden momentum carries her forward. JACK Honey... Rae -- He takes a step after her, stops as she disappears inside. Jack unsure what to do. He looks around. Looks back. He doesn't need this right now. 20 OMITTED 20 21 OMITTED 21 PINK REV 4-19-12 19. 22 INT. AIRPORT COFFEE SHOP - DAY 22 A black BUSBOY reacts as a bickering Jack and Rachel enter. JACK I promised Mr. Rickey we'd stay out of trouble. RACHEL Did you promise him we wouldn't go to the bathroom? You've done it. JACK Before I promised. RACHEL It was just a toilet. You'd think the commodes were made of gold. The busboy watches as Jack and Rachel slide into a booth. As Jack reaches for a MENU, here comes the COOK. COOK You folks can't sit here. JACK Excuse me? COOK It's white only. Jack looking to Rachel; it's equanimity time. Not easy. COOK I'll sell you some sandwiches. But you gotta take em to go. Jack looks to the busboy, back to the cook. JACK No. You hang onto those. Mastering himself, Jack slides out. Drilling the cook with a look, he offers his hand to Rachel as she slides out as well. CUT TO: 23 OMITTED 23 GREEN REV 4-27-12 20. 24 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 24 Seen from on high. Jack and Rachel, sitting on a bench, two little figures as passengers move along the concourse. They sit a bit apart from each other, the world a wedge. CUT TO: 25 EXT. RUNWAY - PENSACOLA AIRPORT - NIGHT 25 SMOKE PINWHEELS as the wheels of a BOEING 247 touch down. INSERT: Pensacola, Florida. Later that day. CUT TO: 26 INT. BOEING 247 - TARMAC - NIGHT 26 Jack and Rachel worn out among eight other passengers. As the door is opened, FOUR of the eight get up and disembark. After a beat, FOUR NEW PASSENGERS board and take their seat. JACK Just a hop to Daytona now. As Rachel nods, an AIRLINE EMPLOYEE boards, MISS BISHOP. She makes her way over. She spots who she's looking for. MISS BISHOP Jack Robinson? Come with me. She starts away without explaining, looks back at them a bit impatiently. MISS BISHOP Come on now. Both of you. CUT TO: BLUE REV 4-07-12 21. 27 INT. TICKET COUNTER - PENSACOLA AIRPORT - NIGHT 27 The shoe box sitting on the counter, Jack in mid discussion with Miss Bishop. Rachel just behind Jack. MISS BISHOP We have to lighten the plane. There's some bad weather east of here. A heavy plane's dangerous. RACHEL (LOW) Tell her you're with the Dodgers. Jack would rather not play that card. JACK When's the next flight? MISS BISHOP Tomorrow morning. But it's booked. So someone'll have to cancel. Jack and Rachel unaware as a WHITE COUPLE are ushered out a door and onto the tarmac behind them. JACK Look, I'm with the Brooklyn Dodger organization. I've got to get down to Daytona. I'm supposed to report to spring training in the morning. MISS BISHOP We'll do our best to get you down there by tomorrow afternoon, but it might be the day after. RACHEL JACK -- He follows her gaze to where the white couple get on the plane they got off. Jack wheels on Miss Bishop, furious. JACK You gave away our seats! Get us back on that plane! Miss Bishop picks up a PHONE, holds it in Jack's face. MISS BISHOP Do you want to call the Sheriff? Or should I? CUT TO: YELLOW REV 4-24-12 22. 28 EXT. BUS STATION - PENSACOLA - NIGHT 28 Closed. A line of EMPTY BUSES; the BANNER on one: Daytona Beach. Across from it Rachel sits at one end of a BENCH, her fur pulled around her. Jack at the other, staring off into the night. Finally, he reaches down, picks up the shoebox. He pulls out a DRUMSTICK, considers it, then takes a bite. JACK Mama knew... He holds it out to Rachel. She slides over, takes it, takes a bite as well, smiles at him. He smiles back. RACHEL It's good. CUT TO: 29 EXT. BASEBALL FIELD - DAYTONA BEACH, FLORIDA - DAY 29 LEO DUROCHER hitting fungoes. One after the next. PEE WEE REESE and EDDIE STANKY both settle under the same ball. REESE STANKY I got it! I got it! I got it! I got it! They both back off at the last second and it drops to the ground between them. Durocher chuckles. DUROCHER That's what spring training's for, boys! Sort out our differences! He hits another. This time to the outfield where veteran DIXIE WALKER gives chase, finally gives up on it. DUROCHER C'mon, Dixie, get after it! WALKER (LAUGHING) I'm old! DUROCHER I'm gonna squeeze one more year out of that worn out body of yours! WALKER If you could, skipper, my wife would sure appreciate it! DUROCHER Keeping the women happy! That's what it's all about! BLUE REV 4-07-12 23. 29 A EXT./INT. CONVERTIBLE - DAY 29 A Rickey drives a dirt road through the training field singing Two Sleepy People along with the radio: Passing BROOKLYN DODGERS, MONTREAL ROYALS & ST. PAUL SAINTS on either side. Durocher hits another as Rickey pulls up. RICKEY How are they looking, Leo? DUROCHER Rusty, Mr. Rickey. But we'll get em oiled up and ready in no time. You find your lost sheep yet? Troubled, Rickey shakes his head no'. As he does, Harold Parrot hurries over. He's the Dodgers travelling secretary. PARROTT Jackie Robinson's on a bus leaving Pensacola. RICKEY A bus? Harold, how in blazes did he end up on a bus?!

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42 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 42 Written by Brian Helgeland White - March 14, 2012 Blue Revised - April 7, 2012 Pink Revised - April 19, 2012 Yellow Revised - April 24, 2012 Green Revised - April 27, 2012 Goldenrod Revised - May 9, 2012 Buff Revised - May 29, 2012 Salmon Revised - June 4, 2012 Cherry Revised - June 11, 2012 Tan Revised - June 25, 2012 Double White Revised - June 28, 2012 Double Blue Revised - July 9, 2012 PINK REV 4-19-12 1. A1 WHITE A1 Fills the screen. Falling from the top of frame to the bottom. Pluming off into dust. White, white, white. We move toward it even as it recedes, always out of reach. Finally we pop out wide and high to reveal... The white is chalk. An old BLACK GROUNDSKEEPER lays down the right field line on a baseball diamond. 1 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 1 Blinds closed. Dust motes in the air. A large GOLDFISH TANK bubbles. BRANCH RICKEY at his desk. Two photos on the wall: Abe Lincoln & Leo Durocher. CHALKBOARDS covered with 100's OF NAMES, every player in the Dodger organization. CLYDE SUKEFORTH and HAROLD PARROTT sit across from Rickey who stares at them. Sukeforth stares back. Parrott nervous. RICKEY Gentlemen, I have a plan... As of now, only the Board of Directors and my family know. Sukeforth and Parrott exchange a look. SUKEFORTH A plan's always good, Mr. Rickey. And you always got one. RICKEY My wife says I'm too old, That my health isn't up to it. My son says that every one in baseball will be against me. But I'm going to do it. Parrott looks to Sukeforth who keeps his eyes on Rickey. SUKEFORTH Do what, Mr. Rickey? RICKEY I'm going to bring a Negro ballplayer to the Brooklyn Dodgers. PARROTT With all due respect, sir, have you lost your mind? Imagine the abuse you'll take from the newspapers alone. Never mind how it'll play on Flatbush. Please, Mr. Rickey. Rickey looks dismissively at Parrott, over to Sukeforth. PINK REV 4-19-12 1A. RICKEY There's no law against it, Clyde. SUKEFORTH There's a code. Break a law and get away with it, some people think you're smart. Break an unwritten law though, you'll be an outcast. YELLOW REV 4-24-12 2. RICKEY So be it. New York is full of Negro baseball fans; every dollar is green. I don't know who he is, or where he is, but he's coming. CUT TO: 2 EXT. RICKWOOD FIELD - BIRMINGHAM, ALABAMA - NIGHT 2 The big Birmingham Black Barons CATCHER behind the plate as Kansas City Monarchs JOHN SCOTT stands at bat. The catcher's attention on the RUNNER DANCING off first. Stomping a foot, feinting, hard to see clearly in the glare of the lights. CATCHER Where'd you learn to move like that, runner?! At dime a dance night?! Stay quiet! INSERT: Birmingham, Alabama. April 8, 1945. On the first pitch the runner takes off. The catcher fires to second. See it from his POV as the runner slides in SAFE! A foot on the bag, the runner dusts off, heckles the catcher: RUNNER Is that the best you got?! Huh?! I'm going to steal nine, ten bases today! You better start counting! The catcher frowns. Standing, we see he is a big, big man. CATCHER (ALABAMAN) Where's your shortstop from? JOHN SCOTT (LOUISIANAN) California. CATCHER He's got a mouth on him. Shaking his head, the catcher gets back in his crouch, signals the PITCHER. On the wind-up, the Runner is off again. The catcher fires to THIRD: Safe! RUNNER You got a rag arm, catcher! CATCHER Steal home! You'll find out what kind of arm I got! DBL. BLUE REV 7-9-12 3. RUNNER Okay, I'm coming! The Catcher looks over at Scott who chuckles. CATCHER California, huh? (SCOTT NODS) Well California here he goes, if he comes down here. The Catcher gets back down in his squat. Signals the pitcher: fastball. Scott digs in, ready. The runner dancing off third. Here comes the wind-up... The Runner takes off even as the pitcher fires it in. The Birmingham Catcher receives it. As the Runner slides -- The Catcher intentionally drives his glove, the ball and both hands into the runner's face -- WHALLOP! Sound drops as we're knocked flat senseless along with the runner. ON HIM now as he tries to push himself up from the dirt. A close look at JACK ROOSEVELT ROBINSON. A born battler, he shakes out the cobwebs, finally lurches to his feet, looks to the UMPIRE. He never heard the call. JACK What was I? The umpire passes one hand over the other: Safe. Jack looks over at the catcher, gives him a pointed look as he goes -- The catcher shoves him in the back. Jack turns, shoves back. As the two men wrestles each other to the ground -- CUT TO: 3 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 3 Rickey and Sukeforth going through stacks of FILES on the desk. A black ballplayer's picture is clipped to each. As Rickey reviews one, Sukeforth tries to hand him another. SUKEFORTH Josh Gibson. Oh boy can he hit. RICKEY No. SUKEFORTH No? Rickey won't take the file; the answer is no. DBL. BLUE REV 7-9-12 4. SUKEFORTH Alright. Roy Campanella. Sukeforth holds it out; Rickey won't take it. RICKEY A heck of a player. But too sweet, they'll eat him alive. SUKEFORTH (holds up file) Satchel Paige then. Parrott enters carrying an armful of files. RICKEY Too old. We need a man with a future not a past. (holds up his own FILE) Here. Jack Roosevelt Robinson. As Parrott sets them on the desk, they start to slide off, spilling to the floor. Helpless to stem the tide, Parrott looks down, surrounded by black faces... RICKEY (flips through file) A four sport college man, out of UCLA. That means he's played with white boys. (SCANS FILE) Twenty-six years old, now with the Kansas City Monarchs. Batting over 350 even as we speak. 350! And he was a commissioned army officer! SUKEFORTH He was court-martialed. A trouble maker. He argues with umpires. A quick temper is his reputation. Rickey is obviously keen on him. PARROT What was he court-martialed for? RICKEY For refusing to sit in the back of a military bus. (checks the file) Ft. Hood, Texas. The driver asked him to move back. The MPs had to take him off. DBL. BLUE REV 7-9-12 5. SUKEFORTH Do you see? RICKEY I see he resents segregation. If he were white, we'd call it spirit! PARROT If he were white, sir, we wouldn't be looking for him. Rickey ends the debate... RICKEY Robinson's a Methodist. I'm a Methodist. God's a Methodist. We can't go wrong. Find him. Bring him here. CUT TO: 4 EXT. FILLING STATION - INTERSTATE 24 - DAY 4 A BLOODHOUND watches as a BUS pulls into a SERVICE STATION, the tires RING the bell hose. A million miles easy on this road rumbler. The BANNER reads: KC Monarchs. Insert: Interstate 24, Missouri - August 24, 1945. The DRIVER steps off. The fellas follow, getting off to stretch their legs. Hot and tired. A WHITE ATTENDANT saunters out. The driver steps over to meet him. ATTENDANT Fill her up? DRIVER Yes, sir. The attendant starts unscrewing caps on two 50-GALLON TANKS. ATTENDANT Where you all headed? DRIVER Chicago. As the attendant shoves down a pump, starts filling, Jack steps off. He spots and heads for a restroom. White Men Only lettered on the door. The attendant roused as he sees. ATTENDANT Hey! Where you going, boy!? BLUE REV 4-07-12 6. Everyone looking over as Jack stops. JACK I'm going to the toilet. ATTENDANT Shit, boy, c'mon. You know you can't go in there. Jack does a slow burn, then suddenly strides toward the attendant. The air rife with tension. JACK Take that hose out of the tank. ATTENDANT Huh? DRIVER ROBINSON -- JACK Take it out. We'll get our ninety- nine gallons of gas someplace else. The attendant blinks. He takes a look from Jack to up and down the deserted highway. No business in sight. ATTENDANT Okay, use it. But don't stay in there too long. Jack heads back. The Driver, the players, a bit stunned. CUT TO: 5 INT. WHITE MEN ONLY REST ROOM - FILLING STATION - DAY 5 Jack splashes water on his face, rips a paper towels from the dispenser, pats his face dry. He balls the wad up, squeezes it in his fist before firing it into the trash. He considers his reflection in the mirror. As he regards himself, we hear the SERVICE BELL ring outside. CUT TO: 6 EXT. FILLING STATION - HIGHWAY 24 - DAY 6 A car has pulled up. The driver talks to several players. They look over as Jack exits. The driver is Clyde Sukeforth. SUKEFORTH Are you Jackie Robinson? CUT TO: TAN REV 6-25-12 7. 7 OMITTED 7 8 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 8 Blinds closed. Jack sits across the desk from Rickey. Sukeforth sits a little further back. Rickey is staring at Jack. Bushy eyebrows flared, light gleams off his glasses. INSERT: August 28, 1945. Brooklyn. Jack doesn't know what to do, looks to Sukeforth. Finally... RICKEY Do you have a girl? JACK Excuse me? RICKEY A man needs a family relying on him. It insures he'll behave responsibly. Do you have a girl? JACK I think so. RICKEY You think so? Jack looks to Sukeforth who smiles placidly. Back to Rickey. WHITE 3-14-12 8. JACK I don't make much money. Between the army and now baseball I've been away a lot. And Rae, Rachel, she wants to finish school. Considering all that, I say I think so. RICKEY Do you love her? Rachel? (JACK CONFUSED) Don't you know? JACK Yes, sir, very much. RICKEY Marry her. What? Rickey stands, walks to a window. Jack looks at Sukeforth who raises a hand as if to say: Give it a chance. RICKEY (CONT'D) Baseball's a hard life; a man needs a good woman by his side. You don't want the only person waiting for you at home to be a catcher. Sukeforth chuckles at that. Rickey fingers open a slat on the blind and peers out. Jack looks hard at him. JACK Coach Sukeforth here said you were starting a new Negro League. That doesn't make sense to me. MR. RICKEY It doesn't, huh? Are you calling us liars, Jack? JACK What's this about, Mr. Rickey? RICKEY This is about baseball. Rickey opens the shade. Sunlight floods in. Rickey follows it to the chalkboard, to the list of players under Montreal. RICKEY (CONT'D) I see you starting in the spring with our affiliate in Montreal. If you make it there, we'll try you down here with the Dodgers. The white Brooklyn Dodgers. Jack looks to Sukeforth who nods: Yes, you heard right. BLUE REV 4-07-12 9. RICKEY (CONT'D) I'll pay you $600 a month and a $3,500 bonus when you sign the contract. Is that agreeable? Believe it or not that's a lot of money to Jack on this day in time. This is all becoming a bit overwhelming. JACK Yes, sir. That's fine. RICKEY There is one condition. I have a pile of scouting reports. I know you can hit behind the runner, that you can read a pitch. The question is can you control your temper? JACK My temper? RICKEY Yes your temper! Are you deaf?! Rickey furious, the avuncular old man gone. Jack sits there, fists now balled. Rickey to Sukeforth like he's not there: RICKEY (CONT'D) He looks proud. Willful. SUKEFORTH He'll need to be. Rickey looks back to Jack who is as angry as he is confused. RICKEY I want to win! I want ballplayers who can win! Are you one of them?! JACK Yes. RICKEY A black man in white baseball. Imagine the reaction. The vitriol. Rickey strides forward, gets in his face. RICKEY (CONT'D) The Dodgers check into a hotel. A decent good hotel. You're worn out from the road and some clerk won't give you the pen to sign in. (SOUTHERN DRAWL) We got no room, boy, not even down in the coal bin where you belong. BLUE REV 4-07-12 10. Jack looks like he wants to tear Rickey apart. RICKEY (CONT'D) The team stops at a restaurant. The waiter won't take your order. (adopts a new voice) Didn't you see the sign on the door? No animals allowed. (LOOMING) What are you going to do then? Fight him? Ruin all my plans? Answer me, you black sonofabitch! JACK (MASTERS HIMSELF) Do you want a ballplayer who doesn't have the guts to fight back? Is that what you want? RICKEY I want one who has the guts not to fight back! There are people who will not like this. They will do anything to get you to react. If you echo a curse with a curse, they will only hear yours. Follow a blow with a blow and they will say a Negro lost his temper; that the Negro does not belong. Your enemy will be out in force, but you can not meet him on his own low ground. We win with hitting, running and fielding, nothing else. We win if the world is convinced of two things: that you are a fine gentlemen and a great ballplayer. Like our Savior, you must have the guts to turn the other cheek. Jack considers Rickey. Rickey looks worn out. RICKEY (CONT'D) Can you do it? Jack poised at what will be his Rubicon. He crosses. JACK Mr. Rickey, you give me a uniform, you give me a number on my back, and I'll give you the guts. CUT TO: PINK REV 4-19-12 11. 9 INT. HALLWAY - ISUM HOUSE - LOS ANGELES - DAY 9 A phone RINGS on a table. RACHEL ISUM steps in, 23, possessed of style that you can only be graced with. RACHEL Hello? CUT TO: 10 INT. LOBBY PAYPHONE - 215 MONTAGUE STREET - BROOKLYN - DAY 10 Jack in a PHONE BOOTH, the lobby busy beyond. JACK Rae, I'm in Brooklyn. INTERCUT THE FOLLOWING: RACHEL Brooklyn? For what? JACK I don't want to say on the phone. In fact, I'm not supposed to tell anyone. She can hear the tingle in his voice. RACHEL Jack? JACK I'm here, Rae RACHEL What's going on? You're supposed to be playing in Chicago? JACK We've been tested you and me. Our loyalty, our faith. We've done everything the right way. Me trying to make money. You finishing school. Separated by the war, now by baseball. We don't owe the world a thing. Only each other. She's actually getting a little scared now. RACHEL Jack, what are you talking about? What happened? GOLDENROD REV 5-9-12 12. JACK The Brooklyn Dodgers just signed me to play ball up in Montreal. It might lead to bigger things. To something wonderful. RACHEL What does it mean? For you and me? JACK Rae. Will you marry me? RACHEL Absolutely. When? JACK Now. RACHEL (LAUGHING) Jack, I don't think we can get married in a phone booth. CUT TO: 11 OMITTED 11 11 A INT. HALLWAY - THE CLARK HOTEL - LOS ANGELES - NIGHT 11 A Jack rounds a corner in a TUXEDO, the bow tie undone. Rachel follows in her WEDDING GOWN. They look beautiful. RACHEL Did my mom look happy? JACK Yes. They reach the door. Jack gets out a key to unlock it. Rachel looks nervous, steps back across the hall. RACHEL Did my gram look happy? Swinging the door open, he looks at her. The air charged. JACK Everyone looked happy. I've never seen so many people looking happy. GOLDENROD REV 5-9-12 12A. RACHEL Did Jack Robinson look happy? (SOFT) What if I can't make you happy? He steps over, aware of her shyness. JACK Too late. You already do. It's you and me, Rae. RACHEL Until the wheels fall off. (UNCERTAIN) The world is waiting for us. JACK It can wait one more night (KISSES HER) Are you coming, Mrs. Robinson? RACHEL (kisses him back) I'd follow you anywhere, Mr. Robinson. He picks her up, carries her over the threshold. As the door clicks shut behind them... CUT TO: 12 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 12 The shades closed; we're scheming again. WENDELL SMITH sits across from Rickey who stares back intently. Bespectacled, 32, Smith covers baseball for the Pittsburgh Courier. RICKEY Who's the best shortstop you ever saw? SMITH Rabbit Tavener. RICKEY Rabbit Tavener? And you call yourself a sports writer? WHITE 3-14-12 13. SMITH Yes, a sentimental one. I'm from Detroit. He was the Tiger shortstop when I was a boy. How about you? Who's your best? RICKEY Pop Lloyd. SMITH Not Honus Wagner? RICKEY Wagner is number two. And Rabbit Tavener would not break my top 25. Where do you suppose Jackie Robinson will end up on that list? SMITH He won't break it. He doesn't have a shortstop's arm. Robinson belongs on second base. RICKEY Alright then, where would he rate at second? SMITH If he was playing now he'd be the best second baseman in the majors. RICKEY High praise. He'll have to be the best in the minor leagues first. SMITH What are you saying, Mr. Rickey? RICKEY I'm saying it's going to be a very interesting spring training. A lot of players are coming back from the war and with gas rationing over, we can train down in Florida again. SMITH Daytona Beach? (RICKEY NODS) You're aware in the past six months a black boy was lynched in Madison, Florida and a black man down in Live Oaks? RICKEY Those towns may as well be a million miles from Daytona. WHITE 3-14-12 14. SMITH Live Oaks is 150 actually. RICKEY I spoke to the Daytona mayor. He assures me there'll be no trouble. But Rickey doesn't sound so sure. They consider each other. RICKEY (CONT'D) Mr. Smith, are you a Communist? SMITH I'm a Democrat. Why do you ask? RICKEY I have a business proposition. What's your salary at the Courier? SMITH Fifty dollars a week. RICKEY I will pay you an additional fifty dollars a week plus expenses if you will attend spring training with Jackie Robinson. You will watch over him, help him to avoid the harm that could come if he were to do or say anything out of turn. You will act as his chauffeur, you will secure accommodations for him wherever the team may be, help him find restaurants, etc... SMITH What's in it for me? Besides the fifty dollars and a whole lot of aggravation? RICKEY Unprecedented access for any reportage you feel appropriate. What do you say, Mr. Smith? SMITH I say yes, sir. If a Negro is good enough to stop a Nazi bullet in France; he's good enough to stop a line drive at Yankee Stadium. RICKEY Ebbets Field actually, but yes, I agree. The world is ready. CUT TO: TAN REV 6-25-12 15. 13 OMITTED 13 14 INT. BALLROOM - THE WALDORF ASTORIA HOTEL - NIGHT 14 Over 500 guests: journalists, players and politicians all listen politely as a SPEECH drones to an end. INSERT: New York City. 23rd Annual Baseball Writer's Association Dinner February 3, 1946. SPEAKER As our former President Herbert Hoover remarked in his tribute to our national pastime: The rigid voluntary rules of right and wrong, as applied in baseball, are second only to religion in strengthening the morals of the American people.' Polite applause as the speaker steps off. The clapping more enthusiastic as the lights dim on all but an impromptu set: plantation house columns. Hoots as a BUTLER appears wearing satin knee breeches and a MONTREAL ROYALS jersey. He holds a ring like a lawn jockey, a WHITE MAN in BLACK FACE. The laughs get louder as he peers out with exaggerated wide eyes. BUTLER Lordy, lordy, it's looking like da massa will be late dis ebning. As the LAUGHS from the audience subside, a sportswriter dressed as a COLONEL enters from stage right. COLONEL Robbie! Robbie! BUTLER Yassuh, Massa Kunl. Here Ah is. Huge LAUGHS as he struts and dances his way over. WHITE 3-14-12 16. COLONEL Jackie, you woolly headed rascal. How long yo' been in the family? BUTLER Ebber since Massa Rickey done bots me from da Kansas City Monarchs. COLONEL (aside to audience) Rickey that no good carpetbagger! What could he be thinking! Huge LAUGHS from that one. Two people enjoying it we'll recognize later as HERB PENNOCK and BOB COOKE. BUTLER Ah came near bein' killed last night, Kunl. COLONEL How's that, Jackie boy? BUTLER Ah was comin' up a dark street and three men was behind me. And they tried to do me with a baseball bat. COLONEL You don't say? BUTLER Yes, suh. Ah recognized one of dem. Ah'm gonna hab him arrested. COLONEL But I thought you said it was dark? BUTLER It was. But I know he played for the Philadelphia Baseball Club. On account of he struck at me three times and never hit me once. That brings the house down. Check out their laughing faces. CUT TO: 15 EXT. LOCKHEED TERMINAL - BURBANK - DAY 15 A gleaming American Airlines DC-3 angled up on the tarmac. PASSENGERS climb the portable stairs and disappear inside. INSERT: February 28, 1946. Burbank, California CUT TO: GOLDENROD REV 5-9-12 17. 16 INT. TERMINAL - BURBANK - DAY 16 Jack and Rachel are being seen off by FRIENDS from the wedding and his mother MALLIE. Jack is in a natty suit with Rachel in a beautiful coat. MALLIE You knock the cover off that ball. JACK I will, Mama. Mallie hugs Jack and then kisses Rachel. MALLIE Look after each other. RACHEL We will. She reaches in her bag, brings out a cardboard SHOEBOX; it's ever so slightly greasy at the bottom. MALLIE Take this. It's chicken. JACK They have food on the plane, Mama. MALLIE You never know what might happen. I don't want you getting there starving and too weak to hit. Rachel gives Jack a subtle but emphatic look: No. CUT TO: 17 EXT. LOCKHEED TARMAC - BURBANK - DAY 17 Jack escorts Rachel to the plane, the shoebox in hand. JACK I couldn't tell her no. RACHEL I know she means well; I just don't want to be seen eating chicken out of a box like some country bumpkin. Jack runs his hand over her coat. JACK No one's going to mistake you for a bumpkin in this. PINK REV 4-19-12 18. RACHEL Well, they'll know I belong on that plane or wherever I happen to be. CUT TO: 18 EXT. DC-3 - DAY (STOCK FOOTAGE) 18 Descending toward a runway. Landing gear coming down. CUT TO: 19 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 19 A WOMAN exits the lady's room, passing a SIGN: White Only. REVERSE to show Rachel looking at it like she's been slapped. Jack joins Rae from the TICKET COUNTER, with the chicken box. INSERT: New Orleans Lakefront Airport. JACK The flight to Pensacola leaves in an hour... You okay? RACHEL I've just never seen one before. JACK (follows her look) We're not in Pasadena anymore. A sudden momentum carries her forward. JACK Honey... Rae -- He takes a step after her, stops as she disappears inside. Jack unsure what to do. He looks around. Looks back. He doesn't need this right now. 20 OMITTED 20 21 OMITTED 21 PINK REV 4-19-12 19. 22 INT. AIRPORT COFFEE SHOP - DAY 22 A black BUSBOY reacts as a bickering Jack and Rachel enter. JACK I promised Mr. Rickey we'd stay out of trouble. RACHEL Did you promise him we wouldn't go to the bathroom? You've done it. JACK Before I promised. RACHEL It was just a toilet. You'd think the commodes were made of gold. The busboy watches as Jack and Rachel slide into a booth. As Jack reaches for a MENU, here comes the COOK. COOK You folks can't sit here. JACK Excuse me? COOK It's white only. Jack looking to Rachel; it's equanimity time. Not easy. COOK I'll sell you some sandwiches. But you gotta take em to go. Jack looks to the busboy, back to the cook. JACK No. You hang onto those. Mastering himself, Jack slides out. Drilling the cook with a look, he offers his hand to Rachel as she slides out as well. CUT TO: 23 OMITTED 23 GREEN REV 4-27-12 20. 24 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 24 Seen from on high. Jack and Rachel, sitting on a bench, two little figures as passengers move along the concourse. They sit a bit apart from each other, the world a wedge. CUT TO: 25 EXT. RUNWAY - PENSACOLA AIRPORT - NIGHT 25 SMOKE PINWHEELS as the wheels of a BOEING 247 touch down. INSERT: Pensacola, Florida. Later that day. CUT TO: 26 INT. BOEING 247 - TARMAC - NIGHT 26 Jack and Rachel worn out among eight other passengers. As the door is opened, FOUR of the eight get up and disembark. After a beat, FOUR NEW PASSENGERS board and take their seat. JACK Just a hop to Daytona now. As Rachel nods, an AIRLINE EMPLOYEE boards, MISS BISHOP. She makes her way over. She spots who she's looking for. MISS BISHOP Jack Robinson? Come with me. She starts away without explaining, looks back at them a bit impatiently. MISS BISHOP Come on now. Both of you. CUT TO: BLUE REV 4-07-12 21. 27 INT. TICKET COUNTER - PENSACOLA AIRPORT - NIGHT 27 The shoe box sitting on the counter, Jack in mid discussion with Miss Bishop. Rachel just behind Jack. MISS BISHOP We have to lighten the plane. There's some bad weather east of here. A heavy plane's dangerous. RACHEL (LOW) Tell her you're with the Dodgers. Jack would rather not play that card. JACK When's the next flight? MISS BISHOP Tomorrow morning. But it's booked. So someone'll have to cancel. Jack and Rachel unaware as a WHITE COUPLE are ushered out a door and onto the tarmac behind them. JACK Look, I'm with the Brooklyn Dodger organization. I've got to get down to Daytona. I'm supposed to report to spring training in the morning. MISS BISHOP We'll do our best to get you down there by tomorrow afternoon, but it might be the day after. RACHEL JACK -- He follows her gaze to where the white couple get on the plane they got off. Jack wheels on Miss Bishop, furious. JACK You gave away our seats! Get us back on that plane! Miss Bishop picks up a PHONE, holds it in Jack's face. MISS BISHOP Do you want to call the Sheriff? Or should I? CUT TO: YELLOW REV 4-24-12 22. 28 EXT. BUS STATION - PENSACOLA - NIGHT 28 Closed. A line of EMPTY BUSES; the BANNER on one: Daytona Beach. Across from it Rachel sits at one end of a BENCH, her fur pulled around her. Jack at the other, staring off into the night. Finally, he reaches down, picks up the shoebox. He pulls out a DRUMSTICK, considers it, then takes a bite. JACK Mama knew... He holds it out to Rachel. She slides over, takes it, takes a bite as well, smiles at him. He smiles back. RACHEL It's good. CUT TO: 29 EXT. BASEBALL FIELD - DAYTONA BEACH, FLORIDA - DAY 29 LEO DUROCHER hitting fungoes. One after the next. PEE WEE REESE and EDDIE STANKY both settle under the same ball. REESE STANKY I got it! I got it! I got it! I got it! They both back off at the last second and it drops to the ground between them. Durocher chuckles. DUROCHER That's what spring training's for, boys! Sort out our differences! He hits another. This time to the outfield where veteran DIXIE WALKER gives chase, finally gives up on it. DUROCHER C'mon, Dixie, get after it! WALKER (LAUGHING) I'm old! DUROCHER I'm gonna squeeze one more year out of that worn out body of yours! WALKER If you could, skipper, my wife would sure appreciate it! DUROCHER Keeping the women happy! That's what it's all about! BLUE REV 4-07-12 23. 29 A EXT./INT. CONVERTIBLE - DAY 29 A Rickey drives a dirt road through the training field singing Two Sleepy People along with the radio: Passing BROOKLYN DODGERS, MONTREAL ROYALS & ST. PAUL SAINTS on either side. Durocher hits another as Rickey pulls up. RICKEY How are they looking, Leo? DUROCHER Rusty, Mr. Rickey. But we'll get em oiled up and ready in no time. You find your lost sheep yet? Troubled, Rickey shakes his head no'. As he does, Harold Parrot hurries over. He's the Dodgers travelling secretary. PARROTT Jackie Robinson's on a bus leaving Pensacola. RICKEY A bus? Harold, how in blazes did he end up on a bus?!

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42 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 42 Written by Brian Helgeland White - March 14, 2012 Blue Revised - April 7, 2012 Pink Revised - April 19, 2012 Yellow Revised - April 24, 2012 Green Revised - April 27, 2012 Goldenrod Revised - May 9, 2012 Buff Revised - May 29, 2012 Salmon Revised - June 4, 2012 Cherry Revised - June 11, 2012 Tan Revised - June 25, 2012 Double White Revised - June 28, 2012 Double Blue Revised - July 9, 2012 PINK REV 4-19-12 1. A1 WHITE A1 Fills the screen. Falling from the top of frame to the bottom. Pluming off into dust. White, white, white. We move toward it even as it recedes, always out of reach. Finally we pop out wide and high to reveal... The white is chalk. An old BLACK GROUNDSKEEPER lays down the right field line on a baseball diamond. 1 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 1 Blinds closed. Dust motes in the air. A large GOLDFISH TANK bubbles. BRANCH RICKEY at his desk. Two photos on the wall: Abe Lincoln & Leo Durocher. CHALKBOARDS covered with 100's OF NAMES, every player in the Dodger organization. CLYDE SUKEFORTH and HAROLD PARROTT sit across from Rickey who stares at them. Sukeforth stares back. Parrott nervous. RICKEY Gentlemen, I have a plan... As of now, only the Board of Directors and my family know. Sukeforth and Parrott exchange a look. SUKEFORTH A plan's always good, Mr. Rickey. And you always got one. RICKEY My wife says I'm too old, That my health isn't up to it. My son says that every one in baseball will be against me. But I'm going to do it. Parrott looks to Sukeforth who keeps his eyes on Rickey. SUKEFORTH Do what, Mr. Rickey? RICKEY I'm going to bring a Negro ballplayer to the Brooklyn Dodgers. PARROTT With all due respect, sir, have you lost your mind? Imagine the abuse you'll take from the newspapers alone. Never mind how it'll play on Flatbush. Please, Mr. Rickey. Rickey looks dismissively at Parrott, over to Sukeforth. PINK REV 4-19-12 1A. RICKEY There's no law against it, Clyde. SUKEFORTH There's a code. Break a law and get away with it, some people think you're smart. Break an unwritten law though, you'll be an outcast. YELLOW REV 4-24-12 2. RICKEY So be it. New York is full of Negro baseball fans; every dollar is green. I don't know who he is, or where he is, but he's coming. CUT TO: 2 EXT. RICKWOOD FIELD - BIRMINGHAM, ALABAMA - NIGHT 2 The big Birmingham Black Barons CATCHER behind the plate as Kansas City Monarchs JOHN SCOTT stands at bat. The catcher's attention on the RUNNER DANCING off first. Stomping a foot, feinting, hard to see clearly in the glare of the lights. CATCHER Where'd you learn to move like that, runner?! At dime a dance night?! Stay quiet! INSERT: Birmingham, Alabama. April 8, 1945. On the first pitch the runner takes off. The catcher fires to second. See it from his POV as the runner slides in SAFE! A foot on the bag, the runner dusts off, heckles the catcher: RUNNER Is that the best you got?! Huh?! I'm going to steal nine, ten bases today! You better start counting! The catcher frowns. Standing, we see he is a big, big man. CATCHER (ALABAMAN) Where's your shortstop from? JOHN SCOTT (LOUISIANAN) California. CATCHER He's got a mouth on him. Shaking his head, the catcher gets back in his crouch, signals the PITCHER. On the wind-up, the Runner is off again. The catcher fires to THIRD: Safe! RUNNER You got a rag arm, catcher! CATCHER Steal home! You'll find out what kind of arm I got! DBL. BLUE REV 7-9-12 3. RUNNER Okay, I'm coming! The Catcher looks over at Scott who chuckles. CATCHER California, huh? (SCOTT NODS) Well California here he goes, if he comes down here. The Catcher gets back down in his squat. Signals the pitcher: fastball. Scott digs in, ready. The runner dancing off third. Here comes the wind-up... The Runner takes off even as the pitcher fires it in. The Birmingham Catcher receives it. As the Runner slides -- The Catcher intentionally drives his glove, the ball and both hands into the runner's face -- WHALLOP! Sound drops as we're knocked flat senseless along with the runner. ON HIM now as he tries to push himself up from the dirt. A close look at JACK ROOSEVELT ROBINSON. A born battler, he shakes out the cobwebs, finally lurches to his feet, looks to the UMPIRE. He never heard the call. JACK What was I? The umpire passes one hand over the other: Safe. Jack looks over at the catcher, gives him a pointed look as he goes -- The catcher shoves him in the back. Jack turns, shoves back. As the two men wrestles each other to the ground -- CUT TO: 3 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 3 Rickey and Sukeforth going through stacks of FILES on the desk. A black ballplayer's picture is clipped to each. As Rickey reviews one, Sukeforth tries to hand him another. SUKEFORTH Josh Gibson. Oh boy can he hit. RICKEY No. SUKEFORTH No? Rickey won't take the file; the answer is no. DBL. BLUE REV 7-9-12 4. SUKEFORTH Alright. Roy Campanella. Sukeforth holds it out; Rickey won't take it. RICKEY A heck of a player. But too sweet, they'll eat him alive. SUKEFORTH (holds up file) Satchel Paige then. Parrott enters carrying an armful of files. RICKEY Too old. We need a man with a future not a past. (holds up his own FILE) Here. Jack Roosevelt Robinson. As Parrott sets them on the desk, they start to slide off, spilling to the floor. Helpless to stem the tide, Parrott looks down, surrounded by black faces... RICKEY (flips through file) A four sport college man, out of UCLA. That means he's played with white boys. (SCANS FILE) Twenty-six years old, now with the Kansas City Monarchs. Batting over 350 even as we speak. 350! And he was a commissioned army officer! SUKEFORTH He was court-martialed. A trouble maker. He argues with umpires. A quick temper is his reputation. Rickey is obviously keen on him. PARROT What was he court-martialed for? RICKEY For refusing to sit in the back of a military bus. (checks the file) Ft. Hood, Texas. The driver asked him to move back. The MPs had to take him off. DBL. BLUE REV 7-9-12 5. SUKEFORTH Do you see? RICKEY I see he resents segregation. If he were white, we'd call it spirit! PARROT If he were white, sir, we wouldn't be looking for him. Rickey ends the debate... RICKEY Robinson's a Methodist. I'm a Methodist. God's a Methodist. We can't go wrong. Find him. Bring him here. CUT TO: 4 EXT. FILLING STATION - INTERSTATE 24 - DAY 4 A BLOODHOUND watches as a BUS pulls into a SERVICE STATION, the tires RING the bell hose. A million miles easy on this road rumbler. The BANNER reads: KC Monarchs. Insert: Interstate 24, Missouri - August 24, 1945. The DRIVER steps off. The fellas follow, getting off to stretch their legs. Hot and tired. A WHITE ATTENDANT saunters out. The driver steps over to meet him. ATTENDANT Fill her up? DRIVER Yes, sir. The attendant starts unscrewing caps on two 50-GALLON TANKS. ATTENDANT Where you all headed? DRIVER Chicago. As the attendant shoves down a pump, starts filling, Jack steps off. He spots and heads for a restroom. White Men Only lettered on the door. The attendant roused as he sees. ATTENDANT Hey! Where you going, boy!? BLUE REV 4-07-12 6. Everyone looking over as Jack stops. JACK I'm going to the toilet. ATTENDANT Shit, boy, c'mon. You know you can't go in there. Jack does a slow burn, then suddenly strides toward the attendant. The air rife with tension. JACK Take that hose out of the tank. ATTENDANT Huh? DRIVER ROBINSON -- JACK Take it out. We'll get our ninety- nine gallons of gas someplace else. The attendant blinks. He takes a look from Jack to up and down the deserted highway. No business in sight. ATTENDANT Okay, use it. But don't stay in there too long. Jack heads back. The Driver, the players, a bit stunned. CUT TO: 5 INT. WHITE MEN ONLY REST ROOM - FILLING STATION - DAY 5 Jack splashes water on his face, rips a paper towels from the dispenser, pats his face dry. He balls the wad up, squeezes it in his fist before firing it into the trash. He considers his reflection in the mirror. As he regards himself, we hear the SERVICE BELL ring outside. CUT TO: 6 EXT. FILLING STATION - HIGHWAY 24 - DAY 6 A car has pulled up. The driver talks to several players. They look over as Jack exits. The driver is Clyde Sukeforth. SUKEFORTH Are you Jackie Robinson? CUT TO: TAN REV 6-25-12 7. 7 OMITTED 7 8 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 8 Blinds closed. Jack sits across the desk from Rickey. Sukeforth sits a little further back. Rickey is staring at Jack. Bushy eyebrows flared, light gleams off his glasses. INSERT: August 28, 1945. Brooklyn. Jack doesn't know what to do, looks to Sukeforth. Finally... RICKEY Do you have a girl? JACK Excuse me? RICKEY A man needs a family relying on him. It insures he'll behave responsibly. Do you have a girl? JACK I think so. RICKEY You think so? Jack looks to Sukeforth who smiles placidly. Back to Rickey. WHITE 3-14-12 8. JACK I don't make much money. Between the army and now baseball I've been away a lot. And Rae, Rachel, she wants to finish school. Considering all that, I say I think so. RICKEY Do you love her? Rachel? (JACK CONFUSED) Don't you know? JACK Yes, sir, very much. RICKEY Marry her. What? Rickey stands, walks to a window. Jack looks at Sukeforth who raises a hand as if to say: Give it a chance. RICKEY (CONT'D) Baseball's a hard life; a man needs a good woman by his side. You don't want the only person waiting for you at home to be a catcher. Sukeforth chuckles at that. Rickey fingers open a slat on the blind and peers out. Jack looks hard at him. JACK Coach Sukeforth here said you were starting a new Negro League. That doesn't make sense to me. MR. RICKEY It doesn't, huh? Are you calling us liars, Jack? JACK What's this about, Mr. Rickey? RICKEY This is about baseball. Rickey opens the shade. Sunlight floods in. Rickey follows it to the chalkboard, to the list of players under Montreal. RICKEY (CONT'D) I see you starting in the spring with our affiliate in Montreal. If you make it there, we'll try you down here with the Dodgers. The white Brooklyn Dodgers. Jack looks to Sukeforth who nods: Yes, you heard right. BLUE REV 4-07-12 9. RICKEY (CONT'D) I'll pay you $600 a month and a $3,500 bonus when you sign the contract. Is that agreeable? Believe it or not that's a lot of money to Jack on this day in time. This is all becoming a bit overwhelming. JACK Yes, sir. That's fine. RICKEY There is one condition. I have a pile of scouting reports. I know you can hit behind the runner, that you can read a pitch. The question is can you control your temper? JACK My temper? RICKEY Yes your temper! Are you deaf?! Rickey furious, the avuncular old man gone. Jack sits there, fists now balled. Rickey to Sukeforth like he's not there: RICKEY (CONT'D) He looks proud. Willful. SUKEFORTH He'll need to be. Rickey looks back to Jack who is as angry as he is confused. RICKEY I want to win! I want ballplayers who can win! Are you one of them?! JACK Yes. RICKEY A black man in white baseball. Imagine the reaction. The vitriol. Rickey strides forward, gets in his face. RICKEY (CONT'D) The Dodgers check into a hotel. A decent good hotel. You're worn out from the road and some clerk won't give you the pen to sign in. (SOUTHERN DRAWL) We got no room, boy, not even down in the coal bin where you belong. BLUE REV 4-07-12 10. Jack looks like he wants to tear Rickey apart. RICKEY (CONT'D) The team stops at a restaurant. The waiter won't take your order. (adopts a new voice) Didn't you see the sign on the door? No animals allowed. (LOOMING) What are you going to do then? Fight him? Ruin all my plans? Answer me, you black sonofabitch! JACK (MASTERS HIMSELF) Do you want a ballplayer who doesn't have the guts to fight back? Is that what you want? RICKEY I want one who has the guts not to fight back! There are people who will not like this. They will do anything to get you to react. If you echo a curse with a curse, they will only hear yours. Follow a blow with a blow and they will say a Negro lost his temper; that the Negro does not belong. Your enemy will be out in force, but you can not meet him on his own low ground. We win with hitting, running and fielding, nothing else. We win if the world is convinced of two things: that you are a fine gentlemen and a great ballplayer. Like our Savior, you must have the guts to turn the other cheek. Jack considers Rickey. Rickey looks worn out. RICKEY (CONT'D) Can you do it? Jack poised at what will be his Rubicon. He crosses. JACK Mr. Rickey, you give me a uniform, you give me a number on my back, and I'll give you the guts. CUT TO: PINK REV 4-19-12 11. 9 INT. HALLWAY - ISUM HOUSE - LOS ANGELES - DAY 9 A phone RINGS on a table. RACHEL ISUM steps in, 23, possessed of style that you can only be graced with. RACHEL Hello? CUT TO: 10 INT. LOBBY PAYPHONE - 215 MONTAGUE STREET - BROOKLYN - DAY 10 Jack in a PHONE BOOTH, the lobby busy beyond. JACK Rae, I'm in Brooklyn. INTERCUT THE FOLLOWING: RACHEL Brooklyn? For what? JACK I don't want to say on the phone. In fact, I'm not supposed to tell anyone. She can hear the tingle in his voice. RACHEL Jack? JACK I'm here, Rae RACHEL What's going on? You're supposed to be playing in Chicago? JACK We've been tested you and me. Our loyalty, our faith. We've done everything the right way. Me trying to make money. You finishing school. Separated by the war, now by baseball. We don't owe the world a thing. Only each other. She's actually getting a little scared now. RACHEL Jack, what are you talking about? What happened? GOLDENROD REV 5-9-12 12. JACK The Brooklyn Dodgers just signed me to play ball up in Montreal. It might lead to bigger things. To something wonderful. RACHEL What does it mean? For you and me? JACK Rae. Will you marry me? RACHEL Absolutely. When? JACK Now. RACHEL (LAUGHING) Jack, I don't think we can get married in a phone booth. CUT TO: 11 OMITTED 11 11 A INT. HALLWAY - THE CLARK HOTEL - LOS ANGELES - NIGHT 11 A Jack rounds a corner in a TUXEDO, the bow tie undone. Rachel follows in her WEDDING GOWN. They look beautiful. RACHEL Did my mom look happy? JACK Yes. They reach the door. Jack gets out a key to unlock it. Rachel looks nervous, steps back across the hall. RACHEL Did my gram look happy? Swinging the door open, he looks at her. The air charged. JACK Everyone looked happy. I've never seen so many people looking happy. GOLDENROD REV 5-9-12 12A. RACHEL Did Jack Robinson look happy? (SOFT) What if I can't make you happy? He steps over, aware of her shyness. JACK Too late. You already do. It's you and me, Rae. RACHEL Until the wheels fall off. (UNCERTAIN) The world is waiting for us. JACK It can wait one more night (KISSES HER) Are you coming, Mrs. Robinson? RACHEL (kisses him back) I'd follow you anywhere, Mr. Robinson. He picks her up, carries her over the threshold. As the door clicks shut behind them... CUT TO: 12 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 12 The shades closed; we're scheming again. WENDELL SMITH sits across from Rickey who stares back intently. Bespectacled, 32, Smith covers baseball for the Pittsburgh Courier. RICKEY Who's the best shortstop you ever saw? SMITH Rabbit Tavener. RICKEY Rabbit Tavener? And you call yourself a sports writer? WHITE 3-14-12 13. SMITH Yes, a sentimental one. I'm from Detroit. He was the Tiger shortstop when I was a boy. How about you? Who's your best? RICKEY Pop Lloyd. SMITH Not Honus Wagner? RICKEY Wagner is number two. And Rabbit Tavener would not break my top 25. Where do you suppose Jackie Robinson will end up on that list? SMITH He won't break it. He doesn't have a shortstop's arm. Robinson belongs on second base. RICKEY Alright then, where would he rate at second? SMITH If he was playing now he'd be the best second baseman in the majors. RICKEY High praise. He'll have to be the best in the minor leagues first. SMITH What are you saying, Mr. Rickey? RICKEY I'm saying it's going to be a very interesting spring training. A lot of players are coming back from the war and with gas rationing over, we can train down in Florida again. SMITH Daytona Beach? (RICKEY NODS) You're aware in the past six months a black boy was lynched in Madison, Florida and a black man down in Live Oaks? RICKEY Those towns may as well be a million miles from Daytona. WHITE 3-14-12 14. SMITH Live Oaks is 150 actually. RICKEY I spoke to the Daytona mayor. He assures me there'll be no trouble. But Rickey doesn't sound so sure. They consider each other. RICKEY (CONT'D) Mr. Smith, are you a Communist? SMITH I'm a Democrat. Why do you ask? RICKEY I have a business proposition. What's your salary at the Courier? SMITH Fifty dollars a week. RICKEY I will pay you an additional fifty dollars a week plus expenses if you will attend spring training with Jackie Robinson. You will watch over him, help him to avoid the harm that could come if he were to do or say anything out of turn. You will act as his chauffeur, you will secure accommodations for him wherever the team may be, help him find restaurants, etc... SMITH What's in it for me? Besides the fifty dollars and a whole lot of aggravation? RICKEY Unprecedented access for any reportage you feel appropriate. What do you say, Mr. Smith? SMITH I say yes, sir. If a Negro is good enough to stop a Nazi bullet in France; he's good enough to stop a line drive at Yankee Stadium. RICKEY Ebbets Field actually, but yes, I agree. The world is ready. CUT TO: TAN REV 6-25-12 15. 13 OMITTED 13 14 INT. BALLROOM - THE WALDORF ASTORIA HOTEL - NIGHT 14 Over 500 guests: journalists, players and politicians all listen politely as a SPEECH drones to an end. INSERT: New York City. 23rd Annual Baseball Writer's Association Dinner February 3, 1946. SPEAKER As our former President Herbert Hoover remarked in his tribute to our national pastime: The rigid voluntary rules of right and wrong, as applied in baseball, are second only to religion in strengthening the morals of the American people.' Polite applause as the speaker steps off. The clapping more enthusiastic as the lights dim on all but an impromptu set: plantation house columns. Hoots as a BUTLER appears wearing satin knee breeches and a MONTREAL ROYALS jersey. He holds a ring like a lawn jockey, a WHITE MAN in BLACK FACE. The laughs get louder as he peers out with exaggerated wide eyes. BUTLER Lordy, lordy, it's looking like da massa will be late dis ebning. As the LAUGHS from the audience subside, a sportswriter dressed as a COLONEL enters from stage right. COLONEL Robbie! Robbie! BUTLER Yassuh, Massa Kunl. Here Ah is. Huge LAUGHS as he struts and dances his way over. WHITE 3-14-12 16. COLONEL Jackie, you woolly headed rascal. How long yo' been in the family? BUTLER Ebber since Massa Rickey done bots me from da Kansas City Monarchs. COLONEL (aside to audience) Rickey that no good carpetbagger! What could he be thinking! Huge LAUGHS from that one. Two people enjoying it we'll recognize later as HERB PENNOCK and BOB COOKE. BUTLER Ah came near bein' killed last night, Kunl. COLONEL How's that, Jackie boy? BUTLER Ah was comin' up a dark street and three men was behind me. And they tried to do me with a baseball bat. COLONEL You don't say? BUTLER Yes, suh. Ah recognized one of dem. Ah'm gonna hab him arrested. COLONEL But I thought you said it was dark? BUTLER It was. But I know he played for the Philadelphia Baseball Club. On account of he struck at me three times and never hit me once. That brings the house down. Check out their laughing faces. CUT TO: 15 EXT. LOCKHEED TERMINAL - BURBANK - DAY 15 A gleaming American Airlines DC-3 angled up on the tarmac. PASSENGERS climb the portable stairs and disappear inside. INSERT: February 28, 1946. Burbank, California CUT TO: GOLDENROD REV 5-9-12 17. 16 INT. TERMINAL - BURBANK - DAY 16 Jack and Rachel are being seen off by FRIENDS from the wedding and his mother MALLIE. Jack is in a natty suit with Rachel in a beautiful coat. MALLIE You knock the cover off that ball. JACK I will, Mama. Mallie hugs Jack and then kisses Rachel. MALLIE Look after each other. RACHEL We will. She reaches in her bag, brings out a cardboard SHOEBOX; it's ever so slightly greasy at the bottom. MALLIE Take this. It's chicken. JACK They have food on the plane, Mama. MALLIE You never know what might happen. I don't want you getting there starving and too weak to hit. Rachel gives Jack a subtle but emphatic look: No. CUT TO: 17 EXT. LOCKHEED TARMAC - BURBANK - DAY 17 Jack escorts Rachel to the plane, the shoebox in hand. JACK I couldn't tell her no. RACHEL I know she means well; I just don't want to be seen eating chicken out of a box like some country bumpkin. Jack runs his hand over her coat. JACK No one's going to mistake you for a bumpkin in this. PINK REV 4-19-12 18. RACHEL Well, they'll know I belong on that plane or wherever I happen to be. CUT TO: 18 EXT. DC-3 - DAY (STOCK FOOTAGE) 18 Descending toward a runway. Landing gear coming down. CUT TO: 19 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 19 A WOMAN exits the lady's room, passing a SIGN: White Only. REVERSE to show Rachel looking at it like she's been slapped. Jack joins Rae from the TICKET COUNTER, with the chicken box. INSERT: New Orleans Lakefront Airport. JACK The flight to Pensacola leaves in an hour... You okay? RACHEL I've just never seen one before. JACK (follows her look) We're not in Pasadena anymore. A sudden momentum carries her forward. JACK Honey... Rae -- He takes a step after her, stops as she disappears inside. Jack unsure what to do. He looks around. Looks back. He doesn't need this right now. 20 OMITTED 20 21 OMITTED 21 PINK REV 4-19-12 19. 22 INT. AIRPORT COFFEE SHOP - DAY 22 A black BUSBOY reacts as a bickering Jack and Rachel enter. JACK I promised Mr. Rickey we'd stay out of trouble. RACHEL Did you promise him we wouldn't go to the bathroom? You've done it. JACK Before I promised. RACHEL It was just a toilet. You'd think the commodes were made of gold. The busboy watches as Jack and Rachel slide into a booth. As Jack reaches for a MENU, here comes the COOK. COOK You folks can't sit here. JACK Excuse me? COOK It's white only. Jack looking to Rachel; it's equanimity time. Not easy. COOK I'll sell you some sandwiches. But you gotta take em to go. Jack looks to the busboy, back to the cook. JACK No. You hang onto those. Mastering himself, Jack slides out. Drilling the cook with a look, he offers his hand to Rachel as she slides out as well. CUT TO: 23 OMITTED 23 GREEN REV 4-27-12 20. 24 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 24 Seen from on high. Jack and Rachel, sitting on a bench, two little figures as passengers move along the concourse. They sit a bit apart from each other, the world a wedge. CUT TO: 25 EXT. RUNWAY - PENSACOLA AIRPORT - NIGHT 25 SMOKE PINWHEELS as the wheels of a BOEING 247 touch down. INSERT: Pensacola, Florida. Later that day. CUT TO: 26 INT. BOEING 247 - TARMAC - NIGHT 26 Jack and Rachel worn out among eight other passengers. As the door is opened, FOUR of the eight get up and disembark. After a beat, FOUR NEW PASSENGERS board and take their seat. JACK Just a hop to Daytona now. As Rachel nods, an AIRLINE EMPLOYEE boards, MISS BISHOP. She makes her way over. She spots who she's looking for. MISS BISHOP Jack Robinson? Come with me. She starts away without explaining, looks back at them a bit impatiently. MISS BISHOP Come on now. Both of you. CUT TO: BLUE REV 4-07-12 21. 27 INT. TICKET COUNTER - PENSACOLA AIRPORT - NIGHT 27 The shoe box sitting on the counter, Jack in mid discussion with Miss Bishop. Rachel just behind Jack. MISS BISHOP We have to lighten the plane. There's some bad weather east of here. A heavy plane's dangerous. RACHEL (LOW) Tell her you're with the Dodgers. Jack would rather not play that card. JACK When's the next flight? MISS BISHOP Tomorrow morning. But it's booked. So someone'll have to cancel. Jack and Rachel unaware as a WHITE COUPLE are ushered out a door and onto the tarmac behind them. JACK Look, I'm with the Brooklyn Dodger organization. I've got to get down to Daytona. I'm supposed to report to spring training in the morning. MISS BISHOP We'll do our best to get you down there by tomorrow afternoon, but it might be the day after. RACHEL JACK -- He follows her gaze to where the white couple get on the plane they got off. Jack wheels on Miss Bishop, furious. JACK You gave away our seats! Get us back on that plane! Miss Bishop picks up a PHONE, holds it in Jack's face. MISS BISHOP Do you want to call the Sheriff? Or should I? CUT TO: YELLOW REV 4-24-12 22. 28 EXT. BUS STATION - PENSACOLA - NIGHT 28 Closed. A line of EMPTY BUSES; the BANNER on one: Daytona Beach. Across from it Rachel sits at one end of a BENCH, her fur pulled around her. Jack at the other, staring off into the night. Finally, he reaches down, picks up the shoebox. He pulls out a DRUMSTICK, considers it, then takes a bite. JACK Mama knew... He holds it out to Rachel. She slides over, takes it, takes a bite as well, smiles at him. He smiles back. RACHEL It's good. CUT TO: 29 EXT. BASEBALL FIELD - DAYTONA BEACH, FLORIDA - DAY 29 LEO DUROCHER hitting fungoes. One after the next. PEE WEE REESE and EDDIE STANKY both settle under the same ball. REESE STANKY I got it! I got it! I got it! I got it! They both back off at the last second and it drops to the ground between them. Durocher chuckles. DUROCHER That's what spring training's for, boys! Sort out our differences! He hits another. This time to the outfield where veteran DIXIE WALKER gives chase, finally gives up on it. DUROCHER C'mon, Dixie, get after it! WALKER (LAUGHING) I'm old! DUROCHER I'm gonna squeeze one more year out of that worn out body of yours! WALKER If you could, skipper, my wife would sure appreciate it! DUROCHER Keeping the women happy! That's what it's all about! BLUE REV 4-07-12 23. 29 A EXT./INT. CONVERTIBLE - DAY 29 A Rickey drives a dirt road through the training field singing Two Sleepy People along with the radio: Passing BROOKLYN DODGERS, MONTREAL ROYALS & ST. PAUL SAINTS on either side. Durocher hits another as Rickey pulls up. RICKEY How are they looking, Leo? DUROCHER Rusty, Mr. Rickey. But we'll get em oiled up and ready in no time. You find your lost sheep yet? Troubled, Rickey shakes his head no'. As he does, Harold Parrot hurries over. He's the Dodgers travelling secretary. PARROTT Jackie Robinson's on a bus leaving Pensacola. RICKEY A bus? Harold, how in blazes did he end up on a bus?!

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42 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 42 Written by Brian Helgeland White - March 14, 2012 Blue Revised - April 7, 2012 Pink Revised - April 19, 2012 Yellow Revised - April 24, 2012 Green Revised - April 27, 2012 Goldenrod Revised - May 9, 2012 Buff Revised - May 29, 2012 Salmon Revised - June 4, 2012 Cherry Revised - June 11, 2012 Tan Revised - June 25, 2012 Double White Revised - June 28, 2012 Double Blue Revised - July 9, 2012 PINK REV 4-19-12 1. A1 WHITE A1 Fills the screen. Falling from the top of frame to the bottom. Pluming off into dust. White, white, white. We move toward it even as it recedes, always out of reach. Finally we pop out wide and high to reveal... The white is chalk. An old BLACK GROUNDSKEEPER lays down the right field line on a baseball diamond. 1 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 1 Blinds closed. Dust motes in the air. A large GOLDFISH TANK bubbles. BRANCH RICKEY at his desk. Two photos on the wall: Abe Lincoln & Leo Durocher. CHALKBOARDS covered with 100's OF NAMES, every player in the Dodger organization. CLYDE SUKEFORTH and HAROLD PARROTT sit across from Rickey who stares at them. Sukeforth stares back. Parrott nervous. RICKEY Gentlemen, I have a plan... As of now, only the Board of Directors and my family know. Sukeforth and Parrott exchange a look. SUKEFORTH A plan's always good, Mr. Rickey. And you always got one. RICKEY My wife says I'm too old, That my health isn't up to it. My son says that every one in baseball will be against me. But I'm going to do it. Parrott looks to Sukeforth who keeps his eyes on Rickey. SUKEFORTH Do what, Mr. Rickey? RICKEY I'm going to bring a Negro ballplayer to the Brooklyn Dodgers. PARROTT With all due respect, sir, have you lost your mind? Imagine the abuse you'll take from the newspapers alone. Never mind how it'll play on Flatbush. Please, Mr. Rickey. Rickey looks dismissively at Parrott, over to Sukeforth. PINK REV 4-19-12 1A. RICKEY There's no law against it, Clyde. SUKEFORTH There's a code. Break a law and get away with it, some people think you're smart. Break an unwritten law though, you'll be an outcast. YELLOW REV 4-24-12 2. RICKEY So be it. New York is full of Negro baseball fans; every dollar is green. I don't know who he is, or where he is, but he's coming. CUT TO: 2 EXT. RICKWOOD FIELD - BIRMINGHAM, ALABAMA - NIGHT 2 The big Birmingham Black Barons CATCHER behind the plate as Kansas City Monarchs JOHN SCOTT stands at bat. The catcher's attention on the RUNNER DANCING off first. Stomping a foot, feinting, hard to see clearly in the glare of the lights. CATCHER Where'd you learn to move like that, runner?! At dime a dance night?! Stay quiet! INSERT: Birmingham, Alabama. April 8, 1945. On the first pitch the runner takes off. The catcher fires to second. See it from his POV as the runner slides in SAFE! A foot on the bag, the runner dusts off, heckles the catcher: RUNNER Is that the best you got?! Huh?! I'm going to steal nine, ten bases today! You better start counting! The catcher frowns. Standing, we see he is a big, big man. CATCHER (ALABAMAN) Where's your shortstop from? JOHN SCOTT (LOUISIANAN) California. CATCHER He's got a mouth on him. Shaking his head, the catcher gets back in his crouch, signals the PITCHER. On the wind-up, the Runner is off again. The catcher fires to THIRD: Safe! RUNNER You got a rag arm, catcher! CATCHER Steal home! You'll find out what kind of arm I got! DBL. BLUE REV 7-9-12 3. RUNNER Okay, I'm coming! The Catcher looks over at Scott who chuckles. CATCHER California, huh? (SCOTT NODS) Well California here he goes, if he comes down here. The Catcher gets back down in his squat. Signals the pitcher: fastball. Scott digs in, ready. The runner dancing off third. Here comes the wind-up... The Runner takes off even as the pitcher fires it in. The Birmingham Catcher receives it. As the Runner slides -- The Catcher intentionally drives his glove, the ball and both hands into the runner's face -- WHALLOP! Sound drops as we're knocked flat senseless along with the runner. ON HIM now as he tries to push himself up from the dirt. A close look at JACK ROOSEVELT ROBINSON. A born battler, he shakes out the cobwebs, finally lurches to his feet, looks to the UMPIRE. He never heard the call. JACK What was I? The umpire passes one hand over the other: Safe. Jack looks over at the catcher, gives him a pointed look as he goes -- The catcher shoves him in the back. Jack turns, shoves back. As the two men wrestles each other to the ground -- CUT TO: 3 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 3 Rickey and Sukeforth going through stacks of FILES on the desk. A black ballplayer's picture is clipped to each. As Rickey reviews one, Sukeforth tries to hand him another. SUKEFORTH Josh Gibson. Oh boy can he hit. RICKEY No. SUKEFORTH No? Rickey won't take the file; the answer is no. DBL. BLUE REV 7-9-12 4. SUKEFORTH Alright. Roy Campanella. Sukeforth holds it out; Rickey won't take it. RICKEY A heck of a player. But too sweet, they'll eat him alive. SUKEFORTH (holds up file) Satchel Paige then. Parrott enters carrying an armful of files. RICKEY Too old. We need a man with a future not a past. (holds up his own FILE) Here. Jack Roosevelt Robinson. As Parrott sets them on the desk, they start to slide off, spilling to the floor. Helpless to stem the tide, Parrott looks down, surrounded by black faces... RICKEY (flips through file) A four sport college man, out of UCLA. That means he's played with white boys. (SCANS FILE) Twenty-six years old, now with the Kansas City Monarchs. Batting over 350 even as we speak. 350! And he was a commissioned army officer! SUKEFORTH He was court-martialed. A trouble maker. He argues with umpires. A quick temper is his reputation. Rickey is obviously keen on him. PARROT What was he court-martialed for? RICKEY For refusing to sit in the back of a military bus. (checks the file) Ft. Hood, Texas. The driver asked him to move back. The MPs had to take him off. DBL. BLUE REV 7-9-12 5. SUKEFORTH Do you see? RICKEY I see he resents segregation. If he were white, we'd call it spirit! PARROT If he were white, sir, we wouldn't be looking for him. Rickey ends the debate... RICKEY Robinson's a Methodist. I'm a Methodist. God's a Methodist. We can't go wrong. Find him. Bring him here. CUT TO: 4 EXT. FILLING STATION - INTERSTATE 24 - DAY 4 A BLOODHOUND watches as a BUS pulls into a SERVICE STATION, the tires RING the bell hose. A million miles easy on this road rumbler. The BANNER reads: KC Monarchs. Insert: Interstate 24, Missouri - August 24, 1945. The DRIVER steps off. The fellas follow, getting off to stretch their legs. Hot and tired. A WHITE ATTENDANT saunters out. The driver steps over to meet him. ATTENDANT Fill her up? DRIVER Yes, sir. The attendant starts unscrewing caps on two 50-GALLON TANKS. ATTENDANT Where you all headed? DRIVER Chicago. As the attendant shoves down a pump, starts filling, Jack steps off. He spots and heads for a restroom. White Men Only lettered on the door. The attendant roused as he sees. ATTENDANT Hey! Where you going, boy!? BLUE REV 4-07-12 6. Everyone looking over as Jack stops. JACK I'm going to the toilet. ATTENDANT Shit, boy, c'mon. You know you can't go in there. Jack does a slow burn, then suddenly strides toward the attendant. The air rife with tension. JACK Take that hose out of the tank. ATTENDANT Huh? DRIVER ROBINSON -- JACK Take it out. We'll get our ninety- nine gallons of gas someplace else. The attendant blinks. He takes a look from Jack to up and down the deserted highway. No business in sight. ATTENDANT Okay, use it. But don't stay in there too long. Jack heads back. The Driver, the players, a bit stunned. CUT TO: 5 INT. WHITE MEN ONLY REST ROOM - FILLING STATION - DAY 5 Jack splashes water on his face, rips a paper towels from the dispenser, pats his face dry. He balls the wad up, squeezes it in his fist before firing it into the trash. He considers his reflection in the mirror. As he regards himself, we hear the SERVICE BELL ring outside. CUT TO: 6 EXT. FILLING STATION - HIGHWAY 24 - DAY 6 A car has pulled up. The driver talks to several players. They look over as Jack exits. The driver is Clyde Sukeforth. SUKEFORTH Are you Jackie Robinson? CUT TO: TAN REV 6-25-12 7. 7 OMITTED 7 8 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 8 Blinds closed. Jack sits across the desk from Rickey. Sukeforth sits a little further back. Rickey is staring at Jack. Bushy eyebrows flared, light gleams off his glasses. INSERT: August 28, 1945. Brooklyn. Jack doesn't know what to do, looks to Sukeforth. Finally... RICKEY Do you have a girl? JACK Excuse me? RICKEY A man needs a family relying on him. It insures he'll behave responsibly. Do you have a girl? JACK I think so. RICKEY You think so? Jack looks to Sukeforth who smiles placidly. Back to Rickey. WHITE 3-14-12 8. JACK I don't make much money. Between the army and now baseball I've been away a lot. And Rae, Rachel, she wants to finish school. Considering all that, I say I think so. RICKEY Do you love her? Rachel? (JACK CONFUSED) Don't you know? JACK Yes, sir, very much. RICKEY Marry her. What? Rickey stands, walks to a window. Jack looks at Sukeforth who raises a hand as if to say: Give it a chance. RICKEY (CONT'D) Baseball's a hard life; a man needs a good woman by his side. You don't want the only person waiting for you at home to be a catcher. Sukeforth chuckles at that. Rickey fingers open a slat on the blind and peers out. Jack looks hard at him. JACK Coach Sukeforth here said you were starting a new Negro League. That doesn't make sense to me. MR. RICKEY It doesn't, huh? Are you calling us liars, Jack? JACK What's this about, Mr. Rickey? RICKEY This is about baseball. Rickey opens the shade. Sunlight floods in. Rickey follows it to the chalkboard, to the list of players under Montreal. RICKEY (CONT'D) I see you starting in the spring with our affiliate in Montreal. If you make it there, we'll try you down here with the Dodgers. The white Brooklyn Dodgers. Jack looks to Sukeforth who nods: Yes, you heard right. BLUE REV 4-07-12 9. RICKEY (CONT'D) I'll pay you $600 a month and a $3,500 bonus when you sign the contract. Is that agreeable? Believe it or not that's a lot of money to Jack on this day in time. This is all becoming a bit overwhelming. JACK Yes, sir. That's fine. RICKEY There is one condition. I have a pile of scouting reports. I know you can hit behind the runner, that you can read a pitch. The question is can you control your temper? JACK My temper? RICKEY Yes your temper! Are you deaf?! Rickey furious, the avuncular old man gone. Jack sits there, fists now balled. Rickey to Sukeforth like he's not there: RICKEY (CONT'D) He looks proud. Willful. SUKEFORTH He'll need to be. Rickey looks back to Jack who is as angry as he is confused. RICKEY I want to win! I want ballplayers who can win! Are you one of them?! JACK Yes. RICKEY A black man in white baseball. Imagine the reaction. The vitriol. Rickey strides forward, gets in his face. RICKEY (CONT'D) The Dodgers check into a hotel. A decent good hotel. You're worn out from the road and some clerk won't give you the pen to sign in. (SOUTHERN DRAWL) We got no room, boy, not even down in the coal bin where you belong. BLUE REV 4-07-12 10. Jack looks like he wants to tear Rickey apart. RICKEY (CONT'D) The team stops at a restaurant. The waiter won't take your order. (adopts a new voice) Didn't you see the sign on the door? No animals allowed. (LOOMING) What are you going to do then? Fight him? Ruin all my plans? Answer me, you black sonofabitch! JACK (MASTERS HIMSELF) Do you want a ballplayer who doesn't have the guts to fight back? Is that what you want? RICKEY I want one who has the guts not to fight back! There are people who will not like this. They will do anything to get you to react. If you echo a curse with a curse, they will only hear yours. Follow a blow with a blow and they will say a Negro lost his temper; that the Negro does not belong. Your enemy will be out in force, but you can not meet him on his own low ground. We win with hitting, running and fielding, nothing else. We win if the world is convinced of two things: that you are a fine gentlemen and a great ballplayer. Like our Savior, you must have the guts to turn the other cheek. Jack considers Rickey. Rickey looks worn out. RICKEY (CONT'D) Can you do it? Jack poised at what will be his Rubicon. He crosses. JACK Mr. Rickey, you give me a uniform, you give me a number on my back, and I'll give you the guts. CUT TO: PINK REV 4-19-12 11. 9 INT. HALLWAY - ISUM HOUSE - LOS ANGELES - DAY 9 A phone RINGS on a table. RACHEL ISUM steps in, 23, possessed of style that you can only be graced with. RACHEL Hello? CUT TO: 10 INT. LOBBY PAYPHONE - 215 MONTAGUE STREET - BROOKLYN - DAY 10 Jack in a PHONE BOOTH, the lobby busy beyond. JACK Rae, I'm in Brooklyn. INTERCUT THE FOLLOWING: RACHEL Brooklyn? For what? JACK I don't want to say on the phone. In fact, I'm not supposed to tell anyone. She can hear the tingle in his voice. RACHEL Jack? JACK I'm here, Rae RACHEL What's going on? You're supposed to be playing in Chicago? JACK We've been tested you and me. Our loyalty, our faith. We've done everything the right way. Me trying to make money. You finishing school. Separated by the war, now by baseball. We don't owe the world a thing. Only each other. She's actually getting a little scared now. RACHEL Jack, what are you talking about? What happened? GOLDENROD REV 5-9-12 12. JACK The Brooklyn Dodgers just signed me to play ball up in Montreal. It might lead to bigger things. To something wonderful. RACHEL What does it mean? For you and me? JACK Rae. Will you marry me? RACHEL Absolutely. When? JACK Now. RACHEL (LAUGHING) Jack, I don't think we can get married in a phone booth. CUT TO: 11 OMITTED 11 11 A INT. HALLWAY - THE CLARK HOTEL - LOS ANGELES - NIGHT 11 A Jack rounds a corner in a TUXEDO, the bow tie undone. Rachel follows in her WEDDING GOWN. They look beautiful. RACHEL Did my mom look happy? JACK Yes. They reach the door. Jack gets out a key to unlock it. Rachel looks nervous, steps back across the hall. RACHEL Did my gram look happy? Swinging the door open, he looks at her. The air charged. JACK Everyone looked happy. I've never seen so many people looking happy. GOLDENROD REV 5-9-12 12A. RACHEL Did Jack Robinson look happy? (SOFT) What if I can't make you happy? He steps over, aware of her shyness. JACK Too late. You already do. It's you and me, Rae. RACHEL Until the wheels fall off. (UNCERTAIN) The world is waiting for us. JACK It can wait one more night (KISSES HER) Are you coming, Mrs. Robinson? RACHEL (kisses him back) I'd follow you anywhere, Mr. Robinson. He picks her up, carries her over the threshold. As the door clicks shut behind them... CUT TO: 12 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 12 The shades closed; we're scheming again. WENDELL SMITH sits across from Rickey who stares back intently. Bespectacled, 32, Smith covers baseball for the Pittsburgh Courier. RICKEY Who's the best shortstop you ever saw? SMITH Rabbit Tavener. RICKEY Rabbit Tavener? And you call yourself a sports writer? WHITE 3-14-12 13. SMITH Yes, a sentimental one. I'm from Detroit. He was the Tiger shortstop when I was a boy. How about you? Who's your best? RICKEY Pop Lloyd. SMITH Not Honus Wagner? RICKEY Wagner is number two. And Rabbit Tavener would not break my top 25. Where do you suppose Jackie Robinson will end up on that list? SMITH He won't break it. He doesn't have a shortstop's arm. Robinson belongs on second base. RICKEY Alright then, where would he rate at second? SMITH If he was playing now he'd be the best second baseman in the majors. RICKEY High praise. He'll have to be the best in the minor leagues first. SMITH What are you saying, Mr. Rickey? RICKEY I'm saying it's going to be a very interesting spring training. A lot of players are coming back from the war and with gas rationing over, we can train down in Florida again. SMITH Daytona Beach? (RICKEY NODS) You're aware in the past six months a black boy was lynched in Madison, Florida and a black man down in Live Oaks? RICKEY Those towns may as well be a million miles from Daytona. WHITE 3-14-12 14. SMITH Live Oaks is 150 actually. RICKEY I spoke to the Daytona mayor. He assures me there'll be no trouble. But Rickey doesn't sound so sure. They consider each other. RICKEY (CONT'D) Mr. Smith, are you a Communist? SMITH I'm a Democrat. Why do you ask? RICKEY I have a business proposition. What's your salary at the Courier? SMITH Fifty dollars a week. RICKEY I will pay you an additional fifty dollars a week plus expenses if you will attend spring training with Jackie Robinson. You will watch over him, help him to avoid the harm that could come if he were to do or say anything out of turn. You will act as his chauffeur, you will secure accommodations for him wherever the team may be, help him find restaurants, etc... SMITH What's in it for me? Besides the fifty dollars and a whole lot of aggravation? RICKEY Unprecedented access for any reportage you feel appropriate. What do you say, Mr. Smith? SMITH I say yes, sir. If a Negro is good enough to stop a Nazi bullet in France; he's good enough to stop a line drive at Yankee Stadium. RICKEY Ebbets Field actually, but yes, I agree. The world is ready. CUT TO: TAN REV 6-25-12 15. 13 OMITTED 13 14 INT. BALLROOM - THE WALDORF ASTORIA HOTEL - NIGHT 14 Over 500 guests: journalists, players and politicians all listen politely as a SPEECH drones to an end. INSERT: New York City. 23rd Annual Baseball Writer's Association Dinner February 3, 1946. SPEAKER As our former President Herbert Hoover remarked in his tribute to our national pastime: The rigid voluntary rules of right and wrong, as applied in baseball, are second only to religion in strengthening the morals of the American people.' Polite applause as the speaker steps off. The clapping more enthusiastic as the lights dim on all but an impromptu set: plantation house columns. Hoots as a BUTLER appears wearing satin knee breeches and a MONTREAL ROYALS jersey. He holds a ring like a lawn jockey, a WHITE MAN in BLACK FACE. The laughs get louder as he peers out with exaggerated wide eyes. BUTLER Lordy, lordy, it's looking like da massa will be late dis ebning. As the LAUGHS from the audience subside, a sportswriter dressed as a COLONEL enters from stage right. COLONEL Robbie! Robbie! BUTLER Yassuh, Massa Kunl. Here Ah is. Huge LAUGHS as he struts and dances his way over. WHITE 3-14-12 16. COLONEL Jackie, you woolly headed rascal. How long yo' been in the family? BUTLER Ebber since Massa Rickey done bots me from da Kansas City Monarchs. COLONEL (aside to audience) Rickey that no good carpetbagger! What could he be thinking! Huge LAUGHS from that one. Two people enjoying it we'll recognize later as HERB PENNOCK and BOB COOKE. BUTLER Ah came near bein' killed last night, Kunl. COLONEL How's that, Jackie boy? BUTLER Ah was comin' up a dark street and three men was behind me. And they tried to do me with a baseball bat. COLONEL You don't say? BUTLER Yes, suh. Ah recognized one of dem. Ah'm gonna hab him arrested. COLONEL But I thought you said it was dark? BUTLER It was. But I know he played for the Philadelphia Baseball Club. On account of he struck at me three times and never hit me once. That brings the house down. Check out their laughing faces. CUT TO: 15 EXT. LOCKHEED TERMINAL - BURBANK - DAY 15 A gleaming American Airlines DC-3 angled up on the tarmac. PASSENGERS climb the portable stairs and disappear inside. INSERT: February 28, 1946. Burbank, California CUT TO: GOLDENROD REV 5-9-12 17. 16 INT. TERMINAL - BURBANK - DAY 16 Jack and Rachel are being seen off by FRIENDS from the wedding and his mother MALLIE. Jack is in a natty suit with Rachel in a beautiful coat. MALLIE You knock the cover off that ball. JACK I will, Mama. Mallie hugs Jack and then kisses Rachel. MALLIE Look after each other. RACHEL We will. She reaches in her bag, brings out a cardboard SHOEBOX; it's ever so slightly greasy at the bottom. MALLIE Take this. It's chicken. JACK They have food on the plane, Mama. MALLIE You never know what might happen. I don't want you getting there starving and too weak to hit. Rachel gives Jack a subtle but emphatic look: No. CUT TO: 17 EXT. LOCKHEED TARMAC - BURBANK - DAY 17 Jack escorts Rachel to the plane, the shoebox in hand. JACK I couldn't tell her no. RACHEL I know she means well; I just don't want to be seen eating chicken out of a box like some country bumpkin. Jack runs his hand over her coat. JACK No one's going to mistake you for a bumpkin in this. PINK REV 4-19-12 18. RACHEL Well, they'll know I belong on that plane or wherever I happen to be. CUT TO: 18 EXT. DC-3 - DAY (STOCK FOOTAGE) 18 Descending toward a runway. Landing gear coming down. CUT TO: 19 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 19 A WOMAN exits the lady's room, passing a SIGN: White Only. REVERSE to show Rachel looking at it like she's been slapped. Jack joins Rae from the TICKET COUNTER, with the chicken box. INSERT: New Orleans Lakefront Airport. JACK The flight to Pensacola leaves in an hour... You okay? RACHEL I've just never seen one before. JACK (follows her look) We're not in Pasadena anymore. A sudden momentum carries her forward. JACK Honey... Rae -- He takes a step after her, stops as she disappears inside. Jack unsure what to do. He looks around. Looks back. He doesn't need this right now. 20 OMITTED 20 21 OMITTED 21 PINK REV 4-19-12 19. 22 INT. AIRPORT COFFEE SHOP - DAY 22 A black BUSBOY reacts as a bickering Jack and Rachel enter. JACK I promised Mr. Rickey we'd stay out of trouble. RACHEL Did you promise him we wouldn't go to the bathroom? You've done it. JACK Before I promised. RACHEL It was just a toilet. You'd think the commodes were made of gold. The busboy watches as Jack and Rachel slide into a booth. As Jack reaches for a MENU, here comes the COOK. COOK You folks can't sit here. JACK Excuse me? COOK It's white only. Jack looking to Rachel; it's equanimity time. Not easy. COOK I'll sell you some sandwiches. But you gotta take em to go. Jack looks to the busboy, back to the cook. JACK No. You hang onto those. Mastering himself, Jack slides out. Drilling the cook with a look, he offers his hand to Rachel as she slides out as well. CUT TO: 23 OMITTED 23 GREEN REV 4-27-12 20. 24 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 24 Seen from on high. Jack and Rachel, sitting on a bench, two little figures as passengers move along the concourse. They sit a bit apart from each other, the world a wedge. CUT TO: 25 EXT. RUNWAY - PENSACOLA AIRPORT - NIGHT 25 SMOKE PINWHEELS as the wheels of a BOEING 247 touch down. INSERT: Pensacola, Florida. Later that day. CUT TO: 26 INT. BOEING 247 - TARMAC - NIGHT 26 Jack and Rachel worn out among eight other passengers. As the door is opened, FOUR of the eight get up and disembark. After a beat, FOUR NEW PASSENGERS board and take their seat. JACK Just a hop to Daytona now. As Rachel nods, an AIRLINE EMPLOYEE boards, MISS BISHOP. She makes her way over. She spots who she's looking for. MISS BISHOP Jack Robinson? Come with me. She starts away without explaining, looks back at them a bit impatiently. MISS BISHOP Come on now. Both of you. CUT TO: BLUE REV 4-07-12 21. 27 INT. TICKET COUNTER - PENSACOLA AIRPORT - NIGHT 27 The shoe box sitting on the counter, Jack in mid discussion with Miss Bishop. Rachel just behind Jack. MISS BISHOP We have to lighten the plane. There's some bad weather east of here. A heavy plane's dangerous. RACHEL (LOW) Tell her you're with the Dodgers. Jack would rather not play that card. JACK When's the next flight? MISS BISHOP Tomorrow morning. But it's booked. So someone'll have to cancel. Jack and Rachel unaware as a WHITE COUPLE are ushered out a door and onto the tarmac behind them. JACK Look, I'm with the Brooklyn Dodger organization. I've got to get down to Daytona. I'm supposed to report to spring training in the morning. MISS BISHOP We'll do our best to get you down there by tomorrow afternoon, but it might be the day after. RACHEL JACK -- He follows her gaze to where the white couple get on the plane they got off. Jack wheels on Miss Bishop, furious. JACK You gave away our seats! Get us back on that plane! Miss Bishop picks up a PHONE, holds it in Jack's face. MISS BISHOP Do you want to call the Sheriff? Or should I? CUT TO: YELLOW REV 4-24-12 22. 28 EXT. BUS STATION - PENSACOLA - NIGHT 28 Closed. A line of EMPTY BUSES; the BANNER on one: Daytona Beach. Across from it Rachel sits at one end of a BENCH, her fur pulled around her. Jack at the other, staring off into the night. Finally, he reaches down, picks up the shoebox. He pulls out a DRUMSTICK, considers it, then takes a bite. JACK Mama knew... He holds it out to Rachel. She slides over, takes it, takes a bite as well, smiles at him. He smiles back. RACHEL It's good. CUT TO: 29 EXT. BASEBALL FIELD - DAYTONA BEACH, FLORIDA - DAY 29 LEO DUROCHER hitting fungoes. One after the next. PEE WEE REESE and EDDIE STANKY both settle under the same ball. REESE STANKY I got it! I got it! I got it! I got it! They both back off at the last second and it drops to the ground between them. Durocher chuckles. DUROCHER That's what spring training's for, boys! Sort out our differences! He hits another. This time to the outfield where veteran DIXIE WALKER gives chase, finally gives up on it. DUROCHER C'mon, Dixie, get after it! WALKER (LAUGHING) I'm old! DUROCHER I'm gonna squeeze one more year out of that worn out body of yours! WALKER If you could, skipper, my wife would sure appreciate it! DUROCHER Keeping the women happy! That's what it's all about! BLUE REV 4-07-12 23. 29 A EXT./INT. CONVERTIBLE - DAY 29 A Rickey drives a dirt road through the training field singing Two Sleepy People along with the radio: Passing BROOKLYN DODGERS, MONTREAL ROYALS & ST. PAUL SAINTS on either side. Durocher hits another as Rickey pulls up. RICKEY How are they looking, Leo? DUROCHER Rusty, Mr. Rickey. But we'll get em oiled up and ready in no time. You find your lost sheep yet? Troubled, Rickey shakes his head no'. As he does, Harold Parrot hurries over. He's the Dodgers travelling secretary. PARROTT Jackie Robinson's on a bus leaving Pensacola. RICKEY A bus? Harold, how in blazes did he end up on a bus?!

politeness

How many times the word 'politeness' appears in the text?

42 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 42 Written by Brian Helgeland White - March 14, 2012 Blue Revised - April 7, 2012 Pink Revised - April 19, 2012 Yellow Revised - April 24, 2012 Green Revised - April 27, 2012 Goldenrod Revised - May 9, 2012 Buff Revised - May 29, 2012 Salmon Revised - June 4, 2012 Cherry Revised - June 11, 2012 Tan Revised - June 25, 2012 Double White Revised - June 28, 2012 Double Blue Revised - July 9, 2012 PINK REV 4-19-12 1. A1 WHITE A1 Fills the screen. Falling from the top of frame to the bottom. Pluming off into dust. White, white, white. We move toward it even as it recedes, always out of reach. Finally we pop out wide and high to reveal... The white is chalk. An old BLACK GROUNDSKEEPER lays down the right field line on a baseball diamond. 1 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 1 Blinds closed. Dust motes in the air. A large GOLDFISH TANK bubbles. BRANCH RICKEY at his desk. Two photos on the wall: Abe Lincoln & Leo Durocher. CHALKBOARDS covered with 100's OF NAMES, every player in the Dodger organization. CLYDE SUKEFORTH and HAROLD PARROTT sit across from Rickey who stares at them. Sukeforth stares back. Parrott nervous. RICKEY Gentlemen, I have a plan... As of now, only the Board of Directors and my family know. Sukeforth and Parrott exchange a look. SUKEFORTH A plan's always good, Mr. Rickey. And you always got one. RICKEY My wife says I'm too old, That my health isn't up to it. My son says that every one in baseball will be against me. But I'm going to do it. Parrott looks to Sukeforth who keeps his eyes on Rickey. SUKEFORTH Do what, Mr. Rickey? RICKEY I'm going to bring a Negro ballplayer to the Brooklyn Dodgers. PARROTT With all due respect, sir, have you lost your mind? Imagine the abuse you'll take from the newspapers alone. Never mind how it'll play on Flatbush. Please, Mr. Rickey. Rickey looks dismissively at Parrott, over to Sukeforth. PINK REV 4-19-12 1A. RICKEY There's no law against it, Clyde. SUKEFORTH There's a code. Break a law and get away with it, some people think you're smart. Break an unwritten law though, you'll be an outcast. YELLOW REV 4-24-12 2. RICKEY So be it. New York is full of Negro baseball fans; every dollar is green. I don't know who he is, or where he is, but he's coming. CUT TO: 2 EXT. RICKWOOD FIELD - BIRMINGHAM, ALABAMA - NIGHT 2 The big Birmingham Black Barons CATCHER behind the plate as Kansas City Monarchs JOHN SCOTT stands at bat. The catcher's attention on the RUNNER DANCING off first. Stomping a foot, feinting, hard to see clearly in the glare of the lights. CATCHER Where'd you learn to move like that, runner?! At dime a dance night?! Stay quiet! INSERT: Birmingham, Alabama. April 8, 1945. On the first pitch the runner takes off. The catcher fires to second. See it from his POV as the runner slides in SAFE! A foot on the bag, the runner dusts off, heckles the catcher: RUNNER Is that the best you got?! Huh?! I'm going to steal nine, ten bases today! You better start counting! The catcher frowns. Standing, we see he is a big, big man. CATCHER (ALABAMAN) Where's your shortstop from? JOHN SCOTT (LOUISIANAN) California. CATCHER He's got a mouth on him. Shaking his head, the catcher gets back in his crouch, signals the PITCHER. On the wind-up, the Runner is off again. The catcher fires to THIRD: Safe! RUNNER You got a rag arm, catcher! CATCHER Steal home! You'll find out what kind of arm I got! DBL. BLUE REV 7-9-12 3. RUNNER Okay, I'm coming! The Catcher looks over at Scott who chuckles. CATCHER California, huh? (SCOTT NODS) Well California here he goes, if he comes down here. The Catcher gets back down in his squat. Signals the pitcher: fastball. Scott digs in, ready. The runner dancing off third. Here comes the wind-up... The Runner takes off even as the pitcher fires it in. The Birmingham Catcher receives it. As the Runner slides -- The Catcher intentionally drives his glove, the ball and both hands into the runner's face -- WHALLOP! Sound drops as we're knocked flat senseless along with the runner. ON HIM now as he tries to push himself up from the dirt. A close look at JACK ROOSEVELT ROBINSON. A born battler, he shakes out the cobwebs, finally lurches to his feet, looks to the UMPIRE. He never heard the call. JACK What was I? The umpire passes one hand over the other: Safe. Jack looks over at the catcher, gives him a pointed look as he goes -- The catcher shoves him in the back. Jack turns, shoves back. As the two men wrestles each other to the ground -- CUT TO: 3 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 3 Rickey and Sukeforth going through stacks of FILES on the desk. A black ballplayer's picture is clipped to each. As Rickey reviews one, Sukeforth tries to hand him another. SUKEFORTH Josh Gibson. Oh boy can he hit. RICKEY No. SUKEFORTH No? Rickey won't take the file; the answer is no. DBL. BLUE REV 7-9-12 4. SUKEFORTH Alright. Roy Campanella. Sukeforth holds it out; Rickey won't take it. RICKEY A heck of a player. But too sweet, they'll eat him alive. SUKEFORTH (holds up file) Satchel Paige then. Parrott enters carrying an armful of files. RICKEY Too old. We need a man with a future not a past. (holds up his own FILE) Here. Jack Roosevelt Robinson. As Parrott sets them on the desk, they start to slide off, spilling to the floor. Helpless to stem the tide, Parrott looks down, surrounded by black faces... RICKEY (flips through file) A four sport college man, out of UCLA. That means he's played with white boys. (SCANS FILE) Twenty-six years old, now with the Kansas City Monarchs. Batting over 350 even as we speak. 350! And he was a commissioned army officer! SUKEFORTH He was court-martialed. A trouble maker. He argues with umpires. A quick temper is his reputation. Rickey is obviously keen on him. PARROT What was he court-martialed for? RICKEY For refusing to sit in the back of a military bus. (checks the file) Ft. Hood, Texas. The driver asked him to move back. The MPs had to take him off. DBL. BLUE REV 7-9-12 5. SUKEFORTH Do you see? RICKEY I see he resents segregation. If he were white, we'd call it spirit! PARROT If he were white, sir, we wouldn't be looking for him. Rickey ends the debate... RICKEY Robinson's a Methodist. I'm a Methodist. God's a Methodist. We can't go wrong. Find him. Bring him here. CUT TO: 4 EXT. FILLING STATION - INTERSTATE 24 - DAY 4 A BLOODHOUND watches as a BUS pulls into a SERVICE STATION, the tires RING the bell hose. A million miles easy on this road rumbler. The BANNER reads: KC Monarchs. Insert: Interstate 24, Missouri - August 24, 1945. The DRIVER steps off. The fellas follow, getting off to stretch their legs. Hot and tired. A WHITE ATTENDANT saunters out. The driver steps over to meet him. ATTENDANT Fill her up? DRIVER Yes, sir. The attendant starts unscrewing caps on two 50-GALLON TANKS. ATTENDANT Where you all headed? DRIVER Chicago. As the attendant shoves down a pump, starts filling, Jack steps off. He spots and heads for a restroom. White Men Only lettered on the door. The attendant roused as he sees. ATTENDANT Hey! Where you going, boy!? BLUE REV 4-07-12 6. Everyone looking over as Jack stops. JACK I'm going to the toilet. ATTENDANT Shit, boy, c'mon. You know you can't go in there. Jack does a slow burn, then suddenly strides toward the attendant. The air rife with tension. JACK Take that hose out of the tank. ATTENDANT Huh? DRIVER ROBINSON -- JACK Take it out. We'll get our ninety- nine gallons of gas someplace else. The attendant blinks. He takes a look from Jack to up and down the deserted highway. No business in sight. ATTENDANT Okay, use it. But don't stay in there too long. Jack heads back. The Driver, the players, a bit stunned. CUT TO: 5 INT. WHITE MEN ONLY REST ROOM - FILLING STATION - DAY 5 Jack splashes water on his face, rips a paper towels from the dispenser, pats his face dry. He balls the wad up, squeezes it in his fist before firing it into the trash. He considers his reflection in the mirror. As he regards himself, we hear the SERVICE BELL ring outside. CUT TO: 6 EXT. FILLING STATION - HIGHWAY 24 - DAY 6 A car has pulled up. The driver talks to several players. They look over as Jack exits. The driver is Clyde Sukeforth. SUKEFORTH Are you Jackie Robinson? CUT TO: TAN REV 6-25-12 7. 7 OMITTED 7 8 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 8 Blinds closed. Jack sits across the desk from Rickey. Sukeforth sits a little further back. Rickey is staring at Jack. Bushy eyebrows flared, light gleams off his glasses. INSERT: August 28, 1945. Brooklyn. Jack doesn't know what to do, looks to Sukeforth. Finally... RICKEY Do you have a girl? JACK Excuse me? RICKEY A man needs a family relying on him. It insures he'll behave responsibly. Do you have a girl? JACK I think so. RICKEY You think so? Jack looks to Sukeforth who smiles placidly. Back to Rickey. WHITE 3-14-12 8. JACK I don't make much money. Between the army and now baseball I've been away a lot. And Rae, Rachel, she wants to finish school. Considering all that, I say I think so. RICKEY Do you love her? Rachel? (JACK CONFUSED) Don't you know? JACK Yes, sir, very much. RICKEY Marry her. What? Rickey stands, walks to a window. Jack looks at Sukeforth who raises a hand as if to say: Give it a chance. RICKEY (CONT'D) Baseball's a hard life; a man needs a good woman by his side. You don't want the only person waiting for you at home to be a catcher. Sukeforth chuckles at that. Rickey fingers open a slat on the blind and peers out. Jack looks hard at him. JACK Coach Sukeforth here said you were starting a new Negro League. That doesn't make sense to me. MR. RICKEY It doesn't, huh? Are you calling us liars, Jack? JACK What's this about, Mr. Rickey? RICKEY This is about baseball. Rickey opens the shade. Sunlight floods in. Rickey follows it to the chalkboard, to the list of players under Montreal. RICKEY (CONT'D) I see you starting in the spring with our affiliate in Montreal. If you make it there, we'll try you down here with the Dodgers. The white Brooklyn Dodgers. Jack looks to Sukeforth who nods: Yes, you heard right. BLUE REV 4-07-12 9. RICKEY (CONT'D) I'll pay you $600 a month and a $3,500 bonus when you sign the contract. Is that agreeable? Believe it or not that's a lot of money to Jack on this day in time. This is all becoming a bit overwhelming. JACK Yes, sir. That's fine. RICKEY There is one condition. I have a pile of scouting reports. I know you can hit behind the runner, that you can read a pitch. The question is can you control your temper? JACK My temper? RICKEY Yes your temper! Are you deaf?! Rickey furious, the avuncular old man gone. Jack sits there, fists now balled. Rickey to Sukeforth like he's not there: RICKEY (CONT'D) He looks proud. Willful. SUKEFORTH He'll need to be. Rickey looks back to Jack who is as angry as he is confused. RICKEY I want to win! I want ballplayers who can win! Are you one of them?! JACK Yes. RICKEY A black man in white baseball. Imagine the reaction. The vitriol. Rickey strides forward, gets in his face. RICKEY (CONT'D) The Dodgers check into a hotel. A decent good hotel. You're worn out from the road and some clerk won't give you the pen to sign in. (SOUTHERN DRAWL) We got no room, boy, not even down in the coal bin where you belong. BLUE REV 4-07-12 10. Jack looks like he wants to tear Rickey apart. RICKEY (CONT'D) The team stops at a restaurant. The waiter won't take your order. (adopts a new voice) Didn't you see the sign on the door? No animals allowed. (LOOMING) What are you going to do then? Fight him? Ruin all my plans? Answer me, you black sonofabitch! JACK (MASTERS HIMSELF) Do you want a ballplayer who doesn't have the guts to fight back? Is that what you want? RICKEY I want one who has the guts not to fight back! There are people who will not like this. They will do anything to get you to react. If you echo a curse with a curse, they will only hear yours. Follow a blow with a blow and they will say a Negro lost his temper; that the Negro does not belong. Your enemy will be out in force, but you can not meet him on his own low ground. We win with hitting, running and fielding, nothing else. We win if the world is convinced of two things: that you are a fine gentlemen and a great ballplayer. Like our Savior, you must have the guts to turn the other cheek. Jack considers Rickey. Rickey looks worn out. RICKEY (CONT'D) Can you do it? Jack poised at what will be his Rubicon. He crosses. JACK Mr. Rickey, you give me a uniform, you give me a number on my back, and I'll give you the guts. CUT TO: PINK REV 4-19-12 11. 9 INT. HALLWAY - ISUM HOUSE - LOS ANGELES - DAY 9 A phone RINGS on a table. RACHEL ISUM steps in, 23, possessed of style that you can only be graced with. RACHEL Hello? CUT TO: 10 INT. LOBBY PAYPHONE - 215 MONTAGUE STREET - BROOKLYN - DAY 10 Jack in a PHONE BOOTH, the lobby busy beyond. JACK Rae, I'm in Brooklyn. INTERCUT THE FOLLOWING: RACHEL Brooklyn? For what? JACK I don't want to say on the phone. In fact, I'm not supposed to tell anyone. She can hear the tingle in his voice. RACHEL Jack? JACK I'm here, Rae RACHEL What's going on? You're supposed to be playing in Chicago? JACK We've been tested you and me. Our loyalty, our faith. We've done everything the right way. Me trying to make money. You finishing school. Separated by the war, now by baseball. We don't owe the world a thing. Only each other. She's actually getting a little scared now. RACHEL Jack, what are you talking about? What happened? GOLDENROD REV 5-9-12 12. JACK The Brooklyn Dodgers just signed me to play ball up in Montreal. It might lead to bigger things. To something wonderful. RACHEL What does it mean? For you and me? JACK Rae. Will you marry me? RACHEL Absolutely. When? JACK Now. RACHEL (LAUGHING) Jack, I don't think we can get married in a phone booth. CUT TO: 11 OMITTED 11 11 A INT. HALLWAY - THE CLARK HOTEL - LOS ANGELES - NIGHT 11 A Jack rounds a corner in a TUXEDO, the bow tie undone. Rachel follows in her WEDDING GOWN. They look beautiful. RACHEL Did my mom look happy? JACK Yes. They reach the door. Jack gets out a key to unlock it. Rachel looks nervous, steps back across the hall. RACHEL Did my gram look happy? Swinging the door open, he looks at her. The air charged. JACK Everyone looked happy. I've never seen so many people looking happy. GOLDENROD REV 5-9-12 12A. RACHEL Did Jack Robinson look happy? (SOFT) What if I can't make you happy? He steps over, aware of her shyness. JACK Too late. You already do. It's you and me, Rae. RACHEL Until the wheels fall off. (UNCERTAIN) The world is waiting for us. JACK It can wait one more night (KISSES HER) Are you coming, Mrs. Robinson? RACHEL (kisses him back) I'd follow you anywhere, Mr. Robinson. He picks her up, carries her over the threshold. As the door clicks shut behind them... CUT TO: 12 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 12 The shades closed; we're scheming again. WENDELL SMITH sits across from Rickey who stares back intently. Bespectacled, 32, Smith covers baseball for the Pittsburgh Courier. RICKEY Who's the best shortstop you ever saw? SMITH Rabbit Tavener. RICKEY Rabbit Tavener? And you call yourself a sports writer? WHITE 3-14-12 13. SMITH Yes, a sentimental one. I'm from Detroit. He was the Tiger shortstop when I was a boy. How about you? Who's your best? RICKEY Pop Lloyd. SMITH Not Honus Wagner? RICKEY Wagner is number two. And Rabbit Tavener would not break my top 25. Where do you suppose Jackie Robinson will end up on that list? SMITH He won't break it. He doesn't have a shortstop's arm. Robinson belongs on second base. RICKEY Alright then, where would he rate at second? SMITH If he was playing now he'd be the best second baseman in the majors. RICKEY High praise. He'll have to be the best in the minor leagues first. SMITH What are you saying, Mr. Rickey? RICKEY I'm saying it's going to be a very interesting spring training. A lot of players are coming back from the war and with gas rationing over, we can train down in Florida again. SMITH Daytona Beach? (RICKEY NODS) You're aware in the past six months a black boy was lynched in Madison, Florida and a black man down in Live Oaks? RICKEY Those towns may as well be a million miles from Daytona. WHITE 3-14-12 14. SMITH Live Oaks is 150 actually. RICKEY I spoke to the Daytona mayor. He assures me there'll be no trouble. But Rickey doesn't sound so sure. They consider each other. RICKEY (CONT'D) Mr. Smith, are you a Communist? SMITH I'm a Democrat. Why do you ask? RICKEY I have a business proposition. What's your salary at the Courier? SMITH Fifty dollars a week. RICKEY I will pay you an additional fifty dollars a week plus expenses if you will attend spring training with Jackie Robinson. You will watch over him, help him to avoid the harm that could come if he were to do or say anything out of turn. You will act as his chauffeur, you will secure accommodations for him wherever the team may be, help him find restaurants, etc... SMITH What's in it for me? Besides the fifty dollars and a whole lot of aggravation? RICKEY Unprecedented access for any reportage you feel appropriate. What do you say, Mr. Smith? SMITH I say yes, sir. If a Negro is good enough to stop a Nazi bullet in France; he's good enough to stop a line drive at Yankee Stadium. RICKEY Ebbets Field actually, but yes, I agree. The world is ready. CUT TO: TAN REV 6-25-12 15. 13 OMITTED 13 14 INT. BALLROOM - THE WALDORF ASTORIA HOTEL - NIGHT 14 Over 500 guests: journalists, players and politicians all listen politely as a SPEECH drones to an end. INSERT: New York City. 23rd Annual Baseball Writer's Association Dinner February 3, 1946. SPEAKER As our former President Herbert Hoover remarked in his tribute to our national pastime: The rigid voluntary rules of right and wrong, as applied in baseball, are second only to religion in strengthening the morals of the American people.' Polite applause as the speaker steps off. The clapping more enthusiastic as the lights dim on all but an impromptu set: plantation house columns. Hoots as a BUTLER appears wearing satin knee breeches and a MONTREAL ROYALS jersey. He holds a ring like a lawn jockey, a WHITE MAN in BLACK FACE. The laughs get louder as he peers out with exaggerated wide eyes. BUTLER Lordy, lordy, it's looking like da massa will be late dis ebning. As the LAUGHS from the audience subside, a sportswriter dressed as a COLONEL enters from stage right. COLONEL Robbie! Robbie! BUTLER Yassuh, Massa Kunl. Here Ah is. Huge LAUGHS as he struts and dances his way over. WHITE 3-14-12 16. COLONEL Jackie, you woolly headed rascal. How long yo' been in the family? BUTLER Ebber since Massa Rickey done bots me from da Kansas City Monarchs. COLONEL (aside to audience) Rickey that no good carpetbagger! What could he be thinking! Huge LAUGHS from that one. Two people enjoying it we'll recognize later as HERB PENNOCK and BOB COOKE. BUTLER Ah came near bein' killed last night, Kunl. COLONEL How's that, Jackie boy? BUTLER Ah was comin' up a dark street and three men was behind me. And they tried to do me with a baseball bat. COLONEL You don't say? BUTLER Yes, suh. Ah recognized one of dem. Ah'm gonna hab him arrested. COLONEL But I thought you said it was dark? BUTLER It was. But I know he played for the Philadelphia Baseball Club. On account of he struck at me three times and never hit me once. That brings the house down. Check out their laughing faces. CUT TO: 15 EXT. LOCKHEED TERMINAL - BURBANK - DAY 15 A gleaming American Airlines DC-3 angled up on the tarmac. PASSENGERS climb the portable stairs and disappear inside. INSERT: February 28, 1946. Burbank, California CUT TO: GOLDENROD REV 5-9-12 17. 16 INT. TERMINAL - BURBANK - DAY 16 Jack and Rachel are being seen off by FRIENDS from the wedding and his mother MALLIE. Jack is in a natty suit with Rachel in a beautiful coat. MALLIE You knock the cover off that ball. JACK I will, Mama. Mallie hugs Jack and then kisses Rachel. MALLIE Look after each other. RACHEL We will. She reaches in her bag, brings out a cardboard SHOEBOX; it's ever so slightly greasy at the bottom. MALLIE Take this. It's chicken. JACK They have food on the plane, Mama. MALLIE You never know what might happen. I don't want you getting there starving and too weak to hit. Rachel gives Jack a subtle but emphatic look: No. CUT TO: 17 EXT. LOCKHEED TARMAC - BURBANK - DAY 17 Jack escorts Rachel to the plane, the shoebox in hand. JACK I couldn't tell her no. RACHEL I know she means well; I just don't want to be seen eating chicken out of a box like some country bumpkin. Jack runs his hand over her coat. JACK No one's going to mistake you for a bumpkin in this. PINK REV 4-19-12 18. RACHEL Well, they'll know I belong on that plane or wherever I happen to be. CUT TO: 18 EXT. DC-3 - DAY (STOCK FOOTAGE) 18 Descending toward a runway. Landing gear coming down. CUT TO: 19 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 19 A WOMAN exits the lady's room, passing a SIGN: White Only. REVERSE to show Rachel looking at it like she's been slapped. Jack joins Rae from the TICKET COUNTER, with the chicken box. INSERT: New Orleans Lakefront Airport. JACK The flight to Pensacola leaves in an hour... You okay? RACHEL I've just never seen one before. JACK (follows her look) We're not in Pasadena anymore. A sudden momentum carries her forward. JACK Honey... Rae -- He takes a step after her, stops as she disappears inside. Jack unsure what to do. He looks around. Looks back. He doesn't need this right now. 20 OMITTED 20 21 OMITTED 21 PINK REV 4-19-12 19. 22 INT. AIRPORT COFFEE SHOP - DAY 22 A black BUSBOY reacts as a bickering Jack and Rachel enter. JACK I promised Mr. Rickey we'd stay out of trouble. RACHEL Did you promise him we wouldn't go to the bathroom? You've done it. JACK Before I promised. RACHEL It was just a toilet. You'd think the commodes were made of gold. The busboy watches as Jack and Rachel slide into a booth. As Jack reaches for a MENU, here comes the COOK. COOK You folks can't sit here. JACK Excuse me? COOK It's white only. Jack looking to Rachel; it's equanimity time. Not easy. COOK I'll sell you some sandwiches. But you gotta take em to go. Jack looks to the busboy, back to the cook. JACK No. You hang onto those. Mastering himself, Jack slides out. Drilling the cook with a look, he offers his hand to Rachel as she slides out as well. CUT TO: 23 OMITTED 23 GREEN REV 4-27-12 20. 24 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 24 Seen from on high. Jack and Rachel, sitting on a bench, two little figures as passengers move along the concourse. They sit a bit apart from each other, the world a wedge. CUT TO: 25 EXT. RUNWAY - PENSACOLA AIRPORT - NIGHT 25 SMOKE PINWHEELS as the wheels of a BOEING 247 touch down. INSERT: Pensacola, Florida. Later that day. CUT TO: 26 INT. BOEING 247 - TARMAC - NIGHT 26 Jack and Rachel worn out among eight other passengers. As the door is opened, FOUR of the eight get up and disembark. After a beat, FOUR NEW PASSENGERS board and take their seat. JACK Just a hop to Daytona now. As Rachel nods, an AIRLINE EMPLOYEE boards, MISS BISHOP. She makes her way over. She spots who she's looking for. MISS BISHOP Jack Robinson? Come with me. She starts away without explaining, looks back at them a bit impatiently. MISS BISHOP Come on now. Both of you. CUT TO: BLUE REV 4-07-12 21. 27 INT. TICKET COUNTER - PENSACOLA AIRPORT - NIGHT 27 The shoe box sitting on the counter, Jack in mid discussion with Miss Bishop. Rachel just behind Jack. MISS BISHOP We have to lighten the plane. There's some bad weather east of here. A heavy plane's dangerous. RACHEL (LOW) Tell her you're with the Dodgers. Jack would rather not play that card. JACK When's the next flight? MISS BISHOP Tomorrow morning. But it's booked. So someone'll have to cancel. Jack and Rachel unaware as a WHITE COUPLE are ushered out a door and onto the tarmac behind them. JACK Look, I'm with the Brooklyn Dodger organization. I've got to get down to Daytona. I'm supposed to report to spring training in the morning. MISS BISHOP We'll do our best to get you down there by tomorrow afternoon, but it might be the day after. RACHEL JACK -- He follows her gaze to where the white couple get on the plane they got off. Jack wheels on Miss Bishop, furious. JACK You gave away our seats! Get us back on that plane! Miss Bishop picks up a PHONE, holds it in Jack's face. MISS BISHOP Do you want to call the Sheriff? Or should I? CUT TO: YELLOW REV 4-24-12 22. 28 EXT. BUS STATION - PENSACOLA - NIGHT 28 Closed. A line of EMPTY BUSES; the BANNER on one: Daytona Beach. Across from it Rachel sits at one end of a BENCH, her fur pulled around her. Jack at the other, staring off into the night. Finally, he reaches down, picks up the shoebox. He pulls out a DRUMSTICK, considers it, then takes a bite. JACK Mama knew... He holds it out to Rachel. She slides over, takes it, takes a bite as well, smiles at him. He smiles back. RACHEL It's good. CUT TO: 29 EXT. BASEBALL FIELD - DAYTONA BEACH, FLORIDA - DAY 29 LEO DUROCHER hitting fungoes. One after the next. PEE WEE REESE and EDDIE STANKY both settle under the same ball. REESE STANKY I got it! I got it! I got it! I got it! They both back off at the last second and it drops to the ground between them. Durocher chuckles. DUROCHER That's what spring training's for, boys! Sort out our differences! He hits another. This time to the outfield where veteran DIXIE WALKER gives chase, finally gives up on it. DUROCHER C'mon, Dixie, get after it! WALKER (LAUGHING) I'm old! DUROCHER I'm gonna squeeze one more year out of that worn out body of yours! WALKER If you could, skipper, my wife would sure appreciate it! DUROCHER Keeping the women happy! That's what it's all about! BLUE REV 4-07-12 23. 29 A EXT./INT. CONVERTIBLE - DAY 29 A Rickey drives a dirt road through the training field singing Two Sleepy People along with the radio: Passing BROOKLYN DODGERS, MONTREAL ROYALS & ST. PAUL SAINTS on either side. Durocher hits another as Rickey pulls up. RICKEY How are they looking, Leo? DUROCHER Rusty, Mr. Rickey. But we'll get em oiled up and ready in no time. You find your lost sheep yet? Troubled, Rickey shakes his head no'. As he does, Harold Parrot hurries over. He's the Dodgers travelling secretary. PARROTT Jackie Robinson's on a bus leaving Pensacola. RICKEY A bus? Harold, how in blazes did he end up on a bus?!

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42 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 42 Written by Brian Helgeland White - March 14, 2012 Blue Revised - April 7, 2012 Pink Revised - April 19, 2012 Yellow Revised - April 24, 2012 Green Revised - April 27, 2012 Goldenrod Revised - May 9, 2012 Buff Revised - May 29, 2012 Salmon Revised - June 4, 2012 Cherry Revised - June 11, 2012 Tan Revised - June 25, 2012 Double White Revised - June 28, 2012 Double Blue Revised - July 9, 2012 PINK REV 4-19-12 1. A1 WHITE A1 Fills the screen. Falling from the top of frame to the bottom. Pluming off into dust. White, white, white. We move toward it even as it recedes, always out of reach. Finally we pop out wide and high to reveal... The white is chalk. An old BLACK GROUNDSKEEPER lays down the right field line on a baseball diamond. 1 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 1 Blinds closed. Dust motes in the air. A large GOLDFISH TANK bubbles. BRANCH RICKEY at his desk. Two photos on the wall: Abe Lincoln & Leo Durocher. CHALKBOARDS covered with 100's OF NAMES, every player in the Dodger organization. CLYDE SUKEFORTH and HAROLD PARROTT sit across from Rickey who stares at them. Sukeforth stares back. Parrott nervous. RICKEY Gentlemen, I have a plan... As of now, only the Board of Directors and my family know. Sukeforth and Parrott exchange a look. SUKEFORTH A plan's always good, Mr. Rickey. And you always got one. RICKEY My wife says I'm too old, That my health isn't up to it. My son says that every one in baseball will be against me. But I'm going to do it. Parrott looks to Sukeforth who keeps his eyes on Rickey. SUKEFORTH Do what, Mr. Rickey? RICKEY I'm going to bring a Negro ballplayer to the Brooklyn Dodgers. PARROTT With all due respect, sir, have you lost your mind? Imagine the abuse you'll take from the newspapers alone. Never mind how it'll play on Flatbush. Please, Mr. Rickey. Rickey looks dismissively at Parrott, over to Sukeforth. PINK REV 4-19-12 1A. RICKEY There's no law against it, Clyde. SUKEFORTH There's a code. Break a law and get away with it, some people think you're smart. Break an unwritten law though, you'll be an outcast. YELLOW REV 4-24-12 2. RICKEY So be it. New York is full of Negro baseball fans; every dollar is green. I don't know who he is, or where he is, but he's coming. CUT TO: 2 EXT. RICKWOOD FIELD - BIRMINGHAM, ALABAMA - NIGHT 2 The big Birmingham Black Barons CATCHER behind the plate as Kansas City Monarchs JOHN SCOTT stands at bat. The catcher's attention on the RUNNER DANCING off first. Stomping a foot, feinting, hard to see clearly in the glare of the lights. CATCHER Where'd you learn to move like that, runner?! At dime a dance night?! Stay quiet! INSERT: Birmingham, Alabama. April 8, 1945. On the first pitch the runner takes off. The catcher fires to second. See it from his POV as the runner slides in SAFE! A foot on the bag, the runner dusts off, heckles the catcher: RUNNER Is that the best you got?! Huh?! I'm going to steal nine, ten bases today! You better start counting! The catcher frowns. Standing, we see he is a big, big man. CATCHER (ALABAMAN) Where's your shortstop from? JOHN SCOTT (LOUISIANAN) California. CATCHER He's got a mouth on him. Shaking his head, the catcher gets back in his crouch, signals the PITCHER. On the wind-up, the Runner is off again. The catcher fires to THIRD: Safe! RUNNER You got a rag arm, catcher! CATCHER Steal home! You'll find out what kind of arm I got! DBL. BLUE REV 7-9-12 3. RUNNER Okay, I'm coming! The Catcher looks over at Scott who chuckles. CATCHER California, huh? (SCOTT NODS) Well California here he goes, if he comes down here. The Catcher gets back down in his squat. Signals the pitcher: fastball. Scott digs in, ready. The runner dancing off third. Here comes the wind-up... The Runner takes off even as the pitcher fires it in. The Birmingham Catcher receives it. As the Runner slides -- The Catcher intentionally drives his glove, the ball and both hands into the runner's face -- WHALLOP! Sound drops as we're knocked flat senseless along with the runner. ON HIM now as he tries to push himself up from the dirt. A close look at JACK ROOSEVELT ROBINSON. A born battler, he shakes out the cobwebs, finally lurches to his feet, looks to the UMPIRE. He never heard the call. JACK What was I? The umpire passes one hand over the other: Safe. Jack looks over at the catcher, gives him a pointed look as he goes -- The catcher shoves him in the back. Jack turns, shoves back. As the two men wrestles each other to the ground -- CUT TO: 3 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 3 Rickey and Sukeforth going through stacks of FILES on the desk. A black ballplayer's picture is clipped to each. As Rickey reviews one, Sukeforth tries to hand him another. SUKEFORTH Josh Gibson. Oh boy can he hit. RICKEY No. SUKEFORTH No? Rickey won't take the file; the answer is no. DBL. BLUE REV 7-9-12 4. SUKEFORTH Alright. Roy Campanella. Sukeforth holds it out; Rickey won't take it. RICKEY A heck of a player. But too sweet, they'll eat him alive. SUKEFORTH (holds up file) Satchel Paige then. Parrott enters carrying an armful of files. RICKEY Too old. We need a man with a future not a past. (holds up his own FILE) Here. Jack Roosevelt Robinson. As Parrott sets them on the desk, they start to slide off, spilling to the floor. Helpless to stem the tide, Parrott looks down, surrounded by black faces... RICKEY (flips through file) A four sport college man, out of UCLA. That means he's played with white boys. (SCANS FILE) Twenty-six years old, now with the Kansas City Monarchs. Batting over 350 even as we speak. 350! And he was a commissioned army officer! SUKEFORTH He was court-martialed. A trouble maker. He argues with umpires. A quick temper is his reputation. Rickey is obviously keen on him. PARROT What was he court-martialed for? RICKEY For refusing to sit in the back of a military bus. (checks the file) Ft. Hood, Texas. The driver asked him to move back. The MPs had to take him off. DBL. BLUE REV 7-9-12 5. SUKEFORTH Do you see? RICKEY I see he resents segregation. If he were white, we'd call it spirit! PARROT If he were white, sir, we wouldn't be looking for him. Rickey ends the debate... RICKEY Robinson's a Methodist. I'm a Methodist. God's a Methodist. We can't go wrong. Find him. Bring him here. CUT TO: 4 EXT. FILLING STATION - INTERSTATE 24 - DAY 4 A BLOODHOUND watches as a BUS pulls into a SERVICE STATION, the tires RING the bell hose. A million miles easy on this road rumbler. The BANNER reads: KC Monarchs. Insert: Interstate 24, Missouri - August 24, 1945. The DRIVER steps off. The fellas follow, getting off to stretch their legs. Hot and tired. A WHITE ATTENDANT saunters out. The driver steps over to meet him. ATTENDANT Fill her up? DRIVER Yes, sir. The attendant starts unscrewing caps on two 50-GALLON TANKS. ATTENDANT Where you all headed? DRIVER Chicago. As the attendant shoves down a pump, starts filling, Jack steps off. He spots and heads for a restroom. White Men Only lettered on the door. The attendant roused as he sees. ATTENDANT Hey! Where you going, boy!? BLUE REV 4-07-12 6. Everyone looking over as Jack stops. JACK I'm going to the toilet. ATTENDANT Shit, boy, c'mon. You know you can't go in there. Jack does a slow burn, then suddenly strides toward the attendant. The air rife with tension. JACK Take that hose out of the tank. ATTENDANT Huh? DRIVER ROBINSON -- JACK Take it out. We'll get our ninety- nine gallons of gas someplace else. The attendant blinks. He takes a look from Jack to up and down the deserted highway. No business in sight. ATTENDANT Okay, use it. But don't stay in there too long. Jack heads back. The Driver, the players, a bit stunned. CUT TO: 5 INT. WHITE MEN ONLY REST ROOM - FILLING STATION - DAY 5 Jack splashes water on his face, rips a paper towels from the dispenser, pats his face dry. He balls the wad up, squeezes it in his fist before firing it into the trash. He considers his reflection in the mirror. As he regards himself, we hear the SERVICE BELL ring outside. CUT TO: 6 EXT. FILLING STATION - HIGHWAY 24 - DAY 6 A car has pulled up. The driver talks to several players. They look over as Jack exits. The driver is Clyde Sukeforth. SUKEFORTH Are you Jackie Robinson? CUT TO: TAN REV 6-25-12 7. 7 OMITTED 7 8 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 8 Blinds closed. Jack sits across the desk from Rickey. Sukeforth sits a little further back. Rickey is staring at Jack. Bushy eyebrows flared, light gleams off his glasses. INSERT: August 28, 1945. Brooklyn. Jack doesn't know what to do, looks to Sukeforth. Finally... RICKEY Do you have a girl? JACK Excuse me? RICKEY A man needs a family relying on him. It insures he'll behave responsibly. Do you have a girl? JACK I think so. RICKEY You think so? Jack looks to Sukeforth who smiles placidly. Back to Rickey. WHITE 3-14-12 8. JACK I don't make much money. Between the army and now baseball I've been away a lot. And Rae, Rachel, she wants to finish school. Considering all that, I say I think so. RICKEY Do you love her? Rachel? (JACK CONFUSED) Don't you know? JACK Yes, sir, very much. RICKEY Marry her. What? Rickey stands, walks to a window. Jack looks at Sukeforth who raises a hand as if to say: Give it a chance. RICKEY (CONT'D) Baseball's a hard life; a man needs a good woman by his side. You don't want the only person waiting for you at home to be a catcher. Sukeforth chuckles at that. Rickey fingers open a slat on the blind and peers out. Jack looks hard at him. JACK Coach Sukeforth here said you were starting a new Negro League. That doesn't make sense to me. MR. RICKEY It doesn't, huh? Are you calling us liars, Jack? JACK What's this about, Mr. Rickey? RICKEY This is about baseball. Rickey opens the shade. Sunlight floods in. Rickey follows it to the chalkboard, to the list of players under Montreal. RICKEY (CONT'D) I see you starting in the spring with our affiliate in Montreal. If you make it there, we'll try you down here with the Dodgers. The white Brooklyn Dodgers. Jack looks to Sukeforth who nods: Yes, you heard right. BLUE REV 4-07-12 9. RICKEY (CONT'D) I'll pay you $600 a month and a $3,500 bonus when you sign the contract. Is that agreeable? Believe it or not that's a lot of money to Jack on this day in time. This is all becoming a bit overwhelming. JACK Yes, sir. That's fine. RICKEY There is one condition. I have a pile of scouting reports. I know you can hit behind the runner, that you can read a pitch. The question is can you control your temper? JACK My temper? RICKEY Yes your temper! Are you deaf?! Rickey furious, the avuncular old man gone. Jack sits there, fists now balled. Rickey to Sukeforth like he's not there: RICKEY (CONT'D) He looks proud. Willful. SUKEFORTH He'll need to be. Rickey looks back to Jack who is as angry as he is confused. RICKEY I want to win! I want ballplayers who can win! Are you one of them?! JACK Yes. RICKEY A black man in white baseball. Imagine the reaction. The vitriol. Rickey strides forward, gets in his face. RICKEY (CONT'D) The Dodgers check into a hotel. A decent good hotel. You're worn out from the road and some clerk won't give you the pen to sign in. (SOUTHERN DRAWL) We got no room, boy, not even down in the coal bin where you belong. BLUE REV 4-07-12 10. Jack looks like he wants to tear Rickey apart. RICKEY (CONT'D) The team stops at a restaurant. The waiter won't take your order. (adopts a new voice) Didn't you see the sign on the door? No animals allowed. (LOOMING) What are you going to do then? Fight him? Ruin all my plans? Answer me, you black sonofabitch! JACK (MASTERS HIMSELF) Do you want a ballplayer who doesn't have the guts to fight back? Is that what you want? RICKEY I want one who has the guts not to fight back! There are people who will not like this. They will do anything to get you to react. If you echo a curse with a curse, they will only hear yours. Follow a blow with a blow and they will say a Negro lost his temper; that the Negro does not belong. Your enemy will be out in force, but you can not meet him on his own low ground. We win with hitting, running and fielding, nothing else. We win if the world is convinced of two things: that you are a fine gentlemen and a great ballplayer. Like our Savior, you must have the guts to turn the other cheek. Jack considers Rickey. Rickey looks worn out. RICKEY (CONT'D) Can you do it? Jack poised at what will be his Rubicon. He crosses. JACK Mr. Rickey, you give me a uniform, you give me a number on my back, and I'll give you the guts. CUT TO: PINK REV 4-19-12 11. 9 INT. HALLWAY - ISUM HOUSE - LOS ANGELES - DAY 9 A phone RINGS on a table. RACHEL ISUM steps in, 23, possessed of style that you can only be graced with. RACHEL Hello? CUT TO: 10 INT. LOBBY PAYPHONE - 215 MONTAGUE STREET - BROOKLYN - DAY 10 Jack in a PHONE BOOTH, the lobby busy beyond. JACK Rae, I'm in Brooklyn. INTERCUT THE FOLLOWING: RACHEL Brooklyn? For what? JACK I don't want to say on the phone. In fact, I'm not supposed to tell anyone. She can hear the tingle in his voice. RACHEL Jack? JACK I'm here, Rae RACHEL What's going on? You're supposed to be playing in Chicago? JACK We've been tested you and me. Our loyalty, our faith. We've done everything the right way. Me trying to make money. You finishing school. Separated by the war, now by baseball. We don't owe the world a thing. Only each other. She's actually getting a little scared now. RACHEL Jack, what are you talking about? What happened? GOLDENROD REV 5-9-12 12. JACK The Brooklyn Dodgers just signed me to play ball up in Montreal. It might lead to bigger things. To something wonderful. RACHEL What does it mean? For you and me? JACK Rae. Will you marry me? RACHEL Absolutely. When? JACK Now. RACHEL (LAUGHING) Jack, I don't think we can get married in a phone booth. CUT TO: 11 OMITTED 11 11 A INT. HALLWAY - THE CLARK HOTEL - LOS ANGELES - NIGHT 11 A Jack rounds a corner in a TUXEDO, the bow tie undone. Rachel follows in her WEDDING GOWN. They look beautiful. RACHEL Did my mom look happy? JACK Yes. They reach the door. Jack gets out a key to unlock it. Rachel looks nervous, steps back across the hall. RACHEL Did my gram look happy? Swinging the door open, he looks at her. The air charged. JACK Everyone looked happy. I've never seen so many people looking happy. GOLDENROD REV 5-9-12 12A. RACHEL Did Jack Robinson look happy? (SOFT) What if I can't make you happy? He steps over, aware of her shyness. JACK Too late. You already do. It's you and me, Rae. RACHEL Until the wheels fall off. (UNCERTAIN) The world is waiting for us. JACK It can wait one more night (KISSES HER) Are you coming, Mrs. Robinson? RACHEL (kisses him back) I'd follow you anywhere, Mr. Robinson. He picks her up, carries her over the threshold. As the door clicks shut behind them... CUT TO: 12 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 12 The shades closed; we're scheming again. WENDELL SMITH sits across from Rickey who stares back intently. Bespectacled, 32, Smith covers baseball for the Pittsburgh Courier. RICKEY Who's the best shortstop you ever saw? SMITH Rabbit Tavener. RICKEY Rabbit Tavener? And you call yourself a sports writer? WHITE 3-14-12 13. SMITH Yes, a sentimental one. I'm from Detroit. He was the Tiger shortstop when I was a boy. How about you? Who's your best? RICKEY Pop Lloyd. SMITH Not Honus Wagner? RICKEY Wagner is number two. And Rabbit Tavener would not break my top 25. Where do you suppose Jackie Robinson will end up on that list? SMITH He won't break it. He doesn't have a shortstop's arm. Robinson belongs on second base. RICKEY Alright then, where would he rate at second? SMITH If he was playing now he'd be the best second baseman in the majors. RICKEY High praise. He'll have to be the best in the minor leagues first. SMITH What are you saying, Mr. Rickey? RICKEY I'm saying it's going to be a very interesting spring training. A lot of players are coming back from the war and with gas rationing over, we can train down in Florida again. SMITH Daytona Beach? (RICKEY NODS) You're aware in the past six months a black boy was lynched in Madison, Florida and a black man down in Live Oaks? RICKEY Those towns may as well be a million miles from Daytona. WHITE 3-14-12 14. SMITH Live Oaks is 150 actually. RICKEY I spoke to the Daytona mayor. He assures me there'll be no trouble. But Rickey doesn't sound so sure. They consider each other. RICKEY (CONT'D) Mr. Smith, are you a Communist? SMITH I'm a Democrat. Why do you ask? RICKEY I have a business proposition. What's your salary at the Courier? SMITH Fifty dollars a week. RICKEY I will pay you an additional fifty dollars a week plus expenses if you will attend spring training with Jackie Robinson. You will watch over him, help him to avoid the harm that could come if he were to do or say anything out of turn. You will act as his chauffeur, you will secure accommodations for him wherever the team may be, help him find restaurants, etc... SMITH What's in it for me? Besides the fifty dollars and a whole lot of aggravation? RICKEY Unprecedented access for any reportage you feel appropriate. What do you say, Mr. Smith? SMITH I say yes, sir. If a Negro is good enough to stop a Nazi bullet in France; he's good enough to stop a line drive at Yankee Stadium. RICKEY Ebbets Field actually, but yes, I agree. The world is ready. CUT TO: TAN REV 6-25-12 15. 13 OMITTED 13 14 INT. BALLROOM - THE WALDORF ASTORIA HOTEL - NIGHT 14 Over 500 guests: journalists, players and politicians all listen politely as a SPEECH drones to an end. INSERT: New York City. 23rd Annual Baseball Writer's Association Dinner February 3, 1946. SPEAKER As our former President Herbert Hoover remarked in his tribute to our national pastime: The rigid voluntary rules of right and wrong, as applied in baseball, are second only to religion in strengthening the morals of the American people.' Polite applause as the speaker steps off. The clapping more enthusiastic as the lights dim on all but an impromptu set: plantation house columns. Hoots as a BUTLER appears wearing satin knee breeches and a MONTREAL ROYALS jersey. He holds a ring like a lawn jockey, a WHITE MAN in BLACK FACE. The laughs get louder as he peers out with exaggerated wide eyes. BUTLER Lordy, lordy, it's looking like da massa will be late dis ebning. As the LAUGHS from the audience subside, a sportswriter dressed as a COLONEL enters from stage right. COLONEL Robbie! Robbie! BUTLER Yassuh, Massa Kunl. Here Ah is. Huge LAUGHS as he struts and dances his way over. WHITE 3-14-12 16. COLONEL Jackie, you woolly headed rascal. How long yo' been in the family? BUTLER Ebber since Massa Rickey done bots me from da Kansas City Monarchs. COLONEL (aside to audience) Rickey that no good carpetbagger! What could he be thinking! Huge LAUGHS from that one. Two people enjoying it we'll recognize later as HERB PENNOCK and BOB COOKE. BUTLER Ah came near bein' killed last night, Kunl. COLONEL How's that, Jackie boy? BUTLER Ah was comin' up a dark street and three men was behind me. And they tried to do me with a baseball bat. COLONEL You don't say? BUTLER Yes, suh. Ah recognized one of dem. Ah'm gonna hab him arrested. COLONEL But I thought you said it was dark? BUTLER It was. But I know he played for the Philadelphia Baseball Club. On account of he struck at me three times and never hit me once. That brings the house down. Check out their laughing faces. CUT TO: 15 EXT. LOCKHEED TERMINAL - BURBANK - DAY 15 A gleaming American Airlines DC-3 angled up on the tarmac. PASSENGERS climb the portable stairs and disappear inside. INSERT: February 28, 1946. Burbank, California CUT TO: GOLDENROD REV 5-9-12 17. 16 INT. TERMINAL - BURBANK - DAY 16 Jack and Rachel are being seen off by FRIENDS from the wedding and his mother MALLIE. Jack is in a natty suit with Rachel in a beautiful coat. MALLIE You knock the cover off that ball. JACK I will, Mama. Mallie hugs Jack and then kisses Rachel. MALLIE Look after each other. RACHEL We will. She reaches in her bag, brings out a cardboard SHOEBOX; it's ever so slightly greasy at the bottom. MALLIE Take this. It's chicken. JACK They have food on the plane, Mama. MALLIE You never know what might happen. I don't want you getting there starving and too weak to hit. Rachel gives Jack a subtle but emphatic look: No. CUT TO: 17 EXT. LOCKHEED TARMAC - BURBANK - DAY 17 Jack escorts Rachel to the plane, the shoebox in hand. JACK I couldn't tell her no. RACHEL I know she means well; I just don't want to be seen eating chicken out of a box like some country bumpkin. Jack runs his hand over her coat. JACK No one's going to mistake you for a bumpkin in this. PINK REV 4-19-12 18. RACHEL Well, they'll know I belong on that plane or wherever I happen to be. CUT TO: 18 EXT. DC-3 - DAY (STOCK FOOTAGE) 18 Descending toward a runway. Landing gear coming down. CUT TO: 19 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 19 A WOMAN exits the lady's room, passing a SIGN: White Only. REVERSE to show Rachel looking at it like she's been slapped. Jack joins Rae from the TICKET COUNTER, with the chicken box. INSERT: New Orleans Lakefront Airport. JACK The flight to Pensacola leaves in an hour... You okay? RACHEL I've just never seen one before. JACK (follows her look) We're not in Pasadena anymore. A sudden momentum carries her forward. JACK Honey... Rae -- He takes a step after her, stops as she disappears inside. Jack unsure what to do. He looks around. Looks back. He doesn't need this right now. 20 OMITTED 20 21 OMITTED 21 PINK REV 4-19-12 19. 22 INT. AIRPORT COFFEE SHOP - DAY 22 A black BUSBOY reacts as a bickering Jack and Rachel enter. JACK I promised Mr. Rickey we'd stay out of trouble. RACHEL Did you promise him we wouldn't go to the bathroom? You've done it. JACK Before I promised. RACHEL It was just a toilet. You'd think the commodes were made of gold. The busboy watches as Jack and Rachel slide into a booth. As Jack reaches for a MENU, here comes the COOK. COOK You folks can't sit here. JACK Excuse me? COOK It's white only. Jack looking to Rachel; it's equanimity time. Not easy. COOK I'll sell you some sandwiches. But you gotta take em to go. Jack looks to the busboy, back to the cook. JACK No. You hang onto those. Mastering himself, Jack slides out. Drilling the cook with a look, he offers his hand to Rachel as she slides out as well. CUT TO: 23 OMITTED 23 GREEN REV 4-27-12 20. 24 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 24 Seen from on high. Jack and Rachel, sitting on a bench, two little figures as passengers move along the concourse. They sit a bit apart from each other, the world a wedge. CUT TO: 25 EXT. RUNWAY - PENSACOLA AIRPORT - NIGHT 25 SMOKE PINWHEELS as the wheels of a BOEING 247 touch down. INSERT: Pensacola, Florida. Later that day. CUT TO: 26 INT. BOEING 247 - TARMAC - NIGHT 26 Jack and Rachel worn out among eight other passengers. As the door is opened, FOUR of the eight get up and disembark. After a beat, FOUR NEW PASSENGERS board and take their seat. JACK Just a hop to Daytona now. As Rachel nods, an AIRLINE EMPLOYEE boards, MISS BISHOP. She makes her way over. She spots who she's looking for. MISS BISHOP Jack Robinson? Come with me. She starts away without explaining, looks back at them a bit impatiently. MISS BISHOP Come on now. Both of you. CUT TO: BLUE REV 4-07-12 21. 27 INT. TICKET COUNTER - PENSACOLA AIRPORT - NIGHT 27 The shoe box sitting on the counter, Jack in mid discussion with Miss Bishop. Rachel just behind Jack. MISS BISHOP We have to lighten the plane. There's some bad weather east of here. A heavy plane's dangerous. RACHEL (LOW) Tell her you're with the Dodgers. Jack would rather not play that card. JACK When's the next flight? MISS BISHOP Tomorrow morning. But it's booked. So someone'll have to cancel. Jack and Rachel unaware as a WHITE COUPLE are ushered out a door and onto the tarmac behind them. JACK Look, I'm with the Brooklyn Dodger organization. I've got to get down to Daytona. I'm supposed to report to spring training in the morning. MISS BISHOP We'll do our best to get you down there by tomorrow afternoon, but it might be the day after. RACHEL JACK -- He follows her gaze to where the white couple get on the plane they got off. Jack wheels on Miss Bishop, furious. JACK You gave away our seats! Get us back on that plane! Miss Bishop picks up a PHONE, holds it in Jack's face. MISS BISHOP Do you want to call the Sheriff? Or should I? CUT TO: YELLOW REV 4-24-12 22. 28 EXT. BUS STATION - PENSACOLA - NIGHT 28 Closed. A line of EMPTY BUSES; the BANNER on one: Daytona Beach. Across from it Rachel sits at one end of a BENCH, her fur pulled around her. Jack at the other, staring off into the night. Finally, he reaches down, picks up the shoebox. He pulls out a DRUMSTICK, considers it, then takes a bite. JACK Mama knew... He holds it out to Rachel. She slides over, takes it, takes a bite as well, smiles at him. He smiles back. RACHEL It's good. CUT TO: 29 EXT. BASEBALL FIELD - DAYTONA BEACH, FLORIDA - DAY 29 LEO DUROCHER hitting fungoes. One after the next. PEE WEE REESE and EDDIE STANKY both settle under the same ball. REESE STANKY I got it! I got it! I got it! I got it! They both back off at the last second and it drops to the ground between them. Durocher chuckles. DUROCHER That's what spring training's for, boys! Sort out our differences! He hits another. This time to the outfield where veteran DIXIE WALKER gives chase, finally gives up on it. DUROCHER C'mon, Dixie, get after it! WALKER (LAUGHING) I'm old! DUROCHER I'm gonna squeeze one more year out of that worn out body of yours! WALKER If you could, skipper, my wife would sure appreciate it! DUROCHER Keeping the women happy! That's what it's all about! BLUE REV 4-07-12 23. 29 A EXT./INT. CONVERTIBLE - DAY 29 A Rickey drives a dirt road through the training field singing Two Sleepy People along with the radio: Passing BROOKLYN DODGERS, MONTREAL ROYALS & ST. PAUL SAINTS on either side. Durocher hits another as Rickey pulls up. RICKEY How are they looking, Leo? DUROCHER Rusty, Mr. Rickey. But we'll get em oiled up and ready in no time. You find your lost sheep yet? Troubled, Rickey shakes his head no'. As he does, Harold Parrot hurries over. He's the Dodgers travelling secretary. PARROTT Jackie Robinson's on a bus leaving Pensacola. RICKEY A bus? Harold, how in blazes did he end up on a bus?!

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42 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 42 Written by Brian Helgeland White - March 14, 2012 Blue Revised - April 7, 2012 Pink Revised - April 19, 2012 Yellow Revised - April 24, 2012 Green Revised - April 27, 2012 Goldenrod Revised - May 9, 2012 Buff Revised - May 29, 2012 Salmon Revised - June 4, 2012 Cherry Revised - June 11, 2012 Tan Revised - June 25, 2012 Double White Revised - June 28, 2012 Double Blue Revised - July 9, 2012 PINK REV 4-19-12 1. A1 WHITE A1 Fills the screen. Falling from the top of frame to the bottom. Pluming off into dust. White, white, white. We move toward it even as it recedes, always out of reach. Finally we pop out wide and high to reveal... The white is chalk. An old BLACK GROUNDSKEEPER lays down the right field line on a baseball diamond. 1 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 1 Blinds closed. Dust motes in the air. A large GOLDFISH TANK bubbles. BRANCH RICKEY at his desk. Two photos on the wall: Abe Lincoln & Leo Durocher. CHALKBOARDS covered with 100's OF NAMES, every player in the Dodger organization. CLYDE SUKEFORTH and HAROLD PARROTT sit across from Rickey who stares at them. Sukeforth stares back. Parrott nervous. RICKEY Gentlemen, I have a plan... As of now, only the Board of Directors and my family know. Sukeforth and Parrott exchange a look. SUKEFORTH A plan's always good, Mr. Rickey. And you always got one. RICKEY My wife says I'm too old, That my health isn't up to it. My son says that every one in baseball will be against me. But I'm going to do it. Parrott looks to Sukeforth who keeps his eyes on Rickey. SUKEFORTH Do what, Mr. Rickey? RICKEY I'm going to bring a Negro ballplayer to the Brooklyn Dodgers. PARROTT With all due respect, sir, have you lost your mind? Imagine the abuse you'll take from the newspapers alone. Never mind how it'll play on Flatbush. Please, Mr. Rickey. Rickey looks dismissively at Parrott, over to Sukeforth. PINK REV 4-19-12 1A. RICKEY There's no law against it, Clyde. SUKEFORTH There's a code. Break a law and get away with it, some people think you're smart. Break an unwritten law though, you'll be an outcast. YELLOW REV 4-24-12 2. RICKEY So be it. New York is full of Negro baseball fans; every dollar is green. I don't know who he is, or where he is, but he's coming. CUT TO: 2 EXT. RICKWOOD FIELD - BIRMINGHAM, ALABAMA - NIGHT 2 The big Birmingham Black Barons CATCHER behind the plate as Kansas City Monarchs JOHN SCOTT stands at bat. The catcher's attention on the RUNNER DANCING off first. Stomping a foot, feinting, hard to see clearly in the glare of the lights. CATCHER Where'd you learn to move like that, runner?! At dime a dance night?! Stay quiet! INSERT: Birmingham, Alabama. April 8, 1945. On the first pitch the runner takes off. The catcher fires to second. See it from his POV as the runner slides in SAFE! A foot on the bag, the runner dusts off, heckles the catcher: RUNNER Is that the best you got?! Huh?! I'm going to steal nine, ten bases today! You better start counting! The catcher frowns. Standing, we see he is a big, big man. CATCHER (ALABAMAN) Where's your shortstop from? JOHN SCOTT (LOUISIANAN) California. CATCHER He's got a mouth on him. Shaking his head, the catcher gets back in his crouch, signals the PITCHER. On the wind-up, the Runner is off again. The catcher fires to THIRD: Safe! RUNNER You got a rag arm, catcher! CATCHER Steal home! You'll find out what kind of arm I got! DBL. BLUE REV 7-9-12 3. RUNNER Okay, I'm coming! The Catcher looks over at Scott who chuckles. CATCHER California, huh? (SCOTT NODS) Well California here he goes, if he comes down here. The Catcher gets back down in his squat. Signals the pitcher: fastball. Scott digs in, ready. The runner dancing off third. Here comes the wind-up... The Runner takes off even as the pitcher fires it in. The Birmingham Catcher receives it. As the Runner slides -- The Catcher intentionally drives his glove, the ball and both hands into the runner's face -- WHALLOP! Sound drops as we're knocked flat senseless along with the runner. ON HIM now as he tries to push himself up from the dirt. A close look at JACK ROOSEVELT ROBINSON. A born battler, he shakes out the cobwebs, finally lurches to his feet, looks to the UMPIRE. He never heard the call. JACK What was I? The umpire passes one hand over the other: Safe. Jack looks over at the catcher, gives him a pointed look as he goes -- The catcher shoves him in the back. Jack turns, shoves back. As the two men wrestles each other to the ground -- CUT TO: 3 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 3 Rickey and Sukeforth going through stacks of FILES on the desk. A black ballplayer's picture is clipped to each. As Rickey reviews one, Sukeforth tries to hand him another. SUKEFORTH Josh Gibson. Oh boy can he hit. RICKEY No. SUKEFORTH No? Rickey won't take the file; the answer is no. DBL. BLUE REV 7-9-12 4. SUKEFORTH Alright. Roy Campanella. Sukeforth holds it out; Rickey won't take it. RICKEY A heck of a player. But too sweet, they'll eat him alive. SUKEFORTH (holds up file) Satchel Paige then. Parrott enters carrying an armful of files. RICKEY Too old. We need a man with a future not a past. (holds up his own FILE) Here. Jack Roosevelt Robinson. As Parrott sets them on the desk, they start to slide off, spilling to the floor. Helpless to stem the tide, Parrott looks down, surrounded by black faces... RICKEY (flips through file) A four sport college man, out of UCLA. That means he's played with white boys. (SCANS FILE) Twenty-six years old, now with the Kansas City Monarchs. Batting over 350 even as we speak. 350! And he was a commissioned army officer! SUKEFORTH He was court-martialed. A trouble maker. He argues with umpires. A quick temper is his reputation. Rickey is obviously keen on him. PARROT What was he court-martialed for? RICKEY For refusing to sit in the back of a military bus. (checks the file) Ft. Hood, Texas. The driver asked him to move back. The MPs had to take him off. DBL. BLUE REV 7-9-12 5. SUKEFORTH Do you see? RICKEY I see he resents segregation. If he were white, we'd call it spirit! PARROT If he were white, sir, we wouldn't be looking for him. Rickey ends the debate... RICKEY Robinson's a Methodist. I'm a Methodist. God's a Methodist. We can't go wrong. Find him. Bring him here. CUT TO: 4 EXT. FILLING STATION - INTERSTATE 24 - DAY 4 A BLOODHOUND watches as a BUS pulls into a SERVICE STATION, the tires RING the bell hose. A million miles easy on this road rumbler. The BANNER reads: KC Monarchs. Insert: Interstate 24, Missouri - August 24, 1945. The DRIVER steps off. The fellas follow, getting off to stretch their legs. Hot and tired. A WHITE ATTENDANT saunters out. The driver steps over to meet him. ATTENDANT Fill her up? DRIVER Yes, sir. The attendant starts unscrewing caps on two 50-GALLON TANKS. ATTENDANT Where you all headed? DRIVER Chicago. As the attendant shoves down a pump, starts filling, Jack steps off. He spots and heads for a restroom. White Men Only lettered on the door. The attendant roused as he sees. ATTENDANT Hey! Where you going, boy!? BLUE REV 4-07-12 6. Everyone looking over as Jack stops. JACK I'm going to the toilet. ATTENDANT Shit, boy, c'mon. You know you can't go in there. Jack does a slow burn, then suddenly strides toward the attendant. The air rife with tension. JACK Take that hose out of the tank. ATTENDANT Huh? DRIVER ROBINSON -- JACK Take it out. We'll get our ninety- nine gallons of gas someplace else. The attendant blinks. He takes a look from Jack to up and down the deserted highway. No business in sight. ATTENDANT Okay, use it. But don't stay in there too long. Jack heads back. The Driver, the players, a bit stunned. CUT TO: 5 INT. WHITE MEN ONLY REST ROOM - FILLING STATION - DAY 5 Jack splashes water on his face, rips a paper towels from the dispenser, pats his face dry. He balls the wad up, squeezes it in his fist before firing it into the trash. He considers his reflection in the mirror. As he regards himself, we hear the SERVICE BELL ring outside. CUT TO: 6 EXT. FILLING STATION - HIGHWAY 24 - DAY 6 A car has pulled up. The driver talks to several players. They look over as Jack exits. The driver is Clyde Sukeforth. SUKEFORTH Are you Jackie Robinson? CUT TO: TAN REV 6-25-12 7. 7 OMITTED 7 8 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 8 Blinds closed. Jack sits across the desk from Rickey. Sukeforth sits a little further back. Rickey is staring at Jack. Bushy eyebrows flared, light gleams off his glasses. INSERT: August 28, 1945. Brooklyn. Jack doesn't know what to do, looks to Sukeforth. Finally... RICKEY Do you have a girl? JACK Excuse me? RICKEY A man needs a family relying on him. It insures he'll behave responsibly. Do you have a girl? JACK I think so. RICKEY You think so? Jack looks to Sukeforth who smiles placidly. Back to Rickey. WHITE 3-14-12 8. JACK I don't make much money. Between the army and now baseball I've been away a lot. And Rae, Rachel, she wants to finish school. Considering all that, I say I think so. RICKEY Do you love her? Rachel? (JACK CONFUSED) Don't you know? JACK Yes, sir, very much. RICKEY Marry her. What? Rickey stands, walks to a window. Jack looks at Sukeforth who raises a hand as if to say: Give it a chance. RICKEY (CONT'D) Baseball's a hard life; a man needs a good woman by his side. You don't want the only person waiting for you at home to be a catcher. Sukeforth chuckles at that. Rickey fingers open a slat on the blind and peers out. Jack looks hard at him. JACK Coach Sukeforth here said you were starting a new Negro League. That doesn't make sense to me. MR. RICKEY It doesn't, huh? Are you calling us liars, Jack? JACK What's this about, Mr. Rickey? RICKEY This is about baseball. Rickey opens the shade. Sunlight floods in. Rickey follows it to the chalkboard, to the list of players under Montreal. RICKEY (CONT'D) I see you starting in the spring with our affiliate in Montreal. If you make it there, we'll try you down here with the Dodgers. The white Brooklyn Dodgers. Jack looks to Sukeforth who nods: Yes, you heard right. BLUE REV 4-07-12 9. RICKEY (CONT'D) I'll pay you $600 a month and a $3,500 bonus when you sign the contract. Is that agreeable? Believe it or not that's a lot of money to Jack on this day in time. This is all becoming a bit overwhelming. JACK Yes, sir. That's fine. RICKEY There is one condition. I have a pile of scouting reports. I know you can hit behind the runner, that you can read a pitch. The question is can you control your temper? JACK My temper? RICKEY Yes your temper! Are you deaf?! Rickey furious, the avuncular old man gone. Jack sits there, fists now balled. Rickey to Sukeforth like he's not there: RICKEY (CONT'D) He looks proud. Willful. SUKEFORTH He'll need to be. Rickey looks back to Jack who is as angry as he is confused. RICKEY I want to win! I want ballplayers who can win! Are you one of them?! JACK Yes. RICKEY A black man in white baseball. Imagine the reaction. The vitriol. Rickey strides forward, gets in his face. RICKEY (CONT'D) The Dodgers check into a hotel. A decent good hotel. You're worn out from the road and some clerk won't give you the pen to sign in. (SOUTHERN DRAWL) We got no room, boy, not even down in the coal bin where you belong. BLUE REV 4-07-12 10. Jack looks like he wants to tear Rickey apart. RICKEY (CONT'D) The team stops at a restaurant. The waiter won't take your order. (adopts a new voice) Didn't you see the sign on the door? No animals allowed. (LOOMING) What are you going to do then? Fight him? Ruin all my plans? Answer me, you black sonofabitch! JACK (MASTERS HIMSELF) Do you want a ballplayer who doesn't have the guts to fight back? Is that what you want? RICKEY I want one who has the guts not to fight back! There are people who will not like this. They will do anything to get you to react. If you echo a curse with a curse, they will only hear yours. Follow a blow with a blow and they will say a Negro lost his temper; that the Negro does not belong. Your enemy will be out in force, but you can not meet him on his own low ground. We win with hitting, running and fielding, nothing else. We win if the world is convinced of two things: that you are a fine gentlemen and a great ballplayer. Like our Savior, you must have the guts to turn the other cheek. Jack considers Rickey. Rickey looks worn out. RICKEY (CONT'D) Can you do it? Jack poised at what will be his Rubicon. He crosses. JACK Mr. Rickey, you give me a uniform, you give me a number on my back, and I'll give you the guts. CUT TO: PINK REV 4-19-12 11. 9 INT. HALLWAY - ISUM HOUSE - LOS ANGELES - DAY 9 A phone RINGS on a table. RACHEL ISUM steps in, 23, possessed of style that you can only be graced with. RACHEL Hello? CUT TO: 10 INT. LOBBY PAYPHONE - 215 MONTAGUE STREET - BROOKLYN - DAY 10 Jack in a PHONE BOOTH, the lobby busy beyond. JACK Rae, I'm in Brooklyn. INTERCUT THE FOLLOWING: RACHEL Brooklyn? For what? JACK I don't want to say on the phone. In fact, I'm not supposed to tell anyone. She can hear the tingle in his voice. RACHEL Jack? JACK I'm here, Rae RACHEL What's going on? You're supposed to be playing in Chicago? JACK We've been tested you and me. Our loyalty, our faith. We've done everything the right way. Me trying to make money. You finishing school. Separated by the war, now by baseball. We don't owe the world a thing. Only each other. She's actually getting a little scared now. RACHEL Jack, what are you talking about? What happened? GOLDENROD REV 5-9-12 12. JACK The Brooklyn Dodgers just signed me to play ball up in Montreal. It might lead to bigger things. To something wonderful. RACHEL What does it mean? For you and me? JACK Rae. Will you marry me? RACHEL Absolutely. When? JACK Now. RACHEL (LAUGHING) Jack, I don't think we can get married in a phone booth. CUT TO: 11 OMITTED 11 11 A INT. HALLWAY - THE CLARK HOTEL - LOS ANGELES - NIGHT 11 A Jack rounds a corner in a TUXEDO, the bow tie undone. Rachel follows in her WEDDING GOWN. They look beautiful. RACHEL Did my mom look happy? JACK Yes. They reach the door. Jack gets out a key to unlock it. Rachel looks nervous, steps back across the hall. RACHEL Did my gram look happy? Swinging the door open, he looks at her. The air charged. JACK Everyone looked happy. I've never seen so many people looking happy. GOLDENROD REV 5-9-12 12A. RACHEL Did Jack Robinson look happy? (SOFT) What if I can't make you happy? He steps over, aware of her shyness. JACK Too late. You already do. It's you and me, Rae. RACHEL Until the wheels fall off. (UNCERTAIN) The world is waiting for us. JACK It can wait one more night (KISSES HER) Are you coming, Mrs. Robinson? RACHEL (kisses him back) I'd follow you anywhere, Mr. Robinson. He picks her up, carries her over the threshold. As the door clicks shut behind them... CUT TO: 12 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 12 The shades closed; we're scheming again. WENDELL SMITH sits across from Rickey who stares back intently. Bespectacled, 32, Smith covers baseball for the Pittsburgh Courier. RICKEY Who's the best shortstop you ever saw? SMITH Rabbit Tavener. RICKEY Rabbit Tavener? And you call yourself a sports writer? WHITE 3-14-12 13. SMITH Yes, a sentimental one. I'm from Detroit. He was the Tiger shortstop when I was a boy. How about you? Who's your best? RICKEY Pop Lloyd. SMITH Not Honus Wagner? RICKEY Wagner is number two. And Rabbit Tavener would not break my top 25. Where do you suppose Jackie Robinson will end up on that list? SMITH He won't break it. He doesn't have a shortstop's arm. Robinson belongs on second base. RICKEY Alright then, where would he rate at second? SMITH If he was playing now he'd be the best second baseman in the majors. RICKEY High praise. He'll have to be the best in the minor leagues first. SMITH What are you saying, Mr. Rickey? RICKEY I'm saying it's going to be a very interesting spring training. A lot of players are coming back from the war and with gas rationing over, we can train down in Florida again. SMITH Daytona Beach? (RICKEY NODS) You're aware in the past six months a black boy was lynched in Madison, Florida and a black man down in Live Oaks? RICKEY Those towns may as well be a million miles from Daytona. WHITE 3-14-12 14. SMITH Live Oaks is 150 actually. RICKEY I spoke to the Daytona mayor. He assures me there'll be no trouble. But Rickey doesn't sound so sure. They consider each other. RICKEY (CONT'D) Mr. Smith, are you a Communist? SMITH I'm a Democrat. Why do you ask? RICKEY I have a business proposition. What's your salary at the Courier? SMITH Fifty dollars a week. RICKEY I will pay you an additional fifty dollars a week plus expenses if you will attend spring training with Jackie Robinson. You will watch over him, help him to avoid the harm that could come if he were to do or say anything out of turn. You will act as his chauffeur, you will secure accommodations for him wherever the team may be, help him find restaurants, etc... SMITH What's in it for me? Besides the fifty dollars and a whole lot of aggravation? RICKEY Unprecedented access for any reportage you feel appropriate. What do you say, Mr. Smith? SMITH I say yes, sir. If a Negro is good enough to stop a Nazi bullet in France; he's good enough to stop a line drive at Yankee Stadium. RICKEY Ebbets Field actually, but yes, I agree. The world is ready. CUT TO: TAN REV 6-25-12 15. 13 OMITTED 13 14 INT. BALLROOM - THE WALDORF ASTORIA HOTEL - NIGHT 14 Over 500 guests: journalists, players and politicians all listen politely as a SPEECH drones to an end. INSERT: New York City. 23rd Annual Baseball Writer's Association Dinner February 3, 1946. SPEAKER As our former President Herbert Hoover remarked in his tribute to our national pastime: The rigid voluntary rules of right and wrong, as applied in baseball, are second only to religion in strengthening the morals of the American people.' Polite applause as the speaker steps off. The clapping more enthusiastic as the lights dim on all but an impromptu set: plantation house columns. Hoots as a BUTLER appears wearing satin knee breeches and a MONTREAL ROYALS jersey. He holds a ring like a lawn jockey, a WHITE MAN in BLACK FACE. The laughs get louder as he peers out with exaggerated wide eyes. BUTLER Lordy, lordy, it's looking like da massa will be late dis ebning. As the LAUGHS from the audience subside, a sportswriter dressed as a COLONEL enters from stage right. COLONEL Robbie! Robbie! BUTLER Yassuh, Massa Kunl. Here Ah is. Huge LAUGHS as he struts and dances his way over. WHITE 3-14-12 16. COLONEL Jackie, you woolly headed rascal. How long yo' been in the family? BUTLER Ebber since Massa Rickey done bots me from da Kansas City Monarchs. COLONEL (aside to audience) Rickey that no good carpetbagger! What could he be thinking! Huge LAUGHS from that one. Two people enjoying it we'll recognize later as HERB PENNOCK and BOB COOKE. BUTLER Ah came near bein' killed last night, Kunl. COLONEL How's that, Jackie boy? BUTLER Ah was comin' up a dark street and three men was behind me. And they tried to do me with a baseball bat. COLONEL You don't say? BUTLER Yes, suh. Ah recognized one of dem. Ah'm gonna hab him arrested. COLONEL But I thought you said it was dark? BUTLER It was. But I know he played for the Philadelphia Baseball Club. On account of he struck at me three times and never hit me once. That brings the house down. Check out their laughing faces. CUT TO: 15 EXT. LOCKHEED TERMINAL - BURBANK - DAY 15 A gleaming American Airlines DC-3 angled up on the tarmac. PASSENGERS climb the portable stairs and disappear inside. INSERT: February 28, 1946. Burbank, California CUT TO: GOLDENROD REV 5-9-12 17. 16 INT. TERMINAL - BURBANK - DAY 16 Jack and Rachel are being seen off by FRIENDS from the wedding and his mother MALLIE. Jack is in a natty suit with Rachel in a beautiful coat. MALLIE You knock the cover off that ball. JACK I will, Mama. Mallie hugs Jack and then kisses Rachel. MALLIE Look after each other. RACHEL We will. She reaches in her bag, brings out a cardboard SHOEBOX; it's ever so slightly greasy at the bottom. MALLIE Take this. It's chicken. JACK They have food on the plane, Mama. MALLIE You never know what might happen. I don't want you getting there starving and too weak to hit. Rachel gives Jack a subtle but emphatic look: No. CUT TO: 17 EXT. LOCKHEED TARMAC - BURBANK - DAY 17 Jack escorts Rachel to the plane, the shoebox in hand. JACK I couldn't tell her no. RACHEL I know she means well; I just don't want to be seen eating chicken out of a box like some country bumpkin. Jack runs his hand over her coat. JACK No one's going to mistake you for a bumpkin in this. PINK REV 4-19-12 18. RACHEL Well, they'll know I belong on that plane or wherever I happen to be. CUT TO: 18 EXT. DC-3 - DAY (STOCK FOOTAGE) 18 Descending toward a runway. Landing gear coming down. CUT TO: 19 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 19 A WOMAN exits the lady's room, passing a SIGN: White Only. REVERSE to show Rachel looking at it like she's been slapped. Jack joins Rae from the TICKET COUNTER, with the chicken box. INSERT: New Orleans Lakefront Airport. JACK The flight to Pensacola leaves in an hour... You okay? RACHEL I've just never seen one before. JACK (follows her look) We're not in Pasadena anymore. A sudden momentum carries her forward. JACK Honey... Rae -- He takes a step after her, stops as she disappears inside. Jack unsure what to do. He looks around. Looks back. He doesn't need this right now. 20 OMITTED 20 21 OMITTED 21 PINK REV 4-19-12 19. 22 INT. AIRPORT COFFEE SHOP - DAY 22 A black BUSBOY reacts as a bickering Jack and Rachel enter. JACK I promised Mr. Rickey we'd stay out of trouble. RACHEL Did you promise him we wouldn't go to the bathroom? You've done it. JACK Before I promised. RACHEL It was just a toilet. You'd think the commodes were made of gold. The busboy watches as Jack and Rachel slide into a booth. As Jack reaches for a MENU, here comes the COOK. COOK You folks can't sit here. JACK Excuse me? COOK It's white only. Jack looking to Rachel; it's equanimity time. Not easy. COOK I'll sell you some sandwiches. But you gotta take em to go. Jack looks to the busboy, back to the cook. JACK No. You hang onto those. Mastering himself, Jack slides out. Drilling the cook with a look, he offers his hand to Rachel as she slides out as well. CUT TO: 23 OMITTED 23 GREEN REV 4-27-12 20. 24 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 24 Seen from on high. Jack and Rachel, sitting on a bench, two little figures as passengers move along the concourse. They sit a bit apart from each other, the world a wedge. CUT TO: 25 EXT. RUNWAY - PENSACOLA AIRPORT - NIGHT 25 SMOKE PINWHEELS as the wheels of a BOEING 247 touch down. INSERT: Pensacola, Florida. Later that day. CUT TO: 26 INT. BOEING 247 - TARMAC - NIGHT 26 Jack and Rachel worn out among eight other passengers. As the door is opened, FOUR of the eight get up and disembark. After a beat, FOUR NEW PASSENGERS board and take their seat. JACK Just a hop to Daytona now. As Rachel nods, an AIRLINE EMPLOYEE boards, MISS BISHOP. She makes her way over. She spots who she's looking for. MISS BISHOP Jack Robinson? Come with me. She starts away without explaining, looks back at them a bit impatiently. MISS BISHOP Come on now. Both of you. CUT TO: BLUE REV 4-07-12 21. 27 INT. TICKET COUNTER - PENSACOLA AIRPORT - NIGHT 27 The shoe box sitting on the counter, Jack in mid discussion with Miss Bishop. Rachel just behind Jack. MISS BISHOP We have to lighten the plane. There's some bad weather east of here. A heavy plane's dangerous. RACHEL (LOW) Tell her you're with the Dodgers. Jack would rather not play that card. JACK When's the next flight? MISS BISHOP Tomorrow morning. But it's booked. So someone'll have to cancel. Jack and Rachel unaware as a WHITE COUPLE are ushered out a door and onto the tarmac behind them. JACK Look, I'm with the Brooklyn Dodger organization. I've got to get down to Daytona. I'm supposed to report to spring training in the morning. MISS BISHOP We'll do our best to get you down there by tomorrow afternoon, but it might be the day after. RACHEL JACK -- He follows her gaze to where the white couple get on the plane they got off. Jack wheels on Miss Bishop, furious. JACK You gave away our seats! Get us back on that plane! Miss Bishop picks up a PHONE, holds it in Jack's face. MISS BISHOP Do you want to call the Sheriff? Or should I? CUT TO: YELLOW REV 4-24-12 22. 28 EXT. BUS STATION - PENSACOLA - NIGHT 28 Closed. A line of EMPTY BUSES; the BANNER on one: Daytona Beach. Across from it Rachel sits at one end of a BENCH, her fur pulled around her. Jack at the other, staring off into the night. Finally, he reaches down, picks up the shoebox. He pulls out a DRUMSTICK, considers it, then takes a bite. JACK Mama knew... He holds it out to Rachel. She slides over, takes it, takes a bite as well, smiles at him. He smiles back. RACHEL It's good. CUT TO: 29 EXT. BASEBALL FIELD - DAYTONA BEACH, FLORIDA - DAY 29 LEO DUROCHER hitting fungoes. One after the next. PEE WEE REESE and EDDIE STANKY both settle under the same ball. REESE STANKY I got it! I got it! I got it! I got it! They both back off at the last second and it drops to the ground between them. Durocher chuckles. DUROCHER That's what spring training's for, boys! Sort out our differences! He hits another. This time to the outfield where veteran DIXIE WALKER gives chase, finally gives up on it. DUROCHER C'mon, Dixie, get after it! WALKER (LAUGHING) I'm old! DUROCHER I'm gonna squeeze one more year out of that worn out body of yours! WALKER If you could, skipper, my wife would sure appreciate it! DUROCHER Keeping the women happy! That's what it's all about! BLUE REV 4-07-12 23. 29 A EXT./INT. CONVERTIBLE - DAY 29 A Rickey drives a dirt road through the training field singing Two Sleepy People along with the radio: Passing BROOKLYN DODGERS, MONTREAL ROYALS & ST. PAUL SAINTS on either side. Durocher hits another as Rickey pulls up. RICKEY How are they looking, Leo? DUROCHER Rusty, Mr. Rickey. But we'll get em oiled up and ready in no time. You find your lost sheep yet? Troubled, Rickey shakes his head no'. As he does, Harold Parrot hurries over. He's the Dodgers travelling secretary. PARROTT Jackie Robinson's on a bus leaving Pensacola. RICKEY A bus? Harold, how in blazes did he end up on a bus?!

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How many times the word 'turn' appears in the text?

42 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 42 Written by Brian Helgeland White - March 14, 2012 Blue Revised - April 7, 2012 Pink Revised - April 19, 2012 Yellow Revised - April 24, 2012 Green Revised - April 27, 2012 Goldenrod Revised - May 9, 2012 Buff Revised - May 29, 2012 Salmon Revised - June 4, 2012 Cherry Revised - June 11, 2012 Tan Revised - June 25, 2012 Double White Revised - June 28, 2012 Double Blue Revised - July 9, 2012 PINK REV 4-19-12 1. A1 WHITE A1 Fills the screen. Falling from the top of frame to the bottom. Pluming off into dust. White, white, white. We move toward it even as it recedes, always out of reach. Finally we pop out wide and high to reveal... The white is chalk. An old BLACK GROUNDSKEEPER lays down the right field line on a baseball diamond. 1 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 1 Blinds closed. Dust motes in the air. A large GOLDFISH TANK bubbles. BRANCH RICKEY at his desk. Two photos on the wall: Abe Lincoln & Leo Durocher. CHALKBOARDS covered with 100's OF NAMES, every player in the Dodger organization. CLYDE SUKEFORTH and HAROLD PARROTT sit across from Rickey who stares at them. Sukeforth stares back. Parrott nervous. RICKEY Gentlemen, I have a plan... As of now, only the Board of Directors and my family know. Sukeforth and Parrott exchange a look. SUKEFORTH A plan's always good, Mr. Rickey. And you always got one. RICKEY My wife says I'm too old, That my health isn't up to it. My son says that every one in baseball will be against me. But I'm going to do it. Parrott looks to Sukeforth who keeps his eyes on Rickey. SUKEFORTH Do what, Mr. Rickey? RICKEY I'm going to bring a Negro ballplayer to the Brooklyn Dodgers. PARROTT With all due respect, sir, have you lost your mind? Imagine the abuse you'll take from the newspapers alone. Never mind how it'll play on Flatbush. Please, Mr. Rickey. Rickey looks dismissively at Parrott, over to Sukeforth. PINK REV 4-19-12 1A. RICKEY There's no law against it, Clyde. SUKEFORTH There's a code. Break a law and get away with it, some people think you're smart. Break an unwritten law though, you'll be an outcast. YELLOW REV 4-24-12 2. RICKEY So be it. New York is full of Negro baseball fans; every dollar is green. I don't know who he is, or where he is, but he's coming. CUT TO: 2 EXT. RICKWOOD FIELD - BIRMINGHAM, ALABAMA - NIGHT 2 The big Birmingham Black Barons CATCHER behind the plate as Kansas City Monarchs JOHN SCOTT stands at bat. The catcher's attention on the RUNNER DANCING off first. Stomping a foot, feinting, hard to see clearly in the glare of the lights. CATCHER Where'd you learn to move like that, runner?! At dime a dance night?! Stay quiet! INSERT: Birmingham, Alabama. April 8, 1945. On the first pitch the runner takes off. The catcher fires to second. See it from his POV as the runner slides in SAFE! A foot on the bag, the runner dusts off, heckles the catcher: RUNNER Is that the best you got?! Huh?! I'm going to steal nine, ten bases today! You better start counting! The catcher frowns. Standing, we see he is a big, big man. CATCHER (ALABAMAN) Where's your shortstop from? JOHN SCOTT (LOUISIANAN) California. CATCHER He's got a mouth on him. Shaking his head, the catcher gets back in his crouch, signals the PITCHER. On the wind-up, the Runner is off again. The catcher fires to THIRD: Safe! RUNNER You got a rag arm, catcher! CATCHER Steal home! You'll find out what kind of arm I got! DBL. BLUE REV 7-9-12 3. RUNNER Okay, I'm coming! The Catcher looks over at Scott who chuckles. CATCHER California, huh? (SCOTT NODS) Well California here he goes, if he comes down here. The Catcher gets back down in his squat. Signals the pitcher: fastball. Scott digs in, ready. The runner dancing off third. Here comes the wind-up... The Runner takes off even as the pitcher fires it in. The Birmingham Catcher receives it. As the Runner slides -- The Catcher intentionally drives his glove, the ball and both hands into the runner's face -- WHALLOP! Sound drops as we're knocked flat senseless along with the runner. ON HIM now as he tries to push himself up from the dirt. A close look at JACK ROOSEVELT ROBINSON. A born battler, he shakes out the cobwebs, finally lurches to his feet, looks to the UMPIRE. He never heard the call. JACK What was I? The umpire passes one hand over the other: Safe. Jack looks over at the catcher, gives him a pointed look as he goes -- The catcher shoves him in the back. Jack turns, shoves back. As the two men wrestles each other to the ground -- CUT TO: 3 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 3 Rickey and Sukeforth going through stacks of FILES on the desk. A black ballplayer's picture is clipped to each. As Rickey reviews one, Sukeforth tries to hand him another. SUKEFORTH Josh Gibson. Oh boy can he hit. RICKEY No. SUKEFORTH No? Rickey won't take the file; the answer is no. DBL. BLUE REV 7-9-12 4. SUKEFORTH Alright. Roy Campanella. Sukeforth holds it out; Rickey won't take it. RICKEY A heck of a player. But too sweet, they'll eat him alive. SUKEFORTH (holds up file) Satchel Paige then. Parrott enters carrying an armful of files. RICKEY Too old. We need a man with a future not a past. (holds up his own FILE) Here. Jack Roosevelt Robinson. As Parrott sets them on the desk, they start to slide off, spilling to the floor. Helpless to stem the tide, Parrott looks down, surrounded by black faces... RICKEY (flips through file) A four sport college man, out of UCLA. That means he's played with white boys. (SCANS FILE) Twenty-six years old, now with the Kansas City Monarchs. Batting over 350 even as we speak. 350! And he was a commissioned army officer! SUKEFORTH He was court-martialed. A trouble maker. He argues with umpires. A quick temper is his reputation. Rickey is obviously keen on him. PARROT What was he court-martialed for? RICKEY For refusing to sit in the back of a military bus. (checks the file) Ft. Hood, Texas. The driver asked him to move back. The MPs had to take him off. DBL. BLUE REV 7-9-12 5. SUKEFORTH Do you see? RICKEY I see he resents segregation. If he were white, we'd call it spirit! PARROT If he were white, sir, we wouldn't be looking for him. Rickey ends the debate... RICKEY Robinson's a Methodist. I'm a Methodist. God's a Methodist. We can't go wrong. Find him. Bring him here. CUT TO: 4 EXT. FILLING STATION - INTERSTATE 24 - DAY 4 A BLOODHOUND watches as a BUS pulls into a SERVICE STATION, the tires RING the bell hose. A million miles easy on this road rumbler. The BANNER reads: KC Monarchs. Insert: Interstate 24, Missouri - August 24, 1945. The DRIVER steps off. The fellas follow, getting off to stretch their legs. Hot and tired. A WHITE ATTENDANT saunters out. The driver steps over to meet him. ATTENDANT Fill her up? DRIVER Yes, sir. The attendant starts unscrewing caps on two 50-GALLON TANKS. ATTENDANT Where you all headed? DRIVER Chicago. As the attendant shoves down a pump, starts filling, Jack steps off. He spots and heads for a restroom. White Men Only lettered on the door. The attendant roused as he sees. ATTENDANT Hey! Where you going, boy!? BLUE REV 4-07-12 6. Everyone looking over as Jack stops. JACK I'm going to the toilet. ATTENDANT Shit, boy, c'mon. You know you can't go in there. Jack does a slow burn, then suddenly strides toward the attendant. The air rife with tension. JACK Take that hose out of the tank. ATTENDANT Huh? DRIVER ROBINSON -- JACK Take it out. We'll get our ninety- nine gallons of gas someplace else. The attendant blinks. He takes a look from Jack to up and down the deserted highway. No business in sight. ATTENDANT Okay, use it. But don't stay in there too long. Jack heads back. The Driver, the players, a bit stunned. CUT TO: 5 INT. WHITE MEN ONLY REST ROOM - FILLING STATION - DAY 5 Jack splashes water on his face, rips a paper towels from the dispenser, pats his face dry. He balls the wad up, squeezes it in his fist before firing it into the trash. He considers his reflection in the mirror. As he regards himself, we hear the SERVICE BELL ring outside. CUT TO: 6 EXT. FILLING STATION - HIGHWAY 24 - DAY 6 A car has pulled up. The driver talks to several players. They look over as Jack exits. The driver is Clyde Sukeforth. SUKEFORTH Are you Jackie Robinson? CUT TO: TAN REV 6-25-12 7. 7 OMITTED 7 8 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 8 Blinds closed. Jack sits across the desk from Rickey. Sukeforth sits a little further back. Rickey is staring at Jack. Bushy eyebrows flared, light gleams off his glasses. INSERT: August 28, 1945. Brooklyn. Jack doesn't know what to do, looks to Sukeforth. Finally... RICKEY Do you have a girl? JACK Excuse me? RICKEY A man needs a family relying on him. It insures he'll behave responsibly. Do you have a girl? JACK I think so. RICKEY You think so? Jack looks to Sukeforth who smiles placidly. Back to Rickey. WHITE 3-14-12 8. JACK I don't make much money. Between the army and now baseball I've been away a lot. And Rae, Rachel, she wants to finish school. Considering all that, I say I think so. RICKEY Do you love her? Rachel? (JACK CONFUSED) Don't you know? JACK Yes, sir, very much. RICKEY Marry her. What? Rickey stands, walks to a window. Jack looks at Sukeforth who raises a hand as if to say: Give it a chance. RICKEY (CONT'D) Baseball's a hard life; a man needs a good woman by his side. You don't want the only person waiting for you at home to be a catcher. Sukeforth chuckles at that. Rickey fingers open a slat on the blind and peers out. Jack looks hard at him. JACK Coach Sukeforth here said you were starting a new Negro League. That doesn't make sense to me. MR. RICKEY It doesn't, huh? Are you calling us liars, Jack? JACK What's this about, Mr. Rickey? RICKEY This is about baseball. Rickey opens the shade. Sunlight floods in. Rickey follows it to the chalkboard, to the list of players under Montreal. RICKEY (CONT'D) I see you starting in the spring with our affiliate in Montreal. If you make it there, we'll try you down here with the Dodgers. The white Brooklyn Dodgers. Jack looks to Sukeforth who nods: Yes, you heard right. BLUE REV 4-07-12 9. RICKEY (CONT'D) I'll pay you $600 a month and a $3,500 bonus when you sign the contract. Is that agreeable? Believe it or not that's a lot of money to Jack on this day in time. This is all becoming a bit overwhelming. JACK Yes, sir. That's fine. RICKEY There is one condition. I have a pile of scouting reports. I know you can hit behind the runner, that you can read a pitch. The question is can you control your temper? JACK My temper? RICKEY Yes your temper! Are you deaf?! Rickey furious, the avuncular old man gone. Jack sits there, fists now balled. Rickey to Sukeforth like he's not there: RICKEY (CONT'D) He looks proud. Willful. SUKEFORTH He'll need to be. Rickey looks back to Jack who is as angry as he is confused. RICKEY I want to win! I want ballplayers who can win! Are you one of them?! JACK Yes. RICKEY A black man in white baseball. Imagine the reaction. The vitriol. Rickey strides forward, gets in his face. RICKEY (CONT'D) The Dodgers check into a hotel. A decent good hotel. You're worn out from the road and some clerk won't give you the pen to sign in. (SOUTHERN DRAWL) We got no room, boy, not even down in the coal bin where you belong. BLUE REV 4-07-12 10. Jack looks like he wants to tear Rickey apart. RICKEY (CONT'D) The team stops at a restaurant. The waiter won't take your order. (adopts a new voice) Didn't you see the sign on the door? No animals allowed. (LOOMING) What are you going to do then? Fight him? Ruin all my plans? Answer me, you black sonofabitch! JACK (MASTERS HIMSELF) Do you want a ballplayer who doesn't have the guts to fight back? Is that what you want? RICKEY I want one who has the guts not to fight back! There are people who will not like this. They will do anything to get you to react. If you echo a curse with a curse, they will only hear yours. Follow a blow with a blow and they will say a Negro lost his temper; that the Negro does not belong. Your enemy will be out in force, but you can not meet him on his own low ground. We win with hitting, running and fielding, nothing else. We win if the world is convinced of two things: that you are a fine gentlemen and a great ballplayer. Like our Savior, you must have the guts to turn the other cheek. Jack considers Rickey. Rickey looks worn out. RICKEY (CONT'D) Can you do it? Jack poised at what will be his Rubicon. He crosses. JACK Mr. Rickey, you give me a uniform, you give me a number on my back, and I'll give you the guts. CUT TO: PINK REV 4-19-12 11. 9 INT. HALLWAY - ISUM HOUSE - LOS ANGELES - DAY 9 A phone RINGS on a table. RACHEL ISUM steps in, 23, possessed of style that you can only be graced with. RACHEL Hello? CUT TO: 10 INT. LOBBY PAYPHONE - 215 MONTAGUE STREET - BROOKLYN - DAY 10 Jack in a PHONE BOOTH, the lobby busy beyond. JACK Rae, I'm in Brooklyn. INTERCUT THE FOLLOWING: RACHEL Brooklyn? For what? JACK I don't want to say on the phone. In fact, I'm not supposed to tell anyone. She can hear the tingle in his voice. RACHEL Jack? JACK I'm here, Rae RACHEL What's going on? You're supposed to be playing in Chicago? JACK We've been tested you and me. Our loyalty, our faith. We've done everything the right way. Me trying to make money. You finishing school. Separated by the war, now by baseball. We don't owe the world a thing. Only each other. She's actually getting a little scared now. RACHEL Jack, what are you talking about? What happened? GOLDENROD REV 5-9-12 12. JACK The Brooklyn Dodgers just signed me to play ball up in Montreal. It might lead to bigger things. To something wonderful. RACHEL What does it mean? For you and me? JACK Rae. Will you marry me? RACHEL Absolutely. When? JACK Now. RACHEL (LAUGHING) Jack, I don't think we can get married in a phone booth. CUT TO: 11 OMITTED 11 11 A INT. HALLWAY - THE CLARK HOTEL - LOS ANGELES - NIGHT 11 A Jack rounds a corner in a TUXEDO, the bow tie undone. Rachel follows in her WEDDING GOWN. They look beautiful. RACHEL Did my mom look happy? JACK Yes. They reach the door. Jack gets out a key to unlock it. Rachel looks nervous, steps back across the hall. RACHEL Did my gram look happy? Swinging the door open, he looks at her. The air charged. JACK Everyone looked happy. I've never seen so many people looking happy. GOLDENROD REV 5-9-12 12A. RACHEL Did Jack Robinson look happy? (SOFT) What if I can't make you happy? He steps over, aware of her shyness. JACK Too late. You already do. It's you and me, Rae. RACHEL Until the wheels fall off. (UNCERTAIN) The world is waiting for us. JACK It can wait one more night (KISSES HER) Are you coming, Mrs. Robinson? RACHEL (kisses him back) I'd follow you anywhere, Mr. Robinson. He picks her up, carries her over the threshold. As the door clicks shut behind them... CUT TO: 12 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 12 The shades closed; we're scheming again. WENDELL SMITH sits across from Rickey who stares back intently. Bespectacled, 32, Smith covers baseball for the Pittsburgh Courier. RICKEY Who's the best shortstop you ever saw? SMITH Rabbit Tavener. RICKEY Rabbit Tavener? And you call yourself a sports writer? WHITE 3-14-12 13. SMITH Yes, a sentimental one. I'm from Detroit. He was the Tiger shortstop when I was a boy. How about you? Who's your best? RICKEY Pop Lloyd. SMITH Not Honus Wagner? RICKEY Wagner is number two. And Rabbit Tavener would not break my top 25. Where do you suppose Jackie Robinson will end up on that list? SMITH He won't break it. He doesn't have a shortstop's arm. Robinson belongs on second base. RICKEY Alright then, where would he rate at second? SMITH If he was playing now he'd be the best second baseman in the majors. RICKEY High praise. He'll have to be the best in the minor leagues first. SMITH What are you saying, Mr. Rickey? RICKEY I'm saying it's going to be a very interesting spring training. A lot of players are coming back from the war and with gas rationing over, we can train down in Florida again. SMITH Daytona Beach? (RICKEY NODS) You're aware in the past six months a black boy was lynched in Madison, Florida and a black man down in Live Oaks? RICKEY Those towns may as well be a million miles from Daytona. WHITE 3-14-12 14. SMITH Live Oaks is 150 actually. RICKEY I spoke to the Daytona mayor. He assures me there'll be no trouble. But Rickey doesn't sound so sure. They consider each other. RICKEY (CONT'D) Mr. Smith, are you a Communist? SMITH I'm a Democrat. Why do you ask? RICKEY I have a business proposition. What's your salary at the Courier? SMITH Fifty dollars a week. RICKEY I will pay you an additional fifty dollars a week plus expenses if you will attend spring training with Jackie Robinson. You will watch over him, help him to avoid the harm that could come if he were to do or say anything out of turn. You will act as his chauffeur, you will secure accommodations for him wherever the team may be, help him find restaurants, etc... SMITH What's in it for me? Besides the fifty dollars and a whole lot of aggravation? RICKEY Unprecedented access for any reportage you feel appropriate. What do you say, Mr. Smith? SMITH I say yes, sir. If a Negro is good enough to stop a Nazi bullet in France; he's good enough to stop a line drive at Yankee Stadium. RICKEY Ebbets Field actually, but yes, I agree. The world is ready. CUT TO: TAN REV 6-25-12 15. 13 OMITTED 13 14 INT. BALLROOM - THE WALDORF ASTORIA HOTEL - NIGHT 14 Over 500 guests: journalists, players and politicians all listen politely as a SPEECH drones to an end. INSERT: New York City. 23rd Annual Baseball Writer's Association Dinner February 3, 1946. SPEAKER As our former President Herbert Hoover remarked in his tribute to our national pastime: The rigid voluntary rules of right and wrong, as applied in baseball, are second only to religion in strengthening the morals of the American people.' Polite applause as the speaker steps off. The clapping more enthusiastic as the lights dim on all but an impromptu set: plantation house columns. Hoots as a BUTLER appears wearing satin knee breeches and a MONTREAL ROYALS jersey. He holds a ring like a lawn jockey, a WHITE MAN in BLACK FACE. The laughs get louder as he peers out with exaggerated wide eyes. BUTLER Lordy, lordy, it's looking like da massa will be late dis ebning. As the LAUGHS from the audience subside, a sportswriter dressed as a COLONEL enters from stage right. COLONEL Robbie! Robbie! BUTLER Yassuh, Massa Kunl. Here Ah is. Huge LAUGHS as he struts and dances his way over. WHITE 3-14-12 16. COLONEL Jackie, you woolly headed rascal. How long yo' been in the family? BUTLER Ebber since Massa Rickey done bots me from da Kansas City Monarchs. COLONEL (aside to audience) Rickey that no good carpetbagger! What could he be thinking! Huge LAUGHS from that one. Two people enjoying it we'll recognize later as HERB PENNOCK and BOB COOKE. BUTLER Ah came near bein' killed last night, Kunl. COLONEL How's that, Jackie boy? BUTLER Ah was comin' up a dark street and three men was behind me. And they tried to do me with a baseball bat. COLONEL You don't say? BUTLER Yes, suh. Ah recognized one of dem. Ah'm gonna hab him arrested. COLONEL But I thought you said it was dark? BUTLER It was. But I know he played for the Philadelphia Baseball Club. On account of he struck at me three times and never hit me once. That brings the house down. Check out their laughing faces. CUT TO: 15 EXT. LOCKHEED TERMINAL - BURBANK - DAY 15 A gleaming American Airlines DC-3 angled up on the tarmac. PASSENGERS climb the portable stairs and disappear inside. INSERT: February 28, 1946. Burbank, California CUT TO: GOLDENROD REV 5-9-12 17. 16 INT. TERMINAL - BURBANK - DAY 16 Jack and Rachel are being seen off by FRIENDS from the wedding and his mother MALLIE. Jack is in a natty suit with Rachel in a beautiful coat. MALLIE You knock the cover off that ball. JACK I will, Mama. Mallie hugs Jack and then kisses Rachel. MALLIE Look after each other. RACHEL We will. She reaches in her bag, brings out a cardboard SHOEBOX; it's ever so slightly greasy at the bottom. MALLIE Take this. It's chicken. JACK They have food on the plane, Mama. MALLIE You never know what might happen. I don't want you getting there starving and too weak to hit. Rachel gives Jack a subtle but emphatic look: No. CUT TO: 17 EXT. LOCKHEED TARMAC - BURBANK - DAY 17 Jack escorts Rachel to the plane, the shoebox in hand. JACK I couldn't tell her no. RACHEL I know she means well; I just don't want to be seen eating chicken out of a box like some country bumpkin. Jack runs his hand over her coat. JACK No one's going to mistake you for a bumpkin in this. PINK REV 4-19-12 18. RACHEL Well, they'll know I belong on that plane or wherever I happen to be. CUT TO: 18 EXT. DC-3 - DAY (STOCK FOOTAGE) 18 Descending toward a runway. Landing gear coming down. CUT TO: 19 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 19 A WOMAN exits the lady's room, passing a SIGN: White Only. REVERSE to show Rachel looking at it like she's been slapped. Jack joins Rae from the TICKET COUNTER, with the chicken box. INSERT: New Orleans Lakefront Airport. JACK The flight to Pensacola leaves in an hour... You okay? RACHEL I've just never seen one before. JACK (follows her look) We're not in Pasadena anymore. A sudden momentum carries her forward. JACK Honey... Rae -- He takes a step after her, stops as she disappears inside. Jack unsure what to do. He looks around. Looks back. He doesn't need this right now. 20 OMITTED 20 21 OMITTED 21 PINK REV 4-19-12 19. 22 INT. AIRPORT COFFEE SHOP - DAY 22 A black BUSBOY reacts as a bickering Jack and Rachel enter. JACK I promised Mr. Rickey we'd stay out of trouble. RACHEL Did you promise him we wouldn't go to the bathroom? You've done it. JACK Before I promised. RACHEL It was just a toilet. You'd think the commodes were made of gold. The busboy watches as Jack and Rachel slide into a booth. As Jack reaches for a MENU, here comes the COOK. COOK You folks can't sit here. JACK Excuse me? COOK It's white only. Jack looking to Rachel; it's equanimity time. Not easy. COOK I'll sell you some sandwiches. But you gotta take em to go. Jack looks to the busboy, back to the cook. JACK No. You hang onto those. Mastering himself, Jack slides out. Drilling the cook with a look, he offers his hand to Rachel as she slides out as well. CUT TO: 23 OMITTED 23 GREEN REV 4-27-12 20. 24 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 24 Seen from on high. Jack and Rachel, sitting on a bench, two little figures as passengers move along the concourse. They sit a bit apart from each other, the world a wedge. CUT TO: 25 EXT. RUNWAY - PENSACOLA AIRPORT - NIGHT 25 SMOKE PINWHEELS as the wheels of a BOEING 247 touch down. INSERT: Pensacola, Florida. Later that day. CUT TO: 26 INT. BOEING 247 - TARMAC - NIGHT 26 Jack and Rachel worn out among eight other passengers. As the door is opened, FOUR of the eight get up and disembark. After a beat, FOUR NEW PASSENGERS board and take their seat. JACK Just a hop to Daytona now. As Rachel nods, an AIRLINE EMPLOYEE boards, MISS BISHOP. She makes her way over. She spots who she's looking for. MISS BISHOP Jack Robinson? Come with me. She starts away without explaining, looks back at them a bit impatiently. MISS BISHOP Come on now. Both of you. CUT TO: BLUE REV 4-07-12 21. 27 INT. TICKET COUNTER - PENSACOLA AIRPORT - NIGHT 27 The shoe box sitting on the counter, Jack in mid discussion with Miss Bishop. Rachel just behind Jack. MISS BISHOP We have to lighten the plane. There's some bad weather east of here. A heavy plane's dangerous. RACHEL (LOW) Tell her you're with the Dodgers. Jack would rather not play that card. JACK When's the next flight? MISS BISHOP Tomorrow morning. But it's booked. So someone'll have to cancel. Jack and Rachel unaware as a WHITE COUPLE are ushered out a door and onto the tarmac behind them. JACK Look, I'm with the Brooklyn Dodger organization. I've got to get down to Daytona. I'm supposed to report to spring training in the morning. MISS BISHOP We'll do our best to get you down there by tomorrow afternoon, but it might be the day after. RACHEL JACK -- He follows her gaze to where the white couple get on the plane they got off. Jack wheels on Miss Bishop, furious. JACK You gave away our seats! Get us back on that plane! Miss Bishop picks up a PHONE, holds it in Jack's face. MISS BISHOP Do you want to call the Sheriff? Or should I? CUT TO: YELLOW REV 4-24-12 22. 28 EXT. BUS STATION - PENSACOLA - NIGHT 28 Closed. A line of EMPTY BUSES; the BANNER on one: Daytona Beach. Across from it Rachel sits at one end of a BENCH, her fur pulled around her. Jack at the other, staring off into the night. Finally, he reaches down, picks up the shoebox. He pulls out a DRUMSTICK, considers it, then takes a bite. JACK Mama knew... He holds it out to Rachel. She slides over, takes it, takes a bite as well, smiles at him. He smiles back. RACHEL It's good. CUT TO: 29 EXT. BASEBALL FIELD - DAYTONA BEACH, FLORIDA - DAY 29 LEO DUROCHER hitting fungoes. One after the next. PEE WEE REESE and EDDIE STANKY both settle under the same ball. REESE STANKY I got it! I got it! I got it! I got it! They both back off at the last second and it drops to the ground between them. Durocher chuckles. DUROCHER That's what spring training's for, boys! Sort out our differences! He hits another. This time to the outfield where veteran DIXIE WALKER gives chase, finally gives up on it. DUROCHER C'mon, Dixie, get after it! WALKER (LAUGHING) I'm old! DUROCHER I'm gonna squeeze one more year out of that worn out body of yours! WALKER If you could, skipper, my wife would sure appreciate it! DUROCHER Keeping the women happy! That's what it's all about! BLUE REV 4-07-12 23. 29 A EXT./INT. CONVERTIBLE - DAY 29 A Rickey drives a dirt road through the training field singing Two Sleepy People along with the radio: Passing BROOKLYN DODGERS, MONTREAL ROYALS & ST. PAUL SAINTS on either side. Durocher hits another as Rickey pulls up. RICKEY How are they looking, Leo? DUROCHER Rusty, Mr. Rickey. But we'll get em oiled up and ready in no time. You find your lost sheep yet? Troubled, Rickey shakes his head no'. As he does, Harold Parrot hurries over. He's the Dodgers travelling secretary. PARROTT Jackie Robinson's on a bus leaving Pensacola. RICKEY A bus? Harold, how in blazes did he end up on a bus?!

winder

How many times the word 'winder' appears in the text?

42 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 42 Written by Brian Helgeland White - March 14, 2012 Blue Revised - April 7, 2012 Pink Revised - April 19, 2012 Yellow Revised - April 24, 2012 Green Revised - April 27, 2012 Goldenrod Revised - May 9, 2012 Buff Revised - May 29, 2012 Salmon Revised - June 4, 2012 Cherry Revised - June 11, 2012 Tan Revised - June 25, 2012 Double White Revised - June 28, 2012 Double Blue Revised - July 9, 2012 PINK REV 4-19-12 1. A1 WHITE A1 Fills the screen. Falling from the top of frame to the bottom. Pluming off into dust. White, white, white. We move toward it even as it recedes, always out of reach. Finally we pop out wide and high to reveal... The white is chalk. An old BLACK GROUNDSKEEPER lays down the right field line on a baseball diamond. 1 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 1 Blinds closed. Dust motes in the air. A large GOLDFISH TANK bubbles. BRANCH RICKEY at his desk. Two photos on the wall: Abe Lincoln & Leo Durocher. CHALKBOARDS covered with 100's OF NAMES, every player in the Dodger organization. CLYDE SUKEFORTH and HAROLD PARROTT sit across from Rickey who stares at them. Sukeforth stares back. Parrott nervous. RICKEY Gentlemen, I have a plan... As of now, only the Board of Directors and my family know. Sukeforth and Parrott exchange a look. SUKEFORTH A plan's always good, Mr. Rickey. And you always got one. RICKEY My wife says I'm too old, That my health isn't up to it. My son says that every one in baseball will be against me. But I'm going to do it. Parrott looks to Sukeforth who keeps his eyes on Rickey. SUKEFORTH Do what, Mr. Rickey? RICKEY I'm going to bring a Negro ballplayer to the Brooklyn Dodgers. PARROTT With all due respect, sir, have you lost your mind? Imagine the abuse you'll take from the newspapers alone. Never mind how it'll play on Flatbush. Please, Mr. Rickey. Rickey looks dismissively at Parrott, over to Sukeforth. PINK REV 4-19-12 1A. RICKEY There's no law against it, Clyde. SUKEFORTH There's a code. Break a law and get away with it, some people think you're smart. Break an unwritten law though, you'll be an outcast. YELLOW REV 4-24-12 2. RICKEY So be it. New York is full of Negro baseball fans; every dollar is green. I don't know who he is, or where he is, but he's coming. CUT TO: 2 EXT. RICKWOOD FIELD - BIRMINGHAM, ALABAMA - NIGHT 2 The big Birmingham Black Barons CATCHER behind the plate as Kansas City Monarchs JOHN SCOTT stands at bat. The catcher's attention on the RUNNER DANCING off first. Stomping a foot, feinting, hard to see clearly in the glare of the lights. CATCHER Where'd you learn to move like that, runner?! At dime a dance night?! Stay quiet! INSERT: Birmingham, Alabama. April 8, 1945. On the first pitch the runner takes off. The catcher fires to second. See it from his POV as the runner slides in SAFE! A foot on the bag, the runner dusts off, heckles the catcher: RUNNER Is that the best you got?! Huh?! I'm going to steal nine, ten bases today! You better start counting! The catcher frowns. Standing, we see he is a big, big man. CATCHER (ALABAMAN) Where's your shortstop from? JOHN SCOTT (LOUISIANAN) California. CATCHER He's got a mouth on him. Shaking his head, the catcher gets back in his crouch, signals the PITCHER. On the wind-up, the Runner is off again. The catcher fires to THIRD: Safe! RUNNER You got a rag arm, catcher! CATCHER Steal home! You'll find out what kind of arm I got! DBL. BLUE REV 7-9-12 3. RUNNER Okay, I'm coming! The Catcher looks over at Scott who chuckles. CATCHER California, huh? (SCOTT NODS) Well California here he goes, if he comes down here. The Catcher gets back down in his squat. Signals the pitcher: fastball. Scott digs in, ready. The runner dancing off third. Here comes the wind-up... The Runner takes off even as the pitcher fires it in. The Birmingham Catcher receives it. As the Runner slides -- The Catcher intentionally drives his glove, the ball and both hands into the runner's face -- WHALLOP! Sound drops as we're knocked flat senseless along with the runner. ON HIM now as he tries to push himself up from the dirt. A close look at JACK ROOSEVELT ROBINSON. A born battler, he shakes out the cobwebs, finally lurches to his feet, looks to the UMPIRE. He never heard the call. JACK What was I? The umpire passes one hand over the other: Safe. Jack looks over at the catcher, gives him a pointed look as he goes -- The catcher shoves him in the back. Jack turns, shoves back. As the two men wrestles each other to the ground -- CUT TO: 3 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 3 Rickey and Sukeforth going through stacks of FILES on the desk. A black ballplayer's picture is clipped to each. As Rickey reviews one, Sukeforth tries to hand him another. SUKEFORTH Josh Gibson. Oh boy can he hit. RICKEY No. SUKEFORTH No? Rickey won't take the file; the answer is no. DBL. BLUE REV 7-9-12 4. SUKEFORTH Alright. Roy Campanella. Sukeforth holds it out; Rickey won't take it. RICKEY A heck of a player. But too sweet, they'll eat him alive. SUKEFORTH (holds up file) Satchel Paige then. Parrott enters carrying an armful of files. RICKEY Too old. We need a man with a future not a past. (holds up his own FILE) Here. Jack Roosevelt Robinson. As Parrott sets them on the desk, they start to slide off, spilling to the floor. Helpless to stem the tide, Parrott looks down, surrounded by black faces... RICKEY (flips through file) A four sport college man, out of UCLA. That means he's played with white boys. (SCANS FILE) Twenty-six years old, now with the Kansas City Monarchs. Batting over 350 even as we speak. 350! And he was a commissioned army officer! SUKEFORTH He was court-martialed. A trouble maker. He argues with umpires. A quick temper is his reputation. Rickey is obviously keen on him. PARROT What was he court-martialed for? RICKEY For refusing to sit in the back of a military bus. (checks the file) Ft. Hood, Texas. The driver asked him to move back. The MPs had to take him off. DBL. BLUE REV 7-9-12 5. SUKEFORTH Do you see? RICKEY I see he resents segregation. If he were white, we'd call it spirit! PARROT If he were white, sir, we wouldn't be looking for him. Rickey ends the debate... RICKEY Robinson's a Methodist. I'm a Methodist. God's a Methodist. We can't go wrong. Find him. Bring him here. CUT TO: 4 EXT. FILLING STATION - INTERSTATE 24 - DAY 4 A BLOODHOUND watches as a BUS pulls into a SERVICE STATION, the tires RING the bell hose. A million miles easy on this road rumbler. The BANNER reads: KC Monarchs. Insert: Interstate 24, Missouri - August 24, 1945. The DRIVER steps off. The fellas follow, getting off to stretch their legs. Hot and tired. A WHITE ATTENDANT saunters out. The driver steps over to meet him. ATTENDANT Fill her up? DRIVER Yes, sir. The attendant starts unscrewing caps on two 50-GALLON TANKS. ATTENDANT Where you all headed? DRIVER Chicago. As the attendant shoves down a pump, starts filling, Jack steps off. He spots and heads for a restroom. White Men Only lettered on the door. The attendant roused as he sees. ATTENDANT Hey! Where you going, boy!? BLUE REV 4-07-12 6. Everyone looking over as Jack stops. JACK I'm going to the toilet. ATTENDANT Shit, boy, c'mon. You know you can't go in there. Jack does a slow burn, then suddenly strides toward the attendant. The air rife with tension. JACK Take that hose out of the tank. ATTENDANT Huh? DRIVER ROBINSON -- JACK Take it out. We'll get our ninety- nine gallons of gas someplace else. The attendant blinks. He takes a look from Jack to up and down the deserted highway. No business in sight. ATTENDANT Okay, use it. But don't stay in there too long. Jack heads back. The Driver, the players, a bit stunned. CUT TO: 5 INT. WHITE MEN ONLY REST ROOM - FILLING STATION - DAY 5 Jack splashes water on his face, rips a paper towels from the dispenser, pats his face dry. He balls the wad up, squeezes it in his fist before firing it into the trash. He considers his reflection in the mirror. As he regards himself, we hear the SERVICE BELL ring outside. CUT TO: 6 EXT. FILLING STATION - HIGHWAY 24 - DAY 6 A car has pulled up. The driver talks to several players. They look over as Jack exits. The driver is Clyde Sukeforth. SUKEFORTH Are you Jackie Robinson? CUT TO: TAN REV 6-25-12 7. 7 OMITTED 7 8 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 8 Blinds closed. Jack sits across the desk from Rickey. Sukeforth sits a little further back. Rickey is staring at Jack. Bushy eyebrows flared, light gleams off his glasses. INSERT: August 28, 1945. Brooklyn. Jack doesn't know what to do, looks to Sukeforth. Finally... RICKEY Do you have a girl? JACK Excuse me? RICKEY A man needs a family relying on him. It insures he'll behave responsibly. Do you have a girl? JACK I think so. RICKEY You think so? Jack looks to Sukeforth who smiles placidly. Back to Rickey. WHITE 3-14-12 8. JACK I don't make much money. Between the army and now baseball I've been away a lot. And Rae, Rachel, she wants to finish school. Considering all that, I say I think so. RICKEY Do you love her? Rachel? (JACK CONFUSED) Don't you know? JACK Yes, sir, very much. RICKEY Marry her. What? Rickey stands, walks to a window. Jack looks at Sukeforth who raises a hand as if to say: Give it a chance. RICKEY (CONT'D) Baseball's a hard life; a man needs a good woman by his side. You don't want the only person waiting for you at home to be a catcher. Sukeforth chuckles at that. Rickey fingers open a slat on the blind and peers out. Jack looks hard at him. JACK Coach Sukeforth here said you were starting a new Negro League. That doesn't make sense to me. MR. RICKEY It doesn't, huh? Are you calling us liars, Jack? JACK What's this about, Mr. Rickey? RICKEY This is about baseball. Rickey opens the shade. Sunlight floods in. Rickey follows it to the chalkboard, to the list of players under Montreal. RICKEY (CONT'D) I see you starting in the spring with our affiliate in Montreal. If you make it there, we'll try you down here with the Dodgers. The white Brooklyn Dodgers. Jack looks to Sukeforth who nods: Yes, you heard right. BLUE REV 4-07-12 9. RICKEY (CONT'D) I'll pay you $600 a month and a $3,500 bonus when you sign the contract. Is that agreeable? Believe it or not that's a lot of money to Jack on this day in time. This is all becoming a bit overwhelming. JACK Yes, sir. That's fine. RICKEY There is one condition. I have a pile of scouting reports. I know you can hit behind the runner, that you can read a pitch. The question is can you control your temper? JACK My temper? RICKEY Yes your temper! Are you deaf?! Rickey furious, the avuncular old man gone. Jack sits there, fists now balled. Rickey to Sukeforth like he's not there: RICKEY (CONT'D) He looks proud. Willful. SUKEFORTH He'll need to be. Rickey looks back to Jack who is as angry as he is confused. RICKEY I want to win! I want ballplayers who can win! Are you one of them?! JACK Yes. RICKEY A black man in white baseball. Imagine the reaction. The vitriol. Rickey strides forward, gets in his face. RICKEY (CONT'D) The Dodgers check into a hotel. A decent good hotel. You're worn out from the road and some clerk won't give you the pen to sign in. (SOUTHERN DRAWL) We got no room, boy, not even down in the coal bin where you belong. BLUE REV 4-07-12 10. Jack looks like he wants to tear Rickey apart. RICKEY (CONT'D) The team stops at a restaurant. The waiter won't take your order. (adopts a new voice) Didn't you see the sign on the door? No animals allowed. (LOOMING) What are you going to do then? Fight him? Ruin all my plans? Answer me, you black sonofabitch! JACK (MASTERS HIMSELF) Do you want a ballplayer who doesn't have the guts to fight back? Is that what you want? RICKEY I want one who has the guts not to fight back! There are people who will not like this. They will do anything to get you to react. If you echo a curse with a curse, they will only hear yours. Follow a blow with a blow and they will say a Negro lost his temper; that the Negro does not belong. Your enemy will be out in force, but you can not meet him on his own low ground. We win with hitting, running and fielding, nothing else. We win if the world is convinced of two things: that you are a fine gentlemen and a great ballplayer. Like our Savior, you must have the guts to turn the other cheek. Jack considers Rickey. Rickey looks worn out. RICKEY (CONT'D) Can you do it? Jack poised at what will be his Rubicon. He crosses. JACK Mr. Rickey, you give me a uniform, you give me a number on my back, and I'll give you the guts. CUT TO: PINK REV 4-19-12 11. 9 INT. HALLWAY - ISUM HOUSE - LOS ANGELES - DAY 9 A phone RINGS on a table. RACHEL ISUM steps in, 23, possessed of style that you can only be graced with. RACHEL Hello? CUT TO: 10 INT. LOBBY PAYPHONE - 215 MONTAGUE STREET - BROOKLYN - DAY 10 Jack in a PHONE BOOTH, the lobby busy beyond. JACK Rae, I'm in Brooklyn. INTERCUT THE FOLLOWING: RACHEL Brooklyn? For what? JACK I don't want to say on the phone. In fact, I'm not supposed to tell anyone. She can hear the tingle in his voice. RACHEL Jack? JACK I'm here, Rae RACHEL What's going on? You're supposed to be playing in Chicago? JACK We've been tested you and me. Our loyalty, our faith. We've done everything the right way. Me trying to make money. You finishing school. Separated by the war, now by baseball. We don't owe the world a thing. Only each other. She's actually getting a little scared now. RACHEL Jack, what are you talking about? What happened? GOLDENROD REV 5-9-12 12. JACK The Brooklyn Dodgers just signed me to play ball up in Montreal. It might lead to bigger things. To something wonderful. RACHEL What does it mean? For you and me? JACK Rae. Will you marry me? RACHEL Absolutely. When? JACK Now. RACHEL (LAUGHING) Jack, I don't think we can get married in a phone booth. CUT TO: 11 OMITTED 11 11 A INT. HALLWAY - THE CLARK HOTEL - LOS ANGELES - NIGHT 11 A Jack rounds a corner in a TUXEDO, the bow tie undone. Rachel follows in her WEDDING GOWN. They look beautiful. RACHEL Did my mom look happy? JACK Yes. They reach the door. Jack gets out a key to unlock it. Rachel looks nervous, steps back across the hall. RACHEL Did my gram look happy? Swinging the door open, he looks at her. The air charged. JACK Everyone looked happy. I've never seen so many people looking happy. GOLDENROD REV 5-9-12 12A. RACHEL Did Jack Robinson look happy? (SOFT) What if I can't make you happy? He steps over, aware of her shyness. JACK Too late. You already do. It's you and me, Rae. RACHEL Until the wheels fall off. (UNCERTAIN) The world is waiting for us. JACK It can wait one more night (KISSES HER) Are you coming, Mrs. Robinson? RACHEL (kisses him back) I'd follow you anywhere, Mr. Robinson. He picks her up, carries her over the threshold. As the door clicks shut behind them... CUT TO: 12 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 12 The shades closed; we're scheming again. WENDELL SMITH sits across from Rickey who stares back intently. Bespectacled, 32, Smith covers baseball for the Pittsburgh Courier. RICKEY Who's the best shortstop you ever saw? SMITH Rabbit Tavener. RICKEY Rabbit Tavener? And you call yourself a sports writer? WHITE 3-14-12 13. SMITH Yes, a sentimental one. I'm from Detroit. He was the Tiger shortstop when I was a boy. How about you? Who's your best? RICKEY Pop Lloyd. SMITH Not Honus Wagner? RICKEY Wagner is number two. And Rabbit Tavener would not break my top 25. Where do you suppose Jackie Robinson will end up on that list? SMITH He won't break it. He doesn't have a shortstop's arm. Robinson belongs on second base. RICKEY Alright then, where would he rate at second? SMITH If he was playing now he'd be the best second baseman in the majors. RICKEY High praise. He'll have to be the best in the minor leagues first. SMITH What are you saying, Mr. Rickey? RICKEY I'm saying it's going to be a very interesting spring training. A lot of players are coming back from the war and with gas rationing over, we can train down in Florida again. SMITH Daytona Beach? (RICKEY NODS) You're aware in the past six months a black boy was lynched in Madison, Florida and a black man down in Live Oaks? RICKEY Those towns may as well be a million miles from Daytona. WHITE 3-14-12 14. SMITH Live Oaks is 150 actually. RICKEY I spoke to the Daytona mayor. He assures me there'll be no trouble. But Rickey doesn't sound so sure. They consider each other. RICKEY (CONT'D) Mr. Smith, are you a Communist? SMITH I'm a Democrat. Why do you ask? RICKEY I have a business proposition. What's your salary at the Courier? SMITH Fifty dollars a week. RICKEY I will pay you an additional fifty dollars a week plus expenses if you will attend spring training with Jackie Robinson. You will watch over him, help him to avoid the harm that could come if he were to do or say anything out of turn. You will act as his chauffeur, you will secure accommodations for him wherever the team may be, help him find restaurants, etc... SMITH What's in it for me? Besides the fifty dollars and a whole lot of aggravation? RICKEY Unprecedented access for any reportage you feel appropriate. What do you say, Mr. Smith? SMITH I say yes, sir. If a Negro is good enough to stop a Nazi bullet in France; he's good enough to stop a line drive at Yankee Stadium. RICKEY Ebbets Field actually, but yes, I agree. The world is ready. CUT TO: TAN REV 6-25-12 15. 13 OMITTED 13 14 INT. BALLROOM - THE WALDORF ASTORIA HOTEL - NIGHT 14 Over 500 guests: journalists, players and politicians all listen politely as a SPEECH drones to an end. INSERT: New York City. 23rd Annual Baseball Writer's Association Dinner February 3, 1946. SPEAKER As our former President Herbert Hoover remarked in his tribute to our national pastime: The rigid voluntary rules of right and wrong, as applied in baseball, are second only to religion in strengthening the morals of the American people.' Polite applause as the speaker steps off. The clapping more enthusiastic as the lights dim on all but an impromptu set: plantation house columns. Hoots as a BUTLER appears wearing satin knee breeches and a MONTREAL ROYALS jersey. He holds a ring like a lawn jockey, a WHITE MAN in BLACK FACE. The laughs get louder as he peers out with exaggerated wide eyes. BUTLER Lordy, lordy, it's looking like da massa will be late dis ebning. As the LAUGHS from the audience subside, a sportswriter dressed as a COLONEL enters from stage right. COLONEL Robbie! Robbie! BUTLER Yassuh, Massa Kunl. Here Ah is. Huge LAUGHS as he struts and dances his way over. WHITE 3-14-12 16. COLONEL Jackie, you woolly headed rascal. How long yo' been in the family? BUTLER Ebber since Massa Rickey done bots me from da Kansas City Monarchs. COLONEL (aside to audience) Rickey that no good carpetbagger! What could he be thinking! Huge LAUGHS from that one. Two people enjoying it we'll recognize later as HERB PENNOCK and BOB COOKE. BUTLER Ah came near bein' killed last night, Kunl. COLONEL How's that, Jackie boy? BUTLER Ah was comin' up a dark street and three men was behind me. And they tried to do me with a baseball bat. COLONEL You don't say? BUTLER Yes, suh. Ah recognized one of dem. Ah'm gonna hab him arrested. COLONEL But I thought you said it was dark? BUTLER It was. But I know he played for the Philadelphia Baseball Club. On account of he struck at me three times and never hit me once. That brings the house down. Check out their laughing faces. CUT TO: 15 EXT. LOCKHEED TERMINAL - BURBANK - DAY 15 A gleaming American Airlines DC-3 angled up on the tarmac. PASSENGERS climb the portable stairs and disappear inside. INSERT: February 28, 1946. Burbank, California CUT TO: GOLDENROD REV 5-9-12 17. 16 INT. TERMINAL - BURBANK - DAY 16 Jack and Rachel are being seen off by FRIENDS from the wedding and his mother MALLIE. Jack is in a natty suit with Rachel in a beautiful coat. MALLIE You knock the cover off that ball. JACK I will, Mama. Mallie hugs Jack and then kisses Rachel. MALLIE Look after each other. RACHEL We will. She reaches in her bag, brings out a cardboard SHOEBOX; it's ever so slightly greasy at the bottom. MALLIE Take this. It's chicken. JACK They have food on the plane, Mama. MALLIE You never know what might happen. I don't want you getting there starving and too weak to hit. Rachel gives Jack a subtle but emphatic look: No. CUT TO: 17 EXT. LOCKHEED TARMAC - BURBANK - DAY 17 Jack escorts Rachel to the plane, the shoebox in hand. JACK I couldn't tell her no. RACHEL I know she means well; I just don't want to be seen eating chicken out of a box like some country bumpkin. Jack runs his hand over her coat. JACK No one's going to mistake you for a bumpkin in this. PINK REV 4-19-12 18. RACHEL Well, they'll know I belong on that plane or wherever I happen to be. CUT TO: 18 EXT. DC-3 - DAY (STOCK FOOTAGE) 18 Descending toward a runway. Landing gear coming down. CUT TO: 19 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 19 A WOMAN exits the lady's room, passing a SIGN: White Only. REVERSE to show Rachel looking at it like she's been slapped. Jack joins Rae from the TICKET COUNTER, with the chicken box. INSERT: New Orleans Lakefront Airport. JACK The flight to Pensacola leaves in an hour... You okay? RACHEL I've just never seen one before. JACK (follows her look) We're not in Pasadena anymore. A sudden momentum carries her forward. JACK Honey... Rae -- He takes a step after her, stops as she disappears inside. Jack unsure what to do. He looks around. Looks back. He doesn't need this right now. 20 OMITTED 20 21 OMITTED 21 PINK REV 4-19-12 19. 22 INT. AIRPORT COFFEE SHOP - DAY 22 A black BUSBOY reacts as a bickering Jack and Rachel enter. JACK I promised Mr. Rickey we'd stay out of trouble. RACHEL Did you promise him we wouldn't go to the bathroom? You've done it. JACK Before I promised. RACHEL It was just a toilet. You'd think the commodes were made of gold. The busboy watches as Jack and Rachel slide into a booth. As Jack reaches for a MENU, here comes the COOK. COOK You folks can't sit here. JACK Excuse me? COOK It's white only. Jack looking to Rachel; it's equanimity time. Not easy. COOK I'll sell you some sandwiches. But you gotta take em to go. Jack looks to the busboy, back to the cook. JACK No. You hang onto those. Mastering himself, Jack slides out. Drilling the cook with a look, he offers his hand to Rachel as she slides out as well. CUT TO: 23 OMITTED 23 GREEN REV 4-27-12 20. 24 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 24 Seen from on high. Jack and Rachel, sitting on a bench, two little figures as passengers move along the concourse. They sit a bit apart from each other, the world a wedge. CUT TO: 25 EXT. RUNWAY - PENSACOLA AIRPORT - NIGHT 25 SMOKE PINWHEELS as the wheels of a BOEING 247 touch down. INSERT: Pensacola, Florida. Later that day. CUT TO: 26 INT. BOEING 247 - TARMAC - NIGHT 26 Jack and Rachel worn out among eight other passengers. As the door is opened, FOUR of the eight get up and disembark. After a beat, FOUR NEW PASSENGERS board and take their seat. JACK Just a hop to Daytona now. As Rachel nods, an AIRLINE EMPLOYEE boards, MISS BISHOP. She makes her way over. She spots who she's looking for. MISS BISHOP Jack Robinson? Come with me. She starts away without explaining, looks back at them a bit impatiently. MISS BISHOP Come on now. Both of you. CUT TO: BLUE REV 4-07-12 21. 27 INT. TICKET COUNTER - PENSACOLA AIRPORT - NIGHT 27 The shoe box sitting on the counter, Jack in mid discussion with Miss Bishop. Rachel just behind Jack. MISS BISHOP We have to lighten the plane. There's some bad weather east of here. A heavy plane's dangerous. RACHEL (LOW) Tell her you're with the Dodgers. Jack would rather not play that card. JACK When's the next flight? MISS BISHOP Tomorrow morning. But it's booked. So someone'll have to cancel. Jack and Rachel unaware as a WHITE COUPLE are ushered out a door and onto the tarmac behind them. JACK Look, I'm with the Brooklyn Dodger organization. I've got to get down to Daytona. I'm supposed to report to spring training in the morning. MISS BISHOP We'll do our best to get you down there by tomorrow afternoon, but it might be the day after. RACHEL JACK -- He follows her gaze to where the white couple get on the plane they got off. Jack wheels on Miss Bishop, furious. JACK You gave away our seats! Get us back on that plane! Miss Bishop picks up a PHONE, holds it in Jack's face. MISS BISHOP Do you want to call the Sheriff? Or should I? CUT TO: YELLOW REV 4-24-12 22. 28 EXT. BUS STATION - PENSACOLA - NIGHT 28 Closed. A line of EMPTY BUSES; the BANNER on one: Daytona Beach. Across from it Rachel sits at one end of a BENCH, her fur pulled around her. Jack at the other, staring off into the night. Finally, he reaches down, picks up the shoebox. He pulls out a DRUMSTICK, considers it, then takes a bite. JACK Mama knew... He holds it out to Rachel. She slides over, takes it, takes a bite as well, smiles at him. He smiles back. RACHEL It's good. CUT TO: 29 EXT. BASEBALL FIELD - DAYTONA BEACH, FLORIDA - DAY 29 LEO DUROCHER hitting fungoes. One after the next. PEE WEE REESE and EDDIE STANKY both settle under the same ball. REESE STANKY I got it! I got it! I got it! I got it! They both back off at the last second and it drops to the ground between them. Durocher chuckles. DUROCHER That's what spring training's for, boys! Sort out our differences! He hits another. This time to the outfield where veteran DIXIE WALKER gives chase, finally gives up on it. DUROCHER C'mon, Dixie, get after it! WALKER (LAUGHING) I'm old! DUROCHER I'm gonna squeeze one more year out of that worn out body of yours! WALKER If you could, skipper, my wife would sure appreciate it! DUROCHER Keeping the women happy! That's what it's all about! BLUE REV 4-07-12 23. 29 A EXT./INT. CONVERTIBLE - DAY 29 A Rickey drives a dirt road through the training field singing Two Sleepy People along with the radio: Passing BROOKLYN DODGERS, MONTREAL ROYALS & ST. PAUL SAINTS on either side. Durocher hits another as Rickey pulls up. RICKEY How are they looking, Leo? DUROCHER Rusty, Mr. Rickey. But we'll get em oiled up and ready in no time. You find your lost sheep yet? Troubled, Rickey shakes his head no'. As he does, Harold Parrot hurries over. He's the Dodgers travelling secretary. PARROTT Jackie Robinson's on a bus leaving Pensacola. RICKEY A bus? Harold, how in blazes did he end up on a bus?!

starting

How many times the word 'starting' appears in the text?

42 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 42 Written by Brian Helgeland White - March 14, 2012 Blue Revised - April 7, 2012 Pink Revised - April 19, 2012 Yellow Revised - April 24, 2012 Green Revised - April 27, 2012 Goldenrod Revised - May 9, 2012 Buff Revised - May 29, 2012 Salmon Revised - June 4, 2012 Cherry Revised - June 11, 2012 Tan Revised - June 25, 2012 Double White Revised - June 28, 2012 Double Blue Revised - July 9, 2012 PINK REV 4-19-12 1. A1 WHITE A1 Fills the screen. Falling from the top of frame to the bottom. Pluming off into dust. White, white, white. We move toward it even as it recedes, always out of reach. Finally we pop out wide and high to reveal... The white is chalk. An old BLACK GROUNDSKEEPER lays down the right field line on a baseball diamond. 1 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 1 Blinds closed. Dust motes in the air. A large GOLDFISH TANK bubbles. BRANCH RICKEY at his desk. Two photos on the wall: Abe Lincoln & Leo Durocher. CHALKBOARDS covered with 100's OF NAMES, every player in the Dodger organization. CLYDE SUKEFORTH and HAROLD PARROTT sit across from Rickey who stares at them. Sukeforth stares back. Parrott nervous. RICKEY Gentlemen, I have a plan... As of now, only the Board of Directors and my family know. Sukeforth and Parrott exchange a look. SUKEFORTH A plan's always good, Mr. Rickey. And you always got one. RICKEY My wife says I'm too old, That my health isn't up to it. My son says that every one in baseball will be against me. But I'm going to do it. Parrott looks to Sukeforth who keeps his eyes on Rickey. SUKEFORTH Do what, Mr. Rickey? RICKEY I'm going to bring a Negro ballplayer to the Brooklyn Dodgers. PARROTT With all due respect, sir, have you lost your mind? Imagine the abuse you'll take from the newspapers alone. Never mind how it'll play on Flatbush. Please, Mr. Rickey. Rickey looks dismissively at Parrott, over to Sukeforth. PINK REV 4-19-12 1A. RICKEY There's no law against it, Clyde. SUKEFORTH There's a code. Break a law and get away with it, some people think you're smart. Break an unwritten law though, you'll be an outcast. YELLOW REV 4-24-12 2. RICKEY So be it. New York is full of Negro baseball fans; every dollar is green. I don't know who he is, or where he is, but he's coming. CUT TO: 2 EXT. RICKWOOD FIELD - BIRMINGHAM, ALABAMA - NIGHT 2 The big Birmingham Black Barons CATCHER behind the plate as Kansas City Monarchs JOHN SCOTT stands at bat. The catcher's attention on the RUNNER DANCING off first. Stomping a foot, feinting, hard to see clearly in the glare of the lights. CATCHER Where'd you learn to move like that, runner?! At dime a dance night?! Stay quiet! INSERT: Birmingham, Alabama. April 8, 1945. On the first pitch the runner takes off. The catcher fires to second. See it from his POV as the runner slides in SAFE! A foot on the bag, the runner dusts off, heckles the catcher: RUNNER Is that the best you got?! Huh?! I'm going to steal nine, ten bases today! You better start counting! The catcher frowns. Standing, we see he is a big, big man. CATCHER (ALABAMAN) Where's your shortstop from? JOHN SCOTT (LOUISIANAN) California. CATCHER He's got a mouth on him. Shaking his head, the catcher gets back in his crouch, signals the PITCHER. On the wind-up, the Runner is off again. The catcher fires to THIRD: Safe! RUNNER You got a rag arm, catcher! CATCHER Steal home! You'll find out what kind of arm I got! DBL. BLUE REV 7-9-12 3. RUNNER Okay, I'm coming! The Catcher looks over at Scott who chuckles. CATCHER California, huh? (SCOTT NODS) Well California here he goes, if he comes down here. The Catcher gets back down in his squat. Signals the pitcher: fastball. Scott digs in, ready. The runner dancing off third. Here comes the wind-up... The Runner takes off even as the pitcher fires it in. The Birmingham Catcher receives it. As the Runner slides -- The Catcher intentionally drives his glove, the ball and both hands into the runner's face -- WHALLOP! Sound drops as we're knocked flat senseless along with the runner. ON HIM now as he tries to push himself up from the dirt. A close look at JACK ROOSEVELT ROBINSON. A born battler, he shakes out the cobwebs, finally lurches to his feet, looks to the UMPIRE. He never heard the call. JACK What was I? The umpire passes one hand over the other: Safe. Jack looks over at the catcher, gives him a pointed look as he goes -- The catcher shoves him in the back. Jack turns, shoves back. As the two men wrestles each other to the ground -- CUT TO: 3 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 3 Rickey and Sukeforth going through stacks of FILES on the desk. A black ballplayer's picture is clipped to each. As Rickey reviews one, Sukeforth tries to hand him another. SUKEFORTH Josh Gibson. Oh boy can he hit. RICKEY No. SUKEFORTH No? Rickey won't take the file; the answer is no. DBL. BLUE REV 7-9-12 4. SUKEFORTH Alright. Roy Campanella. Sukeforth holds it out; Rickey won't take it. RICKEY A heck of a player. But too sweet, they'll eat him alive. SUKEFORTH (holds up file) Satchel Paige then. Parrott enters carrying an armful of files. RICKEY Too old. We need a man with a future not a past. (holds up his own FILE) Here. Jack Roosevelt Robinson. As Parrott sets them on the desk, they start to slide off, spilling to the floor. Helpless to stem the tide, Parrott looks down, surrounded by black faces... RICKEY (flips through file) A four sport college man, out of UCLA. That means he's played with white boys. (SCANS FILE) Twenty-six years old, now with the Kansas City Monarchs. Batting over 350 even as we speak. 350! And he was a commissioned army officer! SUKEFORTH He was court-martialed. A trouble maker. He argues with umpires. A quick temper is his reputation. Rickey is obviously keen on him. PARROT What was he court-martialed for? RICKEY For refusing to sit in the back of a military bus. (checks the file) Ft. Hood, Texas. The driver asked him to move back. The MPs had to take him off. DBL. BLUE REV 7-9-12 5. SUKEFORTH Do you see? RICKEY I see he resents segregation. If he were white, we'd call it spirit! PARROT If he were white, sir, we wouldn't be looking for him. Rickey ends the debate... RICKEY Robinson's a Methodist. I'm a Methodist. God's a Methodist. We can't go wrong. Find him. Bring him here. CUT TO: 4 EXT. FILLING STATION - INTERSTATE 24 - DAY 4 A BLOODHOUND watches as a BUS pulls into a SERVICE STATION, the tires RING the bell hose. A million miles easy on this road rumbler. The BANNER reads: KC Monarchs. Insert: Interstate 24, Missouri - August 24, 1945. The DRIVER steps off. The fellas follow, getting off to stretch their legs. Hot and tired. A WHITE ATTENDANT saunters out. The driver steps over to meet him. ATTENDANT Fill her up? DRIVER Yes, sir. The attendant starts unscrewing caps on two 50-GALLON TANKS. ATTENDANT Where you all headed? DRIVER Chicago. As the attendant shoves down a pump, starts filling, Jack steps off. He spots and heads for a restroom. White Men Only lettered on the door. The attendant roused as he sees. ATTENDANT Hey! Where you going, boy!? BLUE REV 4-07-12 6. Everyone looking over as Jack stops. JACK I'm going to the toilet. ATTENDANT Shit, boy, c'mon. You know you can't go in there. Jack does a slow burn, then suddenly strides toward the attendant. The air rife with tension. JACK Take that hose out of the tank. ATTENDANT Huh? DRIVER ROBINSON -- JACK Take it out. We'll get our ninety- nine gallons of gas someplace else. The attendant blinks. He takes a look from Jack to up and down the deserted highway. No business in sight. ATTENDANT Okay, use it. But don't stay in there too long. Jack heads back. The Driver, the players, a bit stunned. CUT TO: 5 INT. WHITE MEN ONLY REST ROOM - FILLING STATION - DAY 5 Jack splashes water on his face, rips a paper towels from the dispenser, pats his face dry. He balls the wad up, squeezes it in his fist before firing it into the trash. He considers his reflection in the mirror. As he regards himself, we hear the SERVICE BELL ring outside. CUT TO: 6 EXT. FILLING STATION - HIGHWAY 24 - DAY 6 A car has pulled up. The driver talks to several players. They look over as Jack exits. The driver is Clyde Sukeforth. SUKEFORTH Are you Jackie Robinson? CUT TO: TAN REV 6-25-12 7. 7 OMITTED 7 8 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 8 Blinds closed. Jack sits across the desk from Rickey. Sukeforth sits a little further back. Rickey is staring at Jack. Bushy eyebrows flared, light gleams off his glasses. INSERT: August 28, 1945. Brooklyn. Jack doesn't know what to do, looks to Sukeforth. Finally... RICKEY Do you have a girl? JACK Excuse me? RICKEY A man needs a family relying on him. It insures he'll behave responsibly. Do you have a girl? JACK I think so. RICKEY You think so? Jack looks to Sukeforth who smiles placidly. Back to Rickey. WHITE 3-14-12 8. JACK I don't make much money. Between the army and now baseball I've been away a lot. And Rae, Rachel, she wants to finish school. Considering all that, I say I think so. RICKEY Do you love her? Rachel? (JACK CONFUSED) Don't you know? JACK Yes, sir, very much. RICKEY Marry her. What? Rickey stands, walks to a window. Jack looks at Sukeforth who raises a hand as if to say: Give it a chance. RICKEY (CONT'D) Baseball's a hard life; a man needs a good woman by his side. You don't want the only person waiting for you at home to be a catcher. Sukeforth chuckles at that. Rickey fingers open a slat on the blind and peers out. Jack looks hard at him. JACK Coach Sukeforth here said you were starting a new Negro League. That doesn't make sense to me. MR. RICKEY It doesn't, huh? Are you calling us liars, Jack? JACK What's this about, Mr. Rickey? RICKEY This is about baseball. Rickey opens the shade. Sunlight floods in. Rickey follows it to the chalkboard, to the list of players under Montreal. RICKEY (CONT'D) I see you starting in the spring with our affiliate in Montreal. If you make it there, we'll try you down here with the Dodgers. The white Brooklyn Dodgers. Jack looks to Sukeforth who nods: Yes, you heard right. BLUE REV 4-07-12 9. RICKEY (CONT'D) I'll pay you $600 a month and a $3,500 bonus when you sign the contract. Is that agreeable? Believe it or not that's a lot of money to Jack on this day in time. This is all becoming a bit overwhelming. JACK Yes, sir. That's fine. RICKEY There is one condition. I have a pile of scouting reports. I know you can hit behind the runner, that you can read a pitch. The question is can you control your temper? JACK My temper? RICKEY Yes your temper! Are you deaf?! Rickey furious, the avuncular old man gone. Jack sits there, fists now balled. Rickey to Sukeforth like he's not there: RICKEY (CONT'D) He looks proud. Willful. SUKEFORTH He'll need to be. Rickey looks back to Jack who is as angry as he is confused. RICKEY I want to win! I want ballplayers who can win! Are you one of them?! JACK Yes. RICKEY A black man in white baseball. Imagine the reaction. The vitriol. Rickey strides forward, gets in his face. RICKEY (CONT'D) The Dodgers check into a hotel. A decent good hotel. You're worn out from the road and some clerk won't give you the pen to sign in. (SOUTHERN DRAWL) We got no room, boy, not even down in the coal bin where you belong. BLUE REV 4-07-12 10. Jack looks like he wants to tear Rickey apart. RICKEY (CONT'D) The team stops at a restaurant. The waiter won't take your order. (adopts a new voice) Didn't you see the sign on the door? No animals allowed. (LOOMING) What are you going to do then? Fight him? Ruin all my plans? Answer me, you black sonofabitch! JACK (MASTERS HIMSELF) Do you want a ballplayer who doesn't have the guts to fight back? Is that what you want? RICKEY I want one who has the guts not to fight back! There are people who will not like this. They will do anything to get you to react. If you echo a curse with a curse, they will only hear yours. Follow a blow with a blow and they will say a Negro lost his temper; that the Negro does not belong. Your enemy will be out in force, but you can not meet him on his own low ground. We win with hitting, running and fielding, nothing else. We win if the world is convinced of two things: that you are a fine gentlemen and a great ballplayer. Like our Savior, you must have the guts to turn the other cheek. Jack considers Rickey. Rickey looks worn out. RICKEY (CONT'D) Can you do it? Jack poised at what will be his Rubicon. He crosses. JACK Mr. Rickey, you give me a uniform, you give me a number on my back, and I'll give you the guts. CUT TO: PINK REV 4-19-12 11. 9 INT. HALLWAY - ISUM HOUSE - LOS ANGELES - DAY 9 A phone RINGS on a table. RACHEL ISUM steps in, 23, possessed of style that you can only be graced with. RACHEL Hello? CUT TO: 10 INT. LOBBY PAYPHONE - 215 MONTAGUE STREET - BROOKLYN - DAY 10 Jack in a PHONE BOOTH, the lobby busy beyond. JACK Rae, I'm in Brooklyn. INTERCUT THE FOLLOWING: RACHEL Brooklyn? For what? JACK I don't want to say on the phone. In fact, I'm not supposed to tell anyone. She can hear the tingle in his voice. RACHEL Jack? JACK I'm here, Rae RACHEL What's going on? You're supposed to be playing in Chicago? JACK We've been tested you and me. Our loyalty, our faith. We've done everything the right way. Me trying to make money. You finishing school. Separated by the war, now by baseball. We don't owe the world a thing. Only each other. She's actually getting a little scared now. RACHEL Jack, what are you talking about? What happened? GOLDENROD REV 5-9-12 12. JACK The Brooklyn Dodgers just signed me to play ball up in Montreal. It might lead to bigger things. To something wonderful. RACHEL What does it mean? For you and me? JACK Rae. Will you marry me? RACHEL Absolutely. When? JACK Now. RACHEL (LAUGHING) Jack, I don't think we can get married in a phone booth. CUT TO: 11 OMITTED 11 11 A INT. HALLWAY - THE CLARK HOTEL - LOS ANGELES - NIGHT 11 A Jack rounds a corner in a TUXEDO, the bow tie undone. Rachel follows in her WEDDING GOWN. They look beautiful. RACHEL Did my mom look happy? JACK Yes. They reach the door. Jack gets out a key to unlock it. Rachel looks nervous, steps back across the hall. RACHEL Did my gram look happy? Swinging the door open, he looks at her. The air charged. JACK Everyone looked happy. I've never seen so many people looking happy. GOLDENROD REV 5-9-12 12A. RACHEL Did Jack Robinson look happy? (SOFT) What if I can't make you happy? He steps over, aware of her shyness. JACK Too late. You already do. It's you and me, Rae. RACHEL Until the wheels fall off. (UNCERTAIN) The world is waiting for us. JACK It can wait one more night (KISSES HER) Are you coming, Mrs. Robinson? RACHEL (kisses him back) I'd follow you anywhere, Mr. Robinson. He picks her up, carries her over the threshold. As the door clicks shut behind them... CUT TO: 12 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 12 The shades closed; we're scheming again. WENDELL SMITH sits across from Rickey who stares back intently. Bespectacled, 32, Smith covers baseball for the Pittsburgh Courier. RICKEY Who's the best shortstop you ever saw? SMITH Rabbit Tavener. RICKEY Rabbit Tavener? And you call yourself a sports writer? WHITE 3-14-12 13. SMITH Yes, a sentimental one. I'm from Detroit. He was the Tiger shortstop when I was a boy. How about you? Who's your best? RICKEY Pop Lloyd. SMITH Not Honus Wagner? RICKEY Wagner is number two. And Rabbit Tavener would not break my top 25. Where do you suppose Jackie Robinson will end up on that list? SMITH He won't break it. He doesn't have a shortstop's arm. Robinson belongs on second base. RICKEY Alright then, where would he rate at second? SMITH If he was playing now he'd be the best second baseman in the majors. RICKEY High praise. He'll have to be the best in the minor leagues first. SMITH What are you saying, Mr. Rickey? RICKEY I'm saying it's going to be a very interesting spring training. A lot of players are coming back from the war and with gas rationing over, we can train down in Florida again. SMITH Daytona Beach? (RICKEY NODS) You're aware in the past six months a black boy was lynched in Madison, Florida and a black man down in Live Oaks? RICKEY Those towns may as well be a million miles from Daytona. WHITE 3-14-12 14. SMITH Live Oaks is 150 actually. RICKEY I spoke to the Daytona mayor. He assures me there'll be no trouble. But Rickey doesn't sound so sure. They consider each other. RICKEY (CONT'D) Mr. Smith, are you a Communist? SMITH I'm a Democrat. Why do you ask? RICKEY I have a business proposition. What's your salary at the Courier? SMITH Fifty dollars a week. RICKEY I will pay you an additional fifty dollars a week plus expenses if you will attend spring training with Jackie Robinson. You will watch over him, help him to avoid the harm that could come if he were to do or say anything out of turn. You will act as his chauffeur, you will secure accommodations for him wherever the team may be, help him find restaurants, etc... SMITH What's in it for me? Besides the fifty dollars and a whole lot of aggravation? RICKEY Unprecedented access for any reportage you feel appropriate. What do you say, Mr. Smith? SMITH I say yes, sir. If a Negro is good enough to stop a Nazi bullet in France; he's good enough to stop a line drive at Yankee Stadium. RICKEY Ebbets Field actually, but yes, I agree. The world is ready. CUT TO: TAN REV 6-25-12 15. 13 OMITTED 13 14 INT. BALLROOM - THE WALDORF ASTORIA HOTEL - NIGHT 14 Over 500 guests: journalists, players and politicians all listen politely as a SPEECH drones to an end. INSERT: New York City. 23rd Annual Baseball Writer's Association Dinner February 3, 1946. SPEAKER As our former President Herbert Hoover remarked in his tribute to our national pastime: The rigid voluntary rules of right and wrong, as applied in baseball, are second only to religion in strengthening the morals of the American people.' Polite applause as the speaker steps off. The clapping more enthusiastic as the lights dim on all but an impromptu set: plantation house columns. Hoots as a BUTLER appears wearing satin knee breeches and a MONTREAL ROYALS jersey. He holds a ring like a lawn jockey, a WHITE MAN in BLACK FACE. The laughs get louder as he peers out with exaggerated wide eyes. BUTLER Lordy, lordy, it's looking like da massa will be late dis ebning. As the LAUGHS from the audience subside, a sportswriter dressed as a COLONEL enters from stage right. COLONEL Robbie! Robbie! BUTLER Yassuh, Massa Kunl. Here Ah is. Huge LAUGHS as he struts and dances his way over. WHITE 3-14-12 16. COLONEL Jackie, you woolly headed rascal. How long yo' been in the family? BUTLER Ebber since Massa Rickey done bots me from da Kansas City Monarchs. COLONEL (aside to audience) Rickey that no good carpetbagger! What could he be thinking! Huge LAUGHS from that one. Two people enjoying it we'll recognize later as HERB PENNOCK and BOB COOKE. BUTLER Ah came near bein' killed last night, Kunl. COLONEL How's that, Jackie boy? BUTLER Ah was comin' up a dark street and three men was behind me. And they tried to do me with a baseball bat. COLONEL You don't say? BUTLER Yes, suh. Ah recognized one of dem. Ah'm gonna hab him arrested. COLONEL But I thought you said it was dark? BUTLER It was. But I know he played for the Philadelphia Baseball Club. On account of he struck at me three times and never hit me once. That brings the house down. Check out their laughing faces. CUT TO: 15 EXT. LOCKHEED TERMINAL - BURBANK - DAY 15 A gleaming American Airlines DC-3 angled up on the tarmac. PASSENGERS climb the portable stairs and disappear inside. INSERT: February 28, 1946. Burbank, California CUT TO: GOLDENROD REV 5-9-12 17. 16 INT. TERMINAL - BURBANK - DAY 16 Jack and Rachel are being seen off by FRIENDS from the wedding and his mother MALLIE. Jack is in a natty suit with Rachel in a beautiful coat. MALLIE You knock the cover off that ball. JACK I will, Mama. Mallie hugs Jack and then kisses Rachel. MALLIE Look after each other. RACHEL We will. She reaches in her bag, brings out a cardboard SHOEBOX; it's ever so slightly greasy at the bottom. MALLIE Take this. It's chicken. JACK They have food on the plane, Mama. MALLIE You never know what might happen. I don't want you getting there starving and too weak to hit. Rachel gives Jack a subtle but emphatic look: No. CUT TO: 17 EXT. LOCKHEED TARMAC - BURBANK - DAY 17 Jack escorts Rachel to the plane, the shoebox in hand. JACK I couldn't tell her no. RACHEL I know she means well; I just don't want to be seen eating chicken out of a box like some country bumpkin. Jack runs his hand over her coat. JACK No one's going to mistake you for a bumpkin in this. PINK REV 4-19-12 18. RACHEL Well, they'll know I belong on that plane or wherever I happen to be. CUT TO: 18 EXT. DC-3 - DAY (STOCK FOOTAGE) 18 Descending toward a runway. Landing gear coming down. CUT TO: 19 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 19 A WOMAN exits the lady's room, passing a SIGN: White Only. REVERSE to show Rachel looking at it like she's been slapped. Jack joins Rae from the TICKET COUNTER, with the chicken box. INSERT: New Orleans Lakefront Airport. JACK The flight to Pensacola leaves in an hour... You okay? RACHEL I've just never seen one before. JACK (follows her look) We're not in Pasadena anymore. A sudden momentum carries her forward. JACK Honey... Rae -- He takes a step after her, stops as she disappears inside. Jack unsure what to do. He looks around. Looks back. He doesn't need this right now. 20 OMITTED 20 21 OMITTED 21 PINK REV 4-19-12 19. 22 INT. AIRPORT COFFEE SHOP - DAY 22 A black BUSBOY reacts as a bickering Jack and Rachel enter. JACK I promised Mr. Rickey we'd stay out of trouble. RACHEL Did you promise him we wouldn't go to the bathroom? You've done it. JACK Before I promised. RACHEL It was just a toilet. You'd think the commodes were made of gold. The busboy watches as Jack and Rachel slide into a booth. As Jack reaches for a MENU, here comes the COOK. COOK You folks can't sit here. JACK Excuse me? COOK It's white only. Jack looking to Rachel; it's equanimity time. Not easy. COOK I'll sell you some sandwiches. But you gotta take em to go. Jack looks to the busboy, back to the cook. JACK No. You hang onto those. Mastering himself, Jack slides out. Drilling the cook with a look, he offers his hand to Rachel as she slides out as well. CUT TO: 23 OMITTED 23 GREEN REV 4-27-12 20. 24 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 24 Seen from on high. Jack and Rachel, sitting on a bench, two little figures as passengers move along the concourse. They sit a bit apart from each other, the world a wedge. CUT TO: 25 EXT. RUNWAY - PENSACOLA AIRPORT - NIGHT 25 SMOKE PINWHEELS as the wheels of a BOEING 247 touch down. INSERT: Pensacola, Florida. Later that day. CUT TO: 26 INT. BOEING 247 - TARMAC - NIGHT 26 Jack and Rachel worn out among eight other passengers. As the door is opened, FOUR of the eight get up and disembark. After a beat, FOUR NEW PASSENGERS board and take their seat. JACK Just a hop to Daytona now. As Rachel nods, an AIRLINE EMPLOYEE boards, MISS BISHOP. She makes her way over. She spots who she's looking for. MISS BISHOP Jack Robinson? Come with me. She starts away without explaining, looks back at them a bit impatiently. MISS BISHOP Come on now. Both of you. CUT TO: BLUE REV 4-07-12 21. 27 INT. TICKET COUNTER - PENSACOLA AIRPORT - NIGHT 27 The shoe box sitting on the counter, Jack in mid discussion with Miss Bishop. Rachel just behind Jack. MISS BISHOP We have to lighten the plane. There's some bad weather east of here. A heavy plane's dangerous. RACHEL (LOW) Tell her you're with the Dodgers. Jack would rather not play that card. JACK When's the next flight? MISS BISHOP Tomorrow morning. But it's booked. So someone'll have to cancel. Jack and Rachel unaware as a WHITE COUPLE are ushered out a door and onto the tarmac behind them. JACK Look, I'm with the Brooklyn Dodger organization. I've got to get down to Daytona. I'm supposed to report to spring training in the morning. MISS BISHOP We'll do our best to get you down there by tomorrow afternoon, but it might be the day after. RACHEL JACK -- He follows her gaze to where the white couple get on the plane they got off. Jack wheels on Miss Bishop, furious. JACK You gave away our seats! Get us back on that plane! Miss Bishop picks up a PHONE, holds it in Jack's face. MISS BISHOP Do you want to call the Sheriff? Or should I? CUT TO: YELLOW REV 4-24-12 22. 28 EXT. BUS STATION - PENSACOLA - NIGHT 28 Closed. A line of EMPTY BUSES; the BANNER on one: Daytona Beach. Across from it Rachel sits at one end of a BENCH, her fur pulled around her. Jack at the other, staring off into the night. Finally, he reaches down, picks up the shoebox. He pulls out a DRUMSTICK, considers it, then takes a bite. JACK Mama knew... He holds it out to Rachel. She slides over, takes it, takes a bite as well, smiles at him. He smiles back. RACHEL It's good. CUT TO: 29 EXT. BASEBALL FIELD - DAYTONA BEACH, FLORIDA - DAY 29 LEO DUROCHER hitting fungoes. One after the next. PEE WEE REESE and EDDIE STANKY both settle under the same ball. REESE STANKY I got it! I got it! I got it! I got it! They both back off at the last second and it drops to the ground between them. Durocher chuckles. DUROCHER That's what spring training's for, boys! Sort out our differences! He hits another. This time to the outfield where veteran DIXIE WALKER gives chase, finally gives up on it. DUROCHER C'mon, Dixie, get after it! WALKER (LAUGHING) I'm old! DUROCHER I'm gonna squeeze one more year out of that worn out body of yours! WALKER If you could, skipper, my wife would sure appreciate it! DUROCHER Keeping the women happy! That's what it's all about! BLUE REV 4-07-12 23. 29 A EXT./INT. CONVERTIBLE - DAY 29 A Rickey drives a dirt road through the training field singing Two Sleepy People along with the radio: Passing BROOKLYN DODGERS, MONTREAL ROYALS & ST. PAUL SAINTS on either side. Durocher hits another as Rickey pulls up. RICKEY How are they looking, Leo? DUROCHER Rusty, Mr. Rickey. But we'll get em oiled up and ready in no time. You find your lost sheep yet? Troubled, Rickey shakes his head no'. As he does, Harold Parrot hurries over. He's the Dodgers travelling secretary. PARROTT Jackie Robinson's on a bus leaving Pensacola. RICKEY A bus? Harold, how in blazes did he end up on a bus?!

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How many times the word 'actually' appears in the text?

42 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 42 Written by Brian Helgeland White - March 14, 2012 Blue Revised - April 7, 2012 Pink Revised - April 19, 2012 Yellow Revised - April 24, 2012 Green Revised - April 27, 2012 Goldenrod Revised - May 9, 2012 Buff Revised - May 29, 2012 Salmon Revised - June 4, 2012 Cherry Revised - June 11, 2012 Tan Revised - June 25, 2012 Double White Revised - June 28, 2012 Double Blue Revised - July 9, 2012 PINK REV 4-19-12 1. A1 WHITE A1 Fills the screen. Falling from the top of frame to the bottom. Pluming off into dust. White, white, white. We move toward it even as it recedes, always out of reach. Finally we pop out wide and high to reveal... The white is chalk. An old BLACK GROUNDSKEEPER lays down the right field line on a baseball diamond. 1 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 1 Blinds closed. Dust motes in the air. A large GOLDFISH TANK bubbles. BRANCH RICKEY at his desk. Two photos on the wall: Abe Lincoln & Leo Durocher. CHALKBOARDS covered with 100's OF NAMES, every player in the Dodger organization. CLYDE SUKEFORTH and HAROLD PARROTT sit across from Rickey who stares at them. Sukeforth stares back. Parrott nervous. RICKEY Gentlemen, I have a plan... As of now, only the Board of Directors and my family know. Sukeforth and Parrott exchange a look. SUKEFORTH A plan's always good, Mr. Rickey. And you always got one. RICKEY My wife says I'm too old, That my health isn't up to it. My son says that every one in baseball will be against me. But I'm going to do it. Parrott looks to Sukeforth who keeps his eyes on Rickey. SUKEFORTH Do what, Mr. Rickey? RICKEY I'm going to bring a Negro ballplayer to the Brooklyn Dodgers. PARROTT With all due respect, sir, have you lost your mind? Imagine the abuse you'll take from the newspapers alone. Never mind how it'll play on Flatbush. Please, Mr. Rickey. Rickey looks dismissively at Parrott, over to Sukeforth. PINK REV 4-19-12 1A. RICKEY There's no law against it, Clyde. SUKEFORTH There's a code. Break a law and get away with it, some people think you're smart. Break an unwritten law though, you'll be an outcast. YELLOW REV 4-24-12 2. RICKEY So be it. New York is full of Negro baseball fans; every dollar is green. I don't know who he is, or where he is, but he's coming. CUT TO: 2 EXT. RICKWOOD FIELD - BIRMINGHAM, ALABAMA - NIGHT 2 The big Birmingham Black Barons CATCHER behind the plate as Kansas City Monarchs JOHN SCOTT stands at bat. The catcher's attention on the RUNNER DANCING off first. Stomping a foot, feinting, hard to see clearly in the glare of the lights. CATCHER Where'd you learn to move like that, runner?! At dime a dance night?! Stay quiet! INSERT: Birmingham, Alabama. April 8, 1945. On the first pitch the runner takes off. The catcher fires to second. See it from his POV as the runner slides in SAFE! A foot on the bag, the runner dusts off, heckles the catcher: RUNNER Is that the best you got?! Huh?! I'm going to steal nine, ten bases today! You better start counting! The catcher frowns. Standing, we see he is a big, big man. CATCHER (ALABAMAN) Where's your shortstop from? JOHN SCOTT (LOUISIANAN) California. CATCHER He's got a mouth on him. Shaking his head, the catcher gets back in his crouch, signals the PITCHER. On the wind-up, the Runner is off again. The catcher fires to THIRD: Safe! RUNNER You got a rag arm, catcher! CATCHER Steal home! You'll find out what kind of arm I got! DBL. BLUE REV 7-9-12 3. RUNNER Okay, I'm coming! The Catcher looks over at Scott who chuckles. CATCHER California, huh? (SCOTT NODS) Well California here he goes, if he comes down here. The Catcher gets back down in his squat. Signals the pitcher: fastball. Scott digs in, ready. The runner dancing off third. Here comes the wind-up... The Runner takes off even as the pitcher fires it in. The Birmingham Catcher receives it. As the Runner slides -- The Catcher intentionally drives his glove, the ball and both hands into the runner's face -- WHALLOP! Sound drops as we're knocked flat senseless along with the runner. ON HIM now as he tries to push himself up from the dirt. A close look at JACK ROOSEVELT ROBINSON. A born battler, he shakes out the cobwebs, finally lurches to his feet, looks to the UMPIRE. He never heard the call. JACK What was I? The umpire passes one hand over the other: Safe. Jack looks over at the catcher, gives him a pointed look as he goes -- The catcher shoves him in the back. Jack turns, shoves back. As the two men wrestles each other to the ground -- CUT TO: 3 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 3 Rickey and Sukeforth going through stacks of FILES on the desk. A black ballplayer's picture is clipped to each. As Rickey reviews one, Sukeforth tries to hand him another. SUKEFORTH Josh Gibson. Oh boy can he hit. RICKEY No. SUKEFORTH No? Rickey won't take the file; the answer is no. DBL. BLUE REV 7-9-12 4. SUKEFORTH Alright. Roy Campanella. Sukeforth holds it out; Rickey won't take it. RICKEY A heck of a player. But too sweet, they'll eat him alive. SUKEFORTH (holds up file) Satchel Paige then. Parrott enters carrying an armful of files. RICKEY Too old. We need a man with a future not a past. (holds up his own FILE) Here. Jack Roosevelt Robinson. As Parrott sets them on the desk, they start to slide off, spilling to the floor. Helpless to stem the tide, Parrott looks down, surrounded by black faces... RICKEY (flips through file) A four sport college man, out of UCLA. That means he's played with white boys. (SCANS FILE) Twenty-six years old, now with the Kansas City Monarchs. Batting over 350 even as we speak. 350! And he was a commissioned army officer! SUKEFORTH He was court-martialed. A trouble maker. He argues with umpires. A quick temper is his reputation. Rickey is obviously keen on him. PARROT What was he court-martialed for? RICKEY For refusing to sit in the back of a military bus. (checks the file) Ft. Hood, Texas. The driver asked him to move back. The MPs had to take him off. DBL. BLUE REV 7-9-12 5. SUKEFORTH Do you see? RICKEY I see he resents segregation. If he were white, we'd call it spirit! PARROT If he were white, sir, we wouldn't be looking for him. Rickey ends the debate... RICKEY Robinson's a Methodist. I'm a Methodist. God's a Methodist. We can't go wrong. Find him. Bring him here. CUT TO: 4 EXT. FILLING STATION - INTERSTATE 24 - DAY 4 A BLOODHOUND watches as a BUS pulls into a SERVICE STATION, the tires RING the bell hose. A million miles easy on this road rumbler. The BANNER reads: KC Monarchs. Insert: Interstate 24, Missouri - August 24, 1945. The DRIVER steps off. The fellas follow, getting off to stretch their legs. Hot and tired. A WHITE ATTENDANT saunters out. The driver steps over to meet him. ATTENDANT Fill her up? DRIVER Yes, sir. The attendant starts unscrewing caps on two 50-GALLON TANKS. ATTENDANT Where you all headed? DRIVER Chicago. As the attendant shoves down a pump, starts filling, Jack steps off. He spots and heads for a restroom. White Men Only lettered on the door. The attendant roused as he sees. ATTENDANT Hey! Where you going, boy!? BLUE REV 4-07-12 6. Everyone looking over as Jack stops. JACK I'm going to the toilet. ATTENDANT Shit, boy, c'mon. You know you can't go in there. Jack does a slow burn, then suddenly strides toward the attendant. The air rife with tension. JACK Take that hose out of the tank. ATTENDANT Huh? DRIVER ROBINSON -- JACK Take it out. We'll get our ninety- nine gallons of gas someplace else. The attendant blinks. He takes a look from Jack to up and down the deserted highway. No business in sight. ATTENDANT Okay, use it. But don't stay in there too long. Jack heads back. The Driver, the players, a bit stunned. CUT TO: 5 INT. WHITE MEN ONLY REST ROOM - FILLING STATION - DAY 5 Jack splashes water on his face, rips a paper towels from the dispenser, pats his face dry. He balls the wad up, squeezes it in his fist before firing it into the trash. He considers his reflection in the mirror. As he regards himself, we hear the SERVICE BELL ring outside. CUT TO: 6 EXT. FILLING STATION - HIGHWAY 24 - DAY 6 A car has pulled up. The driver talks to several players. They look over as Jack exits. The driver is Clyde Sukeforth. SUKEFORTH Are you Jackie Robinson? CUT TO: TAN REV 6-25-12 7. 7 OMITTED 7 8 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 8 Blinds closed. Jack sits across the desk from Rickey. Sukeforth sits a little further back. Rickey is staring at Jack. Bushy eyebrows flared, light gleams off his glasses. INSERT: August 28, 1945. Brooklyn. Jack doesn't know what to do, looks to Sukeforth. Finally... RICKEY Do you have a girl? JACK Excuse me? RICKEY A man needs a family relying on him. It insures he'll behave responsibly. Do you have a girl? JACK I think so. RICKEY You think so? Jack looks to Sukeforth who smiles placidly. Back to Rickey. WHITE 3-14-12 8. JACK I don't make much money. Between the army and now baseball I've been away a lot. And Rae, Rachel, she wants to finish school. Considering all that, I say I think so. RICKEY Do you love her? Rachel? (JACK CONFUSED) Don't you know? JACK Yes, sir, very much. RICKEY Marry her. What? Rickey stands, walks to a window. Jack looks at Sukeforth who raises a hand as if to say: Give it a chance. RICKEY (CONT'D) Baseball's a hard life; a man needs a good woman by his side. You don't want the only person waiting for you at home to be a catcher. Sukeforth chuckles at that. Rickey fingers open a slat on the blind and peers out. Jack looks hard at him. JACK Coach Sukeforth here said you were starting a new Negro League. That doesn't make sense to me. MR. RICKEY It doesn't, huh? Are you calling us liars, Jack? JACK What's this about, Mr. Rickey? RICKEY This is about baseball. Rickey opens the shade. Sunlight floods in. Rickey follows it to the chalkboard, to the list of players under Montreal. RICKEY (CONT'D) I see you starting in the spring with our affiliate in Montreal. If you make it there, we'll try you down here with the Dodgers. The white Brooklyn Dodgers. Jack looks to Sukeforth who nods: Yes, you heard right. BLUE REV 4-07-12 9. RICKEY (CONT'D) I'll pay you $600 a month and a $3,500 bonus when you sign the contract. Is that agreeable? Believe it or not that's a lot of money to Jack on this day in time. This is all becoming a bit overwhelming. JACK Yes, sir. That's fine. RICKEY There is one condition. I have a pile of scouting reports. I know you can hit behind the runner, that you can read a pitch. The question is can you control your temper? JACK My temper? RICKEY Yes your temper! Are you deaf?! Rickey furious, the avuncular old man gone. Jack sits there, fists now balled. Rickey to Sukeforth like he's not there: RICKEY (CONT'D) He looks proud. Willful. SUKEFORTH He'll need to be. Rickey looks back to Jack who is as angry as he is confused. RICKEY I want to win! I want ballplayers who can win! Are you one of them?! JACK Yes. RICKEY A black man in white baseball. Imagine the reaction. The vitriol. Rickey strides forward, gets in his face. RICKEY (CONT'D) The Dodgers check into a hotel. A decent good hotel. You're worn out from the road and some clerk won't give you the pen to sign in. (SOUTHERN DRAWL) We got no room, boy, not even down in the coal bin where you belong. BLUE REV 4-07-12 10. Jack looks like he wants to tear Rickey apart. RICKEY (CONT'D) The team stops at a restaurant. The waiter won't take your order. (adopts a new voice) Didn't you see the sign on the door? No animals allowed. (LOOMING) What are you going to do then? Fight him? Ruin all my plans? Answer me, you black sonofabitch! JACK (MASTERS HIMSELF) Do you want a ballplayer who doesn't have the guts to fight back? Is that what you want? RICKEY I want one who has the guts not to fight back! There are people who will not like this. They will do anything to get you to react. If you echo a curse with a curse, they will only hear yours. Follow a blow with a blow and they will say a Negro lost his temper; that the Negro does not belong. Your enemy will be out in force, but you can not meet him on his own low ground. We win with hitting, running and fielding, nothing else. We win if the world is convinced of two things: that you are a fine gentlemen and a great ballplayer. Like our Savior, you must have the guts to turn the other cheek. Jack considers Rickey. Rickey looks worn out. RICKEY (CONT'D) Can you do it? Jack poised at what will be his Rubicon. He crosses. JACK Mr. Rickey, you give me a uniform, you give me a number on my back, and I'll give you the guts. CUT TO: PINK REV 4-19-12 11. 9 INT. HALLWAY - ISUM HOUSE - LOS ANGELES - DAY 9 A phone RINGS on a table. RACHEL ISUM steps in, 23, possessed of style that you can only be graced with. RACHEL Hello? CUT TO: 10 INT. LOBBY PAYPHONE - 215 MONTAGUE STREET - BROOKLYN - DAY 10 Jack in a PHONE BOOTH, the lobby busy beyond. JACK Rae, I'm in Brooklyn. INTERCUT THE FOLLOWING: RACHEL Brooklyn? For what? JACK I don't want to say on the phone. In fact, I'm not supposed to tell anyone. She can hear the tingle in his voice. RACHEL Jack? JACK I'm here, Rae RACHEL What's going on? You're supposed to be playing in Chicago? JACK We've been tested you and me. Our loyalty, our faith. We've done everything the right way. Me trying to make money. You finishing school. Separated by the war, now by baseball. We don't owe the world a thing. Only each other. She's actually getting a little scared now. RACHEL Jack, what are you talking about? What happened? GOLDENROD REV 5-9-12 12. JACK The Brooklyn Dodgers just signed me to play ball up in Montreal. It might lead to bigger things. To something wonderful. RACHEL What does it mean? For you and me? JACK Rae. Will you marry me? RACHEL Absolutely. When? JACK Now. RACHEL (LAUGHING) Jack, I don't think we can get married in a phone booth. CUT TO: 11 OMITTED 11 11 A INT. HALLWAY - THE CLARK HOTEL - LOS ANGELES - NIGHT 11 A Jack rounds a corner in a TUXEDO, the bow tie undone. Rachel follows in her WEDDING GOWN. They look beautiful. RACHEL Did my mom look happy? JACK Yes. They reach the door. Jack gets out a key to unlock it. Rachel looks nervous, steps back across the hall. RACHEL Did my gram look happy? Swinging the door open, he looks at her. The air charged. JACK Everyone looked happy. I've never seen so many people looking happy. GOLDENROD REV 5-9-12 12A. RACHEL Did Jack Robinson look happy? (SOFT) What if I can't make you happy? He steps over, aware of her shyness. JACK Too late. You already do. It's you and me, Rae. RACHEL Until the wheels fall off. (UNCERTAIN) The world is waiting for us. JACK It can wait one more night (KISSES HER) Are you coming, Mrs. Robinson? RACHEL (kisses him back) I'd follow you anywhere, Mr. Robinson. He picks her up, carries her over the threshold. As the door clicks shut behind them... CUT TO: 12 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 12 The shades closed; we're scheming again. WENDELL SMITH sits across from Rickey who stares back intently. Bespectacled, 32, Smith covers baseball for the Pittsburgh Courier. RICKEY Who's the best shortstop you ever saw? SMITH Rabbit Tavener. RICKEY Rabbit Tavener? And you call yourself a sports writer? WHITE 3-14-12 13. SMITH Yes, a sentimental one. I'm from Detroit. He was the Tiger shortstop when I was a boy. How about you? Who's your best? RICKEY Pop Lloyd. SMITH Not Honus Wagner? RICKEY Wagner is number two. And Rabbit Tavener would not break my top 25. Where do you suppose Jackie Robinson will end up on that list? SMITH He won't break it. He doesn't have a shortstop's arm. Robinson belongs on second base. RICKEY Alright then, where would he rate at second? SMITH If he was playing now he'd be the best second baseman in the majors. RICKEY High praise. He'll have to be the best in the minor leagues first. SMITH What are you saying, Mr. Rickey? RICKEY I'm saying it's going to be a very interesting spring training. A lot of players are coming back from the war and with gas rationing over, we can train down in Florida again. SMITH Daytona Beach? (RICKEY NODS) You're aware in the past six months a black boy was lynched in Madison, Florida and a black man down in Live Oaks? RICKEY Those towns may as well be a million miles from Daytona. WHITE 3-14-12 14. SMITH Live Oaks is 150 actually. RICKEY I spoke to the Daytona mayor. He assures me there'll be no trouble. But Rickey doesn't sound so sure. They consider each other. RICKEY (CONT'D) Mr. Smith, are you a Communist? SMITH I'm a Democrat. Why do you ask? RICKEY I have a business proposition. What's your salary at the Courier? SMITH Fifty dollars a week. RICKEY I will pay you an additional fifty dollars a week plus expenses if you will attend spring training with Jackie Robinson. You will watch over him, help him to avoid the harm that could come if he were to do or say anything out of turn. You will act as his chauffeur, you will secure accommodations for him wherever the team may be, help him find restaurants, etc... SMITH What's in it for me? Besides the fifty dollars and a whole lot of aggravation? RICKEY Unprecedented access for any reportage you feel appropriate. What do you say, Mr. Smith? SMITH I say yes, sir. If a Negro is good enough to stop a Nazi bullet in France; he's good enough to stop a line drive at Yankee Stadium. RICKEY Ebbets Field actually, but yes, I agree. The world is ready. CUT TO: TAN REV 6-25-12 15. 13 OMITTED 13 14 INT. BALLROOM - THE WALDORF ASTORIA HOTEL - NIGHT 14 Over 500 guests: journalists, players and politicians all listen politely as a SPEECH drones to an end. INSERT: New York City. 23rd Annual Baseball Writer's Association Dinner February 3, 1946. SPEAKER As our former President Herbert Hoover remarked in his tribute to our national pastime: The rigid voluntary rules of right and wrong, as applied in baseball, are second only to religion in strengthening the morals of the American people.' Polite applause as the speaker steps off. The clapping more enthusiastic as the lights dim on all but an impromptu set: plantation house columns. Hoots as a BUTLER appears wearing satin knee breeches and a MONTREAL ROYALS jersey. He holds a ring like a lawn jockey, a WHITE MAN in BLACK FACE. The laughs get louder as he peers out with exaggerated wide eyes. BUTLER Lordy, lordy, it's looking like da massa will be late dis ebning. As the LAUGHS from the audience subside, a sportswriter dressed as a COLONEL enters from stage right. COLONEL Robbie! Robbie! BUTLER Yassuh, Massa Kunl. Here Ah is. Huge LAUGHS as he struts and dances his way over. WHITE 3-14-12 16. COLONEL Jackie, you woolly headed rascal. How long yo' been in the family? BUTLER Ebber since Massa Rickey done bots me from da Kansas City Monarchs. COLONEL (aside to audience) Rickey that no good carpetbagger! What could he be thinking! Huge LAUGHS from that one. Two people enjoying it we'll recognize later as HERB PENNOCK and BOB COOKE. BUTLER Ah came near bein' killed last night, Kunl. COLONEL How's that, Jackie boy? BUTLER Ah was comin' up a dark street and three men was behind me. And they tried to do me with a baseball bat. COLONEL You don't say? BUTLER Yes, suh. Ah recognized one of dem. Ah'm gonna hab him arrested. COLONEL But I thought you said it was dark? BUTLER It was. But I know he played for the Philadelphia Baseball Club. On account of he struck at me three times and never hit me once. That brings the house down. Check out their laughing faces. CUT TO: 15 EXT. LOCKHEED TERMINAL - BURBANK - DAY 15 A gleaming American Airlines DC-3 angled up on the tarmac. PASSENGERS climb the portable stairs and disappear inside. INSERT: February 28, 1946. Burbank, California CUT TO: GOLDENROD REV 5-9-12 17. 16 INT. TERMINAL - BURBANK - DAY 16 Jack and Rachel are being seen off by FRIENDS from the wedding and his mother MALLIE. Jack is in a natty suit with Rachel in a beautiful coat. MALLIE You knock the cover off that ball. JACK I will, Mama. Mallie hugs Jack and then kisses Rachel. MALLIE Look after each other. RACHEL We will. She reaches in her bag, brings out a cardboard SHOEBOX; it's ever so slightly greasy at the bottom. MALLIE Take this. It's chicken. JACK They have food on the plane, Mama. MALLIE You never know what might happen. I don't want you getting there starving and too weak to hit. Rachel gives Jack a subtle but emphatic look: No. CUT TO: 17 EXT. LOCKHEED TARMAC - BURBANK - DAY 17 Jack escorts Rachel to the plane, the shoebox in hand. JACK I couldn't tell her no. RACHEL I know she means well; I just don't want to be seen eating chicken out of a box like some country bumpkin. Jack runs his hand over her coat. JACK No one's going to mistake you for a bumpkin in this. PINK REV 4-19-12 18. RACHEL Well, they'll know I belong on that plane or wherever I happen to be. CUT TO: 18 EXT. DC-3 - DAY (STOCK FOOTAGE) 18 Descending toward a runway. Landing gear coming down. CUT TO: 19 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 19 A WOMAN exits the lady's room, passing a SIGN: White Only. REVERSE to show Rachel looking at it like she's been slapped. Jack joins Rae from the TICKET COUNTER, with the chicken box. INSERT: New Orleans Lakefront Airport. JACK The flight to Pensacola leaves in an hour... You okay? RACHEL I've just never seen one before. JACK (follows her look) We're not in Pasadena anymore. A sudden momentum carries her forward. JACK Honey... Rae -- He takes a step after her, stops as she disappears inside. Jack unsure what to do. He looks around. Looks back. He doesn't need this right now. 20 OMITTED 20 21 OMITTED 21 PINK REV 4-19-12 19. 22 INT. AIRPORT COFFEE SHOP - DAY 22 A black BUSBOY reacts as a bickering Jack and Rachel enter. JACK I promised Mr. Rickey we'd stay out of trouble. RACHEL Did you promise him we wouldn't go to the bathroom? You've done it. JACK Before I promised. RACHEL It was just a toilet. You'd think the commodes were made of gold. The busboy watches as Jack and Rachel slide into a booth. As Jack reaches for a MENU, here comes the COOK. COOK You folks can't sit here. JACK Excuse me? COOK It's white only. Jack looking to Rachel; it's equanimity time. Not easy. COOK I'll sell you some sandwiches. But you gotta take em to go. Jack looks to the busboy, back to the cook. JACK No. You hang onto those. Mastering himself, Jack slides out. Drilling the cook with a look, he offers his hand to Rachel as she slides out as well. CUT TO: 23 OMITTED 23 GREEN REV 4-27-12 20. 24 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 24 Seen from on high. Jack and Rachel, sitting on a bench, two little figures as passengers move along the concourse. They sit a bit apart from each other, the world a wedge. CUT TO: 25 EXT. RUNWAY - PENSACOLA AIRPORT - NIGHT 25 SMOKE PINWHEELS as the wheels of a BOEING 247 touch down. INSERT: Pensacola, Florida. Later that day. CUT TO: 26 INT. BOEING 247 - TARMAC - NIGHT 26 Jack and Rachel worn out among eight other passengers. As the door is opened, FOUR of the eight get up and disembark. After a beat, FOUR NEW PASSENGERS board and take their seat. JACK Just a hop to Daytona now. As Rachel nods, an AIRLINE EMPLOYEE boards, MISS BISHOP. She makes her way over. She spots who she's looking for. MISS BISHOP Jack Robinson? Come with me. She starts away without explaining, looks back at them a bit impatiently. MISS BISHOP Come on now. Both of you. CUT TO: BLUE REV 4-07-12 21. 27 INT. TICKET COUNTER - PENSACOLA AIRPORT - NIGHT 27 The shoe box sitting on the counter, Jack in mid discussion with Miss Bishop. Rachel just behind Jack. MISS BISHOP We have to lighten the plane. There's some bad weather east of here. A heavy plane's dangerous. RACHEL (LOW) Tell her you're with the Dodgers. Jack would rather not play that card. JACK When's the next flight? MISS BISHOP Tomorrow morning. But it's booked. So someone'll have to cancel. Jack and Rachel unaware as a WHITE COUPLE are ushered out a door and onto the tarmac behind them. JACK Look, I'm with the Brooklyn Dodger organization. I've got to get down to Daytona. I'm supposed to report to spring training in the morning. MISS BISHOP We'll do our best to get you down there by tomorrow afternoon, but it might be the day after. RACHEL JACK -- He follows her gaze to where the white couple get on the plane they got off. Jack wheels on Miss Bishop, furious. JACK You gave away our seats! Get us back on that plane! Miss Bishop picks up a PHONE, holds it in Jack's face. MISS BISHOP Do you want to call the Sheriff? Or should I? CUT TO: YELLOW REV 4-24-12 22. 28 EXT. BUS STATION - PENSACOLA - NIGHT 28 Closed. A line of EMPTY BUSES; the BANNER on one: Daytona Beach. Across from it Rachel sits at one end of a BENCH, her fur pulled around her. Jack at the other, staring off into the night. Finally, he reaches down, picks up the shoebox. He pulls out a DRUMSTICK, considers it, then takes a bite. JACK Mama knew... He holds it out to Rachel. She slides over, takes it, takes a bite as well, smiles at him. He smiles back. RACHEL It's good. CUT TO: 29 EXT. BASEBALL FIELD - DAYTONA BEACH, FLORIDA - DAY 29 LEO DUROCHER hitting fungoes. One after the next. PEE WEE REESE and EDDIE STANKY both settle under the same ball. REESE STANKY I got it! I got it! I got it! I got it! They both back off at the last second and it drops to the ground between them. Durocher chuckles. DUROCHER That's what spring training's for, boys! Sort out our differences! He hits another. This time to the outfield where veteran DIXIE WALKER gives chase, finally gives up on it. DUROCHER C'mon, Dixie, get after it! WALKER (LAUGHING) I'm old! DUROCHER I'm gonna squeeze one more year out of that worn out body of yours! WALKER If you could, skipper, my wife would sure appreciate it! DUROCHER Keeping the women happy! That's what it's all about! BLUE REV 4-07-12 23. 29 A EXT./INT. CONVERTIBLE - DAY 29 A Rickey drives a dirt road through the training field singing Two Sleepy People along with the radio: Passing BROOKLYN DODGERS, MONTREAL ROYALS & ST. PAUL SAINTS on either side. Durocher hits another as Rickey pulls up. RICKEY How are they looking, Leo? DUROCHER Rusty, Mr. Rickey. But we'll get em oiled up and ready in no time. You find your lost sheep yet? Troubled, Rickey shakes his head no'. As he does, Harold Parrot hurries over. He's the Dodgers travelling secretary. PARROTT Jackie Robinson's on a bus leaving Pensacola. RICKEY A bus? Harold, how in blazes did he end up on a bus?!

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How many times the word 'six' appears in the text?

42 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 42 Written by Brian Helgeland White - March 14, 2012 Blue Revised - April 7, 2012 Pink Revised - April 19, 2012 Yellow Revised - April 24, 2012 Green Revised - April 27, 2012 Goldenrod Revised - May 9, 2012 Buff Revised - May 29, 2012 Salmon Revised - June 4, 2012 Cherry Revised - June 11, 2012 Tan Revised - June 25, 2012 Double White Revised - June 28, 2012 Double Blue Revised - July 9, 2012 PINK REV 4-19-12 1. A1 WHITE A1 Fills the screen. Falling from the top of frame to the bottom. Pluming off into dust. White, white, white. We move toward it even as it recedes, always out of reach. Finally we pop out wide and high to reveal... The white is chalk. An old BLACK GROUNDSKEEPER lays down the right field line on a baseball diamond. 1 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 1 Blinds closed. Dust motes in the air. A large GOLDFISH TANK bubbles. BRANCH RICKEY at his desk. Two photos on the wall: Abe Lincoln & Leo Durocher. CHALKBOARDS covered with 100's OF NAMES, every player in the Dodger organization. CLYDE SUKEFORTH and HAROLD PARROTT sit across from Rickey who stares at them. Sukeforth stares back. Parrott nervous. RICKEY Gentlemen, I have a plan... As of now, only the Board of Directors and my family know. Sukeforth and Parrott exchange a look. SUKEFORTH A plan's always good, Mr. Rickey. And you always got one. RICKEY My wife says I'm too old, That my health isn't up to it. My son says that every one in baseball will be against me. But I'm going to do it. Parrott looks to Sukeforth who keeps his eyes on Rickey. SUKEFORTH Do what, Mr. Rickey? RICKEY I'm going to bring a Negro ballplayer to the Brooklyn Dodgers. PARROTT With all due respect, sir, have you lost your mind? Imagine the abuse you'll take from the newspapers alone. Never mind how it'll play on Flatbush. Please, Mr. Rickey. Rickey looks dismissively at Parrott, over to Sukeforth. PINK REV 4-19-12 1A. RICKEY There's no law against it, Clyde. SUKEFORTH There's a code. Break a law and get away with it, some people think you're smart. Break an unwritten law though, you'll be an outcast. YELLOW REV 4-24-12 2. RICKEY So be it. New York is full of Negro baseball fans; every dollar is green. I don't know who he is, or where he is, but he's coming. CUT TO: 2 EXT. RICKWOOD FIELD - BIRMINGHAM, ALABAMA - NIGHT 2 The big Birmingham Black Barons CATCHER behind the plate as Kansas City Monarchs JOHN SCOTT stands at bat. The catcher's attention on the RUNNER DANCING off first. Stomping a foot, feinting, hard to see clearly in the glare of the lights. CATCHER Where'd you learn to move like that, runner?! At dime a dance night?! Stay quiet! INSERT: Birmingham, Alabama. April 8, 1945. On the first pitch the runner takes off. The catcher fires to second. See it from his POV as the runner slides in SAFE! A foot on the bag, the runner dusts off, heckles the catcher: RUNNER Is that the best you got?! Huh?! I'm going to steal nine, ten bases today! You better start counting! The catcher frowns. Standing, we see he is a big, big man. CATCHER (ALABAMAN) Where's your shortstop from? JOHN SCOTT (LOUISIANAN) California. CATCHER He's got a mouth on him. Shaking his head, the catcher gets back in his crouch, signals the PITCHER. On the wind-up, the Runner is off again. The catcher fires to THIRD: Safe! RUNNER You got a rag arm, catcher! CATCHER Steal home! You'll find out what kind of arm I got! DBL. BLUE REV 7-9-12 3. RUNNER Okay, I'm coming! The Catcher looks over at Scott who chuckles. CATCHER California, huh? (SCOTT NODS) Well California here he goes, if he comes down here. The Catcher gets back down in his squat. Signals the pitcher: fastball. Scott digs in, ready. The runner dancing off third. Here comes the wind-up... The Runner takes off even as the pitcher fires it in. The Birmingham Catcher receives it. As the Runner slides -- The Catcher intentionally drives his glove, the ball and both hands into the runner's face -- WHALLOP! Sound drops as we're knocked flat senseless along with the runner. ON HIM now as he tries to push himself up from the dirt. A close look at JACK ROOSEVELT ROBINSON. A born battler, he shakes out the cobwebs, finally lurches to his feet, looks to the UMPIRE. He never heard the call. JACK What was I? The umpire passes one hand over the other: Safe. Jack looks over at the catcher, gives him a pointed look as he goes -- The catcher shoves him in the back. Jack turns, shoves back. As the two men wrestles each other to the ground -- CUT TO: 3 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 3 Rickey and Sukeforth going through stacks of FILES on the desk. A black ballplayer's picture is clipped to each. As Rickey reviews one, Sukeforth tries to hand him another. SUKEFORTH Josh Gibson. Oh boy can he hit. RICKEY No. SUKEFORTH No? Rickey won't take the file; the answer is no. DBL. BLUE REV 7-9-12 4. SUKEFORTH Alright. Roy Campanella. Sukeforth holds it out; Rickey won't take it. RICKEY A heck of a player. But too sweet, they'll eat him alive. SUKEFORTH (holds up file) Satchel Paige then. Parrott enters carrying an armful of files. RICKEY Too old. We need a man with a future not a past. (holds up his own FILE) Here. Jack Roosevelt Robinson. As Parrott sets them on the desk, they start to slide off, spilling to the floor. Helpless to stem the tide, Parrott looks down, surrounded by black faces... RICKEY (flips through file) A four sport college man, out of UCLA. That means he's played with white boys. (SCANS FILE) Twenty-six years old, now with the Kansas City Monarchs. Batting over 350 even as we speak. 350! And he was a commissioned army officer! SUKEFORTH He was court-martialed. A trouble maker. He argues with umpires. A quick temper is his reputation. Rickey is obviously keen on him. PARROT What was he court-martialed for? RICKEY For refusing to sit in the back of a military bus. (checks the file) Ft. Hood, Texas. The driver asked him to move back. The MPs had to take him off. DBL. BLUE REV 7-9-12 5. SUKEFORTH Do you see? RICKEY I see he resents segregation. If he were white, we'd call it spirit! PARROT If he were white, sir, we wouldn't be looking for him. Rickey ends the debate... RICKEY Robinson's a Methodist. I'm a Methodist. God's a Methodist. We can't go wrong. Find him. Bring him here. CUT TO: 4 EXT. FILLING STATION - INTERSTATE 24 - DAY 4 A BLOODHOUND watches as a BUS pulls into a SERVICE STATION, the tires RING the bell hose. A million miles easy on this road rumbler. The BANNER reads: KC Monarchs. Insert: Interstate 24, Missouri - August 24, 1945. The DRIVER steps off. The fellas follow, getting off to stretch their legs. Hot and tired. A WHITE ATTENDANT saunters out. The driver steps over to meet him. ATTENDANT Fill her up? DRIVER Yes, sir. The attendant starts unscrewing caps on two 50-GALLON TANKS. ATTENDANT Where you all headed? DRIVER Chicago. As the attendant shoves down a pump, starts filling, Jack steps off. He spots and heads for a restroom. White Men Only lettered on the door. The attendant roused as he sees. ATTENDANT Hey! Where you going, boy!? BLUE REV 4-07-12 6. Everyone looking over as Jack stops. JACK I'm going to the toilet. ATTENDANT Shit, boy, c'mon. You know you can't go in there. Jack does a slow burn, then suddenly strides toward the attendant. The air rife with tension. JACK Take that hose out of the tank. ATTENDANT Huh? DRIVER ROBINSON -- JACK Take it out. We'll get our ninety- nine gallons of gas someplace else. The attendant blinks. He takes a look from Jack to up and down the deserted highway. No business in sight. ATTENDANT Okay, use it. But don't stay in there too long. Jack heads back. The Driver, the players, a bit stunned. CUT TO: 5 INT. WHITE MEN ONLY REST ROOM - FILLING STATION - DAY 5 Jack splashes water on his face, rips a paper towels from the dispenser, pats his face dry. He balls the wad up, squeezes it in his fist before firing it into the trash. He considers his reflection in the mirror. As he regards himself, we hear the SERVICE BELL ring outside. CUT TO: 6 EXT. FILLING STATION - HIGHWAY 24 - DAY 6 A car has pulled up. The driver talks to several players. They look over as Jack exits. The driver is Clyde Sukeforth. SUKEFORTH Are you Jackie Robinson? CUT TO: TAN REV 6-25-12 7. 7 OMITTED 7 8 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 8 Blinds closed. Jack sits across the desk from Rickey. Sukeforth sits a little further back. Rickey is staring at Jack. Bushy eyebrows flared, light gleams off his glasses. INSERT: August 28, 1945. Brooklyn. Jack doesn't know what to do, looks to Sukeforth. Finally... RICKEY Do you have a girl? JACK Excuse me? RICKEY A man needs a family relying on him. It insures he'll behave responsibly. Do you have a girl? JACK I think so. RICKEY You think so? Jack looks to Sukeforth who smiles placidly. Back to Rickey. WHITE 3-14-12 8. JACK I don't make much money. Between the army and now baseball I've been away a lot. And Rae, Rachel, she wants to finish school. Considering all that, I say I think so. RICKEY Do you love her? Rachel? (JACK CONFUSED) Don't you know? JACK Yes, sir, very much. RICKEY Marry her. What? Rickey stands, walks to a window. Jack looks at Sukeforth who raises a hand as if to say: Give it a chance. RICKEY (CONT'D) Baseball's a hard life; a man needs a good woman by his side. You don't want the only person waiting for you at home to be a catcher. Sukeforth chuckles at that. Rickey fingers open a slat on the blind and peers out. Jack looks hard at him. JACK Coach Sukeforth here said you were starting a new Negro League. That doesn't make sense to me. MR. RICKEY It doesn't, huh? Are you calling us liars, Jack? JACK What's this about, Mr. Rickey? RICKEY This is about baseball. Rickey opens the shade. Sunlight floods in. Rickey follows it to the chalkboard, to the list of players under Montreal. RICKEY (CONT'D) I see you starting in the spring with our affiliate in Montreal. If you make it there, we'll try you down here with the Dodgers. The white Brooklyn Dodgers. Jack looks to Sukeforth who nods: Yes, you heard right. BLUE REV 4-07-12 9. RICKEY (CONT'D) I'll pay you $600 a month and a $3,500 bonus when you sign the contract. Is that agreeable? Believe it or not that's a lot of money to Jack on this day in time. This is all becoming a bit overwhelming. JACK Yes, sir. That's fine. RICKEY There is one condition. I have a pile of scouting reports. I know you can hit behind the runner, that you can read a pitch. The question is can you control your temper? JACK My temper? RICKEY Yes your temper! Are you deaf?! Rickey furious, the avuncular old man gone. Jack sits there, fists now balled. Rickey to Sukeforth like he's not there: RICKEY (CONT'D) He looks proud. Willful. SUKEFORTH He'll need to be. Rickey looks back to Jack who is as angry as he is confused. RICKEY I want to win! I want ballplayers who can win! Are you one of them?! JACK Yes. RICKEY A black man in white baseball. Imagine the reaction. The vitriol. Rickey strides forward, gets in his face. RICKEY (CONT'D) The Dodgers check into a hotel. A decent good hotel. You're worn out from the road and some clerk won't give you the pen to sign in. (SOUTHERN DRAWL) We got no room, boy, not even down in the coal bin where you belong. BLUE REV 4-07-12 10. Jack looks like he wants to tear Rickey apart. RICKEY (CONT'D) The team stops at a restaurant. The waiter won't take your order. (adopts a new voice) Didn't you see the sign on the door? No animals allowed. (LOOMING) What are you going to do then? Fight him? Ruin all my plans? Answer me, you black sonofabitch! JACK (MASTERS HIMSELF) Do you want a ballplayer who doesn't have the guts to fight back? Is that what you want? RICKEY I want one who has the guts not to fight back! There are people who will not like this. They will do anything to get you to react. If you echo a curse with a curse, they will only hear yours. Follow a blow with a blow and they will say a Negro lost his temper; that the Negro does not belong. Your enemy will be out in force, but you can not meet him on his own low ground. We win with hitting, running and fielding, nothing else. We win if the world is convinced of two things: that you are a fine gentlemen and a great ballplayer. Like our Savior, you must have the guts to turn the other cheek. Jack considers Rickey. Rickey looks worn out. RICKEY (CONT'D) Can you do it? Jack poised at what will be his Rubicon. He crosses. JACK Mr. Rickey, you give me a uniform, you give me a number on my back, and I'll give you the guts. CUT TO: PINK REV 4-19-12 11. 9 INT. HALLWAY - ISUM HOUSE - LOS ANGELES - DAY 9 A phone RINGS on a table. RACHEL ISUM steps in, 23, possessed of style that you can only be graced with. RACHEL Hello? CUT TO: 10 INT. LOBBY PAYPHONE - 215 MONTAGUE STREET - BROOKLYN - DAY 10 Jack in a PHONE BOOTH, the lobby busy beyond. JACK Rae, I'm in Brooklyn. INTERCUT THE FOLLOWING: RACHEL Brooklyn? For what? JACK I don't want to say on the phone. In fact, I'm not supposed to tell anyone. She can hear the tingle in his voice. RACHEL Jack? JACK I'm here, Rae RACHEL What's going on? You're supposed to be playing in Chicago? JACK We've been tested you and me. Our loyalty, our faith. We've done everything the right way. Me trying to make money. You finishing school. Separated by the war, now by baseball. We don't owe the world a thing. Only each other. She's actually getting a little scared now. RACHEL Jack, what are you talking about? What happened? GOLDENROD REV 5-9-12 12. JACK The Brooklyn Dodgers just signed me to play ball up in Montreal. It might lead to bigger things. To something wonderful. RACHEL What does it mean? For you and me? JACK Rae. Will you marry me? RACHEL Absolutely. When? JACK Now. RACHEL (LAUGHING) Jack, I don't think we can get married in a phone booth. CUT TO: 11 OMITTED 11 11 A INT. HALLWAY - THE CLARK HOTEL - LOS ANGELES - NIGHT 11 A Jack rounds a corner in a TUXEDO, the bow tie undone. Rachel follows in her WEDDING GOWN. They look beautiful. RACHEL Did my mom look happy? JACK Yes. They reach the door. Jack gets out a key to unlock it. Rachel looks nervous, steps back across the hall. RACHEL Did my gram look happy? Swinging the door open, he looks at her. The air charged. JACK Everyone looked happy. I've never seen so many people looking happy. GOLDENROD REV 5-9-12 12A. RACHEL Did Jack Robinson look happy? (SOFT) What if I can't make you happy? He steps over, aware of her shyness. JACK Too late. You already do. It's you and me, Rae. RACHEL Until the wheels fall off. (UNCERTAIN) The world is waiting for us. JACK It can wait one more night (KISSES HER) Are you coming, Mrs. Robinson? RACHEL (kisses him back) I'd follow you anywhere, Mr. Robinson. He picks her up, carries her over the threshold. As the door clicks shut behind them... CUT TO: 12 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 12 The shades closed; we're scheming again. WENDELL SMITH sits across from Rickey who stares back intently. Bespectacled, 32, Smith covers baseball for the Pittsburgh Courier. RICKEY Who's the best shortstop you ever saw? SMITH Rabbit Tavener. RICKEY Rabbit Tavener? And you call yourself a sports writer? WHITE 3-14-12 13. SMITH Yes, a sentimental one. I'm from Detroit. He was the Tiger shortstop when I was a boy. How about you? Who's your best? RICKEY Pop Lloyd. SMITH Not Honus Wagner? RICKEY Wagner is number two. And Rabbit Tavener would not break my top 25. Where do you suppose Jackie Robinson will end up on that list? SMITH He won't break it. He doesn't have a shortstop's arm. Robinson belongs on second base. RICKEY Alright then, where would he rate at second? SMITH If he was playing now he'd be the best second baseman in the majors. RICKEY High praise. He'll have to be the best in the minor leagues first. SMITH What are you saying, Mr. Rickey? RICKEY I'm saying it's going to be a very interesting spring training. A lot of players are coming back from the war and with gas rationing over, we can train down in Florida again. SMITH Daytona Beach? (RICKEY NODS) You're aware in the past six months a black boy was lynched in Madison, Florida and a black man down in Live Oaks? RICKEY Those towns may as well be a million miles from Daytona. WHITE 3-14-12 14. SMITH Live Oaks is 150 actually. RICKEY I spoke to the Daytona mayor. He assures me there'll be no trouble. But Rickey doesn't sound so sure. They consider each other. RICKEY (CONT'D) Mr. Smith, are you a Communist? SMITH I'm a Democrat. Why do you ask? RICKEY I have a business proposition. What's your salary at the Courier? SMITH Fifty dollars a week. RICKEY I will pay you an additional fifty dollars a week plus expenses if you will attend spring training with Jackie Robinson. You will watch over him, help him to avoid the harm that could come if he were to do or say anything out of turn. You will act as his chauffeur, you will secure accommodations for him wherever the team may be, help him find restaurants, etc... SMITH What's in it for me? Besides the fifty dollars and a whole lot of aggravation? RICKEY Unprecedented access for any reportage you feel appropriate. What do you say, Mr. Smith? SMITH I say yes, sir. If a Negro is good enough to stop a Nazi bullet in France; he's good enough to stop a line drive at Yankee Stadium. RICKEY Ebbets Field actually, but yes, I agree. The world is ready. CUT TO: TAN REV 6-25-12 15. 13 OMITTED 13 14 INT. BALLROOM - THE WALDORF ASTORIA HOTEL - NIGHT 14 Over 500 guests: journalists, players and politicians all listen politely as a SPEECH drones to an end. INSERT: New York City. 23rd Annual Baseball Writer's Association Dinner February 3, 1946. SPEAKER As our former President Herbert Hoover remarked in his tribute to our national pastime: The rigid voluntary rules of right and wrong, as applied in baseball, are second only to religion in strengthening the morals of the American people.' Polite applause as the speaker steps off. The clapping more enthusiastic as the lights dim on all but an impromptu set: plantation house columns. Hoots as a BUTLER appears wearing satin knee breeches and a MONTREAL ROYALS jersey. He holds a ring like a lawn jockey, a WHITE MAN in BLACK FACE. The laughs get louder as he peers out with exaggerated wide eyes. BUTLER Lordy, lordy, it's looking like da massa will be late dis ebning. As the LAUGHS from the audience subside, a sportswriter dressed as a COLONEL enters from stage right. COLONEL Robbie! Robbie! BUTLER Yassuh, Massa Kunl. Here Ah is. Huge LAUGHS as he struts and dances his way over. WHITE 3-14-12 16. COLONEL Jackie, you woolly headed rascal. How long yo' been in the family? BUTLER Ebber since Massa Rickey done bots me from da Kansas City Monarchs. COLONEL (aside to audience) Rickey that no good carpetbagger! What could he be thinking! Huge LAUGHS from that one. Two people enjoying it we'll recognize later as HERB PENNOCK and BOB COOKE. BUTLER Ah came near bein' killed last night, Kunl. COLONEL How's that, Jackie boy? BUTLER Ah was comin' up a dark street and three men was behind me. And they tried to do me with a baseball bat. COLONEL You don't say? BUTLER Yes, suh. Ah recognized one of dem. Ah'm gonna hab him arrested. COLONEL But I thought you said it was dark? BUTLER It was. But I know he played for the Philadelphia Baseball Club. On account of he struck at me three times and never hit me once. That brings the house down. Check out their laughing faces. CUT TO: 15 EXT. LOCKHEED TERMINAL - BURBANK - DAY 15 A gleaming American Airlines DC-3 angled up on the tarmac. PASSENGERS climb the portable stairs and disappear inside. INSERT: February 28, 1946. Burbank, California CUT TO: GOLDENROD REV 5-9-12 17. 16 INT. TERMINAL - BURBANK - DAY 16 Jack and Rachel are being seen off by FRIENDS from the wedding and his mother MALLIE. Jack is in a natty suit with Rachel in a beautiful coat. MALLIE You knock the cover off that ball. JACK I will, Mama. Mallie hugs Jack and then kisses Rachel. MALLIE Look after each other. RACHEL We will. She reaches in her bag, brings out a cardboard SHOEBOX; it's ever so slightly greasy at the bottom. MALLIE Take this. It's chicken. JACK They have food on the plane, Mama. MALLIE You never know what might happen. I don't want you getting there starving and too weak to hit. Rachel gives Jack a subtle but emphatic look: No. CUT TO: 17 EXT. LOCKHEED TARMAC - BURBANK - DAY 17 Jack escorts Rachel to the plane, the shoebox in hand. JACK I couldn't tell her no. RACHEL I know she means well; I just don't want to be seen eating chicken out of a box like some country bumpkin. Jack runs his hand over her coat. JACK No one's going to mistake you for a bumpkin in this. PINK REV 4-19-12 18. RACHEL Well, they'll know I belong on that plane or wherever I happen to be. CUT TO: 18 EXT. DC-3 - DAY (STOCK FOOTAGE) 18 Descending toward a runway. Landing gear coming down. CUT TO: 19 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 19 A WOMAN exits the lady's room, passing a SIGN: White Only. REVERSE to show Rachel looking at it like she's been slapped. Jack joins Rae from the TICKET COUNTER, with the chicken box. INSERT: New Orleans Lakefront Airport. JACK The flight to Pensacola leaves in an hour... You okay? RACHEL I've just never seen one before. JACK (follows her look) We're not in Pasadena anymore. A sudden momentum carries her forward. JACK Honey... Rae -- He takes a step after her, stops as she disappears inside. Jack unsure what to do. He looks around. Looks back. He doesn't need this right now. 20 OMITTED 20 21 OMITTED 21 PINK REV 4-19-12 19. 22 INT. AIRPORT COFFEE SHOP - DAY 22 A black BUSBOY reacts as a bickering Jack and Rachel enter. JACK I promised Mr. Rickey we'd stay out of trouble. RACHEL Did you promise him we wouldn't go to the bathroom? You've done it. JACK Before I promised. RACHEL It was just a toilet. You'd think the commodes were made of gold. The busboy watches as Jack and Rachel slide into a booth. As Jack reaches for a MENU, here comes the COOK. COOK You folks can't sit here. JACK Excuse me? COOK It's white only. Jack looking to Rachel; it's equanimity time. Not easy. COOK I'll sell you some sandwiches. But you gotta take em to go. Jack looks to the busboy, back to the cook. JACK No. You hang onto those. Mastering himself, Jack slides out. Drilling the cook with a look, he offers his hand to Rachel as she slides out as well. CUT TO: 23 OMITTED 23 GREEN REV 4-27-12 20. 24 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 24 Seen from on high. Jack and Rachel, sitting on a bench, two little figures as passengers move along the concourse. They sit a bit apart from each other, the world a wedge. CUT TO: 25 EXT. RUNWAY - PENSACOLA AIRPORT - NIGHT 25 SMOKE PINWHEELS as the wheels of a BOEING 247 touch down. INSERT: Pensacola, Florida. Later that day. CUT TO: 26 INT. BOEING 247 - TARMAC - NIGHT 26 Jack and Rachel worn out among eight other passengers. As the door is opened, FOUR of the eight get up and disembark. After a beat, FOUR NEW PASSENGERS board and take their seat. JACK Just a hop to Daytona now. As Rachel nods, an AIRLINE EMPLOYEE boards, MISS BISHOP. She makes her way over. She spots who she's looking for. MISS BISHOP Jack Robinson? Come with me. She starts away without explaining, looks back at them a bit impatiently. MISS BISHOP Come on now. Both of you. CUT TO: BLUE REV 4-07-12 21. 27 INT. TICKET COUNTER - PENSACOLA AIRPORT - NIGHT 27 The shoe box sitting on the counter, Jack in mid discussion with Miss Bishop. Rachel just behind Jack. MISS BISHOP We have to lighten the plane. There's some bad weather east of here. A heavy plane's dangerous. RACHEL (LOW) Tell her you're with the Dodgers. Jack would rather not play that card. JACK When's the next flight? MISS BISHOP Tomorrow morning. But it's booked. So someone'll have to cancel. Jack and Rachel unaware as a WHITE COUPLE are ushered out a door and onto the tarmac behind them. JACK Look, I'm with the Brooklyn Dodger organization. I've got to get down to Daytona. I'm supposed to report to spring training in the morning. MISS BISHOP We'll do our best to get you down there by tomorrow afternoon, but it might be the day after. RACHEL JACK -- He follows her gaze to where the white couple get on the plane they got off. Jack wheels on Miss Bishop, furious. JACK You gave away our seats! Get us back on that plane! Miss Bishop picks up a PHONE, holds it in Jack's face. MISS BISHOP Do you want to call the Sheriff? Or should I? CUT TO: YELLOW REV 4-24-12 22. 28 EXT. BUS STATION - PENSACOLA - NIGHT 28 Closed. A line of EMPTY BUSES; the BANNER on one: Daytona Beach. Across from it Rachel sits at one end of a BENCH, her fur pulled around her. Jack at the other, staring off into the night. Finally, he reaches down, picks up the shoebox. He pulls out a DRUMSTICK, considers it, then takes a bite. JACK Mama knew... He holds it out to Rachel. She slides over, takes it, takes a bite as well, smiles at him. He smiles back. RACHEL It's good. CUT TO: 29 EXT. BASEBALL FIELD - DAYTONA BEACH, FLORIDA - DAY 29 LEO DUROCHER hitting fungoes. One after the next. PEE WEE REESE and EDDIE STANKY both settle under the same ball. REESE STANKY I got it! I got it! I got it! I got it! They both back off at the last second and it drops to the ground between them. Durocher chuckles. DUROCHER That's what spring training's for, boys! Sort out our differences! He hits another. This time to the outfield where veteran DIXIE WALKER gives chase, finally gives up on it. DUROCHER C'mon, Dixie, get after it! WALKER (LAUGHING) I'm old! DUROCHER I'm gonna squeeze one more year out of that worn out body of yours! WALKER If you could, skipper, my wife would sure appreciate it! DUROCHER Keeping the women happy! That's what it's all about! BLUE REV 4-07-12 23. 29 A EXT./INT. CONVERTIBLE - DAY 29 A Rickey drives a dirt road through the training field singing Two Sleepy People along with the radio: Passing BROOKLYN DODGERS, MONTREAL ROYALS & ST. PAUL SAINTS on either side. Durocher hits another as Rickey pulls up. RICKEY How are they looking, Leo? DUROCHER Rusty, Mr. Rickey. But we'll get em oiled up and ready in no time. You find your lost sheep yet? Troubled, Rickey shakes his head no'. As he does, Harold Parrot hurries over. He's the Dodgers travelling secretary. PARROTT Jackie Robinson's on a bus leaving Pensacola. RICKEY A bus? Harold, how in blazes did he end up on a bus?!

door

How many times the word 'door' appears in the text?

42 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 42 Written by Brian Helgeland White - March 14, 2012 Blue Revised - April 7, 2012 Pink Revised - April 19, 2012 Yellow Revised - April 24, 2012 Green Revised - April 27, 2012 Goldenrod Revised - May 9, 2012 Buff Revised - May 29, 2012 Salmon Revised - June 4, 2012 Cherry Revised - June 11, 2012 Tan Revised - June 25, 2012 Double White Revised - June 28, 2012 Double Blue Revised - July 9, 2012 PINK REV 4-19-12 1. A1 WHITE A1 Fills the screen. Falling from the top of frame to the bottom. Pluming off into dust. White, white, white. We move toward it even as it recedes, always out of reach. Finally we pop out wide and high to reveal... The white is chalk. An old BLACK GROUNDSKEEPER lays down the right field line on a baseball diamond. 1 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 1 Blinds closed. Dust motes in the air. A large GOLDFISH TANK bubbles. BRANCH RICKEY at his desk. Two photos on the wall: Abe Lincoln & Leo Durocher. CHALKBOARDS covered with 100's OF NAMES, every player in the Dodger organization. CLYDE SUKEFORTH and HAROLD PARROTT sit across from Rickey who stares at them. Sukeforth stares back. Parrott nervous. RICKEY Gentlemen, I have a plan... As of now, only the Board of Directors and my family know. Sukeforth and Parrott exchange a look. SUKEFORTH A plan's always good, Mr. Rickey. And you always got one. RICKEY My wife says I'm too old, That my health isn't up to it. My son says that every one in baseball will be against me. But I'm going to do it. Parrott looks to Sukeforth who keeps his eyes on Rickey. SUKEFORTH Do what, Mr. Rickey? RICKEY I'm going to bring a Negro ballplayer to the Brooklyn Dodgers. PARROTT With all due respect, sir, have you lost your mind? Imagine the abuse you'll take from the newspapers alone. Never mind how it'll play on Flatbush. Please, Mr. Rickey. Rickey looks dismissively at Parrott, over to Sukeforth. PINK REV 4-19-12 1A. RICKEY There's no law against it, Clyde. SUKEFORTH There's a code. Break a law and get away with it, some people think you're smart. Break an unwritten law though, you'll be an outcast. YELLOW REV 4-24-12 2. RICKEY So be it. New York is full of Negro baseball fans; every dollar is green. I don't know who he is, or where he is, but he's coming. CUT TO: 2 EXT. RICKWOOD FIELD - BIRMINGHAM, ALABAMA - NIGHT 2 The big Birmingham Black Barons CATCHER behind the plate as Kansas City Monarchs JOHN SCOTT stands at bat. The catcher's attention on the RUNNER DANCING off first. Stomping a foot, feinting, hard to see clearly in the glare of the lights. CATCHER Where'd you learn to move like that, runner?! At dime a dance night?! Stay quiet! INSERT: Birmingham, Alabama. April 8, 1945. On the first pitch the runner takes off. The catcher fires to second. See it from his POV as the runner slides in SAFE! A foot on the bag, the runner dusts off, heckles the catcher: RUNNER Is that the best you got?! Huh?! I'm going to steal nine, ten bases today! You better start counting! The catcher frowns. Standing, we see he is a big, big man. CATCHER (ALABAMAN) Where's your shortstop from? JOHN SCOTT (LOUISIANAN) California. CATCHER He's got a mouth on him. Shaking his head, the catcher gets back in his crouch, signals the PITCHER. On the wind-up, the Runner is off again. The catcher fires to THIRD: Safe! RUNNER You got a rag arm, catcher! CATCHER Steal home! You'll find out what kind of arm I got! DBL. BLUE REV 7-9-12 3. RUNNER Okay, I'm coming! The Catcher looks over at Scott who chuckles. CATCHER California, huh? (SCOTT NODS) Well California here he goes, if he comes down here. The Catcher gets back down in his squat. Signals the pitcher: fastball. Scott digs in, ready. The runner dancing off third. Here comes the wind-up... The Runner takes off even as the pitcher fires it in. The Birmingham Catcher receives it. As the Runner slides -- The Catcher intentionally drives his glove, the ball and both hands into the runner's face -- WHALLOP! Sound drops as we're knocked flat senseless along with the runner. ON HIM now as he tries to push himself up from the dirt. A close look at JACK ROOSEVELT ROBINSON. A born battler, he shakes out the cobwebs, finally lurches to his feet, looks to the UMPIRE. He never heard the call. JACK What was I? The umpire passes one hand over the other: Safe. Jack looks over at the catcher, gives him a pointed look as he goes -- The catcher shoves him in the back. Jack turns, shoves back. As the two men wrestles each other to the ground -- CUT TO: 3 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 3 Rickey and Sukeforth going through stacks of FILES on the desk. A black ballplayer's picture is clipped to each. As Rickey reviews one, Sukeforth tries to hand him another. SUKEFORTH Josh Gibson. Oh boy can he hit. RICKEY No. SUKEFORTH No? Rickey won't take the file; the answer is no. DBL. BLUE REV 7-9-12 4. SUKEFORTH Alright. Roy Campanella. Sukeforth holds it out; Rickey won't take it. RICKEY A heck of a player. But too sweet, they'll eat him alive. SUKEFORTH (holds up file) Satchel Paige then. Parrott enters carrying an armful of files. RICKEY Too old. We need a man with a future not a past. (holds up his own FILE) Here. Jack Roosevelt Robinson. As Parrott sets them on the desk, they start to slide off, spilling to the floor. Helpless to stem the tide, Parrott looks down, surrounded by black faces... RICKEY (flips through file) A four sport college man, out of UCLA. That means he's played with white boys. (SCANS FILE) Twenty-six years old, now with the Kansas City Monarchs. Batting over 350 even as we speak. 350! And he was a commissioned army officer! SUKEFORTH He was court-martialed. A trouble maker. He argues with umpires. A quick temper is his reputation. Rickey is obviously keen on him. PARROT What was he court-martialed for? RICKEY For refusing to sit in the back of a military bus. (checks the file) Ft. Hood, Texas. The driver asked him to move back. The MPs had to take him off. DBL. BLUE REV 7-9-12 5. SUKEFORTH Do you see? RICKEY I see he resents segregation. If he were white, we'd call it spirit! PARROT If he were white, sir, we wouldn't be looking for him. Rickey ends the debate... RICKEY Robinson's a Methodist. I'm a Methodist. God's a Methodist. We can't go wrong. Find him. Bring him here. CUT TO: 4 EXT. FILLING STATION - INTERSTATE 24 - DAY 4 A BLOODHOUND watches as a BUS pulls into a SERVICE STATION, the tires RING the bell hose. A million miles easy on this road rumbler. The BANNER reads: KC Monarchs. Insert: Interstate 24, Missouri - August 24, 1945. The DRIVER steps off. The fellas follow, getting off to stretch their legs. Hot and tired. A WHITE ATTENDANT saunters out. The driver steps over to meet him. ATTENDANT Fill her up? DRIVER Yes, sir. The attendant starts unscrewing caps on two 50-GALLON TANKS. ATTENDANT Where you all headed? DRIVER Chicago. As the attendant shoves down a pump, starts filling, Jack steps off. He spots and heads for a restroom. White Men Only lettered on the door. The attendant roused as he sees. ATTENDANT Hey! Where you going, boy!? BLUE REV 4-07-12 6. Everyone looking over as Jack stops. JACK I'm going to the toilet. ATTENDANT Shit, boy, c'mon. You know you can't go in there. Jack does a slow burn, then suddenly strides toward the attendant. The air rife with tension. JACK Take that hose out of the tank. ATTENDANT Huh? DRIVER ROBINSON -- JACK Take it out. We'll get our ninety- nine gallons of gas someplace else. The attendant blinks. He takes a look from Jack to up and down the deserted highway. No business in sight. ATTENDANT Okay, use it. But don't stay in there too long. Jack heads back. The Driver, the players, a bit stunned. CUT TO: 5 INT. WHITE MEN ONLY REST ROOM - FILLING STATION - DAY 5 Jack splashes water on his face, rips a paper towels from the dispenser, pats his face dry. He balls the wad up, squeezes it in his fist before firing it into the trash. He considers his reflection in the mirror. As he regards himself, we hear the SERVICE BELL ring outside. CUT TO: 6 EXT. FILLING STATION - HIGHWAY 24 - DAY 6 A car has pulled up. The driver talks to several players. They look over as Jack exits. The driver is Clyde Sukeforth. SUKEFORTH Are you Jackie Robinson? CUT TO: TAN REV 6-25-12 7. 7 OMITTED 7 8 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 8 Blinds closed. Jack sits across the desk from Rickey. Sukeforth sits a little further back. Rickey is staring at Jack. Bushy eyebrows flared, light gleams off his glasses. INSERT: August 28, 1945. Brooklyn. Jack doesn't know what to do, looks to Sukeforth. Finally... RICKEY Do you have a girl? JACK Excuse me? RICKEY A man needs a family relying on him. It insures he'll behave responsibly. Do you have a girl? JACK I think so. RICKEY You think so? Jack looks to Sukeforth who smiles placidly. Back to Rickey. WHITE 3-14-12 8. JACK I don't make much money. Between the army and now baseball I've been away a lot. And Rae, Rachel, she wants to finish school. Considering all that, I say I think so. RICKEY Do you love her? Rachel? (JACK CONFUSED) Don't you know? JACK Yes, sir, very much. RICKEY Marry her. What? Rickey stands, walks to a window. Jack looks at Sukeforth who raises a hand as if to say: Give it a chance. RICKEY (CONT'D) Baseball's a hard life; a man needs a good woman by his side. You don't want the only person waiting for you at home to be a catcher. Sukeforth chuckles at that. Rickey fingers open a slat on the blind and peers out. Jack looks hard at him. JACK Coach Sukeforth here said you were starting a new Negro League. That doesn't make sense to me. MR. RICKEY It doesn't, huh? Are you calling us liars, Jack? JACK What's this about, Mr. Rickey? RICKEY This is about baseball. Rickey opens the shade. Sunlight floods in. Rickey follows it to the chalkboard, to the list of players under Montreal. RICKEY (CONT'D) I see you starting in the spring with our affiliate in Montreal. If you make it there, we'll try you down here with the Dodgers. The white Brooklyn Dodgers. Jack looks to Sukeforth who nods: Yes, you heard right. BLUE REV 4-07-12 9. RICKEY (CONT'D) I'll pay you $600 a month and a $3,500 bonus when you sign the contract. Is that agreeable? Believe it or not that's a lot of money to Jack on this day in time. This is all becoming a bit overwhelming. JACK Yes, sir. That's fine. RICKEY There is one condition. I have a pile of scouting reports. I know you can hit behind the runner, that you can read a pitch. The question is can you control your temper? JACK My temper? RICKEY Yes your temper! Are you deaf?! Rickey furious, the avuncular old man gone. Jack sits there, fists now balled. Rickey to Sukeforth like he's not there: RICKEY (CONT'D) He looks proud. Willful. SUKEFORTH He'll need to be. Rickey looks back to Jack who is as angry as he is confused. RICKEY I want to win! I want ballplayers who can win! Are you one of them?! JACK Yes. RICKEY A black man in white baseball. Imagine the reaction. The vitriol. Rickey strides forward, gets in his face. RICKEY (CONT'D) The Dodgers check into a hotel. A decent good hotel. You're worn out from the road and some clerk won't give you the pen to sign in. (SOUTHERN DRAWL) We got no room, boy, not even down in the coal bin where you belong. BLUE REV 4-07-12 10. Jack looks like he wants to tear Rickey apart. RICKEY (CONT'D) The team stops at a restaurant. The waiter won't take your order. (adopts a new voice) Didn't you see the sign on the door? No animals allowed. (LOOMING) What are you going to do then? Fight him? Ruin all my plans? Answer me, you black sonofabitch! JACK (MASTERS HIMSELF) Do you want a ballplayer who doesn't have the guts to fight back? Is that what you want? RICKEY I want one who has the guts not to fight back! There are people who will not like this. They will do anything to get you to react. If you echo a curse with a curse, they will only hear yours. Follow a blow with a blow and they will say a Negro lost his temper; that the Negro does not belong. Your enemy will be out in force, but you can not meet him on his own low ground. We win with hitting, running and fielding, nothing else. We win if the world is convinced of two things: that you are a fine gentlemen and a great ballplayer. Like our Savior, you must have the guts to turn the other cheek. Jack considers Rickey. Rickey looks worn out. RICKEY (CONT'D) Can you do it? Jack poised at what will be his Rubicon. He crosses. JACK Mr. Rickey, you give me a uniform, you give me a number on my back, and I'll give you the guts. CUT TO: PINK REV 4-19-12 11. 9 INT. HALLWAY - ISUM HOUSE - LOS ANGELES - DAY 9 A phone RINGS on a table. RACHEL ISUM steps in, 23, possessed of style that you can only be graced with. RACHEL Hello? CUT TO: 10 INT. LOBBY PAYPHONE - 215 MONTAGUE STREET - BROOKLYN - DAY 10 Jack in a PHONE BOOTH, the lobby busy beyond. JACK Rae, I'm in Brooklyn. INTERCUT THE FOLLOWING: RACHEL Brooklyn? For what? JACK I don't want to say on the phone. In fact, I'm not supposed to tell anyone. She can hear the tingle in his voice. RACHEL Jack? JACK I'm here, Rae RACHEL What's going on? You're supposed to be playing in Chicago? JACK We've been tested you and me. Our loyalty, our faith. We've done everything the right way. Me trying to make money. You finishing school. Separated by the war, now by baseball. We don't owe the world a thing. Only each other. She's actually getting a little scared now. RACHEL Jack, what are you talking about? What happened? GOLDENROD REV 5-9-12 12. JACK The Brooklyn Dodgers just signed me to play ball up in Montreal. It might lead to bigger things. To something wonderful. RACHEL What does it mean? For you and me? JACK Rae. Will you marry me? RACHEL Absolutely. When? JACK Now. RACHEL (LAUGHING) Jack, I don't think we can get married in a phone booth. CUT TO: 11 OMITTED 11 11 A INT. HALLWAY - THE CLARK HOTEL - LOS ANGELES - NIGHT 11 A Jack rounds a corner in a TUXEDO, the bow tie undone. Rachel follows in her WEDDING GOWN. They look beautiful. RACHEL Did my mom look happy? JACK Yes. They reach the door. Jack gets out a key to unlock it. Rachel looks nervous, steps back across the hall. RACHEL Did my gram look happy? Swinging the door open, he looks at her. The air charged. JACK Everyone looked happy. I've never seen so many people looking happy. GOLDENROD REV 5-9-12 12A. RACHEL Did Jack Robinson look happy? (SOFT) What if I can't make you happy? He steps over, aware of her shyness. JACK Too late. You already do. It's you and me, Rae. RACHEL Until the wheels fall off. (UNCERTAIN) The world is waiting for us. JACK It can wait one more night (KISSES HER) Are you coming, Mrs. Robinson? RACHEL (kisses him back) I'd follow you anywhere, Mr. Robinson. He picks her up, carries her over the threshold. As the door clicks shut behind them... CUT TO: 12 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 12 The shades closed; we're scheming again. WENDELL SMITH sits across from Rickey who stares back intently. Bespectacled, 32, Smith covers baseball for the Pittsburgh Courier. RICKEY Who's the best shortstop you ever saw? SMITH Rabbit Tavener. RICKEY Rabbit Tavener? And you call yourself a sports writer? WHITE 3-14-12 13. SMITH Yes, a sentimental one. I'm from Detroit. He was the Tiger shortstop when I was a boy. How about you? Who's your best? RICKEY Pop Lloyd. SMITH Not Honus Wagner? RICKEY Wagner is number two. And Rabbit Tavener would not break my top 25. Where do you suppose Jackie Robinson will end up on that list? SMITH He won't break it. He doesn't have a shortstop's arm. Robinson belongs on second base. RICKEY Alright then, where would he rate at second? SMITH If he was playing now he'd be the best second baseman in the majors. RICKEY High praise. He'll have to be the best in the minor leagues first. SMITH What are you saying, Mr. Rickey? RICKEY I'm saying it's going to be a very interesting spring training. A lot of players are coming back from the war and with gas rationing over, we can train down in Florida again. SMITH Daytona Beach? (RICKEY NODS) You're aware in the past six months a black boy was lynched in Madison, Florida and a black man down in Live Oaks? RICKEY Those towns may as well be a million miles from Daytona. WHITE 3-14-12 14. SMITH Live Oaks is 150 actually. RICKEY I spoke to the Daytona mayor. He assures me there'll be no trouble. But Rickey doesn't sound so sure. They consider each other. RICKEY (CONT'D) Mr. Smith, are you a Communist? SMITH I'm a Democrat. Why do you ask? RICKEY I have a business proposition. What's your salary at the Courier? SMITH Fifty dollars a week. RICKEY I will pay you an additional fifty dollars a week plus expenses if you will attend spring training with Jackie Robinson. You will watch over him, help him to avoid the harm that could come if he were to do or say anything out of turn. You will act as his chauffeur, you will secure accommodations for him wherever the team may be, help him find restaurants, etc... SMITH What's in it for me? Besides the fifty dollars and a whole lot of aggravation? RICKEY Unprecedented access for any reportage you feel appropriate. What do you say, Mr. Smith? SMITH I say yes, sir. If a Negro is good enough to stop a Nazi bullet in France; he's good enough to stop a line drive at Yankee Stadium. RICKEY Ebbets Field actually, but yes, I agree. The world is ready. CUT TO: TAN REV 6-25-12 15. 13 OMITTED 13 14 INT. BALLROOM - THE WALDORF ASTORIA HOTEL - NIGHT 14 Over 500 guests: journalists, players and politicians all listen politely as a SPEECH drones to an end. INSERT: New York City. 23rd Annual Baseball Writer's Association Dinner February 3, 1946. SPEAKER As our former President Herbert Hoover remarked in his tribute to our national pastime: The rigid voluntary rules of right and wrong, as applied in baseball, are second only to religion in strengthening the morals of the American people.' Polite applause as the speaker steps off. The clapping more enthusiastic as the lights dim on all but an impromptu set: plantation house columns. Hoots as a BUTLER appears wearing satin knee breeches and a MONTREAL ROYALS jersey. He holds a ring like a lawn jockey, a WHITE MAN in BLACK FACE. The laughs get louder as he peers out with exaggerated wide eyes. BUTLER Lordy, lordy, it's looking like da massa will be late dis ebning. As the LAUGHS from the audience subside, a sportswriter dressed as a COLONEL enters from stage right. COLONEL Robbie! Robbie! BUTLER Yassuh, Massa Kunl. Here Ah is. Huge LAUGHS as he struts and dances his way over. WHITE 3-14-12 16. COLONEL Jackie, you woolly headed rascal. How long yo' been in the family? BUTLER Ebber since Massa Rickey done bots me from da Kansas City Monarchs. COLONEL (aside to audience) Rickey that no good carpetbagger! What could he be thinking! Huge LAUGHS from that one. Two people enjoying it we'll recognize later as HERB PENNOCK and BOB COOKE. BUTLER Ah came near bein' killed last night, Kunl. COLONEL How's that, Jackie boy? BUTLER Ah was comin' up a dark street and three men was behind me. And they tried to do me with a baseball bat. COLONEL You don't say? BUTLER Yes, suh. Ah recognized one of dem. Ah'm gonna hab him arrested. COLONEL But I thought you said it was dark? BUTLER It was. But I know he played for the Philadelphia Baseball Club. On account of he struck at me three times and never hit me once. That brings the house down. Check out their laughing faces. CUT TO: 15 EXT. LOCKHEED TERMINAL - BURBANK - DAY 15 A gleaming American Airlines DC-3 angled up on the tarmac. PASSENGERS climb the portable stairs and disappear inside. INSERT: February 28, 1946. Burbank, California CUT TO: GOLDENROD REV 5-9-12 17. 16 INT. TERMINAL - BURBANK - DAY 16 Jack and Rachel are being seen off by FRIENDS from the wedding and his mother MALLIE. Jack is in a natty suit with Rachel in a beautiful coat. MALLIE You knock the cover off that ball. JACK I will, Mama. Mallie hugs Jack and then kisses Rachel. MALLIE Look after each other. RACHEL We will. She reaches in her bag, brings out a cardboard SHOEBOX; it's ever so slightly greasy at the bottom. MALLIE Take this. It's chicken. JACK They have food on the plane, Mama. MALLIE You never know what might happen. I don't want you getting there starving and too weak to hit. Rachel gives Jack a subtle but emphatic look: No. CUT TO: 17 EXT. LOCKHEED TARMAC - BURBANK - DAY 17 Jack escorts Rachel to the plane, the shoebox in hand. JACK I couldn't tell her no. RACHEL I know she means well; I just don't want to be seen eating chicken out of a box like some country bumpkin. Jack runs his hand over her coat. JACK No one's going to mistake you for a bumpkin in this. PINK REV 4-19-12 18. RACHEL Well, they'll know I belong on that plane or wherever I happen to be. CUT TO: 18 EXT. DC-3 - DAY (STOCK FOOTAGE) 18 Descending toward a runway. Landing gear coming down. CUT TO: 19 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 19 A WOMAN exits the lady's room, passing a SIGN: White Only. REVERSE to show Rachel looking at it like she's been slapped. Jack joins Rae from the TICKET COUNTER, with the chicken box. INSERT: New Orleans Lakefront Airport. JACK The flight to Pensacola leaves in an hour... You okay? RACHEL I've just never seen one before. JACK (follows her look) We're not in Pasadena anymore. A sudden momentum carries her forward. JACK Honey... Rae -- He takes a step after her, stops as she disappears inside. Jack unsure what to do. He looks around. Looks back. He doesn't need this right now. 20 OMITTED 20 21 OMITTED 21 PINK REV 4-19-12 19. 22 INT. AIRPORT COFFEE SHOP - DAY 22 A black BUSBOY reacts as a bickering Jack and Rachel enter. JACK I promised Mr. Rickey we'd stay out of trouble. RACHEL Did you promise him we wouldn't go to the bathroom? You've done it. JACK Before I promised. RACHEL It was just a toilet. You'd think the commodes were made of gold. The busboy watches as Jack and Rachel slide into a booth. As Jack reaches for a MENU, here comes the COOK. COOK You folks can't sit here. JACK Excuse me? COOK It's white only. Jack looking to Rachel; it's equanimity time. Not easy. COOK I'll sell you some sandwiches. But you gotta take em to go. Jack looks to the busboy, back to the cook. JACK No. You hang onto those. Mastering himself, Jack slides out. Drilling the cook with a look, he offers his hand to Rachel as she slides out as well. CUT TO: 23 OMITTED 23 GREEN REV 4-27-12 20. 24 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 24 Seen from on high. Jack and Rachel, sitting on a bench, two little figures as passengers move along the concourse. They sit a bit apart from each other, the world a wedge. CUT TO: 25 EXT. RUNWAY - PENSACOLA AIRPORT - NIGHT 25 SMOKE PINWHEELS as the wheels of a BOEING 247 touch down. INSERT: Pensacola, Florida. Later that day. CUT TO: 26 INT. BOEING 247 - TARMAC - NIGHT 26 Jack and Rachel worn out among eight other passengers. As the door is opened, FOUR of the eight get up and disembark. After a beat, FOUR NEW PASSENGERS board and take their seat. JACK Just a hop to Daytona now. As Rachel nods, an AIRLINE EMPLOYEE boards, MISS BISHOP. She makes her way over. She spots who she's looking for. MISS BISHOP Jack Robinson? Come with me. She starts away without explaining, looks back at them a bit impatiently. MISS BISHOP Come on now. Both of you. CUT TO: BLUE REV 4-07-12 21. 27 INT. TICKET COUNTER - PENSACOLA AIRPORT - NIGHT 27 The shoe box sitting on the counter, Jack in mid discussion with Miss Bishop. Rachel just behind Jack. MISS BISHOP We have to lighten the plane. There's some bad weather east of here. A heavy plane's dangerous. RACHEL (LOW) Tell her you're with the Dodgers. Jack would rather not play that card. JACK When's the next flight? MISS BISHOP Tomorrow morning. But it's booked. So someone'll have to cancel. Jack and Rachel unaware as a WHITE COUPLE are ushered out a door and onto the tarmac behind them. JACK Look, I'm with the Brooklyn Dodger organization. I've got to get down to Daytona. I'm supposed to report to spring training in the morning. MISS BISHOP We'll do our best to get you down there by tomorrow afternoon, but it might be the day after. RACHEL JACK -- He follows her gaze to where the white couple get on the plane they got off. Jack wheels on Miss Bishop, furious. JACK You gave away our seats! Get us back on that plane! Miss Bishop picks up a PHONE, holds it in Jack's face. MISS BISHOP Do you want to call the Sheriff? Or should I? CUT TO: YELLOW REV 4-24-12 22. 28 EXT. BUS STATION - PENSACOLA - NIGHT 28 Closed. A line of EMPTY BUSES; the BANNER on one: Daytona Beach. Across from it Rachel sits at one end of a BENCH, her fur pulled around her. Jack at the other, staring off into the night. Finally, he reaches down, picks up the shoebox. He pulls out a DRUMSTICK, considers it, then takes a bite. JACK Mama knew... He holds it out to Rachel. She slides over, takes it, takes a bite as well, smiles at him. He smiles back. RACHEL It's good. CUT TO: 29 EXT. BASEBALL FIELD - DAYTONA BEACH, FLORIDA - DAY 29 LEO DUROCHER hitting fungoes. One after the next. PEE WEE REESE and EDDIE STANKY both settle under the same ball. REESE STANKY I got it! I got it! I got it! I got it! They both back off at the last second and it drops to the ground between them. Durocher chuckles. DUROCHER That's what spring training's for, boys! Sort out our differences! He hits another. This time to the outfield where veteran DIXIE WALKER gives chase, finally gives up on it. DUROCHER C'mon, Dixie, get after it! WALKER (LAUGHING) I'm old! DUROCHER I'm gonna squeeze one more year out of that worn out body of yours! WALKER If you could, skipper, my wife would sure appreciate it! DUROCHER Keeping the women happy! That's what it's all about! BLUE REV 4-07-12 23. 29 A EXT./INT. CONVERTIBLE - DAY 29 A Rickey drives a dirt road through the training field singing Two Sleepy People along with the radio: Passing BROOKLYN DODGERS, MONTREAL ROYALS & ST. PAUL SAINTS on either side. Durocher hits another as Rickey pulls up. RICKEY How are they looking, Leo? DUROCHER Rusty, Mr. Rickey. But we'll get em oiled up and ready in no time. You find your lost sheep yet? Troubled, Rickey shakes his head no'. As he does, Harold Parrot hurries over. He's the Dodgers travelling secretary. PARROTT Jackie Robinson's on a bus leaving Pensacola. RICKEY A bus? Harold, how in blazes did he end up on a bus?!

marry

How many times the word 'marry' appears in the text?

42 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 42 Written by Brian Helgeland White - March 14, 2012 Blue Revised - April 7, 2012 Pink Revised - April 19, 2012 Yellow Revised - April 24, 2012 Green Revised - April 27, 2012 Goldenrod Revised - May 9, 2012 Buff Revised - May 29, 2012 Salmon Revised - June 4, 2012 Cherry Revised - June 11, 2012 Tan Revised - June 25, 2012 Double White Revised - June 28, 2012 Double Blue Revised - July 9, 2012 PINK REV 4-19-12 1. A1 WHITE A1 Fills the screen. Falling from the top of frame to the bottom. Pluming off into dust. White, white, white. We move toward it even as it recedes, always out of reach. Finally we pop out wide and high to reveal... The white is chalk. An old BLACK GROUNDSKEEPER lays down the right field line on a baseball diamond. 1 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 1 Blinds closed. Dust motes in the air. A large GOLDFISH TANK bubbles. BRANCH RICKEY at his desk. Two photos on the wall: Abe Lincoln & Leo Durocher. CHALKBOARDS covered with 100's OF NAMES, every player in the Dodger organization. CLYDE SUKEFORTH and HAROLD PARROTT sit across from Rickey who stares at them. Sukeforth stares back. Parrott nervous. RICKEY Gentlemen, I have a plan... As of now, only the Board of Directors and my family know. Sukeforth and Parrott exchange a look. SUKEFORTH A plan's always good, Mr. Rickey. And you always got one. RICKEY My wife says I'm too old, That my health isn't up to it. My son says that every one in baseball will be against me. But I'm going to do it. Parrott looks to Sukeforth who keeps his eyes on Rickey. SUKEFORTH Do what, Mr. Rickey? RICKEY I'm going to bring a Negro ballplayer to the Brooklyn Dodgers. PARROTT With all due respect, sir, have you lost your mind? Imagine the abuse you'll take from the newspapers alone. Never mind how it'll play on Flatbush. Please, Mr. Rickey. Rickey looks dismissively at Parrott, over to Sukeforth. PINK REV 4-19-12 1A. RICKEY There's no law against it, Clyde. SUKEFORTH There's a code. Break a law and get away with it, some people think you're smart. Break an unwritten law though, you'll be an outcast. YELLOW REV 4-24-12 2. RICKEY So be it. New York is full of Negro baseball fans; every dollar is green. I don't know who he is, or where he is, but he's coming. CUT TO: 2 EXT. RICKWOOD FIELD - BIRMINGHAM, ALABAMA - NIGHT 2 The big Birmingham Black Barons CATCHER behind the plate as Kansas City Monarchs JOHN SCOTT stands at bat. The catcher's attention on the RUNNER DANCING off first. Stomping a foot, feinting, hard to see clearly in the glare of the lights. CATCHER Where'd you learn to move like that, runner?! At dime a dance night?! Stay quiet! INSERT: Birmingham, Alabama. April 8, 1945. On the first pitch the runner takes off. The catcher fires to second. See it from his POV as the runner slides in SAFE! A foot on the bag, the runner dusts off, heckles the catcher: RUNNER Is that the best you got?! Huh?! I'm going to steal nine, ten bases today! You better start counting! The catcher frowns. Standing, we see he is a big, big man. CATCHER (ALABAMAN) Where's your shortstop from? JOHN SCOTT (LOUISIANAN) California. CATCHER He's got a mouth on him. Shaking his head, the catcher gets back in his crouch, signals the PITCHER. On the wind-up, the Runner is off again. The catcher fires to THIRD: Safe! RUNNER You got a rag arm, catcher! CATCHER Steal home! You'll find out what kind of arm I got! DBL. BLUE REV 7-9-12 3. RUNNER Okay, I'm coming! The Catcher looks over at Scott who chuckles. CATCHER California, huh? (SCOTT NODS) Well California here he goes, if he comes down here. The Catcher gets back down in his squat. Signals the pitcher: fastball. Scott digs in, ready. The runner dancing off third. Here comes the wind-up... The Runner takes off even as the pitcher fires it in. The Birmingham Catcher receives it. As the Runner slides -- The Catcher intentionally drives his glove, the ball and both hands into the runner's face -- WHALLOP! Sound drops as we're knocked flat senseless along with the runner. ON HIM now as he tries to push himself up from the dirt. A close look at JACK ROOSEVELT ROBINSON. A born battler, he shakes out the cobwebs, finally lurches to his feet, looks to the UMPIRE. He never heard the call. JACK What was I? The umpire passes one hand over the other: Safe. Jack looks over at the catcher, gives him a pointed look as he goes -- The catcher shoves him in the back. Jack turns, shoves back. As the two men wrestles each other to the ground -- CUT TO: 3 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 3 Rickey and Sukeforth going through stacks of FILES on the desk. A black ballplayer's picture is clipped to each. As Rickey reviews one, Sukeforth tries to hand him another. SUKEFORTH Josh Gibson. Oh boy can he hit. RICKEY No. SUKEFORTH No? Rickey won't take the file; the answer is no. DBL. BLUE REV 7-9-12 4. SUKEFORTH Alright. Roy Campanella. Sukeforth holds it out; Rickey won't take it. RICKEY A heck of a player. But too sweet, they'll eat him alive. SUKEFORTH (holds up file) Satchel Paige then. Parrott enters carrying an armful of files. RICKEY Too old. We need a man with a future not a past. (holds up his own FILE) Here. Jack Roosevelt Robinson. As Parrott sets them on the desk, they start to slide off, spilling to the floor. Helpless to stem the tide, Parrott looks down, surrounded by black faces... RICKEY (flips through file) A four sport college man, out of UCLA. That means he's played with white boys. (SCANS FILE) Twenty-six years old, now with the Kansas City Monarchs. Batting over 350 even as we speak. 350! And he was a commissioned army officer! SUKEFORTH He was court-martialed. A trouble maker. He argues with umpires. A quick temper is his reputation. Rickey is obviously keen on him. PARROT What was he court-martialed for? RICKEY For refusing to sit in the back of a military bus. (checks the file) Ft. Hood, Texas. The driver asked him to move back. The MPs had to take him off. DBL. BLUE REV 7-9-12 5. SUKEFORTH Do you see? RICKEY I see he resents segregation. If he were white, we'd call it spirit! PARROT If he were white, sir, we wouldn't be looking for him. Rickey ends the debate... RICKEY Robinson's a Methodist. I'm a Methodist. God's a Methodist. We can't go wrong. Find him. Bring him here. CUT TO: 4 EXT. FILLING STATION - INTERSTATE 24 - DAY 4 A BLOODHOUND watches as a BUS pulls into a SERVICE STATION, the tires RING the bell hose. A million miles easy on this road rumbler. The BANNER reads: KC Monarchs. Insert: Interstate 24, Missouri - August 24, 1945. The DRIVER steps off. The fellas follow, getting off to stretch their legs. Hot and tired. A WHITE ATTENDANT saunters out. The driver steps over to meet him. ATTENDANT Fill her up? DRIVER Yes, sir. The attendant starts unscrewing caps on two 50-GALLON TANKS. ATTENDANT Where you all headed? DRIVER Chicago. As the attendant shoves down a pump, starts filling, Jack steps off. He spots and heads for a restroom. White Men Only lettered on the door. The attendant roused as he sees. ATTENDANT Hey! Where you going, boy!? BLUE REV 4-07-12 6. Everyone looking over as Jack stops. JACK I'm going to the toilet. ATTENDANT Shit, boy, c'mon. You know you can't go in there. Jack does a slow burn, then suddenly strides toward the attendant. The air rife with tension. JACK Take that hose out of the tank. ATTENDANT Huh? DRIVER ROBINSON -- JACK Take it out. We'll get our ninety- nine gallons of gas someplace else. The attendant blinks. He takes a look from Jack to up and down the deserted highway. No business in sight. ATTENDANT Okay, use it. But don't stay in there too long. Jack heads back. The Driver, the players, a bit stunned. CUT TO: 5 INT. WHITE MEN ONLY REST ROOM - FILLING STATION - DAY 5 Jack splashes water on his face, rips a paper towels from the dispenser, pats his face dry. He balls the wad up, squeezes it in his fist before firing it into the trash. He considers his reflection in the mirror. As he regards himself, we hear the SERVICE BELL ring outside. CUT TO: 6 EXT. FILLING STATION - HIGHWAY 24 - DAY 6 A car has pulled up. The driver talks to several players. They look over as Jack exits. The driver is Clyde Sukeforth. SUKEFORTH Are you Jackie Robinson? CUT TO: TAN REV 6-25-12 7. 7 OMITTED 7 8 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 8 Blinds closed. Jack sits across the desk from Rickey. Sukeforth sits a little further back. Rickey is staring at Jack. Bushy eyebrows flared, light gleams off his glasses. INSERT: August 28, 1945. Brooklyn. Jack doesn't know what to do, looks to Sukeforth. Finally... RICKEY Do you have a girl? JACK Excuse me? RICKEY A man needs a family relying on him. It insures he'll behave responsibly. Do you have a girl? JACK I think so. RICKEY You think so? Jack looks to Sukeforth who smiles placidly. Back to Rickey. WHITE 3-14-12 8. JACK I don't make much money. Between the army and now baseball I've been away a lot. And Rae, Rachel, she wants to finish school. Considering all that, I say I think so. RICKEY Do you love her? Rachel? (JACK CONFUSED) Don't you know? JACK Yes, sir, very much. RICKEY Marry her. What? Rickey stands, walks to a window. Jack looks at Sukeforth who raises a hand as if to say: Give it a chance. RICKEY (CONT'D) Baseball's a hard life; a man needs a good woman by his side. You don't want the only person waiting for you at home to be a catcher. Sukeforth chuckles at that. Rickey fingers open a slat on the blind and peers out. Jack looks hard at him. JACK Coach Sukeforth here said you were starting a new Negro League. That doesn't make sense to me. MR. RICKEY It doesn't, huh? Are you calling us liars, Jack? JACK What's this about, Mr. Rickey? RICKEY This is about baseball. Rickey opens the shade. Sunlight floods in. Rickey follows it to the chalkboard, to the list of players under Montreal. RICKEY (CONT'D) I see you starting in the spring with our affiliate in Montreal. If you make it there, we'll try you down here with the Dodgers. The white Brooklyn Dodgers. Jack looks to Sukeforth who nods: Yes, you heard right. BLUE REV 4-07-12 9. RICKEY (CONT'D) I'll pay you $600 a month and a $3,500 bonus when you sign the contract. Is that agreeable? Believe it or not that's a lot of money to Jack on this day in time. This is all becoming a bit overwhelming. JACK Yes, sir. That's fine. RICKEY There is one condition. I have a pile of scouting reports. I know you can hit behind the runner, that you can read a pitch. The question is can you control your temper? JACK My temper? RICKEY Yes your temper! Are you deaf?! Rickey furious, the avuncular old man gone. Jack sits there, fists now balled. Rickey to Sukeforth like he's not there: RICKEY (CONT'D) He looks proud. Willful. SUKEFORTH He'll need to be. Rickey looks back to Jack who is as angry as he is confused. RICKEY I want to win! I want ballplayers who can win! Are you one of them?! JACK Yes. RICKEY A black man in white baseball. Imagine the reaction. The vitriol. Rickey strides forward, gets in his face. RICKEY (CONT'D) The Dodgers check into a hotel. A decent good hotel. You're worn out from the road and some clerk won't give you the pen to sign in. (SOUTHERN DRAWL) We got no room, boy, not even down in the coal bin where you belong. BLUE REV 4-07-12 10. Jack looks like he wants to tear Rickey apart. RICKEY (CONT'D) The team stops at a restaurant. The waiter won't take your order. (adopts a new voice) Didn't you see the sign on the door? No animals allowed. (LOOMING) What are you going to do then? Fight him? Ruin all my plans? Answer me, you black sonofabitch! JACK (MASTERS HIMSELF) Do you want a ballplayer who doesn't have the guts to fight back? Is that what you want? RICKEY I want one who has the guts not to fight back! There are people who will not like this. They will do anything to get you to react. If you echo a curse with a curse, they will only hear yours. Follow a blow with a blow and they will say a Negro lost his temper; that the Negro does not belong. Your enemy will be out in force, but you can not meet him on his own low ground. We win with hitting, running and fielding, nothing else. We win if the world is convinced of two things: that you are a fine gentlemen and a great ballplayer. Like our Savior, you must have the guts to turn the other cheek. Jack considers Rickey. Rickey looks worn out. RICKEY (CONT'D) Can you do it? Jack poised at what will be his Rubicon. He crosses. JACK Mr. Rickey, you give me a uniform, you give me a number on my back, and I'll give you the guts. CUT TO: PINK REV 4-19-12 11. 9 INT. HALLWAY - ISUM HOUSE - LOS ANGELES - DAY 9 A phone RINGS on a table. RACHEL ISUM steps in, 23, possessed of style that you can only be graced with. RACHEL Hello? CUT TO: 10 INT. LOBBY PAYPHONE - 215 MONTAGUE STREET - BROOKLYN - DAY 10 Jack in a PHONE BOOTH, the lobby busy beyond. JACK Rae, I'm in Brooklyn. INTERCUT THE FOLLOWING: RACHEL Brooklyn? For what? JACK I don't want to say on the phone. In fact, I'm not supposed to tell anyone. She can hear the tingle in his voice. RACHEL Jack? JACK I'm here, Rae RACHEL What's going on? You're supposed to be playing in Chicago? JACK We've been tested you and me. Our loyalty, our faith. We've done everything the right way. Me trying to make money. You finishing school. Separated by the war, now by baseball. We don't owe the world a thing. Only each other. She's actually getting a little scared now. RACHEL Jack, what are you talking about? What happened? GOLDENROD REV 5-9-12 12. JACK The Brooklyn Dodgers just signed me to play ball up in Montreal. It might lead to bigger things. To something wonderful. RACHEL What does it mean? For you and me? JACK Rae. Will you marry me? RACHEL Absolutely. When? JACK Now. RACHEL (LAUGHING) Jack, I don't think we can get married in a phone booth. CUT TO: 11 OMITTED 11 11 A INT. HALLWAY - THE CLARK HOTEL - LOS ANGELES - NIGHT 11 A Jack rounds a corner in a TUXEDO, the bow tie undone. Rachel follows in her WEDDING GOWN. They look beautiful. RACHEL Did my mom look happy? JACK Yes. They reach the door. Jack gets out a key to unlock it. Rachel looks nervous, steps back across the hall. RACHEL Did my gram look happy? Swinging the door open, he looks at her. The air charged. JACK Everyone looked happy. I've never seen so many people looking happy. GOLDENROD REV 5-9-12 12A. RACHEL Did Jack Robinson look happy? (SOFT) What if I can't make you happy? He steps over, aware of her shyness. JACK Too late. You already do. It's you and me, Rae. RACHEL Until the wheels fall off. (UNCERTAIN) The world is waiting for us. JACK It can wait one more night (KISSES HER) Are you coming, Mrs. Robinson? RACHEL (kisses him back) I'd follow you anywhere, Mr. Robinson. He picks her up, carries her over the threshold. As the door clicks shut behind them... CUT TO: 12 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 12 The shades closed; we're scheming again. WENDELL SMITH sits across from Rickey who stares back intently. Bespectacled, 32, Smith covers baseball for the Pittsburgh Courier. RICKEY Who's the best shortstop you ever saw? SMITH Rabbit Tavener. RICKEY Rabbit Tavener? And you call yourself a sports writer? WHITE 3-14-12 13. SMITH Yes, a sentimental one. I'm from Detroit. He was the Tiger shortstop when I was a boy. How about you? Who's your best? RICKEY Pop Lloyd. SMITH Not Honus Wagner? RICKEY Wagner is number two. And Rabbit Tavener would not break my top 25. Where do you suppose Jackie Robinson will end up on that list? SMITH He won't break it. He doesn't have a shortstop's arm. Robinson belongs on second base. RICKEY Alright then, where would he rate at second? SMITH If he was playing now he'd be the best second baseman in the majors. RICKEY High praise. He'll have to be the best in the minor leagues first. SMITH What are you saying, Mr. Rickey? RICKEY I'm saying it's going to be a very interesting spring training. A lot of players are coming back from the war and with gas rationing over, we can train down in Florida again. SMITH Daytona Beach? (RICKEY NODS) You're aware in the past six months a black boy was lynched in Madison, Florida and a black man down in Live Oaks? RICKEY Those towns may as well be a million miles from Daytona. WHITE 3-14-12 14. SMITH Live Oaks is 150 actually. RICKEY I spoke to the Daytona mayor. He assures me there'll be no trouble. But Rickey doesn't sound so sure. They consider each other. RICKEY (CONT'D) Mr. Smith, are you a Communist? SMITH I'm a Democrat. Why do you ask? RICKEY I have a business proposition. What's your salary at the Courier? SMITH Fifty dollars a week. RICKEY I will pay you an additional fifty dollars a week plus expenses if you will attend spring training with Jackie Robinson. You will watch over him, help him to avoid the harm that could come if he were to do or say anything out of turn. You will act as his chauffeur, you will secure accommodations for him wherever the team may be, help him find restaurants, etc... SMITH What's in it for me? Besides the fifty dollars and a whole lot of aggravation? RICKEY Unprecedented access for any reportage you feel appropriate. What do you say, Mr. Smith? SMITH I say yes, sir. If a Negro is good enough to stop a Nazi bullet in France; he's good enough to stop a line drive at Yankee Stadium. RICKEY Ebbets Field actually, but yes, I agree. The world is ready. CUT TO: TAN REV 6-25-12 15. 13 OMITTED 13 14 INT. BALLROOM - THE WALDORF ASTORIA HOTEL - NIGHT 14 Over 500 guests: journalists, players and politicians all listen politely as a SPEECH drones to an end. INSERT: New York City. 23rd Annual Baseball Writer's Association Dinner February 3, 1946. SPEAKER As our former President Herbert Hoover remarked in his tribute to our national pastime: The rigid voluntary rules of right and wrong, as applied in baseball, are second only to religion in strengthening the morals of the American people.' Polite applause as the speaker steps off. The clapping more enthusiastic as the lights dim on all but an impromptu set: plantation house columns. Hoots as a BUTLER appears wearing satin knee breeches and a MONTREAL ROYALS jersey. He holds a ring like a lawn jockey, a WHITE MAN in BLACK FACE. The laughs get louder as he peers out with exaggerated wide eyes. BUTLER Lordy, lordy, it's looking like da massa will be late dis ebning. As the LAUGHS from the audience subside, a sportswriter dressed as a COLONEL enters from stage right. COLONEL Robbie! Robbie! BUTLER Yassuh, Massa Kunl. Here Ah is. Huge LAUGHS as he struts and dances his way over. WHITE 3-14-12 16. COLONEL Jackie, you woolly headed rascal. How long yo' been in the family? BUTLER Ebber since Massa Rickey done bots me from da Kansas City Monarchs. COLONEL (aside to audience) Rickey that no good carpetbagger! What could he be thinking! Huge LAUGHS from that one. Two people enjoying it we'll recognize later as HERB PENNOCK and BOB COOKE. BUTLER Ah came near bein' killed last night, Kunl. COLONEL How's that, Jackie boy? BUTLER Ah was comin' up a dark street and three men was behind me. And they tried to do me with a baseball bat. COLONEL You don't say? BUTLER Yes, suh. Ah recognized one of dem. Ah'm gonna hab him arrested. COLONEL But I thought you said it was dark? BUTLER It was. But I know he played for the Philadelphia Baseball Club. On account of he struck at me three times and never hit me once. That brings the house down. Check out their laughing faces. CUT TO: 15 EXT. LOCKHEED TERMINAL - BURBANK - DAY 15 A gleaming American Airlines DC-3 angled up on the tarmac. PASSENGERS climb the portable stairs and disappear inside. INSERT: February 28, 1946. Burbank, California CUT TO: GOLDENROD REV 5-9-12 17. 16 INT. TERMINAL - BURBANK - DAY 16 Jack and Rachel are being seen off by FRIENDS from the wedding and his mother MALLIE. Jack is in a natty suit with Rachel in a beautiful coat. MALLIE You knock the cover off that ball. JACK I will, Mama. Mallie hugs Jack and then kisses Rachel. MALLIE Look after each other. RACHEL We will. She reaches in her bag, brings out a cardboard SHOEBOX; it's ever so slightly greasy at the bottom. MALLIE Take this. It's chicken. JACK They have food on the plane, Mama. MALLIE You never know what might happen. I don't want you getting there starving and too weak to hit. Rachel gives Jack a subtle but emphatic look: No. CUT TO: 17 EXT. LOCKHEED TARMAC - BURBANK - DAY 17 Jack escorts Rachel to the plane, the shoebox in hand. JACK I couldn't tell her no. RACHEL I know she means well; I just don't want to be seen eating chicken out of a box like some country bumpkin. Jack runs his hand over her coat. JACK No one's going to mistake you for a bumpkin in this. PINK REV 4-19-12 18. RACHEL Well, they'll know I belong on that plane or wherever I happen to be. CUT TO: 18 EXT. DC-3 - DAY (STOCK FOOTAGE) 18 Descending toward a runway. Landing gear coming down. CUT TO: 19 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 19 A WOMAN exits the lady's room, passing a SIGN: White Only. REVERSE to show Rachel looking at it like she's been slapped. Jack joins Rae from the TICKET COUNTER, with the chicken box. INSERT: New Orleans Lakefront Airport. JACK The flight to Pensacola leaves in an hour... You okay? RACHEL I've just never seen one before. JACK (follows her look) We're not in Pasadena anymore. A sudden momentum carries her forward. JACK Honey... Rae -- He takes a step after her, stops as she disappears inside. Jack unsure what to do. He looks around. Looks back. He doesn't need this right now. 20 OMITTED 20 21 OMITTED 21 PINK REV 4-19-12 19. 22 INT. AIRPORT COFFEE SHOP - DAY 22 A black BUSBOY reacts as a bickering Jack and Rachel enter. JACK I promised Mr. Rickey we'd stay out of trouble. RACHEL Did you promise him we wouldn't go to the bathroom? You've done it. JACK Before I promised. RACHEL It was just a toilet. You'd think the commodes were made of gold. The busboy watches as Jack and Rachel slide into a booth. As Jack reaches for a MENU, here comes the COOK. COOK You folks can't sit here. JACK Excuse me? COOK It's white only. Jack looking to Rachel; it's equanimity time. Not easy. COOK I'll sell you some sandwiches. But you gotta take em to go. Jack looks to the busboy, back to the cook. JACK No. You hang onto those. Mastering himself, Jack slides out. Drilling the cook with a look, he offers his hand to Rachel as she slides out as well. CUT TO: 23 OMITTED 23 GREEN REV 4-27-12 20. 24 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 24 Seen from on high. Jack and Rachel, sitting on a bench, two little figures as passengers move along the concourse. They sit a bit apart from each other, the world a wedge. CUT TO: 25 EXT. RUNWAY - PENSACOLA AIRPORT - NIGHT 25 SMOKE PINWHEELS as the wheels of a BOEING 247 touch down. INSERT: Pensacola, Florida. Later that day. CUT TO: 26 INT. BOEING 247 - TARMAC - NIGHT 26 Jack and Rachel worn out among eight other passengers. As the door is opened, FOUR of the eight get up and disembark. After a beat, FOUR NEW PASSENGERS board and take their seat. JACK Just a hop to Daytona now. As Rachel nods, an AIRLINE EMPLOYEE boards, MISS BISHOP. She makes her way over. She spots who she's looking for. MISS BISHOP Jack Robinson? Come with me. She starts away without explaining, looks back at them a bit impatiently. MISS BISHOP Come on now. Both of you. CUT TO: BLUE REV 4-07-12 21. 27 INT. TICKET COUNTER - PENSACOLA AIRPORT - NIGHT 27 The shoe box sitting on the counter, Jack in mid discussion with Miss Bishop. Rachel just behind Jack. MISS BISHOP We have to lighten the plane. There's some bad weather east of here. A heavy plane's dangerous. RACHEL (LOW) Tell her you're with the Dodgers. Jack would rather not play that card. JACK When's the next flight? MISS BISHOP Tomorrow morning. But it's booked. So someone'll have to cancel. Jack and Rachel unaware as a WHITE COUPLE are ushered out a door and onto the tarmac behind them. JACK Look, I'm with the Brooklyn Dodger organization. I've got to get down to Daytona. I'm supposed to report to spring training in the morning. MISS BISHOP We'll do our best to get you down there by tomorrow afternoon, but it might be the day after. RACHEL JACK -- He follows her gaze to where the white couple get on the plane they got off. Jack wheels on Miss Bishop, furious. JACK You gave away our seats! Get us back on that plane! Miss Bishop picks up a PHONE, holds it in Jack's face. MISS BISHOP Do you want to call the Sheriff? Or should I? CUT TO: YELLOW REV 4-24-12 22. 28 EXT. BUS STATION - PENSACOLA - NIGHT 28 Closed. A line of EMPTY BUSES; the BANNER on one: Daytona Beach. Across from it Rachel sits at one end of a BENCH, her fur pulled around her. Jack at the other, staring off into the night. Finally, he reaches down, picks up the shoebox. He pulls out a DRUMSTICK, considers it, then takes a bite. JACK Mama knew... He holds it out to Rachel. She slides over, takes it, takes a bite as well, smiles at him. He smiles back. RACHEL It's good. CUT TO: 29 EXT. BASEBALL FIELD - DAYTONA BEACH, FLORIDA - DAY 29 LEO DUROCHER hitting fungoes. One after the next. PEE WEE REESE and EDDIE STANKY both settle under the same ball. REESE STANKY I got it! I got it! I got it! I got it! They both back off at the last second and it drops to the ground between them. Durocher chuckles. DUROCHER That's what spring training's for, boys! Sort out our differences! He hits another. This time to the outfield where veteran DIXIE WALKER gives chase, finally gives up on it. DUROCHER C'mon, Dixie, get after it! WALKER (LAUGHING) I'm old! DUROCHER I'm gonna squeeze one more year out of that worn out body of yours! WALKER If you could, skipper, my wife would sure appreciate it! DUROCHER Keeping the women happy! That's what it's all about! BLUE REV 4-07-12 23. 29 A EXT./INT. CONVERTIBLE - DAY 29 A Rickey drives a dirt road through the training field singing Two Sleepy People along with the radio: Passing BROOKLYN DODGERS, MONTREAL ROYALS & ST. PAUL SAINTS on either side. Durocher hits another as Rickey pulls up. RICKEY How are they looking, Leo? DUROCHER Rusty, Mr. Rickey. But we'll get em oiled up and ready in no time. You find your lost sheep yet? Troubled, Rickey shakes his head no'. As he does, Harold Parrot hurries over. He's the Dodgers travelling secretary. PARROTT Jackie Robinson's on a bus leaving Pensacola. RICKEY A bus? Harold, how in blazes did he end up on a bus?!

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42 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 42 Written by Brian Helgeland White - March 14, 2012 Blue Revised - April 7, 2012 Pink Revised - April 19, 2012 Yellow Revised - April 24, 2012 Green Revised - April 27, 2012 Goldenrod Revised - May 9, 2012 Buff Revised - May 29, 2012 Salmon Revised - June 4, 2012 Cherry Revised - June 11, 2012 Tan Revised - June 25, 2012 Double White Revised - June 28, 2012 Double Blue Revised - July 9, 2012 PINK REV 4-19-12 1. A1 WHITE A1 Fills the screen. Falling from the top of frame to the bottom. Pluming off into dust. White, white, white. We move toward it even as it recedes, always out of reach. Finally we pop out wide and high to reveal... The white is chalk. An old BLACK GROUNDSKEEPER lays down the right field line on a baseball diamond. 1 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 1 Blinds closed. Dust motes in the air. A large GOLDFISH TANK bubbles. BRANCH RICKEY at his desk. Two photos on the wall: Abe Lincoln & Leo Durocher. CHALKBOARDS covered with 100's OF NAMES, every player in the Dodger organization. CLYDE SUKEFORTH and HAROLD PARROTT sit across from Rickey who stares at them. Sukeforth stares back. Parrott nervous. RICKEY Gentlemen, I have a plan... As of now, only the Board of Directors and my family know. Sukeforth and Parrott exchange a look. SUKEFORTH A plan's always good, Mr. Rickey. And you always got one. RICKEY My wife says I'm too old, That my health isn't up to it. My son says that every one in baseball will be against me. But I'm going to do it. Parrott looks to Sukeforth who keeps his eyes on Rickey. SUKEFORTH Do what, Mr. Rickey? RICKEY I'm going to bring a Negro ballplayer to the Brooklyn Dodgers. PARROTT With all due respect, sir, have you lost your mind? Imagine the abuse you'll take from the newspapers alone. Never mind how it'll play on Flatbush. Please, Mr. Rickey. Rickey looks dismissively at Parrott, over to Sukeforth. PINK REV 4-19-12 1A. RICKEY There's no law against it, Clyde. SUKEFORTH There's a code. Break a law and get away with it, some people think you're smart. Break an unwritten law though, you'll be an outcast. YELLOW REV 4-24-12 2. RICKEY So be it. New York is full of Negro baseball fans; every dollar is green. I don't know who he is, or where he is, but he's coming. CUT TO: 2 EXT. RICKWOOD FIELD - BIRMINGHAM, ALABAMA - NIGHT 2 The big Birmingham Black Barons CATCHER behind the plate as Kansas City Monarchs JOHN SCOTT stands at bat. The catcher's attention on the RUNNER DANCING off first. Stomping a foot, feinting, hard to see clearly in the glare of the lights. CATCHER Where'd you learn to move like that, runner?! At dime a dance night?! Stay quiet! INSERT: Birmingham, Alabama. April 8, 1945. On the first pitch the runner takes off. The catcher fires to second. See it from his POV as the runner slides in SAFE! A foot on the bag, the runner dusts off, heckles the catcher: RUNNER Is that the best you got?! Huh?! I'm going to steal nine, ten bases today! You better start counting! The catcher frowns. Standing, we see he is a big, big man. CATCHER (ALABAMAN) Where's your shortstop from? JOHN SCOTT (LOUISIANAN) California. CATCHER He's got a mouth on him. Shaking his head, the catcher gets back in his crouch, signals the PITCHER. On the wind-up, the Runner is off again. The catcher fires to THIRD: Safe! RUNNER You got a rag arm, catcher! CATCHER Steal home! You'll find out what kind of arm I got! DBL. BLUE REV 7-9-12 3. RUNNER Okay, I'm coming! The Catcher looks over at Scott who chuckles. CATCHER California, huh? (SCOTT NODS) Well California here he goes, if he comes down here. The Catcher gets back down in his squat. Signals the pitcher: fastball. Scott digs in, ready. The runner dancing off third. Here comes the wind-up... The Runner takes off even as the pitcher fires it in. The Birmingham Catcher receives it. As the Runner slides -- The Catcher intentionally drives his glove, the ball and both hands into the runner's face -- WHALLOP! Sound drops as we're knocked flat senseless along with the runner. ON HIM now as he tries to push himself up from the dirt. A close look at JACK ROOSEVELT ROBINSON. A born battler, he shakes out the cobwebs, finally lurches to his feet, looks to the UMPIRE. He never heard the call. JACK What was I? The umpire passes one hand over the other: Safe. Jack looks over at the catcher, gives him a pointed look as he goes -- The catcher shoves him in the back. Jack turns, shoves back. As the two men wrestles each other to the ground -- CUT TO: 3 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 3 Rickey and Sukeforth going through stacks of FILES on the desk. A black ballplayer's picture is clipped to each. As Rickey reviews one, Sukeforth tries to hand him another. SUKEFORTH Josh Gibson. Oh boy can he hit. RICKEY No. SUKEFORTH No? Rickey won't take the file; the answer is no. DBL. BLUE REV 7-9-12 4. SUKEFORTH Alright. Roy Campanella. Sukeforth holds it out; Rickey won't take it. RICKEY A heck of a player. But too sweet, they'll eat him alive. SUKEFORTH (holds up file) Satchel Paige then. Parrott enters carrying an armful of files. RICKEY Too old. We need a man with a future not a past. (holds up his own FILE) Here. Jack Roosevelt Robinson. As Parrott sets them on the desk, they start to slide off, spilling to the floor. Helpless to stem the tide, Parrott looks down, surrounded by black faces... RICKEY (flips through file) A four sport college man, out of UCLA. That means he's played with white boys. (SCANS FILE) Twenty-six years old, now with the Kansas City Monarchs. Batting over 350 even as we speak. 350! And he was a commissioned army officer! SUKEFORTH He was court-martialed. A trouble maker. He argues with umpires. A quick temper is his reputation. Rickey is obviously keen on him. PARROT What was he court-martialed for? RICKEY For refusing to sit in the back of a military bus. (checks the file) Ft. Hood, Texas. The driver asked him to move back. The MPs had to take him off. DBL. BLUE REV 7-9-12 5. SUKEFORTH Do you see? RICKEY I see he resents segregation. If he were white, we'd call it spirit! PARROT If he were white, sir, we wouldn't be looking for him. Rickey ends the debate... RICKEY Robinson's a Methodist. I'm a Methodist. God's a Methodist. We can't go wrong. Find him. Bring him here. CUT TO: 4 EXT. FILLING STATION - INTERSTATE 24 - DAY 4 A BLOODHOUND watches as a BUS pulls into a SERVICE STATION, the tires RING the bell hose. A million miles easy on this road rumbler. The BANNER reads: KC Monarchs. Insert: Interstate 24, Missouri - August 24, 1945. The DRIVER steps off. The fellas follow, getting off to stretch their legs. Hot and tired. A WHITE ATTENDANT saunters out. The driver steps over to meet him. ATTENDANT Fill her up? DRIVER Yes, sir. The attendant starts unscrewing caps on two 50-GALLON TANKS. ATTENDANT Where you all headed? DRIVER Chicago. As the attendant shoves down a pump, starts filling, Jack steps off. He spots and heads for a restroom. White Men Only lettered on the door. The attendant roused as he sees. ATTENDANT Hey! Where you going, boy!? BLUE REV 4-07-12 6. Everyone looking over as Jack stops. JACK I'm going to the toilet. ATTENDANT Shit, boy, c'mon. You know you can't go in there. Jack does a slow burn, then suddenly strides toward the attendant. The air rife with tension. JACK Take that hose out of the tank. ATTENDANT Huh? DRIVER ROBINSON -- JACK Take it out. We'll get our ninety- nine gallons of gas someplace else. The attendant blinks. He takes a look from Jack to up and down the deserted highway. No business in sight. ATTENDANT Okay, use it. But don't stay in there too long. Jack heads back. The Driver, the players, a bit stunned. CUT TO: 5 INT. WHITE MEN ONLY REST ROOM - FILLING STATION - DAY 5 Jack splashes water on his face, rips a paper towels from the dispenser, pats his face dry. He balls the wad up, squeezes it in his fist before firing it into the trash. He considers his reflection in the mirror. As he regards himself, we hear the SERVICE BELL ring outside. CUT TO: 6 EXT. FILLING STATION - HIGHWAY 24 - DAY 6 A car has pulled up. The driver talks to several players. They look over as Jack exits. The driver is Clyde Sukeforth. SUKEFORTH Are you Jackie Robinson? CUT TO: TAN REV 6-25-12 7. 7 OMITTED 7 8 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 8 Blinds closed. Jack sits across the desk from Rickey. Sukeforth sits a little further back. Rickey is staring at Jack. Bushy eyebrows flared, light gleams off his glasses. INSERT: August 28, 1945. Brooklyn. Jack doesn't know what to do, looks to Sukeforth. Finally... RICKEY Do you have a girl? JACK Excuse me? RICKEY A man needs a family relying on him. It insures he'll behave responsibly. Do you have a girl? JACK I think so. RICKEY You think so? Jack looks to Sukeforth who smiles placidly. Back to Rickey. WHITE 3-14-12 8. JACK I don't make much money. Between the army and now baseball I've been away a lot. And Rae, Rachel, she wants to finish school. Considering all that, I say I think so. RICKEY Do you love her? Rachel? (JACK CONFUSED) Don't you know? JACK Yes, sir, very much. RICKEY Marry her. What? Rickey stands, walks to a window. Jack looks at Sukeforth who raises a hand as if to say: Give it a chance. RICKEY (CONT'D) Baseball's a hard life; a man needs a good woman by his side. You don't want the only person waiting for you at home to be a catcher. Sukeforth chuckles at that. Rickey fingers open a slat on the blind and peers out. Jack looks hard at him. JACK Coach Sukeforth here said you were starting a new Negro League. That doesn't make sense to me. MR. RICKEY It doesn't, huh? Are you calling us liars, Jack? JACK What's this about, Mr. Rickey? RICKEY This is about baseball. Rickey opens the shade. Sunlight floods in. Rickey follows it to the chalkboard, to the list of players under Montreal. RICKEY (CONT'D) I see you starting in the spring with our affiliate in Montreal. If you make it there, we'll try you down here with the Dodgers. The white Brooklyn Dodgers. Jack looks to Sukeforth who nods: Yes, you heard right. BLUE REV 4-07-12 9. RICKEY (CONT'D) I'll pay you $600 a month and a $3,500 bonus when you sign the contract. Is that agreeable? Believe it or not that's a lot of money to Jack on this day in time. This is all becoming a bit overwhelming. JACK Yes, sir. That's fine. RICKEY There is one condition. I have a pile of scouting reports. I know you can hit behind the runner, that you can read a pitch. The question is can you control your temper? JACK My temper? RICKEY Yes your temper! Are you deaf?! Rickey furious, the avuncular old man gone. Jack sits there, fists now balled. Rickey to Sukeforth like he's not there: RICKEY (CONT'D) He looks proud. Willful. SUKEFORTH He'll need to be. Rickey looks back to Jack who is as angry as he is confused. RICKEY I want to win! I want ballplayers who can win! Are you one of them?! JACK Yes. RICKEY A black man in white baseball. Imagine the reaction. The vitriol. Rickey strides forward, gets in his face. RICKEY (CONT'D) The Dodgers check into a hotel. A decent good hotel. You're worn out from the road and some clerk won't give you the pen to sign in. (SOUTHERN DRAWL) We got no room, boy, not even down in the coal bin where you belong. BLUE REV 4-07-12 10. Jack looks like he wants to tear Rickey apart. RICKEY (CONT'D) The team stops at a restaurant. The waiter won't take your order. (adopts a new voice) Didn't you see the sign on the door? No animals allowed. (LOOMING) What are you going to do then? Fight him? Ruin all my plans? Answer me, you black sonofabitch! JACK (MASTERS HIMSELF) Do you want a ballplayer who doesn't have the guts to fight back? Is that what you want? RICKEY I want one who has the guts not to fight back! There are people who will not like this. They will do anything to get you to react. If you echo a curse with a curse, they will only hear yours. Follow a blow with a blow and they will say a Negro lost his temper; that the Negro does not belong. Your enemy will be out in force, but you can not meet him on his own low ground. We win with hitting, running and fielding, nothing else. We win if the world is convinced of two things: that you are a fine gentlemen and a great ballplayer. Like our Savior, you must have the guts to turn the other cheek. Jack considers Rickey. Rickey looks worn out. RICKEY (CONT'D) Can you do it? Jack poised at what will be his Rubicon. He crosses. JACK Mr. Rickey, you give me a uniform, you give me a number on my back, and I'll give you the guts. CUT TO: PINK REV 4-19-12 11. 9 INT. HALLWAY - ISUM HOUSE - LOS ANGELES - DAY 9 A phone RINGS on a table. RACHEL ISUM steps in, 23, possessed of style that you can only be graced with. RACHEL Hello? CUT TO: 10 INT. LOBBY PAYPHONE - 215 MONTAGUE STREET - BROOKLYN - DAY 10 Jack in a PHONE BOOTH, the lobby busy beyond. JACK Rae, I'm in Brooklyn. INTERCUT THE FOLLOWING: RACHEL Brooklyn? For what? JACK I don't want to say on the phone. In fact, I'm not supposed to tell anyone. She can hear the tingle in his voice. RACHEL Jack? JACK I'm here, Rae RACHEL What's going on? You're supposed to be playing in Chicago? JACK We've been tested you and me. Our loyalty, our faith. We've done everything the right way. Me trying to make money. You finishing school. Separated by the war, now by baseball. We don't owe the world a thing. Only each other. She's actually getting a little scared now. RACHEL Jack, what are you talking about? What happened? GOLDENROD REV 5-9-12 12. JACK The Brooklyn Dodgers just signed me to play ball up in Montreal. It might lead to bigger things. To something wonderful. RACHEL What does it mean? For you and me? JACK Rae. Will you marry me? RACHEL Absolutely. When? JACK Now. RACHEL (LAUGHING) Jack, I don't think we can get married in a phone booth. CUT TO: 11 OMITTED 11 11 A INT. HALLWAY - THE CLARK HOTEL - LOS ANGELES - NIGHT 11 A Jack rounds a corner in a TUXEDO, the bow tie undone. Rachel follows in her WEDDING GOWN. They look beautiful. RACHEL Did my mom look happy? JACK Yes. They reach the door. Jack gets out a key to unlock it. Rachel looks nervous, steps back across the hall. RACHEL Did my gram look happy? Swinging the door open, he looks at her. The air charged. JACK Everyone looked happy. I've never seen so many people looking happy. GOLDENROD REV 5-9-12 12A. RACHEL Did Jack Robinson look happy? (SOFT) What if I can't make you happy? He steps over, aware of her shyness. JACK Too late. You already do. It's you and me, Rae. RACHEL Until the wheels fall off. (UNCERTAIN) The world is waiting for us. JACK It can wait one more night (KISSES HER) Are you coming, Mrs. Robinson? RACHEL (kisses him back) I'd follow you anywhere, Mr. Robinson. He picks her up, carries her over the threshold. As the door clicks shut behind them... CUT TO: 12 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 12 The shades closed; we're scheming again. WENDELL SMITH sits across from Rickey who stares back intently. Bespectacled, 32, Smith covers baseball for the Pittsburgh Courier. RICKEY Who's the best shortstop you ever saw? SMITH Rabbit Tavener. RICKEY Rabbit Tavener? And you call yourself a sports writer? WHITE 3-14-12 13. SMITH Yes, a sentimental one. I'm from Detroit. He was the Tiger shortstop when I was a boy. How about you? Who's your best? RICKEY Pop Lloyd. SMITH Not Honus Wagner? RICKEY Wagner is number two. And Rabbit Tavener would not break my top 25. Where do you suppose Jackie Robinson will end up on that list? SMITH He won't break it. He doesn't have a shortstop's arm. Robinson belongs on second base. RICKEY Alright then, where would he rate at second? SMITH If he was playing now he'd be the best second baseman in the majors. RICKEY High praise. He'll have to be the best in the minor leagues first. SMITH What are you saying, Mr. Rickey? RICKEY I'm saying it's going to be a very interesting spring training. A lot of players are coming back from the war and with gas rationing over, we can train down in Florida again. SMITH Daytona Beach? (RICKEY NODS) You're aware in the past six months a black boy was lynched in Madison, Florida and a black man down in Live Oaks? RICKEY Those towns may as well be a million miles from Daytona. WHITE 3-14-12 14. SMITH Live Oaks is 150 actually. RICKEY I spoke to the Daytona mayor. He assures me there'll be no trouble. But Rickey doesn't sound so sure. They consider each other. RICKEY (CONT'D) Mr. Smith, are you a Communist? SMITH I'm a Democrat. Why do you ask? RICKEY I have a business proposition. What's your salary at the Courier? SMITH Fifty dollars a week. RICKEY I will pay you an additional fifty dollars a week plus expenses if you will attend spring training with Jackie Robinson. You will watch over him, help him to avoid the harm that could come if he were to do or say anything out of turn. You will act as his chauffeur, you will secure accommodations for him wherever the team may be, help him find restaurants, etc... SMITH What's in it for me? Besides the fifty dollars and a whole lot of aggravation? RICKEY Unprecedented access for any reportage you feel appropriate. What do you say, Mr. Smith? SMITH I say yes, sir. If a Negro is good enough to stop a Nazi bullet in France; he's good enough to stop a line drive at Yankee Stadium. RICKEY Ebbets Field actually, but yes, I agree. The world is ready. CUT TO: TAN REV 6-25-12 15. 13 OMITTED 13 14 INT. BALLROOM - THE WALDORF ASTORIA HOTEL - NIGHT 14 Over 500 guests: journalists, players and politicians all listen politely as a SPEECH drones to an end. INSERT: New York City. 23rd Annual Baseball Writer's Association Dinner February 3, 1946. SPEAKER As our former President Herbert Hoover remarked in his tribute to our national pastime: The rigid voluntary rules of right and wrong, as applied in baseball, are second only to religion in strengthening the morals of the American people.' Polite applause as the speaker steps off. The clapping more enthusiastic as the lights dim on all but an impromptu set: plantation house columns. Hoots as a BUTLER appears wearing satin knee breeches and a MONTREAL ROYALS jersey. He holds a ring like a lawn jockey, a WHITE MAN in BLACK FACE. The laughs get louder as he peers out with exaggerated wide eyes. BUTLER Lordy, lordy, it's looking like da massa will be late dis ebning. As the LAUGHS from the audience subside, a sportswriter dressed as a COLONEL enters from stage right. COLONEL Robbie! Robbie! BUTLER Yassuh, Massa Kunl. Here Ah is. Huge LAUGHS as he struts and dances his way over. WHITE 3-14-12 16. COLONEL Jackie, you woolly headed rascal. How long yo' been in the family? BUTLER Ebber since Massa Rickey done bots me from da Kansas City Monarchs. COLONEL (aside to audience) Rickey that no good carpetbagger! What could he be thinking! Huge LAUGHS from that one. Two people enjoying it we'll recognize later as HERB PENNOCK and BOB COOKE. BUTLER Ah came near bein' killed last night, Kunl. COLONEL How's that, Jackie boy? BUTLER Ah was comin' up a dark street and three men was behind me. And they tried to do me with a baseball bat. COLONEL You don't say? BUTLER Yes, suh. Ah recognized one of dem. Ah'm gonna hab him arrested. COLONEL But I thought you said it was dark? BUTLER It was. But I know he played for the Philadelphia Baseball Club. On account of he struck at me three times and never hit me once. That brings the house down. Check out their laughing faces. CUT TO: 15 EXT. LOCKHEED TERMINAL - BURBANK - DAY 15 A gleaming American Airlines DC-3 angled up on the tarmac. PASSENGERS climb the portable stairs and disappear inside. INSERT: February 28, 1946. Burbank, California CUT TO: GOLDENROD REV 5-9-12 17. 16 INT. TERMINAL - BURBANK - DAY 16 Jack and Rachel are being seen off by FRIENDS from the wedding and his mother MALLIE. Jack is in a natty suit with Rachel in a beautiful coat. MALLIE You knock the cover off that ball. JACK I will, Mama. Mallie hugs Jack and then kisses Rachel. MALLIE Look after each other. RACHEL We will. She reaches in her bag, brings out a cardboard SHOEBOX; it's ever so slightly greasy at the bottom. MALLIE Take this. It's chicken. JACK They have food on the plane, Mama. MALLIE You never know what might happen. I don't want you getting there starving and too weak to hit. Rachel gives Jack a subtle but emphatic look: No. CUT TO: 17 EXT. LOCKHEED TARMAC - BURBANK - DAY 17 Jack escorts Rachel to the plane, the shoebox in hand. JACK I couldn't tell her no. RACHEL I know she means well; I just don't want to be seen eating chicken out of a box like some country bumpkin. Jack runs his hand over her coat. JACK No one's going to mistake you for a bumpkin in this. PINK REV 4-19-12 18. RACHEL Well, they'll know I belong on that plane or wherever I happen to be. CUT TO: 18 EXT. DC-3 - DAY (STOCK FOOTAGE) 18 Descending toward a runway. Landing gear coming down. CUT TO: 19 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 19 A WOMAN exits the lady's room, passing a SIGN: White Only. REVERSE to show Rachel looking at it like she's been slapped. Jack joins Rae from the TICKET COUNTER, with the chicken box. INSERT: New Orleans Lakefront Airport. JACK The flight to Pensacola leaves in an hour... You okay? RACHEL I've just never seen one before. JACK (follows her look) We're not in Pasadena anymore. A sudden momentum carries her forward. JACK Honey... Rae -- He takes a step after her, stops as she disappears inside. Jack unsure what to do. He looks around. Looks back. He doesn't need this right now. 20 OMITTED 20 21 OMITTED 21 PINK REV 4-19-12 19. 22 INT. AIRPORT COFFEE SHOP - DAY 22 A black BUSBOY reacts as a bickering Jack and Rachel enter. JACK I promised Mr. Rickey we'd stay out of trouble. RACHEL Did you promise him we wouldn't go to the bathroom? You've done it. JACK Before I promised. RACHEL It was just a toilet. You'd think the commodes were made of gold. The busboy watches as Jack and Rachel slide into a booth. As Jack reaches for a MENU, here comes the COOK. COOK You folks can't sit here. JACK Excuse me? COOK It's white only. Jack looking to Rachel; it's equanimity time. Not easy. COOK I'll sell you some sandwiches. But you gotta take em to go. Jack looks to the busboy, back to the cook. JACK No. You hang onto those. Mastering himself, Jack slides out. Drilling the cook with a look, he offers his hand to Rachel as she slides out as well. CUT TO: 23 OMITTED 23 GREEN REV 4-27-12 20. 24 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 24 Seen from on high. Jack and Rachel, sitting on a bench, two little figures as passengers move along the concourse. They sit a bit apart from each other, the world a wedge. CUT TO: 25 EXT. RUNWAY - PENSACOLA AIRPORT - NIGHT 25 SMOKE PINWHEELS as the wheels of a BOEING 247 touch down. INSERT: Pensacola, Florida. Later that day. CUT TO: 26 INT. BOEING 247 - TARMAC - NIGHT 26 Jack and Rachel worn out among eight other passengers. As the door is opened, FOUR of the eight get up and disembark. After a beat, FOUR NEW PASSENGERS board and take their seat. JACK Just a hop to Daytona now. As Rachel nods, an AIRLINE EMPLOYEE boards, MISS BISHOP. She makes her way over. She spots who she's looking for. MISS BISHOP Jack Robinson? Come with me. She starts away without explaining, looks back at them a bit impatiently. MISS BISHOP Come on now. Both of you. CUT TO: BLUE REV 4-07-12 21. 27 INT. TICKET COUNTER - PENSACOLA AIRPORT - NIGHT 27 The shoe box sitting on the counter, Jack in mid discussion with Miss Bishop. Rachel just behind Jack. MISS BISHOP We have to lighten the plane. There's some bad weather east of here. A heavy plane's dangerous. RACHEL (LOW) Tell her you're with the Dodgers. Jack would rather not play that card. JACK When's the next flight? MISS BISHOP Tomorrow morning. But it's booked. So someone'll have to cancel. Jack and Rachel unaware as a WHITE COUPLE are ushered out a door and onto the tarmac behind them. JACK Look, I'm with the Brooklyn Dodger organization. I've got to get down to Daytona. I'm supposed to report to spring training in the morning. MISS BISHOP We'll do our best to get you down there by tomorrow afternoon, but it might be the day after. RACHEL JACK -- He follows her gaze to where the white couple get on the plane they got off. Jack wheels on Miss Bishop, furious. JACK You gave away our seats! Get us back on that plane! Miss Bishop picks up a PHONE, holds it in Jack's face. MISS BISHOP Do you want to call the Sheriff? Or should I? CUT TO: YELLOW REV 4-24-12 22. 28 EXT. BUS STATION - PENSACOLA - NIGHT 28 Closed. A line of EMPTY BUSES; the BANNER on one: Daytona Beach. Across from it Rachel sits at one end of a BENCH, her fur pulled around her. Jack at the other, staring off into the night. Finally, he reaches down, picks up the shoebox. He pulls out a DRUMSTICK, considers it, then takes a bite. JACK Mama knew... He holds it out to Rachel. She slides over, takes it, takes a bite as well, smiles at him. He smiles back. RACHEL It's good. CUT TO: 29 EXT. BASEBALL FIELD - DAYTONA BEACH, FLORIDA - DAY 29 LEO DUROCHER hitting fungoes. One after the next. PEE WEE REESE and EDDIE STANKY both settle under the same ball. REESE STANKY I got it! I got it! I got it! I got it! They both back off at the last second and it drops to the ground between them. Durocher chuckles. DUROCHER That's what spring training's for, boys! Sort out our differences! He hits another. This time to the outfield where veteran DIXIE WALKER gives chase, finally gives up on it. DUROCHER C'mon, Dixie, get after it! WALKER (LAUGHING) I'm old! DUROCHER I'm gonna squeeze one more year out of that worn out body of yours! WALKER If you could, skipper, my wife would sure appreciate it! DUROCHER Keeping the women happy! That's what it's all about! BLUE REV 4-07-12 23. 29 A EXT./INT. CONVERTIBLE - DAY 29 A Rickey drives a dirt road through the training field singing Two Sleepy People along with the radio: Passing BROOKLYN DODGERS, MONTREAL ROYALS & ST. PAUL SAINTS on either side. Durocher hits another as Rickey pulls up. RICKEY How are they looking, Leo? DUROCHER Rusty, Mr. Rickey. But we'll get em oiled up and ready in no time. You find your lost sheep yet? Troubled, Rickey shakes his head no'. As he does, Harold Parrot hurries over. He's the Dodgers travelling secretary. PARROTT Jackie Robinson's on a bus leaving Pensacola. RICKEY A bus? Harold, how in blazes did he end up on a bus?!

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How many times the word 'crosses' appears in the text?

42 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 42 Written by Brian Helgeland White - March 14, 2012 Blue Revised - April 7, 2012 Pink Revised - April 19, 2012 Yellow Revised - April 24, 2012 Green Revised - April 27, 2012 Goldenrod Revised - May 9, 2012 Buff Revised - May 29, 2012 Salmon Revised - June 4, 2012 Cherry Revised - June 11, 2012 Tan Revised - June 25, 2012 Double White Revised - June 28, 2012 Double Blue Revised - July 9, 2012 PINK REV 4-19-12 1. A1 WHITE A1 Fills the screen. Falling from the top of frame to the bottom. Pluming off into dust. White, white, white. We move toward it even as it recedes, always out of reach. Finally we pop out wide and high to reveal... The white is chalk. An old BLACK GROUNDSKEEPER lays down the right field line on a baseball diamond. 1 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 1 Blinds closed. Dust motes in the air. A large GOLDFISH TANK bubbles. BRANCH RICKEY at his desk. Two photos on the wall: Abe Lincoln & Leo Durocher. CHALKBOARDS covered with 100's OF NAMES, every player in the Dodger organization. CLYDE SUKEFORTH and HAROLD PARROTT sit across from Rickey who stares at them. Sukeforth stares back. Parrott nervous. RICKEY Gentlemen, I have a plan... As of now, only the Board of Directors and my family know. Sukeforth and Parrott exchange a look. SUKEFORTH A plan's always good, Mr. Rickey. And you always got one. RICKEY My wife says I'm too old, That my health isn't up to it. My son says that every one in baseball will be against me. But I'm going to do it. Parrott looks to Sukeforth who keeps his eyes on Rickey. SUKEFORTH Do what, Mr. Rickey? RICKEY I'm going to bring a Negro ballplayer to the Brooklyn Dodgers. PARROTT With all due respect, sir, have you lost your mind? Imagine the abuse you'll take from the newspapers alone. Never mind how it'll play on Flatbush. Please, Mr. Rickey. Rickey looks dismissively at Parrott, over to Sukeforth. PINK REV 4-19-12 1A. RICKEY There's no law against it, Clyde. SUKEFORTH There's a code. Break a law and get away with it, some people think you're smart. Break an unwritten law though, you'll be an outcast. YELLOW REV 4-24-12 2. RICKEY So be it. New York is full of Negro baseball fans; every dollar is green. I don't know who he is, or where he is, but he's coming. CUT TO: 2 EXT. RICKWOOD FIELD - BIRMINGHAM, ALABAMA - NIGHT 2 The big Birmingham Black Barons CATCHER behind the plate as Kansas City Monarchs JOHN SCOTT stands at bat. The catcher's attention on the RUNNER DANCING off first. Stomping a foot, feinting, hard to see clearly in the glare of the lights. CATCHER Where'd you learn to move like that, runner?! At dime a dance night?! Stay quiet! INSERT: Birmingham, Alabama. April 8, 1945. On the first pitch the runner takes off. The catcher fires to second. See it from his POV as the runner slides in SAFE! A foot on the bag, the runner dusts off, heckles the catcher: RUNNER Is that the best you got?! Huh?! I'm going to steal nine, ten bases today! You better start counting! The catcher frowns. Standing, we see he is a big, big man. CATCHER (ALABAMAN) Where's your shortstop from? JOHN SCOTT (LOUISIANAN) California. CATCHER He's got a mouth on him. Shaking his head, the catcher gets back in his crouch, signals the PITCHER. On the wind-up, the Runner is off again. The catcher fires to THIRD: Safe! RUNNER You got a rag arm, catcher! CATCHER Steal home! You'll find out what kind of arm I got! DBL. BLUE REV 7-9-12 3. RUNNER Okay, I'm coming! The Catcher looks over at Scott who chuckles. CATCHER California, huh? (SCOTT NODS) Well California here he goes, if he comes down here. The Catcher gets back down in his squat. Signals the pitcher: fastball. Scott digs in, ready. The runner dancing off third. Here comes the wind-up... The Runner takes off even as the pitcher fires it in. The Birmingham Catcher receives it. As the Runner slides -- The Catcher intentionally drives his glove, the ball and both hands into the runner's face -- WHALLOP! Sound drops as we're knocked flat senseless along with the runner. ON HIM now as he tries to push himself up from the dirt. A close look at JACK ROOSEVELT ROBINSON. A born battler, he shakes out the cobwebs, finally lurches to his feet, looks to the UMPIRE. He never heard the call. JACK What was I? The umpire passes one hand over the other: Safe. Jack looks over at the catcher, gives him a pointed look as he goes -- The catcher shoves him in the back. Jack turns, shoves back. As the two men wrestles each other to the ground -- CUT TO: 3 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 3 Rickey and Sukeforth going through stacks of FILES on the desk. A black ballplayer's picture is clipped to each. As Rickey reviews one, Sukeforth tries to hand him another. SUKEFORTH Josh Gibson. Oh boy can he hit. RICKEY No. SUKEFORTH No? Rickey won't take the file; the answer is no. DBL. BLUE REV 7-9-12 4. SUKEFORTH Alright. Roy Campanella. Sukeforth holds it out; Rickey won't take it. RICKEY A heck of a player. But too sweet, they'll eat him alive. SUKEFORTH (holds up file) Satchel Paige then. Parrott enters carrying an armful of files. RICKEY Too old. We need a man with a future not a past. (holds up his own FILE) Here. Jack Roosevelt Robinson. As Parrott sets them on the desk, they start to slide off, spilling to the floor. Helpless to stem the tide, Parrott looks down, surrounded by black faces... RICKEY (flips through file) A four sport college man, out of UCLA. That means he's played with white boys. (SCANS FILE) Twenty-six years old, now with the Kansas City Monarchs. Batting over 350 even as we speak. 350! And he was a commissioned army officer! SUKEFORTH He was court-martialed. A trouble maker. He argues with umpires. A quick temper is his reputation. Rickey is obviously keen on him. PARROT What was he court-martialed for? RICKEY For refusing to sit in the back of a military bus. (checks the file) Ft. Hood, Texas. The driver asked him to move back. The MPs had to take him off. DBL. BLUE REV 7-9-12 5. SUKEFORTH Do you see? RICKEY I see he resents segregation. If he were white, we'd call it spirit! PARROT If he were white, sir, we wouldn't be looking for him. Rickey ends the debate... RICKEY Robinson's a Methodist. I'm a Methodist. God's a Methodist. We can't go wrong. Find him. Bring him here. CUT TO: 4 EXT. FILLING STATION - INTERSTATE 24 - DAY 4 A BLOODHOUND watches as a BUS pulls into a SERVICE STATION, the tires RING the bell hose. A million miles easy on this road rumbler. The BANNER reads: KC Monarchs. Insert: Interstate 24, Missouri - August 24, 1945. The DRIVER steps off. The fellas follow, getting off to stretch their legs. Hot and tired. A WHITE ATTENDANT saunters out. The driver steps over to meet him. ATTENDANT Fill her up? DRIVER Yes, sir. The attendant starts unscrewing caps on two 50-GALLON TANKS. ATTENDANT Where you all headed? DRIVER Chicago. As the attendant shoves down a pump, starts filling, Jack steps off. He spots and heads for a restroom. White Men Only lettered on the door. The attendant roused as he sees. ATTENDANT Hey! Where you going, boy!? BLUE REV 4-07-12 6. Everyone looking over as Jack stops. JACK I'm going to the toilet. ATTENDANT Shit, boy, c'mon. You know you can't go in there. Jack does a slow burn, then suddenly strides toward the attendant. The air rife with tension. JACK Take that hose out of the tank. ATTENDANT Huh? DRIVER ROBINSON -- JACK Take it out. We'll get our ninety- nine gallons of gas someplace else. The attendant blinks. He takes a look from Jack to up and down the deserted highway. No business in sight. ATTENDANT Okay, use it. But don't stay in there too long. Jack heads back. The Driver, the players, a bit stunned. CUT TO: 5 INT. WHITE MEN ONLY REST ROOM - FILLING STATION - DAY 5 Jack splashes water on his face, rips a paper towels from the dispenser, pats his face dry. He balls the wad up, squeezes it in his fist before firing it into the trash. He considers his reflection in the mirror. As he regards himself, we hear the SERVICE BELL ring outside. CUT TO: 6 EXT. FILLING STATION - HIGHWAY 24 - DAY 6 A car has pulled up. The driver talks to several players. They look over as Jack exits. The driver is Clyde Sukeforth. SUKEFORTH Are you Jackie Robinson? CUT TO: TAN REV 6-25-12 7. 7 OMITTED 7 8 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 8 Blinds closed. Jack sits across the desk from Rickey. Sukeforth sits a little further back. Rickey is staring at Jack. Bushy eyebrows flared, light gleams off his glasses. INSERT: August 28, 1945. Brooklyn. Jack doesn't know what to do, looks to Sukeforth. Finally... RICKEY Do you have a girl? JACK Excuse me? RICKEY A man needs a family relying on him. It insures he'll behave responsibly. Do you have a girl? JACK I think so. RICKEY You think so? Jack looks to Sukeforth who smiles placidly. Back to Rickey. WHITE 3-14-12 8. JACK I don't make much money. Between the army and now baseball I've been away a lot. And Rae, Rachel, she wants to finish school. Considering all that, I say I think so. RICKEY Do you love her? Rachel? (JACK CONFUSED) Don't you know? JACK Yes, sir, very much. RICKEY Marry her. What? Rickey stands, walks to a window. Jack looks at Sukeforth who raises a hand as if to say: Give it a chance. RICKEY (CONT'D) Baseball's a hard life; a man needs a good woman by his side. You don't want the only person waiting for you at home to be a catcher. Sukeforth chuckles at that. Rickey fingers open a slat on the blind and peers out. Jack looks hard at him. JACK Coach Sukeforth here said you were starting a new Negro League. That doesn't make sense to me. MR. RICKEY It doesn't, huh? Are you calling us liars, Jack? JACK What's this about, Mr. Rickey? RICKEY This is about baseball. Rickey opens the shade. Sunlight floods in. Rickey follows it to the chalkboard, to the list of players under Montreal. RICKEY (CONT'D) I see you starting in the spring with our affiliate in Montreal. If you make it there, we'll try you down here with the Dodgers. The white Brooklyn Dodgers. Jack looks to Sukeforth who nods: Yes, you heard right. BLUE REV 4-07-12 9. RICKEY (CONT'D) I'll pay you $600 a month and a $3,500 bonus when you sign the contract. Is that agreeable? Believe it or not that's a lot of money to Jack on this day in time. This is all becoming a bit overwhelming. JACK Yes, sir. That's fine. RICKEY There is one condition. I have a pile of scouting reports. I know you can hit behind the runner, that you can read a pitch. The question is can you control your temper? JACK My temper? RICKEY Yes your temper! Are you deaf?! Rickey furious, the avuncular old man gone. Jack sits there, fists now balled. Rickey to Sukeforth like he's not there: RICKEY (CONT'D) He looks proud. Willful. SUKEFORTH He'll need to be. Rickey looks back to Jack who is as angry as he is confused. RICKEY I want to win! I want ballplayers who can win! Are you one of them?! JACK Yes. RICKEY A black man in white baseball. Imagine the reaction. The vitriol. Rickey strides forward, gets in his face. RICKEY (CONT'D) The Dodgers check into a hotel. A decent good hotel. You're worn out from the road and some clerk won't give you the pen to sign in. (SOUTHERN DRAWL) We got no room, boy, not even down in the coal bin where you belong. BLUE REV 4-07-12 10. Jack looks like he wants to tear Rickey apart. RICKEY (CONT'D) The team stops at a restaurant. The waiter won't take your order. (adopts a new voice) Didn't you see the sign on the door? No animals allowed. (LOOMING) What are you going to do then? Fight him? Ruin all my plans? Answer me, you black sonofabitch! JACK (MASTERS HIMSELF) Do you want a ballplayer who doesn't have the guts to fight back? Is that what you want? RICKEY I want one who has the guts not to fight back! There are people who will not like this. They will do anything to get you to react. If you echo a curse with a curse, they will only hear yours. Follow a blow with a blow and they will say a Negro lost his temper; that the Negro does not belong. Your enemy will be out in force, but you can not meet him on his own low ground. We win with hitting, running and fielding, nothing else. We win if the world is convinced of two things: that you are a fine gentlemen and a great ballplayer. Like our Savior, you must have the guts to turn the other cheek. Jack considers Rickey. Rickey looks worn out. RICKEY (CONT'D) Can you do it? Jack poised at what will be his Rubicon. He crosses. JACK Mr. Rickey, you give me a uniform, you give me a number on my back, and I'll give you the guts. CUT TO: PINK REV 4-19-12 11. 9 INT. HALLWAY - ISUM HOUSE - LOS ANGELES - DAY 9 A phone RINGS on a table. RACHEL ISUM steps in, 23, possessed of style that you can only be graced with. RACHEL Hello? CUT TO: 10 INT. LOBBY PAYPHONE - 215 MONTAGUE STREET - BROOKLYN - DAY 10 Jack in a PHONE BOOTH, the lobby busy beyond. JACK Rae, I'm in Brooklyn. INTERCUT THE FOLLOWING: RACHEL Brooklyn? For what? JACK I don't want to say on the phone. In fact, I'm not supposed to tell anyone. She can hear the tingle in his voice. RACHEL Jack? JACK I'm here, Rae RACHEL What's going on? You're supposed to be playing in Chicago? JACK We've been tested you and me. Our loyalty, our faith. We've done everything the right way. Me trying to make money. You finishing school. Separated by the war, now by baseball. We don't owe the world a thing. Only each other. She's actually getting a little scared now. RACHEL Jack, what are you talking about? What happened? GOLDENROD REV 5-9-12 12. JACK The Brooklyn Dodgers just signed me to play ball up in Montreal. It might lead to bigger things. To something wonderful. RACHEL What does it mean? For you and me? JACK Rae. Will you marry me? RACHEL Absolutely. When? JACK Now. RACHEL (LAUGHING) Jack, I don't think we can get married in a phone booth. CUT TO: 11 OMITTED 11 11 A INT. HALLWAY - THE CLARK HOTEL - LOS ANGELES - NIGHT 11 A Jack rounds a corner in a TUXEDO, the bow tie undone. Rachel follows in her WEDDING GOWN. They look beautiful. RACHEL Did my mom look happy? JACK Yes. They reach the door. Jack gets out a key to unlock it. Rachel looks nervous, steps back across the hall. RACHEL Did my gram look happy? Swinging the door open, he looks at her. The air charged. JACK Everyone looked happy. I've never seen so many people looking happy. GOLDENROD REV 5-9-12 12A. RACHEL Did Jack Robinson look happy? (SOFT) What if I can't make you happy? He steps over, aware of her shyness. JACK Too late. You already do. It's you and me, Rae. RACHEL Until the wheels fall off. (UNCERTAIN) The world is waiting for us. JACK It can wait one more night (KISSES HER) Are you coming, Mrs. Robinson? RACHEL (kisses him back) I'd follow you anywhere, Mr. Robinson. He picks her up, carries her over the threshold. As the door clicks shut behind them... CUT TO: 12 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 12 The shades closed; we're scheming again. WENDELL SMITH sits across from Rickey who stares back intently. Bespectacled, 32, Smith covers baseball for the Pittsburgh Courier. RICKEY Who's the best shortstop you ever saw? SMITH Rabbit Tavener. RICKEY Rabbit Tavener? And you call yourself a sports writer? WHITE 3-14-12 13. SMITH Yes, a sentimental one. I'm from Detroit. He was the Tiger shortstop when I was a boy. How about you? Who's your best? RICKEY Pop Lloyd. SMITH Not Honus Wagner? RICKEY Wagner is number two. And Rabbit Tavener would not break my top 25. Where do you suppose Jackie Robinson will end up on that list? SMITH He won't break it. He doesn't have a shortstop's arm. Robinson belongs on second base. RICKEY Alright then, where would he rate at second? SMITH If he was playing now he'd be the best second baseman in the majors. RICKEY High praise. He'll have to be the best in the minor leagues first. SMITH What are you saying, Mr. Rickey? RICKEY I'm saying it's going to be a very interesting spring training. A lot of players are coming back from the war and with gas rationing over, we can train down in Florida again. SMITH Daytona Beach? (RICKEY NODS) You're aware in the past six months a black boy was lynched in Madison, Florida and a black man down in Live Oaks? RICKEY Those towns may as well be a million miles from Daytona. WHITE 3-14-12 14. SMITH Live Oaks is 150 actually. RICKEY I spoke to the Daytona mayor. He assures me there'll be no trouble. But Rickey doesn't sound so sure. They consider each other. RICKEY (CONT'D) Mr. Smith, are you a Communist? SMITH I'm a Democrat. Why do you ask? RICKEY I have a business proposition. What's your salary at the Courier? SMITH Fifty dollars a week. RICKEY I will pay you an additional fifty dollars a week plus expenses if you will attend spring training with Jackie Robinson. You will watch over him, help him to avoid the harm that could come if he were to do or say anything out of turn. You will act as his chauffeur, you will secure accommodations for him wherever the team may be, help him find restaurants, etc... SMITH What's in it for me? Besides the fifty dollars and a whole lot of aggravation? RICKEY Unprecedented access for any reportage you feel appropriate. What do you say, Mr. Smith? SMITH I say yes, sir. If a Negro is good enough to stop a Nazi bullet in France; he's good enough to stop a line drive at Yankee Stadium. RICKEY Ebbets Field actually, but yes, I agree. The world is ready. CUT TO: TAN REV 6-25-12 15. 13 OMITTED 13 14 INT. BALLROOM - THE WALDORF ASTORIA HOTEL - NIGHT 14 Over 500 guests: journalists, players and politicians all listen politely as a SPEECH drones to an end. INSERT: New York City. 23rd Annual Baseball Writer's Association Dinner February 3, 1946. SPEAKER As our former President Herbert Hoover remarked in his tribute to our national pastime: The rigid voluntary rules of right and wrong, as applied in baseball, are second only to religion in strengthening the morals of the American people.' Polite applause as the speaker steps off. The clapping more enthusiastic as the lights dim on all but an impromptu set: plantation house columns. Hoots as a BUTLER appears wearing satin knee breeches and a MONTREAL ROYALS jersey. He holds a ring like a lawn jockey, a WHITE MAN in BLACK FACE. The laughs get louder as he peers out with exaggerated wide eyes. BUTLER Lordy, lordy, it's looking like da massa will be late dis ebning. As the LAUGHS from the audience subside, a sportswriter dressed as a COLONEL enters from stage right. COLONEL Robbie! Robbie! BUTLER Yassuh, Massa Kunl. Here Ah is. Huge LAUGHS as he struts and dances his way over. WHITE 3-14-12 16. COLONEL Jackie, you woolly headed rascal. How long yo' been in the family? BUTLER Ebber since Massa Rickey done bots me from da Kansas City Monarchs. COLONEL (aside to audience) Rickey that no good carpetbagger! What could he be thinking! Huge LAUGHS from that one. Two people enjoying it we'll recognize later as HERB PENNOCK and BOB COOKE. BUTLER Ah came near bein' killed last night, Kunl. COLONEL How's that, Jackie boy? BUTLER Ah was comin' up a dark street and three men was behind me. And they tried to do me with a baseball bat. COLONEL You don't say? BUTLER Yes, suh. Ah recognized one of dem. Ah'm gonna hab him arrested. COLONEL But I thought you said it was dark? BUTLER It was. But I know he played for the Philadelphia Baseball Club. On account of he struck at me three times and never hit me once. That brings the house down. Check out their laughing faces. CUT TO: 15 EXT. LOCKHEED TERMINAL - BURBANK - DAY 15 A gleaming American Airlines DC-3 angled up on the tarmac. PASSENGERS climb the portable stairs and disappear inside. INSERT: February 28, 1946. Burbank, California CUT TO: GOLDENROD REV 5-9-12 17. 16 INT. TERMINAL - BURBANK - DAY 16 Jack and Rachel are being seen off by FRIENDS from the wedding and his mother MALLIE. Jack is in a natty suit with Rachel in a beautiful coat. MALLIE You knock the cover off that ball. JACK I will, Mama. Mallie hugs Jack and then kisses Rachel. MALLIE Look after each other. RACHEL We will. She reaches in her bag, brings out a cardboard SHOEBOX; it's ever so slightly greasy at the bottom. MALLIE Take this. It's chicken. JACK They have food on the plane, Mama. MALLIE You never know what might happen. I don't want you getting there starving and too weak to hit. Rachel gives Jack a subtle but emphatic look: No. CUT TO: 17 EXT. LOCKHEED TARMAC - BURBANK - DAY 17 Jack escorts Rachel to the plane, the shoebox in hand. JACK I couldn't tell her no. RACHEL I know she means well; I just don't want to be seen eating chicken out of a box like some country bumpkin. Jack runs his hand over her coat. JACK No one's going to mistake you for a bumpkin in this. PINK REV 4-19-12 18. RACHEL Well, they'll know I belong on that plane or wherever I happen to be. CUT TO: 18 EXT. DC-3 - DAY (STOCK FOOTAGE) 18 Descending toward a runway. Landing gear coming down. CUT TO: 19 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 19 A WOMAN exits the lady's room, passing a SIGN: White Only. REVERSE to show Rachel looking at it like she's been slapped. Jack joins Rae from the TICKET COUNTER, with the chicken box. INSERT: New Orleans Lakefront Airport. JACK The flight to Pensacola leaves in an hour... You okay? RACHEL I've just never seen one before. JACK (follows her look) We're not in Pasadena anymore. A sudden momentum carries her forward. JACK Honey... Rae -- He takes a step after her, stops as she disappears inside. Jack unsure what to do. He looks around. Looks back. He doesn't need this right now. 20 OMITTED 20 21 OMITTED 21 PINK REV 4-19-12 19. 22 INT. AIRPORT COFFEE SHOP - DAY 22 A black BUSBOY reacts as a bickering Jack and Rachel enter. JACK I promised Mr. Rickey we'd stay out of trouble. RACHEL Did you promise him we wouldn't go to the bathroom? You've done it. JACK Before I promised. RACHEL It was just a toilet. You'd think the commodes were made of gold. The busboy watches as Jack and Rachel slide into a booth. As Jack reaches for a MENU, here comes the COOK. COOK You folks can't sit here. JACK Excuse me? COOK It's white only. Jack looking to Rachel; it's equanimity time. Not easy. COOK I'll sell you some sandwiches. But you gotta take em to go. Jack looks to the busboy, back to the cook. JACK No. You hang onto those. Mastering himself, Jack slides out. Drilling the cook with a look, he offers his hand to Rachel as she slides out as well. CUT TO: 23 OMITTED 23 GREEN REV 4-27-12 20. 24 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 24 Seen from on high. Jack and Rachel, sitting on a bench, two little figures as passengers move along the concourse. They sit a bit apart from each other, the world a wedge. CUT TO: 25 EXT. RUNWAY - PENSACOLA AIRPORT - NIGHT 25 SMOKE PINWHEELS as the wheels of a BOEING 247 touch down. INSERT: Pensacola, Florida. Later that day. CUT TO: 26 INT. BOEING 247 - TARMAC - NIGHT 26 Jack and Rachel worn out among eight other passengers. As the door is opened, FOUR of the eight get up and disembark. After a beat, FOUR NEW PASSENGERS board and take their seat. JACK Just a hop to Daytona now. As Rachel nods, an AIRLINE EMPLOYEE boards, MISS BISHOP. She makes her way over. She spots who she's looking for. MISS BISHOP Jack Robinson? Come with me. She starts away without explaining, looks back at them a bit impatiently. MISS BISHOP Come on now. Both of you. CUT TO: BLUE REV 4-07-12 21. 27 INT. TICKET COUNTER - PENSACOLA AIRPORT - NIGHT 27 The shoe box sitting on the counter, Jack in mid discussion with Miss Bishop. Rachel just behind Jack. MISS BISHOP We have to lighten the plane. There's some bad weather east of here. A heavy plane's dangerous. RACHEL (LOW) Tell her you're with the Dodgers. Jack would rather not play that card. JACK When's the next flight? MISS BISHOP Tomorrow morning. But it's booked. So someone'll have to cancel. Jack and Rachel unaware as a WHITE COUPLE are ushered out a door and onto the tarmac behind them. JACK Look, I'm with the Brooklyn Dodger organization. I've got to get down to Daytona. I'm supposed to report to spring training in the morning. MISS BISHOP We'll do our best to get you down there by tomorrow afternoon, but it might be the day after. RACHEL JACK -- He follows her gaze to where the white couple get on the plane they got off. Jack wheels on Miss Bishop, furious. JACK You gave away our seats! Get us back on that plane! Miss Bishop picks up a PHONE, holds it in Jack's face. MISS BISHOP Do you want to call the Sheriff? Or should I? CUT TO: YELLOW REV 4-24-12 22. 28 EXT. BUS STATION - PENSACOLA - NIGHT 28 Closed. A line of EMPTY BUSES; the BANNER on one: Daytona Beach. Across from it Rachel sits at one end of a BENCH, her fur pulled around her. Jack at the other, staring off into the night. Finally, he reaches down, picks up the shoebox. He pulls out a DRUMSTICK, considers it, then takes a bite. JACK Mama knew... He holds it out to Rachel. She slides over, takes it, takes a bite as well, smiles at him. He smiles back. RACHEL It's good. CUT TO: 29 EXT. BASEBALL FIELD - DAYTONA BEACH, FLORIDA - DAY 29 LEO DUROCHER hitting fungoes. One after the next. PEE WEE REESE and EDDIE STANKY both settle under the same ball. REESE STANKY I got it! I got it! I got it! I got it! They both back off at the last second and it drops to the ground between them. Durocher chuckles. DUROCHER That's what spring training's for, boys! Sort out our differences! He hits another. This time to the outfield where veteran DIXIE WALKER gives chase, finally gives up on it. DUROCHER C'mon, Dixie, get after it! WALKER (LAUGHING) I'm old! DUROCHER I'm gonna squeeze one more year out of that worn out body of yours! WALKER If you could, skipper, my wife would sure appreciate it! DUROCHER Keeping the women happy! That's what it's all about! BLUE REV 4-07-12 23. 29 A EXT./INT. CONVERTIBLE - DAY 29 A Rickey drives a dirt road through the training field singing Two Sleepy People along with the radio: Passing BROOKLYN DODGERS, MONTREAL ROYALS & ST. PAUL SAINTS on either side. Durocher hits another as Rickey pulls up. RICKEY How are they looking, Leo? DUROCHER Rusty, Mr. Rickey. But we'll get em oiled up and ready in no time. You find your lost sheep yet? Troubled, Rickey shakes his head no'. As he does, Harold Parrot hurries over. He's the Dodgers travelling secretary. PARROTT Jackie Robinson's on a bus leaving Pensacola. RICKEY A bus? Harold, how in blazes did he end up on a bus?!

waiting

How many times the word 'waiting' appears in the text?

42 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 42 Written by Brian Helgeland White - March 14, 2012 Blue Revised - April 7, 2012 Pink Revised - April 19, 2012 Yellow Revised - April 24, 2012 Green Revised - April 27, 2012 Goldenrod Revised - May 9, 2012 Buff Revised - May 29, 2012 Salmon Revised - June 4, 2012 Cherry Revised - June 11, 2012 Tan Revised - June 25, 2012 Double White Revised - June 28, 2012 Double Blue Revised - July 9, 2012 PINK REV 4-19-12 1. A1 WHITE A1 Fills the screen. Falling from the top of frame to the bottom. Pluming off into dust. White, white, white. We move toward it even as it recedes, always out of reach. Finally we pop out wide and high to reveal... The white is chalk. An old BLACK GROUNDSKEEPER lays down the right field line on a baseball diamond. 1 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 1 Blinds closed. Dust motes in the air. A large GOLDFISH TANK bubbles. BRANCH RICKEY at his desk. Two photos on the wall: Abe Lincoln & Leo Durocher. CHALKBOARDS covered with 100's OF NAMES, every player in the Dodger organization. CLYDE SUKEFORTH and HAROLD PARROTT sit across from Rickey who stares at them. Sukeforth stares back. Parrott nervous. RICKEY Gentlemen, I have a plan... As of now, only the Board of Directors and my family know. Sukeforth and Parrott exchange a look. SUKEFORTH A plan's always good, Mr. Rickey. And you always got one. RICKEY My wife says I'm too old, That my health isn't up to it. My son says that every one in baseball will be against me. But I'm going to do it. Parrott looks to Sukeforth who keeps his eyes on Rickey. SUKEFORTH Do what, Mr. Rickey? RICKEY I'm going to bring a Negro ballplayer to the Brooklyn Dodgers. PARROTT With all due respect, sir, have you lost your mind? Imagine the abuse you'll take from the newspapers alone. Never mind how it'll play on Flatbush. Please, Mr. Rickey. Rickey looks dismissively at Parrott, over to Sukeforth. PINK REV 4-19-12 1A. RICKEY There's no law against it, Clyde. SUKEFORTH There's a code. Break a law and get away with it, some people think you're smart. Break an unwritten law though, you'll be an outcast. YELLOW REV 4-24-12 2. RICKEY So be it. New York is full of Negro baseball fans; every dollar is green. I don't know who he is, or where he is, but he's coming. CUT TO: 2 EXT. RICKWOOD FIELD - BIRMINGHAM, ALABAMA - NIGHT 2 The big Birmingham Black Barons CATCHER behind the plate as Kansas City Monarchs JOHN SCOTT stands at bat. The catcher's attention on the RUNNER DANCING off first. Stomping a foot, feinting, hard to see clearly in the glare of the lights. CATCHER Where'd you learn to move like that, runner?! At dime a dance night?! Stay quiet! INSERT: Birmingham, Alabama. April 8, 1945. On the first pitch the runner takes off. The catcher fires to second. See it from his POV as the runner slides in SAFE! A foot on the bag, the runner dusts off, heckles the catcher: RUNNER Is that the best you got?! Huh?! I'm going to steal nine, ten bases today! You better start counting! The catcher frowns. Standing, we see he is a big, big man. CATCHER (ALABAMAN) Where's your shortstop from? JOHN SCOTT (LOUISIANAN) California. CATCHER He's got a mouth on him. Shaking his head, the catcher gets back in his crouch, signals the PITCHER. On the wind-up, the Runner is off again. The catcher fires to THIRD: Safe! RUNNER You got a rag arm, catcher! CATCHER Steal home! You'll find out what kind of arm I got! DBL. BLUE REV 7-9-12 3. RUNNER Okay, I'm coming! The Catcher looks over at Scott who chuckles. CATCHER California, huh? (SCOTT NODS) Well California here he goes, if he comes down here. The Catcher gets back down in his squat. Signals the pitcher: fastball. Scott digs in, ready. The runner dancing off third. Here comes the wind-up... The Runner takes off even as the pitcher fires it in. The Birmingham Catcher receives it. As the Runner slides -- The Catcher intentionally drives his glove, the ball and both hands into the runner's face -- WHALLOP! Sound drops as we're knocked flat senseless along with the runner. ON HIM now as he tries to push himself up from the dirt. A close look at JACK ROOSEVELT ROBINSON. A born battler, he shakes out the cobwebs, finally lurches to his feet, looks to the UMPIRE. He never heard the call. JACK What was I? The umpire passes one hand over the other: Safe. Jack looks over at the catcher, gives him a pointed look as he goes -- The catcher shoves him in the back. Jack turns, shoves back. As the two men wrestles each other to the ground -- CUT TO: 3 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 3 Rickey and Sukeforth going through stacks of FILES on the desk. A black ballplayer's picture is clipped to each. As Rickey reviews one, Sukeforth tries to hand him another. SUKEFORTH Josh Gibson. Oh boy can he hit. RICKEY No. SUKEFORTH No? Rickey won't take the file; the answer is no. DBL. BLUE REV 7-9-12 4. SUKEFORTH Alright. Roy Campanella. Sukeforth holds it out; Rickey won't take it. RICKEY A heck of a player. But too sweet, they'll eat him alive. SUKEFORTH (holds up file) Satchel Paige then. Parrott enters carrying an armful of files. RICKEY Too old. We need a man with a future not a past. (holds up his own FILE) Here. Jack Roosevelt Robinson. As Parrott sets them on the desk, they start to slide off, spilling to the floor. Helpless to stem the tide, Parrott looks down, surrounded by black faces... RICKEY (flips through file) A four sport college man, out of UCLA. That means he's played with white boys. (SCANS FILE) Twenty-six years old, now with the Kansas City Monarchs. Batting over 350 even as we speak. 350! And he was a commissioned army officer! SUKEFORTH He was court-martialed. A trouble maker. He argues with umpires. A quick temper is his reputation. Rickey is obviously keen on him. PARROT What was he court-martialed for? RICKEY For refusing to sit in the back of a military bus. (checks the file) Ft. Hood, Texas. The driver asked him to move back. The MPs had to take him off. DBL. BLUE REV 7-9-12 5. SUKEFORTH Do you see? RICKEY I see he resents segregation. If he were white, we'd call it spirit! PARROT If he were white, sir, we wouldn't be looking for him. Rickey ends the debate... RICKEY Robinson's a Methodist. I'm a Methodist. God's a Methodist. We can't go wrong. Find him. Bring him here. CUT TO: 4 EXT. FILLING STATION - INTERSTATE 24 - DAY 4 A BLOODHOUND watches as a BUS pulls into a SERVICE STATION, the tires RING the bell hose. A million miles easy on this road rumbler. The BANNER reads: KC Monarchs. Insert: Interstate 24, Missouri - August 24, 1945. The DRIVER steps off. The fellas follow, getting off to stretch their legs. Hot and tired. A WHITE ATTENDANT saunters out. The driver steps over to meet him. ATTENDANT Fill her up? DRIVER Yes, sir. The attendant starts unscrewing caps on two 50-GALLON TANKS. ATTENDANT Where you all headed? DRIVER Chicago. As the attendant shoves down a pump, starts filling, Jack steps off. He spots and heads for a restroom. White Men Only lettered on the door. The attendant roused as he sees. ATTENDANT Hey! Where you going, boy!? BLUE REV 4-07-12 6. Everyone looking over as Jack stops. JACK I'm going to the toilet. ATTENDANT Shit, boy, c'mon. You know you can't go in there. Jack does a slow burn, then suddenly strides toward the attendant. The air rife with tension. JACK Take that hose out of the tank. ATTENDANT Huh? DRIVER ROBINSON -- JACK Take it out. We'll get our ninety- nine gallons of gas someplace else. The attendant blinks. He takes a look from Jack to up and down the deserted highway. No business in sight. ATTENDANT Okay, use it. But don't stay in there too long. Jack heads back. The Driver, the players, a bit stunned. CUT TO: 5 INT. WHITE MEN ONLY REST ROOM - FILLING STATION - DAY 5 Jack splashes water on his face, rips a paper towels from the dispenser, pats his face dry. He balls the wad up, squeezes it in his fist before firing it into the trash. He considers his reflection in the mirror. As he regards himself, we hear the SERVICE BELL ring outside. CUT TO: 6 EXT. FILLING STATION - HIGHWAY 24 - DAY 6 A car has pulled up. The driver talks to several players. They look over as Jack exits. The driver is Clyde Sukeforth. SUKEFORTH Are you Jackie Robinson? CUT TO: TAN REV 6-25-12 7. 7 OMITTED 7 8 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 8 Blinds closed. Jack sits across the desk from Rickey. Sukeforth sits a little further back. Rickey is staring at Jack. Bushy eyebrows flared, light gleams off his glasses. INSERT: August 28, 1945. Brooklyn. Jack doesn't know what to do, looks to Sukeforth. Finally... RICKEY Do you have a girl? JACK Excuse me? RICKEY A man needs a family relying on him. It insures he'll behave responsibly. Do you have a girl? JACK I think so. RICKEY You think so? Jack looks to Sukeforth who smiles placidly. Back to Rickey. WHITE 3-14-12 8. JACK I don't make much money. Between the army and now baseball I've been away a lot. And Rae, Rachel, she wants to finish school. Considering all that, I say I think so. RICKEY Do you love her? Rachel? (JACK CONFUSED) Don't you know? JACK Yes, sir, very much. RICKEY Marry her. What? Rickey stands, walks to a window. Jack looks at Sukeforth who raises a hand as if to say: Give it a chance. RICKEY (CONT'D) Baseball's a hard life; a man needs a good woman by his side. You don't want the only person waiting for you at home to be a catcher. Sukeforth chuckles at that. Rickey fingers open a slat on the blind and peers out. Jack looks hard at him. JACK Coach Sukeforth here said you were starting a new Negro League. That doesn't make sense to me. MR. RICKEY It doesn't, huh? Are you calling us liars, Jack? JACK What's this about, Mr. Rickey? RICKEY This is about baseball. Rickey opens the shade. Sunlight floods in. Rickey follows it to the chalkboard, to the list of players under Montreal. RICKEY (CONT'D) I see you starting in the spring with our affiliate in Montreal. If you make it there, we'll try you down here with the Dodgers. The white Brooklyn Dodgers. Jack looks to Sukeforth who nods: Yes, you heard right. BLUE REV 4-07-12 9. RICKEY (CONT'D) I'll pay you $600 a month and a $3,500 bonus when you sign the contract. Is that agreeable? Believe it or not that's a lot of money to Jack on this day in time. This is all becoming a bit overwhelming. JACK Yes, sir. That's fine. RICKEY There is one condition. I have a pile of scouting reports. I know you can hit behind the runner, that you can read a pitch. The question is can you control your temper? JACK My temper? RICKEY Yes your temper! Are you deaf?! Rickey furious, the avuncular old man gone. Jack sits there, fists now balled. Rickey to Sukeforth like he's not there: RICKEY (CONT'D) He looks proud. Willful. SUKEFORTH He'll need to be. Rickey looks back to Jack who is as angry as he is confused. RICKEY I want to win! I want ballplayers who can win! Are you one of them?! JACK Yes. RICKEY A black man in white baseball. Imagine the reaction. The vitriol. Rickey strides forward, gets in his face. RICKEY (CONT'D) The Dodgers check into a hotel. A decent good hotel. You're worn out from the road and some clerk won't give you the pen to sign in. (SOUTHERN DRAWL) We got no room, boy, not even down in the coal bin where you belong. BLUE REV 4-07-12 10. Jack looks like he wants to tear Rickey apart. RICKEY (CONT'D) The team stops at a restaurant. The waiter won't take your order. (adopts a new voice) Didn't you see the sign on the door? No animals allowed. (LOOMING) What are you going to do then? Fight him? Ruin all my plans? Answer me, you black sonofabitch! JACK (MASTERS HIMSELF) Do you want a ballplayer who doesn't have the guts to fight back? Is that what you want? RICKEY I want one who has the guts not to fight back! There are people who will not like this. They will do anything to get you to react. If you echo a curse with a curse, they will only hear yours. Follow a blow with a blow and they will say a Negro lost his temper; that the Negro does not belong. Your enemy will be out in force, but you can not meet him on his own low ground. We win with hitting, running and fielding, nothing else. We win if the world is convinced of two things: that you are a fine gentlemen and a great ballplayer. Like our Savior, you must have the guts to turn the other cheek. Jack considers Rickey. Rickey looks worn out. RICKEY (CONT'D) Can you do it? Jack poised at what will be his Rubicon. He crosses. JACK Mr. Rickey, you give me a uniform, you give me a number on my back, and I'll give you the guts. CUT TO: PINK REV 4-19-12 11. 9 INT. HALLWAY - ISUM HOUSE - LOS ANGELES - DAY 9 A phone RINGS on a table. RACHEL ISUM steps in, 23, possessed of style that you can only be graced with. RACHEL Hello? CUT TO: 10 INT. LOBBY PAYPHONE - 215 MONTAGUE STREET - BROOKLYN - DAY 10 Jack in a PHONE BOOTH, the lobby busy beyond. JACK Rae, I'm in Brooklyn. INTERCUT THE FOLLOWING: RACHEL Brooklyn? For what? JACK I don't want to say on the phone. In fact, I'm not supposed to tell anyone. She can hear the tingle in his voice. RACHEL Jack? JACK I'm here, Rae RACHEL What's going on? You're supposed to be playing in Chicago? JACK We've been tested you and me. Our loyalty, our faith. We've done everything the right way. Me trying to make money. You finishing school. Separated by the war, now by baseball. We don't owe the world a thing. Only each other. She's actually getting a little scared now. RACHEL Jack, what are you talking about? What happened? GOLDENROD REV 5-9-12 12. JACK The Brooklyn Dodgers just signed me to play ball up in Montreal. It might lead to bigger things. To something wonderful. RACHEL What does it mean? For you and me? JACK Rae. Will you marry me? RACHEL Absolutely. When? JACK Now. RACHEL (LAUGHING) Jack, I don't think we can get married in a phone booth. CUT TO: 11 OMITTED 11 11 A INT. HALLWAY - THE CLARK HOTEL - LOS ANGELES - NIGHT 11 A Jack rounds a corner in a TUXEDO, the bow tie undone. Rachel follows in her WEDDING GOWN. They look beautiful. RACHEL Did my mom look happy? JACK Yes. They reach the door. Jack gets out a key to unlock it. Rachel looks nervous, steps back across the hall. RACHEL Did my gram look happy? Swinging the door open, he looks at her. The air charged. JACK Everyone looked happy. I've never seen so many people looking happy. GOLDENROD REV 5-9-12 12A. RACHEL Did Jack Robinson look happy? (SOFT) What if I can't make you happy? He steps over, aware of her shyness. JACK Too late. You already do. It's you and me, Rae. RACHEL Until the wheels fall off. (UNCERTAIN) The world is waiting for us. JACK It can wait one more night (KISSES HER) Are you coming, Mrs. Robinson? RACHEL (kisses him back) I'd follow you anywhere, Mr. Robinson. He picks her up, carries her over the threshold. As the door clicks shut behind them... CUT TO: 12 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 12 The shades closed; we're scheming again. WENDELL SMITH sits across from Rickey who stares back intently. Bespectacled, 32, Smith covers baseball for the Pittsburgh Courier. RICKEY Who's the best shortstop you ever saw? SMITH Rabbit Tavener. RICKEY Rabbit Tavener? And you call yourself a sports writer? WHITE 3-14-12 13. SMITH Yes, a sentimental one. I'm from Detroit. He was the Tiger shortstop when I was a boy. How about you? Who's your best? RICKEY Pop Lloyd. SMITH Not Honus Wagner? RICKEY Wagner is number two. And Rabbit Tavener would not break my top 25. Where do you suppose Jackie Robinson will end up on that list? SMITH He won't break it. He doesn't have a shortstop's arm. Robinson belongs on second base. RICKEY Alright then, where would he rate at second? SMITH If he was playing now he'd be the best second baseman in the majors. RICKEY High praise. He'll have to be the best in the minor leagues first. SMITH What are you saying, Mr. Rickey? RICKEY I'm saying it's going to be a very interesting spring training. A lot of players are coming back from the war and with gas rationing over, we can train down in Florida again. SMITH Daytona Beach? (RICKEY NODS) You're aware in the past six months a black boy was lynched in Madison, Florida and a black man down in Live Oaks? RICKEY Those towns may as well be a million miles from Daytona. WHITE 3-14-12 14. SMITH Live Oaks is 150 actually. RICKEY I spoke to the Daytona mayor. He assures me there'll be no trouble. But Rickey doesn't sound so sure. They consider each other. RICKEY (CONT'D) Mr. Smith, are you a Communist? SMITH I'm a Democrat. Why do you ask? RICKEY I have a business proposition. What's your salary at the Courier? SMITH Fifty dollars a week. RICKEY I will pay you an additional fifty dollars a week plus expenses if you will attend spring training with Jackie Robinson. You will watch over him, help him to avoid the harm that could come if he were to do or say anything out of turn. You will act as his chauffeur, you will secure accommodations for him wherever the team may be, help him find restaurants, etc... SMITH What's in it for me? Besides the fifty dollars and a whole lot of aggravation? RICKEY Unprecedented access for any reportage you feel appropriate. What do you say, Mr. Smith? SMITH I say yes, sir. If a Negro is good enough to stop a Nazi bullet in France; he's good enough to stop a line drive at Yankee Stadium. RICKEY Ebbets Field actually, but yes, I agree. The world is ready. CUT TO: TAN REV 6-25-12 15. 13 OMITTED 13 14 INT. BALLROOM - THE WALDORF ASTORIA HOTEL - NIGHT 14 Over 500 guests: journalists, players and politicians all listen politely as a SPEECH drones to an end. INSERT: New York City. 23rd Annual Baseball Writer's Association Dinner February 3, 1946. SPEAKER As our former President Herbert Hoover remarked in his tribute to our national pastime: The rigid voluntary rules of right and wrong, as applied in baseball, are second only to religion in strengthening the morals of the American people.' Polite applause as the speaker steps off. The clapping more enthusiastic as the lights dim on all but an impromptu set: plantation house columns. Hoots as a BUTLER appears wearing satin knee breeches and a MONTREAL ROYALS jersey. He holds a ring like a lawn jockey, a WHITE MAN in BLACK FACE. The laughs get louder as he peers out with exaggerated wide eyes. BUTLER Lordy, lordy, it's looking like da massa will be late dis ebning. As the LAUGHS from the audience subside, a sportswriter dressed as a COLONEL enters from stage right. COLONEL Robbie! Robbie! BUTLER Yassuh, Massa Kunl. Here Ah is. Huge LAUGHS as he struts and dances his way over. WHITE 3-14-12 16. COLONEL Jackie, you woolly headed rascal. How long yo' been in the family? BUTLER Ebber since Massa Rickey done bots me from da Kansas City Monarchs. COLONEL (aside to audience) Rickey that no good carpetbagger! What could he be thinking! Huge LAUGHS from that one. Two people enjoying it we'll recognize later as HERB PENNOCK and BOB COOKE. BUTLER Ah came near bein' killed last night, Kunl. COLONEL How's that, Jackie boy? BUTLER Ah was comin' up a dark street and three men was behind me. And they tried to do me with a baseball bat. COLONEL You don't say? BUTLER Yes, suh. Ah recognized one of dem. Ah'm gonna hab him arrested. COLONEL But I thought you said it was dark? BUTLER It was. But I know he played for the Philadelphia Baseball Club. On account of he struck at me three times and never hit me once. That brings the house down. Check out their laughing faces. CUT TO: 15 EXT. LOCKHEED TERMINAL - BURBANK - DAY 15 A gleaming American Airlines DC-3 angled up on the tarmac. PASSENGERS climb the portable stairs and disappear inside. INSERT: February 28, 1946. Burbank, California CUT TO: GOLDENROD REV 5-9-12 17. 16 INT. TERMINAL - BURBANK - DAY 16 Jack and Rachel are being seen off by FRIENDS from the wedding and his mother MALLIE. Jack is in a natty suit with Rachel in a beautiful coat. MALLIE You knock the cover off that ball. JACK I will, Mama. Mallie hugs Jack and then kisses Rachel. MALLIE Look after each other. RACHEL We will. She reaches in her bag, brings out a cardboard SHOEBOX; it's ever so slightly greasy at the bottom. MALLIE Take this. It's chicken. JACK They have food on the plane, Mama. MALLIE You never know what might happen. I don't want you getting there starving and too weak to hit. Rachel gives Jack a subtle but emphatic look: No. CUT TO: 17 EXT. LOCKHEED TARMAC - BURBANK - DAY 17 Jack escorts Rachel to the plane, the shoebox in hand. JACK I couldn't tell her no. RACHEL I know she means well; I just don't want to be seen eating chicken out of a box like some country bumpkin. Jack runs his hand over her coat. JACK No one's going to mistake you for a bumpkin in this. PINK REV 4-19-12 18. RACHEL Well, they'll know I belong on that plane or wherever I happen to be. CUT TO: 18 EXT. DC-3 - DAY (STOCK FOOTAGE) 18 Descending toward a runway. Landing gear coming down. CUT TO: 19 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 19 A WOMAN exits the lady's room, passing a SIGN: White Only. REVERSE to show Rachel looking at it like she's been slapped. Jack joins Rae from the TICKET COUNTER, with the chicken box. INSERT: New Orleans Lakefront Airport. JACK The flight to Pensacola leaves in an hour... You okay? RACHEL I've just never seen one before. JACK (follows her look) We're not in Pasadena anymore. A sudden momentum carries her forward. JACK Honey... Rae -- He takes a step after her, stops as she disappears inside. Jack unsure what to do. He looks around. Looks back. He doesn't need this right now. 20 OMITTED 20 21 OMITTED 21 PINK REV 4-19-12 19. 22 INT. AIRPORT COFFEE SHOP - DAY 22 A black BUSBOY reacts as a bickering Jack and Rachel enter. JACK I promised Mr. Rickey we'd stay out of trouble. RACHEL Did you promise him we wouldn't go to the bathroom? You've done it. JACK Before I promised. RACHEL It was just a toilet. You'd think the commodes were made of gold. The busboy watches as Jack and Rachel slide into a booth. As Jack reaches for a MENU, here comes the COOK. COOK You folks can't sit here. JACK Excuse me? COOK It's white only. Jack looking to Rachel; it's equanimity time. Not easy. COOK I'll sell you some sandwiches. But you gotta take em to go. Jack looks to the busboy, back to the cook. JACK No. You hang onto those. Mastering himself, Jack slides out. Drilling the cook with a look, he offers his hand to Rachel as she slides out as well. CUT TO: 23 OMITTED 23 GREEN REV 4-27-12 20. 24 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 24 Seen from on high. Jack and Rachel, sitting on a bench, two little figures as passengers move along the concourse. They sit a bit apart from each other, the world a wedge. CUT TO: 25 EXT. RUNWAY - PENSACOLA AIRPORT - NIGHT 25 SMOKE PINWHEELS as the wheels of a BOEING 247 touch down. INSERT: Pensacola, Florida. Later that day. CUT TO: 26 INT. BOEING 247 - TARMAC - NIGHT 26 Jack and Rachel worn out among eight other passengers. As the door is opened, FOUR of the eight get up and disembark. After a beat, FOUR NEW PASSENGERS board and take their seat. JACK Just a hop to Daytona now. As Rachel nods, an AIRLINE EMPLOYEE boards, MISS BISHOP. She makes her way over. She spots who she's looking for. MISS BISHOP Jack Robinson? Come with me. She starts away without explaining, looks back at them a bit impatiently. MISS BISHOP Come on now. Both of you. CUT TO: BLUE REV 4-07-12 21. 27 INT. TICKET COUNTER - PENSACOLA AIRPORT - NIGHT 27 The shoe box sitting on the counter, Jack in mid discussion with Miss Bishop. Rachel just behind Jack. MISS BISHOP We have to lighten the plane. There's some bad weather east of here. A heavy plane's dangerous. RACHEL (LOW) Tell her you're with the Dodgers. Jack would rather not play that card. JACK When's the next flight? MISS BISHOP Tomorrow morning. But it's booked. So someone'll have to cancel. Jack and Rachel unaware as a WHITE COUPLE are ushered out a door and onto the tarmac behind them. JACK Look, I'm with the Brooklyn Dodger organization. I've got to get down to Daytona. I'm supposed to report to spring training in the morning. MISS BISHOP We'll do our best to get you down there by tomorrow afternoon, but it might be the day after. RACHEL JACK -- He follows her gaze to where the white couple get on the plane they got off. Jack wheels on Miss Bishop, furious. JACK You gave away our seats! Get us back on that plane! Miss Bishop picks up a PHONE, holds it in Jack's face. MISS BISHOP Do you want to call the Sheriff? Or should I? CUT TO: YELLOW REV 4-24-12 22. 28 EXT. BUS STATION - PENSACOLA - NIGHT 28 Closed. A line of EMPTY BUSES; the BANNER on one: Daytona Beach. Across from it Rachel sits at one end of a BENCH, her fur pulled around her. Jack at the other, staring off into the night. Finally, he reaches down, picks up the shoebox. He pulls out a DRUMSTICK, considers it, then takes a bite. JACK Mama knew... He holds it out to Rachel. She slides over, takes it, takes a bite as well, smiles at him. He smiles back. RACHEL It's good. CUT TO: 29 EXT. BASEBALL FIELD - DAYTONA BEACH, FLORIDA - DAY 29 LEO DUROCHER hitting fungoes. One after the next. PEE WEE REESE and EDDIE STANKY both settle under the same ball. REESE STANKY I got it! I got it! I got it! I got it! They both back off at the last second and it drops to the ground between them. Durocher chuckles. DUROCHER That's what spring training's for, boys! Sort out our differences! He hits another. This time to the outfield where veteran DIXIE WALKER gives chase, finally gives up on it. DUROCHER C'mon, Dixie, get after it! WALKER (LAUGHING) I'm old! DUROCHER I'm gonna squeeze one more year out of that worn out body of yours! WALKER If you could, skipper, my wife would sure appreciate it! DUROCHER Keeping the women happy! That's what it's all about! BLUE REV 4-07-12 23. 29 A EXT./INT. CONVERTIBLE - DAY 29 A Rickey drives a dirt road through the training field singing Two Sleepy People along with the radio: Passing BROOKLYN DODGERS, MONTREAL ROYALS & ST. PAUL SAINTS on either side. Durocher hits another as Rickey pulls up. RICKEY How are they looking, Leo? DUROCHER Rusty, Mr. Rickey. But we'll get em oiled up and ready in no time. You find your lost sheep yet? Troubled, Rickey shakes his head no'. As he does, Harold Parrot hurries over. He's the Dodgers travelling secretary. PARROTT Jackie Robinson's on a bus leaving Pensacola. RICKEY A bus? Harold, how in blazes did he end up on a bus?!

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How many times the word 'word' appears in the text?

42 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 42 Written by Brian Helgeland White - March 14, 2012 Blue Revised - April 7, 2012 Pink Revised - April 19, 2012 Yellow Revised - April 24, 2012 Green Revised - April 27, 2012 Goldenrod Revised - May 9, 2012 Buff Revised - May 29, 2012 Salmon Revised - June 4, 2012 Cherry Revised - June 11, 2012 Tan Revised - June 25, 2012 Double White Revised - June 28, 2012 Double Blue Revised - July 9, 2012 PINK REV 4-19-12 1. A1 WHITE A1 Fills the screen. Falling from the top of frame to the bottom. Pluming off into dust. White, white, white. We move toward it even as it recedes, always out of reach. Finally we pop out wide and high to reveal... The white is chalk. An old BLACK GROUNDSKEEPER lays down the right field line on a baseball diamond. 1 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 1 Blinds closed. Dust motes in the air. A large GOLDFISH TANK bubbles. BRANCH RICKEY at his desk. Two photos on the wall: Abe Lincoln & Leo Durocher. CHALKBOARDS covered with 100's OF NAMES, every player in the Dodger organization. CLYDE SUKEFORTH and HAROLD PARROTT sit across from Rickey who stares at them. Sukeforth stares back. Parrott nervous. RICKEY Gentlemen, I have a plan... As of now, only the Board of Directors and my family know. Sukeforth and Parrott exchange a look. SUKEFORTH A plan's always good, Mr. Rickey. And you always got one. RICKEY My wife says I'm too old, That my health isn't up to it. My son says that every one in baseball will be against me. But I'm going to do it. Parrott looks to Sukeforth who keeps his eyes on Rickey. SUKEFORTH Do what, Mr. Rickey? RICKEY I'm going to bring a Negro ballplayer to the Brooklyn Dodgers. PARROTT With all due respect, sir, have you lost your mind? Imagine the abuse you'll take from the newspapers alone. Never mind how it'll play on Flatbush. Please, Mr. Rickey. Rickey looks dismissively at Parrott, over to Sukeforth. PINK REV 4-19-12 1A. RICKEY There's no law against it, Clyde. SUKEFORTH There's a code. Break a law and get away with it, some people think you're smart. Break an unwritten law though, you'll be an outcast. YELLOW REV 4-24-12 2. RICKEY So be it. New York is full of Negro baseball fans; every dollar is green. I don't know who he is, or where he is, but he's coming. CUT TO: 2 EXT. RICKWOOD FIELD - BIRMINGHAM, ALABAMA - NIGHT 2 The big Birmingham Black Barons CATCHER behind the plate as Kansas City Monarchs JOHN SCOTT stands at bat. The catcher's attention on the RUNNER DANCING off first. Stomping a foot, feinting, hard to see clearly in the glare of the lights. CATCHER Where'd you learn to move like that, runner?! At dime a dance night?! Stay quiet! INSERT: Birmingham, Alabama. April 8, 1945. On the first pitch the runner takes off. The catcher fires to second. See it from his POV as the runner slides in SAFE! A foot on the bag, the runner dusts off, heckles the catcher: RUNNER Is that the best you got?! Huh?! I'm going to steal nine, ten bases today! You better start counting! The catcher frowns. Standing, we see he is a big, big man. CATCHER (ALABAMAN) Where's your shortstop from? JOHN SCOTT (LOUISIANAN) California. CATCHER He's got a mouth on him. Shaking his head, the catcher gets back in his crouch, signals the PITCHER. On the wind-up, the Runner is off again. The catcher fires to THIRD: Safe! RUNNER You got a rag arm, catcher! CATCHER Steal home! You'll find out what kind of arm I got! DBL. BLUE REV 7-9-12 3. RUNNER Okay, I'm coming! The Catcher looks over at Scott who chuckles. CATCHER California, huh? (SCOTT NODS) Well California here he goes, if he comes down here. The Catcher gets back down in his squat. Signals the pitcher: fastball. Scott digs in, ready. The runner dancing off third. Here comes the wind-up... The Runner takes off even as the pitcher fires it in. The Birmingham Catcher receives it. As the Runner slides -- The Catcher intentionally drives his glove, the ball and both hands into the runner's face -- WHALLOP! Sound drops as we're knocked flat senseless along with the runner. ON HIM now as he tries to push himself up from the dirt. A close look at JACK ROOSEVELT ROBINSON. A born battler, he shakes out the cobwebs, finally lurches to his feet, looks to the UMPIRE. He never heard the call. JACK What was I? The umpire passes one hand over the other: Safe. Jack looks over at the catcher, gives him a pointed look as he goes -- The catcher shoves him in the back. Jack turns, shoves back. As the two men wrestles each other to the ground -- CUT TO: 3 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 3 Rickey and Sukeforth going through stacks of FILES on the desk. A black ballplayer's picture is clipped to each. As Rickey reviews one, Sukeforth tries to hand him another. SUKEFORTH Josh Gibson. Oh boy can he hit. RICKEY No. SUKEFORTH No? Rickey won't take the file; the answer is no. DBL. BLUE REV 7-9-12 4. SUKEFORTH Alright. Roy Campanella. Sukeforth holds it out; Rickey won't take it. RICKEY A heck of a player. But too sweet, they'll eat him alive. SUKEFORTH (holds up file) Satchel Paige then. Parrott enters carrying an armful of files. RICKEY Too old. We need a man with a future not a past. (holds up his own FILE) Here. Jack Roosevelt Robinson. As Parrott sets them on the desk, they start to slide off, spilling to the floor. Helpless to stem the tide, Parrott looks down, surrounded by black faces... RICKEY (flips through file) A four sport college man, out of UCLA. That means he's played with white boys. (SCANS FILE) Twenty-six years old, now with the Kansas City Monarchs. Batting over 350 even as we speak. 350! And he was a commissioned army officer! SUKEFORTH He was court-martialed. A trouble maker. He argues with umpires. A quick temper is his reputation. Rickey is obviously keen on him. PARROT What was he court-martialed for? RICKEY For refusing to sit in the back of a military bus. (checks the file) Ft. Hood, Texas. The driver asked him to move back. The MPs had to take him off. DBL. BLUE REV 7-9-12 5. SUKEFORTH Do you see? RICKEY I see he resents segregation. If he were white, we'd call it spirit! PARROT If he were white, sir, we wouldn't be looking for him. Rickey ends the debate... RICKEY Robinson's a Methodist. I'm a Methodist. God's a Methodist. We can't go wrong. Find him. Bring him here. CUT TO: 4 EXT. FILLING STATION - INTERSTATE 24 - DAY 4 A BLOODHOUND watches as a BUS pulls into a SERVICE STATION, the tires RING the bell hose. A million miles easy on this road rumbler. The BANNER reads: KC Monarchs. Insert: Interstate 24, Missouri - August 24, 1945. The DRIVER steps off. The fellas follow, getting off to stretch their legs. Hot and tired. A WHITE ATTENDANT saunters out. The driver steps over to meet him. ATTENDANT Fill her up? DRIVER Yes, sir. The attendant starts unscrewing caps on two 50-GALLON TANKS. ATTENDANT Where you all headed? DRIVER Chicago. As the attendant shoves down a pump, starts filling, Jack steps off. He spots and heads for a restroom. White Men Only lettered on the door. The attendant roused as he sees. ATTENDANT Hey! Where you going, boy!? BLUE REV 4-07-12 6. Everyone looking over as Jack stops. JACK I'm going to the toilet. ATTENDANT Shit, boy, c'mon. You know you can't go in there. Jack does a slow burn, then suddenly strides toward the attendant. The air rife with tension. JACK Take that hose out of the tank. ATTENDANT Huh? DRIVER ROBINSON -- JACK Take it out. We'll get our ninety- nine gallons of gas someplace else. The attendant blinks. He takes a look from Jack to up and down the deserted highway. No business in sight. ATTENDANT Okay, use it. But don't stay in there too long. Jack heads back. The Driver, the players, a bit stunned. CUT TO: 5 INT. WHITE MEN ONLY REST ROOM - FILLING STATION - DAY 5 Jack splashes water on his face, rips a paper towels from the dispenser, pats his face dry. He balls the wad up, squeezes it in his fist before firing it into the trash. He considers his reflection in the mirror. As he regards himself, we hear the SERVICE BELL ring outside. CUT TO: 6 EXT. FILLING STATION - HIGHWAY 24 - DAY 6 A car has pulled up. The driver talks to several players. They look over as Jack exits. The driver is Clyde Sukeforth. SUKEFORTH Are you Jackie Robinson? CUT TO: TAN REV 6-25-12 7. 7 OMITTED 7 8 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 8 Blinds closed. Jack sits across the desk from Rickey. Sukeforth sits a little further back. Rickey is staring at Jack. Bushy eyebrows flared, light gleams off his glasses. INSERT: August 28, 1945. Brooklyn. Jack doesn't know what to do, looks to Sukeforth. Finally... RICKEY Do you have a girl? JACK Excuse me? RICKEY A man needs a family relying on him. It insures he'll behave responsibly. Do you have a girl? JACK I think so. RICKEY You think so? Jack looks to Sukeforth who smiles placidly. Back to Rickey. WHITE 3-14-12 8. JACK I don't make much money. Between the army and now baseball I've been away a lot. And Rae, Rachel, she wants to finish school. Considering all that, I say I think so. RICKEY Do you love her? Rachel? (JACK CONFUSED) Don't you know? JACK Yes, sir, very much. RICKEY Marry her. What? Rickey stands, walks to a window. Jack looks at Sukeforth who raises a hand as if to say: Give it a chance. RICKEY (CONT'D) Baseball's a hard life; a man needs a good woman by his side. You don't want the only person waiting for you at home to be a catcher. Sukeforth chuckles at that. Rickey fingers open a slat on the blind and peers out. Jack looks hard at him. JACK Coach Sukeforth here said you were starting a new Negro League. That doesn't make sense to me. MR. RICKEY It doesn't, huh? Are you calling us liars, Jack? JACK What's this about, Mr. Rickey? RICKEY This is about baseball. Rickey opens the shade. Sunlight floods in. Rickey follows it to the chalkboard, to the list of players under Montreal. RICKEY (CONT'D) I see you starting in the spring with our affiliate in Montreal. If you make it there, we'll try you down here with the Dodgers. The white Brooklyn Dodgers. Jack looks to Sukeforth who nods: Yes, you heard right. BLUE REV 4-07-12 9. RICKEY (CONT'D) I'll pay you $600 a month and a $3,500 bonus when you sign the contract. Is that agreeable? Believe it or not that's a lot of money to Jack on this day in time. This is all becoming a bit overwhelming. JACK Yes, sir. That's fine. RICKEY There is one condition. I have a pile of scouting reports. I know you can hit behind the runner, that you can read a pitch. The question is can you control your temper? JACK My temper? RICKEY Yes your temper! Are you deaf?! Rickey furious, the avuncular old man gone. Jack sits there, fists now balled. Rickey to Sukeforth like he's not there: RICKEY (CONT'D) He looks proud. Willful. SUKEFORTH He'll need to be. Rickey looks back to Jack who is as angry as he is confused. RICKEY I want to win! I want ballplayers who can win! Are you one of them?! JACK Yes. RICKEY A black man in white baseball. Imagine the reaction. The vitriol. Rickey strides forward, gets in his face. RICKEY (CONT'D) The Dodgers check into a hotel. A decent good hotel. You're worn out from the road and some clerk won't give you the pen to sign in. (SOUTHERN DRAWL) We got no room, boy, not even down in the coal bin where you belong. BLUE REV 4-07-12 10. Jack looks like he wants to tear Rickey apart. RICKEY (CONT'D) The team stops at a restaurant. The waiter won't take your order. (adopts a new voice) Didn't you see the sign on the door? No animals allowed. (LOOMING) What are you going to do then? Fight him? Ruin all my plans? Answer me, you black sonofabitch! JACK (MASTERS HIMSELF) Do you want a ballplayer who doesn't have the guts to fight back? Is that what you want? RICKEY I want one who has the guts not to fight back! There are people who will not like this. They will do anything to get you to react. If you echo a curse with a curse, they will only hear yours. Follow a blow with a blow and they will say a Negro lost his temper; that the Negro does not belong. Your enemy will be out in force, but you can not meet him on his own low ground. We win with hitting, running and fielding, nothing else. We win if the world is convinced of two things: that you are a fine gentlemen and a great ballplayer. Like our Savior, you must have the guts to turn the other cheek. Jack considers Rickey. Rickey looks worn out. RICKEY (CONT'D) Can you do it? Jack poised at what will be his Rubicon. He crosses. JACK Mr. Rickey, you give me a uniform, you give me a number on my back, and I'll give you the guts. CUT TO: PINK REV 4-19-12 11. 9 INT. HALLWAY - ISUM HOUSE - LOS ANGELES - DAY 9 A phone RINGS on a table. RACHEL ISUM steps in, 23, possessed of style that you can only be graced with. RACHEL Hello? CUT TO: 10 INT. LOBBY PAYPHONE - 215 MONTAGUE STREET - BROOKLYN - DAY 10 Jack in a PHONE BOOTH, the lobby busy beyond. JACK Rae, I'm in Brooklyn. INTERCUT THE FOLLOWING: RACHEL Brooklyn? For what? JACK I don't want to say on the phone. In fact, I'm not supposed to tell anyone. She can hear the tingle in his voice. RACHEL Jack? JACK I'm here, Rae RACHEL What's going on? You're supposed to be playing in Chicago? JACK We've been tested you and me. Our loyalty, our faith. We've done everything the right way. Me trying to make money. You finishing school. Separated by the war, now by baseball. We don't owe the world a thing. Only each other. She's actually getting a little scared now. RACHEL Jack, what are you talking about? What happened? GOLDENROD REV 5-9-12 12. JACK The Brooklyn Dodgers just signed me to play ball up in Montreal. It might lead to bigger things. To something wonderful. RACHEL What does it mean? For you and me? JACK Rae. Will you marry me? RACHEL Absolutely. When? JACK Now. RACHEL (LAUGHING) Jack, I don't think we can get married in a phone booth. CUT TO: 11 OMITTED 11 11 A INT. HALLWAY - THE CLARK HOTEL - LOS ANGELES - NIGHT 11 A Jack rounds a corner in a TUXEDO, the bow tie undone. Rachel follows in her WEDDING GOWN. They look beautiful. RACHEL Did my mom look happy? JACK Yes. They reach the door. Jack gets out a key to unlock it. Rachel looks nervous, steps back across the hall. RACHEL Did my gram look happy? Swinging the door open, he looks at her. The air charged. JACK Everyone looked happy. I've never seen so many people looking happy. GOLDENROD REV 5-9-12 12A. RACHEL Did Jack Robinson look happy? (SOFT) What if I can't make you happy? He steps over, aware of her shyness. JACK Too late. You already do. It's you and me, Rae. RACHEL Until the wheels fall off. (UNCERTAIN) The world is waiting for us. JACK It can wait one more night (KISSES HER) Are you coming, Mrs. Robinson? RACHEL (kisses him back) I'd follow you anywhere, Mr. Robinson. He picks her up, carries her over the threshold. As the door clicks shut behind them... CUT TO: 12 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 12 The shades closed; we're scheming again. WENDELL SMITH sits across from Rickey who stares back intently. Bespectacled, 32, Smith covers baseball for the Pittsburgh Courier. RICKEY Who's the best shortstop you ever saw? SMITH Rabbit Tavener. RICKEY Rabbit Tavener? And you call yourself a sports writer? WHITE 3-14-12 13. SMITH Yes, a sentimental one. I'm from Detroit. He was the Tiger shortstop when I was a boy. How about you? Who's your best? RICKEY Pop Lloyd. SMITH Not Honus Wagner? RICKEY Wagner is number two. And Rabbit Tavener would not break my top 25. Where do you suppose Jackie Robinson will end up on that list? SMITH He won't break it. He doesn't have a shortstop's arm. Robinson belongs on second base. RICKEY Alright then, where would he rate at second? SMITH If he was playing now he'd be the best second baseman in the majors. RICKEY High praise. He'll have to be the best in the minor leagues first. SMITH What are you saying, Mr. Rickey? RICKEY I'm saying it's going to be a very interesting spring training. A lot of players are coming back from the war and with gas rationing over, we can train down in Florida again. SMITH Daytona Beach? (RICKEY NODS) You're aware in the past six months a black boy was lynched in Madison, Florida and a black man down in Live Oaks? RICKEY Those towns may as well be a million miles from Daytona. WHITE 3-14-12 14. SMITH Live Oaks is 150 actually. RICKEY I spoke to the Daytona mayor. He assures me there'll be no trouble. But Rickey doesn't sound so sure. They consider each other. RICKEY (CONT'D) Mr. Smith, are you a Communist? SMITH I'm a Democrat. Why do you ask? RICKEY I have a business proposition. What's your salary at the Courier? SMITH Fifty dollars a week. RICKEY I will pay you an additional fifty dollars a week plus expenses if you will attend spring training with Jackie Robinson. You will watch over him, help him to avoid the harm that could come if he were to do or say anything out of turn. You will act as his chauffeur, you will secure accommodations for him wherever the team may be, help him find restaurants, etc... SMITH What's in it for me? Besides the fifty dollars and a whole lot of aggravation? RICKEY Unprecedented access for any reportage you feel appropriate. What do you say, Mr. Smith? SMITH I say yes, sir. If a Negro is good enough to stop a Nazi bullet in France; he's good enough to stop a line drive at Yankee Stadium. RICKEY Ebbets Field actually, but yes, I agree. The world is ready. CUT TO: TAN REV 6-25-12 15. 13 OMITTED 13 14 INT. BALLROOM - THE WALDORF ASTORIA HOTEL - NIGHT 14 Over 500 guests: journalists, players and politicians all listen politely as a SPEECH drones to an end. INSERT: New York City. 23rd Annual Baseball Writer's Association Dinner February 3, 1946. SPEAKER As our former President Herbert Hoover remarked in his tribute to our national pastime: The rigid voluntary rules of right and wrong, as applied in baseball, are second only to religion in strengthening the morals of the American people.' Polite applause as the speaker steps off. The clapping more enthusiastic as the lights dim on all but an impromptu set: plantation house columns. Hoots as a BUTLER appears wearing satin knee breeches and a MONTREAL ROYALS jersey. He holds a ring like a lawn jockey, a WHITE MAN in BLACK FACE. The laughs get louder as he peers out with exaggerated wide eyes. BUTLER Lordy, lordy, it's looking like da massa will be late dis ebning. As the LAUGHS from the audience subside, a sportswriter dressed as a COLONEL enters from stage right. COLONEL Robbie! Robbie! BUTLER Yassuh, Massa Kunl. Here Ah is. Huge LAUGHS as he struts and dances his way over. WHITE 3-14-12 16. COLONEL Jackie, you woolly headed rascal. How long yo' been in the family? BUTLER Ebber since Massa Rickey done bots me from da Kansas City Monarchs. COLONEL (aside to audience) Rickey that no good carpetbagger! What could he be thinking! Huge LAUGHS from that one. Two people enjoying it we'll recognize later as HERB PENNOCK and BOB COOKE. BUTLER Ah came near bein' killed last night, Kunl. COLONEL How's that, Jackie boy? BUTLER Ah was comin' up a dark street and three men was behind me. And they tried to do me with a baseball bat. COLONEL You don't say? BUTLER Yes, suh. Ah recognized one of dem. Ah'm gonna hab him arrested. COLONEL But I thought you said it was dark? BUTLER It was. But I know he played for the Philadelphia Baseball Club. On account of he struck at me three times and never hit me once. That brings the house down. Check out their laughing faces. CUT TO: 15 EXT. LOCKHEED TERMINAL - BURBANK - DAY 15 A gleaming American Airlines DC-3 angled up on the tarmac. PASSENGERS climb the portable stairs and disappear inside. INSERT: February 28, 1946. Burbank, California CUT TO: GOLDENROD REV 5-9-12 17. 16 INT. TERMINAL - BURBANK - DAY 16 Jack and Rachel are being seen off by FRIENDS from the wedding and his mother MALLIE. Jack is in a natty suit with Rachel in a beautiful coat. MALLIE You knock the cover off that ball. JACK I will, Mama. Mallie hugs Jack and then kisses Rachel. MALLIE Look after each other. RACHEL We will. She reaches in her bag, brings out a cardboard SHOEBOX; it's ever so slightly greasy at the bottom. MALLIE Take this. It's chicken. JACK They have food on the plane, Mama. MALLIE You never know what might happen. I don't want you getting there starving and too weak to hit. Rachel gives Jack a subtle but emphatic look: No. CUT TO: 17 EXT. LOCKHEED TARMAC - BURBANK - DAY 17 Jack escorts Rachel to the plane, the shoebox in hand. JACK I couldn't tell her no. RACHEL I know she means well; I just don't want to be seen eating chicken out of a box like some country bumpkin. Jack runs his hand over her coat. JACK No one's going to mistake you for a bumpkin in this. PINK REV 4-19-12 18. RACHEL Well, they'll know I belong on that plane or wherever I happen to be. CUT TO: 18 EXT. DC-3 - DAY (STOCK FOOTAGE) 18 Descending toward a runway. Landing gear coming down. CUT TO: 19 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 19 A WOMAN exits the lady's room, passing a SIGN: White Only. REVERSE to show Rachel looking at it like she's been slapped. Jack joins Rae from the TICKET COUNTER, with the chicken box. INSERT: New Orleans Lakefront Airport. JACK The flight to Pensacola leaves in an hour... You okay? RACHEL I've just never seen one before. JACK (follows her look) We're not in Pasadena anymore. A sudden momentum carries her forward. JACK Honey... Rae -- He takes a step after her, stops as she disappears inside. Jack unsure what to do. He looks around. Looks back. He doesn't need this right now. 20 OMITTED 20 21 OMITTED 21 PINK REV 4-19-12 19. 22 INT. AIRPORT COFFEE SHOP - DAY 22 A black BUSBOY reacts as a bickering Jack and Rachel enter. JACK I promised Mr. Rickey we'd stay out of trouble. RACHEL Did you promise him we wouldn't go to the bathroom? You've done it. JACK Before I promised. RACHEL It was just a toilet. You'd think the commodes were made of gold. The busboy watches as Jack and Rachel slide into a booth. As Jack reaches for a MENU, here comes the COOK. COOK You folks can't sit here. JACK Excuse me? COOK It's white only. Jack looking to Rachel; it's equanimity time. Not easy. COOK I'll sell you some sandwiches. But you gotta take em to go. Jack looks to the busboy, back to the cook. JACK No. You hang onto those. Mastering himself, Jack slides out. Drilling the cook with a look, he offers his hand to Rachel as she slides out as well. CUT TO: 23 OMITTED 23 GREEN REV 4-27-12 20. 24 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 24 Seen from on high. Jack and Rachel, sitting on a bench, two little figures as passengers move along the concourse. They sit a bit apart from each other, the world a wedge. CUT TO: 25 EXT. RUNWAY - PENSACOLA AIRPORT - NIGHT 25 SMOKE PINWHEELS as the wheels of a BOEING 247 touch down. INSERT: Pensacola, Florida. Later that day. CUT TO: 26 INT. BOEING 247 - TARMAC - NIGHT 26 Jack and Rachel worn out among eight other passengers. As the door is opened, FOUR of the eight get up and disembark. After a beat, FOUR NEW PASSENGERS board and take their seat. JACK Just a hop to Daytona now. As Rachel nods, an AIRLINE EMPLOYEE boards, MISS BISHOP. She makes her way over. She spots who she's looking for. MISS BISHOP Jack Robinson? Come with me. She starts away without explaining, looks back at them a bit impatiently. MISS BISHOP Come on now. Both of you. CUT TO: BLUE REV 4-07-12 21. 27 INT. TICKET COUNTER - PENSACOLA AIRPORT - NIGHT 27 The shoe box sitting on the counter, Jack in mid discussion with Miss Bishop. Rachel just behind Jack. MISS BISHOP We have to lighten the plane. There's some bad weather east of here. A heavy plane's dangerous. RACHEL (LOW) Tell her you're with the Dodgers. Jack would rather not play that card. JACK When's the next flight? MISS BISHOP Tomorrow morning. But it's booked. So someone'll have to cancel. Jack and Rachel unaware as a WHITE COUPLE are ushered out a door and onto the tarmac behind them. JACK Look, I'm with the Brooklyn Dodger organization. I've got to get down to Daytona. I'm supposed to report to spring training in the morning. MISS BISHOP We'll do our best to get you down there by tomorrow afternoon, but it might be the day after. RACHEL JACK -- He follows her gaze to where the white couple get on the plane they got off. Jack wheels on Miss Bishop, furious. JACK You gave away our seats! Get us back on that plane! Miss Bishop picks up a PHONE, holds it in Jack's face. MISS BISHOP Do you want to call the Sheriff? Or should I? CUT TO: YELLOW REV 4-24-12 22. 28 EXT. BUS STATION - PENSACOLA - NIGHT 28 Closed. A line of EMPTY BUSES; the BANNER on one: Daytona Beach. Across from it Rachel sits at one end of a BENCH, her fur pulled around her. Jack at the other, staring off into the night. Finally, he reaches down, picks up the shoebox. He pulls out a DRUMSTICK, considers it, then takes a bite. JACK Mama knew... He holds it out to Rachel. She slides over, takes it, takes a bite as well, smiles at him. He smiles back. RACHEL It's good. CUT TO: 29 EXT. BASEBALL FIELD - DAYTONA BEACH, FLORIDA - DAY 29 LEO DUROCHER hitting fungoes. One after the next. PEE WEE REESE and EDDIE STANKY both settle under the same ball. REESE STANKY I got it! I got it! I got it! I got it! They both back off at the last second and it drops to the ground between them. Durocher chuckles. DUROCHER That's what spring training's for, boys! Sort out our differences! He hits another. This time to the outfield where veteran DIXIE WALKER gives chase, finally gives up on it. DUROCHER C'mon, Dixie, get after it! WALKER (LAUGHING) I'm old! DUROCHER I'm gonna squeeze one more year out of that worn out body of yours! WALKER If you could, skipper, my wife would sure appreciate it! DUROCHER Keeping the women happy! That's what it's all about! BLUE REV 4-07-12 23. 29 A EXT./INT. CONVERTIBLE - DAY 29 A Rickey drives a dirt road through the training field singing Two Sleepy People along with the radio: Passing BROOKLYN DODGERS, MONTREAL ROYALS & ST. PAUL SAINTS on either side. Durocher hits another as Rickey pulls up. RICKEY How are they looking, Leo? DUROCHER Rusty, Mr. Rickey. But we'll get em oiled up and ready in no time. You find your lost sheep yet? Troubled, Rickey shakes his head no'. As he does, Harold Parrot hurries over. He's the Dodgers travelling secretary. PARROTT Jackie Robinson's on a bus leaving Pensacola. RICKEY A bus? Harold, how in blazes did he end up on a bus?!

actor

How many times the word 'actor' appears in the text?

42 Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 42 Written by Brian Helgeland White - March 14, 2012 Blue Revised - April 7, 2012 Pink Revised - April 19, 2012 Yellow Revised - April 24, 2012 Green Revised - April 27, 2012 Goldenrod Revised - May 9, 2012 Buff Revised - May 29, 2012 Salmon Revised - June 4, 2012 Cherry Revised - June 11, 2012 Tan Revised - June 25, 2012 Double White Revised - June 28, 2012 Double Blue Revised - July 9, 2012 PINK REV 4-19-12 1. A1 WHITE A1 Fills the screen. Falling from the top of frame to the bottom. Pluming off into dust. White, white, white. We move toward it even as it recedes, always out of reach. Finally we pop out wide and high to reveal... The white is chalk. An old BLACK GROUNDSKEEPER lays down the right field line on a baseball diamond. 1 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 1 Blinds closed. Dust motes in the air. A large GOLDFISH TANK bubbles. BRANCH RICKEY at his desk. Two photos on the wall: Abe Lincoln & Leo Durocher. CHALKBOARDS covered with 100's OF NAMES, every player in the Dodger organization. CLYDE SUKEFORTH and HAROLD PARROTT sit across from Rickey who stares at them. Sukeforth stares back. Parrott nervous. RICKEY Gentlemen, I have a plan... As of now, only the Board of Directors and my family know. Sukeforth and Parrott exchange a look. SUKEFORTH A plan's always good, Mr. Rickey. And you always got one. RICKEY My wife says I'm too old, That my health isn't up to it. My son says that every one in baseball will be against me. But I'm going to do it. Parrott looks to Sukeforth who keeps his eyes on Rickey. SUKEFORTH Do what, Mr. Rickey? RICKEY I'm going to bring a Negro ballplayer to the Brooklyn Dodgers. PARROTT With all due respect, sir, have you lost your mind? Imagine the abuse you'll take from the newspapers alone. Never mind how it'll play on Flatbush. Please, Mr. Rickey. Rickey looks dismissively at Parrott, over to Sukeforth. PINK REV 4-19-12 1A. RICKEY There's no law against it, Clyde. SUKEFORTH There's a code. Break a law and get away with it, some people think you're smart. Break an unwritten law though, you'll be an outcast. YELLOW REV 4-24-12 2. RICKEY So be it. New York is full of Negro baseball fans; every dollar is green. I don't know who he is, or where he is, but he's coming. CUT TO: 2 EXT. RICKWOOD FIELD - BIRMINGHAM, ALABAMA - NIGHT 2 The big Birmingham Black Barons CATCHER behind the plate as Kansas City Monarchs JOHN SCOTT stands at bat. The catcher's attention on the RUNNER DANCING off first. Stomping a foot, feinting, hard to see clearly in the glare of the lights. CATCHER Where'd you learn to move like that, runner?! At dime a dance night?! Stay quiet! INSERT: Birmingham, Alabama. April 8, 1945. On the first pitch the runner takes off. The catcher fires to second. See it from his POV as the runner slides in SAFE! A foot on the bag, the runner dusts off, heckles the catcher: RUNNER Is that the best you got?! Huh?! I'm going to steal nine, ten bases today! You better start counting! The catcher frowns. Standing, we see he is a big, big man. CATCHER (ALABAMAN) Where's your shortstop from? JOHN SCOTT (LOUISIANAN) California. CATCHER He's got a mouth on him. Shaking his head, the catcher gets back in his crouch, signals the PITCHER. On the wind-up, the Runner is off again. The catcher fires to THIRD: Safe! RUNNER You got a rag arm, catcher! CATCHER Steal home! You'll find out what kind of arm I got! DBL. BLUE REV 7-9-12 3. RUNNER Okay, I'm coming! The Catcher looks over at Scott who chuckles. CATCHER California, huh? (SCOTT NODS) Well California here he goes, if he comes down here. The Catcher gets back down in his squat. Signals the pitcher: fastball. Scott digs in, ready. The runner dancing off third. Here comes the wind-up... The Runner takes off even as the pitcher fires it in. The Birmingham Catcher receives it. As the Runner slides -- The Catcher intentionally drives his glove, the ball and both hands into the runner's face -- WHALLOP! Sound drops as we're knocked flat senseless along with the runner. ON HIM now as he tries to push himself up from the dirt. A close look at JACK ROOSEVELT ROBINSON. A born battler, he shakes out the cobwebs, finally lurches to his feet, looks to the UMPIRE. He never heard the call. JACK What was I? The umpire passes one hand over the other: Safe. Jack looks over at the catcher, gives him a pointed look as he goes -- The catcher shoves him in the back. Jack turns, shoves back. As the two men wrestles each other to the ground -- CUT TO: 3 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 3 Rickey and Sukeforth going through stacks of FILES on the desk. A black ballplayer's picture is clipped to each. As Rickey reviews one, Sukeforth tries to hand him another. SUKEFORTH Josh Gibson. Oh boy can he hit. RICKEY No. SUKEFORTH No? Rickey won't take the file; the answer is no. DBL. BLUE REV 7-9-12 4. SUKEFORTH Alright. Roy Campanella. Sukeforth holds it out; Rickey won't take it. RICKEY A heck of a player. But too sweet, they'll eat him alive. SUKEFORTH (holds up file) Satchel Paige then. Parrott enters carrying an armful of files. RICKEY Too old. We need a man with a future not a past. (holds up his own FILE) Here. Jack Roosevelt Robinson. As Parrott sets them on the desk, they start to slide off, spilling to the floor. Helpless to stem the tide, Parrott looks down, surrounded by black faces... RICKEY (flips through file) A four sport college man, out of UCLA. That means he's played with white boys. (SCANS FILE) Twenty-six years old, now with the Kansas City Monarchs. Batting over 350 even as we speak. 350! And he was a commissioned army officer! SUKEFORTH He was court-martialed. A trouble maker. He argues with umpires. A quick temper is his reputation. Rickey is obviously keen on him. PARROT What was he court-martialed for? RICKEY For refusing to sit in the back of a military bus. (checks the file) Ft. Hood, Texas. The driver asked him to move back. The MPs had to take him off. DBL. BLUE REV 7-9-12 5. SUKEFORTH Do you see? RICKEY I see he resents segregation. If he were white, we'd call it spirit! PARROT If he were white, sir, we wouldn't be looking for him. Rickey ends the debate... RICKEY Robinson's a Methodist. I'm a Methodist. God's a Methodist. We can't go wrong. Find him. Bring him here. CUT TO: 4 EXT. FILLING STATION - INTERSTATE 24 - DAY 4 A BLOODHOUND watches as a BUS pulls into a SERVICE STATION, the tires RING the bell hose. A million miles easy on this road rumbler. The BANNER reads: KC Monarchs. Insert: Interstate 24, Missouri - August 24, 1945. The DRIVER steps off. The fellas follow, getting off to stretch their legs. Hot and tired. A WHITE ATTENDANT saunters out. The driver steps over to meet him. ATTENDANT Fill her up? DRIVER Yes, sir. The attendant starts unscrewing caps on two 50-GALLON TANKS. ATTENDANT Where you all headed? DRIVER Chicago. As the attendant shoves down a pump, starts filling, Jack steps off. He spots and heads for a restroom. White Men Only lettered on the door. The attendant roused as he sees. ATTENDANT Hey! Where you going, boy!? BLUE REV 4-07-12 6. Everyone looking over as Jack stops. JACK I'm going to the toilet. ATTENDANT Shit, boy, c'mon. You know you can't go in there. Jack does a slow burn, then suddenly strides toward the attendant. The air rife with tension. JACK Take that hose out of the tank. ATTENDANT Huh? DRIVER ROBINSON -- JACK Take it out. We'll get our ninety- nine gallons of gas someplace else. The attendant blinks. He takes a look from Jack to up and down the deserted highway. No business in sight. ATTENDANT Okay, use it. But don't stay in there too long. Jack heads back. The Driver, the players, a bit stunned. CUT TO: 5 INT. WHITE MEN ONLY REST ROOM - FILLING STATION - DAY 5 Jack splashes water on his face, rips a paper towels from the dispenser, pats his face dry. He balls the wad up, squeezes it in his fist before firing it into the trash. He considers his reflection in the mirror. As he regards himself, we hear the SERVICE BELL ring outside. CUT TO: 6 EXT. FILLING STATION - HIGHWAY 24 - DAY 6 A car has pulled up. The driver talks to several players. They look over as Jack exits. The driver is Clyde Sukeforth. SUKEFORTH Are you Jackie Robinson? CUT TO: TAN REV 6-25-12 7. 7 OMITTED 7 8 INT. BRANCH RICKEY'S OFFICE - MONTAGUE ST, BROOKLYN - DAY 8 Blinds closed. Jack sits across the desk from Rickey. Sukeforth sits a little further back. Rickey is staring at Jack. Bushy eyebrows flared, light gleams off his glasses. INSERT: August 28, 1945. Brooklyn. Jack doesn't know what to do, looks to Sukeforth. Finally... RICKEY Do you have a girl? JACK Excuse me? RICKEY A man needs a family relying on him. It insures he'll behave responsibly. Do you have a girl? JACK I think so. RICKEY You think so? Jack looks to Sukeforth who smiles placidly. Back to Rickey. WHITE 3-14-12 8. JACK I don't make much money. Between the army and now baseball I've been away a lot. And Rae, Rachel, she wants to finish school. Considering all that, I say I think so. RICKEY Do you love her? Rachel? (JACK CONFUSED) Don't you know? JACK Yes, sir, very much. RICKEY Marry her. What? Rickey stands, walks to a window. Jack looks at Sukeforth who raises a hand as if to say: Give it a chance. RICKEY (CONT'D) Baseball's a hard life; a man needs a good woman by his side. You don't want the only person waiting for you at home to be a catcher. Sukeforth chuckles at that. Rickey fingers open a slat on the blind and peers out. Jack looks hard at him. JACK Coach Sukeforth here said you were starting a new Negro League. That doesn't make sense to me. MR. RICKEY It doesn't, huh? Are you calling us liars, Jack? JACK What's this about, Mr. Rickey? RICKEY This is about baseball. Rickey opens the shade. Sunlight floods in. Rickey follows it to the chalkboard, to the list of players under Montreal. RICKEY (CONT'D) I see you starting in the spring with our affiliate in Montreal. If you make it there, we'll try you down here with the Dodgers. The white Brooklyn Dodgers. Jack looks to Sukeforth who nods: Yes, you heard right. BLUE REV 4-07-12 9. RICKEY (CONT'D) I'll pay you $600 a month and a $3,500 bonus when you sign the contract. Is that agreeable? Believe it or not that's a lot of money to Jack on this day in time. This is all becoming a bit overwhelming. JACK Yes, sir. That's fine. RICKEY There is one condition. I have a pile of scouting reports. I know you can hit behind the runner, that you can read a pitch. The question is can you control your temper? JACK My temper? RICKEY Yes your temper! Are you deaf?! Rickey furious, the avuncular old man gone. Jack sits there, fists now balled. Rickey to Sukeforth like he's not there: RICKEY (CONT'D) He looks proud. Willful. SUKEFORTH He'll need to be. Rickey looks back to Jack who is as angry as he is confused. RICKEY I want to win! I want ballplayers who can win! Are you one of them?! JACK Yes. RICKEY A black man in white baseball. Imagine the reaction. The vitriol. Rickey strides forward, gets in his face. RICKEY (CONT'D) The Dodgers check into a hotel. A decent good hotel. You're worn out from the road and some clerk won't give you the pen to sign in. (SOUTHERN DRAWL) We got no room, boy, not even down in the coal bin where you belong. BLUE REV 4-07-12 10. Jack looks like he wants to tear Rickey apart. RICKEY (CONT'D) The team stops at a restaurant. The waiter won't take your order. (adopts a new voice) Didn't you see the sign on the door? No animals allowed. (LOOMING) What are you going to do then? Fight him? Ruin all my plans? Answer me, you black sonofabitch! JACK (MASTERS HIMSELF) Do you want a ballplayer who doesn't have the guts to fight back? Is that what you want? RICKEY I want one who has the guts not to fight back! There are people who will not like this. They will do anything to get you to react. If you echo a curse with a curse, they will only hear yours. Follow a blow with a blow and they will say a Negro lost his temper; that the Negro does not belong. Your enemy will be out in force, but you can not meet him on his own low ground. We win with hitting, running and fielding, nothing else. We win if the world is convinced of two things: that you are a fine gentlemen and a great ballplayer. Like our Savior, you must have the guts to turn the other cheek. Jack considers Rickey. Rickey looks worn out. RICKEY (CONT'D) Can you do it? Jack poised at what will be his Rubicon. He crosses. JACK Mr. Rickey, you give me a uniform, you give me a number on my back, and I'll give you the guts. CUT TO: PINK REV 4-19-12 11. 9 INT. HALLWAY - ISUM HOUSE - LOS ANGELES - DAY 9 A phone RINGS on a table. RACHEL ISUM steps in, 23, possessed of style that you can only be graced with. RACHEL Hello? CUT TO: 10 INT. LOBBY PAYPHONE - 215 MONTAGUE STREET - BROOKLYN - DAY 10 Jack in a PHONE BOOTH, the lobby busy beyond. JACK Rae, I'm in Brooklyn. INTERCUT THE FOLLOWING: RACHEL Brooklyn? For what? JACK I don't want to say on the phone. In fact, I'm not supposed to tell anyone. She can hear the tingle in his voice. RACHEL Jack? JACK I'm here, Rae RACHEL What's going on? You're supposed to be playing in Chicago? JACK We've been tested you and me. Our loyalty, our faith. We've done everything the right way. Me trying to make money. You finishing school. Separated by the war, now by baseball. We don't owe the world a thing. Only each other. She's actually getting a little scared now. RACHEL Jack, what are you talking about? What happened? GOLDENROD REV 5-9-12 12. JACK The Brooklyn Dodgers just signed me to play ball up in Montreal. It might lead to bigger things. To something wonderful. RACHEL What does it mean? For you and me? JACK Rae. Will you marry me? RACHEL Absolutely. When? JACK Now. RACHEL (LAUGHING) Jack, I don't think we can get married in a phone booth. CUT TO: 11 OMITTED 11 11 A INT. HALLWAY - THE CLARK HOTEL - LOS ANGELES - NIGHT 11 A Jack rounds a corner in a TUXEDO, the bow tie undone. Rachel follows in her WEDDING GOWN. They look beautiful. RACHEL Did my mom look happy? JACK Yes. They reach the door. Jack gets out a key to unlock it. Rachel looks nervous, steps back across the hall. RACHEL Did my gram look happy? Swinging the door open, he looks at her. The air charged. JACK Everyone looked happy. I've never seen so many people looking happy. GOLDENROD REV 5-9-12 12A. RACHEL Did Jack Robinson look happy? (SOFT) What if I can't make you happy? He steps over, aware of her shyness. JACK Too late. You already do. It's you and me, Rae. RACHEL Until the wheels fall off. (UNCERTAIN) The world is waiting for us. JACK It can wait one more night (KISSES HER) Are you coming, Mrs. Robinson? RACHEL (kisses him back) I'd follow you anywhere, Mr. Robinson. He picks her up, carries her over the threshold. As the door clicks shut behind them... CUT TO: 12 INT. BRANCH RICKEY'S OFFICE - BROOKLYN - DAY 12 The shades closed; we're scheming again. WENDELL SMITH sits across from Rickey who stares back intently. Bespectacled, 32, Smith covers baseball for the Pittsburgh Courier. RICKEY Who's the best shortstop you ever saw? SMITH Rabbit Tavener. RICKEY Rabbit Tavener? And you call yourself a sports writer? WHITE 3-14-12 13. SMITH Yes, a sentimental one. I'm from Detroit. He was the Tiger shortstop when I was a boy. How about you? Who's your best? RICKEY Pop Lloyd. SMITH Not Honus Wagner? RICKEY Wagner is number two. And Rabbit Tavener would not break my top 25. Where do you suppose Jackie Robinson will end up on that list? SMITH He won't break it. He doesn't have a shortstop's arm. Robinson belongs on second base. RICKEY Alright then, where would he rate at second? SMITH If he was playing now he'd be the best second baseman in the majors. RICKEY High praise. He'll have to be the best in the minor leagues first. SMITH What are you saying, Mr. Rickey? RICKEY I'm saying it's going to be a very interesting spring training. A lot of players are coming back from the war and with gas rationing over, we can train down in Florida again. SMITH Daytona Beach? (RICKEY NODS) You're aware in the past six months a black boy was lynched in Madison, Florida and a black man down in Live Oaks? RICKEY Those towns may as well be a million miles from Daytona. WHITE 3-14-12 14. SMITH Live Oaks is 150 actually. RICKEY I spoke to the Daytona mayor. He assures me there'll be no trouble. But Rickey doesn't sound so sure. They consider each other. RICKEY (CONT'D) Mr. Smith, are you a Communist? SMITH I'm a Democrat. Why do you ask? RICKEY I have a business proposition. What's your salary at the Courier? SMITH Fifty dollars a week. RICKEY I will pay you an additional fifty dollars a week plus expenses if you will attend spring training with Jackie Robinson. You will watch over him, help him to avoid the harm that could come if he were to do or say anything out of turn. You will act as his chauffeur, you will secure accommodations for him wherever the team may be, help him find restaurants, etc... SMITH What's in it for me? Besides the fifty dollars and a whole lot of aggravation? RICKEY Unprecedented access for any reportage you feel appropriate. What do you say, Mr. Smith? SMITH I say yes, sir. If a Negro is good enough to stop a Nazi bullet in France; he's good enough to stop a line drive at Yankee Stadium. RICKEY Ebbets Field actually, but yes, I agree. The world is ready. CUT TO: TAN REV 6-25-12 15. 13 OMITTED 13 14 INT. BALLROOM - THE WALDORF ASTORIA HOTEL - NIGHT 14 Over 500 guests: journalists, players and politicians all listen politely as a SPEECH drones to an end. INSERT: New York City. 23rd Annual Baseball Writer's Association Dinner February 3, 1946. SPEAKER As our former President Herbert Hoover remarked in his tribute to our national pastime: The rigid voluntary rules of right and wrong, as applied in baseball, are second only to religion in strengthening the morals of the American people.' Polite applause as the speaker steps off. The clapping more enthusiastic as the lights dim on all but an impromptu set: plantation house columns. Hoots as a BUTLER appears wearing satin knee breeches and a MONTREAL ROYALS jersey. He holds a ring like a lawn jockey, a WHITE MAN in BLACK FACE. The laughs get louder as he peers out with exaggerated wide eyes. BUTLER Lordy, lordy, it's looking like da massa will be late dis ebning. As the LAUGHS from the audience subside, a sportswriter dressed as a COLONEL enters from stage right. COLONEL Robbie! Robbie! BUTLER Yassuh, Massa Kunl. Here Ah is. Huge LAUGHS as he struts and dances his way over. WHITE 3-14-12 16. COLONEL Jackie, you woolly headed rascal. How long yo' been in the family? BUTLER Ebber since Massa Rickey done bots me from da Kansas City Monarchs. COLONEL (aside to audience) Rickey that no good carpetbagger! What could he be thinking! Huge LAUGHS from that one. Two people enjoying it we'll recognize later as HERB PENNOCK and BOB COOKE. BUTLER Ah came near bein' killed last night, Kunl. COLONEL How's that, Jackie boy? BUTLER Ah was comin' up a dark street and three men was behind me. And they tried to do me with a baseball bat. COLONEL You don't say? BUTLER Yes, suh. Ah recognized one of dem. Ah'm gonna hab him arrested. COLONEL But I thought you said it was dark? BUTLER It was. But I know he played for the Philadelphia Baseball Club. On account of he struck at me three times and never hit me once. That brings the house down. Check out their laughing faces. CUT TO: 15 EXT. LOCKHEED TERMINAL - BURBANK - DAY 15 A gleaming American Airlines DC-3 angled up on the tarmac. PASSENGERS climb the portable stairs and disappear inside. INSERT: February 28, 1946. Burbank, California CUT TO: GOLDENROD REV 5-9-12 17. 16 INT. TERMINAL - BURBANK - DAY 16 Jack and Rachel are being seen off by FRIENDS from the wedding and his mother MALLIE. Jack is in a natty suit with Rachel in a beautiful coat. MALLIE You knock the cover off that ball. JACK I will, Mama. Mallie hugs Jack and then kisses Rachel. MALLIE Look after each other. RACHEL We will. She reaches in her bag, brings out a cardboard SHOEBOX; it's ever so slightly greasy at the bottom. MALLIE Take this. It's chicken. JACK They have food on the plane, Mama. MALLIE You never know what might happen. I don't want you getting there starving and too weak to hit. Rachel gives Jack a subtle but emphatic look: No. CUT TO: 17 EXT. LOCKHEED TARMAC - BURBANK - DAY 17 Jack escorts Rachel to the plane, the shoebox in hand. JACK I couldn't tell her no. RACHEL I know she means well; I just don't want to be seen eating chicken out of a box like some country bumpkin. Jack runs his hand over her coat. JACK No one's going to mistake you for a bumpkin in this. PINK REV 4-19-12 18. RACHEL Well, they'll know I belong on that plane or wherever I happen to be. CUT TO: 18 EXT. DC-3 - DAY (STOCK FOOTAGE) 18 Descending toward a runway. Landing gear coming down. CUT TO: 19 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 19 A WOMAN exits the lady's room, passing a SIGN: White Only. REVERSE to show Rachel looking at it like she's been slapped. Jack joins Rae from the TICKET COUNTER, with the chicken box. INSERT: New Orleans Lakefront Airport. JACK The flight to Pensacola leaves in an hour... You okay? RACHEL I've just never seen one before. JACK (follows her look) We're not in Pasadena anymore. A sudden momentum carries her forward. JACK Honey... Rae -- He takes a step after her, stops as she disappears inside. Jack unsure what to do. He looks around. Looks back. He doesn't need this right now. 20 OMITTED 20 21 OMITTED 21 PINK REV 4-19-12 19. 22 INT. AIRPORT COFFEE SHOP - DAY 22 A black BUSBOY reacts as a bickering Jack and Rachel enter. JACK I promised Mr. Rickey we'd stay out of trouble. RACHEL Did you promise him we wouldn't go to the bathroom? You've done it. JACK Before I promised. RACHEL It was just a toilet. You'd think the commodes were made of gold. The busboy watches as Jack and Rachel slide into a booth. As Jack reaches for a MENU, here comes the COOK. COOK You folks can't sit here. JACK Excuse me? COOK It's white only. Jack looking to Rachel; it's equanimity time. Not easy. COOK I'll sell you some sandwiches. But you gotta take em to go. Jack looks to the busboy, back to the cook. JACK No. You hang onto those. Mastering himself, Jack slides out. Drilling the cook with a look, he offers his hand to Rachel as she slides out as well. CUT TO: 23 OMITTED 23 GREEN REV 4-27-12 20. 24 INT. TERMINAL - NEW ORLEANS LAKEFRONT AIRPORT - DAY 24 Seen from on high. Jack and Rachel, sitting on a bench, two little figures as passengers move along the concourse. They sit a bit apart from each other, the world a wedge. CUT TO: 25 EXT. RUNWAY - PENSACOLA AIRPORT - NIGHT 25 SMOKE PINWHEELS as the wheels of a BOEING 247 touch down. INSERT: Pensacola, Florida. Later that day. CUT TO: 26 INT. BOEING 247 - TARMAC - NIGHT 26 Jack and Rachel worn out among eight other passengers. As the door is opened, FOUR of the eight get up and disembark. After a beat, FOUR NEW PASSENGERS board and take their seat. JACK Just a hop to Daytona now. As Rachel nods, an AIRLINE EMPLOYEE boards, MISS BISHOP. She makes her way over. She spots who she's looking for. MISS BISHOP Jack Robinson? Come with me. She starts away without explaining, looks back at them a bit impatiently. MISS BISHOP Come on now. Both of you. CUT TO: BLUE REV 4-07-12 21. 27 INT. TICKET COUNTER - PENSACOLA AIRPORT - NIGHT 27 The shoe box sitting on the counter, Jack in mid discussion with Miss Bishop. Rachel just behind Jack. MISS BISHOP We have to lighten the plane. There's some bad weather east of here. A heavy plane's dangerous. RACHEL (LOW) Tell her you're with the Dodgers. Jack would rather not play that card. JACK When's the next flight? MISS BISHOP Tomorrow morning. But it's booked. So someone'll have to cancel. Jack and Rachel unaware as a WHITE COUPLE are ushered out a door and onto the tarmac behind them. JACK Look, I'm with the Brooklyn Dodger organization. I've got to get down to Daytona. I'm supposed to report to spring training in the morning. MISS BISHOP We'll do our best to get you down there by tomorrow afternoon, but it might be the day after. RACHEL JACK -- He follows her gaze to where the white couple get on the plane they got off. Jack wheels on Miss Bishop, furious. JACK You gave away our seats! Get us back on that plane! Miss Bishop picks up a PHONE, holds it in Jack's face. MISS BISHOP Do you want to call the Sheriff? Or should I? CUT TO: YELLOW REV 4-24-12 22. 28 EXT. BUS STATION - PENSACOLA - NIGHT 28 Closed. A line of EMPTY BUSES; the BANNER on one: Daytona Beach. Across from it Rachel sits at one end of a BENCH, her fur pulled around her. Jack at the other, staring off into the night. Finally, he reaches down, picks up the shoebox. He pulls out a DRUMSTICK, considers it, then takes a bite. JACK Mama knew... He holds it out to Rachel. She slides over, takes it, takes a bite as well, smiles at him. He smiles back. RACHEL It's good. CUT TO: 29 EXT. BASEBALL FIELD - DAYTONA BEACH, FLORIDA - DAY 29 LEO DUROCHER hitting fungoes. One after the next. PEE WEE REESE and EDDIE STANKY both settle under the same ball. REESE STANKY I got it! I got it! I got it! I got it! They both back off at the last second and it drops to the ground between them. Durocher chuckles. DUROCHER That's what spring training's for, boys! Sort out our differences! He hits another. This time to the outfield where veteran DIXIE WALKER gives chase, finally gives up on it. DUROCHER C'mon, Dixie, get after it! WALKER (LAUGHING) I'm old! DUROCHER I'm gonna squeeze one more year out of that worn out body of yours! WALKER If you could, skipper, my wife would sure appreciate it! DUROCHER Keeping the women happy! That's what it's all about! BLUE REV 4-07-12 23. 29 A EXT./INT. CONVERTIBLE - DAY 29 A Rickey drives a dirt road through the training field singing Two Sleepy People along with the radio: Passing BROOKLYN DODGERS, MONTREAL ROYALS & ST. PAUL SAINTS on either side. Durocher hits another as Rickey pulls up. RICKEY How are they looking, Leo? DUROCHER Rusty, Mr. Rickey. But we'll get em oiled up and ready in no time. You find your lost sheep yet? Troubled, Rickey shakes his head no'. As he does, Harold Parrot hurries over. He's the Dodgers travelling secretary. PARROTT Jackie Robinson's on a bus leaving Pensacola. RICKEY A bus? Harold, how in blazes did he end up on a bus?!

clyde

How many times the word 'clyde' appears in the text?

500 Days of Summer Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 500 DAYS OF SUMMER Written by Scott Neustadter & Michael H. Weber First Draft SIMPLE BLACK ON WHITE CREDITS ROLL TO BIG STAR'S "I'M IN LOVE WITH A GIRL." When all is said and done, up comes a single number in parenthesis, like so: (478) EXT. PARK - DAY For a few seconds we watch A MAN (20s) and a WOMAN (20s) on a park bench. Their names are TOM and SUMMER. Neither one says a word. CLOSE ON her HAND, covering his. Notice the wedding ring. No words are spoken. Tom looks at her the way every woman wants to be looked at. A DISTINGUISHED VOICE begins to speak to us. NARRATOR This is a story of boy meets girl. CUT TO: (1) INT CONFERENCE ROOM - DAY The boy is TOM HANSEN. He sits at a very long rectangular conference table. The walls are lined with framed blow-up sized greeting cards. Tom, dark hair and blue eyes, wears a t- shirt under his sports coat and Adidas tennis shoes to balance out the corporate dress code. He looks pretty bored. NARRATOR The boy, Tom Hansen of Margate, New Jersey, grew up believing that he'd never truly be happy until the day he met his... "soulmate." CUT TO: INT LIVING ROOM - 1989 PRE-TEEN TOM sits alone on his bed engrossed in a movie. His walls are covered in posters of obscure bands. From the TV, we hear: "Elaine! Elaine!" 4. NARRATOR This belief stemmed from early exposure to sad British pop music and a total misreading of the movie, "The Graduate." CUT TO: INT OFFICE CUBICLE - PRESENT DAY The girl is SUMMER FINN. She files folders and answers phones in a plain white office. She has cropped blonde hair almost like a boy's but her face is feminine and pretty enough to get away with it. NARRATOR The girl, Summer Finn of Shinnecock, Michigan, did not share this belief. CUT TO: INT BATHROOM - 1994 Teenage Summer stares at herself in the mirror. Her hair extends down to her lower back. NARRATOR Since the disintegration of her parents' marriage, she'd only loved two things. The first was her long blonde hair. She picks up scissors from the counter and begins to slice. NARRATOR The second was how easily she could cut it off... And feel nothing. CUT TO: SPLITSCREEN. INT BOARDROOM/ INT CUBICLE - SAME On the right side of the screen, Tom continues to listen to some boring presentation. On the left, Summer answers a call, takes a message, and walks out of her cubicle down a long narrow hallway. 5. NARRATOR Tom meets Summer on January 8th in a San Francisco office building. In an instant, he will know she's the one he's been looking for. CU Summer opening the door to the boardroom, about to come face to face with Tom for the first time. NARRATOR This is a story of boy meets girl. But before they do, CUT TO: BLACK. NARRATOR You should know up front, this is not a love story. (240) EXT STREETS OF SAN FRAN - NIGHT A 12 year old GIRL rides her bicycle down the block. She arrives at an apartment complex, jumps off the bike and races up the front stairs. She rings the doorbell. INT TOM'S PLACE - LATER PAUL and MCKENZIE open the door. These are Tom's best friends since birth. Paul is a doctor and wears hospital scrubs. McKenzie works in the cubicle next to Tom. PAUL I didn't know who else to call. The Girl removes her bike helmet. GIRL You did the right thing. Where is he? Tom is in the kitchen breaking things and basically going insane. About to smash a plate on the floor, he's interrupted BY: 6. GIRL Thomas. Tom freezes. TOM Rachel? What are you doing here? GIRL (RACHEL) I'm here to help you. TOM Help me how? RACHEL First, put down the plate. Tom slowly obliges. RACHEL Now come here and sit down. Tom sits next to the young girl. Paul and Mckenzie sit on either side of them. RACHEL The key is not to panic. TOM I think I'm gonna be sick. RACHEL Drink this. She hands him a glass of water. Tom drinks it down. MCKENZIE What is that? RACHEL Vodka. TOM (grimacing at the taste) More. He gulps another down. TOM Does Mom know you're here? It's gotta be past 10. 7. RACHEL Don't worry about it. Start from the beginning. Tell us what happened... Tom takes a deep breath. EXT PARK - DAY Tom and Summer eat sandwiches in the park. TOM (V.O.) We spent the whole day together. EXT OUTDOOR MARKET - DAY Tom and Summer walk through the stalls. TOM (V.O.) We went shopping. EXT COFFEE HOUSE - DAY Tom and Summer seated outside drinking coffee. He reads the newspaper, she reads a novel. TOM (V.O.) We had coffee. EXT MOVIE THEATER - DAY Tom and Summer walk out of a movie theatre. TOM (V.O.) We saw a film. INT RECORD STORE - LATER Tom and Summer shop for music. Tom excitedly shows Summer a Ringo Starr solo album. TOM (V.O.) We bought music. 8. INT TOM'S PLACE TOM I thought it was a great day. RACHEL And then what happened? INT DINER - NIGHT Tom and Summer in a booth ordering dinner. TOM (to WAITRESS) Um...you know what...let's go crazy, I'll have BOTH. (to Summer) God, I love eating pancakes at night. It's like the greatest thing ever. How great is this? SUMMER I think we should stop seeing each other. INT TOM'S PLACE - AS BEFORE RACHEL Just like that? TOM Just like that. PAUL Did she say why? INT DINER - AS BEFORE SUMMER This thing. This whatever it is. You and me. Do you think this is normal? TOM I don't know. Who cares about normal?! I'm happy. Aren't you happy? 9. SUMMER You're happy? TOM You're not? SUMMER All we do is argue! TOM That is such a lie! INT TOM'S PLACE - AS BEFORE RACHEL Maybe she was just in a bad mood. PAUL A hormonal thing. RACHEL P.M.S.? TOM (to Rachel) What do you know about PMS? RACHEL More than you. TOM Oh my god. MCKENZIE Please continue. INT DINER - AS BEFORE SUMMER This can't be a total surprise. I mean, we've been like Sid and Nancy for months. TOM Summer, Sid stabbed Nancy seven times with a kitchen knife. We've had some disagreements but I hardly think I'm Sid Vicious. SUMMER No... I'm Sid. 10. TOM (BEAT) So I'm Nancy?! The Waitress comes out with the food. Tom and Summer stop their discussion until the meal is served and the Waitress leaves. Summer starts to eat. SUMMER Let's just eat and we'll talk about it after. I'm starving. Without another word she goes back to her pancakes. Tom watches her eat like this is the worst travesty in the history of mankind. SUMMER (mouth full) Mmm, you're so right. These are great! Tom looks at his food in disgust. He may never eat again. SUMMER (INNOCENT) What? Tom stands up to go. SUMMER Tom, don't. Come back. You're still my best fr--- THE SCENE FREEZES AND WE ZOOM IN ON TOM'S STUNNED FACE. INT TOM'S PLACE - AS BEFORE Silence for a few beats. PAUL Jesus. MCKENZIE That's harsh. TOM I don't know what I'm gonna do. RACHEL You're gonna be fine. 11. TOM (BEAT) I'm gonna throw up. MCKENZIE Or that. RACHEL Here. Tom drinks more vodka. MCKENZIE Come on Hansen. You'll be ok. You're the best guy I know. You'll find someone. PAUL You know what they say...there's plenty other fish in the sea. TOM No. PAUL Sure they do. They say that. TOM Well they're wrong. It's not true. I've fished in that sea. I've jumped in and swam in that sea! I'm fucking Aquaman! (to Rachel) Sorry. What I mean is... there are no other fish. This was my fish. Paul and McKenzie share a very concerned look. CUT TO: (86) EXT SIDEWALK - DAY Tom walks alongside his friend PAUL. Out of nowhere, he says: TOM I'm in love with Summer. 12. PAUL (BEAT) For real? CUT TO: CU - SUMMER'S SMILE TOM (V.O.) I love her smile. CU - SUMMER'S HAIR TOM (V.O.) I love her hair. CU - SUMMER'S KNEES TOM (V.O.) I love her knees. CU - SUMMER'S EYES TOM (V.O.) I love how one eye is higher up on her face than the other eye. CU - SUMMER'S NECK TOM (V.O.) I love the scar on her neck from this operation she had as a kid. CU - SUMMER'S BREASTS (UNDER A BLACK T-SHIRT) TOM (V.O.) I love how she looks in my Clash T- shirt. CU - SUMMER ASLEEP TOM (V.O.) I love how she looks when she's sleeping. CU - SUMMER'S LAUGH TOM (V.O.) I love the sound of her laugh. OVER BLACK, play the middle 8 of "Every Little Thing She Does is Magic" by The Police. 13. TOM (V.O.) I love how I hear this song every time I think of her. CU - TOM, STARING DIRECTLY AT THE CAMERA. TOM (V.O.) I love how she makes me feel. Like anything's possible. Like, I don't know...like life is worth it. CUT TO: EXT SIDEWALK - SAME Paul and Tom. TOM For real, Paul. I'm madly in love with that girl. Paul is silent for a beat. PAUL Oh shit. (1) INT CONFERENCE ROOM - DAY Tom as we saw him earlier. Bored. In the boardroom. Mckenzie is in mid-presentation. MCKENZIE Now I know this may be a little risque...but if New Hampshire Greetings wants the jump on those conservative, right-wing neo-Nazis at Hallmark, maybe playing it safe is the wrong approach. The nuclear family is dead and we need a new holiday to recognize that. Mckenzie holds up a home-made photoshopped family portrait of Martina Navratilova, Ellen DeGeneres, and the kid from "Jerry Maguire". 14. MCKENZIE May 21st. Other Mother's Day. The co-workers nod and digest this idea. VANCE is the head of the department. VANCE Hmmm. That's an intriguing idea McKenzie. Along with Grossman's "Magellan Day" I'd say we've got some potential here. What do you think Hansen? Could you write up some prototypes for these? Tom is about to answer when... the door opens. SUMMER Excuse me, Mr. Vance? There's a call for you on line 3. And in walks this girl. Summer. We've met her by now but Tom hasn't. This is the first time. His eyes go wide and from that moment on, he can't take them off her. VANCE (to the table) Everyone this is Summer, my new assistant. Summer just moved here from... SUMMER Michigan. VANCE Right. Michigan. Well, Summer, everyone. Everyone, Summer. Excuse me, I have to take this. SUMMER Nice to meet you all. Summer gives a little wave before following Vance out. She doesn't notice Tom whose face looks like he's just seen God. 15. (3, 4, 5) INT. OFFICE - DAY Tom trying to work. And failing. He turns to McKenzie. TOM What do we know about this new girl? MCKENZIE Who? TOM The new girl. Summer. In Vance's office. MCKENZIE Dude. I hear she's a bitch from hell! TOM (DISAPPOINTED) Really? MCKENZIE Patel tried to talk to her in the copy room. She was totally not having it. TOM Maybe she was just in a hurry. MCKENZIE And maybe she's some uppity, better than everyone, superskank. TOM Damn. MCKENZIE I know. She's pretty hot. TOM That makes me so mad! Why is it pretty girls always think they can treat people like crap and get away with it? 16. MCKENZIE Dunno. TOM Like, just cause she has high cheekbones and soft skin... MCKENZIE ...and really good teeth. TOM And maybe the world's most perfect breasts...Just cause of that stuff, she can walk around like she's center of the universe? MCKENZIE (as explanation) Women. TOM Ugh. You know what? Screw her! We haven't even met and I can't stand her already. INT. ELEVATOR - LATER Tom is listening to headphones. Summer enters the elevator and Tom actively puts on a show to ignore her. Summer hears the music. SUMMER The Smiths. Tom, pretending not to hear or care, gives her an unenthusiastic wave. SUMMER I love The Smiths. Tom, still pretending, takes off his headphones. TOM Sorry? SUMMER I said. I love The Smiths. You have good taste in music. A beat as Tom processes this information. 17. TOM (AMAZED) You like the Smiths? SUMMER (SINGING) "To die by your side is such a heavenly way to die." Love it. The elevator doors open and she gets off. TOM (accidentally out loud) Oh my god. (8) INT OFFICE LOBBY - DAY The office sings "Happy Birthday" to a FEMALE CO-WORKER. When they get to the part about her name, Tom is the only one who knows it, everyone else just there for the cake. Song over, everyone digs in. Tom finds himself standing next to Summer. TOM Hi. SUMMER Hello. TOM So, uh, Summer... SUMMER Tom. TOM Yeah! How's it going so far? SUMMER The city or the firm? TOM Both... Either. SUMMER I'm happy. Still getting situated. How long have you worked here? 18. TOM Oh, you know, 4, 5... years. SUMMER Really? Jesus. Did you always want to write greeting cards? TOM Are you nuts? I don't even want to do it now. SUMMER What is it you want to do? TOM I studied to be an architect actually. SUMMER That's so cool! What happened? TOM Eh, you know. Same old story. Moved to the city to work for a company. Company went under. Needed a job. My friend worked here. Got me this. SUMMER And are you any good? TOM (points to a framed card) Well I wrote that one. SUMMER (READING) "Today You're a Man. Mazel Tov on your Bar Mitzvah." TOM It's a big seller. SUMMER I meant, are you any good as an architect? TOM Oh... No. I doubt it. SUMMER Well, I'd say you're a perfectly ...adequate... greeting card writer. 19. TOM Why thank you. That's what they called me in college. "Perfectly adequate" Hansen. SUMMER They used to call me "Anal Girl." Tom does a spit-take and almost chokes. SUMMER (EXPLAINING) I was very neat and organized. There's an awkward silence. SUMMER Anyway, I should get back. TOM Ok, well, I'll see you around. She walks back to her cubicle at the other end of the hall. Tom watches her walk away, completely enamored. He sits down at his desk and sets out to work. But before he does, his eyes fall on a sketch he drew of a house. It's dated 2001 and it's the only architecture sketch on his wall. (11) INT TOM'S PLACE - DAY Tom is playing Playstation with Rachel. TOM And it turns out she's read every Graham Greene novel ever published. Her desk is lined with Magritte posters and Edward Hopper. RACHEL Your favorites. TOM We're so compatible it's insane! Seriously! It doesn't make sense! She's not like I thought at all. She's... amazing. 20. RACHEL Oh boy. TOM What? RACHEL You know...just cause some cute girl likes the same bizarro music you do doesn't make her "the one." TOM (BEAT) Of course it does. SARAH (O.S.) Dinner! SARAH, 50s, Tom and Rachel's mother, stands in the doorway. SARAH Pause and come eat. They do. Tom enters the living room area and sits down next to his stepdad MARTIN, 60s, a quiet, professorial Southern gentleman type. TOM Hey Martin. ANGLE ON RACHEL and Sarah. RACHEL He met a girl. SARAH (EXCITED) Yeah? RACHEL (GRIM) Yeah. Sarah grows serious too. SARAH Oh shit. CUT TO: 21. STOCK FOOTAGE. The Wright Brothers, Galileo, Heaven's Gate, Neil Armstrong. NARRATOR When one strongly believes in something, it takes overwhelming contradictory evidence to change their minds. END ON: LITTLE TOM, age 6, mesmerized by a vinyl album cover of Olivia Newton-John in "Xanadu." NARRATOR Tom had always been a devout believer in the idea of "true love." (BEAT) The evidence did not support him. CUT TO: (-8914) INT CLASSROOM - DAY Little Tom stares at a LITTLE GIRL, 6, who has the same hairstyle and dress as Newton-John on that cover. Tom draws a picture. It's a boy and a girl with a giant heart over them. He stands up and walks over to the girl, putting the picture on her desk. Not a word is spoken. Satisfied, he returns to his seat and waits to see what happens. NARRATOR Exhibit A: Lisa Rayner. The Little Girl stands up and walks the picture over to ANOTHER BOY. Tom is mortified. The OTHER BOY eats the drawing. (-5313) 22. EXT FOOTBALL FIELD - NIGHT A BLONDE CHEERLEADER leads the crowd in a cheer. PAN ACROSS to find TEENAGE TOM, 15, finishing making out with a homely HIGH SCHOOL GIRL. He says goodbye and walks off, looking back longingly. NARRATOR Exhibit B: Wendy Wilson. Once Tom is out of frame, a SECOND BOY approaches Wendy. Then they start making out. (-2825) INT AIRPLANE - DAY COLLEGE TOM sits next to his girlfriend REBECCA MYLES. His smile gleams. TOM I'm so glad we decided to go away together Bec. I know we've only been dating a few months but it's been...awesome. NARRATOR Exhibit C: Rebecca Myles. TOM And now, you and me, 8 days in Mexico... best spring break ever! Across the aisle Rebecca makes eye contact with three COLLEGE DUDES. REBECCA I think we should see other people. (-734) 23. EXT CAR - NIGHT Younger Tom sits in the passenger seat. Raven-haired AMANDA drives. NARRATOR And, finally... Exhibit D: Amanda Heller. AMANDA It's just... it's complicated. TOM What's complicated? Last week you said you loved me! AMANDA I know it's sudden but... TOM No, this can't be. Everything was going so great. I don't understand. AMANDA (BEAT) Here. TOM What's this? She puts a disc into the cd player. AMANDA Because you're, like, the biggest music nerd I've ever met, I think this should really help explain where I'm coming from. A pop song begins to play on the stereo. They listen for a few beats. Tom is confused. AMANDA You remember how much I loved this song when you first played it for me? TOM Sure. It's all you wanted to listen to for weeks. 24. AMANDA Right. And I still like it, don't get me wrong. It's just... When I hear it now, I don't feel the same...rush. TOM (still confused) Ok... AMANDA I press the skip button. Still Tom doesn't understand. TOM What does this have to do with--? AMANDA I'd rather listen to something else. And with that, it slowly sinks in for him. TOM But Amanda... this is a great fucking song! (22) INT LOCAL DIVE BAR - HAPPY HOUR Tom removes his headphones and sits defeated with McKenzie and Paul in a booth. TOM It's off. PAUL What? TOM Me and Summer. MCKENZIE Was it ever on? 25. TOM No. But it could have been. In a world where good things happen to me. PAUL Yeah well, that's not really where we live. TOM No. MCKENZIE So what happened? TOM You ready for this? INT ELEVATOR - THE DAY BEFORE Tom is alone. The door opens. In walks Summer. TOM (V.O.) So there we are. All alone. Nine more floors to ride. Plenty of time. I figure...this is my chance. If not now when, right? They ride in silence for a few beats. TOM Summer... SUMMER Yeah? TOM (BEAT) So how was your weekend? SUMMER It was good. INT LOCAL DIVE BAR - AS BEFORE The friends wait for more. TOM You believe that shit? 26. MCKENZIE What shit? PAUL I think I missed something. TOM "It was good." She didn't say "It was good." She said "It was good." Emphasis on the good. She basically said "I spent the weekend having sex with this guy I met at the gym." Fucking whore. Screw her. It's over. Everyone's silent. MCKENZIE What the hell is wrong with you?! PAUL Dude, you got problems. TOM She's not interested in me. There's nothing I can do. MCKENZIE Based on..."it was good?" TOM And some other things. PAUL Like what, she said "hey" instead of "hi" cause that totally means she's a lesbian. TOM I gave her all sorts of chances. INT OFFICE - DAY Tom types at his desk. Summer approaches the cubicle Tom shares with McKenzie. SUMMER I'm going to the supply room. Anyone need anything? MCKENZIE No thanks. 27. TOM I think you know what I need. There's a beat. TOM Toner. SUMMER Oh ok, sure, no prob. INT OFFICE - LATE IN THE DAY The office is emptying out. Only a few people remain but Tom and Summer are two of them. Tom takes this opportunity to put a CD in his computer and play the song really loud. It's "I Want to Know What Love Is" by Foreigner. No reaction from Summer. Tom turns it up. Still nothing. Tom turns it down, defeated. INT SUMMER'S DESK Tom is there. TOM Do you want to go out with me? A beat. Summer says nothing. TOM And the Priest says, "But we're already out!" They both laugh. SUMMER That is hilarious! TOM I know! And when she walks away, he smacks his head a few times with his palm. INT LOCAL DIVE BAR - AS BEFORE TOM Not once did she take the bait. Not once. Screw it. I'm done with her. It's over. 28. Tom's friends all look at him like he's crazy. (27 & 28) INT OFFICE - TOM'S CUBICLE - DAY Tom sits at his desk with headphones on trying to work. But with Summer down at the end of the hall, he's having a hard time concentrating. McKenzie shares a cubicle with Tom. MCKENZIE This Friday. 10 bucks all you can karaoke at The Well. TOM No way McKenzie. Absolutely not. MCKENZIE Come on! (SINGING) "Take me down to the paradise city where the grass is green and they got big titties!" TOM They won't let you back in there after last time. MCKENZIE I wasn't that bad. TOM Not at all. You just threw up on the stage, tried to fight the bartender, and then threatened to burn the place down before passing out on the sidewalk. Quiet night for you. MCKENZIE (REVERENTIAL) You saved my life that day. TOM We are not going back there. 29. MCKENZIE This is a work thing, Tommy. It won't be like that. The whole office is going. TOM I really can't. Even if I wanted to. There's a lot of stuff I gotta take care of. MCKENZIE You're not listening to me. TOM What? MCKENZIE The whole office is going. Tom looks over to where Summer sits. And realization dawns on him... INT KARAOKE BAR - NIGHT Summer is in a back booth with some co-workers when Tom walks in to the crowded place. McKenzie has the microphone and he's singing "Every Rose Has Its Thorn" by Poison. He's real into it and, well, it's kinda sad. Tom waves to McKenzie and walks over to the booth. TOM Hi. SUMMER Hey! They said you weren't coming. TOM You asked if I was coming? (BEAT) I mean...my plans got cancelled... Tom is at a loss. There's yet another awkward silent beat between them. Thankfully, it's interrupted by... MCKENZIE (already drunk) Goddamn that song is brilliant! What's up Hansen? Summer sees the next song come up on the screen. 30. SUMMER Ooh that's me. She downs a shot and jumps up on stage. SUMMER (into mic) Ok. I'm the new girl so no making fun of me. Her co-workers whistle and cheer her on. She takes a deep breath as the opening bars of "Born to Run" begin to play and Summer starts to sing. Tom sees Summer as the actress in whatever nonsensical karaoke video accompanies the song (it's something to do with an old convertible, the sunset, and a midget in a tuxedo.) LATER. Tom sits in the booth with McKenzie (doing a shot) as Summer chats with co-workers at another table. Tom can't help but stare at Summer. She notices and waves. He smiles, hopeful that she'll come over. She doesn't. He hides his disappointment. LATER. Tom walks back to his table with drinks. Summer is there in mid-conversation with McKenzie. TOM You were great up there, by the way. SUMMER Well you can't go wrong with The Boss. TOM (sitting down) I hear that. MCKENZIE Hey, did you know Tom here's from Jersey? SUMMER Yeah? TOM Lived there til I was 12. SUMMER I named my cat after Springsteen. TOM No kidding? What's his name? 31. SUMMER Bruce. TOM (BEAT) That makes sense. She laughs. She's really cute when she laughs. MCKENZIE So you got a boyfriend? SUMMER Me? No. Tom shoots daggers at McKenzie for that comment. McKenzie mouths "what?" Summer sees nothing. MCKENZIE Why not? SUMMER Don't really want one. MCKENZIE Come on. I don't believe that. SUMMER You don't believe a woman could enjoy being free and independent? MCKENZIE (BEAT) Are you a lesbian? SUMMER No, I'm not a lesbian. I'm just not comfortable being somebody's "girlfriend." I don't want to be anybody's anything, you know? MCKENZIE I have no idea what you're talking about. SUMMER It sounds selfish, I know, but... I just like being on my own. Relationships are messy and feelings are always getting hurt. Who needs all that? We're young. We're in one of the most beautiful cities in the world. (MORE) 32. SUMMER (cont'd) I say, let's have as much fun as we can afford and leave the serious shit for later. TOM But...what if you meet someone and fall in love? SUMMER (LAUGHS) Love? You seriously believe in that stuff? TOM Of course I do. SUMMER Interesting. A real romantic. MCKENZIE Oh you have no idea. This one... embarrassing. There was this one girl, (to Tom) I gotta tell this story -- Tom elbows McKenzie hard in the ribs to shut him up. TOM Summer, hold on... you don't believe in love? SUMMER I don't even know what that word means. I know I've never felt it, whatever it is in all those songs. And I know that today most marriages end in divorce. Like my parents. TOM Well mine too but -- SUMMER Oh yeah, And I read in Newsweek, there were these scientists who found that by stimulating a part of the brain with electrodes you can make a person fall in "love" with a rock. Is that the love you're talking about? TOM Well... 33. SUMMER Why, what's your take on it? CUT TO: AN ANIMATION SEQUENCE, real quick. AN EXPLOSION OF MANY DIFFERENT COLORS, COMPLETE WITH A CHOIR AND A CHURCH ORGAN ALL BUILDING TO A HUGE CRESCENDO. BACK TO: INT BAR On Tom: TOM I think it's...kind of a huge thing. SUMMER (BEAT) Ok. Looks like we're gonna have to agree to disagree on that one. McKenzie senses some discontent. MCKENZIE So, uh, who's singing next? SUMMER (re: singing) I'd say it's your turn loverboy. TOM Nooo. I don't sing in public. SUMMER Sure you do. I see you lip-synching to your headphones every morning on your way in. TOM I don't... MCKENZIE You really do. SUMMER It's ok. I like it. Takes a lot of self-confidence to look ridiculous. 34. MCKENZIE (can't help himself) Self-confidence! Ha! Tom elbows him in the ribs again. TOM Anyway, I'm not near drunk enough to sing in front of all these people. SUMMER Ok then. Let's drink. TOM It would take at least ten shots to get me to sing. SUMMER Bartender! TEN MINUTES LATER. Tom is up there singing The Clash's "Magnificent Seven." You wouldn't think so but Tom is a ROCK STAR up there! He's dancing like Jagger, he's got everyone in the bar singing along to the audience-participation parts. It's a sight to behold. Summer is all smiles watching. LATER. Tom and Summer back at the table. Summer is humming something. TOM That's not it. SUMMER What is that then? TOM I have no idea. They're both having a good time. SUMMER I used to watch it every week. TOM Me too. Why can't we think of the stupid A-Team theme song. SUMMER Pathetic. TOM This is gonna bother me for weeks. 35. SUMMER Totally. They share another laugh and then it gets quiet. In that good way. ANGLE ON McKenzie, wasted, singing the shit out of "Proud to Be an American." He really means it. At any minute he might start to cry. MCKENZIE "And I'd proudly stand UP!" (aggressive drunk) I said stand! BACK ON TOM and SUMMER. TOM Oh here we go. EXT KARAOKE BAR - LATER Tom helps a nearly comatose McKenzie exit the place. Summer is with them. MCKENZIE (to Summer) This guy. (DRAMATICALLY) He's the best. TOM Ok, let's

horror

How many times the word 'horror' appears in the text?

500 Days of Summer Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 500 DAYS OF SUMMER Written by Scott Neustadter & Michael H. Weber First Draft SIMPLE BLACK ON WHITE CREDITS ROLL TO BIG STAR'S "I'M IN LOVE WITH A GIRL." When all is said and done, up comes a single number in parenthesis, like so: (478) EXT. PARK - DAY For a few seconds we watch A MAN (20s) and a WOMAN (20s) on a park bench. Their names are TOM and SUMMER. Neither one says a word. CLOSE ON her HAND, covering his. Notice the wedding ring. No words are spoken. Tom looks at her the way every woman wants to be looked at. A DISTINGUISHED VOICE begins to speak to us. NARRATOR This is a story of boy meets girl. CUT TO: (1) INT CONFERENCE ROOM - DAY The boy is TOM HANSEN. He sits at a very long rectangular conference table. The walls are lined with framed blow-up sized greeting cards. Tom, dark hair and blue eyes, wears a t- shirt under his sports coat and Adidas tennis shoes to balance out the corporate dress code. He looks pretty bored. NARRATOR The boy, Tom Hansen of Margate, New Jersey, grew up believing that he'd never truly be happy until the day he met his... "soulmate." CUT TO: INT LIVING ROOM - 1989 PRE-TEEN TOM sits alone on his bed engrossed in a movie. His walls are covered in posters of obscure bands. From the TV, we hear: "Elaine! Elaine!" 4. NARRATOR This belief stemmed from early exposure to sad British pop music and a total misreading of the movie, "The Graduate." CUT TO: INT OFFICE CUBICLE - PRESENT DAY The girl is SUMMER FINN. She files folders and answers phones in a plain white office. She has cropped blonde hair almost like a boy's but her face is feminine and pretty enough to get away with it. NARRATOR The girl, Summer Finn of Shinnecock, Michigan, did not share this belief. CUT TO: INT BATHROOM - 1994 Teenage Summer stares at herself in the mirror. Her hair extends down to her lower back. NARRATOR Since the disintegration of her parents' marriage, she'd only loved two things. The first was her long blonde hair. She picks up scissors from the counter and begins to slice. NARRATOR The second was how easily she could cut it off... And feel nothing. CUT TO: SPLITSCREEN. INT BOARDROOM/ INT CUBICLE - SAME On the right side of the screen, Tom continues to listen to some boring presentation. On the left, Summer answers a call, takes a message, and walks out of her cubicle down a long narrow hallway. 5. NARRATOR Tom meets Summer on January 8th in a San Francisco office building. In an instant, he will know she's the one he's been looking for. CU Summer opening the door to the boardroom, about to come face to face with Tom for the first time. NARRATOR This is a story of boy meets girl. But before they do, CUT TO: BLACK. NARRATOR You should know up front, this is not a love story. (240) EXT STREETS OF SAN FRAN - NIGHT A 12 year old GIRL rides her bicycle down the block. She arrives at an apartment complex, jumps off the bike and races up the front stairs. She rings the doorbell. INT TOM'S PLACE - LATER PAUL and MCKENZIE open the door. These are Tom's best friends since birth. Paul is a doctor and wears hospital scrubs. McKenzie works in the cubicle next to Tom. PAUL I didn't know who else to call. The Girl removes her bike helmet. GIRL You did the right thing. Where is he? Tom is in the kitchen breaking things and basically going insane. About to smash a plate on the floor, he's interrupted BY: 6. GIRL Thomas. Tom freezes. TOM Rachel? What are you doing here? GIRL (RACHEL) I'm here to help you. TOM Help me how? RACHEL First, put down the plate. Tom slowly obliges. RACHEL Now come here and sit down. Tom sits next to the young girl. Paul and Mckenzie sit on either side of them. RACHEL The key is not to panic. TOM I think I'm gonna be sick. RACHEL Drink this. She hands him a glass of water. Tom drinks it down. MCKENZIE What is that? RACHEL Vodka. TOM (grimacing at the taste) More. He gulps another down. TOM Does Mom know you're here? It's gotta be past 10. 7. RACHEL Don't worry about it. Start from the beginning. Tell us what happened... Tom takes a deep breath. EXT PARK - DAY Tom and Summer eat sandwiches in the park. TOM (V.O.) We spent the whole day together. EXT OUTDOOR MARKET - DAY Tom and Summer walk through the stalls. TOM (V.O.) We went shopping. EXT COFFEE HOUSE - DAY Tom and Summer seated outside drinking coffee. He reads the newspaper, she reads a novel. TOM (V.O.) We had coffee. EXT MOVIE THEATER - DAY Tom and Summer walk out of a movie theatre. TOM (V.O.) We saw a film. INT RECORD STORE - LATER Tom and Summer shop for music. Tom excitedly shows Summer a Ringo Starr solo album. TOM (V.O.) We bought music. 8. INT TOM'S PLACE TOM I thought it was a great day. RACHEL And then what happened? INT DINER - NIGHT Tom and Summer in a booth ordering dinner. TOM (to WAITRESS) Um...you know what...let's go crazy, I'll have BOTH. (to Summer) God, I love eating pancakes at night. It's like the greatest thing ever. How great is this? SUMMER I think we should stop seeing each other. INT TOM'S PLACE - AS BEFORE RACHEL Just like that? TOM Just like that. PAUL Did she say why? INT DINER - AS BEFORE SUMMER This thing. This whatever it is. You and me. Do you think this is normal? TOM I don't know. Who cares about normal?! I'm happy. Aren't you happy? 9. SUMMER You're happy? TOM You're not? SUMMER All we do is argue! TOM That is such a lie! INT TOM'S PLACE - AS BEFORE RACHEL Maybe she was just in a bad mood. PAUL A hormonal thing. RACHEL P.M.S.? TOM (to Rachel) What do you know about PMS? RACHEL More than you. TOM Oh my god. MCKENZIE Please continue. INT DINER - AS BEFORE SUMMER This can't be a total surprise. I mean, we've been like Sid and Nancy for months. TOM Summer, Sid stabbed Nancy seven times with a kitchen knife. We've had some disagreements but I hardly think I'm Sid Vicious. SUMMER No... I'm Sid. 10. TOM (BEAT) So I'm Nancy?! The Waitress comes out with the food. Tom and Summer stop their discussion until the meal is served and the Waitress leaves. Summer starts to eat. SUMMER Let's just eat and we'll talk about it after. I'm starving. Without another word she goes back to her pancakes. Tom watches her eat like this is the worst travesty in the history of mankind. SUMMER (mouth full) Mmm, you're so right. These are great! Tom looks at his food in disgust. He may never eat again. SUMMER (INNOCENT) What? Tom stands up to go. SUMMER Tom, don't. Come back. You're still my best fr--- THE SCENE FREEZES AND WE ZOOM IN ON TOM'S STUNNED FACE. INT TOM'S PLACE - AS BEFORE Silence for a few beats. PAUL Jesus. MCKENZIE That's harsh. TOM I don't know what I'm gonna do. RACHEL You're gonna be fine. 11. TOM (BEAT) I'm gonna throw up. MCKENZIE Or that. RACHEL Here. Tom drinks more vodka. MCKENZIE Come on Hansen. You'll be ok. You're the best guy I know. You'll find someone. PAUL You know what they say...there's plenty other fish in the sea. TOM No. PAUL Sure they do. They say that. TOM Well they're wrong. It's not true. I've fished in that sea. I've jumped in and swam in that sea! I'm fucking Aquaman! (to Rachel) Sorry. What I mean is... there are no other fish. This was my fish. Paul and McKenzie share a very concerned look. CUT TO: (86) EXT SIDEWALK - DAY Tom walks alongside his friend PAUL. Out of nowhere, he says: TOM I'm in love with Summer. 12. PAUL (BEAT) For real? CUT TO: CU - SUMMER'S SMILE TOM (V.O.) I love her smile. CU - SUMMER'S HAIR TOM (V.O.) I love her hair. CU - SUMMER'S KNEES TOM (V.O.) I love her knees. CU - SUMMER'S EYES TOM (V.O.) I love how one eye is higher up on her face than the other eye. CU - SUMMER'S NECK TOM (V.O.) I love the scar on her neck from this operation she had as a kid. CU - SUMMER'S BREASTS (UNDER A BLACK T-SHIRT) TOM (V.O.) I love how she looks in my Clash T- shirt. CU - SUMMER ASLEEP TOM (V.O.) I love how she looks when she's sleeping. CU - SUMMER'S LAUGH TOM (V.O.) I love the sound of her laugh. OVER BLACK, play the middle 8 of "Every Little Thing She Does is Magic" by The Police. 13. TOM (V.O.) I love how I hear this song every time I think of her. CU - TOM, STARING DIRECTLY AT THE CAMERA. TOM (V.O.) I love how she makes me feel. Like anything's possible. Like, I don't know...like life is worth it. CUT TO: EXT SIDEWALK - SAME Paul and Tom. TOM For real, Paul. I'm madly in love with that girl. Paul is silent for a beat. PAUL Oh shit. (1) INT CONFERENCE ROOM - DAY Tom as we saw him earlier. Bored. In the boardroom. Mckenzie is in mid-presentation. MCKENZIE Now I know this may be a little risque...but if New Hampshire Greetings wants the jump on those conservative, right-wing neo-Nazis at Hallmark, maybe playing it safe is the wrong approach. The nuclear family is dead and we need a new holiday to recognize that. Mckenzie holds up a home-made photoshopped family portrait of Martina Navratilova, Ellen DeGeneres, and the kid from "Jerry Maguire". 14. MCKENZIE May 21st. Other Mother's Day. The co-workers nod and digest this idea. VANCE is the head of the department. VANCE Hmmm. That's an intriguing idea McKenzie. Along with Grossman's "Magellan Day" I'd say we've got some potential here. What do you think Hansen? Could you write up some prototypes for these? Tom is about to answer when... the door opens. SUMMER Excuse me, Mr. Vance? There's a call for you on line 3. And in walks this girl. Summer. We've met her by now but Tom hasn't. This is the first time. His eyes go wide and from that moment on, he can't take them off her. VANCE (to the table) Everyone this is Summer, my new assistant. Summer just moved here from... SUMMER Michigan. VANCE Right. Michigan. Well, Summer, everyone. Everyone, Summer. Excuse me, I have to take this. SUMMER Nice to meet you all. Summer gives a little wave before following Vance out. She doesn't notice Tom whose face looks like he's just seen God. 15. (3, 4, 5) INT. OFFICE - DAY Tom trying to work. And failing. He turns to McKenzie. TOM What do we know about this new girl? MCKENZIE Who? TOM The new girl. Summer. In Vance's office. MCKENZIE Dude. I hear she's a bitch from hell! TOM (DISAPPOINTED) Really? MCKENZIE Patel tried to talk to her in the copy room. She was totally not having it. TOM Maybe she was just in a hurry. MCKENZIE And maybe she's some uppity, better than everyone, superskank. TOM Damn. MCKENZIE I know. She's pretty hot. TOM That makes me so mad! Why is it pretty girls always think they can treat people like crap and get away with it? 16. MCKENZIE Dunno. TOM Like, just cause she has high cheekbones and soft skin... MCKENZIE ...and really good teeth. TOM And maybe the world's most perfect breasts...Just cause of that stuff, she can walk around like she's center of the universe? MCKENZIE (as explanation) Women. TOM Ugh. You know what? Screw her! We haven't even met and I can't stand her already. INT. ELEVATOR - LATER Tom is listening to headphones. Summer enters the elevator and Tom actively puts on a show to ignore her. Summer hears the music. SUMMER The Smiths. Tom, pretending not to hear or care, gives her an unenthusiastic wave. SUMMER I love The Smiths. Tom, still pretending, takes off his headphones. TOM Sorry? SUMMER I said. I love The Smiths. You have good taste in music. A beat as Tom processes this information. 17. TOM (AMAZED) You like the Smiths? SUMMER (SINGING) "To die by your side is such a heavenly way to die." Love it. The elevator doors open and she gets off. TOM (accidentally out loud) Oh my god. (8) INT OFFICE LOBBY - DAY The office sings "Happy Birthday" to a FEMALE CO-WORKER. When they get to the part about her name, Tom is the only one who knows it, everyone else just there for the cake. Song over, everyone digs in. Tom finds himself standing next to Summer. TOM Hi. SUMMER Hello. TOM So, uh, Summer... SUMMER Tom. TOM Yeah! How's it going so far? SUMMER The city or the firm? TOM Both... Either. SUMMER I'm happy. Still getting situated. How long have you worked here? 18. TOM Oh, you know, 4, 5... years. SUMMER Really? Jesus. Did you always want to write greeting cards? TOM Are you nuts? I don't even want to do it now. SUMMER What is it you want to do? TOM I studied to be an architect actually. SUMMER That's so cool! What happened? TOM Eh, you know. Same old story. Moved to the city to work for a company. Company went under. Needed a job. My friend worked here. Got me this. SUMMER And are you any good? TOM (points to a framed card) Well I wrote that one. SUMMER (READING) "Today You're a Man. Mazel Tov on your Bar Mitzvah." TOM It's a big seller. SUMMER I meant, are you any good as an architect? TOM Oh... No. I doubt it. SUMMER Well, I'd say you're a perfectly ...adequate... greeting card writer. 19. TOM Why thank you. That's what they called me in college. "Perfectly adequate" Hansen. SUMMER They used to call me "Anal Girl." Tom does a spit-take and almost chokes. SUMMER (EXPLAINING) I was very neat and organized. There's an awkward silence. SUMMER Anyway, I should get back. TOM Ok, well, I'll see you around. She walks back to her cubicle at the other end of the hall. Tom watches her walk away, completely enamored. He sits down at his desk and sets out to work. But before he does, his eyes fall on a sketch he drew of a house. It's dated 2001 and it's the only architecture sketch on his wall. (11) INT TOM'S PLACE - DAY Tom is playing Playstation with Rachel. TOM And it turns out she's read every Graham Greene novel ever published. Her desk is lined with Magritte posters and Edward Hopper. RACHEL Your favorites. TOM We're so compatible it's insane! Seriously! It doesn't make sense! She's not like I thought at all. She's... amazing. 20. RACHEL Oh boy. TOM What? RACHEL You know...just cause some cute girl likes the same bizarro music you do doesn't make her "the one." TOM (BEAT) Of course it does. SARAH (O.S.) Dinner! SARAH, 50s, Tom and Rachel's mother, stands in the doorway. SARAH Pause and come eat. They do. Tom enters the living room area and sits down next to his stepdad MARTIN, 60s, a quiet, professorial Southern gentleman type. TOM Hey Martin. ANGLE ON RACHEL and Sarah. RACHEL He met a girl. SARAH (EXCITED) Yeah? RACHEL (GRIM) Yeah. Sarah grows serious too. SARAH Oh shit. CUT TO: 21. STOCK FOOTAGE. The Wright Brothers, Galileo, Heaven's Gate, Neil Armstrong. NARRATOR When one strongly believes in something, it takes overwhelming contradictory evidence to change their minds. END ON: LITTLE TOM, age 6, mesmerized by a vinyl album cover of Olivia Newton-John in "Xanadu." NARRATOR Tom had always been a devout believer in the idea of "true love." (BEAT) The evidence did not support him. CUT TO: (-8914) INT CLASSROOM - DAY Little Tom stares at a LITTLE GIRL, 6, who has the same hairstyle and dress as Newton-John on that cover. Tom draws a picture. It's a boy and a girl with a giant heart over them. He stands up and walks over to the girl, putting the picture on her desk. Not a word is spoken. Satisfied, he returns to his seat and waits to see what happens. NARRATOR Exhibit A: Lisa Rayner. The Little Girl stands up and walks the picture over to ANOTHER BOY. Tom is mortified. The OTHER BOY eats the drawing. (-5313) 22. EXT FOOTBALL FIELD - NIGHT A BLONDE CHEERLEADER leads the crowd in a cheer. PAN ACROSS to find TEENAGE TOM, 15, finishing making out with a homely HIGH SCHOOL GIRL. He says goodbye and walks off, looking back longingly. NARRATOR Exhibit B: Wendy Wilson. Once Tom is out of frame, a SECOND BOY approaches Wendy. Then they start making out. (-2825) INT AIRPLANE - DAY COLLEGE TOM sits next to his girlfriend REBECCA MYLES. His smile gleams. TOM I'm so glad we decided to go away together Bec. I know we've only been dating a few months but it's been...awesome. NARRATOR Exhibit C: Rebecca Myles. TOM And now, you and me, 8 days in Mexico... best spring break ever! Across the aisle Rebecca makes eye contact with three COLLEGE DUDES. REBECCA I think we should see other people. (-734) 23. EXT CAR - NIGHT Younger Tom sits in the passenger seat. Raven-haired AMANDA drives. NARRATOR And, finally... Exhibit D: Amanda Heller. AMANDA It's just... it's complicated. TOM What's complicated? Last week you said you loved me! AMANDA I know it's sudden but... TOM No, this can't be. Everything was going so great. I don't understand. AMANDA (BEAT) Here. TOM What's this? She puts a disc into the cd player. AMANDA Because you're, like, the biggest music nerd I've ever met, I think this should really help explain where I'm coming from. A pop song begins to play on the stereo. They listen for a few beats. Tom is confused. AMANDA You remember how much I loved this song when you first played it for me? TOM Sure. It's all you wanted to listen to for weeks. 24. AMANDA Right. And I still like it, don't get me wrong. It's just... When I hear it now, I don't feel the same...rush. TOM (still confused) Ok... AMANDA I press the skip button. Still Tom doesn't understand. TOM What does this have to do with--? AMANDA I'd rather listen to something else. And with that, it slowly sinks in for him. TOM But Amanda... this is a great fucking song! (22) INT LOCAL DIVE BAR - HAPPY HOUR Tom removes his headphones and sits defeated with McKenzie and Paul in a booth. TOM It's off. PAUL What? TOM Me and Summer. MCKENZIE Was it ever on? 25. TOM No. But it could have been. In a world where good things happen to me. PAUL Yeah well, that's not really where we live. TOM No. MCKENZIE So what happened? TOM You ready for this? INT ELEVATOR - THE DAY BEFORE Tom is alone. The door opens. In walks Summer. TOM (V.O.) So there we are. All alone. Nine more floors to ride. Plenty of time. I figure...this is my chance. If not now when, right? They ride in silence for a few beats. TOM Summer... SUMMER Yeah? TOM (BEAT) So how was your weekend? SUMMER It was good. INT LOCAL DIVE BAR - AS BEFORE The friends wait for more. TOM You believe that shit? 26. MCKENZIE What shit? PAUL I think I missed something. TOM "It was good." She didn't say "It was good." She said "It was good." Emphasis on the good. She basically said "I spent the weekend having sex with this guy I met at the gym." Fucking whore. Screw her. It's over. Everyone's silent. MCKENZIE What the hell is wrong with you?! PAUL Dude, you got problems. TOM She's not interested in me. There's nothing I can do. MCKENZIE Based on..."it was good?" TOM And some other things. PAUL Like what, she said "hey" instead of "hi" cause that totally means she's a lesbian. TOM I gave her all sorts of chances. INT OFFICE - DAY Tom types at his desk. Summer approaches the cubicle Tom shares with McKenzie. SUMMER I'm going to the supply room. Anyone need anything? MCKENZIE No thanks. 27. TOM I think you know what I need. There's a beat. TOM Toner. SUMMER Oh ok, sure, no prob. INT OFFICE - LATE IN THE DAY The office is emptying out. Only a few people remain but Tom and Summer are two of them. Tom takes this opportunity to put a CD in his computer and play the song really loud. It's "I Want to Know What Love Is" by Foreigner. No reaction from Summer. Tom turns it up. Still nothing. Tom turns it down, defeated. INT SUMMER'S DESK Tom is there. TOM Do you want to go out with me? A beat. Summer says nothing. TOM And the Priest says, "But we're already out!" They both laugh. SUMMER That is hilarious! TOM I know! And when she walks away, he smacks his head a few times with his palm. INT LOCAL DIVE BAR - AS BEFORE TOM Not once did she take the bait. Not once. Screw it. I'm done with her. It's over. 28. Tom's friends all look at him like he's crazy. (27 & 28) INT OFFICE - TOM'S CUBICLE - DAY Tom sits at his desk with headphones on trying to work. But with Summer down at the end of the hall, he's having a hard time concentrating. McKenzie shares a cubicle with Tom. MCKENZIE This Friday. 10 bucks all you can karaoke at The Well. TOM No way McKenzie. Absolutely not. MCKENZIE Come on! (SINGING) "Take me down to the paradise city where the grass is green and they got big titties!" TOM They won't let you back in there after last time. MCKENZIE I wasn't that bad. TOM Not at all. You just threw up on the stage, tried to fight the bartender, and then threatened to burn the place down before passing out on the sidewalk. Quiet night for you. MCKENZIE (REVERENTIAL) You saved my life that day. TOM We are not going back there. 29. MCKENZIE This is a work thing, Tommy. It won't be like that. The whole office is going. TOM I really can't. Even if I wanted to. There's a lot of stuff I gotta take care of. MCKENZIE You're not listening to me. TOM What? MCKENZIE The whole office is going. Tom looks over to where Summer sits. And realization dawns on him... INT KARAOKE BAR - NIGHT Summer is in a back booth with some co-workers when Tom walks in to the crowded place. McKenzie has the microphone and he's singing "Every Rose Has Its Thorn" by Poison. He's real into it and, well, it's kinda sad. Tom waves to McKenzie and walks over to the booth. TOM Hi. SUMMER Hey! They said you weren't coming. TOM You asked if I was coming? (BEAT) I mean...my plans got cancelled... Tom is at a loss. There's yet another awkward silent beat between them. Thankfully, it's interrupted by... MCKENZIE (already drunk) Goddamn that song is brilliant! What's up Hansen? Summer sees the next song come up on the screen. 30. SUMMER Ooh that's me. She downs a shot and jumps up on stage. SUMMER (into mic) Ok. I'm the new girl so no making fun of me. Her co-workers whistle and cheer her on. She takes a deep breath as the opening bars of "Born to Run" begin to play and Summer starts to sing. Tom sees Summer as the actress in whatever nonsensical karaoke video accompanies the song (it's something to do with an old convertible, the sunset, and a midget in a tuxedo.) LATER. Tom sits in the booth with McKenzie (doing a shot) as Summer chats with co-workers at another table. Tom can't help but stare at Summer. She notices and waves. He smiles, hopeful that she'll come over. She doesn't. He hides his disappointment. LATER. Tom walks back to his table with drinks. Summer is there in mid-conversation with McKenzie. TOM You were great up there, by the way. SUMMER Well you can't go wrong with The Boss. TOM (sitting down) I hear that. MCKENZIE Hey, did you know Tom here's from Jersey? SUMMER Yeah? TOM Lived there til I was 12. SUMMER I named my cat after Springsteen. TOM No kidding? What's his name? 31. SUMMER Bruce. TOM (BEAT) That makes sense. She laughs. She's really cute when she laughs. MCKENZIE So you got a boyfriend? SUMMER Me? No. Tom shoots daggers at McKenzie for that comment. McKenzie mouths "what?" Summer sees nothing. MCKENZIE Why not? SUMMER Don't really want one. MCKENZIE Come on. I don't believe that. SUMMER You don't believe a woman could enjoy being free and independent? MCKENZIE (BEAT) Are you a lesbian? SUMMER No, I'm not a lesbian. I'm just not comfortable being somebody's "girlfriend." I don't want to be anybody's anything, you know? MCKENZIE I have no idea what you're talking about. SUMMER It sounds selfish, I know, but... I just like being on my own. Relationships are messy and feelings are always getting hurt. Who needs all that? We're young. We're in one of the most beautiful cities in the world. (MORE) 32. SUMMER (cont'd) I say, let's have as much fun as we can afford and leave the serious shit for later. TOM But...what if you meet someone and fall in love? SUMMER (LAUGHS) Love? You seriously believe in that stuff? TOM Of course I do. SUMMER Interesting. A real romantic. MCKENZIE Oh you have no idea. This one... embarrassing. There was this one girl, (to Tom) I gotta tell this story -- Tom elbows McKenzie hard in the ribs to shut him up. TOM Summer, hold on... you don't believe in love? SUMMER I don't even know what that word means. I know I've never felt it, whatever it is in all those songs. And I know that today most marriages end in divorce. Like my parents. TOM Well mine too but -- SUMMER Oh yeah, And I read in Newsweek, there were these scientists who found that by stimulating a part of the brain with electrodes you can make a person fall in "love" with a rock. Is that the love you're talking about? TOM Well... 33. SUMMER Why, what's your take on it? CUT TO: AN ANIMATION SEQUENCE, real quick. AN EXPLOSION OF MANY DIFFERENT COLORS, COMPLETE WITH A CHOIR AND A CHURCH ORGAN ALL BUILDING TO A HUGE CRESCENDO. BACK TO: INT BAR On Tom: TOM I think it's...kind of a huge thing. SUMMER (BEAT) Ok. Looks like we're gonna have to agree to disagree on that one. McKenzie senses some discontent. MCKENZIE So, uh, who's singing next? SUMMER (re: singing) I'd say it's your turn loverboy. TOM Nooo. I don't sing in public. SUMMER Sure you do. I see you lip-synching to your headphones every morning on your way in. TOM I don't... MCKENZIE You really do. SUMMER It's ok. I like it. Takes a lot of self-confidence to look ridiculous. 34. MCKENZIE (can't help himself) Self-confidence! Ha! Tom elbows him in the ribs again. TOM Anyway, I'm not near drunk enough to sing in front of all these people. SUMMER Ok then. Let's drink. TOM It would take at least ten shots to get me to sing. SUMMER Bartender! TEN MINUTES LATER. Tom is up there singing The Clash's "Magnificent Seven." You wouldn't think so but Tom is a ROCK STAR up there! He's dancing like Jagger, he's got everyone in the bar singing along to the audience-participation parts. It's a sight to behold. Summer is all smiles watching. LATER. Tom and Summer back at the table. Summer is humming something. TOM That's not it. SUMMER What is that then? TOM I have no idea. They're both having a good time. SUMMER I used to watch it every week. TOM Me too. Why can't we think of the stupid A-Team theme song. SUMMER Pathetic. TOM This is gonna bother me for weeks. 35. SUMMER Totally. They share another laugh and then it gets quiet. In that good way. ANGLE ON McKenzie, wasted, singing the shit out of "Proud to Be an American." He really means it. At any minute he might start to cry. MCKENZIE "And I'd proudly stand UP!" (aggressive drunk) I said stand! BACK ON TOM and SUMMER. TOM Oh here we go. EXT KARAOKE BAR - LATER Tom helps a nearly comatose McKenzie exit the place. Summer is with them. MCKENZIE (to Summer) This guy. (DRAMATICALLY) He's the best. TOM Ok, let's

meeting

How many times the word 'meeting' appears in the text?

500 Days of Summer Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 500 DAYS OF SUMMER Written by Scott Neustadter & Michael H. Weber First Draft SIMPLE BLACK ON WHITE CREDITS ROLL TO BIG STAR'S "I'M IN LOVE WITH A GIRL." When all is said and done, up comes a single number in parenthesis, like so: (478) EXT. PARK - DAY For a few seconds we watch A MAN (20s) and a WOMAN (20s) on a park bench. Their names are TOM and SUMMER. Neither one says a word. CLOSE ON her HAND, covering his. Notice the wedding ring. No words are spoken. Tom looks at her the way every woman wants to be looked at. A DISTINGUISHED VOICE begins to speak to us. NARRATOR This is a story of boy meets girl. CUT TO: (1) INT CONFERENCE ROOM - DAY The boy is TOM HANSEN. He sits at a very long rectangular conference table. The walls are lined with framed blow-up sized greeting cards. Tom, dark hair and blue eyes, wears a t- shirt under his sports coat and Adidas tennis shoes to balance out the corporate dress code. He looks pretty bored. NARRATOR The boy, Tom Hansen of Margate, New Jersey, grew up believing that he'd never truly be happy until the day he met his... "soulmate." CUT TO: INT LIVING ROOM - 1989 PRE-TEEN TOM sits alone on his bed engrossed in a movie. His walls are covered in posters of obscure bands. From the TV, we hear: "Elaine! Elaine!" 4. NARRATOR This belief stemmed from early exposure to sad British pop music and a total misreading of the movie, "The Graduate." CUT TO: INT OFFICE CUBICLE - PRESENT DAY The girl is SUMMER FINN. She files folders and answers phones in a plain white office. She has cropped blonde hair almost like a boy's but her face is feminine and pretty enough to get away with it. NARRATOR The girl, Summer Finn of Shinnecock, Michigan, did not share this belief. CUT TO: INT BATHROOM - 1994 Teenage Summer stares at herself in the mirror. Her hair extends down to her lower back. NARRATOR Since the disintegration of her parents' marriage, she'd only loved two things. The first was her long blonde hair. She picks up scissors from the counter and begins to slice. NARRATOR The second was how easily she could cut it off... And feel nothing. CUT TO: SPLITSCREEN. INT BOARDROOM/ INT CUBICLE - SAME On the right side of the screen, Tom continues to listen to some boring presentation. On the left, Summer answers a call, takes a message, and walks out of her cubicle down a long narrow hallway. 5. NARRATOR Tom meets Summer on January 8th in a San Francisco office building. In an instant, he will know she's the one he's been looking for. CU Summer opening the door to the boardroom, about to come face to face with Tom for the first time. NARRATOR This is a story of boy meets girl. But before they do, CUT TO: BLACK. NARRATOR You should know up front, this is not a love story. (240) EXT STREETS OF SAN FRAN - NIGHT A 12 year old GIRL rides her bicycle down the block. She arrives at an apartment complex, jumps off the bike and races up the front stairs. She rings the doorbell. INT TOM'S PLACE - LATER PAUL and MCKENZIE open the door. These are Tom's best friends since birth. Paul is a doctor and wears hospital scrubs. McKenzie works in the cubicle next to Tom. PAUL I didn't know who else to call. The Girl removes her bike helmet. GIRL You did the right thing. Where is he? Tom is in the kitchen breaking things and basically going insane. About to smash a plate on the floor, he's interrupted BY: 6. GIRL Thomas. Tom freezes. TOM Rachel? What are you doing here? GIRL (RACHEL) I'm here to help you. TOM Help me how? RACHEL First, put down the plate. Tom slowly obliges. RACHEL Now come here and sit down. Tom sits next to the young girl. Paul and Mckenzie sit on either side of them. RACHEL The key is not to panic. TOM I think I'm gonna be sick. RACHEL Drink this. She hands him a glass of water. Tom drinks it down. MCKENZIE What is that? RACHEL Vodka. TOM (grimacing at the taste) More. He gulps another down. TOM Does Mom know you're here? It's gotta be past 10. 7. RACHEL Don't worry about it. Start from the beginning. Tell us what happened... Tom takes a deep breath. EXT PARK - DAY Tom and Summer eat sandwiches in the park. TOM (V.O.) We spent the whole day together. EXT OUTDOOR MARKET - DAY Tom and Summer walk through the stalls. TOM (V.O.) We went shopping. EXT COFFEE HOUSE - DAY Tom and Summer seated outside drinking coffee. He reads the newspaper, she reads a novel. TOM (V.O.) We had coffee. EXT MOVIE THEATER - DAY Tom and Summer walk out of a movie theatre. TOM (V.O.) We saw a film. INT RECORD STORE - LATER Tom and Summer shop for music. Tom excitedly shows Summer a Ringo Starr solo album. TOM (V.O.) We bought music. 8. INT TOM'S PLACE TOM I thought it was a great day. RACHEL And then what happened? INT DINER - NIGHT Tom and Summer in a booth ordering dinner. TOM (to WAITRESS) Um...you know what...let's go crazy, I'll have BOTH. (to Summer) God, I love eating pancakes at night. It's like the greatest thing ever. How great is this? SUMMER I think we should stop seeing each other. INT TOM'S PLACE - AS BEFORE RACHEL Just like that? TOM Just like that. PAUL Did she say why? INT DINER - AS BEFORE SUMMER This thing. This whatever it is. You and me. Do you think this is normal? TOM I don't know. Who cares about normal?! I'm happy. Aren't you happy? 9. SUMMER You're happy? TOM You're not? SUMMER All we do is argue! TOM That is such a lie! INT TOM'S PLACE - AS BEFORE RACHEL Maybe she was just in a bad mood. PAUL A hormonal thing. RACHEL P.M.S.? TOM (to Rachel) What do you know about PMS? RACHEL More than you. TOM Oh my god. MCKENZIE Please continue. INT DINER - AS BEFORE SUMMER This can't be a total surprise. I mean, we've been like Sid and Nancy for months. TOM Summer, Sid stabbed Nancy seven times with a kitchen knife. We've had some disagreements but I hardly think I'm Sid Vicious. SUMMER No... I'm Sid. 10. TOM (BEAT) So I'm Nancy?! The Waitress comes out with the food. Tom and Summer stop their discussion until the meal is served and the Waitress leaves. Summer starts to eat. SUMMER Let's just eat and we'll talk about it after. I'm starving. Without another word she goes back to her pancakes. Tom watches her eat like this is the worst travesty in the history of mankind. SUMMER (mouth full) Mmm, you're so right. These are great! Tom looks at his food in disgust. He may never eat again. SUMMER (INNOCENT) What? Tom stands up to go. SUMMER Tom, don't. Come back. You're still my best fr--- THE SCENE FREEZES AND WE ZOOM IN ON TOM'S STUNNED FACE. INT TOM'S PLACE - AS BEFORE Silence for a few beats. PAUL Jesus. MCKENZIE That's harsh. TOM I don't know what I'm gonna do. RACHEL You're gonna be fine. 11. TOM (BEAT) I'm gonna throw up. MCKENZIE Or that. RACHEL Here. Tom drinks more vodka. MCKENZIE Come on Hansen. You'll be ok. You're the best guy I know. You'll find someone. PAUL You know what they say...there's plenty other fish in the sea. TOM No. PAUL Sure they do. They say that. TOM Well they're wrong. It's not true. I've fished in that sea. I've jumped in and swam in that sea! I'm fucking Aquaman! (to Rachel) Sorry. What I mean is... there are no other fish. This was my fish. Paul and McKenzie share a very concerned look. CUT TO: (86) EXT SIDEWALK - DAY Tom walks alongside his friend PAUL. Out of nowhere, he says: TOM I'm in love with Summer. 12. PAUL (BEAT) For real? CUT TO: CU - SUMMER'S SMILE TOM (V.O.) I love her smile. CU - SUMMER'S HAIR TOM (V.O.) I love her hair. CU - SUMMER'S KNEES TOM (V.O.) I love her knees. CU - SUMMER'S EYES TOM (V.O.) I love how one eye is higher up on her face than the other eye. CU - SUMMER'S NECK TOM (V.O.) I love the scar on her neck from this operation she had as a kid. CU - SUMMER'S BREASTS (UNDER A BLACK T-SHIRT) TOM (V.O.) I love how she looks in my Clash T- shirt. CU - SUMMER ASLEEP TOM (V.O.) I love how she looks when she's sleeping. CU - SUMMER'S LAUGH TOM (V.O.) I love the sound of her laugh. OVER BLACK, play the middle 8 of "Every Little Thing She Does is Magic" by The Police. 13. TOM (V.O.) I love how I hear this song every time I think of her. CU - TOM, STARING DIRECTLY AT THE CAMERA. TOM (V.O.) I love how she makes me feel. Like anything's possible. Like, I don't know...like life is worth it. CUT TO: EXT SIDEWALK - SAME Paul and Tom. TOM For real, Paul. I'm madly in love with that girl. Paul is silent for a beat. PAUL Oh shit. (1) INT CONFERENCE ROOM - DAY Tom as we saw him earlier. Bored. In the boardroom. Mckenzie is in mid-presentation. MCKENZIE Now I know this may be a little risque...but if New Hampshire Greetings wants the jump on those conservative, right-wing neo-Nazis at Hallmark, maybe playing it safe is the wrong approach. The nuclear family is dead and we need a new holiday to recognize that. Mckenzie holds up a home-made photoshopped family portrait of Martina Navratilova, Ellen DeGeneres, and the kid from "Jerry Maguire". 14. MCKENZIE May 21st. Other Mother's Day. The co-workers nod and digest this idea. VANCE is the head of the department. VANCE Hmmm. That's an intriguing idea McKenzie. Along with Grossman's "Magellan Day" I'd say we've got some potential here. What do you think Hansen? Could you write up some prototypes for these? Tom is about to answer when... the door opens. SUMMER Excuse me, Mr. Vance? There's a call for you on line 3. And in walks this girl. Summer. We've met her by now but Tom hasn't. This is the first time. His eyes go wide and from that moment on, he can't take them off her. VANCE (to the table) Everyone this is Summer, my new assistant. Summer just moved here from... SUMMER Michigan. VANCE Right. Michigan. Well, Summer, everyone. Everyone, Summer. Excuse me, I have to take this. SUMMER Nice to meet you all. Summer gives a little wave before following Vance out. She doesn't notice Tom whose face looks like he's just seen God. 15. (3, 4, 5) INT. OFFICE - DAY Tom trying to work. And failing. He turns to McKenzie. TOM What do we know about this new girl? MCKENZIE Who? TOM The new girl. Summer. In Vance's office. MCKENZIE Dude. I hear she's a bitch from hell! TOM (DISAPPOINTED) Really? MCKENZIE Patel tried to talk to her in the copy room. She was totally not having it. TOM Maybe she was just in a hurry. MCKENZIE And maybe she's some uppity, better than everyone, superskank. TOM Damn. MCKENZIE I know. She's pretty hot. TOM That makes me so mad! Why is it pretty girls always think they can treat people like crap and get away with it? 16. MCKENZIE Dunno. TOM Like, just cause she has high cheekbones and soft skin... MCKENZIE ...and really good teeth. TOM And maybe the world's most perfect breasts...Just cause of that stuff, she can walk around like she's center of the universe? MCKENZIE (as explanation) Women. TOM Ugh. You know what? Screw her! We haven't even met and I can't stand her already. INT. ELEVATOR - LATER Tom is listening to headphones. Summer enters the elevator and Tom actively puts on a show to ignore her. Summer hears the music. SUMMER The Smiths. Tom, pretending not to hear or care, gives her an unenthusiastic wave. SUMMER I love The Smiths. Tom, still pretending, takes off his headphones. TOM Sorry? SUMMER I said. I love The Smiths. You have good taste in music. A beat as Tom processes this information. 17. TOM (AMAZED) You like the Smiths? SUMMER (SINGING) "To die by your side is such a heavenly way to die." Love it. The elevator doors open and she gets off. TOM (accidentally out loud) Oh my god. (8) INT OFFICE LOBBY - DAY The office sings "Happy Birthday" to a FEMALE CO-WORKER. When they get to the part about her name, Tom is the only one who knows it, everyone else just there for the cake. Song over, everyone digs in. Tom finds himself standing next to Summer. TOM Hi. SUMMER Hello. TOM So, uh, Summer... SUMMER Tom. TOM Yeah! How's it going so far? SUMMER The city or the firm? TOM Both... Either. SUMMER I'm happy. Still getting situated. How long have you worked here? 18. TOM Oh, you know, 4, 5... years. SUMMER Really? Jesus. Did you always want to write greeting cards? TOM Are you nuts? I don't even want to do it now. SUMMER What is it you want to do? TOM I studied to be an architect actually. SUMMER That's so cool! What happened? TOM Eh, you know. Same old story. Moved to the city to work for a company. Company went under. Needed a job. My friend worked here. Got me this. SUMMER And are you any good? TOM (points to a framed card) Well I wrote that one. SUMMER (READING) "Today You're a Man. Mazel Tov on your Bar Mitzvah." TOM It's a big seller. SUMMER I meant, are you any good as an architect? TOM Oh... No. I doubt it. SUMMER Well, I'd say you're a perfectly ...adequate... greeting card writer. 19. TOM Why thank you. That's what they called me in college. "Perfectly adequate" Hansen. SUMMER They used to call me "Anal Girl." Tom does a spit-take and almost chokes. SUMMER (EXPLAINING) I was very neat and organized. There's an awkward silence. SUMMER Anyway, I should get back. TOM Ok, well, I'll see you around. She walks back to her cubicle at the other end of the hall. Tom watches her walk away, completely enamored. He sits down at his desk and sets out to work. But before he does, his eyes fall on a sketch he drew of a house. It's dated 2001 and it's the only architecture sketch on his wall. (11) INT TOM'S PLACE - DAY Tom is playing Playstation with Rachel. TOM And it turns out she's read every Graham Greene novel ever published. Her desk is lined with Magritte posters and Edward Hopper. RACHEL Your favorites. TOM We're so compatible it's insane! Seriously! It doesn't make sense! She's not like I thought at all. She's... amazing. 20. RACHEL Oh boy. TOM What? RACHEL You know...just cause some cute girl likes the same bizarro music you do doesn't make her "the one." TOM (BEAT) Of course it does. SARAH (O.S.) Dinner! SARAH, 50s, Tom and Rachel's mother, stands in the doorway. SARAH Pause and come eat. They do. Tom enters the living room area and sits down next to his stepdad MARTIN, 60s, a quiet, professorial Southern gentleman type. TOM Hey Martin. ANGLE ON RACHEL and Sarah. RACHEL He met a girl. SARAH (EXCITED) Yeah? RACHEL (GRIM) Yeah. Sarah grows serious too. SARAH Oh shit. CUT TO: 21. STOCK FOOTAGE. The Wright Brothers, Galileo, Heaven's Gate, Neil Armstrong. NARRATOR When one strongly believes in something, it takes overwhelming contradictory evidence to change their minds. END ON: LITTLE TOM, age 6, mesmerized by a vinyl album cover of Olivia Newton-John in "Xanadu." NARRATOR Tom had always been a devout believer in the idea of "true love." (BEAT) The evidence did not support him. CUT TO: (-8914) INT CLASSROOM - DAY Little Tom stares at a LITTLE GIRL, 6, who has the same hairstyle and dress as Newton-John on that cover. Tom draws a picture. It's a boy and a girl with a giant heart over them. He stands up and walks over to the girl, putting the picture on her desk. Not a word is spoken. Satisfied, he returns to his seat and waits to see what happens. NARRATOR Exhibit A: Lisa Rayner. The Little Girl stands up and walks the picture over to ANOTHER BOY. Tom is mortified. The OTHER BOY eats the drawing. (-5313) 22. EXT FOOTBALL FIELD - NIGHT A BLONDE CHEERLEADER leads the crowd in a cheer. PAN ACROSS to find TEENAGE TOM, 15, finishing making out with a homely HIGH SCHOOL GIRL. He says goodbye and walks off, looking back longingly. NARRATOR Exhibit B: Wendy Wilson. Once Tom is out of frame, a SECOND BOY approaches Wendy. Then they start making out. (-2825) INT AIRPLANE - DAY COLLEGE TOM sits next to his girlfriend REBECCA MYLES. His smile gleams. TOM I'm so glad we decided to go away together Bec. I know we've only been dating a few months but it's been...awesome. NARRATOR Exhibit C: Rebecca Myles. TOM And now, you and me, 8 days in Mexico... best spring break ever! Across the aisle Rebecca makes eye contact with three COLLEGE DUDES. REBECCA I think we should see other people. (-734) 23. EXT CAR - NIGHT Younger Tom sits in the passenger seat. Raven-haired AMANDA drives. NARRATOR And, finally... Exhibit D: Amanda Heller. AMANDA It's just... it's complicated. TOM What's complicated? Last week you said you loved me! AMANDA I know it's sudden but... TOM No, this can't be. Everything was going so great. I don't understand. AMANDA (BEAT) Here. TOM What's this? She puts a disc into the cd player. AMANDA Because you're, like, the biggest music nerd I've ever met, I think this should really help explain where I'm coming from. A pop song begins to play on the stereo. They listen for a few beats. Tom is confused. AMANDA You remember how much I loved this song when you first played it for me? TOM Sure. It's all you wanted to listen to for weeks. 24. AMANDA Right. And I still like it, don't get me wrong. It's just... When I hear it now, I don't feel the same...rush. TOM (still confused) Ok... AMANDA I press the skip button. Still Tom doesn't understand. TOM What does this have to do with--? AMANDA I'd rather listen to something else. And with that, it slowly sinks in for him. TOM But Amanda... this is a great fucking song! (22) INT LOCAL DIVE BAR - HAPPY HOUR Tom removes his headphones and sits defeated with McKenzie and Paul in a booth. TOM It's off. PAUL What? TOM Me and Summer. MCKENZIE Was it ever on? 25. TOM No. But it could have been. In a world where good things happen to me. PAUL Yeah well, that's not really where we live. TOM No. MCKENZIE So what happened? TOM You ready for this? INT ELEVATOR - THE DAY BEFORE Tom is alone. The door opens. In walks Summer. TOM (V.O.) So there we are. All alone. Nine more floors to ride. Plenty of time. I figure...this is my chance. If not now when, right? They ride in silence for a few beats. TOM Summer... SUMMER Yeah? TOM (BEAT) So how was your weekend? SUMMER It was good. INT LOCAL DIVE BAR - AS BEFORE The friends wait for more. TOM You believe that shit? 26. MCKENZIE What shit? PAUL I think I missed something. TOM "It was good." She didn't say "It was good." She said "It was good." Emphasis on the good. She basically said "I spent the weekend having sex with this guy I met at the gym." Fucking whore. Screw her. It's over. Everyone's silent. MCKENZIE What the hell is wrong with you?! PAUL Dude, you got problems. TOM She's not interested in me. There's nothing I can do. MCKENZIE Based on..."it was good?" TOM And some other things. PAUL Like what, she said "hey" instead of "hi" cause that totally means she's a lesbian. TOM I gave her all sorts of chances. INT OFFICE - DAY Tom types at his desk. Summer approaches the cubicle Tom shares with McKenzie. SUMMER I'm going to the supply room. Anyone need anything? MCKENZIE No thanks. 27. TOM I think you know what I need. There's a beat. TOM Toner. SUMMER Oh ok, sure, no prob. INT OFFICE - LATE IN THE DAY The office is emptying out. Only a few people remain but Tom and Summer are two of them. Tom takes this opportunity to put a CD in his computer and play the song really loud. It's "I Want to Know What Love Is" by Foreigner. No reaction from Summer. Tom turns it up. Still nothing. Tom turns it down, defeated. INT SUMMER'S DESK Tom is there. TOM Do you want to go out with me? A beat. Summer says nothing. TOM And the Priest says, "But we're already out!" They both laugh. SUMMER That is hilarious! TOM I know! And when she walks away, he smacks his head a few times with his palm. INT LOCAL DIVE BAR - AS BEFORE TOM Not once did she take the bait. Not once. Screw it. I'm done with her. It's over. 28. Tom's friends all look at him like he's crazy. (27 & 28) INT OFFICE - TOM'S CUBICLE - DAY Tom sits at his desk with headphones on trying to work. But with Summer down at the end of the hall, he's having a hard time concentrating. McKenzie shares a cubicle with Tom. MCKENZIE This Friday. 10 bucks all you can karaoke at The Well. TOM No way McKenzie. Absolutely not. MCKENZIE Come on! (SINGING) "Take me down to the paradise city where the grass is green and they got big titties!" TOM They won't let you back in there after last time. MCKENZIE I wasn't that bad. TOM Not at all. You just threw up on the stage, tried to fight the bartender, and then threatened to burn the place down before passing out on the sidewalk. Quiet night for you. MCKENZIE (REVERENTIAL) You saved my life that day. TOM We are not going back there. 29. MCKENZIE This is a work thing, Tommy. It won't be like that. The whole office is going. TOM I really can't. Even if I wanted to. There's a lot of stuff I gotta take care of. MCKENZIE You're not listening to me. TOM What? MCKENZIE The whole office is going. Tom looks over to where Summer sits. And realization dawns on him... INT KARAOKE BAR - NIGHT Summer is in a back booth with some co-workers when Tom walks in to the crowded place. McKenzie has the microphone and he's singing "Every Rose Has Its Thorn" by Poison. He's real into it and, well, it's kinda sad. Tom waves to McKenzie and walks over to the booth. TOM Hi. SUMMER Hey! They said you weren't coming. TOM You asked if I was coming? (BEAT) I mean...my plans got cancelled... Tom is at a loss. There's yet another awkward silent beat between them. Thankfully, it's interrupted by... MCKENZIE (already drunk) Goddamn that song is brilliant! What's up Hansen? Summer sees the next song come up on the screen. 30. SUMMER Ooh that's me. She downs a shot and jumps up on stage. SUMMER (into mic) Ok. I'm the new girl so no making fun of me. Her co-workers whistle and cheer her on. She takes a deep breath as the opening bars of "Born to Run" begin to play and Summer starts to sing. Tom sees Summer as the actress in whatever nonsensical karaoke video accompanies the song (it's something to do with an old convertible, the sunset, and a midget in a tuxedo.) LATER. Tom sits in the booth with McKenzie (doing a shot) as Summer chats with co-workers at another table. Tom can't help but stare at Summer. She notices and waves. He smiles, hopeful that she'll come over. She doesn't. He hides his disappointment. LATER. Tom walks back to his table with drinks. Summer is there in mid-conversation with McKenzie. TOM You were great up there, by the way. SUMMER Well you can't go wrong with The Boss. TOM (sitting down) I hear that. MCKENZIE Hey, did you know Tom here's from Jersey? SUMMER Yeah? TOM Lived there til I was 12. SUMMER I named my cat after Springsteen. TOM No kidding? What's his name? 31. SUMMER Bruce. TOM (BEAT) That makes sense. She laughs. She's really cute when she laughs. MCKENZIE So you got a boyfriend? SUMMER Me? No. Tom shoots daggers at McKenzie for that comment. McKenzie mouths "what?" Summer sees nothing. MCKENZIE Why not? SUMMER Don't really want one. MCKENZIE Come on. I don't believe that. SUMMER You don't believe a woman could enjoy being free and independent? MCKENZIE (BEAT) Are you a lesbian? SUMMER No, I'm not a lesbian. I'm just not comfortable being somebody's "girlfriend." I don't want to be anybody's anything, you know? MCKENZIE I have no idea what you're talking about. SUMMER It sounds selfish, I know, but... I just like being on my own. Relationships are messy and feelings are always getting hurt. Who needs all that? We're young. We're in one of the most beautiful cities in the world. (MORE) 32. SUMMER (cont'd) I say, let's have as much fun as we can afford and leave the serious shit for later. TOM But...what if you meet someone and fall in love? SUMMER (LAUGHS) Love? You seriously believe in that stuff? TOM Of course I do. SUMMER Interesting. A real romantic. MCKENZIE Oh you have no idea. This one... embarrassing. There was this one girl, (to Tom) I gotta tell this story -- Tom elbows McKenzie hard in the ribs to shut him up. TOM Summer, hold on... you don't believe in love? SUMMER I don't even know what that word means. I know I've never felt it, whatever it is in all those songs. And I know that today most marriages end in divorce. Like my parents. TOM Well mine too but -- SUMMER Oh yeah, And I read in Newsweek, there were these scientists who found that by stimulating a part of the brain with electrodes you can make a person fall in "love" with a rock. Is that the love you're talking about? TOM Well... 33. SUMMER Why, what's your take on it? CUT TO: AN ANIMATION SEQUENCE, real quick. AN EXPLOSION OF MANY DIFFERENT COLORS, COMPLETE WITH A CHOIR AND A CHURCH ORGAN ALL BUILDING TO A HUGE CRESCENDO. BACK TO: INT BAR On Tom: TOM I think it's...kind of a huge thing. SUMMER (BEAT) Ok. Looks like we're gonna have to agree to disagree on that one. McKenzie senses some discontent. MCKENZIE So, uh, who's singing next? SUMMER (re: singing) I'd say it's your turn loverboy. TOM Nooo. I don't sing in public. SUMMER Sure you do. I see you lip-synching to your headphones every morning on your way in. TOM I don't... MCKENZIE You really do. SUMMER It's ok. I like it. Takes a lot of self-confidence to look ridiculous. 34. MCKENZIE (can't help himself) Self-confidence! Ha! Tom elbows him in the ribs again. TOM Anyway, I'm not near drunk enough to sing in front of all these people. SUMMER Ok then. Let's drink. TOM It would take at least ten shots to get me to sing. SUMMER Bartender! TEN MINUTES LATER. Tom is up there singing The Clash's "Magnificent Seven." You wouldn't think so but Tom is a ROCK STAR up there! He's dancing like Jagger, he's got everyone in the bar singing along to the audience-participation parts. It's a sight to behold. Summer is all smiles watching. LATER. Tom and Summer back at the table. Summer is humming something. TOM That's not it. SUMMER What is that then? TOM I have no idea. They're both having a good time. SUMMER I used to watch it every week. TOM Me too. Why can't we think of the stupid A-Team theme song. SUMMER Pathetic. TOM This is gonna bother me for weeks. 35. SUMMER Totally. They share another laugh and then it gets quiet. In that good way. ANGLE ON McKenzie, wasted, singing the shit out of "Proud to Be an American." He really means it. At any minute he might start to cry. MCKENZIE "And I'd proudly stand UP!" (aggressive drunk) I said stand! BACK ON TOM and SUMMER. TOM Oh here we go. EXT KARAOKE BAR - LATER Tom helps a nearly comatose McKenzie exit the place. Summer is with them. MCKENZIE (to Summer) This guy. (DRAMATICALLY) He's the best. TOM Ok, let's

dress

How many times the word 'dress' appears in the text?

500 Days of Summer Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 500 DAYS OF SUMMER Written by Scott Neustadter & Michael H. Weber First Draft SIMPLE BLACK ON WHITE CREDITS ROLL TO BIG STAR'S "I'M IN LOVE WITH A GIRL." When all is said and done, up comes a single number in parenthesis, like so: (478) EXT. PARK - DAY For a few seconds we watch A MAN (20s) and a WOMAN (20s) on a park bench. Their names are TOM and SUMMER. Neither one says a word. CLOSE ON her HAND, covering his. Notice the wedding ring. No words are spoken. Tom looks at her the way every woman wants to be looked at. A DISTINGUISHED VOICE begins to speak to us. NARRATOR This is a story of boy meets girl. CUT TO: (1) INT CONFERENCE ROOM - DAY The boy is TOM HANSEN. He sits at a very long rectangular conference table. The walls are lined with framed blow-up sized greeting cards. Tom, dark hair and blue eyes, wears a t- shirt under his sports coat and Adidas tennis shoes to balance out the corporate dress code. He looks pretty bored. NARRATOR The boy, Tom Hansen of Margate, New Jersey, grew up believing that he'd never truly be happy until the day he met his... "soulmate." CUT TO: INT LIVING ROOM - 1989 PRE-TEEN TOM sits alone on his bed engrossed in a movie. His walls are covered in posters of obscure bands. From the TV, we hear: "Elaine! Elaine!" 4. NARRATOR This belief stemmed from early exposure to sad British pop music and a total misreading of the movie, "The Graduate." CUT TO: INT OFFICE CUBICLE - PRESENT DAY The girl is SUMMER FINN. She files folders and answers phones in a plain white office. She has cropped blonde hair almost like a boy's but her face is feminine and pretty enough to get away with it. NARRATOR The girl, Summer Finn of Shinnecock, Michigan, did not share this belief. CUT TO: INT BATHROOM - 1994 Teenage Summer stares at herself in the mirror. Her hair extends down to her lower back. NARRATOR Since the disintegration of her parents' marriage, she'd only loved two things. The first was her long blonde hair. She picks up scissors from the counter and begins to slice. NARRATOR The second was how easily she could cut it off... And feel nothing. CUT TO: SPLITSCREEN. INT BOARDROOM/ INT CUBICLE - SAME On the right side of the screen, Tom continues to listen to some boring presentation. On the left, Summer answers a call, takes a message, and walks out of her cubicle down a long narrow hallway. 5. NARRATOR Tom meets Summer on January 8th in a San Francisco office building. In an instant, he will know she's the one he's been looking for. CU Summer opening the door to the boardroom, about to come face to face with Tom for the first time. NARRATOR This is a story of boy meets girl. But before they do, CUT TO: BLACK. NARRATOR You should know up front, this is not a love story. (240) EXT STREETS OF SAN FRAN - NIGHT A 12 year old GIRL rides her bicycle down the block. She arrives at an apartment complex, jumps off the bike and races up the front stairs. She rings the doorbell. INT TOM'S PLACE - LATER PAUL and MCKENZIE open the door. These are Tom's best friends since birth. Paul is a doctor and wears hospital scrubs. McKenzie works in the cubicle next to Tom. PAUL I didn't know who else to call. The Girl removes her bike helmet. GIRL You did the right thing. Where is he? Tom is in the kitchen breaking things and basically going insane. About to smash a plate on the floor, he's interrupted BY: 6. GIRL Thomas. Tom freezes. TOM Rachel? What are you doing here? GIRL (RACHEL) I'm here to help you. TOM Help me how? RACHEL First, put down the plate. Tom slowly obliges. RACHEL Now come here and sit down. Tom sits next to the young girl. Paul and Mckenzie sit on either side of them. RACHEL The key is not to panic. TOM I think I'm gonna be sick. RACHEL Drink this. She hands him a glass of water. Tom drinks it down. MCKENZIE What is that? RACHEL Vodka. TOM (grimacing at the taste) More. He gulps another down. TOM Does Mom know you're here? It's gotta be past 10. 7. RACHEL Don't worry about it. Start from the beginning. Tell us what happened... Tom takes a deep breath. EXT PARK - DAY Tom and Summer eat sandwiches in the park. TOM (V.O.) We spent the whole day together. EXT OUTDOOR MARKET - DAY Tom and Summer walk through the stalls. TOM (V.O.) We went shopping. EXT COFFEE HOUSE - DAY Tom and Summer seated outside drinking coffee. He reads the newspaper, she reads a novel. TOM (V.O.) We had coffee. EXT MOVIE THEATER - DAY Tom and Summer walk out of a movie theatre. TOM (V.O.) We saw a film. INT RECORD STORE - LATER Tom and Summer shop for music. Tom excitedly shows Summer a Ringo Starr solo album. TOM (V.O.) We bought music. 8. INT TOM'S PLACE TOM I thought it was a great day. RACHEL And then what happened? INT DINER - NIGHT Tom and Summer in a booth ordering dinner. TOM (to WAITRESS) Um...you know what...let's go crazy, I'll have BOTH. (to Summer) God, I love eating pancakes at night. It's like the greatest thing ever. How great is this? SUMMER I think we should stop seeing each other. INT TOM'S PLACE - AS BEFORE RACHEL Just like that? TOM Just like that. PAUL Did she say why? INT DINER - AS BEFORE SUMMER This thing. This whatever it is. You and me. Do you think this is normal? TOM I don't know. Who cares about normal?! I'm happy. Aren't you happy? 9. SUMMER You're happy? TOM You're not? SUMMER All we do is argue! TOM That is such a lie! INT TOM'S PLACE - AS BEFORE RACHEL Maybe she was just in a bad mood. PAUL A hormonal thing. RACHEL P.M.S.? TOM (to Rachel) What do you know about PMS? RACHEL More than you. TOM Oh my god. MCKENZIE Please continue. INT DINER - AS BEFORE SUMMER This can't be a total surprise. I mean, we've been like Sid and Nancy for months. TOM Summer, Sid stabbed Nancy seven times with a kitchen knife. We've had some disagreements but I hardly think I'm Sid Vicious. SUMMER No... I'm Sid. 10. TOM (BEAT) So I'm Nancy?! The Waitress comes out with the food. Tom and Summer stop their discussion until the meal is served and the Waitress leaves. Summer starts to eat. SUMMER Let's just eat and we'll talk about it after. I'm starving. Without another word she goes back to her pancakes. Tom watches her eat like this is the worst travesty in the history of mankind. SUMMER (mouth full) Mmm, you're so right. These are great! Tom looks at his food in disgust. He may never eat again. SUMMER (INNOCENT) What? Tom stands up to go. SUMMER Tom, don't. Come back. You're still my best fr--- THE SCENE FREEZES AND WE ZOOM IN ON TOM'S STUNNED FACE. INT TOM'S PLACE - AS BEFORE Silence for a few beats. PAUL Jesus. MCKENZIE That's harsh. TOM I don't know what I'm gonna do. RACHEL You're gonna be fine. 11. TOM (BEAT) I'm gonna throw up. MCKENZIE Or that. RACHEL Here. Tom drinks more vodka. MCKENZIE Come on Hansen. You'll be ok. You're the best guy I know. You'll find someone. PAUL You know what they say...there's plenty other fish in the sea. TOM No. PAUL Sure they do. They say that. TOM Well they're wrong. It's not true. I've fished in that sea. I've jumped in and swam in that sea! I'm fucking Aquaman! (to Rachel) Sorry. What I mean is... there are no other fish. This was my fish. Paul and McKenzie share a very concerned look. CUT TO: (86) EXT SIDEWALK - DAY Tom walks alongside his friend PAUL. Out of nowhere, he says: TOM I'm in love with Summer. 12. PAUL (BEAT) For real? CUT TO: CU - SUMMER'S SMILE TOM (V.O.) I love her smile. CU - SUMMER'S HAIR TOM (V.O.) I love her hair. CU - SUMMER'S KNEES TOM (V.O.) I love her knees. CU - SUMMER'S EYES TOM (V.O.) I love how one eye is higher up on her face than the other eye. CU - SUMMER'S NECK TOM (V.O.) I love the scar on her neck from this operation she had as a kid. CU - SUMMER'S BREASTS (UNDER A BLACK T-SHIRT) TOM (V.O.) I love how she looks in my Clash T- shirt. CU - SUMMER ASLEEP TOM (V.O.) I love how she looks when she's sleeping. CU - SUMMER'S LAUGH TOM (V.O.) I love the sound of her laugh. OVER BLACK, play the middle 8 of "Every Little Thing She Does is Magic" by The Police. 13. TOM (V.O.) I love how I hear this song every time I think of her. CU - TOM, STARING DIRECTLY AT THE CAMERA. TOM (V.O.) I love how she makes me feel. Like anything's possible. Like, I don't know...like life is worth it. CUT TO: EXT SIDEWALK - SAME Paul and Tom. TOM For real, Paul. I'm madly in love with that girl. Paul is silent for a beat. PAUL Oh shit. (1) INT CONFERENCE ROOM - DAY Tom as we saw him earlier. Bored. In the boardroom. Mckenzie is in mid-presentation. MCKENZIE Now I know this may be a little risque...but if New Hampshire Greetings wants the jump on those conservative, right-wing neo-Nazis at Hallmark, maybe playing it safe is the wrong approach. The nuclear family is dead and we need a new holiday to recognize that. Mckenzie holds up a home-made photoshopped family portrait of Martina Navratilova, Ellen DeGeneres, and the kid from "Jerry Maguire". 14. MCKENZIE May 21st. Other Mother's Day. The co-workers nod and digest this idea. VANCE is the head of the department. VANCE Hmmm. That's an intriguing idea McKenzie. Along with Grossman's "Magellan Day" I'd say we've got some potential here. What do you think Hansen? Could you write up some prototypes for these? Tom is about to answer when... the door opens. SUMMER Excuse me, Mr. Vance? There's a call for you on line 3. And in walks this girl. Summer. We've met her by now but Tom hasn't. This is the first time. His eyes go wide and from that moment on, he can't take them off her. VANCE (to the table) Everyone this is Summer, my new assistant. Summer just moved here from... SUMMER Michigan. VANCE Right. Michigan. Well, Summer, everyone. Everyone, Summer. Excuse me, I have to take this. SUMMER Nice to meet you all. Summer gives a little wave before following Vance out. She doesn't notice Tom whose face looks like he's just seen God. 15. (3, 4, 5) INT. OFFICE - DAY Tom trying to work. And failing. He turns to McKenzie. TOM What do we know about this new girl? MCKENZIE Who? TOM The new girl. Summer. In Vance's office. MCKENZIE Dude. I hear she's a bitch from hell! TOM (DISAPPOINTED) Really? MCKENZIE Patel tried to talk to her in the copy room. She was totally not having it. TOM Maybe she was just in a hurry. MCKENZIE And maybe she's some uppity, better than everyone, superskank. TOM Damn. MCKENZIE I know. She's pretty hot. TOM That makes me so mad! Why is it pretty girls always think they can treat people like crap and get away with it? 16. MCKENZIE Dunno. TOM Like, just cause she has high cheekbones and soft skin... MCKENZIE ...and really good teeth. TOM And maybe the world's most perfect breasts...Just cause of that stuff, she can walk around like she's center of the universe? MCKENZIE (as explanation) Women. TOM Ugh. You know what? Screw her! We haven't even met and I can't stand her already. INT. ELEVATOR - LATER Tom is listening to headphones. Summer enters the elevator and Tom actively puts on a show to ignore her. Summer hears the music. SUMMER The Smiths. Tom, pretending not to hear or care, gives her an unenthusiastic wave. SUMMER I love The Smiths. Tom, still pretending, takes off his headphones. TOM Sorry? SUMMER I said. I love The Smiths. You have good taste in music. A beat as Tom processes this information. 17. TOM (AMAZED) You like the Smiths? SUMMER (SINGING) "To die by your side is such a heavenly way to die." Love it. The elevator doors open and she gets off. TOM (accidentally out loud) Oh my god. (8) INT OFFICE LOBBY - DAY The office sings "Happy Birthday" to a FEMALE CO-WORKER. When they get to the part about her name, Tom is the only one who knows it, everyone else just there for the cake. Song over, everyone digs in. Tom finds himself standing next to Summer. TOM Hi. SUMMER Hello. TOM So, uh, Summer... SUMMER Tom. TOM Yeah! How's it going so far? SUMMER The city or the firm? TOM Both... Either. SUMMER I'm happy. Still getting situated. How long have you worked here? 18. TOM Oh, you know, 4, 5... years. SUMMER Really? Jesus. Did you always want to write greeting cards? TOM Are you nuts? I don't even want to do it now. SUMMER What is it you want to do? TOM I studied to be an architect actually. SUMMER That's so cool! What happened? TOM Eh, you know. Same old story. Moved to the city to work for a company. Company went under. Needed a job. My friend worked here. Got me this. SUMMER And are you any good? TOM (points to a framed card) Well I wrote that one. SUMMER (READING) "Today You're a Man. Mazel Tov on your Bar Mitzvah." TOM It's a big seller. SUMMER I meant, are you any good as an architect? TOM Oh... No. I doubt it. SUMMER Well, I'd say you're a perfectly ...adequate... greeting card writer. 19. TOM Why thank you. That's what they called me in college. "Perfectly adequate" Hansen. SUMMER They used to call me "Anal Girl." Tom does a spit-take and almost chokes. SUMMER (EXPLAINING) I was very neat and organized. There's an awkward silence. SUMMER Anyway, I should get back. TOM Ok, well, I'll see you around. She walks back to her cubicle at the other end of the hall. Tom watches her walk away, completely enamored. He sits down at his desk and sets out to work. But before he does, his eyes fall on a sketch he drew of a house. It's dated 2001 and it's the only architecture sketch on his wall. (11) INT TOM'S PLACE - DAY Tom is playing Playstation with Rachel. TOM And it turns out she's read every Graham Greene novel ever published. Her desk is lined with Magritte posters and Edward Hopper. RACHEL Your favorites. TOM We're so compatible it's insane! Seriously! It doesn't make sense! She's not like I thought at all. She's... amazing. 20. RACHEL Oh boy. TOM What? RACHEL You know...just cause some cute girl likes the same bizarro music you do doesn't make her "the one." TOM (BEAT) Of course it does. SARAH (O.S.) Dinner! SARAH, 50s, Tom and Rachel's mother, stands in the doorway. SARAH Pause and come eat. They do. Tom enters the living room area and sits down next to his stepdad MARTIN, 60s, a quiet, professorial Southern gentleman type. TOM Hey Martin. ANGLE ON RACHEL and Sarah. RACHEL He met a girl. SARAH (EXCITED) Yeah? RACHEL (GRIM) Yeah. Sarah grows serious too. SARAH Oh shit. CUT TO: 21. STOCK FOOTAGE. The Wright Brothers, Galileo, Heaven's Gate, Neil Armstrong. NARRATOR When one strongly believes in something, it takes overwhelming contradictory evidence to change their minds. END ON: LITTLE TOM, age 6, mesmerized by a vinyl album cover of Olivia Newton-John in "Xanadu." NARRATOR Tom had always been a devout believer in the idea of "true love." (BEAT) The evidence did not support him. CUT TO: (-8914) INT CLASSROOM - DAY Little Tom stares at a LITTLE GIRL, 6, who has the same hairstyle and dress as Newton-John on that cover. Tom draws a picture. It's a boy and a girl with a giant heart over them. He stands up and walks over to the girl, putting the picture on her desk. Not a word is spoken. Satisfied, he returns to his seat and waits to see what happens. NARRATOR Exhibit A: Lisa Rayner. The Little Girl stands up and walks the picture over to ANOTHER BOY. Tom is mortified. The OTHER BOY eats the drawing. (-5313) 22. EXT FOOTBALL FIELD - NIGHT A BLONDE CHEERLEADER leads the crowd in a cheer. PAN ACROSS to find TEENAGE TOM, 15, finishing making out with a homely HIGH SCHOOL GIRL. He says goodbye and walks off, looking back longingly. NARRATOR Exhibit B: Wendy Wilson. Once Tom is out of frame, a SECOND BOY approaches Wendy. Then they start making out. (-2825) INT AIRPLANE - DAY COLLEGE TOM sits next to his girlfriend REBECCA MYLES. His smile gleams. TOM I'm so glad we decided to go away together Bec. I know we've only been dating a few months but it's been...awesome. NARRATOR Exhibit C: Rebecca Myles. TOM And now, you and me, 8 days in Mexico... best spring break ever! Across the aisle Rebecca makes eye contact with three COLLEGE DUDES. REBECCA I think we should see other people. (-734) 23. EXT CAR - NIGHT Younger Tom sits in the passenger seat. Raven-haired AMANDA drives. NARRATOR And, finally... Exhibit D: Amanda Heller. AMANDA It's just... it's complicated. TOM What's complicated? Last week you said you loved me! AMANDA I know it's sudden but... TOM No, this can't be. Everything was going so great. I don't understand. AMANDA (BEAT) Here. TOM What's this? She puts a disc into the cd player. AMANDA Because you're, like, the biggest music nerd I've ever met, I think this should really help explain where I'm coming from. A pop song begins to play on the stereo. They listen for a few beats. Tom is confused. AMANDA You remember how much I loved this song when you first played it for me? TOM Sure. It's all you wanted to listen to for weeks. 24. AMANDA Right. And I still like it, don't get me wrong. It's just... When I hear it now, I don't feel the same...rush. TOM (still confused) Ok... AMANDA I press the skip button. Still Tom doesn't understand. TOM What does this have to do with--? AMANDA I'd rather listen to something else. And with that, it slowly sinks in for him. TOM But Amanda... this is a great fucking song! (22) INT LOCAL DIVE BAR - HAPPY HOUR Tom removes his headphones and sits defeated with McKenzie and Paul in a booth. TOM It's off. PAUL What? TOM Me and Summer. MCKENZIE Was it ever on? 25. TOM No. But it could have been. In a world where good things happen to me. PAUL Yeah well, that's not really where we live. TOM No. MCKENZIE So what happened? TOM You ready for this? INT ELEVATOR - THE DAY BEFORE Tom is alone. The door opens. In walks Summer. TOM (V.O.) So there we are. All alone. Nine more floors to ride. Plenty of time. I figure...this is my chance. If not now when, right? They ride in silence for a few beats. TOM Summer... SUMMER Yeah? TOM (BEAT) So how was your weekend? SUMMER It was good. INT LOCAL DIVE BAR - AS BEFORE The friends wait for more. TOM You believe that shit? 26. MCKENZIE What shit? PAUL I think I missed something. TOM "It was good." She didn't say "It was good." She said "It was good." Emphasis on the good. She basically said "I spent the weekend having sex with this guy I met at the gym." Fucking whore. Screw her. It's over. Everyone's silent. MCKENZIE What the hell is wrong with you?! PAUL Dude, you got problems. TOM She's not interested in me. There's nothing I can do. MCKENZIE Based on..."it was good?" TOM And some other things. PAUL Like what, she said "hey" instead of "hi" cause that totally means she's a lesbian. TOM I gave her all sorts of chances. INT OFFICE - DAY Tom types at his desk. Summer approaches the cubicle Tom shares with McKenzie. SUMMER I'm going to the supply room. Anyone need anything? MCKENZIE No thanks. 27. TOM I think you know what I need. There's a beat. TOM Toner. SUMMER Oh ok, sure, no prob. INT OFFICE - LATE IN THE DAY The office is emptying out. Only a few people remain but Tom and Summer are two of them. Tom takes this opportunity to put a CD in his computer and play the song really loud. It's "I Want to Know What Love Is" by Foreigner. No reaction from Summer. Tom turns it up. Still nothing. Tom turns it down, defeated. INT SUMMER'S DESK Tom is there. TOM Do you want to go out with me? A beat. Summer says nothing. TOM And the Priest says, "But we're already out!" They both laugh. SUMMER That is hilarious! TOM I know! And when she walks away, he smacks his head a few times with his palm. INT LOCAL DIVE BAR - AS BEFORE TOM Not once did she take the bait. Not once. Screw it. I'm done with her. It's over. 28. Tom's friends all look at him like he's crazy. (27 & 28) INT OFFICE - TOM'S CUBICLE - DAY Tom sits at his desk with headphones on trying to work. But with Summer down at the end of the hall, he's having a hard time concentrating. McKenzie shares a cubicle with Tom. MCKENZIE This Friday. 10 bucks all you can karaoke at The Well. TOM No way McKenzie. Absolutely not. MCKENZIE Come on! (SINGING) "Take me down to the paradise city where the grass is green and they got big titties!" TOM They won't let you back in there after last time. MCKENZIE I wasn't that bad. TOM Not at all. You just threw up on the stage, tried to fight the bartender, and then threatened to burn the place down before passing out on the sidewalk. Quiet night for you. MCKENZIE (REVERENTIAL) You saved my life that day. TOM We are not going back there. 29. MCKENZIE This is a work thing, Tommy. It won't be like that. The whole office is going. TOM I really can't. Even if I wanted to. There's a lot of stuff I gotta take care of. MCKENZIE You're not listening to me. TOM What? MCKENZIE The whole office is going. Tom looks over to where Summer sits. And realization dawns on him... INT KARAOKE BAR - NIGHT Summer is in a back booth with some co-workers when Tom walks in to the crowded place. McKenzie has the microphone and he's singing "Every Rose Has Its Thorn" by Poison. He's real into it and, well, it's kinda sad. Tom waves to McKenzie and walks over to the booth. TOM Hi. SUMMER Hey! They said you weren't coming. TOM You asked if I was coming? (BEAT) I mean...my plans got cancelled... Tom is at a loss. There's yet another awkward silent beat between them. Thankfully, it's interrupted by... MCKENZIE (already drunk) Goddamn that song is brilliant! What's up Hansen? Summer sees the next song come up on the screen. 30. SUMMER Ooh that's me. She downs a shot and jumps up on stage. SUMMER (into mic) Ok. I'm the new girl so no making fun of me. Her co-workers whistle and cheer her on. She takes a deep breath as the opening bars of "Born to Run" begin to play and Summer starts to sing. Tom sees Summer as the actress in whatever nonsensical karaoke video accompanies the song (it's something to do with an old convertible, the sunset, and a midget in a tuxedo.) LATER. Tom sits in the booth with McKenzie (doing a shot) as Summer chats with co-workers at another table. Tom can't help but stare at Summer. She notices and waves. He smiles, hopeful that she'll come over. She doesn't. He hides his disappointment. LATER. Tom walks back to his table with drinks. Summer is there in mid-conversation with McKenzie. TOM You were great up there, by the way. SUMMER Well you can't go wrong with The Boss. TOM (sitting down) I hear that. MCKENZIE Hey, did you know Tom here's from Jersey? SUMMER Yeah? TOM Lived there til I was 12. SUMMER I named my cat after Springsteen. TOM No kidding? What's his name? 31. SUMMER Bruce. TOM (BEAT) That makes sense. She laughs. She's really cute when she laughs. MCKENZIE So you got a boyfriend? SUMMER Me? No. Tom shoots daggers at McKenzie for that comment. McKenzie mouths "what?" Summer sees nothing. MCKENZIE Why not? SUMMER Don't really want one. MCKENZIE Come on. I don't believe that. SUMMER You don't believe a woman could enjoy being free and independent? MCKENZIE (BEAT) Are you a lesbian? SUMMER No, I'm not a lesbian. I'm just not comfortable being somebody's "girlfriend." I don't want to be anybody's anything, you know? MCKENZIE I have no idea what you're talking about. SUMMER It sounds selfish, I know, but... I just like being on my own. Relationships are messy and feelings are always getting hurt. Who needs all that? We're young. We're in one of the most beautiful cities in the world. (MORE) 32. SUMMER (cont'd) I say, let's have as much fun as we can afford and leave the serious shit for later. TOM But...what if you meet someone and fall in love? SUMMER (LAUGHS) Love? You seriously believe in that stuff? TOM Of course I do. SUMMER Interesting. A real romantic. MCKENZIE Oh you have no idea. This one... embarrassing. There was this one girl, (to Tom) I gotta tell this story -- Tom elbows McKenzie hard in the ribs to shut him up. TOM Summer, hold on... you don't believe in love? SUMMER I don't even know what that word means. I know I've never felt it, whatever it is in all those songs. And I know that today most marriages end in divorce. Like my parents. TOM Well mine too but -- SUMMER Oh yeah, And I read in Newsweek, there were these scientists who found that by stimulating a part of the brain with electrodes you can make a person fall in "love" with a rock. Is that the love you're talking about? TOM Well... 33. SUMMER Why, what's your take on it? CUT TO: AN ANIMATION SEQUENCE, real quick. AN EXPLOSION OF MANY DIFFERENT COLORS, COMPLETE WITH A CHOIR AND A CHURCH ORGAN ALL BUILDING TO A HUGE CRESCENDO. BACK TO: INT BAR On Tom: TOM I think it's...kind of a huge thing. SUMMER (BEAT) Ok. Looks like we're gonna have to agree to disagree on that one. McKenzie senses some discontent. MCKENZIE So, uh, who's singing next? SUMMER (re: singing) I'd say it's your turn loverboy. TOM Nooo. I don't sing in public. SUMMER Sure you do. I see you lip-synching to your headphones every morning on your way in. TOM I don't... MCKENZIE You really do. SUMMER It's ok. I like it. Takes a lot of self-confidence to look ridiculous. 34. MCKENZIE (can't help himself) Self-confidence! Ha! Tom elbows him in the ribs again. TOM Anyway, I'm not near drunk enough to sing in front of all these people. SUMMER Ok then. Let's drink. TOM It would take at least ten shots to get me to sing. SUMMER Bartender! TEN MINUTES LATER. Tom is up there singing The Clash's "Magnificent Seven." You wouldn't think so but Tom is a ROCK STAR up there! He's dancing like Jagger, he's got everyone in the bar singing along to the audience-participation parts. It's a sight to behold. Summer is all smiles watching. LATER. Tom and Summer back at the table. Summer is humming something. TOM That's not it. SUMMER What is that then? TOM I have no idea. They're both having a good time. SUMMER I used to watch it every week. TOM Me too. Why can't we think of the stupid A-Team theme song. SUMMER Pathetic. TOM This is gonna bother me for weeks. 35. SUMMER Totally. They share another laugh and then it gets quiet. In that good way. ANGLE ON McKenzie, wasted, singing the shit out of "Proud to Be an American." He really means it. At any minute he might start to cry. MCKENZIE "And I'd proudly stand UP!" (aggressive drunk) I said stand! BACK ON TOM and SUMMER. TOM Oh here we go. EXT KARAOKE BAR - LATER Tom helps a nearly comatose McKenzie exit the place. Summer is with them. MCKENZIE (to Summer) This guy. (DRAMATICALLY) He's the best. TOM Ok, let's

cheerleader

How many times the word 'cheerleader' appears in the text?

500 Days of Summer Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 500 DAYS OF SUMMER Written by Scott Neustadter & Michael H. Weber First Draft SIMPLE BLACK ON WHITE CREDITS ROLL TO BIG STAR'S "I'M IN LOVE WITH A GIRL." When all is said and done, up comes a single number in parenthesis, like so: (478) EXT. PARK - DAY For a few seconds we watch A MAN (20s) and a WOMAN (20s) on a park bench. Their names are TOM and SUMMER. Neither one says a word. CLOSE ON her HAND, covering his. Notice the wedding ring. No words are spoken. Tom looks at her the way every woman wants to be looked at. A DISTINGUISHED VOICE begins to speak to us. NARRATOR This is a story of boy meets girl. CUT TO: (1) INT CONFERENCE ROOM - DAY The boy is TOM HANSEN. He sits at a very long rectangular conference table. The walls are lined with framed blow-up sized greeting cards. Tom, dark hair and blue eyes, wears a t- shirt under his sports coat and Adidas tennis shoes to balance out the corporate dress code. He looks pretty bored. NARRATOR The boy, Tom Hansen of Margate, New Jersey, grew up believing that he'd never truly be happy until the day he met his... "soulmate." CUT TO: INT LIVING ROOM - 1989 PRE-TEEN TOM sits alone on his bed engrossed in a movie. His walls are covered in posters of obscure bands. From the TV, we hear: "Elaine! Elaine!" 4. NARRATOR This belief stemmed from early exposure to sad British pop music and a total misreading of the movie, "The Graduate." CUT TO: INT OFFICE CUBICLE - PRESENT DAY The girl is SUMMER FINN. She files folders and answers phones in a plain white office. She has cropped blonde hair almost like a boy's but her face is feminine and pretty enough to get away with it. NARRATOR The girl, Summer Finn of Shinnecock, Michigan, did not share this belief. CUT TO: INT BATHROOM - 1994 Teenage Summer stares at herself in the mirror. Her hair extends down to her lower back. NARRATOR Since the disintegration of her parents' marriage, she'd only loved two things. The first was her long blonde hair. She picks up scissors from the counter and begins to slice. NARRATOR The second was how easily she could cut it off... And feel nothing. CUT TO: SPLITSCREEN. INT BOARDROOM/ INT CUBICLE - SAME On the right side of the screen, Tom continues to listen to some boring presentation. On the left, Summer answers a call, takes a message, and walks out of her cubicle down a long narrow hallway. 5. NARRATOR Tom meets Summer on January 8th in a San Francisco office building. In an instant, he will know she's the one he's been looking for. CU Summer opening the door to the boardroom, about to come face to face with Tom for the first time. NARRATOR This is a story of boy meets girl. But before they do, CUT TO: BLACK. NARRATOR You should know up front, this is not a love story. (240) EXT STREETS OF SAN FRAN - NIGHT A 12 year old GIRL rides her bicycle down the block. She arrives at an apartment complex, jumps off the bike and races up the front stairs. She rings the doorbell. INT TOM'S PLACE - LATER PAUL and MCKENZIE open the door. These are Tom's best friends since birth. Paul is a doctor and wears hospital scrubs. McKenzie works in the cubicle next to Tom. PAUL I didn't know who else to call. The Girl removes her bike helmet. GIRL You did the right thing. Where is he? Tom is in the kitchen breaking things and basically going insane. About to smash a plate on the floor, he's interrupted BY: 6. GIRL Thomas. Tom freezes. TOM Rachel? What are you doing here? GIRL (RACHEL) I'm here to help you. TOM Help me how? RACHEL First, put down the plate. Tom slowly obliges. RACHEL Now come here and sit down. Tom sits next to the young girl. Paul and Mckenzie sit on either side of them. RACHEL The key is not to panic. TOM I think I'm gonna be sick. RACHEL Drink this. She hands him a glass of water. Tom drinks it down. MCKENZIE What is that? RACHEL Vodka. TOM (grimacing at the taste) More. He gulps another down. TOM Does Mom know you're here? It's gotta be past 10. 7. RACHEL Don't worry about it. Start from the beginning. Tell us what happened... Tom takes a deep breath. EXT PARK - DAY Tom and Summer eat sandwiches in the park. TOM (V.O.) We spent the whole day together. EXT OUTDOOR MARKET - DAY Tom and Summer walk through the stalls. TOM (V.O.) We went shopping. EXT COFFEE HOUSE - DAY Tom and Summer seated outside drinking coffee. He reads the newspaper, she reads a novel. TOM (V.O.) We had coffee. EXT MOVIE THEATER - DAY Tom and Summer walk out of a movie theatre. TOM (V.O.) We saw a film. INT RECORD STORE - LATER Tom and Summer shop for music. Tom excitedly shows Summer a Ringo Starr solo album. TOM (V.O.) We bought music. 8. INT TOM'S PLACE TOM I thought it was a great day. RACHEL And then what happened? INT DINER - NIGHT Tom and Summer in a booth ordering dinner. TOM (to WAITRESS) Um...you know what...let's go crazy, I'll have BOTH. (to Summer) God, I love eating pancakes at night. It's like the greatest thing ever. How great is this? SUMMER I think we should stop seeing each other. INT TOM'S PLACE - AS BEFORE RACHEL Just like that? TOM Just like that. PAUL Did she say why? INT DINER - AS BEFORE SUMMER This thing. This whatever it is. You and me. Do you think this is normal? TOM I don't know. Who cares about normal?! I'm happy. Aren't you happy? 9. SUMMER You're happy? TOM You're not? SUMMER All we do is argue! TOM That is such a lie! INT TOM'S PLACE - AS BEFORE RACHEL Maybe she was just in a bad mood. PAUL A hormonal thing. RACHEL P.M.S.? TOM (to Rachel) What do you know about PMS? RACHEL More than you. TOM Oh my god. MCKENZIE Please continue. INT DINER - AS BEFORE SUMMER This can't be a total surprise. I mean, we've been like Sid and Nancy for months. TOM Summer, Sid stabbed Nancy seven times with a kitchen knife. We've had some disagreements but I hardly think I'm Sid Vicious. SUMMER No... I'm Sid. 10. TOM (BEAT) So I'm Nancy?! The Waitress comes out with the food. Tom and Summer stop their discussion until the meal is served and the Waitress leaves. Summer starts to eat. SUMMER Let's just eat and we'll talk about it after. I'm starving. Without another word she goes back to her pancakes. Tom watches her eat like this is the worst travesty in the history of mankind. SUMMER (mouth full) Mmm, you're so right. These are great! Tom looks at his food in disgust. He may never eat again. SUMMER (INNOCENT) What? Tom stands up to go. SUMMER Tom, don't. Come back. You're still my best fr--- THE SCENE FREEZES AND WE ZOOM IN ON TOM'S STUNNED FACE. INT TOM'S PLACE - AS BEFORE Silence for a few beats. PAUL Jesus. MCKENZIE That's harsh. TOM I don't know what I'm gonna do. RACHEL You're gonna be fine. 11. TOM (BEAT) I'm gonna throw up. MCKENZIE Or that. RACHEL Here. Tom drinks more vodka. MCKENZIE Come on Hansen. You'll be ok. You're the best guy I know. You'll find someone. PAUL You know what they say...there's plenty other fish in the sea. TOM No. PAUL Sure they do. They say that. TOM Well they're wrong. It's not true. I've fished in that sea. I've jumped in and swam in that sea! I'm fucking Aquaman! (to Rachel) Sorry. What I mean is... there are no other fish. This was my fish. Paul and McKenzie share a very concerned look. CUT TO: (86) EXT SIDEWALK - DAY Tom walks alongside his friend PAUL. Out of nowhere, he says: TOM I'm in love with Summer. 12. PAUL (BEAT) For real? CUT TO: CU - SUMMER'S SMILE TOM (V.O.) I love her smile. CU - SUMMER'S HAIR TOM (V.O.) I love her hair. CU - SUMMER'S KNEES TOM (V.O.) I love her knees. CU - SUMMER'S EYES TOM (V.O.) I love how one eye is higher up on her face than the other eye. CU - SUMMER'S NECK TOM (V.O.) I love the scar on her neck from this operation she had as a kid. CU - SUMMER'S BREASTS (UNDER A BLACK T-SHIRT) TOM (V.O.) I love how she looks in my Clash T- shirt. CU - SUMMER ASLEEP TOM (V.O.) I love how she looks when she's sleeping. CU - SUMMER'S LAUGH TOM (V.O.) I love the sound of her laugh. OVER BLACK, play the middle 8 of "Every Little Thing She Does is Magic" by The Police. 13. TOM (V.O.) I love how I hear this song every time I think of her. CU - TOM, STARING DIRECTLY AT THE CAMERA. TOM (V.O.) I love how she makes me feel. Like anything's possible. Like, I don't know...like life is worth it. CUT TO: EXT SIDEWALK - SAME Paul and Tom. TOM For real, Paul. I'm madly in love with that girl. Paul is silent for a beat. PAUL Oh shit. (1) INT CONFERENCE ROOM - DAY Tom as we saw him earlier. Bored. In the boardroom. Mckenzie is in mid-presentation. MCKENZIE Now I know this may be a little risque...but if New Hampshire Greetings wants the jump on those conservative, right-wing neo-Nazis at Hallmark, maybe playing it safe is the wrong approach. The nuclear family is dead and we need a new holiday to recognize that. Mckenzie holds up a home-made photoshopped family portrait of Martina Navratilova, Ellen DeGeneres, and the kid from "Jerry Maguire". 14. MCKENZIE May 21st. Other Mother's Day. The co-workers nod and digest this idea. VANCE is the head of the department. VANCE Hmmm. That's an intriguing idea McKenzie. Along with Grossman's "Magellan Day" I'd say we've got some potential here. What do you think Hansen? Could you write up some prototypes for these? Tom is about to answer when... the door opens. SUMMER Excuse me, Mr. Vance? There's a call for you on line 3. And in walks this girl. Summer. We've met her by now but Tom hasn't. This is the first time. His eyes go wide and from that moment on, he can't take them off her. VANCE (to the table) Everyone this is Summer, my new assistant. Summer just moved here from... SUMMER Michigan. VANCE Right. Michigan. Well, Summer, everyone. Everyone, Summer. Excuse me, I have to take this. SUMMER Nice to meet you all. Summer gives a little wave before following Vance out. She doesn't notice Tom whose face looks like he's just seen God. 15. (3, 4, 5) INT. OFFICE - DAY Tom trying to work. And failing. He turns to McKenzie. TOM What do we know about this new girl? MCKENZIE Who? TOM The new girl. Summer. In Vance's office. MCKENZIE Dude. I hear she's a bitch from hell! TOM (DISAPPOINTED) Really? MCKENZIE Patel tried to talk to her in the copy room. She was totally not having it. TOM Maybe she was just in a hurry. MCKENZIE And maybe she's some uppity, better than everyone, superskank. TOM Damn. MCKENZIE I know. She's pretty hot. TOM That makes me so mad! Why is it pretty girls always think they can treat people like crap and get away with it? 16. MCKENZIE Dunno. TOM Like, just cause she has high cheekbones and soft skin... MCKENZIE ...and really good teeth. TOM And maybe the world's most perfect breasts...Just cause of that stuff, she can walk around like she's center of the universe? MCKENZIE (as explanation) Women. TOM Ugh. You know what? Screw her! We haven't even met and I can't stand her already. INT. ELEVATOR - LATER Tom is listening to headphones. Summer enters the elevator and Tom actively puts on a show to ignore her. Summer hears the music. SUMMER The Smiths. Tom, pretending not to hear or care, gives her an unenthusiastic wave. SUMMER I love The Smiths. Tom, still pretending, takes off his headphones. TOM Sorry? SUMMER I said. I love The Smiths. You have good taste in music. A beat as Tom processes this information. 17. TOM (AMAZED) You like the Smiths? SUMMER (SINGING) "To die by your side is such a heavenly way to die." Love it. The elevator doors open and she gets off. TOM (accidentally out loud) Oh my god. (8) INT OFFICE LOBBY - DAY The office sings "Happy Birthday" to a FEMALE CO-WORKER. When they get to the part about her name, Tom is the only one who knows it, everyone else just there for the cake. Song over, everyone digs in. Tom finds himself standing next to Summer. TOM Hi. SUMMER Hello. TOM So, uh, Summer... SUMMER Tom. TOM Yeah! How's it going so far? SUMMER The city or the firm? TOM Both... Either. SUMMER I'm happy. Still getting situated. How long have you worked here? 18. TOM Oh, you know, 4, 5... years. SUMMER Really? Jesus. Did you always want to write greeting cards? TOM Are you nuts? I don't even want to do it now. SUMMER What is it you want to do? TOM I studied to be an architect actually. SUMMER That's so cool! What happened? TOM Eh, you know. Same old story. Moved to the city to work for a company. Company went under. Needed a job. My friend worked here. Got me this. SUMMER And are you any good? TOM (points to a framed card) Well I wrote that one. SUMMER (READING) "Today You're a Man. Mazel Tov on your Bar Mitzvah." TOM It's a big seller. SUMMER I meant, are you any good as an architect? TOM Oh... No. I doubt it. SUMMER Well, I'd say you're a perfectly ...adequate... greeting card writer. 19. TOM Why thank you. That's what they called me in college. "Perfectly adequate" Hansen. SUMMER They used to call me "Anal Girl." Tom does a spit-take and almost chokes. SUMMER (EXPLAINING) I was very neat and organized. There's an awkward silence. SUMMER Anyway, I should get back. TOM Ok, well, I'll see you around. She walks back to her cubicle at the other end of the hall. Tom watches her walk away, completely enamored. He sits down at his desk and sets out to work. But before he does, his eyes fall on a sketch he drew of a house. It's dated 2001 and it's the only architecture sketch on his wall. (11) INT TOM'S PLACE - DAY Tom is playing Playstation with Rachel. TOM And it turns out she's read every Graham Greene novel ever published. Her desk is lined with Magritte posters and Edward Hopper. RACHEL Your favorites. TOM We're so compatible it's insane! Seriously! It doesn't make sense! She's not like I thought at all. She's... amazing. 20. RACHEL Oh boy. TOM What? RACHEL You know...just cause some cute girl likes the same bizarro music you do doesn't make her "the one." TOM (BEAT) Of course it does. SARAH (O.S.) Dinner! SARAH, 50s, Tom and Rachel's mother, stands in the doorway. SARAH Pause and come eat. They do. Tom enters the living room area and sits down next to his stepdad MARTIN, 60s, a quiet, professorial Southern gentleman type. TOM Hey Martin. ANGLE ON RACHEL and Sarah. RACHEL He met a girl. SARAH (EXCITED) Yeah? RACHEL (GRIM) Yeah. Sarah grows serious too. SARAH Oh shit. CUT TO: 21. STOCK FOOTAGE. The Wright Brothers, Galileo, Heaven's Gate, Neil Armstrong. NARRATOR When one strongly believes in something, it takes overwhelming contradictory evidence to change their minds. END ON: LITTLE TOM, age 6, mesmerized by a vinyl album cover of Olivia Newton-John in "Xanadu." NARRATOR Tom had always been a devout believer in the idea of "true love." (BEAT) The evidence did not support him. CUT TO: (-8914) INT CLASSROOM - DAY Little Tom stares at a LITTLE GIRL, 6, who has the same hairstyle and dress as Newton-John on that cover. Tom draws a picture. It's a boy and a girl with a giant heart over them. He stands up and walks over to the girl, putting the picture on her desk. Not a word is spoken. Satisfied, he returns to his seat and waits to see what happens. NARRATOR Exhibit A: Lisa Rayner. The Little Girl stands up and walks the picture over to ANOTHER BOY. Tom is mortified. The OTHER BOY eats the drawing. (-5313) 22. EXT FOOTBALL FIELD - NIGHT A BLONDE CHEERLEADER leads the crowd in a cheer. PAN ACROSS to find TEENAGE TOM, 15, finishing making out with a homely HIGH SCHOOL GIRL. He says goodbye and walks off, looking back longingly. NARRATOR Exhibit B: Wendy Wilson. Once Tom is out of frame, a SECOND BOY approaches Wendy. Then they start making out. (-2825) INT AIRPLANE - DAY COLLEGE TOM sits next to his girlfriend REBECCA MYLES. His smile gleams. TOM I'm so glad we decided to go away together Bec. I know we've only been dating a few months but it's been...awesome. NARRATOR Exhibit C: Rebecca Myles. TOM And now, you and me, 8 days in Mexico... best spring break ever! Across the aisle Rebecca makes eye contact with three COLLEGE DUDES. REBECCA I think we should see other people. (-734) 23. EXT CAR - NIGHT Younger Tom sits in the passenger seat. Raven-haired AMANDA drives. NARRATOR And, finally... Exhibit D: Amanda Heller. AMANDA It's just... it's complicated. TOM What's complicated? Last week you said you loved me! AMANDA I know it's sudden but... TOM No, this can't be. Everything was going so great. I don't understand. AMANDA (BEAT) Here. TOM What's this? She puts a disc into the cd player. AMANDA Because you're, like, the biggest music nerd I've ever met, I think this should really help explain where I'm coming from. A pop song begins to play on the stereo. They listen for a few beats. Tom is confused. AMANDA You remember how much I loved this song when you first played it for me? TOM Sure. It's all you wanted to listen to for weeks. 24. AMANDA Right. And I still like it, don't get me wrong. It's just... When I hear it now, I don't feel the same...rush. TOM (still confused) Ok... AMANDA I press the skip button. Still Tom doesn't understand. TOM What does this have to do with--? AMANDA I'd rather listen to something else. And with that, it slowly sinks in for him. TOM But Amanda... this is a great fucking song! (22) INT LOCAL DIVE BAR - HAPPY HOUR Tom removes his headphones and sits defeated with McKenzie and Paul in a booth. TOM It's off. PAUL What? TOM Me and Summer. MCKENZIE Was it ever on? 25. TOM No. But it could have been. In a world where good things happen to me. PAUL Yeah well, that's not really where we live. TOM No. MCKENZIE So what happened? TOM You ready for this? INT ELEVATOR - THE DAY BEFORE Tom is alone. The door opens. In walks Summer. TOM (V.O.) So there we are. All alone. Nine more floors to ride. Plenty of time. I figure...this is my chance. If not now when, right? They ride in silence for a few beats. TOM Summer... SUMMER Yeah? TOM (BEAT) So how was your weekend? SUMMER It was good. INT LOCAL DIVE BAR - AS BEFORE The friends wait for more. TOM You believe that shit? 26. MCKENZIE What shit? PAUL I think I missed something. TOM "It was good." She didn't say "It was good." She said "It was good." Emphasis on the good. She basically said "I spent the weekend having sex with this guy I met at the gym." Fucking whore. Screw her. It's over. Everyone's silent. MCKENZIE What the hell is wrong with you?! PAUL Dude, you got problems. TOM She's not interested in me. There's nothing I can do. MCKENZIE Based on..."it was good?" TOM And some other things. PAUL Like what, she said "hey" instead of "hi" cause that totally means she's a lesbian. TOM I gave her all sorts of chances. INT OFFICE - DAY Tom types at his desk. Summer approaches the cubicle Tom shares with McKenzie. SUMMER I'm going to the supply room. Anyone need anything? MCKENZIE No thanks. 27. TOM I think you know what I need. There's a beat. TOM Toner. SUMMER Oh ok, sure, no prob. INT OFFICE - LATE IN THE DAY The office is emptying out. Only a few people remain but Tom and Summer are two of them. Tom takes this opportunity to put a CD in his computer and play the song really loud. It's "I Want to Know What Love Is" by Foreigner. No reaction from Summer. Tom turns it up. Still nothing. Tom turns it down, defeated. INT SUMMER'S DESK Tom is there. TOM Do you want to go out with me? A beat. Summer says nothing. TOM And the Priest says, "But we're already out!" They both laugh. SUMMER That is hilarious! TOM I know! And when she walks away, he smacks his head a few times with his palm. INT LOCAL DIVE BAR - AS BEFORE TOM Not once did she take the bait. Not once. Screw it. I'm done with her. It's over. 28. Tom's friends all look at him like he's crazy. (27 & 28) INT OFFICE - TOM'S CUBICLE - DAY Tom sits at his desk with headphones on trying to work. But with Summer down at the end of the hall, he's having a hard time concentrating. McKenzie shares a cubicle with Tom. MCKENZIE This Friday. 10 bucks all you can karaoke at The Well. TOM No way McKenzie. Absolutely not. MCKENZIE Come on! (SINGING) "Take me down to the paradise city where the grass is green and they got big titties!" TOM They won't let you back in there after last time. MCKENZIE I wasn't that bad. TOM Not at all. You just threw up on the stage, tried to fight the bartender, and then threatened to burn the place down before passing out on the sidewalk. Quiet night for you. MCKENZIE (REVERENTIAL) You saved my life that day. TOM We are not going back there. 29. MCKENZIE This is a work thing, Tommy. It won't be like that. The whole office is going. TOM I really can't. Even if I wanted to. There's a lot of stuff I gotta take care of. MCKENZIE You're not listening to me. TOM What? MCKENZIE The whole office is going. Tom looks over to where Summer sits. And realization dawns on him... INT KARAOKE BAR - NIGHT Summer is in a back booth with some co-workers when Tom walks in to the crowded place. McKenzie has the microphone and he's singing "Every Rose Has Its Thorn" by Poison. He's real into it and, well, it's kinda sad. Tom waves to McKenzie and walks over to the booth. TOM Hi. SUMMER Hey! They said you weren't coming. TOM You asked if I was coming? (BEAT) I mean...my plans got cancelled... Tom is at a loss. There's yet another awkward silent beat between them. Thankfully, it's interrupted by... MCKENZIE (already drunk) Goddamn that song is brilliant! What's up Hansen? Summer sees the next song come up on the screen. 30. SUMMER Ooh that's me. She downs a shot and jumps up on stage. SUMMER (into mic) Ok. I'm the new girl so no making fun of me. Her co-workers whistle and cheer her on. She takes a deep breath as the opening bars of "Born to Run" begin to play and Summer starts to sing. Tom sees Summer as the actress in whatever nonsensical karaoke video accompanies the song (it's something to do with an old convertible, the sunset, and a midget in a tuxedo.) LATER. Tom sits in the booth with McKenzie (doing a shot) as Summer chats with co-workers at another table. Tom can't help but stare at Summer. She notices and waves. He smiles, hopeful that she'll come over. She doesn't. He hides his disappointment. LATER. Tom walks back to his table with drinks. Summer is there in mid-conversation with McKenzie. TOM You were great up there, by the way. SUMMER Well you can't go wrong with The Boss. TOM (sitting down) I hear that. MCKENZIE Hey, did you know Tom here's from Jersey? SUMMER Yeah? TOM Lived there til I was 12. SUMMER I named my cat after Springsteen. TOM No kidding? What's his name? 31. SUMMER Bruce. TOM (BEAT) That makes sense. She laughs. She's really cute when she laughs. MCKENZIE So you got a boyfriend? SUMMER Me? No. Tom shoots daggers at McKenzie for that comment. McKenzie mouths "what?" Summer sees nothing. MCKENZIE Why not? SUMMER Don't really want one. MCKENZIE Come on. I don't believe that. SUMMER You don't believe a woman could enjoy being free and independent? MCKENZIE (BEAT) Are you a lesbian? SUMMER No, I'm not a lesbian. I'm just not comfortable being somebody's "girlfriend." I don't want to be anybody's anything, you know? MCKENZIE I have no idea what you're talking about. SUMMER It sounds selfish, I know, but... I just like being on my own. Relationships are messy and feelings are always getting hurt. Who needs all that? We're young. We're in one of the most beautiful cities in the world. (MORE) 32. SUMMER (cont'd) I say, let's have as much fun as we can afford and leave the serious shit for later. TOM But...what if you meet someone and fall in love? SUMMER (LAUGHS) Love? You seriously believe in that stuff? TOM Of course I do. SUMMER Interesting. A real romantic. MCKENZIE Oh you have no idea. This one... embarrassing. There was this one girl, (to Tom) I gotta tell this story -- Tom elbows McKenzie hard in the ribs to shut him up. TOM Summer, hold on... you don't believe in love? SUMMER I don't even know what that word means. I know I've never felt it, whatever it is in all those songs. And I know that today most marriages end in divorce. Like my parents. TOM Well mine too but -- SUMMER Oh yeah, And I read in Newsweek, there were these scientists who found that by stimulating a part of the brain with electrodes you can make a person fall in "love" with a rock. Is that the love you're talking about? TOM Well... 33. SUMMER Why, what's your take on it? CUT TO: AN ANIMATION SEQUENCE, real quick. AN EXPLOSION OF MANY DIFFERENT COLORS, COMPLETE WITH A CHOIR AND A CHURCH ORGAN ALL BUILDING TO A HUGE CRESCENDO. BACK TO: INT BAR On Tom: TOM I think it's...kind of a huge thing. SUMMER (BEAT) Ok. Looks like we're gonna have to agree to disagree on that one. McKenzie senses some discontent. MCKENZIE So, uh, who's singing next? SUMMER (re: singing) I'd say it's your turn loverboy. TOM Nooo. I don't sing in public. SUMMER Sure you do. I see you lip-synching to your headphones every morning on your way in. TOM I don't... MCKENZIE You really do. SUMMER It's ok. I like it. Takes a lot of self-confidence to look ridiculous. 34. MCKENZIE (can't help himself) Self-confidence! Ha! Tom elbows him in the ribs again. TOM Anyway, I'm not near drunk enough to sing in front of all these people. SUMMER Ok then. Let's drink. TOM It would take at least ten shots to get me to sing. SUMMER Bartender! TEN MINUTES LATER. Tom is up there singing The Clash's "Magnificent Seven." You wouldn't think so but Tom is a ROCK STAR up there! He's dancing like Jagger, he's got everyone in the bar singing along to the audience-participation parts. It's a sight to behold. Summer is all smiles watching. LATER. Tom and Summer back at the table. Summer is humming something. TOM That's not it. SUMMER What is that then? TOM I have no idea. They're both having a good time. SUMMER I used to watch it every week. TOM Me too. Why can't we think of the stupid A-Team theme song. SUMMER Pathetic. TOM This is gonna bother me for weeks. 35. SUMMER Totally. They share another laugh and then it gets quiet. In that good way. ANGLE ON McKenzie, wasted, singing the shit out of "Proud to Be an American." He really means it. At any minute he might start to cry. MCKENZIE "And I'd proudly stand UP!" (aggressive drunk) I said stand! BACK ON TOM and SUMMER. TOM Oh here we go. EXT KARAOKE BAR - LATER Tom helps a nearly comatose McKenzie exit the place. Summer is with them. MCKENZIE (to Summer) This guy. (DRAMATICALLY) He's the best. TOM Ok, let's

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How many times the word 'side' appears in the text?

500 Days of Summer Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 500 DAYS OF SUMMER Written by Scott Neustadter & Michael H. Weber First Draft SIMPLE BLACK ON WHITE CREDITS ROLL TO BIG STAR'S "I'M IN LOVE WITH A GIRL." When all is said and done, up comes a single number in parenthesis, like so: (478) EXT. PARK - DAY For a few seconds we watch A MAN (20s) and a WOMAN (20s) on a park bench. Their names are TOM and SUMMER. Neither one says a word. CLOSE ON her HAND, covering his. Notice the wedding ring. No words are spoken. Tom looks at her the way every woman wants to be looked at. A DISTINGUISHED VOICE begins to speak to us. NARRATOR This is a story of boy meets girl. CUT TO: (1) INT CONFERENCE ROOM - DAY The boy is TOM HANSEN. He sits at a very long rectangular conference table. The walls are lined with framed blow-up sized greeting cards. Tom, dark hair and blue eyes, wears a t- shirt under his sports coat and Adidas tennis shoes to balance out the corporate dress code. He looks pretty bored. NARRATOR The boy, Tom Hansen of Margate, New Jersey, grew up believing that he'd never truly be happy until the day he met his... "soulmate." CUT TO: INT LIVING ROOM - 1989 PRE-TEEN TOM sits alone on his bed engrossed in a movie. His walls are covered in posters of obscure bands. From the TV, we hear: "Elaine! Elaine!" 4. NARRATOR This belief stemmed from early exposure to sad British pop music and a total misreading of the movie, "The Graduate." CUT TO: INT OFFICE CUBICLE - PRESENT DAY The girl is SUMMER FINN. She files folders and answers phones in a plain white office. She has cropped blonde hair almost like a boy's but her face is feminine and pretty enough to get away with it. NARRATOR The girl, Summer Finn of Shinnecock, Michigan, did not share this belief. CUT TO: INT BATHROOM - 1994 Teenage Summer stares at herself in the mirror. Her hair extends down to her lower back. NARRATOR Since the disintegration of her parents' marriage, she'd only loved two things. The first was her long blonde hair. She picks up scissors from the counter and begins to slice. NARRATOR The second was how easily she could cut it off... And feel nothing. CUT TO: SPLITSCREEN. INT BOARDROOM/ INT CUBICLE - SAME On the right side of the screen, Tom continues to listen to some boring presentation. On the left, Summer answers a call, takes a message, and walks out of her cubicle down a long narrow hallway. 5. NARRATOR Tom meets Summer on January 8th in a San Francisco office building. In an instant, he will know she's the one he's been looking for. CU Summer opening the door to the boardroom, about to come face to face with Tom for the first time. NARRATOR This is a story of boy meets girl. But before they do, CUT TO: BLACK. NARRATOR You should know up front, this is not a love story. (240) EXT STREETS OF SAN FRAN - NIGHT A 12 year old GIRL rides her bicycle down the block. She arrives at an apartment complex, jumps off the bike and races up the front stairs. She rings the doorbell. INT TOM'S PLACE - LATER PAUL and MCKENZIE open the door. These are Tom's best friends since birth. Paul is a doctor and wears hospital scrubs. McKenzie works in the cubicle next to Tom. PAUL I didn't know who else to call. The Girl removes her bike helmet. GIRL You did the right thing. Where is he? Tom is in the kitchen breaking things and basically going insane. About to smash a plate on the floor, he's interrupted BY: 6. GIRL Thomas. Tom freezes. TOM Rachel? What are you doing here? GIRL (RACHEL) I'm here to help you. TOM Help me how? RACHEL First, put down the plate. Tom slowly obliges. RACHEL Now come here and sit down. Tom sits next to the young girl. Paul and Mckenzie sit on either side of them. RACHEL The key is not to panic. TOM I think I'm gonna be sick. RACHEL Drink this. She hands him a glass of water. Tom drinks it down. MCKENZIE What is that? RACHEL Vodka. TOM (grimacing at the taste) More. He gulps another down. TOM Does Mom know you're here? It's gotta be past 10. 7. RACHEL Don't worry about it. Start from the beginning. Tell us what happened... Tom takes a deep breath. EXT PARK - DAY Tom and Summer eat sandwiches in the park. TOM (V.O.) We spent the whole day together. EXT OUTDOOR MARKET - DAY Tom and Summer walk through the stalls. TOM (V.O.) We went shopping. EXT COFFEE HOUSE - DAY Tom and Summer seated outside drinking coffee. He reads the newspaper, she reads a novel. TOM (V.O.) We had coffee. EXT MOVIE THEATER - DAY Tom and Summer walk out of a movie theatre. TOM (V.O.) We saw a film. INT RECORD STORE - LATER Tom and Summer shop for music. Tom excitedly shows Summer a Ringo Starr solo album. TOM (V.O.) We bought music. 8. INT TOM'S PLACE TOM I thought it was a great day. RACHEL And then what happened? INT DINER - NIGHT Tom and Summer in a booth ordering dinner. TOM (to WAITRESS) Um...you know what...let's go crazy, I'll have BOTH. (to Summer) God, I love eating pancakes at night. It's like the greatest thing ever. How great is this? SUMMER I think we should stop seeing each other. INT TOM'S PLACE - AS BEFORE RACHEL Just like that? TOM Just like that. PAUL Did she say why? INT DINER - AS BEFORE SUMMER This thing. This whatever it is. You and me. Do you think this is normal? TOM I don't know. Who cares about normal?! I'm happy. Aren't you happy? 9. SUMMER You're happy? TOM You're not? SUMMER All we do is argue! TOM That is such a lie! INT TOM'S PLACE - AS BEFORE RACHEL Maybe she was just in a bad mood. PAUL A hormonal thing. RACHEL P.M.S.? TOM (to Rachel) What do you know about PMS? RACHEL More than you. TOM Oh my god. MCKENZIE Please continue. INT DINER - AS BEFORE SUMMER This can't be a total surprise. I mean, we've been like Sid and Nancy for months. TOM Summer, Sid stabbed Nancy seven times with a kitchen knife. We've had some disagreements but I hardly think I'm Sid Vicious. SUMMER No... I'm Sid. 10. TOM (BEAT) So I'm Nancy?! The Waitress comes out with the food. Tom and Summer stop their discussion until the meal is served and the Waitress leaves. Summer starts to eat. SUMMER Let's just eat and we'll talk about it after. I'm starving. Without another word she goes back to her pancakes. Tom watches her eat like this is the worst travesty in the history of mankind. SUMMER (mouth full) Mmm, you're so right. These are great! Tom looks at his food in disgust. He may never eat again. SUMMER (INNOCENT) What? Tom stands up to go. SUMMER Tom, don't. Come back. You're still my best fr--- THE SCENE FREEZES AND WE ZOOM IN ON TOM'S STUNNED FACE. INT TOM'S PLACE - AS BEFORE Silence for a few beats. PAUL Jesus. MCKENZIE That's harsh. TOM I don't know what I'm gonna do. RACHEL You're gonna be fine. 11. TOM (BEAT) I'm gonna throw up. MCKENZIE Or that. RACHEL Here. Tom drinks more vodka. MCKENZIE Come on Hansen. You'll be ok. You're the best guy I know. You'll find someone. PAUL You know what they say...there's plenty other fish in the sea. TOM No. PAUL Sure they do. They say that. TOM Well they're wrong. It's not true. I've fished in that sea. I've jumped in and swam in that sea! I'm fucking Aquaman! (to Rachel) Sorry. What I mean is... there are no other fish. This was my fish. Paul and McKenzie share a very concerned look. CUT TO: (86) EXT SIDEWALK - DAY Tom walks alongside his friend PAUL. Out of nowhere, he says: TOM I'm in love with Summer. 12. PAUL (BEAT) For real? CUT TO: CU - SUMMER'S SMILE TOM (V.O.) I love her smile. CU - SUMMER'S HAIR TOM (V.O.) I love her hair. CU - SUMMER'S KNEES TOM (V.O.) I love her knees. CU - SUMMER'S EYES TOM (V.O.) I love how one eye is higher up on her face than the other eye. CU - SUMMER'S NECK TOM (V.O.) I love the scar on her neck from this operation she had as a kid. CU - SUMMER'S BREASTS (UNDER A BLACK T-SHIRT) TOM (V.O.) I love how she looks in my Clash T- shirt. CU - SUMMER ASLEEP TOM (V.O.) I love how she looks when she's sleeping. CU - SUMMER'S LAUGH TOM (V.O.) I love the sound of her laugh. OVER BLACK, play the middle 8 of "Every Little Thing She Does is Magic" by The Police. 13. TOM (V.O.) I love how I hear this song every time I think of her. CU - TOM, STARING DIRECTLY AT THE CAMERA. TOM (V.O.) I love how she makes me feel. Like anything's possible. Like, I don't know...like life is worth it. CUT TO: EXT SIDEWALK - SAME Paul and Tom. TOM For real, Paul. I'm madly in love with that girl. Paul is silent for a beat. PAUL Oh shit. (1) INT CONFERENCE ROOM - DAY Tom as we saw him earlier. Bored. In the boardroom. Mckenzie is in mid-presentation. MCKENZIE Now I know this may be a little risque...but if New Hampshire Greetings wants the jump on those conservative, right-wing neo-Nazis at Hallmark, maybe playing it safe is the wrong approach. The nuclear family is dead and we need a new holiday to recognize that. Mckenzie holds up a home-made photoshopped family portrait of Martina Navratilova, Ellen DeGeneres, and the kid from "Jerry Maguire". 14. MCKENZIE May 21st. Other Mother's Day. The co-workers nod and digest this idea. VANCE is the head of the department. VANCE Hmmm. That's an intriguing idea McKenzie. Along with Grossman's "Magellan Day" I'd say we've got some potential here. What do you think Hansen? Could you write up some prototypes for these? Tom is about to answer when... the door opens. SUMMER Excuse me, Mr. Vance? There's a call for you on line 3. And in walks this girl. Summer. We've met her by now but Tom hasn't. This is the first time. His eyes go wide and from that moment on, he can't take them off her. VANCE (to the table) Everyone this is Summer, my new assistant. Summer just moved here from... SUMMER Michigan. VANCE Right. Michigan. Well, Summer, everyone. Everyone, Summer. Excuse me, I have to take this. SUMMER Nice to meet you all. Summer gives a little wave before following Vance out. She doesn't notice Tom whose face looks like he's just seen God. 15. (3, 4, 5) INT. OFFICE - DAY Tom trying to work. And failing. He turns to McKenzie. TOM What do we know about this new girl? MCKENZIE Who? TOM The new girl. Summer. In Vance's office. MCKENZIE Dude. I hear she's a bitch from hell! TOM (DISAPPOINTED) Really? MCKENZIE Patel tried to talk to her in the copy room. She was totally not having it. TOM Maybe she was just in a hurry. MCKENZIE And maybe she's some uppity, better than everyone, superskank. TOM Damn. MCKENZIE I know. She's pretty hot. TOM That makes me so mad! Why is it pretty girls always think they can treat people like crap and get away with it? 16. MCKENZIE Dunno. TOM Like, just cause she has high cheekbones and soft skin... MCKENZIE ...and really good teeth. TOM And maybe the world's most perfect breasts...Just cause of that stuff, she can walk around like she's center of the universe? MCKENZIE (as explanation) Women. TOM Ugh. You know what? Screw her! We haven't even met and I can't stand her already. INT. ELEVATOR - LATER Tom is listening to headphones. Summer enters the elevator and Tom actively puts on a show to ignore her. Summer hears the music. SUMMER The Smiths. Tom, pretending not to hear or care, gives her an unenthusiastic wave. SUMMER I love The Smiths. Tom, still pretending, takes off his headphones. TOM Sorry? SUMMER I said. I love The Smiths. You have good taste in music. A beat as Tom processes this information. 17. TOM (AMAZED) You like the Smiths? SUMMER (SINGING) "To die by your side is such a heavenly way to die." Love it. The elevator doors open and she gets off. TOM (accidentally out loud) Oh my god. (8) INT OFFICE LOBBY - DAY The office sings "Happy Birthday" to a FEMALE CO-WORKER. When they get to the part about her name, Tom is the only one who knows it, everyone else just there for the cake. Song over, everyone digs in. Tom finds himself standing next to Summer. TOM Hi. SUMMER Hello. TOM So, uh, Summer... SUMMER Tom. TOM Yeah! How's it going so far? SUMMER The city or the firm? TOM Both... Either. SUMMER I'm happy. Still getting situated. How long have you worked here? 18. TOM Oh, you know, 4, 5... years. SUMMER Really? Jesus. Did you always want to write greeting cards? TOM Are you nuts? I don't even want to do it now. SUMMER What is it you want to do? TOM I studied to be an architect actually. SUMMER That's so cool! What happened? TOM Eh, you know. Same old story. Moved to the city to work for a company. Company went under. Needed a job. My friend worked here. Got me this. SUMMER And are you any good? TOM (points to a framed card) Well I wrote that one. SUMMER (READING) "Today You're a Man. Mazel Tov on your Bar Mitzvah." TOM It's a big seller. SUMMER I meant, are you any good as an architect? TOM Oh... No. I doubt it. SUMMER Well, I'd say you're a perfectly ...adequate... greeting card writer. 19. TOM Why thank you. That's what they called me in college. "Perfectly adequate" Hansen. SUMMER They used to call me "Anal Girl." Tom does a spit-take and almost chokes. SUMMER (EXPLAINING) I was very neat and organized. There's an awkward silence. SUMMER Anyway, I should get back. TOM Ok, well, I'll see you around. She walks back to her cubicle at the other end of the hall. Tom watches her walk away, completely enamored. He sits down at his desk and sets out to work. But before he does, his eyes fall on a sketch he drew of a house. It's dated 2001 and it's the only architecture sketch on his wall. (11) INT TOM'S PLACE - DAY Tom is playing Playstation with Rachel. TOM And it turns out she's read every Graham Greene novel ever published. Her desk is lined with Magritte posters and Edward Hopper. RACHEL Your favorites. TOM We're so compatible it's insane! Seriously! It doesn't make sense! She's not like I thought at all. She's... amazing. 20. RACHEL Oh boy. TOM What? RACHEL You know...just cause some cute girl likes the same bizarro music you do doesn't make her "the one." TOM (BEAT) Of course it does. SARAH (O.S.) Dinner! SARAH, 50s, Tom and Rachel's mother, stands in the doorway. SARAH Pause and come eat. They do. Tom enters the living room area and sits down next to his stepdad MARTIN, 60s, a quiet, professorial Southern gentleman type. TOM Hey Martin. ANGLE ON RACHEL and Sarah. RACHEL He met a girl. SARAH (EXCITED) Yeah? RACHEL (GRIM) Yeah. Sarah grows serious too. SARAH Oh shit. CUT TO: 21. STOCK FOOTAGE. The Wright Brothers, Galileo, Heaven's Gate, Neil Armstrong. NARRATOR When one strongly believes in something, it takes overwhelming contradictory evidence to change their minds. END ON: LITTLE TOM, age 6, mesmerized by a vinyl album cover of Olivia Newton-John in "Xanadu." NARRATOR Tom had always been a devout believer in the idea of "true love." (BEAT) The evidence did not support him. CUT TO: (-8914) INT CLASSROOM - DAY Little Tom stares at a LITTLE GIRL, 6, who has the same hairstyle and dress as Newton-John on that cover. Tom draws a picture. It's a boy and a girl with a giant heart over them. He stands up and walks over to the girl, putting the picture on her desk. Not a word is spoken. Satisfied, he returns to his seat and waits to see what happens. NARRATOR Exhibit A: Lisa Rayner. The Little Girl stands up and walks the picture over to ANOTHER BOY. Tom is mortified. The OTHER BOY eats the drawing. (-5313) 22. EXT FOOTBALL FIELD - NIGHT A BLONDE CHEERLEADER leads the crowd in a cheer. PAN ACROSS to find TEENAGE TOM, 15, finishing making out with a homely HIGH SCHOOL GIRL. He says goodbye and walks off, looking back longingly. NARRATOR Exhibit B: Wendy Wilson. Once Tom is out of frame, a SECOND BOY approaches Wendy. Then they start making out. (-2825) INT AIRPLANE - DAY COLLEGE TOM sits next to his girlfriend REBECCA MYLES. His smile gleams. TOM I'm so glad we decided to go away together Bec. I know we've only been dating a few months but it's been...awesome. NARRATOR Exhibit C: Rebecca Myles. TOM And now, you and me, 8 days in Mexico... best spring break ever! Across the aisle Rebecca makes eye contact with three COLLEGE DUDES. REBECCA I think we should see other people. (-734) 23. EXT CAR - NIGHT Younger Tom sits in the passenger seat. Raven-haired AMANDA drives. NARRATOR And, finally... Exhibit D: Amanda Heller. AMANDA It's just... it's complicated. TOM What's complicated? Last week you said you loved me! AMANDA I know it's sudden but... TOM No, this can't be. Everything was going so great. I don't understand. AMANDA (BEAT) Here. TOM What's this? She puts a disc into the cd player. AMANDA Because you're, like, the biggest music nerd I've ever met, I think this should really help explain where I'm coming from. A pop song begins to play on the stereo. They listen for a few beats. Tom is confused. AMANDA You remember how much I loved this song when you first played it for me? TOM Sure. It's all you wanted to listen to for weeks. 24. AMANDA Right. And I still like it, don't get me wrong. It's just... When I hear it now, I don't feel the same...rush. TOM (still confused) Ok... AMANDA I press the skip button. Still Tom doesn't understand. TOM What does this have to do with--? AMANDA I'd rather listen to something else. And with that, it slowly sinks in for him. TOM But Amanda... this is a great fucking song! (22) INT LOCAL DIVE BAR - HAPPY HOUR Tom removes his headphones and sits defeated with McKenzie and Paul in a booth. TOM It's off. PAUL What? TOM Me and Summer. MCKENZIE Was it ever on? 25. TOM No. But it could have been. In a world where good things happen to me. PAUL Yeah well, that's not really where we live. TOM No. MCKENZIE So what happened? TOM You ready for this? INT ELEVATOR - THE DAY BEFORE Tom is alone. The door opens. In walks Summer. TOM (V.O.) So there we are. All alone. Nine more floors to ride. Plenty of time. I figure...this is my chance. If not now when, right? They ride in silence for a few beats. TOM Summer... SUMMER Yeah? TOM (BEAT) So how was your weekend? SUMMER It was good. INT LOCAL DIVE BAR - AS BEFORE The friends wait for more. TOM You believe that shit? 26. MCKENZIE What shit? PAUL I think I missed something. TOM "It was good." She didn't say "It was good." She said "It was good." Emphasis on the good. She basically said "I spent the weekend having sex with this guy I met at the gym." Fucking whore. Screw her. It's over. Everyone's silent. MCKENZIE What the hell is wrong with you?! PAUL Dude, you got problems. TOM She's not interested in me. There's nothing I can do. MCKENZIE Based on..."it was good?" TOM And some other things. PAUL Like what, she said "hey" instead of "hi" cause that totally means she's a lesbian. TOM I gave her all sorts of chances. INT OFFICE - DAY Tom types at his desk. Summer approaches the cubicle Tom shares with McKenzie. SUMMER I'm going to the supply room. Anyone need anything? MCKENZIE No thanks. 27. TOM I think you know what I need. There's a beat. TOM Toner. SUMMER Oh ok, sure, no prob. INT OFFICE - LATE IN THE DAY The office is emptying out. Only a few people remain but Tom and Summer are two of them. Tom takes this opportunity to put a CD in his computer and play the song really loud. It's "I Want to Know What Love Is" by Foreigner. No reaction from Summer. Tom turns it up. Still nothing. Tom turns it down, defeated. INT SUMMER'S DESK Tom is there. TOM Do you want to go out with me? A beat. Summer says nothing. TOM And the Priest says, "But we're already out!" They both laugh. SUMMER That is hilarious! TOM I know! And when she walks away, he smacks his head a few times with his palm. INT LOCAL DIVE BAR - AS BEFORE TOM Not once did she take the bait. Not once. Screw it. I'm done with her. It's over. 28. Tom's friends all look at him like he's crazy. (27 & 28) INT OFFICE - TOM'S CUBICLE - DAY Tom sits at his desk with headphones on trying to work. But with Summer down at the end of the hall, he's having a hard time concentrating. McKenzie shares a cubicle with Tom. MCKENZIE This Friday. 10 bucks all you can karaoke at The Well. TOM No way McKenzie. Absolutely not. MCKENZIE Come on! (SINGING) "Take me down to the paradise city where the grass is green and they got big titties!" TOM They won't let you back in there after last time. MCKENZIE I wasn't that bad. TOM Not at all. You just threw up on the stage, tried to fight the bartender, and then threatened to burn the place down before passing out on the sidewalk. Quiet night for you. MCKENZIE (REVERENTIAL) You saved my life that day. TOM We are not going back there. 29. MCKENZIE This is a work thing, Tommy. It won't be like that. The whole office is going. TOM I really can't. Even if I wanted to. There's a lot of stuff I gotta take care of. MCKENZIE You're not listening to me. TOM What? MCKENZIE The whole office is going. Tom looks over to where Summer sits. And realization dawns on him... INT KARAOKE BAR - NIGHT Summer is in a back booth with some co-workers when Tom walks in to the crowded place. McKenzie has the microphone and he's singing "Every Rose Has Its Thorn" by Poison. He's real into it and, well, it's kinda sad. Tom waves to McKenzie and walks over to the booth. TOM Hi. SUMMER Hey! They said you weren't coming. TOM You asked if I was coming? (BEAT) I mean...my plans got cancelled... Tom is at a loss. There's yet another awkward silent beat between them. Thankfully, it's interrupted by... MCKENZIE (already drunk) Goddamn that song is brilliant! What's up Hansen? Summer sees the next song come up on the screen. 30. SUMMER Ooh that's me. She downs a shot and jumps up on stage. SUMMER (into mic) Ok. I'm the new girl so no making fun of me. Her co-workers whistle and cheer her on. She takes a deep breath as the opening bars of "Born to Run" begin to play and Summer starts to sing. Tom sees Summer as the actress in whatever nonsensical karaoke video accompanies the song (it's something to do with an old convertible, the sunset, and a midget in a tuxedo.) LATER. Tom sits in the booth with McKenzie (doing a shot) as Summer chats with co-workers at another table. Tom can't help but stare at Summer. She notices and waves. He smiles, hopeful that she'll come over. She doesn't. He hides his disappointment. LATER. Tom walks back to his table with drinks. Summer is there in mid-conversation with McKenzie. TOM You were great up there, by the way. SUMMER Well you can't go wrong with The Boss. TOM (sitting down) I hear that. MCKENZIE Hey, did you know Tom here's from Jersey? SUMMER Yeah? TOM Lived there til I was 12. SUMMER I named my cat after Springsteen. TOM No kidding? What's his name? 31. SUMMER Bruce. TOM (BEAT) That makes sense. She laughs. She's really cute when she laughs. MCKENZIE So you got a boyfriend? SUMMER Me? No. Tom shoots daggers at McKenzie for that comment. McKenzie mouths "what?" Summer sees nothing. MCKENZIE Why not? SUMMER Don't really want one. MCKENZIE Come on. I don't believe that. SUMMER You don't believe a woman could enjoy being free and independent? MCKENZIE (BEAT) Are you a lesbian? SUMMER No, I'm not a lesbian. I'm just not comfortable being somebody's "girlfriend." I don't want to be anybody's anything, you know? MCKENZIE I have no idea what you're talking about. SUMMER It sounds selfish, I know, but... I just like being on my own. Relationships are messy and feelings are always getting hurt. Who needs all that? We're young. We're in one of the most beautiful cities in the world. (MORE) 32. SUMMER (cont'd) I say, let's have as much fun as we can afford and leave the serious shit for later. TOM But...what if you meet someone and fall in love? SUMMER (LAUGHS) Love? You seriously believe in that stuff? TOM Of course I do. SUMMER Interesting. A real romantic. MCKENZIE Oh you have no idea. This one... embarrassing. There was this one girl, (to Tom) I gotta tell this story -- Tom elbows McKenzie hard in the ribs to shut him up. TOM Summer, hold on... you don't believe in love? SUMMER I don't even know what that word means. I know I've never felt it, whatever it is in all those songs. And I know that today most marriages end in divorce. Like my parents. TOM Well mine too but -- SUMMER Oh yeah, And I read in Newsweek, there were these scientists who found that by stimulating a part of the brain with electrodes you can make a person fall in "love" with a rock. Is that the love you're talking about? TOM Well... 33. SUMMER Why, what's your take on it? CUT TO: AN ANIMATION SEQUENCE, real quick. AN EXPLOSION OF MANY DIFFERENT COLORS, COMPLETE WITH A CHOIR AND A CHURCH ORGAN ALL BUILDING TO A HUGE CRESCENDO. BACK TO: INT BAR On Tom: TOM I think it's...kind of a huge thing. SUMMER (BEAT) Ok. Looks like we're gonna have to agree to disagree on that one. McKenzie senses some discontent. MCKENZIE So, uh, who's singing next? SUMMER (re: singing) I'd say it's your turn loverboy. TOM Nooo. I don't sing in public. SUMMER Sure you do. I see you lip-synching to your headphones every morning on your way in. TOM I don't... MCKENZIE You really do. SUMMER It's ok. I like it. Takes a lot of self-confidence to look ridiculous. 34. MCKENZIE (can't help himself) Self-confidence! Ha! Tom elbows him in the ribs again. TOM Anyway, I'm not near drunk enough to sing in front of all these people. SUMMER Ok then. Let's drink. TOM It would take at least ten shots to get me to sing. SUMMER Bartender! TEN MINUTES LATER. Tom is up there singing The Clash's "Magnificent Seven." You wouldn't think so but Tom is a ROCK STAR up there! He's dancing like Jagger, he's got everyone in the bar singing along to the audience-participation parts. It's a sight to behold. Summer is all smiles watching. LATER. Tom and Summer back at the table. Summer is humming something. TOM That's not it. SUMMER What is that then? TOM I have no idea. They're both having a good time. SUMMER I used to watch it every week. TOM Me too. Why can't we think of the stupid A-Team theme song. SUMMER Pathetic. TOM This is gonna bother me for weeks. 35. SUMMER Totally. They share another laugh and then it gets quiet. In that good way. ANGLE ON McKenzie, wasted, singing the shit out of "Proud to Be an American." He really means it. At any minute he might start to cry. MCKENZIE "And I'd proudly stand UP!" (aggressive drunk) I said stand! BACK ON TOM and SUMMER. TOM Oh here we go. EXT KARAOKE BAR - LATER Tom helps a nearly comatose McKenzie exit the place. Summer is with them. MCKENZIE (to Summer) This guy. (DRAMATICALLY) He's the best. TOM Ok, let's

one

How many times the word 'one' appears in the text?

500 Days of Summer Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 500 DAYS OF SUMMER Written by Scott Neustadter & Michael H. Weber First Draft SIMPLE BLACK ON WHITE CREDITS ROLL TO BIG STAR'S "I'M IN LOVE WITH A GIRL." When all is said and done, up comes a single number in parenthesis, like so: (478) EXT. PARK - DAY For a few seconds we watch A MAN (20s) and a WOMAN (20s) on a park bench. Their names are TOM and SUMMER. Neither one says a word. CLOSE ON her HAND, covering his. Notice the wedding ring. No words are spoken. Tom looks at her the way every woman wants to be looked at. A DISTINGUISHED VOICE begins to speak to us. NARRATOR This is a story of boy meets girl. CUT TO: (1) INT CONFERENCE ROOM - DAY The boy is TOM HANSEN. He sits at a very long rectangular conference table. The walls are lined with framed blow-up sized greeting cards. Tom, dark hair and blue eyes, wears a t- shirt under his sports coat and Adidas tennis shoes to balance out the corporate dress code. He looks pretty bored. NARRATOR The boy, Tom Hansen of Margate, New Jersey, grew up believing that he'd never truly be happy until the day he met his... "soulmate." CUT TO: INT LIVING ROOM - 1989 PRE-TEEN TOM sits alone on his bed engrossed in a movie. His walls are covered in posters of obscure bands. From the TV, we hear: "Elaine! Elaine!" 4. NARRATOR This belief stemmed from early exposure to sad British pop music and a total misreading of the movie, "The Graduate." CUT TO: INT OFFICE CUBICLE - PRESENT DAY The girl is SUMMER FINN. She files folders and answers phones in a plain white office. She has cropped blonde hair almost like a boy's but her face is feminine and pretty enough to get away with it. NARRATOR The girl, Summer Finn of Shinnecock, Michigan, did not share this belief. CUT TO: INT BATHROOM - 1994 Teenage Summer stares at herself in the mirror. Her hair extends down to her lower back. NARRATOR Since the disintegration of her parents' marriage, she'd only loved two things. The first was her long blonde hair. She picks up scissors from the counter and begins to slice. NARRATOR The second was how easily she could cut it off... And feel nothing. CUT TO: SPLITSCREEN. INT BOARDROOM/ INT CUBICLE - SAME On the right side of the screen, Tom continues to listen to some boring presentation. On the left, Summer answers a call, takes a message, and walks out of her cubicle down a long narrow hallway. 5. NARRATOR Tom meets Summer on January 8th in a San Francisco office building. In an instant, he will know she's the one he's been looking for. CU Summer opening the door to the boardroom, about to come face to face with Tom for the first time. NARRATOR This is a story of boy meets girl. But before they do, CUT TO: BLACK. NARRATOR You should know up front, this is not a love story. (240) EXT STREETS OF SAN FRAN - NIGHT A 12 year old GIRL rides her bicycle down the block. She arrives at an apartment complex, jumps off the bike and races up the front stairs. She rings the doorbell. INT TOM'S PLACE - LATER PAUL and MCKENZIE open the door. These are Tom's best friends since birth. Paul is a doctor and wears hospital scrubs. McKenzie works in the cubicle next to Tom. PAUL I didn't know who else to call. The Girl removes her bike helmet. GIRL You did the right thing. Where is he? Tom is in the kitchen breaking things and basically going insane. About to smash a plate on the floor, he's interrupted BY: 6. GIRL Thomas. Tom freezes. TOM Rachel? What are you doing here? GIRL (RACHEL) I'm here to help you. TOM Help me how? RACHEL First, put down the plate. Tom slowly obliges. RACHEL Now come here and sit down. Tom sits next to the young girl. Paul and Mckenzie sit on either side of them. RACHEL The key is not to panic. TOM I think I'm gonna be sick. RACHEL Drink this. She hands him a glass of water. Tom drinks it down. MCKENZIE What is that? RACHEL Vodka. TOM (grimacing at the taste) More. He gulps another down. TOM Does Mom know you're here? It's gotta be past 10. 7. RACHEL Don't worry about it. Start from the beginning. Tell us what happened... Tom takes a deep breath. EXT PARK - DAY Tom and Summer eat sandwiches in the park. TOM (V.O.) We spent the whole day together. EXT OUTDOOR MARKET - DAY Tom and Summer walk through the stalls. TOM (V.O.) We went shopping. EXT COFFEE HOUSE - DAY Tom and Summer seated outside drinking coffee. He reads the newspaper, she reads a novel. TOM (V.O.) We had coffee. EXT MOVIE THEATER - DAY Tom and Summer walk out of a movie theatre. TOM (V.O.) We saw a film. INT RECORD STORE - LATER Tom and Summer shop for music. Tom excitedly shows Summer a Ringo Starr solo album. TOM (V.O.) We bought music. 8. INT TOM'S PLACE TOM I thought it was a great day. RACHEL And then what happened? INT DINER - NIGHT Tom and Summer in a booth ordering dinner. TOM (to WAITRESS) Um...you know what...let's go crazy, I'll have BOTH. (to Summer) God, I love eating pancakes at night. It's like the greatest thing ever. How great is this? SUMMER I think we should stop seeing each other. INT TOM'S PLACE - AS BEFORE RACHEL Just like that? TOM Just like that. PAUL Did she say why? INT DINER - AS BEFORE SUMMER This thing. This whatever it is. You and me. Do you think this is normal? TOM I don't know. Who cares about normal?! I'm happy. Aren't you happy? 9. SUMMER You're happy? TOM You're not? SUMMER All we do is argue! TOM That is such a lie! INT TOM'S PLACE - AS BEFORE RACHEL Maybe she was just in a bad mood. PAUL A hormonal thing. RACHEL P.M.S.? TOM (to Rachel) What do you know about PMS? RACHEL More than you. TOM Oh my god. MCKENZIE Please continue. INT DINER - AS BEFORE SUMMER This can't be a total surprise. I mean, we've been like Sid and Nancy for months. TOM Summer, Sid stabbed Nancy seven times with a kitchen knife. We've had some disagreements but I hardly think I'm Sid Vicious. SUMMER No... I'm Sid. 10. TOM (BEAT) So I'm Nancy?! The Waitress comes out with the food. Tom and Summer stop their discussion until the meal is served and the Waitress leaves. Summer starts to eat. SUMMER Let's just eat and we'll talk about it after. I'm starving. Without another word she goes back to her pancakes. Tom watches her eat like this is the worst travesty in the history of mankind. SUMMER (mouth full) Mmm, you're so right. These are great! Tom looks at his food in disgust. He may never eat again. SUMMER (INNOCENT) What? Tom stands up to go. SUMMER Tom, don't. Come back. You're still my best fr--- THE SCENE FREEZES AND WE ZOOM IN ON TOM'S STUNNED FACE. INT TOM'S PLACE - AS BEFORE Silence for a few beats. PAUL Jesus. MCKENZIE That's harsh. TOM I don't know what I'm gonna do. RACHEL You're gonna be fine. 11. TOM (BEAT) I'm gonna throw up. MCKENZIE Or that. RACHEL Here. Tom drinks more vodka. MCKENZIE Come on Hansen. You'll be ok. You're the best guy I know. You'll find someone. PAUL You know what they say...there's plenty other fish in the sea. TOM No. PAUL Sure they do. They say that. TOM Well they're wrong. It's not true. I've fished in that sea. I've jumped in and swam in that sea! I'm fucking Aquaman! (to Rachel) Sorry. What I mean is... there are no other fish. This was my fish. Paul and McKenzie share a very concerned look. CUT TO: (86) EXT SIDEWALK - DAY Tom walks alongside his friend PAUL. Out of nowhere, he says: TOM I'm in love with Summer. 12. PAUL (BEAT) For real? CUT TO: CU - SUMMER'S SMILE TOM (V.O.) I love her smile. CU - SUMMER'S HAIR TOM (V.O.) I love her hair. CU - SUMMER'S KNEES TOM (V.O.) I love her knees. CU - SUMMER'S EYES TOM (V.O.) I love how one eye is higher up on her face than the other eye. CU - SUMMER'S NECK TOM (V.O.) I love the scar on her neck from this operation she had as a kid. CU - SUMMER'S BREASTS (UNDER A BLACK T-SHIRT) TOM (V.O.) I love how she looks in my Clash T- shirt. CU - SUMMER ASLEEP TOM (V.O.) I love how she looks when she's sleeping. CU - SUMMER'S LAUGH TOM (V.O.) I love the sound of her laugh. OVER BLACK, play the middle 8 of "Every Little Thing She Does is Magic" by The Police. 13. TOM (V.O.) I love how I hear this song every time I think of her. CU - TOM, STARING DIRECTLY AT THE CAMERA. TOM (V.O.) I love how she makes me feel. Like anything's possible. Like, I don't know...like life is worth it. CUT TO: EXT SIDEWALK - SAME Paul and Tom. TOM For real, Paul. I'm madly in love with that girl. Paul is silent for a beat. PAUL Oh shit. (1) INT CONFERENCE ROOM - DAY Tom as we saw him earlier. Bored. In the boardroom. Mckenzie is in mid-presentation. MCKENZIE Now I know this may be a little risque...but if New Hampshire Greetings wants the jump on those conservative, right-wing neo-Nazis at Hallmark, maybe playing it safe is the wrong approach. The nuclear family is dead and we need a new holiday to recognize that. Mckenzie holds up a home-made photoshopped family portrait of Martina Navratilova, Ellen DeGeneres, and the kid from "Jerry Maguire". 14. MCKENZIE May 21st. Other Mother's Day. The co-workers nod and digest this idea. VANCE is the head of the department. VANCE Hmmm. That's an intriguing idea McKenzie. Along with Grossman's "Magellan Day" I'd say we've got some potential here. What do you think Hansen? Could you write up some prototypes for these? Tom is about to answer when... the door opens. SUMMER Excuse me, Mr. Vance? There's a call for you on line 3. And in walks this girl. Summer. We've met her by now but Tom hasn't. This is the first time. His eyes go wide and from that moment on, he can't take them off her. VANCE (to the table) Everyone this is Summer, my new assistant. Summer just moved here from... SUMMER Michigan. VANCE Right. Michigan. Well, Summer, everyone. Everyone, Summer. Excuse me, I have to take this. SUMMER Nice to meet you all. Summer gives a little wave before following Vance out. She doesn't notice Tom whose face looks like he's just seen God. 15. (3, 4, 5) INT. OFFICE - DAY Tom trying to work. And failing. He turns to McKenzie. TOM What do we know about this new girl? MCKENZIE Who? TOM The new girl. Summer. In Vance's office. MCKENZIE Dude. I hear she's a bitch from hell! TOM (DISAPPOINTED) Really? MCKENZIE Patel tried to talk to her in the copy room. She was totally not having it. TOM Maybe she was just in a hurry. MCKENZIE And maybe she's some uppity, better than everyone, superskank. TOM Damn. MCKENZIE I know. She's pretty hot. TOM That makes me so mad! Why is it pretty girls always think they can treat people like crap and get away with it? 16. MCKENZIE Dunno. TOM Like, just cause she has high cheekbones and soft skin... MCKENZIE ...and really good teeth. TOM And maybe the world's most perfect breasts...Just cause of that stuff, she can walk around like she's center of the universe? MCKENZIE (as explanation) Women. TOM Ugh. You know what? Screw her! We haven't even met and I can't stand her already. INT. ELEVATOR - LATER Tom is listening to headphones. Summer enters the elevator and Tom actively puts on a show to ignore her. Summer hears the music. SUMMER The Smiths. Tom, pretending not to hear or care, gives her an unenthusiastic wave. SUMMER I love The Smiths. Tom, still pretending, takes off his headphones. TOM Sorry? SUMMER I said. I love The Smiths. You have good taste in music. A beat as Tom processes this information. 17. TOM (AMAZED) You like the Smiths? SUMMER (SINGING) "To die by your side is such a heavenly way to die." Love it. The elevator doors open and she gets off. TOM (accidentally out loud) Oh my god. (8) INT OFFICE LOBBY - DAY The office sings "Happy Birthday" to a FEMALE CO-WORKER. When they get to the part about her name, Tom is the only one who knows it, everyone else just there for the cake. Song over, everyone digs in. Tom finds himself standing next to Summer. TOM Hi. SUMMER Hello. TOM So, uh, Summer... SUMMER Tom. TOM Yeah! How's it going so far? SUMMER The city or the firm? TOM Both... Either. SUMMER I'm happy. Still getting situated. How long have you worked here? 18. TOM Oh, you know, 4, 5... years. SUMMER Really? Jesus. Did you always want to write greeting cards? TOM Are you nuts? I don't even want to do it now. SUMMER What is it you want to do? TOM I studied to be an architect actually. SUMMER That's so cool! What happened? TOM Eh, you know. Same old story. Moved to the city to work for a company. Company went under. Needed a job. My friend worked here. Got me this. SUMMER And are you any good? TOM (points to a framed card) Well I wrote that one. SUMMER (READING) "Today You're a Man. Mazel Tov on your Bar Mitzvah." TOM It's a big seller. SUMMER I meant, are you any good as an architect? TOM Oh... No. I doubt it. SUMMER Well, I'd say you're a perfectly ...adequate... greeting card writer. 19. TOM Why thank you. That's what they called me in college. "Perfectly adequate" Hansen. SUMMER They used to call me "Anal Girl." Tom does a spit-take and almost chokes. SUMMER (EXPLAINING) I was very neat and organized. There's an awkward silence. SUMMER Anyway, I should get back. TOM Ok, well, I'll see you around. She walks back to her cubicle at the other end of the hall. Tom watches her walk away, completely enamored. He sits down at his desk and sets out to work. But before he does, his eyes fall on a sketch he drew of a house. It's dated 2001 and it's the only architecture sketch on his wall. (11) INT TOM'S PLACE - DAY Tom is playing Playstation with Rachel. TOM And it turns out she's read every Graham Greene novel ever published. Her desk is lined with Magritte posters and Edward Hopper. RACHEL Your favorites. TOM We're so compatible it's insane! Seriously! It doesn't make sense! She's not like I thought at all. She's... amazing. 20. RACHEL Oh boy. TOM What? RACHEL You know...just cause some cute girl likes the same bizarro music you do doesn't make her "the one." TOM (BEAT) Of course it does. SARAH (O.S.) Dinner! SARAH, 50s, Tom and Rachel's mother, stands in the doorway. SARAH Pause and come eat. They do. Tom enters the living room area and sits down next to his stepdad MARTIN, 60s, a quiet, professorial Southern gentleman type. TOM Hey Martin. ANGLE ON RACHEL and Sarah. RACHEL He met a girl. SARAH (EXCITED) Yeah? RACHEL (GRIM) Yeah. Sarah grows serious too. SARAH Oh shit. CUT TO: 21. STOCK FOOTAGE. The Wright Brothers, Galileo, Heaven's Gate, Neil Armstrong. NARRATOR When one strongly believes in something, it takes overwhelming contradictory evidence to change their minds. END ON: LITTLE TOM, age 6, mesmerized by a vinyl album cover of Olivia Newton-John in "Xanadu." NARRATOR Tom had always been a devout believer in the idea of "true love." (BEAT) The evidence did not support him. CUT TO: (-8914) INT CLASSROOM - DAY Little Tom stares at a LITTLE GIRL, 6, who has the same hairstyle and dress as Newton-John on that cover. Tom draws a picture. It's a boy and a girl with a giant heart over them. He stands up and walks over to the girl, putting the picture on her desk. Not a word is spoken. Satisfied, he returns to his seat and waits to see what happens. NARRATOR Exhibit A: Lisa Rayner. The Little Girl stands up and walks the picture over to ANOTHER BOY. Tom is mortified. The OTHER BOY eats the drawing. (-5313) 22. EXT FOOTBALL FIELD - NIGHT A BLONDE CHEERLEADER leads the crowd in a cheer. PAN ACROSS to find TEENAGE TOM, 15, finishing making out with a homely HIGH SCHOOL GIRL. He says goodbye and walks off, looking back longingly. NARRATOR Exhibit B: Wendy Wilson. Once Tom is out of frame, a SECOND BOY approaches Wendy. Then they start making out. (-2825) INT AIRPLANE - DAY COLLEGE TOM sits next to his girlfriend REBECCA MYLES. His smile gleams. TOM I'm so glad we decided to go away together Bec. I know we've only been dating a few months but it's been...awesome. NARRATOR Exhibit C: Rebecca Myles. TOM And now, you and me, 8 days in Mexico... best spring break ever! Across the aisle Rebecca makes eye contact with three COLLEGE DUDES. REBECCA I think we should see other people. (-734) 23. EXT CAR - NIGHT Younger Tom sits in the passenger seat. Raven-haired AMANDA drives. NARRATOR And, finally... Exhibit D: Amanda Heller. AMANDA It's just... it's complicated. TOM What's complicated? Last week you said you loved me! AMANDA I know it's sudden but... TOM No, this can't be. Everything was going so great. I don't understand. AMANDA (BEAT) Here. TOM What's this? She puts a disc into the cd player. AMANDA Because you're, like, the biggest music nerd I've ever met, I think this should really help explain where I'm coming from. A pop song begins to play on the stereo. They listen for a few beats. Tom is confused. AMANDA You remember how much I loved this song when you first played it for me? TOM Sure. It's all you wanted to listen to for weeks. 24. AMANDA Right. And I still like it, don't get me wrong. It's just... When I hear it now, I don't feel the same...rush. TOM (still confused) Ok... AMANDA I press the skip button. Still Tom doesn't understand. TOM What does this have to do with--? AMANDA I'd rather listen to something else. And with that, it slowly sinks in for him. TOM But Amanda... this is a great fucking song! (22) INT LOCAL DIVE BAR - HAPPY HOUR Tom removes his headphones and sits defeated with McKenzie and Paul in a booth. TOM It's off. PAUL What? TOM Me and Summer. MCKENZIE Was it ever on? 25. TOM No. But it could have been. In a world where good things happen to me. PAUL Yeah well, that's not really where we live. TOM No. MCKENZIE So what happened? TOM You ready for this? INT ELEVATOR - THE DAY BEFORE Tom is alone. The door opens. In walks Summer. TOM (V.O.) So there we are. All alone. Nine more floors to ride. Plenty of time. I figure...this is my chance. If not now when, right? They ride in silence for a few beats. TOM Summer... SUMMER Yeah? TOM (BEAT) So how was your weekend? SUMMER It was good. INT LOCAL DIVE BAR - AS BEFORE The friends wait for more. TOM You believe that shit? 26. MCKENZIE What shit? PAUL I think I missed something. TOM "It was good." She didn't say "It was good." She said "It was good." Emphasis on the good. She basically said "I spent the weekend having sex with this guy I met at the gym." Fucking whore. Screw her. It's over. Everyone's silent. MCKENZIE What the hell is wrong with you?! PAUL Dude, you got problems. TOM She's not interested in me. There's nothing I can do. MCKENZIE Based on..."it was good?" TOM And some other things. PAUL Like what, she said "hey" instead of "hi" cause that totally means she's a lesbian. TOM I gave her all sorts of chances. INT OFFICE - DAY Tom types at his desk. Summer approaches the cubicle Tom shares with McKenzie. SUMMER I'm going to the supply room. Anyone need anything? MCKENZIE No thanks. 27. TOM I think you know what I need. There's a beat. TOM Toner. SUMMER Oh ok, sure, no prob. INT OFFICE - LATE IN THE DAY The office is emptying out. Only a few people remain but Tom and Summer are two of them. Tom takes this opportunity to put a CD in his computer and play the song really loud. It's "I Want to Know What Love Is" by Foreigner. No reaction from Summer. Tom turns it up. Still nothing. Tom turns it down, defeated. INT SUMMER'S DESK Tom is there. TOM Do you want to go out with me? A beat. Summer says nothing. TOM And the Priest says, "But we're already out!" They both laugh. SUMMER That is hilarious! TOM I know! And when she walks away, he smacks his head a few times with his palm. INT LOCAL DIVE BAR - AS BEFORE TOM Not once did she take the bait. Not once. Screw it. I'm done with her. It's over. 28. Tom's friends all look at him like he's crazy. (27 & 28) INT OFFICE - TOM'S CUBICLE - DAY Tom sits at his desk with headphones on trying to work. But with Summer down at the end of the hall, he's having a hard time concentrating. McKenzie shares a cubicle with Tom. MCKENZIE This Friday. 10 bucks all you can karaoke at The Well. TOM No way McKenzie. Absolutely not. MCKENZIE Come on! (SINGING) "Take me down to the paradise city where the grass is green and they got big titties!" TOM They won't let you back in there after last time. MCKENZIE I wasn't that bad. TOM Not at all. You just threw up on the stage, tried to fight the bartender, and then threatened to burn the place down before passing out on the sidewalk. Quiet night for you. MCKENZIE (REVERENTIAL) You saved my life that day. TOM We are not going back there. 29. MCKENZIE This is a work thing, Tommy. It won't be like that. The whole office is going. TOM I really can't. Even if I wanted to. There's a lot of stuff I gotta take care of. MCKENZIE You're not listening to me. TOM What? MCKENZIE The whole office is going. Tom looks over to where Summer sits. And realization dawns on him... INT KARAOKE BAR - NIGHT Summer is in a back booth with some co-workers when Tom walks in to the crowded place. McKenzie has the microphone and he's singing "Every Rose Has Its Thorn" by Poison. He's real into it and, well, it's kinda sad. Tom waves to McKenzie and walks over to the booth. TOM Hi. SUMMER Hey! They said you weren't coming. TOM You asked if I was coming? (BEAT) I mean...my plans got cancelled... Tom is at a loss. There's yet another awkward silent beat between them. Thankfully, it's interrupted by... MCKENZIE (already drunk) Goddamn that song is brilliant! What's up Hansen? Summer sees the next song come up on the screen. 30. SUMMER Ooh that's me. She downs a shot and jumps up on stage. SUMMER (into mic) Ok. I'm the new girl so no making fun of me. Her co-workers whistle and cheer her on. She takes a deep breath as the opening bars of "Born to Run" begin to play and Summer starts to sing. Tom sees Summer as the actress in whatever nonsensical karaoke video accompanies the song (it's something to do with an old convertible, the sunset, and a midget in a tuxedo.) LATER. Tom sits in the booth with McKenzie (doing a shot) as Summer chats with co-workers at another table. Tom can't help but stare at Summer. She notices and waves. He smiles, hopeful that she'll come over. She doesn't. He hides his disappointment. LATER. Tom walks back to his table with drinks. Summer is there in mid-conversation with McKenzie. TOM You were great up there, by the way. SUMMER Well you can't go wrong with The Boss. TOM (sitting down) I hear that. MCKENZIE Hey, did you know Tom here's from Jersey? SUMMER Yeah? TOM Lived there til I was 12. SUMMER I named my cat after Springsteen. TOM No kidding? What's his name? 31. SUMMER Bruce. TOM (BEAT) That makes sense. She laughs. She's really cute when she laughs. MCKENZIE So you got a boyfriend? SUMMER Me? No. Tom shoots daggers at McKenzie for that comment. McKenzie mouths "what?" Summer sees nothing. MCKENZIE Why not? SUMMER Don't really want one. MCKENZIE Come on. I don't believe that. SUMMER You don't believe a woman could enjoy being free and independent? MCKENZIE (BEAT) Are you a lesbian? SUMMER No, I'm not a lesbian. I'm just not comfortable being somebody's "girlfriend." I don't want to be anybody's anything, you know? MCKENZIE I have no idea what you're talking about. SUMMER It sounds selfish, I know, but... I just like being on my own. Relationships are messy and feelings are always getting hurt. Who needs all that? We're young. We're in one of the most beautiful cities in the world. (MORE) 32. SUMMER (cont'd) I say, let's have as much fun as we can afford and leave the serious shit for later. TOM But...what if you meet someone and fall in love? SUMMER (LAUGHS) Love? You seriously believe in that stuff? TOM Of course I do. SUMMER Interesting. A real romantic. MCKENZIE Oh you have no idea. This one... embarrassing. There was this one girl, (to Tom) I gotta tell this story -- Tom elbows McKenzie hard in the ribs to shut him up. TOM Summer, hold on... you don't believe in love? SUMMER I don't even know what that word means. I know I've never felt it, whatever it is in all those songs. And I know that today most marriages end in divorce. Like my parents. TOM Well mine too but -- SUMMER Oh yeah, And I read in Newsweek, there were these scientists who found that by stimulating a part of the brain with electrodes you can make a person fall in "love" with a rock. Is that the love you're talking about? TOM Well... 33. SUMMER Why, what's your take on it? CUT TO: AN ANIMATION SEQUENCE, real quick. AN EXPLOSION OF MANY DIFFERENT COLORS, COMPLETE WITH A CHOIR AND A CHURCH ORGAN ALL BUILDING TO A HUGE CRESCENDO. BACK TO: INT BAR On Tom: TOM I think it's...kind of a huge thing. SUMMER (BEAT) Ok. Looks like we're gonna have to agree to disagree on that one. McKenzie senses some discontent. MCKENZIE So, uh, who's singing next? SUMMER (re: singing) I'd say it's your turn loverboy. TOM Nooo. I don't sing in public. SUMMER Sure you do. I see you lip-synching to your headphones every morning on your way in. TOM I don't... MCKENZIE You really do. SUMMER It's ok. I like it. Takes a lot of self-confidence to look ridiculous. 34. MCKENZIE (can't help himself) Self-confidence! Ha! Tom elbows him in the ribs again. TOM Anyway, I'm not near drunk enough to sing in front of all these people. SUMMER Ok then. Let's drink. TOM It would take at least ten shots to get me to sing. SUMMER Bartender! TEN MINUTES LATER. Tom is up there singing The Clash's "Magnificent Seven." You wouldn't think so but Tom is a ROCK STAR up there! He's dancing like Jagger, he's got everyone in the bar singing along to the audience-participation parts. It's a sight to behold. Summer is all smiles watching. LATER. Tom and Summer back at the table. Summer is humming something. TOM That's not it. SUMMER What is that then? TOM I have no idea. They're both having a good time. SUMMER I used to watch it every week. TOM Me too. Why can't we think of the stupid A-Team theme song. SUMMER Pathetic. TOM This is gonna bother me for weeks. 35. SUMMER Totally. They share another laugh and then it gets quiet. In that good way. ANGLE ON McKenzie, wasted, singing the shit out of "Proud to Be an American." He really means it. At any minute he might start to cry. MCKENZIE "And I'd proudly stand UP!" (aggressive drunk) I said stand! BACK ON TOM and SUMMER. TOM Oh here we go. EXT KARAOKE BAR - LATER Tom helps a nearly comatose McKenzie exit the place. Summer is with them. MCKENZIE (to Summer) This guy. (DRAMATICALLY) He's the best. TOM Ok, let's

than

How many times the word 'than' appears in the text?

500 Days of Summer Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 500 DAYS OF SUMMER Written by Scott Neustadter & Michael H. Weber First Draft SIMPLE BLACK ON WHITE CREDITS ROLL TO BIG STAR'S "I'M IN LOVE WITH A GIRL." When all is said and done, up comes a single number in parenthesis, like so: (478) EXT. PARK - DAY For a few seconds we watch A MAN (20s) and a WOMAN (20s) on a park bench. Their names are TOM and SUMMER. Neither one says a word. CLOSE ON her HAND, covering his. Notice the wedding ring. No words are spoken. Tom looks at her the way every woman wants to be looked at. A DISTINGUISHED VOICE begins to speak to us. NARRATOR This is a story of boy meets girl. CUT TO: (1) INT CONFERENCE ROOM - DAY The boy is TOM HANSEN. He sits at a very long rectangular conference table. The walls are lined with framed blow-up sized greeting cards. Tom, dark hair and blue eyes, wears a t- shirt under his sports coat and Adidas tennis shoes to balance out the corporate dress code. He looks pretty bored. NARRATOR The boy, Tom Hansen of Margate, New Jersey, grew up believing that he'd never truly be happy until the day he met his... "soulmate." CUT TO: INT LIVING ROOM - 1989 PRE-TEEN TOM sits alone on his bed engrossed in a movie. His walls are covered in posters of obscure bands. From the TV, we hear: "Elaine! Elaine!" 4. NARRATOR This belief stemmed from early exposure to sad British pop music and a total misreading of the movie, "The Graduate." CUT TO: INT OFFICE CUBICLE - PRESENT DAY The girl is SUMMER FINN. She files folders and answers phones in a plain white office. She has cropped blonde hair almost like a boy's but her face is feminine and pretty enough to get away with it. NARRATOR The girl, Summer Finn of Shinnecock, Michigan, did not share this belief. CUT TO: INT BATHROOM - 1994 Teenage Summer stares at herself in the mirror. Her hair extends down to her lower back. NARRATOR Since the disintegration of her parents' marriage, she'd only loved two things. The first was her long blonde hair. She picks up scissors from the counter and begins to slice. NARRATOR The second was how easily she could cut it off... And feel nothing. CUT TO: SPLITSCREEN. INT BOARDROOM/ INT CUBICLE - SAME On the right side of the screen, Tom continues to listen to some boring presentation. On the left, Summer answers a call, takes a message, and walks out of her cubicle down a long narrow hallway. 5. NARRATOR Tom meets Summer on January 8th in a San Francisco office building. In an instant, he will know she's the one he's been looking for. CU Summer opening the door to the boardroom, about to come face to face with Tom for the first time. NARRATOR This is a story of boy meets girl. But before they do, CUT TO: BLACK. NARRATOR You should know up front, this is not a love story. (240) EXT STREETS OF SAN FRAN - NIGHT A 12 year old GIRL rides her bicycle down the block. She arrives at an apartment complex, jumps off the bike and races up the front stairs. She rings the doorbell. INT TOM'S PLACE - LATER PAUL and MCKENZIE open the door. These are Tom's best friends since birth. Paul is a doctor and wears hospital scrubs. McKenzie works in the cubicle next to Tom. PAUL I didn't know who else to call. The Girl removes her bike helmet. GIRL You did the right thing. Where is he? Tom is in the kitchen breaking things and basically going insane. About to smash a plate on the floor, he's interrupted BY: 6. GIRL Thomas. Tom freezes. TOM Rachel? What are you doing here? GIRL (RACHEL) I'm here to help you. TOM Help me how? RACHEL First, put down the plate. Tom slowly obliges. RACHEL Now come here and sit down. Tom sits next to the young girl. Paul and Mckenzie sit on either side of them. RACHEL The key is not to panic. TOM I think I'm gonna be sick. RACHEL Drink this. She hands him a glass of water. Tom drinks it down. MCKENZIE What is that? RACHEL Vodka. TOM (grimacing at the taste) More. He gulps another down. TOM Does Mom know you're here? It's gotta be past 10. 7. RACHEL Don't worry about it. Start from the beginning. Tell us what happened... Tom takes a deep breath. EXT PARK - DAY Tom and Summer eat sandwiches in the park. TOM (V.O.) We spent the whole day together. EXT OUTDOOR MARKET - DAY Tom and Summer walk through the stalls. TOM (V.O.) We went shopping. EXT COFFEE HOUSE - DAY Tom and Summer seated outside drinking coffee. He reads the newspaper, she reads a novel. TOM (V.O.) We had coffee. EXT MOVIE THEATER - DAY Tom and Summer walk out of a movie theatre. TOM (V.O.) We saw a film. INT RECORD STORE - LATER Tom and Summer shop for music. Tom excitedly shows Summer a Ringo Starr solo album. TOM (V.O.) We bought music. 8. INT TOM'S PLACE TOM I thought it was a great day. RACHEL And then what happened? INT DINER - NIGHT Tom and Summer in a booth ordering dinner. TOM (to WAITRESS) Um...you know what...let's go crazy, I'll have BOTH. (to Summer) God, I love eating pancakes at night. It's like the greatest thing ever. How great is this? SUMMER I think we should stop seeing each other. INT TOM'S PLACE - AS BEFORE RACHEL Just like that? TOM Just like that. PAUL Did she say why? INT DINER - AS BEFORE SUMMER This thing. This whatever it is. You and me. Do you think this is normal? TOM I don't know. Who cares about normal?! I'm happy. Aren't you happy? 9. SUMMER You're happy? TOM You're not? SUMMER All we do is argue! TOM That is such a lie! INT TOM'S PLACE - AS BEFORE RACHEL Maybe she was just in a bad mood. PAUL A hormonal thing. RACHEL P.M.S.? TOM (to Rachel) What do you know about PMS? RACHEL More than you. TOM Oh my god. MCKENZIE Please continue. INT DINER - AS BEFORE SUMMER This can't be a total surprise. I mean, we've been like Sid and Nancy for months. TOM Summer, Sid stabbed Nancy seven times with a kitchen knife. We've had some disagreements but I hardly think I'm Sid Vicious. SUMMER No... I'm Sid. 10. TOM (BEAT) So I'm Nancy?! The Waitress comes out with the food. Tom and Summer stop their discussion until the meal is served and the Waitress leaves. Summer starts to eat. SUMMER Let's just eat and we'll talk about it after. I'm starving. Without another word she goes back to her pancakes. Tom watches her eat like this is the worst travesty in the history of mankind. SUMMER (mouth full) Mmm, you're so right. These are great! Tom looks at his food in disgust. He may never eat again. SUMMER (INNOCENT) What? Tom stands up to go. SUMMER Tom, don't. Come back. You're still my best fr--- THE SCENE FREEZES AND WE ZOOM IN ON TOM'S STUNNED FACE. INT TOM'S PLACE - AS BEFORE Silence for a few beats. PAUL Jesus. MCKENZIE That's harsh. TOM I don't know what I'm gonna do. RACHEL You're gonna be fine. 11. TOM (BEAT) I'm gonna throw up. MCKENZIE Or that. RACHEL Here. Tom drinks more vodka. MCKENZIE Come on Hansen. You'll be ok. You're the best guy I know. You'll find someone. PAUL You know what they say...there's plenty other fish in the sea. TOM No. PAUL Sure they do. They say that. TOM Well they're wrong. It's not true. I've fished in that sea. I've jumped in and swam in that sea! I'm fucking Aquaman! (to Rachel) Sorry. What I mean is... there are no other fish. This was my fish. Paul and McKenzie share a very concerned look. CUT TO: (86) EXT SIDEWALK - DAY Tom walks alongside his friend PAUL. Out of nowhere, he says: TOM I'm in love with Summer. 12. PAUL (BEAT) For real? CUT TO: CU - SUMMER'S SMILE TOM (V.O.) I love her smile. CU - SUMMER'S HAIR TOM (V.O.) I love her hair. CU - SUMMER'S KNEES TOM (V.O.) I love her knees. CU - SUMMER'S EYES TOM (V.O.) I love how one eye is higher up on her face than the other eye. CU - SUMMER'S NECK TOM (V.O.) I love the scar on her neck from this operation she had as a kid. CU - SUMMER'S BREASTS (UNDER A BLACK T-SHIRT) TOM (V.O.) I love how she looks in my Clash T- shirt. CU - SUMMER ASLEEP TOM (V.O.) I love how she looks when she's sleeping. CU - SUMMER'S LAUGH TOM (V.O.) I love the sound of her laugh. OVER BLACK, play the middle 8 of "Every Little Thing She Does is Magic" by The Police. 13. TOM (V.O.) I love how I hear this song every time I think of her. CU - TOM, STARING DIRECTLY AT THE CAMERA. TOM (V.O.) I love how she makes me feel. Like anything's possible. Like, I don't know...like life is worth it. CUT TO: EXT SIDEWALK - SAME Paul and Tom. TOM For real, Paul. I'm madly in love with that girl. Paul is silent for a beat. PAUL Oh shit. (1) INT CONFERENCE ROOM - DAY Tom as we saw him earlier. Bored. In the boardroom. Mckenzie is in mid-presentation. MCKENZIE Now I know this may be a little risque...but if New Hampshire Greetings wants the jump on those conservative, right-wing neo-Nazis at Hallmark, maybe playing it safe is the wrong approach. The nuclear family is dead and we need a new holiday to recognize that. Mckenzie holds up a home-made photoshopped family portrait of Martina Navratilova, Ellen DeGeneres, and the kid from "Jerry Maguire". 14. MCKENZIE May 21st. Other Mother's Day. The co-workers nod and digest this idea. VANCE is the head of the department. VANCE Hmmm. That's an intriguing idea McKenzie. Along with Grossman's "Magellan Day" I'd say we've got some potential here. What do you think Hansen? Could you write up some prototypes for these? Tom is about to answer when... the door opens. SUMMER Excuse me, Mr. Vance? There's a call for you on line 3. And in walks this girl. Summer. We've met her by now but Tom hasn't. This is the first time. His eyes go wide and from that moment on, he can't take them off her. VANCE (to the table) Everyone this is Summer, my new assistant. Summer just moved here from... SUMMER Michigan. VANCE Right. Michigan. Well, Summer, everyone. Everyone, Summer. Excuse me, I have to take this. SUMMER Nice to meet you all. Summer gives a little wave before following Vance out. She doesn't notice Tom whose face looks like he's just seen God. 15. (3, 4, 5) INT. OFFICE - DAY Tom trying to work. And failing. He turns to McKenzie. TOM What do we know about this new girl? MCKENZIE Who? TOM The new girl. Summer. In Vance's office. MCKENZIE Dude. I hear she's a bitch from hell! TOM (DISAPPOINTED) Really? MCKENZIE Patel tried to talk to her in the copy room. She was totally not having it. TOM Maybe she was just in a hurry. MCKENZIE And maybe she's some uppity, better than everyone, superskank. TOM Damn. MCKENZIE I know. She's pretty hot. TOM That makes me so mad! Why is it pretty girls always think they can treat people like crap and get away with it? 16. MCKENZIE Dunno. TOM Like, just cause she has high cheekbones and soft skin... MCKENZIE ...and really good teeth. TOM And maybe the world's most perfect breasts...Just cause of that stuff, she can walk around like she's center of the universe? MCKENZIE (as explanation) Women. TOM Ugh. You know what? Screw her! We haven't even met and I can't stand her already. INT. ELEVATOR - LATER Tom is listening to headphones. Summer enters the elevator and Tom actively puts on a show to ignore her. Summer hears the music. SUMMER The Smiths. Tom, pretending not to hear or care, gives her an unenthusiastic wave. SUMMER I love The Smiths. Tom, still pretending, takes off his headphones. TOM Sorry? SUMMER I said. I love The Smiths. You have good taste in music. A beat as Tom processes this information. 17. TOM (AMAZED) You like the Smiths? SUMMER (SINGING) "To die by your side is such a heavenly way to die." Love it. The elevator doors open and she gets off. TOM (accidentally out loud) Oh my god. (8) INT OFFICE LOBBY - DAY The office sings "Happy Birthday" to a FEMALE CO-WORKER. When they get to the part about her name, Tom is the only one who knows it, everyone else just there for the cake. Song over, everyone digs in. Tom finds himself standing next to Summer. TOM Hi. SUMMER Hello. TOM So, uh, Summer... SUMMER Tom. TOM Yeah! How's it going so far? SUMMER The city or the firm? TOM Both... Either. SUMMER I'm happy. Still getting situated. How long have you worked here? 18. TOM Oh, you know, 4, 5... years. SUMMER Really? Jesus. Did you always want to write greeting cards? TOM Are you nuts? I don't even want to do it now. SUMMER What is it you want to do? TOM I studied to be an architect actually. SUMMER That's so cool! What happened? TOM Eh, you know. Same old story. Moved to the city to work for a company. Company went under. Needed a job. My friend worked here. Got me this. SUMMER And are you any good? TOM (points to a framed card) Well I wrote that one. SUMMER (READING) "Today You're a Man. Mazel Tov on your Bar Mitzvah." TOM It's a big seller. SUMMER I meant, are you any good as an architect? TOM Oh... No. I doubt it. SUMMER Well, I'd say you're a perfectly ...adequate... greeting card writer. 19. TOM Why thank you. That's what they called me in college. "Perfectly adequate" Hansen. SUMMER They used to call me "Anal Girl." Tom does a spit-take and almost chokes. SUMMER (EXPLAINING) I was very neat and organized. There's an awkward silence. SUMMER Anyway, I should get back. TOM Ok, well, I'll see you around. She walks back to her cubicle at the other end of the hall. Tom watches her walk away, completely enamored. He sits down at his desk and sets out to work. But before he does, his eyes fall on a sketch he drew of a house. It's dated 2001 and it's the only architecture sketch on his wall. (11) INT TOM'S PLACE - DAY Tom is playing Playstation with Rachel. TOM And it turns out she's read every Graham Greene novel ever published. Her desk is lined with Magritte posters and Edward Hopper. RACHEL Your favorites. TOM We're so compatible it's insane! Seriously! It doesn't make sense! She's not like I thought at all. She's... amazing. 20. RACHEL Oh boy. TOM What? RACHEL You know...just cause some cute girl likes the same bizarro music you do doesn't make her "the one." TOM (BEAT) Of course it does. SARAH (O.S.) Dinner! SARAH, 50s, Tom and Rachel's mother, stands in the doorway. SARAH Pause and come eat. They do. Tom enters the living room area and sits down next to his stepdad MARTIN, 60s, a quiet, professorial Southern gentleman type. TOM Hey Martin. ANGLE ON RACHEL and Sarah. RACHEL He met a girl. SARAH (EXCITED) Yeah? RACHEL (GRIM) Yeah. Sarah grows serious too. SARAH Oh shit. CUT TO: 21. STOCK FOOTAGE. The Wright Brothers, Galileo, Heaven's Gate, Neil Armstrong. NARRATOR When one strongly believes in something, it takes overwhelming contradictory evidence to change their minds. END ON: LITTLE TOM, age 6, mesmerized by a vinyl album cover of Olivia Newton-John in "Xanadu." NARRATOR Tom had always been a devout believer in the idea of "true love." (BEAT) The evidence did not support him. CUT TO: (-8914) INT CLASSROOM - DAY Little Tom stares at a LITTLE GIRL, 6, who has the same hairstyle and dress as Newton-John on that cover. Tom draws a picture. It's a boy and a girl with a giant heart over them. He stands up and walks over to the girl, putting the picture on her desk. Not a word is spoken. Satisfied, he returns to his seat and waits to see what happens. NARRATOR Exhibit A: Lisa Rayner. The Little Girl stands up and walks the picture over to ANOTHER BOY. Tom is mortified. The OTHER BOY eats the drawing. (-5313) 22. EXT FOOTBALL FIELD - NIGHT A BLONDE CHEERLEADER leads the crowd in a cheer. PAN ACROSS to find TEENAGE TOM, 15, finishing making out with a homely HIGH SCHOOL GIRL. He says goodbye and walks off, looking back longingly. NARRATOR Exhibit B: Wendy Wilson. Once Tom is out of frame, a SECOND BOY approaches Wendy. Then they start making out. (-2825) INT AIRPLANE - DAY COLLEGE TOM sits next to his girlfriend REBECCA MYLES. His smile gleams. TOM I'm so glad we decided to go away together Bec. I know we've only been dating a few months but it's been...awesome. NARRATOR Exhibit C: Rebecca Myles. TOM And now, you and me, 8 days in Mexico... best spring break ever! Across the aisle Rebecca makes eye contact with three COLLEGE DUDES. REBECCA I think we should see other people. (-734) 23. EXT CAR - NIGHT Younger Tom sits in the passenger seat. Raven-haired AMANDA drives. NARRATOR And, finally... Exhibit D: Amanda Heller. AMANDA It's just... it's complicated. TOM What's complicated? Last week you said you loved me! AMANDA I know it's sudden but... TOM No, this can't be. Everything was going so great. I don't understand. AMANDA (BEAT) Here. TOM What's this? She puts a disc into the cd player. AMANDA Because you're, like, the biggest music nerd I've ever met, I think this should really help explain where I'm coming from. A pop song begins to play on the stereo. They listen for a few beats. Tom is confused. AMANDA You remember how much I loved this song when you first played it for me? TOM Sure. It's all you wanted to listen to for weeks. 24. AMANDA Right. And I still like it, don't get me wrong. It's just... When I hear it now, I don't feel the same...rush. TOM (still confused) Ok... AMANDA I press the skip button. Still Tom doesn't understand. TOM What does this have to do with--? AMANDA I'd rather listen to something else. And with that, it slowly sinks in for him. TOM But Amanda... this is a great fucking song! (22) INT LOCAL DIVE BAR - HAPPY HOUR Tom removes his headphones and sits defeated with McKenzie and Paul in a booth. TOM It's off. PAUL What? TOM Me and Summer. MCKENZIE Was it ever on? 25. TOM No. But it could have been. In a world where good things happen to me. PAUL Yeah well, that's not really where we live. TOM No. MCKENZIE So what happened? TOM You ready for this? INT ELEVATOR - THE DAY BEFORE Tom is alone. The door opens. In walks Summer. TOM (V.O.) So there we are. All alone. Nine more floors to ride. Plenty of time. I figure...this is my chance. If not now when, right? They ride in silence for a few beats. TOM Summer... SUMMER Yeah? TOM (BEAT) So how was your weekend? SUMMER It was good. INT LOCAL DIVE BAR - AS BEFORE The friends wait for more. TOM You believe that shit? 26. MCKENZIE What shit? PAUL I think I missed something. TOM "It was good." She didn't say "It was good." She said "It was good." Emphasis on the good. She basically said "I spent the weekend having sex with this guy I met at the gym." Fucking whore. Screw her. It's over. Everyone's silent. MCKENZIE What the hell is wrong with you?! PAUL Dude, you got problems. TOM She's not interested in me. There's nothing I can do. MCKENZIE Based on..."it was good?" TOM And some other things. PAUL Like what, she said "hey" instead of "hi" cause that totally means she's a lesbian. TOM I gave her all sorts of chances. INT OFFICE - DAY Tom types at his desk. Summer approaches the cubicle Tom shares with McKenzie. SUMMER I'm going to the supply room. Anyone need anything? MCKENZIE No thanks. 27. TOM I think you know what I need. There's a beat. TOM Toner. SUMMER Oh ok, sure, no prob. INT OFFICE - LATE IN THE DAY The office is emptying out. Only a few people remain but Tom and Summer are two of them. Tom takes this opportunity to put a CD in his computer and play the song really loud. It's "I Want to Know What Love Is" by Foreigner. No reaction from Summer. Tom turns it up. Still nothing. Tom turns it down, defeated. INT SUMMER'S DESK Tom is there. TOM Do you want to go out with me? A beat. Summer says nothing. TOM And the Priest says, "But we're already out!" They both laugh. SUMMER That is hilarious! TOM I know! And when she walks away, he smacks his head a few times with his palm. INT LOCAL DIVE BAR - AS BEFORE TOM Not once did she take the bait. Not once. Screw it. I'm done with her. It's over. 28. Tom's friends all look at him like he's crazy. (27 & 28) INT OFFICE - TOM'S CUBICLE - DAY Tom sits at his desk with headphones on trying to work. But with Summer down at the end of the hall, he's having a hard time concentrating. McKenzie shares a cubicle with Tom. MCKENZIE This Friday. 10 bucks all you can karaoke at The Well. TOM No way McKenzie. Absolutely not. MCKENZIE Come on! (SINGING) "Take me down to the paradise city where the grass is green and they got big titties!" TOM They won't let you back in there after last time. MCKENZIE I wasn't that bad. TOM Not at all. You just threw up on the stage, tried to fight the bartender, and then threatened to burn the place down before passing out on the sidewalk. Quiet night for you. MCKENZIE (REVERENTIAL) You saved my life that day. TOM We are not going back there. 29. MCKENZIE This is a work thing, Tommy. It won't be like that. The whole office is going. TOM I really can't. Even if I wanted to. There's a lot of stuff I gotta take care of. MCKENZIE You're not listening to me. TOM What? MCKENZIE The whole office is going. Tom looks over to where Summer sits. And realization dawns on him... INT KARAOKE BAR - NIGHT Summer is in a back booth with some co-workers when Tom walks in to the crowded place. McKenzie has the microphone and he's singing "Every Rose Has Its Thorn" by Poison. He's real into it and, well, it's kinda sad. Tom waves to McKenzie and walks over to the booth. TOM Hi. SUMMER Hey! They said you weren't coming. TOM You asked if I was coming? (BEAT) I mean...my plans got cancelled... Tom is at a loss. There's yet another awkward silent beat between them. Thankfully, it's interrupted by... MCKENZIE (already drunk) Goddamn that song is brilliant! What's up Hansen? Summer sees the next song come up on the screen. 30. SUMMER Ooh that's me. She downs a shot and jumps up on stage. SUMMER (into mic) Ok. I'm the new girl so no making fun of me. Her co-workers whistle and cheer her on. She takes a deep breath as the opening bars of "Born to Run" begin to play and Summer starts to sing. Tom sees Summer as the actress in whatever nonsensical karaoke video accompanies the song (it's something to do with an old convertible, the sunset, and a midget in a tuxedo.) LATER. Tom sits in the booth with McKenzie (doing a shot) as Summer chats with co-workers at another table. Tom can't help but stare at Summer. She notices and waves. He smiles, hopeful that she'll come over. She doesn't. He hides his disappointment. LATER. Tom walks back to his table with drinks. Summer is there in mid-conversation with McKenzie. TOM You were great up there, by the way. SUMMER Well you can't go wrong with The Boss. TOM (sitting down) I hear that. MCKENZIE Hey, did you know Tom here's from Jersey? SUMMER Yeah? TOM Lived there til I was 12. SUMMER I named my cat after Springsteen. TOM No kidding? What's his name? 31. SUMMER Bruce. TOM (BEAT) That makes sense. She laughs. She's really cute when she laughs. MCKENZIE So you got a boyfriend? SUMMER Me? No. Tom shoots daggers at McKenzie for that comment. McKenzie mouths "what?" Summer sees nothing. MCKENZIE Why not? SUMMER Don't really want one. MCKENZIE Come on. I don't believe that. SUMMER You don't believe a woman could enjoy being free and independent? MCKENZIE (BEAT) Are you a lesbian? SUMMER No, I'm not a lesbian. I'm just not comfortable being somebody's "girlfriend." I don't want to be anybody's anything, you know? MCKENZIE I have no idea what you're talking about. SUMMER It sounds selfish, I know, but... I just like being on my own. Relationships are messy and feelings are always getting hurt. Who needs all that? We're young. We're in one of the most beautiful cities in the world. (MORE) 32. SUMMER (cont'd) I say, let's have as much fun as we can afford and leave the serious shit for later. TOM But...what if you meet someone and fall in love? SUMMER (LAUGHS) Love? You seriously believe in that stuff? TOM Of course I do. SUMMER Interesting. A real romantic. MCKENZIE Oh you have no idea. This one... embarrassing. There was this one girl, (to Tom) I gotta tell this story -- Tom elbows McKenzie hard in the ribs to shut him up. TOM Summer, hold on... you don't believe in love? SUMMER I don't even know what that word means. I know I've never felt it, whatever it is in all those songs. And I know that today most marriages end in divorce. Like my parents. TOM Well mine too but -- SUMMER Oh yeah, And I read in Newsweek, there were these scientists who found that by stimulating a part of the brain with electrodes you can make a person fall in "love" with a rock. Is that the love you're talking about? TOM Well... 33. SUMMER Why, what's your take on it? CUT TO: AN ANIMATION SEQUENCE, real quick. AN EXPLOSION OF MANY DIFFERENT COLORS, COMPLETE WITH A CHOIR AND A CHURCH ORGAN ALL BUILDING TO A HUGE CRESCENDO. BACK TO: INT BAR On Tom: TOM I think it's...kind of a huge thing. SUMMER (BEAT) Ok. Looks like we're gonna have to agree to disagree on that one. McKenzie senses some discontent. MCKENZIE So, uh, who's singing next? SUMMER (re: singing) I'd say it's your turn loverboy. TOM Nooo. I don't sing in public. SUMMER Sure you do. I see you lip-synching to your headphones every morning on your way in. TOM I don't... MCKENZIE You really do. SUMMER It's ok. I like it. Takes a lot of self-confidence to look ridiculous. 34. MCKENZIE (can't help himself) Self-confidence! Ha! Tom elbows him in the ribs again. TOM Anyway, I'm not near drunk enough to sing in front of all these people. SUMMER Ok then. Let's drink. TOM It would take at least ten shots to get me to sing. SUMMER Bartender! TEN MINUTES LATER. Tom is up there singing The Clash's "Magnificent Seven." You wouldn't think so but Tom is a ROCK STAR up there! He's dancing like Jagger, he's got everyone in the bar singing along to the audience-participation parts. It's a sight to behold. Summer is all smiles watching. LATER. Tom and Summer back at the table. Summer is humming something. TOM That's not it. SUMMER What is that then? TOM I have no idea. They're both having a good time. SUMMER I used to watch it every week. TOM Me too. Why can't we think of the stupid A-Team theme song. SUMMER Pathetic. TOM This is gonna bother me for weeks. 35. SUMMER Totally. They share another laugh and then it gets quiet. In that good way. ANGLE ON McKenzie, wasted, singing the shit out of "Proud to Be an American." He really means it. At any minute he might start to cry. MCKENZIE "And I'd proudly stand UP!" (aggressive drunk) I said stand! BACK ON TOM and SUMMER. TOM Oh here we go. EXT KARAOKE BAR - LATER Tom helps a nearly comatose McKenzie exit the place. Summer is with them. MCKENZIE (to Summer) This guy. (DRAMATICALLY) He's the best. TOM Ok, let's

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How many times the word 'hot' appears in the text?

500 Days of Summer Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 500 DAYS OF SUMMER Written by Scott Neustadter & Michael H. Weber First Draft SIMPLE BLACK ON WHITE CREDITS ROLL TO BIG STAR'S "I'M IN LOVE WITH A GIRL." When all is said and done, up comes a single number in parenthesis, like so: (478) EXT. PARK - DAY For a few seconds we watch A MAN (20s) and a WOMAN (20s) on a park bench. Their names are TOM and SUMMER. Neither one says a word. CLOSE ON her HAND, covering his. Notice the wedding ring. No words are spoken. Tom looks at her the way every woman wants to be looked at. A DISTINGUISHED VOICE begins to speak to us. NARRATOR This is a story of boy meets girl. CUT TO: (1) INT CONFERENCE ROOM - DAY The boy is TOM HANSEN. He sits at a very long rectangular conference table. The walls are lined with framed blow-up sized greeting cards. Tom, dark hair and blue eyes, wears a t- shirt under his sports coat and Adidas tennis shoes to balance out the corporate dress code. He looks pretty bored. NARRATOR The boy, Tom Hansen of Margate, New Jersey, grew up believing that he'd never truly be happy until the day he met his... "soulmate." CUT TO: INT LIVING ROOM - 1989 PRE-TEEN TOM sits alone on his bed engrossed in a movie. His walls are covered in posters of obscure bands. From the TV, we hear: "Elaine! Elaine!" 4. NARRATOR This belief stemmed from early exposure to sad British pop music and a total misreading of the movie, "The Graduate." CUT TO: INT OFFICE CUBICLE - PRESENT DAY The girl is SUMMER FINN. She files folders and answers phones in a plain white office. She has cropped blonde hair almost like a boy's but her face is feminine and pretty enough to get away with it. NARRATOR The girl, Summer Finn of Shinnecock, Michigan, did not share this belief. CUT TO: INT BATHROOM - 1994 Teenage Summer stares at herself in the mirror. Her hair extends down to her lower back. NARRATOR Since the disintegration of her parents' marriage, she'd only loved two things. The first was her long blonde hair. She picks up scissors from the counter and begins to slice. NARRATOR The second was how easily she could cut it off... And feel nothing. CUT TO: SPLITSCREEN. INT BOARDROOM/ INT CUBICLE - SAME On the right side of the screen, Tom continues to listen to some boring presentation. On the left, Summer answers a call, takes a message, and walks out of her cubicle down a long narrow hallway. 5. NARRATOR Tom meets Summer on January 8th in a San Francisco office building. In an instant, he will know she's the one he's been looking for. CU Summer opening the door to the boardroom, about to come face to face with Tom for the first time. NARRATOR This is a story of boy meets girl. But before they do, CUT TO: BLACK. NARRATOR You should know up front, this is not a love story. (240) EXT STREETS OF SAN FRAN - NIGHT A 12 year old GIRL rides her bicycle down the block. She arrives at an apartment complex, jumps off the bike and races up the front stairs. She rings the doorbell. INT TOM'S PLACE - LATER PAUL and MCKENZIE open the door. These are Tom's best friends since birth. Paul is a doctor and wears hospital scrubs. McKenzie works in the cubicle next to Tom. PAUL I didn't know who else to call. The Girl removes her bike helmet. GIRL You did the right thing. Where is he? Tom is in the kitchen breaking things and basically going insane. About to smash a plate on the floor, he's interrupted BY: 6. GIRL Thomas. Tom freezes. TOM Rachel? What are you doing here? GIRL (RACHEL) I'm here to help you. TOM Help me how? RACHEL First, put down the plate. Tom slowly obliges. RACHEL Now come here and sit down. Tom sits next to the young girl. Paul and Mckenzie sit on either side of them. RACHEL The key is not to panic. TOM I think I'm gonna be sick. RACHEL Drink this. She hands him a glass of water. Tom drinks it down. MCKENZIE What is that? RACHEL Vodka. TOM (grimacing at the taste) More. He gulps another down. TOM Does Mom know you're here? It's gotta be past 10. 7. RACHEL Don't worry about it. Start from the beginning. Tell us what happened... Tom takes a deep breath. EXT PARK - DAY Tom and Summer eat sandwiches in the park. TOM (V.O.) We spent the whole day together. EXT OUTDOOR MARKET - DAY Tom and Summer walk through the stalls. TOM (V.O.) We went shopping. EXT COFFEE HOUSE - DAY Tom and Summer seated outside drinking coffee. He reads the newspaper, she reads a novel. TOM (V.O.) We had coffee. EXT MOVIE THEATER - DAY Tom and Summer walk out of a movie theatre. TOM (V.O.) We saw a film. INT RECORD STORE - LATER Tom and Summer shop for music. Tom excitedly shows Summer a Ringo Starr solo album. TOM (V.O.) We bought music. 8. INT TOM'S PLACE TOM I thought it was a great day. RACHEL And then what happened? INT DINER - NIGHT Tom and Summer in a booth ordering dinner. TOM (to WAITRESS) Um...you know what...let's go crazy, I'll have BOTH. (to Summer) God, I love eating pancakes at night. It's like the greatest thing ever. How great is this? SUMMER I think we should stop seeing each other. INT TOM'S PLACE - AS BEFORE RACHEL Just like that? TOM Just like that. PAUL Did she say why? INT DINER - AS BEFORE SUMMER This thing. This whatever it is. You and me. Do you think this is normal? TOM I don't know. Who cares about normal?! I'm happy. Aren't you happy? 9. SUMMER You're happy? TOM You're not? SUMMER All we do is argue! TOM That is such a lie! INT TOM'S PLACE - AS BEFORE RACHEL Maybe she was just in a bad mood. PAUL A hormonal thing. RACHEL P.M.S.? TOM (to Rachel) What do you know about PMS? RACHEL More than you. TOM Oh my god. MCKENZIE Please continue. INT DINER - AS BEFORE SUMMER This can't be a total surprise. I mean, we've been like Sid and Nancy for months. TOM Summer, Sid stabbed Nancy seven times with a kitchen knife. We've had some disagreements but I hardly think I'm Sid Vicious. SUMMER No... I'm Sid. 10. TOM (BEAT) So I'm Nancy?! The Waitress comes out with the food. Tom and Summer stop their discussion until the meal is served and the Waitress leaves. Summer starts to eat. SUMMER Let's just eat and we'll talk about it after. I'm starving. Without another word she goes back to her pancakes. Tom watches her eat like this is the worst travesty in the history of mankind. SUMMER (mouth full) Mmm, you're so right. These are great! Tom looks at his food in disgust. He may never eat again. SUMMER (INNOCENT) What? Tom stands up to go. SUMMER Tom, don't. Come back. You're still my best fr--- THE SCENE FREEZES AND WE ZOOM IN ON TOM'S STUNNED FACE. INT TOM'S PLACE - AS BEFORE Silence for a few beats. PAUL Jesus. MCKENZIE That's harsh. TOM I don't know what I'm gonna do. RACHEL You're gonna be fine. 11. TOM (BEAT) I'm gonna throw up. MCKENZIE Or that. RACHEL Here. Tom drinks more vodka. MCKENZIE Come on Hansen. You'll be ok. You're the best guy I know. You'll find someone. PAUL You know what they say...there's plenty other fish in the sea. TOM No. PAUL Sure they do. They say that. TOM Well they're wrong. It's not true. I've fished in that sea. I've jumped in and swam in that sea! I'm fucking Aquaman! (to Rachel) Sorry. What I mean is... there are no other fish. This was my fish. Paul and McKenzie share a very concerned look. CUT TO: (86) EXT SIDEWALK - DAY Tom walks alongside his friend PAUL. Out of nowhere, he says: TOM I'm in love with Summer. 12. PAUL (BEAT) For real? CUT TO: CU - SUMMER'S SMILE TOM (V.O.) I love her smile. CU - SUMMER'S HAIR TOM (V.O.) I love her hair. CU - SUMMER'S KNEES TOM (V.O.) I love her knees. CU - SUMMER'S EYES TOM (V.O.) I love how one eye is higher up on her face than the other eye. CU - SUMMER'S NECK TOM (V.O.) I love the scar on her neck from this operation she had as a kid. CU - SUMMER'S BREASTS (UNDER A BLACK T-SHIRT) TOM (V.O.) I love how she looks in my Clash T- shirt. CU - SUMMER ASLEEP TOM (V.O.) I love how she looks when she's sleeping. CU - SUMMER'S LAUGH TOM (V.O.) I love the sound of her laugh. OVER BLACK, play the middle 8 of "Every Little Thing She Does is Magic" by The Police. 13. TOM (V.O.) I love how I hear this song every time I think of her. CU - TOM, STARING DIRECTLY AT THE CAMERA. TOM (V.O.) I love how she makes me feel. Like anything's possible. Like, I don't know...like life is worth it. CUT TO: EXT SIDEWALK - SAME Paul and Tom. TOM For real, Paul. I'm madly in love with that girl. Paul is silent for a beat. PAUL Oh shit. (1) INT CONFERENCE ROOM - DAY Tom as we saw him earlier. Bored. In the boardroom. Mckenzie is in mid-presentation. MCKENZIE Now I know this may be a little risque...but if New Hampshire Greetings wants the jump on those conservative, right-wing neo-Nazis at Hallmark, maybe playing it safe is the wrong approach. The nuclear family is dead and we need a new holiday to recognize that. Mckenzie holds up a home-made photoshopped family portrait of Martina Navratilova, Ellen DeGeneres, and the kid from "Jerry Maguire". 14. MCKENZIE May 21st. Other Mother's Day. The co-workers nod and digest this idea. VANCE is the head of the department. VANCE Hmmm. That's an intriguing idea McKenzie. Along with Grossman's "Magellan Day" I'd say we've got some potential here. What do you think Hansen? Could you write up some prototypes for these? Tom is about to answer when... the door opens. SUMMER Excuse me, Mr. Vance? There's a call for you on line 3. And in walks this girl. Summer. We've met her by now but Tom hasn't. This is the first time. His eyes go wide and from that moment on, he can't take them off her. VANCE (to the table) Everyone this is Summer, my new assistant. Summer just moved here from... SUMMER Michigan. VANCE Right. Michigan. Well, Summer, everyone. Everyone, Summer. Excuse me, I have to take this. SUMMER Nice to meet you all. Summer gives a little wave before following Vance out. She doesn't notice Tom whose face looks like he's just seen God. 15. (3, 4, 5) INT. OFFICE - DAY Tom trying to work. And failing. He turns to McKenzie. TOM What do we know about this new girl? MCKENZIE Who? TOM The new girl. Summer. In Vance's office. MCKENZIE Dude. I hear she's a bitch from hell! TOM (DISAPPOINTED) Really? MCKENZIE Patel tried to talk to her in the copy room. She was totally not having it. TOM Maybe she was just in a hurry. MCKENZIE And maybe she's some uppity, better than everyone, superskank. TOM Damn. MCKENZIE I know. She's pretty hot. TOM That makes me so mad! Why is it pretty girls always think they can treat people like crap and get away with it? 16. MCKENZIE Dunno. TOM Like, just cause she has high cheekbones and soft skin... MCKENZIE ...and really good teeth. TOM And maybe the world's most perfect breasts...Just cause of that stuff, she can walk around like she's center of the universe? MCKENZIE (as explanation) Women. TOM Ugh. You know what? Screw her! We haven't even met and I can't stand her already. INT. ELEVATOR - LATER Tom is listening to headphones. Summer enters the elevator and Tom actively puts on a show to ignore her. Summer hears the music. SUMMER The Smiths. Tom, pretending not to hear or care, gives her an unenthusiastic wave. SUMMER I love The Smiths. Tom, still pretending, takes off his headphones. TOM Sorry? SUMMER I said. I love The Smiths. You have good taste in music. A beat as Tom processes this information. 17. TOM (AMAZED) You like the Smiths? SUMMER (SINGING) "To die by your side is such a heavenly way to die." Love it. The elevator doors open and she gets off. TOM (accidentally out loud) Oh my god. (8) INT OFFICE LOBBY - DAY The office sings "Happy Birthday" to a FEMALE CO-WORKER. When they get to the part about her name, Tom is the only one who knows it, everyone else just there for the cake. Song over, everyone digs in. Tom finds himself standing next to Summer. TOM Hi. SUMMER Hello. TOM So, uh, Summer... SUMMER Tom. TOM Yeah! How's it going so far? SUMMER The city or the firm? TOM Both... Either. SUMMER I'm happy. Still getting situated. How long have you worked here? 18. TOM Oh, you know, 4, 5... years. SUMMER Really? Jesus. Did you always want to write greeting cards? TOM Are you nuts? I don't even want to do it now. SUMMER What is it you want to do? TOM I studied to be an architect actually. SUMMER That's so cool! What happened? TOM Eh, you know. Same old story. Moved to the city to work for a company. Company went under. Needed a job. My friend worked here. Got me this. SUMMER And are you any good? TOM (points to a framed card) Well I wrote that one. SUMMER (READING) "Today You're a Man. Mazel Tov on your Bar Mitzvah." TOM It's a big seller. SUMMER I meant, are you any good as an architect? TOM Oh... No. I doubt it. SUMMER Well, I'd say you're a perfectly ...adequate... greeting card writer. 19. TOM Why thank you. That's what they called me in college. "Perfectly adequate" Hansen. SUMMER They used to call me "Anal Girl." Tom does a spit-take and almost chokes. SUMMER (EXPLAINING) I was very neat and organized. There's an awkward silence. SUMMER Anyway, I should get back. TOM Ok, well, I'll see you around. She walks back to her cubicle at the other end of the hall. Tom watches her walk away, completely enamored. He sits down at his desk and sets out to work. But before he does, his eyes fall on a sketch he drew of a house. It's dated 2001 and it's the only architecture sketch on his wall. (11) INT TOM'S PLACE - DAY Tom is playing Playstation with Rachel. TOM And it turns out she's read every Graham Greene novel ever published. Her desk is lined with Magritte posters and Edward Hopper. RACHEL Your favorites. TOM We're so compatible it's insane! Seriously! It doesn't make sense! She's not like I thought at all. She's... amazing. 20. RACHEL Oh boy. TOM What? RACHEL You know...just cause some cute girl likes the same bizarro music you do doesn't make her "the one." TOM (BEAT) Of course it does. SARAH (O.S.) Dinner! SARAH, 50s, Tom and Rachel's mother, stands in the doorway. SARAH Pause and come eat. They do. Tom enters the living room area and sits down next to his stepdad MARTIN, 60s, a quiet, professorial Southern gentleman type. TOM Hey Martin. ANGLE ON RACHEL and Sarah. RACHEL He met a girl. SARAH (EXCITED) Yeah? RACHEL (GRIM) Yeah. Sarah grows serious too. SARAH Oh shit. CUT TO: 21. STOCK FOOTAGE. The Wright Brothers, Galileo, Heaven's Gate, Neil Armstrong. NARRATOR When one strongly believes in something, it takes overwhelming contradictory evidence to change their minds. END ON: LITTLE TOM, age 6, mesmerized by a vinyl album cover of Olivia Newton-John in "Xanadu." NARRATOR Tom had always been a devout believer in the idea of "true love." (BEAT) The evidence did not support him. CUT TO: (-8914) INT CLASSROOM - DAY Little Tom stares at a LITTLE GIRL, 6, who has the same hairstyle and dress as Newton-John on that cover. Tom draws a picture. It's a boy and a girl with a giant heart over them. He stands up and walks over to the girl, putting the picture on her desk. Not a word is spoken. Satisfied, he returns to his seat and waits to see what happens. NARRATOR Exhibit A: Lisa Rayner. The Little Girl stands up and walks the picture over to ANOTHER BOY. Tom is mortified. The OTHER BOY eats the drawing. (-5313) 22. EXT FOOTBALL FIELD - NIGHT A BLONDE CHEERLEADER leads the crowd in a cheer. PAN ACROSS to find TEENAGE TOM, 15, finishing making out with a homely HIGH SCHOOL GIRL. He says goodbye and walks off, looking back longingly. NARRATOR Exhibit B: Wendy Wilson. Once Tom is out of frame, a SECOND BOY approaches Wendy. Then they start making out. (-2825) INT AIRPLANE - DAY COLLEGE TOM sits next to his girlfriend REBECCA MYLES. His smile gleams. TOM I'm so glad we decided to go away together Bec. I know we've only been dating a few months but it's been...awesome. NARRATOR Exhibit C: Rebecca Myles. TOM And now, you and me, 8 days in Mexico... best spring break ever! Across the aisle Rebecca makes eye contact with three COLLEGE DUDES. REBECCA I think we should see other people. (-734) 23. EXT CAR - NIGHT Younger Tom sits in the passenger seat. Raven-haired AMANDA drives. NARRATOR And, finally... Exhibit D: Amanda Heller. AMANDA It's just... it's complicated. TOM What's complicated? Last week you said you loved me! AMANDA I know it's sudden but... TOM No, this can't be. Everything was going so great. I don't understand. AMANDA (BEAT) Here. TOM What's this? She puts a disc into the cd player. AMANDA Because you're, like, the biggest music nerd I've ever met, I think this should really help explain where I'm coming from. A pop song begins to play on the stereo. They listen for a few beats. Tom is confused. AMANDA You remember how much I loved this song when you first played it for me? TOM Sure. It's all you wanted to listen to for weeks. 24. AMANDA Right. And I still like it, don't get me wrong. It's just... When I hear it now, I don't feel the same...rush. TOM (still confused) Ok... AMANDA I press the skip button. Still Tom doesn't understand. TOM What does this have to do with--? AMANDA I'd rather listen to something else. And with that, it slowly sinks in for him. TOM But Amanda... this is a great fucking song! (22) INT LOCAL DIVE BAR - HAPPY HOUR Tom removes his headphones and sits defeated with McKenzie and Paul in a booth. TOM It's off. PAUL What? TOM Me and Summer. MCKENZIE Was it ever on? 25. TOM No. But it could have been. In a world where good things happen to me. PAUL Yeah well, that's not really where we live. TOM No. MCKENZIE So what happened? TOM You ready for this? INT ELEVATOR - THE DAY BEFORE Tom is alone. The door opens. In walks Summer. TOM (V.O.) So there we are. All alone. Nine more floors to ride. Plenty of time. I figure...this is my chance. If not now when, right? They ride in silence for a few beats. TOM Summer... SUMMER Yeah? TOM (BEAT) So how was your weekend? SUMMER It was good. INT LOCAL DIVE BAR - AS BEFORE The friends wait for more. TOM You believe that shit? 26. MCKENZIE What shit? PAUL I think I missed something. TOM "It was good." She didn't say "It was good." She said "It was good." Emphasis on the good. She basically said "I spent the weekend having sex with this guy I met at the gym." Fucking whore. Screw her. It's over. Everyone's silent. MCKENZIE What the hell is wrong with you?! PAUL Dude, you got problems. TOM She's not interested in me. There's nothing I can do. MCKENZIE Based on..."it was good?" TOM And some other things. PAUL Like what, she said "hey" instead of "hi" cause that totally means she's a lesbian. TOM I gave her all sorts of chances. INT OFFICE - DAY Tom types at his desk. Summer approaches the cubicle Tom shares with McKenzie. SUMMER I'm going to the supply room. Anyone need anything? MCKENZIE No thanks. 27. TOM I think you know what I need. There's a beat. TOM Toner. SUMMER Oh ok, sure, no prob. INT OFFICE - LATE IN THE DAY The office is emptying out. Only a few people remain but Tom and Summer are two of them. Tom takes this opportunity to put a CD in his computer and play the song really loud. It's "I Want to Know What Love Is" by Foreigner. No reaction from Summer. Tom turns it up. Still nothing. Tom turns it down, defeated. INT SUMMER'S DESK Tom is there. TOM Do you want to go out with me? A beat. Summer says nothing. TOM And the Priest says, "But we're already out!" They both laugh. SUMMER That is hilarious! TOM I know! And when she walks away, he smacks his head a few times with his palm. INT LOCAL DIVE BAR - AS BEFORE TOM Not once did she take the bait. Not once. Screw it. I'm done with her. It's over. 28. Tom's friends all look at him like he's crazy. (27 & 28) INT OFFICE - TOM'S CUBICLE - DAY Tom sits at his desk with headphones on trying to work. But with Summer down at the end of the hall, he's having a hard time concentrating. McKenzie shares a cubicle with Tom. MCKENZIE This Friday. 10 bucks all you can karaoke at The Well. TOM No way McKenzie. Absolutely not. MCKENZIE Come on! (SINGING) "Take me down to the paradise city where the grass is green and they got big titties!" TOM They won't let you back in there after last time. MCKENZIE I wasn't that bad. TOM Not at all. You just threw up on the stage, tried to fight the bartender, and then threatened to burn the place down before passing out on the sidewalk. Quiet night for you. MCKENZIE (REVERENTIAL) You saved my life that day. TOM We are not going back there. 29. MCKENZIE This is a work thing, Tommy. It won't be like that. The whole office is going. TOM I really can't. Even if I wanted to. There's a lot of stuff I gotta take care of. MCKENZIE You're not listening to me. TOM What? MCKENZIE The whole office is going. Tom looks over to where Summer sits. And realization dawns on him... INT KARAOKE BAR - NIGHT Summer is in a back booth with some co-workers when Tom walks in to the crowded place. McKenzie has the microphone and he's singing "Every Rose Has Its Thorn" by Poison. He's real into it and, well, it's kinda sad. Tom waves to McKenzie and walks over to the booth. TOM Hi. SUMMER Hey! They said you weren't coming. TOM You asked if I was coming? (BEAT) I mean...my plans got cancelled... Tom is at a loss. There's yet another awkward silent beat between them. Thankfully, it's interrupted by... MCKENZIE (already drunk) Goddamn that song is brilliant! What's up Hansen? Summer sees the next song come up on the screen. 30. SUMMER Ooh that's me. She downs a shot and jumps up on stage. SUMMER (into mic) Ok. I'm the new girl so no making fun of me. Her co-workers whistle and cheer her on. She takes a deep breath as the opening bars of "Born to Run" begin to play and Summer starts to sing. Tom sees Summer as the actress in whatever nonsensical karaoke video accompanies the song (it's something to do with an old convertible, the sunset, and a midget in a tuxedo.) LATER. Tom sits in the booth with McKenzie (doing a shot) as Summer chats with co-workers at another table. Tom can't help but stare at Summer. She notices and waves. He smiles, hopeful that she'll come over. She doesn't. He hides his disappointment. LATER. Tom walks back to his table with drinks. Summer is there in mid-conversation with McKenzie. TOM You were great up there, by the way. SUMMER Well you can't go wrong with The Boss. TOM (sitting down) I hear that. MCKENZIE Hey, did you know Tom here's from Jersey? SUMMER Yeah? TOM Lived there til I was 12. SUMMER I named my cat after Springsteen. TOM No kidding? What's his name? 31. SUMMER Bruce. TOM (BEAT) That makes sense. She laughs. She's really cute when she laughs. MCKENZIE So you got a boyfriend? SUMMER Me? No. Tom shoots daggers at McKenzie for that comment. McKenzie mouths "what?" Summer sees nothing. MCKENZIE Why not? SUMMER Don't really want one. MCKENZIE Come on. I don't believe that. SUMMER You don't believe a woman could enjoy being free and independent? MCKENZIE (BEAT) Are you a lesbian? SUMMER No, I'm not a lesbian. I'm just not comfortable being somebody's "girlfriend." I don't want to be anybody's anything, you know? MCKENZIE I have no idea what you're talking about. SUMMER It sounds selfish, I know, but... I just like being on my own. Relationships are messy and feelings are always getting hurt. Who needs all that? We're young. We're in one of the most beautiful cities in the world. (MORE) 32. SUMMER (cont'd) I say, let's have as much fun as we can afford and leave the serious shit for later. TOM But...what if you meet someone and fall in love? SUMMER (LAUGHS) Love? You seriously believe in that stuff? TOM Of course I do. SUMMER Interesting. A real romantic. MCKENZIE Oh you have no idea. This one... embarrassing. There was this one girl, (to Tom) I gotta tell this story -- Tom elbows McKenzie hard in the ribs to shut him up. TOM Summer, hold on... you don't believe in love? SUMMER I don't even know what that word means. I know I've never felt it, whatever it is in all those songs. And I know that today most marriages end in divorce. Like my parents. TOM Well mine too but -- SUMMER Oh yeah, And I read in Newsweek, there were these scientists who found that by stimulating a part of the brain with electrodes you can make a person fall in "love" with a rock. Is that the love you're talking about? TOM Well... 33. SUMMER Why, what's your take on it? CUT TO: AN ANIMATION SEQUENCE, real quick. AN EXPLOSION OF MANY DIFFERENT COLORS, COMPLETE WITH A CHOIR AND A CHURCH ORGAN ALL BUILDING TO A HUGE CRESCENDO. BACK TO: INT BAR On Tom: TOM I think it's...kind of a huge thing. SUMMER (BEAT) Ok. Looks like we're gonna have to agree to disagree on that one. McKenzie senses some discontent. MCKENZIE So, uh, who's singing next? SUMMER (re: singing) I'd say it's your turn loverboy. TOM Nooo. I don't sing in public. SUMMER Sure you do. I see you lip-synching to your headphones every morning on your way in. TOM I don't... MCKENZIE You really do. SUMMER It's ok. I like it. Takes a lot of self-confidence to look ridiculous. 34. MCKENZIE (can't help himself) Self-confidence! Ha! Tom elbows him in the ribs again. TOM Anyway, I'm not near drunk enough to sing in front of all these people. SUMMER Ok then. Let's drink. TOM It would take at least ten shots to get me to sing. SUMMER Bartender! TEN MINUTES LATER. Tom is up there singing The Clash's "Magnificent Seven." You wouldn't think so but Tom is a ROCK STAR up there! He's dancing like Jagger, he's got everyone in the bar singing along to the audience-participation parts. It's a sight to behold. Summer is all smiles watching. LATER. Tom and Summer back at the table. Summer is humming something. TOM That's not it. SUMMER What is that then? TOM I have no idea. They're both having a good time. SUMMER I used to watch it every week. TOM Me too. Why can't we think of the stupid A-Team theme song. SUMMER Pathetic. TOM This is gonna bother me for weeks. 35. SUMMER Totally. They share another laugh and then it gets quiet. In that good way. ANGLE ON McKenzie, wasted, singing the shit out of "Proud to Be an American." He really means it. At any minute he might start to cry. MCKENZIE "And I'd proudly stand UP!" (aggressive drunk) I said stand! BACK ON TOM and SUMMER. TOM Oh here we go. EXT KARAOKE BAR - LATER Tom helps a nearly comatose McKenzie exit the place. Summer is with them. MCKENZIE (to Summer) This guy. (DRAMATICALLY) He's the best. TOM Ok, let's

loved

How many times the word 'loved' appears in the text?

500 Days of Summer Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 500 DAYS OF SUMMER Written by Scott Neustadter & Michael H. Weber First Draft SIMPLE BLACK ON WHITE CREDITS ROLL TO BIG STAR'S "I'M IN LOVE WITH A GIRL." When all is said and done, up comes a single number in parenthesis, like so: (478) EXT. PARK - DAY For a few seconds we watch A MAN (20s) and a WOMAN (20s) on a park bench. Their names are TOM and SUMMER. Neither one says a word. CLOSE ON her HAND, covering his. Notice the wedding ring. No words are spoken. Tom looks at her the way every woman wants to be looked at. A DISTINGUISHED VOICE begins to speak to us. NARRATOR This is a story of boy meets girl. CUT TO: (1) INT CONFERENCE ROOM - DAY The boy is TOM HANSEN. He sits at a very long rectangular conference table. The walls are lined with framed blow-up sized greeting cards. Tom, dark hair and blue eyes, wears a t- shirt under his sports coat and Adidas tennis shoes to balance out the corporate dress code. He looks pretty bored. NARRATOR The boy, Tom Hansen of Margate, New Jersey, grew up believing that he'd never truly be happy until the day he met his... "soulmate." CUT TO: INT LIVING ROOM - 1989 PRE-TEEN TOM sits alone on his bed engrossed in a movie. His walls are covered in posters of obscure bands. From the TV, we hear: "Elaine! Elaine!" 4. NARRATOR This belief stemmed from early exposure to sad British pop music and a total misreading of the movie, "The Graduate." CUT TO: INT OFFICE CUBICLE - PRESENT DAY The girl is SUMMER FINN. She files folders and answers phones in a plain white office. She has cropped blonde hair almost like a boy's but her face is feminine and pretty enough to get away with it. NARRATOR The girl, Summer Finn of Shinnecock, Michigan, did not share this belief. CUT TO: INT BATHROOM - 1994 Teenage Summer stares at herself in the mirror. Her hair extends down to her lower back. NARRATOR Since the disintegration of her parents' marriage, she'd only loved two things. The first was her long blonde hair. She picks up scissors from the counter and begins to slice. NARRATOR The second was how easily she could cut it off... And feel nothing. CUT TO: SPLITSCREEN. INT BOARDROOM/ INT CUBICLE - SAME On the right side of the screen, Tom continues to listen to some boring presentation. On the left, Summer answers a call, takes a message, and walks out of her cubicle down a long narrow hallway. 5. NARRATOR Tom meets Summer on January 8th in a San Francisco office building. In an instant, he will know she's the one he's been looking for. CU Summer opening the door to the boardroom, about to come face to face with Tom for the first time. NARRATOR This is a story of boy meets girl. But before they do, CUT TO: BLACK. NARRATOR You should know up front, this is not a love story. (240) EXT STREETS OF SAN FRAN - NIGHT A 12 year old GIRL rides her bicycle down the block. She arrives at an apartment complex, jumps off the bike and races up the front stairs. She rings the doorbell. INT TOM'S PLACE - LATER PAUL and MCKENZIE open the door. These are Tom's best friends since birth. Paul is a doctor and wears hospital scrubs. McKenzie works in the cubicle next to Tom. PAUL I didn't know who else to call. The Girl removes her bike helmet. GIRL You did the right thing. Where is he? Tom is in the kitchen breaking things and basically going insane. About to smash a plate on the floor, he's interrupted BY: 6. GIRL Thomas. Tom freezes. TOM Rachel? What are you doing here? GIRL (RACHEL) I'm here to help you. TOM Help me how? RACHEL First, put down the plate. Tom slowly obliges. RACHEL Now come here and sit down. Tom sits next to the young girl. Paul and Mckenzie sit on either side of them. RACHEL The key is not to panic. TOM I think I'm gonna be sick. RACHEL Drink this. She hands him a glass of water. Tom drinks it down. MCKENZIE What is that? RACHEL Vodka. TOM (grimacing at the taste) More. He gulps another down. TOM Does Mom know you're here? It's gotta be past 10. 7. RACHEL Don't worry about it. Start from the beginning. Tell us what happened... Tom takes a deep breath. EXT PARK - DAY Tom and Summer eat sandwiches in the park. TOM (V.O.) We spent the whole day together. EXT OUTDOOR MARKET - DAY Tom and Summer walk through the stalls. TOM (V.O.) We went shopping. EXT COFFEE HOUSE - DAY Tom and Summer seated outside drinking coffee. He reads the newspaper, she reads a novel. TOM (V.O.) We had coffee. EXT MOVIE THEATER - DAY Tom and Summer walk out of a movie theatre. TOM (V.O.) We saw a film. INT RECORD STORE - LATER Tom and Summer shop for music. Tom excitedly shows Summer a Ringo Starr solo album. TOM (V.O.) We bought music. 8. INT TOM'S PLACE TOM I thought it was a great day. RACHEL And then what happened? INT DINER - NIGHT Tom and Summer in a booth ordering dinner. TOM (to WAITRESS) Um...you know what...let's go crazy, I'll have BOTH. (to Summer) God, I love eating pancakes at night. It's like the greatest thing ever. How great is this? SUMMER I think we should stop seeing each other. INT TOM'S PLACE - AS BEFORE RACHEL Just like that? TOM Just like that. PAUL Did she say why? INT DINER - AS BEFORE SUMMER This thing. This whatever it is. You and me. Do you think this is normal? TOM I don't know. Who cares about normal?! I'm happy. Aren't you happy? 9. SUMMER You're happy? TOM You're not? SUMMER All we do is argue! TOM That is such a lie! INT TOM'S PLACE - AS BEFORE RACHEL Maybe she was just in a bad mood. PAUL A hormonal thing. RACHEL P.M.S.? TOM (to Rachel) What do you know about PMS? RACHEL More than you. TOM Oh my god. MCKENZIE Please continue. INT DINER - AS BEFORE SUMMER This can't be a total surprise. I mean, we've been like Sid and Nancy for months. TOM Summer, Sid stabbed Nancy seven times with a kitchen knife. We've had some disagreements but I hardly think I'm Sid Vicious. SUMMER No... I'm Sid. 10. TOM (BEAT) So I'm Nancy?! The Waitress comes out with the food. Tom and Summer stop their discussion until the meal is served and the Waitress leaves. Summer starts to eat. SUMMER Let's just eat and we'll talk about it after. I'm starving. Without another word she goes back to her pancakes. Tom watches her eat like this is the worst travesty in the history of mankind. SUMMER (mouth full) Mmm, you're so right. These are great! Tom looks at his food in disgust. He may never eat again. SUMMER (INNOCENT) What? Tom stands up to go. SUMMER Tom, don't. Come back. You're still my best fr--- THE SCENE FREEZES AND WE ZOOM IN ON TOM'S STUNNED FACE. INT TOM'S PLACE - AS BEFORE Silence for a few beats. PAUL Jesus. MCKENZIE That's harsh. TOM I don't know what I'm gonna do. RACHEL You're gonna be fine. 11. TOM (BEAT) I'm gonna throw up. MCKENZIE Or that. RACHEL Here. Tom drinks more vodka. MCKENZIE Come on Hansen. You'll be ok. You're the best guy I know. You'll find someone. PAUL You know what they say...there's plenty other fish in the sea. TOM No. PAUL Sure they do. They say that. TOM Well they're wrong. It's not true. I've fished in that sea. I've jumped in and swam in that sea! I'm fucking Aquaman! (to Rachel) Sorry. What I mean is... there are no other fish. This was my fish. Paul and McKenzie share a very concerned look. CUT TO: (86) EXT SIDEWALK - DAY Tom walks alongside his friend PAUL. Out of nowhere, he says: TOM I'm in love with Summer. 12. PAUL (BEAT) For real? CUT TO: CU - SUMMER'S SMILE TOM (V.O.) I love her smile. CU - SUMMER'S HAIR TOM (V.O.) I love her hair. CU - SUMMER'S KNEES TOM (V.O.) I love her knees. CU - SUMMER'S EYES TOM (V.O.) I love how one eye is higher up on her face than the other eye. CU - SUMMER'S NECK TOM (V.O.) I love the scar on her neck from this operation she had as a kid. CU - SUMMER'S BREASTS (UNDER A BLACK T-SHIRT) TOM (V.O.) I love how she looks in my Clash T- shirt. CU - SUMMER ASLEEP TOM (V.O.) I love how she looks when she's sleeping. CU - SUMMER'S LAUGH TOM (V.O.) I love the sound of her laugh. OVER BLACK, play the middle 8 of "Every Little Thing She Does is Magic" by The Police. 13. TOM (V.O.) I love how I hear this song every time I think of her. CU - TOM, STARING DIRECTLY AT THE CAMERA. TOM (V.O.) I love how she makes me feel. Like anything's possible. Like, I don't know...like life is worth it. CUT TO: EXT SIDEWALK - SAME Paul and Tom. TOM For real, Paul. I'm madly in love with that girl. Paul is silent for a beat. PAUL Oh shit. (1) INT CONFERENCE ROOM - DAY Tom as we saw him earlier. Bored. In the boardroom. Mckenzie is in mid-presentation. MCKENZIE Now I know this may be a little risque...but if New Hampshire Greetings wants the jump on those conservative, right-wing neo-Nazis at Hallmark, maybe playing it safe is the wrong approach. The nuclear family is dead and we need a new holiday to recognize that. Mckenzie holds up a home-made photoshopped family portrait of Martina Navratilova, Ellen DeGeneres, and the kid from "Jerry Maguire". 14. MCKENZIE May 21st. Other Mother's Day. The co-workers nod and digest this idea. VANCE is the head of the department. VANCE Hmmm. That's an intriguing idea McKenzie. Along with Grossman's "Magellan Day" I'd say we've got some potential here. What do you think Hansen? Could you write up some prototypes for these? Tom is about to answer when... the door opens. SUMMER Excuse me, Mr. Vance? There's a call for you on line 3. And in walks this girl. Summer. We've met her by now but Tom hasn't. This is the first time. His eyes go wide and from that moment on, he can't take them off her. VANCE (to the table) Everyone this is Summer, my new assistant. Summer just moved here from... SUMMER Michigan. VANCE Right. Michigan. Well, Summer, everyone. Everyone, Summer. Excuse me, I have to take this. SUMMER Nice to meet you all. Summer gives a little wave before following Vance out. She doesn't notice Tom whose face looks like he's just seen God. 15. (3, 4, 5) INT. OFFICE - DAY Tom trying to work. And failing. He turns to McKenzie. TOM What do we know about this new girl? MCKENZIE Who? TOM The new girl. Summer. In Vance's office. MCKENZIE Dude. I hear she's a bitch from hell! TOM (DISAPPOINTED) Really? MCKENZIE Patel tried to talk to her in the copy room. She was totally not having it. TOM Maybe she was just in a hurry. MCKENZIE And maybe she's some uppity, better than everyone, superskank. TOM Damn. MCKENZIE I know. She's pretty hot. TOM That makes me so mad! Why is it pretty girls always think they can treat people like crap and get away with it? 16. MCKENZIE Dunno. TOM Like, just cause she has high cheekbones and soft skin... MCKENZIE ...and really good teeth. TOM And maybe the world's most perfect breasts...Just cause of that stuff, she can walk around like she's center of the universe? MCKENZIE (as explanation) Women. TOM Ugh. You know what? Screw her! We haven't even met and I can't stand her already. INT. ELEVATOR - LATER Tom is listening to headphones. Summer enters the elevator and Tom actively puts on a show to ignore her. Summer hears the music. SUMMER The Smiths. Tom, pretending not to hear or care, gives her an unenthusiastic wave. SUMMER I love The Smiths. Tom, still pretending, takes off his headphones. TOM Sorry? SUMMER I said. I love The Smiths. You have good taste in music. A beat as Tom processes this information. 17. TOM (AMAZED) You like the Smiths? SUMMER (SINGING) "To die by your side is such a heavenly way to die." Love it. The elevator doors open and she gets off. TOM (accidentally out loud) Oh my god. (8) INT OFFICE LOBBY - DAY The office sings "Happy Birthday" to a FEMALE CO-WORKER. When they get to the part about her name, Tom is the only one who knows it, everyone else just there for the cake. Song over, everyone digs in. Tom finds himself standing next to Summer. TOM Hi. SUMMER Hello. TOM So, uh, Summer... SUMMER Tom. TOM Yeah! How's it going so far? SUMMER The city or the firm? TOM Both... Either. SUMMER I'm happy. Still getting situated. How long have you worked here? 18. TOM Oh, you know, 4, 5... years. SUMMER Really? Jesus. Did you always want to write greeting cards? TOM Are you nuts? I don't even want to do it now. SUMMER What is it you want to do? TOM I studied to be an architect actually. SUMMER That's so cool! What happened? TOM Eh, you know. Same old story. Moved to the city to work for a company. Company went under. Needed a job. My friend worked here. Got me this. SUMMER And are you any good? TOM (points to a framed card) Well I wrote that one. SUMMER (READING) "Today You're a Man. Mazel Tov on your Bar Mitzvah." TOM It's a big seller. SUMMER I meant, are you any good as an architect? TOM Oh... No. I doubt it. SUMMER Well, I'd say you're a perfectly ...adequate... greeting card writer. 19. TOM Why thank you. That's what they called me in college. "Perfectly adequate" Hansen. SUMMER They used to call me "Anal Girl." Tom does a spit-take and almost chokes. SUMMER (EXPLAINING) I was very neat and organized. There's an awkward silence. SUMMER Anyway, I should get back. TOM Ok, well, I'll see you around. She walks back to her cubicle at the other end of the hall. Tom watches her walk away, completely enamored. He sits down at his desk and sets out to work. But before he does, his eyes fall on a sketch he drew of a house. It's dated 2001 and it's the only architecture sketch on his wall. (11) INT TOM'S PLACE - DAY Tom is playing Playstation with Rachel. TOM And it turns out she's read every Graham Greene novel ever published. Her desk is lined with Magritte posters and Edward Hopper. RACHEL Your favorites. TOM We're so compatible it's insane! Seriously! It doesn't make sense! She's not like I thought at all. She's... amazing. 20. RACHEL Oh boy. TOM What? RACHEL You know...just cause some cute girl likes the same bizarro music you do doesn't make her "the one." TOM (BEAT) Of course it does. SARAH (O.S.) Dinner! SARAH, 50s, Tom and Rachel's mother, stands in the doorway. SARAH Pause and come eat. They do. Tom enters the living room area and sits down next to his stepdad MARTIN, 60s, a quiet, professorial Southern gentleman type. TOM Hey Martin. ANGLE ON RACHEL and Sarah. RACHEL He met a girl. SARAH (EXCITED) Yeah? RACHEL (GRIM) Yeah. Sarah grows serious too. SARAH Oh shit. CUT TO: 21. STOCK FOOTAGE. The Wright Brothers, Galileo, Heaven's Gate, Neil Armstrong. NARRATOR When one strongly believes in something, it takes overwhelming contradictory evidence to change their minds. END ON: LITTLE TOM, age 6, mesmerized by a vinyl album cover of Olivia Newton-John in "Xanadu." NARRATOR Tom had always been a devout believer in the idea of "true love." (BEAT) The evidence did not support him. CUT TO: (-8914) INT CLASSROOM - DAY Little Tom stares at a LITTLE GIRL, 6, who has the same hairstyle and dress as Newton-John on that cover. Tom draws a picture. It's a boy and a girl with a giant heart over them. He stands up and walks over to the girl, putting the picture on her desk. Not a word is spoken. Satisfied, he returns to his seat and waits to see what happens. NARRATOR Exhibit A: Lisa Rayner. The Little Girl stands up and walks the picture over to ANOTHER BOY. Tom is mortified. The OTHER BOY eats the drawing. (-5313) 22. EXT FOOTBALL FIELD - NIGHT A BLONDE CHEERLEADER leads the crowd in a cheer. PAN ACROSS to find TEENAGE TOM, 15, finishing making out with a homely HIGH SCHOOL GIRL. He says goodbye and walks off, looking back longingly. NARRATOR Exhibit B: Wendy Wilson. Once Tom is out of frame, a SECOND BOY approaches Wendy. Then they start making out. (-2825) INT AIRPLANE - DAY COLLEGE TOM sits next to his girlfriend REBECCA MYLES. His smile gleams. TOM I'm so glad we decided to go away together Bec. I know we've only been dating a few months but it's been...awesome. NARRATOR Exhibit C: Rebecca Myles. TOM And now, you and me, 8 days in Mexico... best spring break ever! Across the aisle Rebecca makes eye contact with three COLLEGE DUDES. REBECCA I think we should see other people. (-734) 23. EXT CAR - NIGHT Younger Tom sits in the passenger seat. Raven-haired AMANDA drives. NARRATOR And, finally... Exhibit D: Amanda Heller. AMANDA It's just... it's complicated. TOM What's complicated? Last week you said you loved me! AMANDA I know it's sudden but... TOM No, this can't be. Everything was going so great. I don't understand. AMANDA (BEAT) Here. TOM What's this? She puts a disc into the cd player. AMANDA Because you're, like, the biggest music nerd I've ever met, I think this should really help explain where I'm coming from. A pop song begins to play on the stereo. They listen for a few beats. Tom is confused. AMANDA You remember how much I loved this song when you first played it for me? TOM Sure. It's all you wanted to listen to for weeks. 24. AMANDA Right. And I still like it, don't get me wrong. It's just... When I hear it now, I don't feel the same...rush. TOM (still confused) Ok... AMANDA I press the skip button. Still Tom doesn't understand. TOM What does this have to do with--? AMANDA I'd rather listen to something else. And with that, it slowly sinks in for him. TOM But Amanda... this is a great fucking song! (22) INT LOCAL DIVE BAR - HAPPY HOUR Tom removes his headphones and sits defeated with McKenzie and Paul in a booth. TOM It's off. PAUL What? TOM Me and Summer. MCKENZIE Was it ever on? 25. TOM No. But it could have been. In a world where good things happen to me. PAUL Yeah well, that's not really where we live. TOM No. MCKENZIE So what happened? TOM You ready for this? INT ELEVATOR - THE DAY BEFORE Tom is alone. The door opens. In walks Summer. TOM (V.O.) So there we are. All alone. Nine more floors to ride. Plenty of time. I figure...this is my chance. If not now when, right? They ride in silence for a few beats. TOM Summer... SUMMER Yeah? TOM (BEAT) So how was your weekend? SUMMER It was good. INT LOCAL DIVE BAR - AS BEFORE The friends wait for more. TOM You believe that shit? 26. MCKENZIE What shit? PAUL I think I missed something. TOM "It was good." She didn't say "It was good." She said "It was good." Emphasis on the good. She basically said "I spent the weekend having sex with this guy I met at the gym." Fucking whore. Screw her. It's over. Everyone's silent. MCKENZIE What the hell is wrong with you?! PAUL Dude, you got problems. TOM She's not interested in me. There's nothing I can do. MCKENZIE Based on..."it was good?" TOM And some other things. PAUL Like what, she said "hey" instead of "hi" cause that totally means she's a lesbian. TOM I gave her all sorts of chances. INT OFFICE - DAY Tom types at his desk. Summer approaches the cubicle Tom shares with McKenzie. SUMMER I'm going to the supply room. Anyone need anything? MCKENZIE No thanks. 27. TOM I think you know what I need. There's a beat. TOM Toner. SUMMER Oh ok, sure, no prob. INT OFFICE - LATE IN THE DAY The office is emptying out. Only a few people remain but Tom and Summer are two of them. Tom takes this opportunity to put a CD in his computer and play the song really loud. It's "I Want to Know What Love Is" by Foreigner. No reaction from Summer. Tom turns it up. Still nothing. Tom turns it down, defeated. INT SUMMER'S DESK Tom is there. TOM Do you want to go out with me? A beat. Summer says nothing. TOM And the Priest says, "But we're already out!" They both laugh. SUMMER That is hilarious! TOM I know! And when she walks away, he smacks his head a few times with his palm. INT LOCAL DIVE BAR - AS BEFORE TOM Not once did she take the bait. Not once. Screw it. I'm done with her. It's over. 28. Tom's friends all look at him like he's crazy. (27 & 28) INT OFFICE - TOM'S CUBICLE - DAY Tom sits at his desk with headphones on trying to work. But with Summer down at the end of the hall, he's having a hard time concentrating. McKenzie shares a cubicle with Tom. MCKENZIE This Friday. 10 bucks all you can karaoke at The Well. TOM No way McKenzie. Absolutely not. MCKENZIE Come on! (SINGING) "Take me down to the paradise city where the grass is green and they got big titties!" TOM They won't let you back in there after last time. MCKENZIE I wasn't that bad. TOM Not at all. You just threw up on the stage, tried to fight the bartender, and then threatened to burn the place down before passing out on the sidewalk. Quiet night for you. MCKENZIE (REVERENTIAL) You saved my life that day. TOM We are not going back there. 29. MCKENZIE This is a work thing, Tommy. It won't be like that. The whole office is going. TOM I really can't. Even if I wanted to. There's a lot of stuff I gotta take care of. MCKENZIE You're not listening to me. TOM What? MCKENZIE The whole office is going. Tom looks over to where Summer sits. And realization dawns on him... INT KARAOKE BAR - NIGHT Summer is in a back booth with some co-workers when Tom walks in to the crowded place. McKenzie has the microphone and he's singing "Every Rose Has Its Thorn" by Poison. He's real into it and, well, it's kinda sad. Tom waves to McKenzie and walks over to the booth. TOM Hi. SUMMER Hey! They said you weren't coming. TOM You asked if I was coming? (BEAT) I mean...my plans got cancelled... Tom is at a loss. There's yet another awkward silent beat between them. Thankfully, it's interrupted by... MCKENZIE (already drunk) Goddamn that song is brilliant! What's up Hansen? Summer sees the next song come up on the screen. 30. SUMMER Ooh that's me. She downs a shot and jumps up on stage. SUMMER (into mic) Ok. I'm the new girl so no making fun of me. Her co-workers whistle and cheer her on. She takes a deep breath as the opening bars of "Born to Run" begin to play and Summer starts to sing. Tom sees Summer as the actress in whatever nonsensical karaoke video accompanies the song (it's something to do with an old convertible, the sunset, and a midget in a tuxedo.) LATER. Tom sits in the booth with McKenzie (doing a shot) as Summer chats with co-workers at another table. Tom can't help but stare at Summer. She notices and waves. He smiles, hopeful that she'll come over. She doesn't. He hides his disappointment. LATER. Tom walks back to his table with drinks. Summer is there in mid-conversation with McKenzie. TOM You were great up there, by the way. SUMMER Well you can't go wrong with The Boss. TOM (sitting down) I hear that. MCKENZIE Hey, did you know Tom here's from Jersey? SUMMER Yeah? TOM Lived there til I was 12. SUMMER I named my cat after Springsteen. TOM No kidding? What's his name? 31. SUMMER Bruce. TOM (BEAT) That makes sense. She laughs. She's really cute when she laughs. MCKENZIE So you got a boyfriend? SUMMER Me? No. Tom shoots daggers at McKenzie for that comment. McKenzie mouths "what?" Summer sees nothing. MCKENZIE Why not? SUMMER Don't really want one. MCKENZIE Come on. I don't believe that. SUMMER You don't believe a woman could enjoy being free and independent? MCKENZIE (BEAT) Are you a lesbian? SUMMER No, I'm not a lesbian. I'm just not comfortable being somebody's "girlfriend." I don't want to be anybody's anything, you know? MCKENZIE I have no idea what you're talking about. SUMMER It sounds selfish, I know, but... I just like being on my own. Relationships are messy and feelings are always getting hurt. Who needs all that? We're young. We're in one of the most beautiful cities in the world. (MORE) 32. SUMMER (cont'd) I say, let's have as much fun as we can afford and leave the serious shit for later. TOM But...what if you meet someone and fall in love? SUMMER (LAUGHS) Love? You seriously believe in that stuff? TOM Of course I do. SUMMER Interesting. A real romantic. MCKENZIE Oh you have no idea. This one... embarrassing. There was this one girl, (to Tom) I gotta tell this story -- Tom elbows McKenzie hard in the ribs to shut him up. TOM Summer, hold on... you don't believe in love? SUMMER I don't even know what that word means. I know I've never felt it, whatever it is in all those songs. And I know that today most marriages end in divorce. Like my parents. TOM Well mine too but -- SUMMER Oh yeah, And I read in Newsweek, there were these scientists who found that by stimulating a part of the brain with electrodes you can make a person fall in "love" with a rock. Is that the love you're talking about? TOM Well... 33. SUMMER Why, what's your take on it? CUT TO: AN ANIMATION SEQUENCE, real quick. AN EXPLOSION OF MANY DIFFERENT COLORS, COMPLETE WITH A CHOIR AND A CHURCH ORGAN ALL BUILDING TO A HUGE CRESCENDO. BACK TO: INT BAR On Tom: TOM I think it's...kind of a huge thing. SUMMER (BEAT) Ok. Looks like we're gonna have to agree to disagree on that one. McKenzie senses some discontent. MCKENZIE So, uh, who's singing next? SUMMER (re: singing) I'd say it's your turn loverboy. TOM Nooo. I don't sing in public. SUMMER Sure you do. I see you lip-synching to your headphones every morning on your way in. TOM I don't... MCKENZIE You really do. SUMMER It's ok. I like it. Takes a lot of self-confidence to look ridiculous. 34. MCKENZIE (can't help himself) Self-confidence! Ha! Tom elbows him in the ribs again. TOM Anyway, I'm not near drunk enough to sing in front of all these people. SUMMER Ok then. Let's drink. TOM It would take at least ten shots to get me to sing. SUMMER Bartender! TEN MINUTES LATER. Tom is up there singing The Clash's "Magnificent Seven." You wouldn't think so but Tom is a ROCK STAR up there! He's dancing like Jagger, he's got everyone in the bar singing along to the audience-participation parts. It's a sight to behold. Summer is all smiles watching. LATER. Tom and Summer back at the table. Summer is humming something. TOM That's not it. SUMMER What is that then? TOM I have no idea. They're both having a good time. SUMMER I used to watch it every week. TOM Me too. Why can't we think of the stupid A-Team theme song. SUMMER Pathetic. TOM This is gonna bother me for weeks. 35. SUMMER Totally. They share another laugh and then it gets quiet. In that good way. ANGLE ON McKenzie, wasted, singing the shit out of "Proud to Be an American." He really means it. At any minute he might start to cry. MCKENZIE "And I'd proudly stand UP!" (aggressive drunk) I said stand! BACK ON TOM and SUMMER. TOM Oh here we go. EXT KARAOKE BAR - LATER Tom helps a nearly comatose McKenzie exit the place. Summer is with them. MCKENZIE (to Summer) This guy. (DRAMATICALLY) He's the best. TOM Ok, let's

witty

How many times the word 'witty' appears in the text?

500 Days of Summer Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 500 DAYS OF SUMMER Written by Scott Neustadter & Michael H. Weber First Draft SIMPLE BLACK ON WHITE CREDITS ROLL TO BIG STAR'S "I'M IN LOVE WITH A GIRL." When all is said and done, up comes a single number in parenthesis, like so: (478) EXT. PARK - DAY For a few seconds we watch A MAN (20s) and a WOMAN (20s) on a park bench. Their names are TOM and SUMMER. Neither one says a word. CLOSE ON her HAND, covering his. Notice the wedding ring. No words are spoken. Tom looks at her the way every woman wants to be looked at. A DISTINGUISHED VOICE begins to speak to us. NARRATOR This is a story of boy meets girl. CUT TO: (1) INT CONFERENCE ROOM - DAY The boy is TOM HANSEN. He sits at a very long rectangular conference table. The walls are lined with framed blow-up sized greeting cards. Tom, dark hair and blue eyes, wears a t- shirt under his sports coat and Adidas tennis shoes to balance out the corporate dress code. He looks pretty bored. NARRATOR The boy, Tom Hansen of Margate, New Jersey, grew up believing that he'd never truly be happy until the day he met his... "soulmate." CUT TO: INT LIVING ROOM - 1989 PRE-TEEN TOM sits alone on his bed engrossed in a movie. His walls are covered in posters of obscure bands. From the TV, we hear: "Elaine! Elaine!" 4. NARRATOR This belief stemmed from early exposure to sad British pop music and a total misreading of the movie, "The Graduate." CUT TO: INT OFFICE CUBICLE - PRESENT DAY The girl is SUMMER FINN. She files folders and answers phones in a plain white office. She has cropped blonde hair almost like a boy's but her face is feminine and pretty enough to get away with it. NARRATOR The girl, Summer Finn of Shinnecock, Michigan, did not share this belief. CUT TO: INT BATHROOM - 1994 Teenage Summer stares at herself in the mirror. Her hair extends down to her lower back. NARRATOR Since the disintegration of her parents' marriage, she'd only loved two things. The first was her long blonde hair. She picks up scissors from the counter and begins to slice. NARRATOR The second was how easily she could cut it off... And feel nothing. CUT TO: SPLITSCREEN. INT BOARDROOM/ INT CUBICLE - SAME On the right side of the screen, Tom continues to listen to some boring presentation. On the left, Summer answers a call, takes a message, and walks out of her cubicle down a long narrow hallway. 5. NARRATOR Tom meets Summer on January 8th in a San Francisco office building. In an instant, he will know she's the one he's been looking for. CU Summer opening the door to the boardroom, about to come face to face with Tom for the first time. NARRATOR This is a story of boy meets girl. But before they do, CUT TO: BLACK. NARRATOR You should know up front, this is not a love story. (240) EXT STREETS OF SAN FRAN - NIGHT A 12 year old GIRL rides her bicycle down the block. She arrives at an apartment complex, jumps off the bike and races up the front stairs. She rings the doorbell. INT TOM'S PLACE - LATER PAUL and MCKENZIE open the door. These are Tom's best friends since birth. Paul is a doctor and wears hospital scrubs. McKenzie works in the cubicle next to Tom. PAUL I didn't know who else to call. The Girl removes her bike helmet. GIRL You did the right thing. Where is he? Tom is in the kitchen breaking things and basically going insane. About to smash a plate on the floor, he's interrupted BY: 6. GIRL Thomas. Tom freezes. TOM Rachel? What are you doing here? GIRL (RACHEL) I'm here to help you. TOM Help me how? RACHEL First, put down the plate. Tom slowly obliges. RACHEL Now come here and sit down. Tom sits next to the young girl. Paul and Mckenzie sit on either side of them. RACHEL The key is not to panic. TOM I think I'm gonna be sick. RACHEL Drink this. She hands him a glass of water. Tom drinks it down. MCKENZIE What is that? RACHEL Vodka. TOM (grimacing at the taste) More. He gulps another down. TOM Does Mom know you're here? It's gotta be past 10. 7. RACHEL Don't worry about it. Start from the beginning. Tell us what happened... Tom takes a deep breath. EXT PARK - DAY Tom and Summer eat sandwiches in the park. TOM (V.O.) We spent the whole day together. EXT OUTDOOR MARKET - DAY Tom and Summer walk through the stalls. TOM (V.O.) We went shopping. EXT COFFEE HOUSE - DAY Tom and Summer seated outside drinking coffee. He reads the newspaper, she reads a novel. TOM (V.O.) We had coffee. EXT MOVIE THEATER - DAY Tom and Summer walk out of a movie theatre. TOM (V.O.) We saw a film. INT RECORD STORE - LATER Tom and Summer shop for music. Tom excitedly shows Summer a Ringo Starr solo album. TOM (V.O.) We bought music. 8. INT TOM'S PLACE TOM I thought it was a great day. RACHEL And then what happened? INT DINER - NIGHT Tom and Summer in a booth ordering dinner. TOM (to WAITRESS) Um...you know what...let's go crazy, I'll have BOTH. (to Summer) God, I love eating pancakes at night. It's like the greatest thing ever. How great is this? SUMMER I think we should stop seeing each other. INT TOM'S PLACE - AS BEFORE RACHEL Just like that? TOM Just like that. PAUL Did she say why? INT DINER - AS BEFORE SUMMER This thing. This whatever it is. You and me. Do you think this is normal? TOM I don't know. Who cares about normal?! I'm happy. Aren't you happy? 9. SUMMER You're happy? TOM You're not? SUMMER All we do is argue! TOM That is such a lie! INT TOM'S PLACE - AS BEFORE RACHEL Maybe she was just in a bad mood. PAUL A hormonal thing. RACHEL P.M.S.? TOM (to Rachel) What do you know about PMS? RACHEL More than you. TOM Oh my god. MCKENZIE Please continue. INT DINER - AS BEFORE SUMMER This can't be a total surprise. I mean, we've been like Sid and Nancy for months. TOM Summer, Sid stabbed Nancy seven times with a kitchen knife. We've had some disagreements but I hardly think I'm Sid Vicious. SUMMER No... I'm Sid. 10. TOM (BEAT) So I'm Nancy?! The Waitress comes out with the food. Tom and Summer stop their discussion until the meal is served and the Waitress leaves. Summer starts to eat. SUMMER Let's just eat and we'll talk about it after. I'm starving. Without another word she goes back to her pancakes. Tom watches her eat like this is the worst travesty in the history of mankind. SUMMER (mouth full) Mmm, you're so right. These are great! Tom looks at his food in disgust. He may never eat again. SUMMER (INNOCENT) What? Tom stands up to go. SUMMER Tom, don't. Come back. You're still my best fr--- THE SCENE FREEZES AND WE ZOOM IN ON TOM'S STUNNED FACE. INT TOM'S PLACE - AS BEFORE Silence for a few beats. PAUL Jesus. MCKENZIE That's harsh. TOM I don't know what I'm gonna do. RACHEL You're gonna be fine. 11. TOM (BEAT) I'm gonna throw up. MCKENZIE Or that. RACHEL Here. Tom drinks more vodka. MCKENZIE Come on Hansen. You'll be ok. You're the best guy I know. You'll find someone. PAUL You know what they say...there's plenty other fish in the sea. TOM No. PAUL Sure they do. They say that. TOM Well they're wrong. It's not true. I've fished in that sea. I've jumped in and swam in that sea! I'm fucking Aquaman! (to Rachel) Sorry. What I mean is... there are no other fish. This was my fish. Paul and McKenzie share a very concerned look. CUT TO: (86) EXT SIDEWALK - DAY Tom walks alongside his friend PAUL. Out of nowhere, he says: TOM I'm in love with Summer. 12. PAUL (BEAT) For real? CUT TO: CU - SUMMER'S SMILE TOM (V.O.) I love her smile. CU - SUMMER'S HAIR TOM (V.O.) I love her hair. CU - SUMMER'S KNEES TOM (V.O.) I love her knees. CU - SUMMER'S EYES TOM (V.O.) I love how one eye is higher up on her face than the other eye. CU - SUMMER'S NECK TOM (V.O.) I love the scar on her neck from this operation she had as a kid. CU - SUMMER'S BREASTS (UNDER A BLACK T-SHIRT) TOM (V.O.) I love how she looks in my Clash T- shirt. CU - SUMMER ASLEEP TOM (V.O.) I love how she looks when she's sleeping. CU - SUMMER'S LAUGH TOM (V.O.) I love the sound of her laugh. OVER BLACK, play the middle 8 of "Every Little Thing She Does is Magic" by The Police. 13. TOM (V.O.) I love how I hear this song every time I think of her. CU - TOM, STARING DIRECTLY AT THE CAMERA. TOM (V.O.) I love how she makes me feel. Like anything's possible. Like, I don't know...like life is worth it. CUT TO: EXT SIDEWALK - SAME Paul and Tom. TOM For real, Paul. I'm madly in love with that girl. Paul is silent for a beat. PAUL Oh shit. (1) INT CONFERENCE ROOM - DAY Tom as we saw him earlier. Bored. In the boardroom. Mckenzie is in mid-presentation. MCKENZIE Now I know this may be a little risque...but if New Hampshire Greetings wants the jump on those conservative, right-wing neo-Nazis at Hallmark, maybe playing it safe is the wrong approach. The nuclear family is dead and we need a new holiday to recognize that. Mckenzie holds up a home-made photoshopped family portrait of Martina Navratilova, Ellen DeGeneres, and the kid from "Jerry Maguire". 14. MCKENZIE May 21st. Other Mother's Day. The co-workers nod and digest this idea. VANCE is the head of the department. VANCE Hmmm. That's an intriguing idea McKenzie. Along with Grossman's "Magellan Day" I'd say we've got some potential here. What do you think Hansen? Could you write up some prototypes for these? Tom is about to answer when... the door opens. SUMMER Excuse me, Mr. Vance? There's a call for you on line 3. And in walks this girl. Summer. We've met her by now but Tom hasn't. This is the first time. His eyes go wide and from that moment on, he can't take them off her. VANCE (to the table) Everyone this is Summer, my new assistant. Summer just moved here from... SUMMER Michigan. VANCE Right. Michigan. Well, Summer, everyone. Everyone, Summer. Excuse me, I have to take this. SUMMER Nice to meet you all. Summer gives a little wave before following Vance out. She doesn't notice Tom whose face looks like he's just seen God. 15. (3, 4, 5) INT. OFFICE - DAY Tom trying to work. And failing. He turns to McKenzie. TOM What do we know about this new girl? MCKENZIE Who? TOM The new girl. Summer. In Vance's office. MCKENZIE Dude. I hear she's a bitch from hell! TOM (DISAPPOINTED) Really? MCKENZIE Patel tried to talk to her in the copy room. She was totally not having it. TOM Maybe she was just in a hurry. MCKENZIE And maybe she's some uppity, better than everyone, superskank. TOM Damn. MCKENZIE I know. She's pretty hot. TOM That makes me so mad! Why is it pretty girls always think they can treat people like crap and get away with it? 16. MCKENZIE Dunno. TOM Like, just cause she has high cheekbones and soft skin... MCKENZIE ...and really good teeth. TOM And maybe the world's most perfect breasts...Just cause of that stuff, she can walk around like she's center of the universe? MCKENZIE (as explanation) Women. TOM Ugh. You know what? Screw her! We haven't even met and I can't stand her already. INT. ELEVATOR - LATER Tom is listening to headphones. Summer enters the elevator and Tom actively puts on a show to ignore her. Summer hears the music. SUMMER The Smiths. Tom, pretending not to hear or care, gives her an unenthusiastic wave. SUMMER I love The Smiths. Tom, still pretending, takes off his headphones. TOM Sorry? SUMMER I said. I love The Smiths. You have good taste in music. A beat as Tom processes this information. 17. TOM (AMAZED) You like the Smiths? SUMMER (SINGING) "To die by your side is such a heavenly way to die." Love it. The elevator doors open and she gets off. TOM (accidentally out loud) Oh my god. (8) INT OFFICE LOBBY - DAY The office sings "Happy Birthday" to a FEMALE CO-WORKER. When they get to the part about her name, Tom is the only one who knows it, everyone else just there for the cake. Song over, everyone digs in. Tom finds himself standing next to Summer. TOM Hi. SUMMER Hello. TOM So, uh, Summer... SUMMER Tom. TOM Yeah! How's it going so far? SUMMER The city or the firm? TOM Both... Either. SUMMER I'm happy. Still getting situated. How long have you worked here? 18. TOM Oh, you know, 4, 5... years. SUMMER Really? Jesus. Did you always want to write greeting cards? TOM Are you nuts? I don't even want to do it now. SUMMER What is it you want to do? TOM I studied to be an architect actually. SUMMER That's so cool! What happened? TOM Eh, you know. Same old story. Moved to the city to work for a company. Company went under. Needed a job. My friend worked here. Got me this. SUMMER And are you any good? TOM (points to a framed card) Well I wrote that one. SUMMER (READING) "Today You're a Man. Mazel Tov on your Bar Mitzvah." TOM It's a big seller. SUMMER I meant, are you any good as an architect? TOM Oh... No. I doubt it. SUMMER Well, I'd say you're a perfectly ...adequate... greeting card writer. 19. TOM Why thank you. That's what they called me in college. "Perfectly adequate" Hansen. SUMMER They used to call me "Anal Girl." Tom does a spit-take and almost chokes. SUMMER (EXPLAINING) I was very neat and organized. There's an awkward silence. SUMMER Anyway, I should get back. TOM Ok, well, I'll see you around. She walks back to her cubicle at the other end of the hall. Tom watches her walk away, completely enamored. He sits down at his desk and sets out to work. But before he does, his eyes fall on a sketch he drew of a house. It's dated 2001 and it's the only architecture sketch on his wall. (11) INT TOM'S PLACE - DAY Tom is playing Playstation with Rachel. TOM And it turns out she's read every Graham Greene novel ever published. Her desk is lined with Magritte posters and Edward Hopper. RACHEL Your favorites. TOM We're so compatible it's insane! Seriously! It doesn't make sense! She's not like I thought at all. She's... amazing. 20. RACHEL Oh boy. TOM What? RACHEL You know...just cause some cute girl likes the same bizarro music you do doesn't make her "the one." TOM (BEAT) Of course it does. SARAH (O.S.) Dinner! SARAH, 50s, Tom and Rachel's mother, stands in the doorway. SARAH Pause and come eat. They do. Tom enters the living room area and sits down next to his stepdad MARTIN, 60s, a quiet, professorial Southern gentleman type. TOM Hey Martin. ANGLE ON RACHEL and Sarah. RACHEL He met a girl. SARAH (EXCITED) Yeah? RACHEL (GRIM) Yeah. Sarah grows serious too. SARAH Oh shit. CUT TO: 21. STOCK FOOTAGE. The Wright Brothers, Galileo, Heaven's Gate, Neil Armstrong. NARRATOR When one strongly believes in something, it takes overwhelming contradictory evidence to change their minds. END ON: LITTLE TOM, age 6, mesmerized by a vinyl album cover of Olivia Newton-John in "Xanadu." NARRATOR Tom had always been a devout believer in the idea of "true love." (BEAT) The evidence did not support him. CUT TO: (-8914) INT CLASSROOM - DAY Little Tom stares at a LITTLE GIRL, 6, who has the same hairstyle and dress as Newton-John on that cover. Tom draws a picture. It's a boy and a girl with a giant heart over them. He stands up and walks over to the girl, putting the picture on her desk. Not a word is spoken. Satisfied, he returns to his seat and waits to see what happens. NARRATOR Exhibit A: Lisa Rayner. The Little Girl stands up and walks the picture over to ANOTHER BOY. Tom is mortified. The OTHER BOY eats the drawing. (-5313) 22. EXT FOOTBALL FIELD - NIGHT A BLONDE CHEERLEADER leads the crowd in a cheer. PAN ACROSS to find TEENAGE TOM, 15, finishing making out with a homely HIGH SCHOOL GIRL. He says goodbye and walks off, looking back longingly. NARRATOR Exhibit B: Wendy Wilson. Once Tom is out of frame, a SECOND BOY approaches Wendy. Then they start making out. (-2825) INT AIRPLANE - DAY COLLEGE TOM sits next to his girlfriend REBECCA MYLES. His smile gleams. TOM I'm so glad we decided to go away together Bec. I know we've only been dating a few months but it's been...awesome. NARRATOR Exhibit C: Rebecca Myles. TOM And now, you and me, 8 days in Mexico... best spring break ever! Across the aisle Rebecca makes eye contact with three COLLEGE DUDES. REBECCA I think we should see other people. (-734) 23. EXT CAR - NIGHT Younger Tom sits in the passenger seat. Raven-haired AMANDA drives. NARRATOR And, finally... Exhibit D: Amanda Heller. AMANDA It's just... it's complicated. TOM What's complicated? Last week you said you loved me! AMANDA I know it's sudden but... TOM No, this can't be. Everything was going so great. I don't understand. AMANDA (BEAT) Here. TOM What's this? She puts a disc into the cd player. AMANDA Because you're, like, the biggest music nerd I've ever met, I think this should really help explain where I'm coming from. A pop song begins to play on the stereo. They listen for a few beats. Tom is confused. AMANDA You remember how much I loved this song when you first played it for me? TOM Sure. It's all you wanted to listen to for weeks. 24. AMANDA Right. And I still like it, don't get me wrong. It's just... When I hear it now, I don't feel the same...rush. TOM (still confused) Ok... AMANDA I press the skip button. Still Tom doesn't understand. TOM What does this have to do with--? AMANDA I'd rather listen to something else. And with that, it slowly sinks in for him. TOM But Amanda... this is a great fucking song! (22) INT LOCAL DIVE BAR - HAPPY HOUR Tom removes his headphones and sits defeated with McKenzie and Paul in a booth. TOM It's off. PAUL What? TOM Me and Summer. MCKENZIE Was it ever on? 25. TOM No. But it could have been. In a world where good things happen to me. PAUL Yeah well, that's not really where we live. TOM No. MCKENZIE So what happened? TOM You ready for this? INT ELEVATOR - THE DAY BEFORE Tom is alone. The door opens. In walks Summer. TOM (V.O.) So there we are. All alone. Nine more floors to ride. Plenty of time. I figure...this is my chance. If not now when, right? They ride in silence for a few beats. TOM Summer... SUMMER Yeah? TOM (BEAT) So how was your weekend? SUMMER It was good. INT LOCAL DIVE BAR - AS BEFORE The friends wait for more. TOM You believe that shit? 26. MCKENZIE What shit? PAUL I think I missed something. TOM "It was good." She didn't say "It was good." She said "It was good." Emphasis on the good. She basically said "I spent the weekend having sex with this guy I met at the gym." Fucking whore. Screw her. It's over. Everyone's silent. MCKENZIE What the hell is wrong with you?! PAUL Dude, you got problems. TOM She's not interested in me. There's nothing I can do. MCKENZIE Based on..."it was good?" TOM And some other things. PAUL Like what, she said "hey" instead of "hi" cause that totally means she's a lesbian. TOM I gave her all sorts of chances. INT OFFICE - DAY Tom types at his desk. Summer approaches the cubicle Tom shares with McKenzie. SUMMER I'm going to the supply room. Anyone need anything? MCKENZIE No thanks. 27. TOM I think you know what I need. There's a beat. TOM Toner. SUMMER Oh ok, sure, no prob. INT OFFICE - LATE IN THE DAY The office is emptying out. Only a few people remain but Tom and Summer are two of them. Tom takes this opportunity to put a CD in his computer and play the song really loud. It's "I Want to Know What Love Is" by Foreigner. No reaction from Summer. Tom turns it up. Still nothing. Tom turns it down, defeated. INT SUMMER'S DESK Tom is there. TOM Do you want to go out with me? A beat. Summer says nothing. TOM And the Priest says, "But we're already out!" They both laugh. SUMMER That is hilarious! TOM I know! And when she walks away, he smacks his head a few times with his palm. INT LOCAL DIVE BAR - AS BEFORE TOM Not once did she take the bait. Not once. Screw it. I'm done with her. It's over. 28. Tom's friends all look at him like he's crazy. (27 & 28) INT OFFICE - TOM'S CUBICLE - DAY Tom sits at his desk with headphones on trying to work. But with Summer down at the end of the hall, he's having a hard time concentrating. McKenzie shares a cubicle with Tom. MCKENZIE This Friday. 10 bucks all you can karaoke at The Well. TOM No way McKenzie. Absolutely not. MCKENZIE Come on! (SINGING) "Take me down to the paradise city where the grass is green and they got big titties!" TOM They won't let you back in there after last time. MCKENZIE I wasn't that bad. TOM Not at all. You just threw up on the stage, tried to fight the bartender, and then threatened to burn the place down before passing out on the sidewalk. Quiet night for you. MCKENZIE (REVERENTIAL) You saved my life that day. TOM We are not going back there. 29. MCKENZIE This is a work thing, Tommy. It won't be like that. The whole office is going. TOM I really can't. Even if I wanted to. There's a lot of stuff I gotta take care of. MCKENZIE You're not listening to me. TOM What? MCKENZIE The whole office is going. Tom looks over to where Summer sits. And realization dawns on him... INT KARAOKE BAR - NIGHT Summer is in a back booth with some co-workers when Tom walks in to the crowded place. McKenzie has the microphone and he's singing "Every Rose Has Its Thorn" by Poison. He's real into it and, well, it's kinda sad. Tom waves to McKenzie and walks over to the booth. TOM Hi. SUMMER Hey! They said you weren't coming. TOM You asked if I was coming? (BEAT) I mean...my plans got cancelled... Tom is at a loss. There's yet another awkward silent beat between them. Thankfully, it's interrupted by... MCKENZIE (already drunk) Goddamn that song is brilliant! What's up Hansen? Summer sees the next song come up on the screen. 30. SUMMER Ooh that's me. She downs a shot and jumps up on stage. SUMMER (into mic) Ok. I'm the new girl so no making fun of me. Her co-workers whistle and cheer her on. She takes a deep breath as the opening bars of "Born to Run" begin to play and Summer starts to sing. Tom sees Summer as the actress in whatever nonsensical karaoke video accompanies the song (it's something to do with an old convertible, the sunset, and a midget in a tuxedo.) LATER. Tom sits in the booth with McKenzie (doing a shot) as Summer chats with co-workers at another table. Tom can't help but stare at Summer. She notices and waves. He smiles, hopeful that she'll come over. She doesn't. He hides his disappointment. LATER. Tom walks back to his table with drinks. Summer is there in mid-conversation with McKenzie. TOM You were great up there, by the way. SUMMER Well you can't go wrong with The Boss. TOM (sitting down) I hear that. MCKENZIE Hey, did you know Tom here's from Jersey? SUMMER Yeah? TOM Lived there til I was 12. SUMMER I named my cat after Springsteen. TOM No kidding? What's his name? 31. SUMMER Bruce. TOM (BEAT) That makes sense. She laughs. She's really cute when she laughs. MCKENZIE So you got a boyfriend? SUMMER Me? No. Tom shoots daggers at McKenzie for that comment. McKenzie mouths "what?" Summer sees nothing. MCKENZIE Why not? SUMMER Don't really want one. MCKENZIE Come on. I don't believe that. SUMMER You don't believe a woman could enjoy being free and independent? MCKENZIE (BEAT) Are you a lesbian? SUMMER No, I'm not a lesbian. I'm just not comfortable being somebody's "girlfriend." I don't want to be anybody's anything, you know? MCKENZIE I have no idea what you're talking about. SUMMER It sounds selfish, I know, but... I just like being on my own. Relationships are messy and feelings are always getting hurt. Who needs all that? We're young. We're in one of the most beautiful cities in the world. (MORE) 32. SUMMER (cont'd) I say, let's have as much fun as we can afford and leave the serious shit for later. TOM But...what if you meet someone and fall in love? SUMMER (LAUGHS) Love? You seriously believe in that stuff? TOM Of course I do. SUMMER Interesting. A real romantic. MCKENZIE Oh you have no idea. This one... embarrassing. There was this one girl, (to Tom) I gotta tell this story -- Tom elbows McKenzie hard in the ribs to shut him up. TOM Summer, hold on... you don't believe in love? SUMMER I don't even know what that word means. I know I've never felt it, whatever it is in all those songs. And I know that today most marriages end in divorce. Like my parents. TOM Well mine too but -- SUMMER Oh yeah, And I read in Newsweek, there were these scientists who found that by stimulating a part of the brain with electrodes you can make a person fall in "love" with a rock. Is that the love you're talking about? TOM Well... 33. SUMMER Why, what's your take on it? CUT TO: AN ANIMATION SEQUENCE, real quick. AN EXPLOSION OF MANY DIFFERENT COLORS, COMPLETE WITH A CHOIR AND A CHURCH ORGAN ALL BUILDING TO A HUGE CRESCENDO. BACK TO: INT BAR On Tom: TOM I think it's...kind of a huge thing. SUMMER (BEAT) Ok. Looks like we're gonna have to agree to disagree on that one. McKenzie senses some discontent. MCKENZIE So, uh, who's singing next? SUMMER (re: singing) I'd say it's your turn loverboy. TOM Nooo. I don't sing in public. SUMMER Sure you do. I see you lip-synching to your headphones every morning on your way in. TOM I don't... MCKENZIE You really do. SUMMER It's ok. I like it. Takes a lot of self-confidence to look ridiculous. 34. MCKENZIE (can't help himself) Self-confidence! Ha! Tom elbows him in the ribs again. TOM Anyway, I'm not near drunk enough to sing in front of all these people. SUMMER Ok then. Let's drink. TOM It would take at least ten shots to get me to sing. SUMMER Bartender! TEN MINUTES LATER. Tom is up there singing The Clash's "Magnificent Seven." You wouldn't think so but Tom is a ROCK STAR up there! He's dancing like Jagger, he's got everyone in the bar singing along to the audience-participation parts. It's a sight to behold. Summer is all smiles watching. LATER. Tom and Summer back at the table. Summer is humming something. TOM That's not it. SUMMER What is that then? TOM I have no idea. They're both having a good time. SUMMER I used to watch it every week. TOM Me too. Why can't we think of the stupid A-Team theme song. SUMMER Pathetic. TOM This is gonna bother me for weeks. 35. SUMMER Totally. They share another laugh and then it gets quiet. In that good way. ANGLE ON McKenzie, wasted, singing the shit out of "Proud to Be an American." He really means it. At any minute he might start to cry. MCKENZIE "And I'd proudly stand UP!" (aggressive drunk) I said stand! BACK ON TOM and SUMMER. TOM Oh here we go. EXT KARAOKE BAR - LATER Tom helps a nearly comatose McKenzie exit the place. Summer is with them. MCKENZIE (to Summer) This guy. (DRAMATICALLY) He's the best. TOM Ok, let's

gilmore

How many times the word 'gilmore' appears in the text?

500 Days of Summer Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 500 DAYS OF SUMMER Written by Scott Neustadter & Michael H. Weber First Draft SIMPLE BLACK ON WHITE CREDITS ROLL TO BIG STAR'S "I'M IN LOVE WITH A GIRL." When all is said and done, up comes a single number in parenthesis, like so: (478) EXT. PARK - DAY For a few seconds we watch A MAN (20s) and a WOMAN (20s) on a park bench. Their names are TOM and SUMMER. Neither one says a word. CLOSE ON her HAND, covering his. Notice the wedding ring. No words are spoken. Tom looks at her the way every woman wants to be looked at. A DISTINGUISHED VOICE begins to speak to us. NARRATOR This is a story of boy meets girl. CUT TO: (1) INT CONFERENCE ROOM - DAY The boy is TOM HANSEN. He sits at a very long rectangular conference table. The walls are lined with framed blow-up sized greeting cards. Tom, dark hair and blue eyes, wears a t- shirt under his sports coat and Adidas tennis shoes to balance out the corporate dress code. He looks pretty bored. NARRATOR The boy, Tom Hansen of Margate, New Jersey, grew up believing that he'd never truly be happy until the day he met his... "soulmate." CUT TO: INT LIVING ROOM - 1989 PRE-TEEN TOM sits alone on his bed engrossed in a movie. His walls are covered in posters of obscure bands. From the TV, we hear: "Elaine! Elaine!" 4. NARRATOR This belief stemmed from early exposure to sad British pop music and a total misreading of the movie, "The Graduate." CUT TO: INT OFFICE CUBICLE - PRESENT DAY The girl is SUMMER FINN. She files folders and answers phones in a plain white office. She has cropped blonde hair almost like a boy's but her face is feminine and pretty enough to get away with it. NARRATOR The girl, Summer Finn of Shinnecock, Michigan, did not share this belief. CUT TO: INT BATHROOM - 1994 Teenage Summer stares at herself in the mirror. Her hair extends down to her lower back. NARRATOR Since the disintegration of her parents' marriage, she'd only loved two things. The first was her long blonde hair. She picks up scissors from the counter and begins to slice. NARRATOR The second was how easily she could cut it off... And feel nothing. CUT TO: SPLITSCREEN. INT BOARDROOM/ INT CUBICLE - SAME On the right side of the screen, Tom continues to listen to some boring presentation. On the left, Summer answers a call, takes a message, and walks out of her cubicle down a long narrow hallway. 5. NARRATOR Tom meets Summer on January 8th in a San Francisco office building. In an instant, he will know she's the one he's been looking for. CU Summer opening the door to the boardroom, about to come face to face with Tom for the first time. NARRATOR This is a story of boy meets girl. But before they do, CUT TO: BLACK. NARRATOR You should know up front, this is not a love story. (240) EXT STREETS OF SAN FRAN - NIGHT A 12 year old GIRL rides her bicycle down the block. She arrives at an apartment complex, jumps off the bike and races up the front stairs. She rings the doorbell. INT TOM'S PLACE - LATER PAUL and MCKENZIE open the door. These are Tom's best friends since birth. Paul is a doctor and wears hospital scrubs. McKenzie works in the cubicle next to Tom. PAUL I didn't know who else to call. The Girl removes her bike helmet. GIRL You did the right thing. Where is he? Tom is in the kitchen breaking things and basically going insane. About to smash a plate on the floor, he's interrupted BY: 6. GIRL Thomas. Tom freezes. TOM Rachel? What are you doing here? GIRL (RACHEL) I'm here to help you. TOM Help me how? RACHEL First, put down the plate. Tom slowly obliges. RACHEL Now come here and sit down. Tom sits next to the young girl. Paul and Mckenzie sit on either side of them. RACHEL The key is not to panic. TOM I think I'm gonna be sick. RACHEL Drink this. She hands him a glass of water. Tom drinks it down. MCKENZIE What is that? RACHEL Vodka. TOM (grimacing at the taste) More. He gulps another down. TOM Does Mom know you're here? It's gotta be past 10. 7. RACHEL Don't worry about it. Start from the beginning. Tell us what happened... Tom takes a deep breath. EXT PARK - DAY Tom and Summer eat sandwiches in the park. TOM (V.O.) We spent the whole day together. EXT OUTDOOR MARKET - DAY Tom and Summer walk through the stalls. TOM (V.O.) We went shopping. EXT COFFEE HOUSE - DAY Tom and Summer seated outside drinking coffee. He reads the newspaper, she reads a novel. TOM (V.O.) We had coffee. EXT MOVIE THEATER - DAY Tom and Summer walk out of a movie theatre. TOM (V.O.) We saw a film. INT RECORD STORE - LATER Tom and Summer shop for music. Tom excitedly shows Summer a Ringo Starr solo album. TOM (V.O.) We bought music. 8. INT TOM'S PLACE TOM I thought it was a great day. RACHEL And then what happened? INT DINER - NIGHT Tom and Summer in a booth ordering dinner. TOM (to WAITRESS) Um...you know what...let's go crazy, I'll have BOTH. (to Summer) God, I love eating pancakes at night. It's like the greatest thing ever. How great is this? SUMMER I think we should stop seeing each other. INT TOM'S PLACE - AS BEFORE RACHEL Just like that? TOM Just like that. PAUL Did she say why? INT DINER - AS BEFORE SUMMER This thing. This whatever it is. You and me. Do you think this is normal? TOM I don't know. Who cares about normal?! I'm happy. Aren't you happy? 9. SUMMER You're happy? TOM You're not? SUMMER All we do is argue! TOM That is such a lie! INT TOM'S PLACE - AS BEFORE RACHEL Maybe she was just in a bad mood. PAUL A hormonal thing. RACHEL P.M.S.? TOM (to Rachel) What do you know about PMS? RACHEL More than you. TOM Oh my god. MCKENZIE Please continue. INT DINER - AS BEFORE SUMMER This can't be a total surprise. I mean, we've been like Sid and Nancy for months. TOM Summer, Sid stabbed Nancy seven times with a kitchen knife. We've had some disagreements but I hardly think I'm Sid Vicious. SUMMER No... I'm Sid. 10. TOM (BEAT) So I'm Nancy?! The Waitress comes out with the food. Tom and Summer stop their discussion until the meal is served and the Waitress leaves. Summer starts to eat. SUMMER Let's just eat and we'll talk about it after. I'm starving. Without another word she goes back to her pancakes. Tom watches her eat like this is the worst travesty in the history of mankind. SUMMER (mouth full) Mmm, you're so right. These are great! Tom looks at his food in disgust. He may never eat again. SUMMER (INNOCENT) What? Tom stands up to go. SUMMER Tom, don't. Come back. You're still my best fr--- THE SCENE FREEZES AND WE ZOOM IN ON TOM'S STUNNED FACE. INT TOM'S PLACE - AS BEFORE Silence for a few beats. PAUL Jesus. MCKENZIE That's harsh. TOM I don't know what I'm gonna do. RACHEL You're gonna be fine. 11. TOM (BEAT) I'm gonna throw up. MCKENZIE Or that. RACHEL Here. Tom drinks more vodka. MCKENZIE Come on Hansen. You'll be ok. You're the best guy I know. You'll find someone. PAUL You know what they say...there's plenty other fish in the sea. TOM No. PAUL Sure they do. They say that. TOM Well they're wrong. It's not true. I've fished in that sea. I've jumped in and swam in that sea! I'm fucking Aquaman! (to Rachel) Sorry. What I mean is... there are no other fish. This was my fish. Paul and McKenzie share a very concerned look. CUT TO: (86) EXT SIDEWALK - DAY Tom walks alongside his friend PAUL. Out of nowhere, he says: TOM I'm in love with Summer. 12. PAUL (BEAT) For real? CUT TO: CU - SUMMER'S SMILE TOM (V.O.) I love her smile. CU - SUMMER'S HAIR TOM (V.O.) I love her hair. CU - SUMMER'S KNEES TOM (V.O.) I love her knees. CU - SUMMER'S EYES TOM (V.O.) I love how one eye is higher up on her face than the other eye. CU - SUMMER'S NECK TOM (V.O.) I love the scar on her neck from this operation she had as a kid. CU - SUMMER'S BREASTS (UNDER A BLACK T-SHIRT) TOM (V.O.) I love how she looks in my Clash T- shirt. CU - SUMMER ASLEEP TOM (V.O.) I love how she looks when she's sleeping. CU - SUMMER'S LAUGH TOM (V.O.) I love the sound of her laugh. OVER BLACK, play the middle 8 of "Every Little Thing She Does is Magic" by The Police. 13. TOM (V.O.) I love how I hear this song every time I think of her. CU - TOM, STARING DIRECTLY AT THE CAMERA. TOM (V.O.) I love how she makes me feel. Like anything's possible. Like, I don't know...like life is worth it. CUT TO: EXT SIDEWALK - SAME Paul and Tom. TOM For real, Paul. I'm madly in love with that girl. Paul is silent for a beat. PAUL Oh shit. (1) INT CONFERENCE ROOM - DAY Tom as we saw him earlier. Bored. In the boardroom. Mckenzie is in mid-presentation. MCKENZIE Now I know this may be a little risque...but if New Hampshire Greetings wants the jump on those conservative, right-wing neo-Nazis at Hallmark, maybe playing it safe is the wrong approach. The nuclear family is dead and we need a new holiday to recognize that. Mckenzie holds up a home-made photoshopped family portrait of Martina Navratilova, Ellen DeGeneres, and the kid from "Jerry Maguire". 14. MCKENZIE May 21st. Other Mother's Day. The co-workers nod and digest this idea. VANCE is the head of the department. VANCE Hmmm. That's an intriguing idea McKenzie. Along with Grossman's "Magellan Day" I'd say we've got some potential here. What do you think Hansen? Could you write up some prototypes for these? Tom is about to answer when... the door opens. SUMMER Excuse me, Mr. Vance? There's a call for you on line 3. And in walks this girl. Summer. We've met her by now but Tom hasn't. This is the first time. His eyes go wide and from that moment on, he can't take them off her. VANCE (to the table) Everyone this is Summer, my new assistant. Summer just moved here from... SUMMER Michigan. VANCE Right. Michigan. Well, Summer, everyone. Everyone, Summer. Excuse me, I have to take this. SUMMER Nice to meet you all. Summer gives a little wave before following Vance out. She doesn't notice Tom whose face looks like he's just seen God. 15. (3, 4, 5) INT. OFFICE - DAY Tom trying to work. And failing. He turns to McKenzie. TOM What do we know about this new girl? MCKENZIE Who? TOM The new girl. Summer. In Vance's office. MCKENZIE Dude. I hear she's a bitch from hell! TOM (DISAPPOINTED) Really? MCKENZIE Patel tried to talk to her in the copy room. She was totally not having it. TOM Maybe she was just in a hurry. MCKENZIE And maybe she's some uppity, better than everyone, superskank. TOM Damn. MCKENZIE I know. She's pretty hot. TOM That makes me so mad! Why is it pretty girls always think they can treat people like crap and get away with it? 16. MCKENZIE Dunno. TOM Like, just cause she has high cheekbones and soft skin... MCKENZIE ...and really good teeth. TOM And maybe the world's most perfect breasts...Just cause of that stuff, she can walk around like she's center of the universe? MCKENZIE (as explanation) Women. TOM Ugh. You know what? Screw her! We haven't even met and I can't stand her already. INT. ELEVATOR - LATER Tom is listening to headphones. Summer enters the elevator and Tom actively puts on a show to ignore her. Summer hears the music. SUMMER The Smiths. Tom, pretending not to hear or care, gives her an unenthusiastic wave. SUMMER I love The Smiths. Tom, still pretending, takes off his headphones. TOM Sorry? SUMMER I said. I love The Smiths. You have good taste in music. A beat as Tom processes this information. 17. TOM (AMAZED) You like the Smiths? SUMMER (SINGING) "To die by your side is such a heavenly way to die." Love it. The elevator doors open and she gets off. TOM (accidentally out loud) Oh my god. (8) INT OFFICE LOBBY - DAY The office sings "Happy Birthday" to a FEMALE CO-WORKER. When they get to the part about her name, Tom is the only one who knows it, everyone else just there for the cake. Song over, everyone digs in. Tom finds himself standing next to Summer. TOM Hi. SUMMER Hello. TOM So, uh, Summer... SUMMER Tom. TOM Yeah! How's it going so far? SUMMER The city or the firm? TOM Both... Either. SUMMER I'm happy. Still getting situated. How long have you worked here? 18. TOM Oh, you know, 4, 5... years. SUMMER Really? Jesus. Did you always want to write greeting cards? TOM Are you nuts? I don't even want to do it now. SUMMER What is it you want to do? TOM I studied to be an architect actually. SUMMER That's so cool! What happened? TOM Eh, you know. Same old story. Moved to the city to work for a company. Company went under. Needed a job. My friend worked here. Got me this. SUMMER And are you any good? TOM (points to a framed card) Well I wrote that one. SUMMER (READING) "Today You're a Man. Mazel Tov on your Bar Mitzvah." TOM It's a big seller. SUMMER I meant, are you any good as an architect? TOM Oh... No. I doubt it. SUMMER Well, I'd say you're a perfectly ...adequate... greeting card writer. 19. TOM Why thank you. That's what they called me in college. "Perfectly adequate" Hansen. SUMMER They used to call me "Anal Girl." Tom does a spit-take and almost chokes. SUMMER (EXPLAINING) I was very neat and organized. There's an awkward silence. SUMMER Anyway, I should get back. TOM Ok, well, I'll see you around. She walks back to her cubicle at the other end of the hall. Tom watches her walk away, completely enamored. He sits down at his desk and sets out to work. But before he does, his eyes fall on a sketch he drew of a house. It's dated 2001 and it's the only architecture sketch on his wall. (11) INT TOM'S PLACE - DAY Tom is playing Playstation with Rachel. TOM And it turns out she's read every Graham Greene novel ever published. Her desk is lined with Magritte posters and Edward Hopper. RACHEL Your favorites. TOM We're so compatible it's insane! Seriously! It doesn't make sense! She's not like I thought at all. She's... amazing. 20. RACHEL Oh boy. TOM What? RACHEL You know...just cause some cute girl likes the same bizarro music you do doesn't make her "the one." TOM (BEAT) Of course it does. SARAH (O.S.) Dinner! SARAH, 50s, Tom and Rachel's mother, stands in the doorway. SARAH Pause and come eat. They do. Tom enters the living room area and sits down next to his stepdad MARTIN, 60s, a quiet, professorial Southern gentleman type. TOM Hey Martin. ANGLE ON RACHEL and Sarah. RACHEL He met a girl. SARAH (EXCITED) Yeah? RACHEL (GRIM) Yeah. Sarah grows serious too. SARAH Oh shit. CUT TO: 21. STOCK FOOTAGE. The Wright Brothers, Galileo, Heaven's Gate, Neil Armstrong. NARRATOR When one strongly believes in something, it takes overwhelming contradictory evidence to change their minds. END ON: LITTLE TOM, age 6, mesmerized by a vinyl album cover of Olivia Newton-John in "Xanadu." NARRATOR Tom had always been a devout believer in the idea of "true love." (BEAT) The evidence did not support him. CUT TO: (-8914) INT CLASSROOM - DAY Little Tom stares at a LITTLE GIRL, 6, who has the same hairstyle and dress as Newton-John on that cover. Tom draws a picture. It's a boy and a girl with a giant heart over them. He stands up and walks over to the girl, putting the picture on her desk. Not a word is spoken. Satisfied, he returns to his seat and waits to see what happens. NARRATOR Exhibit A: Lisa Rayner. The Little Girl stands up and walks the picture over to ANOTHER BOY. Tom is mortified. The OTHER BOY eats the drawing. (-5313) 22. EXT FOOTBALL FIELD - NIGHT A BLONDE CHEERLEADER leads the crowd in a cheer. PAN ACROSS to find TEENAGE TOM, 15, finishing making out with a homely HIGH SCHOOL GIRL. He says goodbye and walks off, looking back longingly. NARRATOR Exhibit B: Wendy Wilson. Once Tom is out of frame, a SECOND BOY approaches Wendy. Then they start making out. (-2825) INT AIRPLANE - DAY COLLEGE TOM sits next to his girlfriend REBECCA MYLES. His smile gleams. TOM I'm so glad we decided to go away together Bec. I know we've only been dating a few months but it's been...awesome. NARRATOR Exhibit C: Rebecca Myles. TOM And now, you and me, 8 days in Mexico... best spring break ever! Across the aisle Rebecca makes eye contact with three COLLEGE DUDES. REBECCA I think we should see other people. (-734) 23. EXT CAR - NIGHT Younger Tom sits in the passenger seat. Raven-haired AMANDA drives. NARRATOR And, finally... Exhibit D: Amanda Heller. AMANDA It's just... it's complicated. TOM What's complicated? Last week you said you loved me! AMANDA I know it's sudden but... TOM No, this can't be. Everything was going so great. I don't understand. AMANDA (BEAT) Here. TOM What's this? She puts a disc into the cd player. AMANDA Because you're, like, the biggest music nerd I've ever met, I think this should really help explain where I'm coming from. A pop song begins to play on the stereo. They listen for a few beats. Tom is confused. AMANDA You remember how much I loved this song when you first played it for me? TOM Sure. It's all you wanted to listen to for weeks. 24. AMANDA Right. And I still like it, don't get me wrong. It's just... When I hear it now, I don't feel the same...rush. TOM (still confused) Ok... AMANDA I press the skip button. Still Tom doesn't understand. TOM What does this have to do with--? AMANDA I'd rather listen to something else. And with that, it slowly sinks in for him. TOM But Amanda... this is a great fucking song! (22) INT LOCAL DIVE BAR - HAPPY HOUR Tom removes his headphones and sits defeated with McKenzie and Paul in a booth. TOM It's off. PAUL What? TOM Me and Summer. MCKENZIE Was it ever on? 25. TOM No. But it could have been. In a world where good things happen to me. PAUL Yeah well, that's not really where we live. TOM No. MCKENZIE So what happened? TOM You ready for this? INT ELEVATOR - THE DAY BEFORE Tom is alone. The door opens. In walks Summer. TOM (V.O.) So there we are. All alone. Nine more floors to ride. Plenty of time. I figure...this is my chance. If not now when, right? They ride in silence for a few beats. TOM Summer... SUMMER Yeah? TOM (BEAT) So how was your weekend? SUMMER It was good. INT LOCAL DIVE BAR - AS BEFORE The friends wait for more. TOM You believe that shit? 26. MCKENZIE What shit? PAUL I think I missed something. TOM "It was good." She didn't say "It was good." She said "It was good." Emphasis on the good. She basically said "I spent the weekend having sex with this guy I met at the gym." Fucking whore. Screw her. It's over. Everyone's silent. MCKENZIE What the hell is wrong with you?! PAUL Dude, you got problems. TOM She's not interested in me. There's nothing I can do. MCKENZIE Based on..."it was good?" TOM And some other things. PAUL Like what, she said "hey" instead of "hi" cause that totally means she's a lesbian. TOM I gave her all sorts of chances. INT OFFICE - DAY Tom types at his desk. Summer approaches the cubicle Tom shares with McKenzie. SUMMER I'm going to the supply room. Anyone need anything? MCKENZIE No thanks. 27. TOM I think you know what I need. There's a beat. TOM Toner. SUMMER Oh ok, sure, no prob. INT OFFICE - LATE IN THE DAY The office is emptying out. Only a few people remain but Tom and Summer are two of them. Tom takes this opportunity to put a CD in his computer and play the song really loud. It's "I Want to Know What Love Is" by Foreigner. No reaction from Summer. Tom turns it up. Still nothing. Tom turns it down, defeated. INT SUMMER'S DESK Tom is there. TOM Do you want to go out with me? A beat. Summer says nothing. TOM And the Priest says, "But we're already out!" They both laugh. SUMMER That is hilarious! TOM I know! And when she walks away, he smacks his head a few times with his palm. INT LOCAL DIVE BAR - AS BEFORE TOM Not once did she take the bait. Not once. Screw it. I'm done with her. It's over. 28. Tom's friends all look at him like he's crazy. (27 & 28) INT OFFICE - TOM'S CUBICLE - DAY Tom sits at his desk with headphones on trying to work. But with Summer down at the end of the hall, he's having a hard time concentrating. McKenzie shares a cubicle with Tom. MCKENZIE This Friday. 10 bucks all you can karaoke at The Well. TOM No way McKenzie. Absolutely not. MCKENZIE Come on! (SINGING) "Take me down to the paradise city where the grass is green and they got big titties!" TOM They won't let you back in there after last time. MCKENZIE I wasn't that bad. TOM Not at all. You just threw up on the stage, tried to fight the bartender, and then threatened to burn the place down before passing out on the sidewalk. Quiet night for you. MCKENZIE (REVERENTIAL) You saved my life that day. TOM We are not going back there. 29. MCKENZIE This is a work thing, Tommy. It won't be like that. The whole office is going. TOM I really can't. Even if I wanted to. There's a lot of stuff I gotta take care of. MCKENZIE You're not listening to me. TOM What? MCKENZIE The whole office is going. Tom looks over to where Summer sits. And realization dawns on him... INT KARAOKE BAR - NIGHT Summer is in a back booth with some co-workers when Tom walks in to the crowded place. McKenzie has the microphone and he's singing "Every Rose Has Its Thorn" by Poison. He's real into it and, well, it's kinda sad. Tom waves to McKenzie and walks over to the booth. TOM Hi. SUMMER Hey! They said you weren't coming. TOM You asked if I was coming? (BEAT) I mean...my plans got cancelled... Tom is at a loss. There's yet another awkward silent beat between them. Thankfully, it's interrupted by... MCKENZIE (already drunk) Goddamn that song is brilliant! What's up Hansen? Summer sees the next song come up on the screen. 30. SUMMER Ooh that's me. She downs a shot and jumps up on stage. SUMMER (into mic) Ok. I'm the new girl so no making fun of me. Her co-workers whistle and cheer her on. She takes a deep breath as the opening bars of "Born to Run" begin to play and Summer starts to sing. Tom sees Summer as the actress in whatever nonsensical karaoke video accompanies the song (it's something to do with an old convertible, the sunset, and a midget in a tuxedo.) LATER. Tom sits in the booth with McKenzie (doing a shot) as Summer chats with co-workers at another table. Tom can't help but stare at Summer. She notices and waves. He smiles, hopeful that she'll come over. She doesn't. He hides his disappointment. LATER. Tom walks back to his table with drinks. Summer is there in mid-conversation with McKenzie. TOM You were great up there, by the way. SUMMER Well you can't go wrong with The Boss. TOM (sitting down) I hear that. MCKENZIE Hey, did you know Tom here's from Jersey? SUMMER Yeah? TOM Lived there til I was 12. SUMMER I named my cat after Springsteen. TOM No kidding? What's his name? 31. SUMMER Bruce. TOM (BEAT) That makes sense. She laughs. She's really cute when she laughs. MCKENZIE So you got a boyfriend? SUMMER Me? No. Tom shoots daggers at McKenzie for that comment. McKenzie mouths "what?" Summer sees nothing. MCKENZIE Why not? SUMMER Don't really want one. MCKENZIE Come on. I don't believe that. SUMMER You don't believe a woman could enjoy being free and independent? MCKENZIE (BEAT) Are you a lesbian? SUMMER No, I'm not a lesbian. I'm just not comfortable being somebody's "girlfriend." I don't want to be anybody's anything, you know? MCKENZIE I have no idea what you're talking about. SUMMER It sounds selfish, I know, but... I just like being on my own. Relationships are messy and feelings are always getting hurt. Who needs all that? We're young. We're in one of the most beautiful cities in the world. (MORE) 32. SUMMER (cont'd) I say, let's have as much fun as we can afford and leave the serious shit for later. TOM But...what if you meet someone and fall in love? SUMMER (LAUGHS) Love? You seriously believe in that stuff? TOM Of course I do. SUMMER Interesting. A real romantic. MCKENZIE Oh you have no idea. This one... embarrassing. There was this one girl, (to Tom) I gotta tell this story -- Tom elbows McKenzie hard in the ribs to shut him up. TOM Summer, hold on... you don't believe in love? SUMMER I don't even know what that word means. I know I've never felt it, whatever it is in all those songs. And I know that today most marriages end in divorce. Like my parents. TOM Well mine too but -- SUMMER Oh yeah, And I read in Newsweek, there were these scientists who found that by stimulating a part of the brain with electrodes you can make a person fall in "love" with a rock. Is that the love you're talking about? TOM Well... 33. SUMMER Why, what's your take on it? CUT TO: AN ANIMATION SEQUENCE, real quick. AN EXPLOSION OF MANY DIFFERENT COLORS, COMPLETE WITH A CHOIR AND A CHURCH ORGAN ALL BUILDING TO A HUGE CRESCENDO. BACK TO: INT BAR On Tom: TOM I think it's...kind of a huge thing. SUMMER (BEAT) Ok. Looks like we're gonna have to agree to disagree on that one. McKenzie senses some discontent. MCKENZIE So, uh, who's singing next? SUMMER (re: singing) I'd say it's your turn loverboy. TOM Nooo. I don't sing in public. SUMMER Sure you do. I see you lip-synching to your headphones every morning on your way in. TOM I don't... MCKENZIE You really do. SUMMER It's ok. I like it. Takes a lot of self-confidence to look ridiculous. 34. MCKENZIE (can't help himself) Self-confidence! Ha! Tom elbows him in the ribs again. TOM Anyway, I'm not near drunk enough to sing in front of all these people. SUMMER Ok then. Let's drink. TOM It would take at least ten shots to get me to sing. SUMMER Bartender! TEN MINUTES LATER. Tom is up there singing The Clash's "Magnificent Seven." You wouldn't think so but Tom is a ROCK STAR up there! He's dancing like Jagger, he's got everyone in the bar singing along to the audience-participation parts. It's a sight to behold. Summer is all smiles watching. LATER. Tom and Summer back at the table. Summer is humming something. TOM That's not it. SUMMER What is that then? TOM I have no idea. They're both having a good time. SUMMER I used to watch it every week. TOM Me too. Why can't we think of the stupid A-Team theme song. SUMMER Pathetic. TOM This is gonna bother me for weeks. 35. SUMMER Totally. They share another laugh and then it gets quiet. In that good way. ANGLE ON McKenzie, wasted, singing the shit out of "Proud to Be an American." He really means it. At any minute he might start to cry. MCKENZIE "And I'd proudly stand UP!" (aggressive drunk) I said stand! BACK ON TOM and SUMMER. TOM Oh here we go. EXT KARAOKE BAR - LATER Tom helps a nearly comatose McKenzie exit the place. Summer is with them. MCKENZIE (to Summer) This guy. (DRAMATICALLY) He's the best. TOM Ok, let's

meets

How many times the word 'meets' appears in the text?

500 Days of Summer Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 500 DAYS OF SUMMER Written by Scott Neustadter & Michael H. Weber First Draft SIMPLE BLACK ON WHITE CREDITS ROLL TO BIG STAR'S "I'M IN LOVE WITH A GIRL." When all is said and done, up comes a single number in parenthesis, like so: (478) EXT. PARK - DAY For a few seconds we watch A MAN (20s) and a WOMAN (20s) on a park bench. Their names are TOM and SUMMER. Neither one says a word. CLOSE ON her HAND, covering his. Notice the wedding ring. No words are spoken. Tom looks at her the way every woman wants to be looked at. A DISTINGUISHED VOICE begins to speak to us. NARRATOR This is a story of boy meets girl. CUT TO: (1) INT CONFERENCE ROOM - DAY The boy is TOM HANSEN. He sits at a very long rectangular conference table. The walls are lined with framed blow-up sized greeting cards. Tom, dark hair and blue eyes, wears a t- shirt under his sports coat and Adidas tennis shoes to balance out the corporate dress code. He looks pretty bored. NARRATOR The boy, Tom Hansen of Margate, New Jersey, grew up believing that he'd never truly be happy until the day he met his... "soulmate." CUT TO: INT LIVING ROOM - 1989 PRE-TEEN TOM sits alone on his bed engrossed in a movie. His walls are covered in posters of obscure bands. From the TV, we hear: "Elaine! Elaine!" 4. NARRATOR This belief stemmed from early exposure to sad British pop music and a total misreading of the movie, "The Graduate." CUT TO: INT OFFICE CUBICLE - PRESENT DAY The girl is SUMMER FINN. She files folders and answers phones in a plain white office. She has cropped blonde hair almost like a boy's but her face is feminine and pretty enough to get away with it. NARRATOR The girl, Summer Finn of Shinnecock, Michigan, did not share this belief. CUT TO: INT BATHROOM - 1994 Teenage Summer stares at herself in the mirror. Her hair extends down to her lower back. NARRATOR Since the disintegration of her parents' marriage, she'd only loved two things. The first was her long blonde hair. She picks up scissors from the counter and begins to slice. NARRATOR The second was how easily she could cut it off... And feel nothing. CUT TO: SPLITSCREEN. INT BOARDROOM/ INT CUBICLE - SAME On the right side of the screen, Tom continues to listen to some boring presentation. On the left, Summer answers a call, takes a message, and walks out of her cubicle down a long narrow hallway. 5. NARRATOR Tom meets Summer on January 8th in a San Francisco office building. In an instant, he will know she's the one he's been looking for. CU Summer opening the door to the boardroom, about to come face to face with Tom for the first time. NARRATOR This is a story of boy meets girl. But before they do, CUT TO: BLACK. NARRATOR You should know up front, this is not a love story. (240) EXT STREETS OF SAN FRAN - NIGHT A 12 year old GIRL rides her bicycle down the block. She arrives at an apartment complex, jumps off the bike and races up the front stairs. She rings the doorbell. INT TOM'S PLACE - LATER PAUL and MCKENZIE open the door. These are Tom's best friends since birth. Paul is a doctor and wears hospital scrubs. McKenzie works in the cubicle next to Tom. PAUL I didn't know who else to call. The Girl removes her bike helmet. GIRL You did the right thing. Where is he? Tom is in the kitchen breaking things and basically going insane. About to smash a plate on the floor, he's interrupted BY: 6. GIRL Thomas. Tom freezes. TOM Rachel? What are you doing here? GIRL (RACHEL) I'm here to help you. TOM Help me how? RACHEL First, put down the plate. Tom slowly obliges. RACHEL Now come here and sit down. Tom sits next to the young girl. Paul and Mckenzie sit on either side of them. RACHEL The key is not to panic. TOM I think I'm gonna be sick. RACHEL Drink this. She hands him a glass of water. Tom drinks it down. MCKENZIE What is that? RACHEL Vodka. TOM (grimacing at the taste) More. He gulps another down. TOM Does Mom know you're here? It's gotta be past 10. 7. RACHEL Don't worry about it. Start from the beginning. Tell us what happened... Tom takes a deep breath. EXT PARK - DAY Tom and Summer eat sandwiches in the park. TOM (V.O.) We spent the whole day together. EXT OUTDOOR MARKET - DAY Tom and Summer walk through the stalls. TOM (V.O.) We went shopping. EXT COFFEE HOUSE - DAY Tom and Summer seated outside drinking coffee. He reads the newspaper, she reads a novel. TOM (V.O.) We had coffee. EXT MOVIE THEATER - DAY Tom and Summer walk out of a movie theatre. TOM (V.O.) We saw a film. INT RECORD STORE - LATER Tom and Summer shop for music. Tom excitedly shows Summer a Ringo Starr solo album. TOM (V.O.) We bought music. 8. INT TOM'S PLACE TOM I thought it was a great day. RACHEL And then what happened? INT DINER - NIGHT Tom and Summer in a booth ordering dinner. TOM (to WAITRESS) Um...you know what...let's go crazy, I'll have BOTH. (to Summer) God, I love eating pancakes at night. It's like the greatest thing ever. How great is this? SUMMER I think we should stop seeing each other. INT TOM'S PLACE - AS BEFORE RACHEL Just like that? TOM Just like that. PAUL Did she say why? INT DINER - AS BEFORE SUMMER This thing. This whatever it is. You and me. Do you think this is normal? TOM I don't know. Who cares about normal?! I'm happy. Aren't you happy? 9. SUMMER You're happy? TOM You're not? SUMMER All we do is argue! TOM That is such a lie! INT TOM'S PLACE - AS BEFORE RACHEL Maybe she was just in a bad mood. PAUL A hormonal thing. RACHEL P.M.S.? TOM (to Rachel) What do you know about PMS? RACHEL More than you. TOM Oh my god. MCKENZIE Please continue. INT DINER - AS BEFORE SUMMER This can't be a total surprise. I mean, we've been like Sid and Nancy for months. TOM Summer, Sid stabbed Nancy seven times with a kitchen knife. We've had some disagreements but I hardly think I'm Sid Vicious. SUMMER No... I'm Sid. 10. TOM (BEAT) So I'm Nancy?! The Waitress comes out with the food. Tom and Summer stop their discussion until the meal is served and the Waitress leaves. Summer starts to eat. SUMMER Let's just eat and we'll talk about it after. I'm starving. Without another word she goes back to her pancakes. Tom watches her eat like this is the worst travesty in the history of mankind. SUMMER (mouth full) Mmm, you're so right. These are great! Tom looks at his food in disgust. He may never eat again. SUMMER (INNOCENT) What? Tom stands up to go. SUMMER Tom, don't. Come back. You're still my best fr--- THE SCENE FREEZES AND WE ZOOM IN ON TOM'S STUNNED FACE. INT TOM'S PLACE - AS BEFORE Silence for a few beats. PAUL Jesus. MCKENZIE That's harsh. TOM I don't know what I'm gonna do. RACHEL You're gonna be fine. 11. TOM (BEAT) I'm gonna throw up. MCKENZIE Or that. RACHEL Here. Tom drinks more vodka. MCKENZIE Come on Hansen. You'll be ok. You're the best guy I know. You'll find someone. PAUL You know what they say...there's plenty other fish in the sea. TOM No. PAUL Sure they do. They say that. TOM Well they're wrong. It's not true. I've fished in that sea. I've jumped in and swam in that sea! I'm fucking Aquaman! (to Rachel) Sorry. What I mean is... there are no other fish. This was my fish. Paul and McKenzie share a very concerned look. CUT TO: (86) EXT SIDEWALK - DAY Tom walks alongside his friend PAUL. Out of nowhere, he says: TOM I'm in love with Summer. 12. PAUL (BEAT) For real? CUT TO: CU - SUMMER'S SMILE TOM (V.O.) I love her smile. CU - SUMMER'S HAIR TOM (V.O.) I love her hair. CU - SUMMER'S KNEES TOM (V.O.) I love her knees. CU - SUMMER'S EYES TOM (V.O.) I love how one eye is higher up on her face than the other eye. CU - SUMMER'S NECK TOM (V.O.) I love the scar on her neck from this operation she had as a kid. CU - SUMMER'S BREASTS (UNDER A BLACK T-SHIRT) TOM (V.O.) I love how she looks in my Clash T- shirt. CU - SUMMER ASLEEP TOM (V.O.) I love how she looks when she's sleeping. CU - SUMMER'S LAUGH TOM (V.O.) I love the sound of her laugh. OVER BLACK, play the middle 8 of "Every Little Thing She Does is Magic" by The Police. 13. TOM (V.O.) I love how I hear this song every time I think of her. CU - TOM, STARING DIRECTLY AT THE CAMERA. TOM (V.O.) I love how she makes me feel. Like anything's possible. Like, I don't know...like life is worth it. CUT TO: EXT SIDEWALK - SAME Paul and Tom. TOM For real, Paul. I'm madly in love with that girl. Paul is silent for a beat. PAUL Oh shit. (1) INT CONFERENCE ROOM - DAY Tom as we saw him earlier. Bored. In the boardroom. Mckenzie is in mid-presentation. MCKENZIE Now I know this may be a little risque...but if New Hampshire Greetings wants the jump on those conservative, right-wing neo-Nazis at Hallmark, maybe playing it safe is the wrong approach. The nuclear family is dead and we need a new holiday to recognize that. Mckenzie holds up a home-made photoshopped family portrait of Martina Navratilova, Ellen DeGeneres, and the kid from "Jerry Maguire". 14. MCKENZIE May 21st. Other Mother's Day. The co-workers nod and digest this idea. VANCE is the head of the department. VANCE Hmmm. That's an intriguing idea McKenzie. Along with Grossman's "Magellan Day" I'd say we've got some potential here. What do you think Hansen? Could you write up some prototypes for these? Tom is about to answer when... the door opens. SUMMER Excuse me, Mr. Vance? There's a call for you on line 3. And in walks this girl. Summer. We've met her by now but Tom hasn't. This is the first time. His eyes go wide and from that moment on, he can't take them off her. VANCE (to the table) Everyone this is Summer, my new assistant. Summer just moved here from... SUMMER Michigan. VANCE Right. Michigan. Well, Summer, everyone. Everyone, Summer. Excuse me, I have to take this. SUMMER Nice to meet you all. Summer gives a little wave before following Vance out. She doesn't notice Tom whose face looks like he's just seen God. 15. (3, 4, 5) INT. OFFICE - DAY Tom trying to work. And failing. He turns to McKenzie. TOM What do we know about this new girl? MCKENZIE Who? TOM The new girl. Summer. In Vance's office. MCKENZIE Dude. I hear she's a bitch from hell! TOM (DISAPPOINTED) Really? MCKENZIE Patel tried to talk to her in the copy room. She was totally not having it. TOM Maybe she was just in a hurry. MCKENZIE And maybe she's some uppity, better than everyone, superskank. TOM Damn. MCKENZIE I know. She's pretty hot. TOM That makes me so mad! Why is it pretty girls always think they can treat people like crap and get away with it? 16. MCKENZIE Dunno. TOM Like, just cause she has high cheekbones and soft skin... MCKENZIE ...and really good teeth. TOM And maybe the world's most perfect breasts...Just cause of that stuff, she can walk around like she's center of the universe? MCKENZIE (as explanation) Women. TOM Ugh. You know what? Screw her! We haven't even met and I can't stand her already. INT. ELEVATOR - LATER Tom is listening to headphones. Summer enters the elevator and Tom actively puts on a show to ignore her. Summer hears the music. SUMMER The Smiths. Tom, pretending not to hear or care, gives her an unenthusiastic wave. SUMMER I love The Smiths. Tom, still pretending, takes off his headphones. TOM Sorry? SUMMER I said. I love The Smiths. You have good taste in music. A beat as Tom processes this information. 17. TOM (AMAZED) You like the Smiths? SUMMER (SINGING) "To die by your side is such a heavenly way to die." Love it. The elevator doors open and she gets off. TOM (accidentally out loud) Oh my god. (8) INT OFFICE LOBBY - DAY The office sings "Happy Birthday" to a FEMALE CO-WORKER. When they get to the part about her name, Tom is the only one who knows it, everyone else just there for the cake. Song over, everyone digs in. Tom finds himself standing next to Summer. TOM Hi. SUMMER Hello. TOM So, uh, Summer... SUMMER Tom. TOM Yeah! How's it going so far? SUMMER The city or the firm? TOM Both... Either. SUMMER I'm happy. Still getting situated. How long have you worked here? 18. TOM Oh, you know, 4, 5... years. SUMMER Really? Jesus. Did you always want to write greeting cards? TOM Are you nuts? I don't even want to do it now. SUMMER What is it you want to do? TOM I studied to be an architect actually. SUMMER That's so cool! What happened? TOM Eh, you know. Same old story. Moved to the city to work for a company. Company went under. Needed a job. My friend worked here. Got me this. SUMMER And are you any good? TOM (points to a framed card) Well I wrote that one. SUMMER (READING) "Today You're a Man. Mazel Tov on your Bar Mitzvah." TOM It's a big seller. SUMMER I meant, are you any good as an architect? TOM Oh... No. I doubt it. SUMMER Well, I'd say you're a perfectly ...adequate... greeting card writer. 19. TOM Why thank you. That's what they called me in college. "Perfectly adequate" Hansen. SUMMER They used to call me "Anal Girl." Tom does a spit-take and almost chokes. SUMMER (EXPLAINING) I was very neat and organized. There's an awkward silence. SUMMER Anyway, I should get back. TOM Ok, well, I'll see you around. She walks back to her cubicle at the other end of the hall. Tom watches her walk away, completely enamored. He sits down at his desk and sets out to work. But before he does, his eyes fall on a sketch he drew of a house. It's dated 2001 and it's the only architecture sketch on his wall. (11) INT TOM'S PLACE - DAY Tom is playing Playstation with Rachel. TOM And it turns out she's read every Graham Greene novel ever published. Her desk is lined with Magritte posters and Edward Hopper. RACHEL Your favorites. TOM We're so compatible it's insane! Seriously! It doesn't make sense! She's not like I thought at all. She's... amazing. 20. RACHEL Oh boy. TOM What? RACHEL You know...just cause some cute girl likes the same bizarro music you do doesn't make her "the one." TOM (BEAT) Of course it does. SARAH (O.S.) Dinner! SARAH, 50s, Tom and Rachel's mother, stands in the doorway. SARAH Pause and come eat. They do. Tom enters the living room area and sits down next to his stepdad MARTIN, 60s, a quiet, professorial Southern gentleman type. TOM Hey Martin. ANGLE ON RACHEL and Sarah. RACHEL He met a girl. SARAH (EXCITED) Yeah? RACHEL (GRIM) Yeah. Sarah grows serious too. SARAH Oh shit. CUT TO: 21. STOCK FOOTAGE. The Wright Brothers, Galileo, Heaven's Gate, Neil Armstrong. NARRATOR When one strongly believes in something, it takes overwhelming contradictory evidence to change their minds. END ON: LITTLE TOM, age 6, mesmerized by a vinyl album cover of Olivia Newton-John in "Xanadu." NARRATOR Tom had always been a devout believer in the idea of "true love." (BEAT) The evidence did not support him. CUT TO: (-8914) INT CLASSROOM - DAY Little Tom stares at a LITTLE GIRL, 6, who has the same hairstyle and dress as Newton-John on that cover. Tom draws a picture. It's a boy and a girl with a giant heart over them. He stands up and walks over to the girl, putting the picture on her desk. Not a word is spoken. Satisfied, he returns to his seat and waits to see what happens. NARRATOR Exhibit A: Lisa Rayner. The Little Girl stands up and walks the picture over to ANOTHER BOY. Tom is mortified. The OTHER BOY eats the drawing. (-5313) 22. EXT FOOTBALL FIELD - NIGHT A BLONDE CHEERLEADER leads the crowd in a cheer. PAN ACROSS to find TEENAGE TOM, 15, finishing making out with a homely HIGH SCHOOL GIRL. He says goodbye and walks off, looking back longingly. NARRATOR Exhibit B: Wendy Wilson. Once Tom is out of frame, a SECOND BOY approaches Wendy. Then they start making out. (-2825) INT AIRPLANE - DAY COLLEGE TOM sits next to his girlfriend REBECCA MYLES. His smile gleams. TOM I'm so glad we decided to go away together Bec. I know we've only been dating a few months but it's been...awesome. NARRATOR Exhibit C: Rebecca Myles. TOM And now, you and me, 8 days in Mexico... best spring break ever! Across the aisle Rebecca makes eye contact with three COLLEGE DUDES. REBECCA I think we should see other people. (-734) 23. EXT CAR - NIGHT Younger Tom sits in the passenger seat. Raven-haired AMANDA drives. NARRATOR And, finally... Exhibit D: Amanda Heller. AMANDA It's just... it's complicated. TOM What's complicated? Last week you said you loved me! AMANDA I know it's sudden but... TOM No, this can't be. Everything was going so great. I don't understand. AMANDA (BEAT) Here. TOM What's this? She puts a disc into the cd player. AMANDA Because you're, like, the biggest music nerd I've ever met, I think this should really help explain where I'm coming from. A pop song begins to play on the stereo. They listen for a few beats. Tom is confused. AMANDA You remember how much I loved this song when you first played it for me? TOM Sure. It's all you wanted to listen to for weeks. 24. AMANDA Right. And I still like it, don't get me wrong. It's just... When I hear it now, I don't feel the same...rush. TOM (still confused) Ok... AMANDA I press the skip button. Still Tom doesn't understand. TOM What does this have to do with--? AMANDA I'd rather listen to something else. And with that, it slowly sinks in for him. TOM But Amanda... this is a great fucking song! (22) INT LOCAL DIVE BAR - HAPPY HOUR Tom removes his headphones and sits defeated with McKenzie and Paul in a booth. TOM It's off. PAUL What? TOM Me and Summer. MCKENZIE Was it ever on? 25. TOM No. But it could have been. In a world where good things happen to me. PAUL Yeah well, that's not really where we live. TOM No. MCKENZIE So what happened? TOM You ready for this? INT ELEVATOR - THE DAY BEFORE Tom is alone. The door opens. In walks Summer. TOM (V.O.) So there we are. All alone. Nine more floors to ride. Plenty of time. I figure...this is my chance. If not now when, right? They ride in silence for a few beats. TOM Summer... SUMMER Yeah? TOM (BEAT) So how was your weekend? SUMMER It was good. INT LOCAL DIVE BAR - AS BEFORE The friends wait for more. TOM You believe that shit? 26. MCKENZIE What shit? PAUL I think I missed something. TOM "It was good." She didn't say "It was good." She said "It was good." Emphasis on the good. She basically said "I spent the weekend having sex with this guy I met at the gym." Fucking whore. Screw her. It's over. Everyone's silent. MCKENZIE What the hell is wrong with you?! PAUL Dude, you got problems. TOM She's not interested in me. There's nothing I can do. MCKENZIE Based on..."it was good?" TOM And some other things. PAUL Like what, she said "hey" instead of "hi" cause that totally means she's a lesbian. TOM I gave her all sorts of chances. INT OFFICE - DAY Tom types at his desk. Summer approaches the cubicle Tom shares with McKenzie. SUMMER I'm going to the supply room. Anyone need anything? MCKENZIE No thanks. 27. TOM I think you know what I need. There's a beat. TOM Toner. SUMMER Oh ok, sure, no prob. INT OFFICE - LATE IN THE DAY The office is emptying out. Only a few people remain but Tom and Summer are two of them. Tom takes this opportunity to put a CD in his computer and play the song really loud. It's "I Want to Know What Love Is" by Foreigner. No reaction from Summer. Tom turns it up. Still nothing. Tom turns it down, defeated. INT SUMMER'S DESK Tom is there. TOM Do you want to go out with me? A beat. Summer says nothing. TOM And the Priest says, "But we're already out!" They both laugh. SUMMER That is hilarious! TOM I know! And when she walks away, he smacks his head a few times with his palm. INT LOCAL DIVE BAR - AS BEFORE TOM Not once did she take the bait. Not once. Screw it. I'm done with her. It's over. 28. Tom's friends all look at him like he's crazy. (27 & 28) INT OFFICE - TOM'S CUBICLE - DAY Tom sits at his desk with headphones on trying to work. But with Summer down at the end of the hall, he's having a hard time concentrating. McKenzie shares a cubicle with Tom. MCKENZIE This Friday. 10 bucks all you can karaoke at The Well. TOM No way McKenzie. Absolutely not. MCKENZIE Come on! (SINGING) "Take me down to the paradise city where the grass is green and they got big titties!" TOM They won't let you back in there after last time. MCKENZIE I wasn't that bad. TOM Not at all. You just threw up on the stage, tried to fight the bartender, and then threatened to burn the place down before passing out on the sidewalk. Quiet night for you. MCKENZIE (REVERENTIAL) You saved my life that day. TOM We are not going back there. 29. MCKENZIE This is a work thing, Tommy. It won't be like that. The whole office is going. TOM I really can't. Even if I wanted to. There's a lot of stuff I gotta take care of. MCKENZIE You're not listening to me. TOM What? MCKENZIE The whole office is going. Tom looks over to where Summer sits. And realization dawns on him... INT KARAOKE BAR - NIGHT Summer is in a back booth with some co-workers when Tom walks in to the crowded place. McKenzie has the microphone and he's singing "Every Rose Has Its Thorn" by Poison. He's real into it and, well, it's kinda sad. Tom waves to McKenzie and walks over to the booth. TOM Hi. SUMMER Hey! They said you weren't coming. TOM You asked if I was coming? (BEAT) I mean...my plans got cancelled... Tom is at a loss. There's yet another awkward silent beat between them. Thankfully, it's interrupted by... MCKENZIE (already drunk) Goddamn that song is brilliant! What's up Hansen? Summer sees the next song come up on the screen. 30. SUMMER Ooh that's me. She downs a shot and jumps up on stage. SUMMER (into mic) Ok. I'm the new girl so no making fun of me. Her co-workers whistle and cheer her on. She takes a deep breath as the opening bars of "Born to Run" begin to play and Summer starts to sing. Tom sees Summer as the actress in whatever nonsensical karaoke video accompanies the song (it's something to do with an old convertible, the sunset, and a midget in a tuxedo.) LATER. Tom sits in the booth with McKenzie (doing a shot) as Summer chats with co-workers at another table. Tom can't help but stare at Summer. She notices and waves. He smiles, hopeful that she'll come over. She doesn't. He hides his disappointment. LATER. Tom walks back to his table with drinks. Summer is there in mid-conversation with McKenzie. TOM You were great up there, by the way. SUMMER Well you can't go wrong with The Boss. TOM (sitting down) I hear that. MCKENZIE Hey, did you know Tom here's from Jersey? SUMMER Yeah? TOM Lived there til I was 12. SUMMER I named my cat after Springsteen. TOM No kidding? What's his name? 31. SUMMER Bruce. TOM (BEAT) That makes sense. She laughs. She's really cute when she laughs. MCKENZIE So you got a boyfriend? SUMMER Me? No. Tom shoots daggers at McKenzie for that comment. McKenzie mouths "what?" Summer sees nothing. MCKENZIE Why not? SUMMER Don't really want one. MCKENZIE Come on. I don't believe that. SUMMER You don't believe a woman could enjoy being free and independent? MCKENZIE (BEAT) Are you a lesbian? SUMMER No, I'm not a lesbian. I'm just not comfortable being somebody's "girlfriend." I don't want to be anybody's anything, you know? MCKENZIE I have no idea what you're talking about. SUMMER It sounds selfish, I know, but... I just like being on my own. Relationships are messy and feelings are always getting hurt. Who needs all that? We're young. We're in one of the most beautiful cities in the world. (MORE) 32. SUMMER (cont'd) I say, let's have as much fun as we can afford and leave the serious shit for later. TOM But...what if you meet someone and fall in love? SUMMER (LAUGHS) Love? You seriously believe in that stuff? TOM Of course I do. SUMMER Interesting. A real romantic. MCKENZIE Oh you have no idea. This one... embarrassing. There was this one girl, (to Tom) I gotta tell this story -- Tom elbows McKenzie hard in the ribs to shut him up. TOM Summer, hold on... you don't believe in love? SUMMER I don't even know what that word means. I know I've never felt it, whatever it is in all those songs. And I know that today most marriages end in divorce. Like my parents. TOM Well mine too but -- SUMMER Oh yeah, And I read in Newsweek, there were these scientists who found that by stimulating a part of the brain with electrodes you can make a person fall in "love" with a rock. Is that the love you're talking about? TOM Well... 33. SUMMER Why, what's your take on it? CUT TO: AN ANIMATION SEQUENCE, real quick. AN EXPLOSION OF MANY DIFFERENT COLORS, COMPLETE WITH A CHOIR AND A CHURCH ORGAN ALL BUILDING TO A HUGE CRESCENDO. BACK TO: INT BAR On Tom: TOM I think it's...kind of a huge thing. SUMMER (BEAT) Ok. Looks like we're gonna have to agree to disagree on that one. McKenzie senses some discontent. MCKENZIE So, uh, who's singing next? SUMMER (re: singing) I'd say it's your turn loverboy. TOM Nooo. I don't sing in public. SUMMER Sure you do. I see you lip-synching to your headphones every morning on your way in. TOM I don't... MCKENZIE You really do. SUMMER It's ok. I like it. Takes a lot of self-confidence to look ridiculous. 34. MCKENZIE (can't help himself) Self-confidence! Ha! Tom elbows him in the ribs again. TOM Anyway, I'm not near drunk enough to sing in front of all these people. SUMMER Ok then. Let's drink. TOM It would take at least ten shots to get me to sing. SUMMER Bartender! TEN MINUTES LATER. Tom is up there singing The Clash's "Magnificent Seven." You wouldn't think so but Tom is a ROCK STAR up there! He's dancing like Jagger, he's got everyone in the bar singing along to the audience-participation parts. It's a sight to behold. Summer is all smiles watching. LATER. Tom and Summer back at the table. Summer is humming something. TOM That's not it. SUMMER What is that then? TOM I have no idea. They're both having a good time. SUMMER I used to watch it every week. TOM Me too. Why can't we think of the stupid A-Team theme song. SUMMER Pathetic. TOM This is gonna bother me for weeks. 35. SUMMER Totally. They share another laugh and then it gets quiet. In that good way. ANGLE ON McKenzie, wasted, singing the shit out of "Proud to Be an American." He really means it. At any minute he might start to cry. MCKENZIE "And I'd proudly stand UP!" (aggressive drunk) I said stand! BACK ON TOM and SUMMER. TOM Oh here we go. EXT KARAOKE BAR - LATER Tom helps a nearly comatose McKenzie exit the place. Summer is with them. MCKENZIE (to Summer) This guy. (DRAMATICALLY) He's the best. TOM Ok, let's

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How many times the word 'block' appears in the text?

500 Days of Summer Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 500 DAYS OF SUMMER Written by Scott Neustadter & Michael H. Weber First Draft SIMPLE BLACK ON WHITE CREDITS ROLL TO BIG STAR'S "I'M IN LOVE WITH A GIRL." When all is said and done, up comes a single number in parenthesis, like so: (478) EXT. PARK - DAY For a few seconds we watch A MAN (20s) and a WOMAN (20s) on a park bench. Their names are TOM and SUMMER. Neither one says a word. CLOSE ON her HAND, covering his. Notice the wedding ring. No words are spoken. Tom looks at her the way every woman wants to be looked at. A DISTINGUISHED VOICE begins to speak to us. NARRATOR This is a story of boy meets girl. CUT TO: (1) INT CONFERENCE ROOM - DAY The boy is TOM HANSEN. He sits at a very long rectangular conference table. The walls are lined with framed blow-up sized greeting cards. Tom, dark hair and blue eyes, wears a t- shirt under his sports coat and Adidas tennis shoes to balance out the corporate dress code. He looks pretty bored. NARRATOR The boy, Tom Hansen of Margate, New Jersey, grew up believing that he'd never truly be happy until the day he met his... "soulmate." CUT TO: INT LIVING ROOM - 1989 PRE-TEEN TOM sits alone on his bed engrossed in a movie. His walls are covered in posters of obscure bands. From the TV, we hear: "Elaine! Elaine!" 4. NARRATOR This belief stemmed from early exposure to sad British pop music and a total misreading of the movie, "The Graduate." CUT TO: INT OFFICE CUBICLE - PRESENT DAY The girl is SUMMER FINN. She files folders and answers phones in a plain white office. She has cropped blonde hair almost like a boy's but her face is feminine and pretty enough to get away with it. NARRATOR The girl, Summer Finn of Shinnecock, Michigan, did not share this belief. CUT TO: INT BATHROOM - 1994 Teenage Summer stares at herself in the mirror. Her hair extends down to her lower back. NARRATOR Since the disintegration of her parents' marriage, she'd only loved two things. The first was her long blonde hair. She picks up scissors from the counter and begins to slice. NARRATOR The second was how easily she could cut it off... And feel nothing. CUT TO: SPLITSCREEN. INT BOARDROOM/ INT CUBICLE - SAME On the right side of the screen, Tom continues to listen to some boring presentation. On the left, Summer answers a call, takes a message, and walks out of her cubicle down a long narrow hallway. 5. NARRATOR Tom meets Summer on January 8th in a San Francisco office building. In an instant, he will know she's the one he's been looking for. CU Summer opening the door to the boardroom, about to come face to face with Tom for the first time. NARRATOR This is a story of boy meets girl. But before they do, CUT TO: BLACK. NARRATOR You should know up front, this is not a love story. (240) EXT STREETS OF SAN FRAN - NIGHT A 12 year old GIRL rides her bicycle down the block. She arrives at an apartment complex, jumps off the bike and races up the front stairs. She rings the doorbell. INT TOM'S PLACE - LATER PAUL and MCKENZIE open the door. These are Tom's best friends since birth. Paul is a doctor and wears hospital scrubs. McKenzie works in the cubicle next to Tom. PAUL I didn't know who else to call. The Girl removes her bike helmet. GIRL You did the right thing. Where is he? Tom is in the kitchen breaking things and basically going insane. About to smash a plate on the floor, he's interrupted BY: 6. GIRL Thomas. Tom freezes. TOM Rachel? What are you doing here? GIRL (RACHEL) I'm here to help you. TOM Help me how? RACHEL First, put down the plate. Tom slowly obliges. RACHEL Now come here and sit down. Tom sits next to the young girl. Paul and Mckenzie sit on either side of them. RACHEL The key is not to panic. TOM I think I'm gonna be sick. RACHEL Drink this. She hands him a glass of water. Tom drinks it down. MCKENZIE What is that? RACHEL Vodka. TOM (grimacing at the taste) More. He gulps another down. TOM Does Mom know you're here? It's gotta be past 10. 7. RACHEL Don't worry about it. Start from the beginning. Tell us what happened... Tom takes a deep breath. EXT PARK - DAY Tom and Summer eat sandwiches in the park. TOM (V.O.) We spent the whole day together. EXT OUTDOOR MARKET - DAY Tom and Summer walk through the stalls. TOM (V.O.) We went shopping. EXT COFFEE HOUSE - DAY Tom and Summer seated outside drinking coffee. He reads the newspaper, she reads a novel. TOM (V.O.) We had coffee. EXT MOVIE THEATER - DAY Tom and Summer walk out of a movie theatre. TOM (V.O.) We saw a film. INT RECORD STORE - LATER Tom and Summer shop for music. Tom excitedly shows Summer a Ringo Starr solo album. TOM (V.O.) We bought music. 8. INT TOM'S PLACE TOM I thought it was a great day. RACHEL And then what happened? INT DINER - NIGHT Tom and Summer in a booth ordering dinner. TOM (to WAITRESS) Um...you know what...let's go crazy, I'll have BOTH. (to Summer) God, I love eating pancakes at night. It's like the greatest thing ever. How great is this? SUMMER I think we should stop seeing each other. INT TOM'S PLACE - AS BEFORE RACHEL Just like that? TOM Just like that. PAUL Did she say why? INT DINER - AS BEFORE SUMMER This thing. This whatever it is. You and me. Do you think this is normal? TOM I don't know. Who cares about normal?! I'm happy. Aren't you happy? 9. SUMMER You're happy? TOM You're not? SUMMER All we do is argue! TOM That is such a lie! INT TOM'S PLACE - AS BEFORE RACHEL Maybe she was just in a bad mood. PAUL A hormonal thing. RACHEL P.M.S.? TOM (to Rachel) What do you know about PMS? RACHEL More than you. TOM Oh my god. MCKENZIE Please continue. INT DINER - AS BEFORE SUMMER This can't be a total surprise. I mean, we've been like Sid and Nancy for months. TOM Summer, Sid stabbed Nancy seven times with a kitchen knife. We've had some disagreements but I hardly think I'm Sid Vicious. SUMMER No... I'm Sid. 10. TOM (BEAT) So I'm Nancy?! The Waitress comes out with the food. Tom and Summer stop their discussion until the meal is served and the Waitress leaves. Summer starts to eat. SUMMER Let's just eat and we'll talk about it after. I'm starving. Without another word she goes back to her pancakes. Tom watches her eat like this is the worst travesty in the history of mankind. SUMMER (mouth full) Mmm, you're so right. These are great! Tom looks at his food in disgust. He may never eat again. SUMMER (INNOCENT) What? Tom stands up to go. SUMMER Tom, don't. Come back. You're still my best fr--- THE SCENE FREEZES AND WE ZOOM IN ON TOM'S STUNNED FACE. INT TOM'S PLACE - AS BEFORE Silence for a few beats. PAUL Jesus. MCKENZIE That's harsh. TOM I don't know what I'm gonna do. RACHEL You're gonna be fine. 11. TOM (BEAT) I'm gonna throw up. MCKENZIE Or that. RACHEL Here. Tom drinks more vodka. MCKENZIE Come on Hansen. You'll be ok. You're the best guy I know. You'll find someone. PAUL You know what they say...there's plenty other fish in the sea. TOM No. PAUL Sure they do. They say that. TOM Well they're wrong. It's not true. I've fished in that sea. I've jumped in and swam in that sea! I'm fucking Aquaman! (to Rachel) Sorry. What I mean is... there are no other fish. This was my fish. Paul and McKenzie share a very concerned look. CUT TO: (86) EXT SIDEWALK - DAY Tom walks alongside his friend PAUL. Out of nowhere, he says: TOM I'm in love with Summer. 12. PAUL (BEAT) For real? CUT TO: CU - SUMMER'S SMILE TOM (V.O.) I love her smile. CU - SUMMER'S HAIR TOM (V.O.) I love her hair. CU - SUMMER'S KNEES TOM (V.O.) I love her knees. CU - SUMMER'S EYES TOM (V.O.) I love how one eye is higher up on her face than the other eye. CU - SUMMER'S NECK TOM (V.O.) I love the scar on her neck from this operation she had as a kid. CU - SUMMER'S BREASTS (UNDER A BLACK T-SHIRT) TOM (V.O.) I love how she looks in my Clash T- shirt. CU - SUMMER ASLEEP TOM (V.O.) I love how she looks when she's sleeping. CU - SUMMER'S LAUGH TOM (V.O.) I love the sound of her laugh. OVER BLACK, play the middle 8 of "Every Little Thing She Does is Magic" by The Police. 13. TOM (V.O.) I love how I hear this song every time I think of her. CU - TOM, STARING DIRECTLY AT THE CAMERA. TOM (V.O.) I love how she makes me feel. Like anything's possible. Like, I don't know...like life is worth it. CUT TO: EXT SIDEWALK - SAME Paul and Tom. TOM For real, Paul. I'm madly in love with that girl. Paul is silent for a beat. PAUL Oh shit. (1) INT CONFERENCE ROOM - DAY Tom as we saw him earlier. Bored. In the boardroom. Mckenzie is in mid-presentation. MCKENZIE Now I know this may be a little risque...but if New Hampshire Greetings wants the jump on those conservative, right-wing neo-Nazis at Hallmark, maybe playing it safe is the wrong approach. The nuclear family is dead and we need a new holiday to recognize that. Mckenzie holds up a home-made photoshopped family portrait of Martina Navratilova, Ellen DeGeneres, and the kid from "Jerry Maguire". 14. MCKENZIE May 21st. Other Mother's Day. The co-workers nod and digest this idea. VANCE is the head of the department. VANCE Hmmm. That's an intriguing idea McKenzie. Along with Grossman's "Magellan Day" I'd say we've got some potential here. What do you think Hansen? Could you write up some prototypes for these? Tom is about to answer when... the door opens. SUMMER Excuse me, Mr. Vance? There's a call for you on line 3. And in walks this girl. Summer. We've met her by now but Tom hasn't. This is the first time. His eyes go wide and from that moment on, he can't take them off her. VANCE (to the table) Everyone this is Summer, my new assistant. Summer just moved here from... SUMMER Michigan. VANCE Right. Michigan. Well, Summer, everyone. Everyone, Summer. Excuse me, I have to take this. SUMMER Nice to meet you all. Summer gives a little wave before following Vance out. She doesn't notice Tom whose face looks like he's just seen God. 15. (3, 4, 5) INT. OFFICE - DAY Tom trying to work. And failing. He turns to McKenzie. TOM What do we know about this new girl? MCKENZIE Who? TOM The new girl. Summer. In Vance's office. MCKENZIE Dude. I hear she's a bitch from hell! TOM (DISAPPOINTED) Really? MCKENZIE Patel tried to talk to her in the copy room. She was totally not having it. TOM Maybe she was just in a hurry. MCKENZIE And maybe she's some uppity, better than everyone, superskank. TOM Damn. MCKENZIE I know. She's pretty hot. TOM That makes me so mad! Why is it pretty girls always think they can treat people like crap and get away with it? 16. MCKENZIE Dunno. TOM Like, just cause she has high cheekbones and soft skin... MCKENZIE ...and really good teeth. TOM And maybe the world's most perfect breasts...Just cause of that stuff, she can walk around like she's center of the universe? MCKENZIE (as explanation) Women. TOM Ugh. You know what? Screw her! We haven't even met and I can't stand her already. INT. ELEVATOR - LATER Tom is listening to headphones. Summer enters the elevator and Tom actively puts on a show to ignore her. Summer hears the music. SUMMER The Smiths. Tom, pretending not to hear or care, gives her an unenthusiastic wave. SUMMER I love The Smiths. Tom, still pretending, takes off his headphones. TOM Sorry? SUMMER I said. I love The Smiths. You have good taste in music. A beat as Tom processes this information. 17. TOM (AMAZED) You like the Smiths? SUMMER (SINGING) "To die by your side is such a heavenly way to die." Love it. The elevator doors open and she gets off. TOM (accidentally out loud) Oh my god. (8) INT OFFICE LOBBY - DAY The office sings "Happy Birthday" to a FEMALE CO-WORKER. When they get to the part about her name, Tom is the only one who knows it, everyone else just there for the cake. Song over, everyone digs in. Tom finds himself standing next to Summer. TOM Hi. SUMMER Hello. TOM So, uh, Summer... SUMMER Tom. TOM Yeah! How's it going so far? SUMMER The city or the firm? TOM Both... Either. SUMMER I'm happy. Still getting situated. How long have you worked here? 18. TOM Oh, you know, 4, 5... years. SUMMER Really? Jesus. Did you always want to write greeting cards? TOM Are you nuts? I don't even want to do it now. SUMMER What is it you want to do? TOM I studied to be an architect actually. SUMMER That's so cool! What happened? TOM Eh, you know. Same old story. Moved to the city to work for a company. Company went under. Needed a job. My friend worked here. Got me this. SUMMER And are you any good? TOM (points to a framed card) Well I wrote that one. SUMMER (READING) "Today You're a Man. Mazel Tov on your Bar Mitzvah." TOM It's a big seller. SUMMER I meant, are you any good as an architect? TOM Oh... No. I doubt it. SUMMER Well, I'd say you're a perfectly ...adequate... greeting card writer. 19. TOM Why thank you. That's what they called me in college. "Perfectly adequate" Hansen. SUMMER They used to call me "Anal Girl." Tom does a spit-take and almost chokes. SUMMER (EXPLAINING) I was very neat and organized. There's an awkward silence. SUMMER Anyway, I should get back. TOM Ok, well, I'll see you around. She walks back to her cubicle at the other end of the hall. Tom watches her walk away, completely enamored. He sits down at his desk and sets out to work. But before he does, his eyes fall on a sketch he drew of a house. It's dated 2001 and it's the only architecture sketch on his wall. (11) INT TOM'S PLACE - DAY Tom is playing Playstation with Rachel. TOM And it turns out she's read every Graham Greene novel ever published. Her desk is lined with Magritte posters and Edward Hopper. RACHEL Your favorites. TOM We're so compatible it's insane! Seriously! It doesn't make sense! She's not like I thought at all. She's... amazing. 20. RACHEL Oh boy. TOM What? RACHEL You know...just cause some cute girl likes the same bizarro music you do doesn't make her "the one." TOM (BEAT) Of course it does. SARAH (O.S.) Dinner! SARAH, 50s, Tom and Rachel's mother, stands in the doorway. SARAH Pause and come eat. They do. Tom enters the living room area and sits down next to his stepdad MARTIN, 60s, a quiet, professorial Southern gentleman type. TOM Hey Martin. ANGLE ON RACHEL and Sarah. RACHEL He met a girl. SARAH (EXCITED) Yeah? RACHEL (GRIM) Yeah. Sarah grows serious too. SARAH Oh shit. CUT TO: 21. STOCK FOOTAGE. The Wright Brothers, Galileo, Heaven's Gate, Neil Armstrong. NARRATOR When one strongly believes in something, it takes overwhelming contradictory evidence to change their minds. END ON: LITTLE TOM, age 6, mesmerized by a vinyl album cover of Olivia Newton-John in "Xanadu." NARRATOR Tom had always been a devout believer in the idea of "true love." (BEAT) The evidence did not support him. CUT TO: (-8914) INT CLASSROOM - DAY Little Tom stares at a LITTLE GIRL, 6, who has the same hairstyle and dress as Newton-John on that cover. Tom draws a picture. It's a boy and a girl with a giant heart over them. He stands up and walks over to the girl, putting the picture on her desk. Not a word is spoken. Satisfied, he returns to his seat and waits to see what happens. NARRATOR Exhibit A: Lisa Rayner. The Little Girl stands up and walks the picture over to ANOTHER BOY. Tom is mortified. The OTHER BOY eats the drawing. (-5313) 22. EXT FOOTBALL FIELD - NIGHT A BLONDE CHEERLEADER leads the crowd in a cheer. PAN ACROSS to find TEENAGE TOM, 15, finishing making out with a homely HIGH SCHOOL GIRL. He says goodbye and walks off, looking back longingly. NARRATOR Exhibit B: Wendy Wilson. Once Tom is out of frame, a SECOND BOY approaches Wendy. Then they start making out. (-2825) INT AIRPLANE - DAY COLLEGE TOM sits next to his girlfriend REBECCA MYLES. His smile gleams. TOM I'm so glad we decided to go away together Bec. I know we've only been dating a few months but it's been...awesome. NARRATOR Exhibit C: Rebecca Myles. TOM And now, you and me, 8 days in Mexico... best spring break ever! Across the aisle Rebecca makes eye contact with three COLLEGE DUDES. REBECCA I think we should see other people. (-734) 23. EXT CAR - NIGHT Younger Tom sits in the passenger seat. Raven-haired AMANDA drives. NARRATOR And, finally... Exhibit D: Amanda Heller. AMANDA It's just... it's complicated. TOM What's complicated? Last week you said you loved me! AMANDA I know it's sudden but... TOM No, this can't be. Everything was going so great. I don't understand. AMANDA (BEAT) Here. TOM What's this? She puts a disc into the cd player. AMANDA Because you're, like, the biggest music nerd I've ever met, I think this should really help explain where I'm coming from. A pop song begins to play on the stereo. They listen for a few beats. Tom is confused. AMANDA You remember how much I loved this song when you first played it for me? TOM Sure. It's all you wanted to listen to for weeks. 24. AMANDA Right. And I still like it, don't get me wrong. It's just... When I hear it now, I don't feel the same...rush. TOM (still confused) Ok... AMANDA I press the skip button. Still Tom doesn't understand. TOM What does this have to do with--? AMANDA I'd rather listen to something else. And with that, it slowly sinks in for him. TOM But Amanda... this is a great fucking song! (22) INT LOCAL DIVE BAR - HAPPY HOUR Tom removes his headphones and sits defeated with McKenzie and Paul in a booth. TOM It's off. PAUL What? TOM Me and Summer. MCKENZIE Was it ever on? 25. TOM No. But it could have been. In a world where good things happen to me. PAUL Yeah well, that's not really where we live. TOM No. MCKENZIE So what happened? TOM You ready for this? INT ELEVATOR - THE DAY BEFORE Tom is alone. The door opens. In walks Summer. TOM (V.O.) So there we are. All alone. Nine more floors to ride. Plenty of time. I figure...this is my chance. If not now when, right? They ride in silence for a few beats. TOM Summer... SUMMER Yeah? TOM (BEAT) So how was your weekend? SUMMER It was good. INT LOCAL DIVE BAR - AS BEFORE The friends wait for more. TOM You believe that shit? 26. MCKENZIE What shit? PAUL I think I missed something. TOM "It was good." She didn't say "It was good." She said "It was good." Emphasis on the good. She basically said "I spent the weekend having sex with this guy I met at the gym." Fucking whore. Screw her. It's over. Everyone's silent. MCKENZIE What the hell is wrong with you?! PAUL Dude, you got problems. TOM She's not interested in me. There's nothing I can do. MCKENZIE Based on..."it was good?" TOM And some other things. PAUL Like what, she said "hey" instead of "hi" cause that totally means she's a lesbian. TOM I gave her all sorts of chances. INT OFFICE - DAY Tom types at his desk. Summer approaches the cubicle Tom shares with McKenzie. SUMMER I'm going to the supply room. Anyone need anything? MCKENZIE No thanks. 27. TOM I think you know what I need. There's a beat. TOM Toner. SUMMER Oh ok, sure, no prob. INT OFFICE - LATE IN THE DAY The office is emptying out. Only a few people remain but Tom and Summer are two of them. Tom takes this opportunity to put a CD in his computer and play the song really loud. It's "I Want to Know What Love Is" by Foreigner. No reaction from Summer. Tom turns it up. Still nothing. Tom turns it down, defeated. INT SUMMER'S DESK Tom is there. TOM Do you want to go out with me? A beat. Summer says nothing. TOM And the Priest says, "But we're already out!" They both laugh. SUMMER That is hilarious! TOM I know! And when she walks away, he smacks his head a few times with his palm. INT LOCAL DIVE BAR - AS BEFORE TOM Not once did she take the bait. Not once. Screw it. I'm done with her. It's over. 28. Tom's friends all look at him like he's crazy. (27 & 28) INT OFFICE - TOM'S CUBICLE - DAY Tom sits at his desk with headphones on trying to work. But with Summer down at the end of the hall, he's having a hard time concentrating. McKenzie shares a cubicle with Tom. MCKENZIE This Friday. 10 bucks all you can karaoke at The Well. TOM No way McKenzie. Absolutely not. MCKENZIE Come on! (SINGING) "Take me down to the paradise city where the grass is green and they got big titties!" TOM They won't let you back in there after last time. MCKENZIE I wasn't that bad. TOM Not at all. You just threw up on the stage, tried to fight the bartender, and then threatened to burn the place down before passing out on the sidewalk. Quiet night for you. MCKENZIE (REVERENTIAL) You saved my life that day. TOM We are not going back there. 29. MCKENZIE This is a work thing, Tommy. It won't be like that. The whole office is going. TOM I really can't. Even if I wanted to. There's a lot of stuff I gotta take care of. MCKENZIE You're not listening to me. TOM What? MCKENZIE The whole office is going. Tom looks over to where Summer sits. And realization dawns on him... INT KARAOKE BAR - NIGHT Summer is in a back booth with some co-workers when Tom walks in to the crowded place. McKenzie has the microphone and he's singing "Every Rose Has Its Thorn" by Poison. He's real into it and, well, it's kinda sad. Tom waves to McKenzie and walks over to the booth. TOM Hi. SUMMER Hey! They said you weren't coming. TOM You asked if I was coming? (BEAT) I mean...my plans got cancelled... Tom is at a loss. There's yet another awkward silent beat between them. Thankfully, it's interrupted by... MCKENZIE (already drunk) Goddamn that song is brilliant! What's up Hansen? Summer sees the next song come up on the screen. 30. SUMMER Ooh that's me. She downs a shot and jumps up on stage. SUMMER (into mic) Ok. I'm the new girl so no making fun of me. Her co-workers whistle and cheer her on. She takes a deep breath as the opening bars of "Born to Run" begin to play and Summer starts to sing. Tom sees Summer as the actress in whatever nonsensical karaoke video accompanies the song (it's something to do with an old convertible, the sunset, and a midget in a tuxedo.) LATER. Tom sits in the booth with McKenzie (doing a shot) as Summer chats with co-workers at another table. Tom can't help but stare at Summer. She notices and waves. He smiles, hopeful that she'll come over. She doesn't. He hides his disappointment. LATER. Tom walks back to his table with drinks. Summer is there in mid-conversation with McKenzie. TOM You were great up there, by the way. SUMMER Well you can't go wrong with The Boss. TOM (sitting down) I hear that. MCKENZIE Hey, did you know Tom here's from Jersey? SUMMER Yeah? TOM Lived there til I was 12. SUMMER I named my cat after Springsteen. TOM No kidding? What's his name? 31. SUMMER Bruce. TOM (BEAT) That makes sense. She laughs. She's really cute when she laughs. MCKENZIE So you got a boyfriend? SUMMER Me? No. Tom shoots daggers at McKenzie for that comment. McKenzie mouths "what?" Summer sees nothing. MCKENZIE Why not? SUMMER Don't really want one. MCKENZIE Come on. I don't believe that. SUMMER You don't believe a woman could enjoy being free and independent? MCKENZIE (BEAT) Are you a lesbian? SUMMER No, I'm not a lesbian. I'm just not comfortable being somebody's "girlfriend." I don't want to be anybody's anything, you know? MCKENZIE I have no idea what you're talking about. SUMMER It sounds selfish, I know, but... I just like being on my own. Relationships are messy and feelings are always getting hurt. Who needs all that? We're young. We're in one of the most beautiful cities in the world. (MORE) 32. SUMMER (cont'd) I say, let's have as much fun as we can afford and leave the serious shit for later. TOM But...what if you meet someone and fall in love? SUMMER (LAUGHS) Love? You seriously believe in that stuff? TOM Of course I do. SUMMER Interesting. A real romantic. MCKENZIE Oh you have no idea. This one... embarrassing. There was this one girl, (to Tom) I gotta tell this story -- Tom elbows McKenzie hard in the ribs to shut him up. TOM Summer, hold on... you don't believe in love? SUMMER I don't even know what that word means. I know I've never felt it, whatever it is in all those songs. And I know that today most marriages end in divorce. Like my parents. TOM Well mine too but -- SUMMER Oh yeah, And I read in Newsweek, there were these scientists who found that by stimulating a part of the brain with electrodes you can make a person fall in "love" with a rock. Is that the love you're talking about? TOM Well... 33. SUMMER Why, what's your take on it? CUT TO: AN ANIMATION SEQUENCE, real quick. AN EXPLOSION OF MANY DIFFERENT COLORS, COMPLETE WITH A CHOIR AND A CHURCH ORGAN ALL BUILDING TO A HUGE CRESCENDO. BACK TO: INT BAR On Tom: TOM I think it's...kind of a huge thing. SUMMER (BEAT) Ok. Looks like we're gonna have to agree to disagree on that one. McKenzie senses some discontent. MCKENZIE So, uh, who's singing next? SUMMER (re: singing) I'd say it's your turn loverboy. TOM Nooo. I don't sing in public. SUMMER Sure you do. I see you lip-synching to your headphones every morning on your way in. TOM I don't... MCKENZIE You really do. SUMMER It's ok. I like it. Takes a lot of self-confidence to look ridiculous. 34. MCKENZIE (can't help himself) Self-confidence! Ha! Tom elbows him in the ribs again. TOM Anyway, I'm not near drunk enough to sing in front of all these people. SUMMER Ok then. Let's drink. TOM It would take at least ten shots to get me to sing. SUMMER Bartender! TEN MINUTES LATER. Tom is up there singing The Clash's "Magnificent Seven." You wouldn't think so but Tom is a ROCK STAR up there! He's dancing like Jagger, he's got everyone in the bar singing along to the audience-participation parts. It's a sight to behold. Summer is all smiles watching. LATER. Tom and Summer back at the table. Summer is humming something. TOM That's not it. SUMMER What is that then? TOM I have no idea. They're both having a good time. SUMMER I used to watch it every week. TOM Me too. Why can't we think of the stupid A-Team theme song. SUMMER Pathetic. TOM This is gonna bother me for weeks. 35. SUMMER Totally. They share another laugh and then it gets quiet. In that good way. ANGLE ON McKenzie, wasted, singing the shit out of "Proud to Be an American." He really means it. At any minute he might start to cry. MCKENZIE "And I'd proudly stand UP!" (aggressive drunk) I said stand! BACK ON TOM and SUMMER. TOM Oh here we go. EXT KARAOKE BAR - LATER Tom helps a nearly comatose McKenzie exit the place. Summer is with them. MCKENZIE (to Summer) This guy. (DRAMATICALLY) He's the best. TOM Ok, let's

revenge

How many times the word 'revenge' appears in the text?

500 Days of Summer Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 500 DAYS OF SUMMER Written by Scott Neustadter & Michael H. Weber First Draft SIMPLE BLACK ON WHITE CREDITS ROLL TO BIG STAR'S "I'M IN LOVE WITH A GIRL." When all is said and done, up comes a single number in parenthesis, like so: (478) EXT. PARK - DAY For a few seconds we watch A MAN (20s) and a WOMAN (20s) on a park bench. Their names are TOM and SUMMER. Neither one says a word. CLOSE ON her HAND, covering his. Notice the wedding ring. No words are spoken. Tom looks at her the way every woman wants to be looked at. A DISTINGUISHED VOICE begins to speak to us. NARRATOR This is a story of boy meets girl. CUT TO: (1) INT CONFERENCE ROOM - DAY The boy is TOM HANSEN. He sits at a very long rectangular conference table. The walls are lined with framed blow-up sized greeting cards. Tom, dark hair and blue eyes, wears a t- shirt under his sports coat and Adidas tennis shoes to balance out the corporate dress code. He looks pretty bored. NARRATOR The boy, Tom Hansen of Margate, New Jersey, grew up believing that he'd never truly be happy until the day he met his... "soulmate." CUT TO: INT LIVING ROOM - 1989 PRE-TEEN TOM sits alone on his bed engrossed in a movie. His walls are covered in posters of obscure bands. From the TV, we hear: "Elaine! Elaine!" 4. NARRATOR This belief stemmed from early exposure to sad British pop music and a total misreading of the movie, "The Graduate." CUT TO: INT OFFICE CUBICLE - PRESENT DAY The girl is SUMMER FINN. She files folders and answers phones in a plain white office. She has cropped blonde hair almost like a boy's but her face is feminine and pretty enough to get away with it. NARRATOR The girl, Summer Finn of Shinnecock, Michigan, did not share this belief. CUT TO: INT BATHROOM - 1994 Teenage Summer stares at herself in the mirror. Her hair extends down to her lower back. NARRATOR Since the disintegration of her parents' marriage, she'd only loved two things. The first was her long blonde hair. She picks up scissors from the counter and begins to slice. NARRATOR The second was how easily she could cut it off... And feel nothing. CUT TO: SPLITSCREEN. INT BOARDROOM/ INT CUBICLE - SAME On the right side of the screen, Tom continues to listen to some boring presentation. On the left, Summer answers a call, takes a message, and walks out of her cubicle down a long narrow hallway. 5. NARRATOR Tom meets Summer on January 8th in a San Francisco office building. In an instant, he will know she's the one he's been looking for. CU Summer opening the door to the boardroom, about to come face to face with Tom for the first time. NARRATOR This is a story of boy meets girl. But before they do, CUT TO: BLACK. NARRATOR You should know up front, this is not a love story. (240) EXT STREETS OF SAN FRAN - NIGHT A 12 year old GIRL rides her bicycle down the block. She arrives at an apartment complex, jumps off the bike and races up the front stairs. She rings the doorbell. INT TOM'S PLACE - LATER PAUL and MCKENZIE open the door. These are Tom's best friends since birth. Paul is a doctor and wears hospital scrubs. McKenzie works in the cubicle next to Tom. PAUL I didn't know who else to call. The Girl removes her bike helmet. GIRL You did the right thing. Where is he? Tom is in the kitchen breaking things and basically going insane. About to smash a plate on the floor, he's interrupted BY: 6. GIRL Thomas. Tom freezes. TOM Rachel? What are you doing here? GIRL (RACHEL) I'm here to help you. TOM Help me how? RACHEL First, put down the plate. Tom slowly obliges. RACHEL Now come here and sit down. Tom sits next to the young girl. Paul and Mckenzie sit on either side of them. RACHEL The key is not to panic. TOM I think I'm gonna be sick. RACHEL Drink this. She hands him a glass of water. Tom drinks it down. MCKENZIE What is that? RACHEL Vodka. TOM (grimacing at the taste) More. He gulps another down. TOM Does Mom know you're here? It's gotta be past 10. 7. RACHEL Don't worry about it. Start from the beginning. Tell us what happened... Tom takes a deep breath. EXT PARK - DAY Tom and Summer eat sandwiches in the park. TOM (V.O.) We spent the whole day together. EXT OUTDOOR MARKET - DAY Tom and Summer walk through the stalls. TOM (V.O.) We went shopping. EXT COFFEE HOUSE - DAY Tom and Summer seated outside drinking coffee. He reads the newspaper, she reads a novel. TOM (V.O.) We had coffee. EXT MOVIE THEATER - DAY Tom and Summer walk out of a movie theatre. TOM (V.O.) We saw a film. INT RECORD STORE - LATER Tom and Summer shop for music. Tom excitedly shows Summer a Ringo Starr solo album. TOM (V.O.) We bought music. 8. INT TOM'S PLACE TOM I thought it was a great day. RACHEL And then what happened? INT DINER - NIGHT Tom and Summer in a booth ordering dinner. TOM (to WAITRESS) Um...you know what...let's go crazy, I'll have BOTH. (to Summer) God, I love eating pancakes at night. It's like the greatest thing ever. How great is this? SUMMER I think we should stop seeing each other. INT TOM'S PLACE - AS BEFORE RACHEL Just like that? TOM Just like that. PAUL Did she say why? INT DINER - AS BEFORE SUMMER This thing. This whatever it is. You and me. Do you think this is normal? TOM I don't know. Who cares about normal?! I'm happy. Aren't you happy? 9. SUMMER You're happy? TOM You're not? SUMMER All we do is argue! TOM That is such a lie! INT TOM'S PLACE - AS BEFORE RACHEL Maybe she was just in a bad mood. PAUL A hormonal thing. RACHEL P.M.S.? TOM (to Rachel) What do you know about PMS? RACHEL More than you. TOM Oh my god. MCKENZIE Please continue. INT DINER - AS BEFORE SUMMER This can't be a total surprise. I mean, we've been like Sid and Nancy for months. TOM Summer, Sid stabbed Nancy seven times with a kitchen knife. We've had some disagreements but I hardly think I'm Sid Vicious. SUMMER No... I'm Sid. 10. TOM (BEAT) So I'm Nancy?! The Waitress comes out with the food. Tom and Summer stop their discussion until the meal is served and the Waitress leaves. Summer starts to eat. SUMMER Let's just eat and we'll talk about it after. I'm starving. Without another word she goes back to her pancakes. Tom watches her eat like this is the worst travesty in the history of mankind. SUMMER (mouth full) Mmm, you're so right. These are great! Tom looks at his food in disgust. He may never eat again. SUMMER (INNOCENT) What? Tom stands up to go. SUMMER Tom, don't. Come back. You're still my best fr--- THE SCENE FREEZES AND WE ZOOM IN ON TOM'S STUNNED FACE. INT TOM'S PLACE - AS BEFORE Silence for a few beats. PAUL Jesus. MCKENZIE That's harsh. TOM I don't know what I'm gonna do. RACHEL You're gonna be fine. 11. TOM (BEAT) I'm gonna throw up. MCKENZIE Or that. RACHEL Here. Tom drinks more vodka. MCKENZIE Come on Hansen. You'll be ok. You're the best guy I know. You'll find someone. PAUL You know what they say...there's plenty other fish in the sea. TOM No. PAUL Sure they do. They say that. TOM Well they're wrong. It's not true. I've fished in that sea. I've jumped in and swam in that sea! I'm fucking Aquaman! (to Rachel) Sorry. What I mean is... there are no other fish. This was my fish. Paul and McKenzie share a very concerned look. CUT TO: (86) EXT SIDEWALK - DAY Tom walks alongside his friend PAUL. Out of nowhere, he says: TOM I'm in love with Summer. 12. PAUL (BEAT) For real? CUT TO: CU - SUMMER'S SMILE TOM (V.O.) I love her smile. CU - SUMMER'S HAIR TOM (V.O.) I love her hair. CU - SUMMER'S KNEES TOM (V.O.) I love her knees. CU - SUMMER'S EYES TOM (V.O.) I love how one eye is higher up on her face than the other eye. CU - SUMMER'S NECK TOM (V.O.) I love the scar on her neck from this operation she had as a kid. CU - SUMMER'S BREASTS (UNDER A BLACK T-SHIRT) TOM (V.O.) I love how she looks in my Clash T- shirt. CU - SUMMER ASLEEP TOM (V.O.) I love how she looks when she's sleeping. CU - SUMMER'S LAUGH TOM (V.O.) I love the sound of her laugh. OVER BLACK, play the middle 8 of "Every Little Thing She Does is Magic" by The Police. 13. TOM (V.O.) I love how I hear this song every time I think of her. CU - TOM, STARING DIRECTLY AT THE CAMERA. TOM (V.O.) I love how she makes me feel. Like anything's possible. Like, I don't know...like life is worth it. CUT TO: EXT SIDEWALK - SAME Paul and Tom. TOM For real, Paul. I'm madly in love with that girl. Paul is silent for a beat. PAUL Oh shit. (1) INT CONFERENCE ROOM - DAY Tom as we saw him earlier. Bored. In the boardroom. Mckenzie is in mid-presentation. MCKENZIE Now I know this may be a little risque...but if New Hampshire Greetings wants the jump on those conservative, right-wing neo-Nazis at Hallmark, maybe playing it safe is the wrong approach. The nuclear family is dead and we need a new holiday to recognize that. Mckenzie holds up a home-made photoshopped family portrait of Martina Navratilova, Ellen DeGeneres, and the kid from "Jerry Maguire". 14. MCKENZIE May 21st. Other Mother's Day. The co-workers nod and digest this idea. VANCE is the head of the department. VANCE Hmmm. That's an intriguing idea McKenzie. Along with Grossman's "Magellan Day" I'd say we've got some potential here. What do you think Hansen? Could you write up some prototypes for these? Tom is about to answer when... the door opens. SUMMER Excuse me, Mr. Vance? There's a call for you on line 3. And in walks this girl. Summer. We've met her by now but Tom hasn't. This is the first time. His eyes go wide and from that moment on, he can't take them off her. VANCE (to the table) Everyone this is Summer, my new assistant. Summer just moved here from... SUMMER Michigan. VANCE Right. Michigan. Well, Summer, everyone. Everyone, Summer. Excuse me, I have to take this. SUMMER Nice to meet you all. Summer gives a little wave before following Vance out. She doesn't notice Tom whose face looks like he's just seen God. 15. (3, 4, 5) INT. OFFICE - DAY Tom trying to work. And failing. He turns to McKenzie. TOM What do we know about this new girl? MCKENZIE Who? TOM The new girl. Summer. In Vance's office. MCKENZIE Dude. I hear she's a bitch from hell! TOM (DISAPPOINTED) Really? MCKENZIE Patel tried to talk to her in the copy room. She was totally not having it. TOM Maybe she was just in a hurry. MCKENZIE And maybe she's some uppity, better than everyone, superskank. TOM Damn. MCKENZIE I know. She's pretty hot. TOM That makes me so mad! Why is it pretty girls always think they can treat people like crap and get away with it? 16. MCKENZIE Dunno. TOM Like, just cause she has high cheekbones and soft skin... MCKENZIE ...and really good teeth. TOM And maybe the world's most perfect breasts...Just cause of that stuff, she can walk around like she's center of the universe? MCKENZIE (as explanation) Women. TOM Ugh. You know what? Screw her! We haven't even met and I can't stand her already. INT. ELEVATOR - LATER Tom is listening to headphones. Summer enters the elevator and Tom actively puts on a show to ignore her. Summer hears the music. SUMMER The Smiths. Tom, pretending not to hear or care, gives her an unenthusiastic wave. SUMMER I love The Smiths. Tom, still pretending, takes off his headphones. TOM Sorry? SUMMER I said. I love The Smiths. You have good taste in music. A beat as Tom processes this information. 17. TOM (AMAZED) You like the Smiths? SUMMER (SINGING) "To die by your side is such a heavenly way to die." Love it. The elevator doors open and she gets off. TOM (accidentally out loud) Oh my god. (8) INT OFFICE LOBBY - DAY The office sings "Happy Birthday" to a FEMALE CO-WORKER. When they get to the part about her name, Tom is the only one who knows it, everyone else just there for the cake. Song over, everyone digs in. Tom finds himself standing next to Summer. TOM Hi. SUMMER Hello. TOM So, uh, Summer... SUMMER Tom. TOM Yeah! How's it going so far? SUMMER The city or the firm? TOM Both... Either. SUMMER I'm happy. Still getting situated. How long have you worked here? 18. TOM Oh, you know, 4, 5... years. SUMMER Really? Jesus. Did you always want to write greeting cards? TOM Are you nuts? I don't even want to do it now. SUMMER What is it you want to do? TOM I studied to be an architect actually. SUMMER That's so cool! What happened? TOM Eh, you know. Same old story. Moved to the city to work for a company. Company went under. Needed a job. My friend worked here. Got me this. SUMMER And are you any good? TOM (points to a framed card) Well I wrote that one. SUMMER (READING) "Today You're a Man. Mazel Tov on your Bar Mitzvah." TOM It's a big seller. SUMMER I meant, are you any good as an architect? TOM Oh... No. I doubt it. SUMMER Well, I'd say you're a perfectly ...adequate... greeting card writer. 19. TOM Why thank you. That's what they called me in college. "Perfectly adequate" Hansen. SUMMER They used to call me "Anal Girl." Tom does a spit-take and almost chokes. SUMMER (EXPLAINING) I was very neat and organized. There's an awkward silence. SUMMER Anyway, I should get back. TOM Ok, well, I'll see you around. She walks back to her cubicle at the other end of the hall. Tom watches her walk away, completely enamored. He sits down at his desk and sets out to work. But before he does, his eyes fall on a sketch he drew of a house. It's dated 2001 and it's the only architecture sketch on his wall. (11) INT TOM'S PLACE - DAY Tom is playing Playstation with Rachel. TOM And it turns out she's read every Graham Greene novel ever published. Her desk is lined with Magritte posters and Edward Hopper. RACHEL Your favorites. TOM We're so compatible it's insane! Seriously! It doesn't make sense! She's not like I thought at all. She's... amazing. 20. RACHEL Oh boy. TOM What? RACHEL You know...just cause some cute girl likes the same bizarro music you do doesn't make her "the one." TOM (BEAT) Of course it does. SARAH (O.S.) Dinner! SARAH, 50s, Tom and Rachel's mother, stands in the doorway. SARAH Pause and come eat. They do. Tom enters the living room area and sits down next to his stepdad MARTIN, 60s, a quiet, professorial Southern gentleman type. TOM Hey Martin. ANGLE ON RACHEL and Sarah. RACHEL He met a girl. SARAH (EXCITED) Yeah? RACHEL (GRIM) Yeah. Sarah grows serious too. SARAH Oh shit. CUT TO: 21. STOCK FOOTAGE. The Wright Brothers, Galileo, Heaven's Gate, Neil Armstrong. NARRATOR When one strongly believes in something, it takes overwhelming contradictory evidence to change their minds. END ON: LITTLE TOM, age 6, mesmerized by a vinyl album cover of Olivia Newton-John in "Xanadu." NARRATOR Tom had always been a devout believer in the idea of "true love." (BEAT) The evidence did not support him. CUT TO: (-8914) INT CLASSROOM - DAY Little Tom stares at a LITTLE GIRL, 6, who has the same hairstyle and dress as Newton-John on that cover. Tom draws a picture. It's a boy and a girl with a giant heart over them. He stands up and walks over to the girl, putting the picture on her desk. Not a word is spoken. Satisfied, he returns to his seat and waits to see what happens. NARRATOR Exhibit A: Lisa Rayner. The Little Girl stands up and walks the picture over to ANOTHER BOY. Tom is mortified. The OTHER BOY eats the drawing. (-5313) 22. EXT FOOTBALL FIELD - NIGHT A BLONDE CHEERLEADER leads the crowd in a cheer. PAN ACROSS to find TEENAGE TOM, 15, finishing making out with a homely HIGH SCHOOL GIRL. He says goodbye and walks off, looking back longingly. NARRATOR Exhibit B: Wendy Wilson. Once Tom is out of frame, a SECOND BOY approaches Wendy. Then they start making out. (-2825) INT AIRPLANE - DAY COLLEGE TOM sits next to his girlfriend REBECCA MYLES. His smile gleams. TOM I'm so glad we decided to go away together Bec. I know we've only been dating a few months but it's been...awesome. NARRATOR Exhibit C: Rebecca Myles. TOM And now, you and me, 8 days in Mexico... best spring break ever! Across the aisle Rebecca makes eye contact with three COLLEGE DUDES. REBECCA I think we should see other people. (-734) 23. EXT CAR - NIGHT Younger Tom sits in the passenger seat. Raven-haired AMANDA drives. NARRATOR And, finally... Exhibit D: Amanda Heller. AMANDA It's just... it's complicated. TOM What's complicated? Last week you said you loved me! AMANDA I know it's sudden but... TOM No, this can't be. Everything was going so great. I don't understand. AMANDA (BEAT) Here. TOM What's this? She puts a disc into the cd player. AMANDA Because you're, like, the biggest music nerd I've ever met, I think this should really help explain where I'm coming from. A pop song begins to play on the stereo. They listen for a few beats. Tom is confused. AMANDA You remember how much I loved this song when you first played it for me? TOM Sure. It's all you wanted to listen to for weeks. 24. AMANDA Right. And I still like it, don't get me wrong. It's just... When I hear it now, I don't feel the same...rush. TOM (still confused) Ok... AMANDA I press the skip button. Still Tom doesn't understand. TOM What does this have to do with--? AMANDA I'd rather listen to something else. And with that, it slowly sinks in for him. TOM But Amanda... this is a great fucking song! (22) INT LOCAL DIVE BAR - HAPPY HOUR Tom removes his headphones and sits defeated with McKenzie and Paul in a booth. TOM It's off. PAUL What? TOM Me and Summer. MCKENZIE Was it ever on? 25. TOM No. But it could have been. In a world where good things happen to me. PAUL Yeah well, that's not really where we live. TOM No. MCKENZIE So what happened? TOM You ready for this? INT ELEVATOR - THE DAY BEFORE Tom is alone. The door opens. In walks Summer. TOM (V.O.) So there we are. All alone. Nine more floors to ride. Plenty of time. I figure...this is my chance. If not now when, right? They ride in silence for a few beats. TOM Summer... SUMMER Yeah? TOM (BEAT) So how was your weekend? SUMMER It was good. INT LOCAL DIVE BAR - AS BEFORE The friends wait for more. TOM You believe that shit? 26. MCKENZIE What shit? PAUL I think I missed something. TOM "It was good." She didn't say "It was good." She said "It was good." Emphasis on the good. She basically said "I spent the weekend having sex with this guy I met at the gym." Fucking whore. Screw her. It's over. Everyone's silent. MCKENZIE What the hell is wrong with you?! PAUL Dude, you got problems. TOM She's not interested in me. There's nothing I can do. MCKENZIE Based on..."it was good?" TOM And some other things. PAUL Like what, she said "hey" instead of "hi" cause that totally means she's a lesbian. TOM I gave her all sorts of chances. INT OFFICE - DAY Tom types at his desk. Summer approaches the cubicle Tom shares with McKenzie. SUMMER I'm going to the supply room. Anyone need anything? MCKENZIE No thanks. 27. TOM I think you know what I need. There's a beat. TOM Toner. SUMMER Oh ok, sure, no prob. INT OFFICE - LATE IN THE DAY The office is emptying out. Only a few people remain but Tom and Summer are two of them. Tom takes this opportunity to put a CD in his computer and play the song really loud. It's "I Want to Know What Love Is" by Foreigner. No reaction from Summer. Tom turns it up. Still nothing. Tom turns it down, defeated. INT SUMMER'S DESK Tom is there. TOM Do you want to go out with me? A beat. Summer says nothing. TOM And the Priest says, "But we're already out!" They both laugh. SUMMER That is hilarious! TOM I know! And when she walks away, he smacks his head a few times with his palm. INT LOCAL DIVE BAR - AS BEFORE TOM Not once did she take the bait. Not once. Screw it. I'm done with her. It's over. 28. Tom's friends all look at him like he's crazy. (27 & 28) INT OFFICE - TOM'S CUBICLE - DAY Tom sits at his desk with headphones on trying to work. But with Summer down at the end of the hall, he's having a hard time concentrating. McKenzie shares a cubicle with Tom. MCKENZIE This Friday. 10 bucks all you can karaoke at The Well. TOM No way McKenzie. Absolutely not. MCKENZIE Come on! (SINGING) "Take me down to the paradise city where the grass is green and they got big titties!" TOM They won't let you back in there after last time. MCKENZIE I wasn't that bad. TOM Not at all. You just threw up on the stage, tried to fight the bartender, and then threatened to burn the place down before passing out on the sidewalk. Quiet night for you. MCKENZIE (REVERENTIAL) You saved my life that day. TOM We are not going back there. 29. MCKENZIE This is a work thing, Tommy. It won't be like that. The whole office is going. TOM I really can't. Even if I wanted to. There's a lot of stuff I gotta take care of. MCKENZIE You're not listening to me. TOM What? MCKENZIE The whole office is going. Tom looks over to where Summer sits. And realization dawns on him... INT KARAOKE BAR - NIGHT Summer is in a back booth with some co-workers when Tom walks in to the crowded place. McKenzie has the microphone and he's singing "Every Rose Has Its Thorn" by Poison. He's real into it and, well, it's kinda sad. Tom waves to McKenzie and walks over to the booth. TOM Hi. SUMMER Hey! They said you weren't coming. TOM You asked if I was coming? (BEAT) I mean...my plans got cancelled... Tom is at a loss. There's yet another awkward silent beat between them. Thankfully, it's interrupted by... MCKENZIE (already drunk) Goddamn that song is brilliant! What's up Hansen? Summer sees the next song come up on the screen. 30. SUMMER Ooh that's me. She downs a shot and jumps up on stage. SUMMER (into mic) Ok. I'm the new girl so no making fun of me. Her co-workers whistle and cheer her on. She takes a deep breath as the opening bars of "Born to Run" begin to play and Summer starts to sing. Tom sees Summer as the actress in whatever nonsensical karaoke video accompanies the song (it's something to do with an old convertible, the sunset, and a midget in a tuxedo.) LATER. Tom sits in the booth with McKenzie (doing a shot) as Summer chats with co-workers at another table. Tom can't help but stare at Summer. She notices and waves. He smiles, hopeful that she'll come over. She doesn't. He hides his disappointment. LATER. Tom walks back to his table with drinks. Summer is there in mid-conversation with McKenzie. TOM You were great up there, by the way. SUMMER Well you can't go wrong with The Boss. TOM (sitting down) I hear that. MCKENZIE Hey, did you know Tom here's from Jersey? SUMMER Yeah? TOM Lived there til I was 12. SUMMER I named my cat after Springsteen. TOM No kidding? What's his name? 31. SUMMER Bruce. TOM (BEAT) That makes sense. She laughs. She's really cute when she laughs. MCKENZIE So you got a boyfriend? SUMMER Me? No. Tom shoots daggers at McKenzie for that comment. McKenzie mouths "what?" Summer sees nothing. MCKENZIE Why not? SUMMER Don't really want one. MCKENZIE Come on. I don't believe that. SUMMER You don't believe a woman could enjoy being free and independent? MCKENZIE (BEAT) Are you a lesbian? SUMMER No, I'm not a lesbian. I'm just not comfortable being somebody's "girlfriend." I don't want to be anybody's anything, you know? MCKENZIE I have no idea what you're talking about. SUMMER It sounds selfish, I know, but... I just like being on my own. Relationships are messy and feelings are always getting hurt. Who needs all that? We're young. We're in one of the most beautiful cities in the world. (MORE) 32. SUMMER (cont'd) I say, let's have as much fun as we can afford and leave the serious shit for later. TOM But...what if you meet someone and fall in love? SUMMER (LAUGHS) Love? You seriously believe in that stuff? TOM Of course I do. SUMMER Interesting. A real romantic. MCKENZIE Oh you have no idea. This one... embarrassing. There was this one girl, (to Tom) I gotta tell this story -- Tom elbows McKenzie hard in the ribs to shut him up. TOM Summer, hold on... you don't believe in love? SUMMER I don't even know what that word means. I know I've never felt it, whatever it is in all those songs. And I know that today most marriages end in divorce. Like my parents. TOM Well mine too but -- SUMMER Oh yeah, And I read in Newsweek, there were these scientists who found that by stimulating a part of the brain with electrodes you can make a person fall in "love" with a rock. Is that the love you're talking about? TOM Well... 33. SUMMER Why, what's your take on it? CUT TO: AN ANIMATION SEQUENCE, real quick. AN EXPLOSION OF MANY DIFFERENT COLORS, COMPLETE WITH A CHOIR AND A CHURCH ORGAN ALL BUILDING TO A HUGE CRESCENDO. BACK TO: INT BAR On Tom: TOM I think it's...kind of a huge thing. SUMMER (BEAT) Ok. Looks like we're gonna have to agree to disagree on that one. McKenzie senses some discontent. MCKENZIE So, uh, who's singing next? SUMMER (re: singing) I'd say it's your turn loverboy. TOM Nooo. I don't sing in public. SUMMER Sure you do. I see you lip-synching to your headphones every morning on your way in. TOM I don't... MCKENZIE You really do. SUMMER It's ok. I like it. Takes a lot of self-confidence to look ridiculous. 34. MCKENZIE (can't help himself) Self-confidence! Ha! Tom elbows him in the ribs again. TOM Anyway, I'm not near drunk enough to sing in front of all these people. SUMMER Ok then. Let's drink. TOM It would take at least ten shots to get me to sing. SUMMER Bartender! TEN MINUTES LATER. Tom is up there singing The Clash's "Magnificent Seven." You wouldn't think so but Tom is a ROCK STAR up there! He's dancing like Jagger, he's got everyone in the bar singing along to the audience-participation parts. It's a sight to behold. Summer is all smiles watching. LATER. Tom and Summer back at the table. Summer is humming something. TOM That's not it. SUMMER What is that then? TOM I have no idea. They're both having a good time. SUMMER I used to watch it every week. TOM Me too. Why can't we think of the stupid A-Team theme song. SUMMER Pathetic. TOM This is gonna bother me for weeks. 35. SUMMER Totally. They share another laugh and then it gets quiet. In that good way. ANGLE ON McKenzie, wasted, singing the shit out of "Proud to Be an American." He really means it. At any minute he might start to cry. MCKENZIE "And I'd proudly stand UP!" (aggressive drunk) I said stand! BACK ON TOM and SUMMER. TOM Oh here we go. EXT KARAOKE BAR - LATER Tom helps a nearly comatose McKenzie exit the place. Summer is with them. MCKENZIE (to Summer) This guy. (DRAMATICALLY) He's the best. TOM Ok, let's

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How many times the word 'stop' appears in the text?

500 Days of Summer Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 500 DAYS OF SUMMER Written by Scott Neustadter & Michael H. Weber First Draft SIMPLE BLACK ON WHITE CREDITS ROLL TO BIG STAR'S "I'M IN LOVE WITH A GIRL." When all is said and done, up comes a single number in parenthesis, like so: (478) EXT. PARK - DAY For a few seconds we watch A MAN (20s) and a WOMAN (20s) on a park bench. Their names are TOM and SUMMER. Neither one says a word. CLOSE ON her HAND, covering his. Notice the wedding ring. No words are spoken. Tom looks at her the way every woman wants to be looked at. A DISTINGUISHED VOICE begins to speak to us. NARRATOR This is a story of boy meets girl. CUT TO: (1) INT CONFERENCE ROOM - DAY The boy is TOM HANSEN. He sits at a very long rectangular conference table. The walls are lined with framed blow-up sized greeting cards. Tom, dark hair and blue eyes, wears a t- shirt under his sports coat and Adidas tennis shoes to balance out the corporate dress code. He looks pretty bored. NARRATOR The boy, Tom Hansen of Margate, New Jersey, grew up believing that he'd never truly be happy until the day he met his... "soulmate." CUT TO: INT LIVING ROOM - 1989 PRE-TEEN TOM sits alone on his bed engrossed in a movie. His walls are covered in posters of obscure bands. From the TV, we hear: "Elaine! Elaine!" 4. NARRATOR This belief stemmed from early exposure to sad British pop music and a total misreading of the movie, "The Graduate." CUT TO: INT OFFICE CUBICLE - PRESENT DAY The girl is SUMMER FINN. She files folders and answers phones in a plain white office. She has cropped blonde hair almost like a boy's but her face is feminine and pretty enough to get away with it. NARRATOR The girl, Summer Finn of Shinnecock, Michigan, did not share this belief. CUT TO: INT BATHROOM - 1994 Teenage Summer stares at herself in the mirror. Her hair extends down to her lower back. NARRATOR Since the disintegration of her parents' marriage, she'd only loved two things. The first was her long blonde hair. She picks up scissors from the counter and begins to slice. NARRATOR The second was how easily she could cut it off... And feel nothing. CUT TO: SPLITSCREEN. INT BOARDROOM/ INT CUBICLE - SAME On the right side of the screen, Tom continues to listen to some boring presentation. On the left, Summer answers a call, takes a message, and walks out of her cubicle down a long narrow hallway. 5. NARRATOR Tom meets Summer on January 8th in a San Francisco office building. In an instant, he will know she's the one he's been looking for. CU Summer opening the door to the boardroom, about to come face to face with Tom for the first time. NARRATOR This is a story of boy meets girl. But before they do, CUT TO: BLACK. NARRATOR You should know up front, this is not a love story. (240) EXT STREETS OF SAN FRAN - NIGHT A 12 year old GIRL rides her bicycle down the block. She arrives at an apartment complex, jumps off the bike and races up the front stairs. She rings the doorbell. INT TOM'S PLACE - LATER PAUL and MCKENZIE open the door. These are Tom's best friends since birth. Paul is a doctor and wears hospital scrubs. McKenzie works in the cubicle next to Tom. PAUL I didn't know who else to call. The Girl removes her bike helmet. GIRL You did the right thing. Where is he? Tom is in the kitchen breaking things and basically going insane. About to smash a plate on the floor, he's interrupted BY: 6. GIRL Thomas. Tom freezes. TOM Rachel? What are you doing here? GIRL (RACHEL) I'm here to help you. TOM Help me how? RACHEL First, put down the plate. Tom slowly obliges. RACHEL Now come here and sit down. Tom sits next to the young girl. Paul and Mckenzie sit on either side of them. RACHEL The key is not to panic. TOM I think I'm gonna be sick. RACHEL Drink this. She hands him a glass of water. Tom drinks it down. MCKENZIE What is that? RACHEL Vodka. TOM (grimacing at the taste) More. He gulps another down. TOM Does Mom know you're here? It's gotta be past 10. 7. RACHEL Don't worry about it. Start from the beginning. Tell us what happened... Tom takes a deep breath. EXT PARK - DAY Tom and Summer eat sandwiches in the park. TOM (V.O.) We spent the whole day together. EXT OUTDOOR MARKET - DAY Tom and Summer walk through the stalls. TOM (V.O.) We went shopping. EXT COFFEE HOUSE - DAY Tom and Summer seated outside drinking coffee. He reads the newspaper, she reads a novel. TOM (V.O.) We had coffee. EXT MOVIE THEATER - DAY Tom and Summer walk out of a movie theatre. TOM (V.O.) We saw a film. INT RECORD STORE - LATER Tom and Summer shop for music. Tom excitedly shows Summer a Ringo Starr solo album. TOM (V.O.) We bought music. 8. INT TOM'S PLACE TOM I thought it was a great day. RACHEL And then what happened? INT DINER - NIGHT Tom and Summer in a booth ordering dinner. TOM (to WAITRESS) Um...you know what...let's go crazy, I'll have BOTH. (to Summer) God, I love eating pancakes at night. It's like the greatest thing ever. How great is this? SUMMER I think we should stop seeing each other. INT TOM'S PLACE - AS BEFORE RACHEL Just like that? TOM Just like that. PAUL Did she say why? INT DINER - AS BEFORE SUMMER This thing. This whatever it is. You and me. Do you think this is normal? TOM I don't know. Who cares about normal?! I'm happy. Aren't you happy? 9. SUMMER You're happy? TOM You're not? SUMMER All we do is argue! TOM That is such a lie! INT TOM'S PLACE - AS BEFORE RACHEL Maybe she was just in a bad mood. PAUL A hormonal thing. RACHEL P.M.S.? TOM (to Rachel) What do you know about PMS? RACHEL More than you. TOM Oh my god. MCKENZIE Please continue. INT DINER - AS BEFORE SUMMER This can't be a total surprise. I mean, we've been like Sid and Nancy for months. TOM Summer, Sid stabbed Nancy seven times with a kitchen knife. We've had some disagreements but I hardly think I'm Sid Vicious. SUMMER No... I'm Sid. 10. TOM (BEAT) So I'm Nancy?! The Waitress comes out with the food. Tom and Summer stop their discussion until the meal is served and the Waitress leaves. Summer starts to eat. SUMMER Let's just eat and we'll talk about it after. I'm starving. Without another word she goes back to her pancakes. Tom watches her eat like this is the worst travesty in the history of mankind. SUMMER (mouth full) Mmm, you're so right. These are great! Tom looks at his food in disgust. He may never eat again. SUMMER (INNOCENT) What? Tom stands up to go. SUMMER Tom, don't. Come back. You're still my best fr--- THE SCENE FREEZES AND WE ZOOM IN ON TOM'S STUNNED FACE. INT TOM'S PLACE - AS BEFORE Silence for a few beats. PAUL Jesus. MCKENZIE That's harsh. TOM I don't know what I'm gonna do. RACHEL You're gonna be fine. 11. TOM (BEAT) I'm gonna throw up. MCKENZIE Or that. RACHEL Here. Tom drinks more vodka. MCKENZIE Come on Hansen. You'll be ok. You're the best guy I know. You'll find someone. PAUL You know what they say...there's plenty other fish in the sea. TOM No. PAUL Sure they do. They say that. TOM Well they're wrong. It's not true. I've fished in that sea. I've jumped in and swam in that sea! I'm fucking Aquaman! (to Rachel) Sorry. What I mean is... there are no other fish. This was my fish. Paul and McKenzie share a very concerned look. CUT TO: (86) EXT SIDEWALK - DAY Tom walks alongside his friend PAUL. Out of nowhere, he says: TOM I'm in love with Summer. 12. PAUL (BEAT) For real? CUT TO: CU - SUMMER'S SMILE TOM (V.O.) I love her smile. CU - SUMMER'S HAIR TOM (V.O.) I love her hair. CU - SUMMER'S KNEES TOM (V.O.) I love her knees. CU - SUMMER'S EYES TOM (V.O.) I love how one eye is higher up on her face than the other eye. CU - SUMMER'S NECK TOM (V.O.) I love the scar on her neck from this operation she had as a kid. CU - SUMMER'S BREASTS (UNDER A BLACK T-SHIRT) TOM (V.O.) I love how she looks in my Clash T- shirt. CU - SUMMER ASLEEP TOM (V.O.) I love how she looks when she's sleeping. CU - SUMMER'S LAUGH TOM (V.O.) I love the sound of her laugh. OVER BLACK, play the middle 8 of "Every Little Thing She Does is Magic" by The Police. 13. TOM (V.O.) I love how I hear this song every time I think of her. CU - TOM, STARING DIRECTLY AT THE CAMERA. TOM (V.O.) I love how she makes me feel. Like anything's possible. Like, I don't know...like life is worth it. CUT TO: EXT SIDEWALK - SAME Paul and Tom. TOM For real, Paul. I'm madly in love with that girl. Paul is silent for a beat. PAUL Oh shit. (1) INT CONFERENCE ROOM - DAY Tom as we saw him earlier. Bored. In the boardroom. Mckenzie is in mid-presentation. MCKENZIE Now I know this may be a little risque...but if New Hampshire Greetings wants the jump on those conservative, right-wing neo-Nazis at Hallmark, maybe playing it safe is the wrong approach. The nuclear family is dead and we need a new holiday to recognize that. Mckenzie holds up a home-made photoshopped family portrait of Martina Navratilova, Ellen DeGeneres, and the kid from "Jerry Maguire". 14. MCKENZIE May 21st. Other Mother's Day. The co-workers nod and digest this idea. VANCE is the head of the department. VANCE Hmmm. That's an intriguing idea McKenzie. Along with Grossman's "Magellan Day" I'd say we've got some potential here. What do you think Hansen? Could you write up some prototypes for these? Tom is about to answer when... the door opens. SUMMER Excuse me, Mr. Vance? There's a call for you on line 3. And in walks this girl. Summer. We've met her by now but Tom hasn't. This is the first time. His eyes go wide and from that moment on, he can't take them off her. VANCE (to the table) Everyone this is Summer, my new assistant. Summer just moved here from... SUMMER Michigan. VANCE Right. Michigan. Well, Summer, everyone. Everyone, Summer. Excuse me, I have to take this. SUMMER Nice to meet you all. Summer gives a little wave before following Vance out. She doesn't notice Tom whose face looks like he's just seen God. 15. (3, 4, 5) INT. OFFICE - DAY Tom trying to work. And failing. He turns to McKenzie. TOM What do we know about this new girl? MCKENZIE Who? TOM The new girl. Summer. In Vance's office. MCKENZIE Dude. I hear she's a bitch from hell! TOM (DISAPPOINTED) Really? MCKENZIE Patel tried to talk to her in the copy room. She was totally not having it. TOM Maybe she was just in a hurry. MCKENZIE And maybe she's some uppity, better than everyone, superskank. TOM Damn. MCKENZIE I know. She's pretty hot. TOM That makes me so mad! Why is it pretty girls always think they can treat people like crap and get away with it? 16. MCKENZIE Dunno. TOM Like, just cause she has high cheekbones and soft skin... MCKENZIE ...and really good teeth. TOM And maybe the world's most perfect breasts...Just cause of that stuff, she can walk around like she's center of the universe? MCKENZIE (as explanation) Women. TOM Ugh. You know what? Screw her! We haven't even met and I can't stand her already. INT. ELEVATOR - LATER Tom is listening to headphones. Summer enters the elevator and Tom actively puts on a show to ignore her. Summer hears the music. SUMMER The Smiths. Tom, pretending not to hear or care, gives her an unenthusiastic wave. SUMMER I love The Smiths. Tom, still pretending, takes off his headphones. TOM Sorry? SUMMER I said. I love The Smiths. You have good taste in music. A beat as Tom processes this information. 17. TOM (AMAZED) You like the Smiths? SUMMER (SINGING) "To die by your side is such a heavenly way to die." Love it. The elevator doors open and she gets off. TOM (accidentally out loud) Oh my god. (8) INT OFFICE LOBBY - DAY The office sings "Happy Birthday" to a FEMALE CO-WORKER. When they get to the part about her name, Tom is the only one who knows it, everyone else just there for the cake. Song over, everyone digs in. Tom finds himself standing next to Summer. TOM Hi. SUMMER Hello. TOM So, uh, Summer... SUMMER Tom. TOM Yeah! How's it going so far? SUMMER The city or the firm? TOM Both... Either. SUMMER I'm happy. Still getting situated. How long have you worked here? 18. TOM Oh, you know, 4, 5... years. SUMMER Really? Jesus. Did you always want to write greeting cards? TOM Are you nuts? I don't even want to do it now. SUMMER What is it you want to do? TOM I studied to be an architect actually. SUMMER That's so cool! What happened? TOM Eh, you know. Same old story. Moved to the city to work for a company. Company went under. Needed a job. My friend worked here. Got me this. SUMMER And are you any good? TOM (points to a framed card) Well I wrote that one. SUMMER (READING) "Today You're a Man. Mazel Tov on your Bar Mitzvah." TOM It's a big seller. SUMMER I meant, are you any good as an architect? TOM Oh... No. I doubt it. SUMMER Well, I'd say you're a perfectly ...adequate... greeting card writer. 19. TOM Why thank you. That's what they called me in college. "Perfectly adequate" Hansen. SUMMER They used to call me "Anal Girl." Tom does a spit-take and almost chokes. SUMMER (EXPLAINING) I was very neat and organized. There's an awkward silence. SUMMER Anyway, I should get back. TOM Ok, well, I'll see you around. She walks back to her cubicle at the other end of the hall. Tom watches her walk away, completely enamored. He sits down at his desk and sets out to work. But before he does, his eyes fall on a sketch he drew of a house. It's dated 2001 and it's the only architecture sketch on his wall. (11) INT TOM'S PLACE - DAY Tom is playing Playstation with Rachel. TOM And it turns out she's read every Graham Greene novel ever published. Her desk is lined with Magritte posters and Edward Hopper. RACHEL Your favorites. TOM We're so compatible it's insane! Seriously! It doesn't make sense! She's not like I thought at all. She's... amazing. 20. RACHEL Oh boy. TOM What? RACHEL You know...just cause some cute girl likes the same bizarro music you do doesn't make her "the one." TOM (BEAT) Of course it does. SARAH (O.S.) Dinner! SARAH, 50s, Tom and Rachel's mother, stands in the doorway. SARAH Pause and come eat. They do. Tom enters the living room area and sits down next to his stepdad MARTIN, 60s, a quiet, professorial Southern gentleman type. TOM Hey Martin. ANGLE ON RACHEL and Sarah. RACHEL He met a girl. SARAH (EXCITED) Yeah? RACHEL (GRIM) Yeah. Sarah grows serious too. SARAH Oh shit. CUT TO: 21. STOCK FOOTAGE. The Wright Brothers, Galileo, Heaven's Gate, Neil Armstrong. NARRATOR When one strongly believes in something, it takes overwhelming contradictory evidence to change their minds. END ON: LITTLE TOM, age 6, mesmerized by a vinyl album cover of Olivia Newton-John in "Xanadu." NARRATOR Tom had always been a devout believer in the idea of "true love." (BEAT) The evidence did not support him. CUT TO: (-8914) INT CLASSROOM - DAY Little Tom stares at a LITTLE GIRL, 6, who has the same hairstyle and dress as Newton-John on that cover. Tom draws a picture. It's a boy and a girl with a giant heart over them. He stands up and walks over to the girl, putting the picture on her desk. Not a word is spoken. Satisfied, he returns to his seat and waits to see what happens. NARRATOR Exhibit A: Lisa Rayner. The Little Girl stands up and walks the picture over to ANOTHER BOY. Tom is mortified. The OTHER BOY eats the drawing. (-5313) 22. EXT FOOTBALL FIELD - NIGHT A BLONDE CHEERLEADER leads the crowd in a cheer. PAN ACROSS to find TEENAGE TOM, 15, finishing making out with a homely HIGH SCHOOL GIRL. He says goodbye and walks off, looking back longingly. NARRATOR Exhibit B: Wendy Wilson. Once Tom is out of frame, a SECOND BOY approaches Wendy. Then they start making out. (-2825) INT AIRPLANE - DAY COLLEGE TOM sits next to his girlfriend REBECCA MYLES. His smile gleams. TOM I'm so glad we decided to go away together Bec. I know we've only been dating a few months but it's been...awesome. NARRATOR Exhibit C: Rebecca Myles. TOM And now, you and me, 8 days in Mexico... best spring break ever! Across the aisle Rebecca makes eye contact with three COLLEGE DUDES. REBECCA I think we should see other people. (-734) 23. EXT CAR - NIGHT Younger Tom sits in the passenger seat. Raven-haired AMANDA drives. NARRATOR And, finally... Exhibit D: Amanda Heller. AMANDA It's just... it's complicated. TOM What's complicated? Last week you said you loved me! AMANDA I know it's sudden but... TOM No, this can't be. Everything was going so great. I don't understand. AMANDA (BEAT) Here. TOM What's this? She puts a disc into the cd player. AMANDA Because you're, like, the biggest music nerd I've ever met, I think this should really help explain where I'm coming from. A pop song begins to play on the stereo. They listen for a few beats. Tom is confused. AMANDA You remember how much I loved this song when you first played it for me? TOM Sure. It's all you wanted to listen to for weeks. 24. AMANDA Right. And I still like it, don't get me wrong. It's just... When I hear it now, I don't feel the same...rush. TOM (still confused) Ok... AMANDA I press the skip button. Still Tom doesn't understand. TOM What does this have to do with--? AMANDA I'd rather listen to something else. And with that, it slowly sinks in for him. TOM But Amanda... this is a great fucking song! (22) INT LOCAL DIVE BAR - HAPPY HOUR Tom removes his headphones and sits defeated with McKenzie and Paul in a booth. TOM It's off. PAUL What? TOM Me and Summer. MCKENZIE Was it ever on? 25. TOM No. But it could have been. In a world where good things happen to me. PAUL Yeah well, that's not really where we live. TOM No. MCKENZIE So what happened? TOM You ready for this? INT ELEVATOR - THE DAY BEFORE Tom is alone. The door opens. In walks Summer. TOM (V.O.) So there we are. All alone. Nine more floors to ride. Plenty of time. I figure...this is my chance. If not now when, right? They ride in silence for a few beats. TOM Summer... SUMMER Yeah? TOM (BEAT) So how was your weekend? SUMMER It was good. INT LOCAL DIVE BAR - AS BEFORE The friends wait for more. TOM You believe that shit? 26. MCKENZIE What shit? PAUL I think I missed something. TOM "It was good." She didn't say "It was good." She said "It was good." Emphasis on the good. She basically said "I spent the weekend having sex with this guy I met at the gym." Fucking whore. Screw her. It's over. Everyone's silent. MCKENZIE What the hell is wrong with you?! PAUL Dude, you got problems. TOM She's not interested in me. There's nothing I can do. MCKENZIE Based on..."it was good?" TOM And some other things. PAUL Like what, she said "hey" instead of "hi" cause that totally means she's a lesbian. TOM I gave her all sorts of chances. INT OFFICE - DAY Tom types at his desk. Summer approaches the cubicle Tom shares with McKenzie. SUMMER I'm going to the supply room. Anyone need anything? MCKENZIE No thanks. 27. TOM I think you know what I need. There's a beat. TOM Toner. SUMMER Oh ok, sure, no prob. INT OFFICE - LATE IN THE DAY The office is emptying out. Only a few people remain but Tom and Summer are two of them. Tom takes this opportunity to put a CD in his computer and play the song really loud. It's "I Want to Know What Love Is" by Foreigner. No reaction from Summer. Tom turns it up. Still nothing. Tom turns it down, defeated. INT SUMMER'S DESK Tom is there. TOM Do you want to go out with me? A beat. Summer says nothing. TOM And the Priest says, "But we're already out!" They both laugh. SUMMER That is hilarious! TOM I know! And when she walks away, he smacks his head a few times with his palm. INT LOCAL DIVE BAR - AS BEFORE TOM Not once did she take the bait. Not once. Screw it. I'm done with her. It's over. 28. Tom's friends all look at him like he's crazy. (27 & 28) INT OFFICE - TOM'S CUBICLE - DAY Tom sits at his desk with headphones on trying to work. But with Summer down at the end of the hall, he's having a hard time concentrating. McKenzie shares a cubicle with Tom. MCKENZIE This Friday. 10 bucks all you can karaoke at The Well. TOM No way McKenzie. Absolutely not. MCKENZIE Come on! (SINGING) "Take me down to the paradise city where the grass is green and they got big titties!" TOM They won't let you back in there after last time. MCKENZIE I wasn't that bad. TOM Not at all. You just threw up on the stage, tried to fight the bartender, and then threatened to burn the place down before passing out on the sidewalk. Quiet night for you. MCKENZIE (REVERENTIAL) You saved my life that day. TOM We are not going back there. 29. MCKENZIE This is a work thing, Tommy. It won't be like that. The whole office is going. TOM I really can't. Even if I wanted to. There's a lot of stuff I gotta take care of. MCKENZIE You're not listening to me. TOM What? MCKENZIE The whole office is going. Tom looks over to where Summer sits. And realization dawns on him... INT KARAOKE BAR - NIGHT Summer is in a back booth with some co-workers when Tom walks in to the crowded place. McKenzie has the microphone and he's singing "Every Rose Has Its Thorn" by Poison. He's real into it and, well, it's kinda sad. Tom waves to McKenzie and walks over to the booth. TOM Hi. SUMMER Hey! They said you weren't coming. TOM You asked if I was coming? (BEAT) I mean...my plans got cancelled... Tom is at a loss. There's yet another awkward silent beat between them. Thankfully, it's interrupted by... MCKENZIE (already drunk) Goddamn that song is brilliant! What's up Hansen? Summer sees the next song come up on the screen. 30. SUMMER Ooh that's me. She downs a shot and jumps up on stage. SUMMER (into mic) Ok. I'm the new girl so no making fun of me. Her co-workers whistle and cheer her on. She takes a deep breath as the opening bars of "Born to Run" begin to play and Summer starts to sing. Tom sees Summer as the actress in whatever nonsensical karaoke video accompanies the song (it's something to do with an old convertible, the sunset, and a midget in a tuxedo.) LATER. Tom sits in the booth with McKenzie (doing a shot) as Summer chats with co-workers at another table. Tom can't help but stare at Summer. She notices and waves. He smiles, hopeful that she'll come over. She doesn't. He hides his disappointment. LATER. Tom walks back to his table with drinks. Summer is there in mid-conversation with McKenzie. TOM You were great up there, by the way. SUMMER Well you can't go wrong with The Boss. TOM (sitting down) I hear that. MCKENZIE Hey, did you know Tom here's from Jersey? SUMMER Yeah? TOM Lived there til I was 12. SUMMER I named my cat after Springsteen. TOM No kidding? What's his name? 31. SUMMER Bruce. TOM (BEAT) That makes sense. She laughs. She's really cute when she laughs. MCKENZIE So you got a boyfriend? SUMMER Me? No. Tom shoots daggers at McKenzie for that comment. McKenzie mouths "what?" Summer sees nothing. MCKENZIE Why not? SUMMER Don't really want one. MCKENZIE Come on. I don't believe that. SUMMER You don't believe a woman could enjoy being free and independent? MCKENZIE (BEAT) Are you a lesbian? SUMMER No, I'm not a lesbian. I'm just not comfortable being somebody's "girlfriend." I don't want to be anybody's anything, you know? MCKENZIE I have no idea what you're talking about. SUMMER It sounds selfish, I know, but... I just like being on my own. Relationships are messy and feelings are always getting hurt. Who needs all that? We're young. We're in one of the most beautiful cities in the world. (MORE) 32. SUMMER (cont'd) I say, let's have as much fun as we can afford and leave the serious shit for later. TOM But...what if you meet someone and fall in love? SUMMER (LAUGHS) Love? You seriously believe in that stuff? TOM Of course I do. SUMMER Interesting. A real romantic. MCKENZIE Oh you have no idea. This one... embarrassing. There was this one girl, (to Tom) I gotta tell this story -- Tom elbows McKenzie hard in the ribs to shut him up. TOM Summer, hold on... you don't believe in love? SUMMER I don't even know what that word means. I know I've never felt it, whatever it is in all those songs. And I know that today most marriages end in divorce. Like my parents. TOM Well mine too but -- SUMMER Oh yeah, And I read in Newsweek, there were these scientists who found that by stimulating a part of the brain with electrodes you can make a person fall in "love" with a rock. Is that the love you're talking about? TOM Well... 33. SUMMER Why, what's your take on it? CUT TO: AN ANIMATION SEQUENCE, real quick. AN EXPLOSION OF MANY DIFFERENT COLORS, COMPLETE WITH A CHOIR AND A CHURCH ORGAN ALL BUILDING TO A HUGE CRESCENDO. BACK TO: INT BAR On Tom: TOM I think it's...kind of a huge thing. SUMMER (BEAT) Ok. Looks like we're gonna have to agree to disagree on that one. McKenzie senses some discontent. MCKENZIE So, uh, who's singing next? SUMMER (re: singing) I'd say it's your turn loverboy. TOM Nooo. I don't sing in public. SUMMER Sure you do. I see you lip-synching to your headphones every morning on your way in. TOM I don't... MCKENZIE You really do. SUMMER It's ok. I like it. Takes a lot of self-confidence to look ridiculous. 34. MCKENZIE (can't help himself) Self-confidence! Ha! Tom elbows him in the ribs again. TOM Anyway, I'm not near drunk enough to sing in front of all these people. SUMMER Ok then. Let's drink. TOM It would take at least ten shots to get me to sing. SUMMER Bartender! TEN MINUTES LATER. Tom is up there singing The Clash's "Magnificent Seven." You wouldn't think so but Tom is a ROCK STAR up there! He's dancing like Jagger, he's got everyone in the bar singing along to the audience-participation parts. It's a sight to behold. Summer is all smiles watching. LATER. Tom and Summer back at the table. Summer is humming something. TOM That's not it. SUMMER What is that then? TOM I have no idea. They're both having a good time. SUMMER I used to watch it every week. TOM Me too. Why can't we think of the stupid A-Team theme song. SUMMER Pathetic. TOM This is gonna bother me for weeks. 35. SUMMER Totally. They share another laugh and then it gets quiet. In that good way. ANGLE ON McKenzie, wasted, singing the shit out of "Proud to Be an American." He really means it. At any minute he might start to cry. MCKENZIE "And I'd proudly stand UP!" (aggressive drunk) I said stand! BACK ON TOM and SUMMER. TOM Oh here we go. EXT KARAOKE BAR - LATER Tom helps a nearly comatose McKenzie exit the place. Summer is with them. MCKENZIE (to Summer) This guy. (DRAMATICALLY) He's the best. TOM Ok, let's

night

How many times the word 'night' appears in the text?

500 Days of Summer Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 500 DAYS OF SUMMER Written by Scott Neustadter & Michael H. Weber First Draft SIMPLE BLACK ON WHITE CREDITS ROLL TO BIG STAR'S "I'M IN LOVE WITH A GIRL." When all is said and done, up comes a single number in parenthesis, like so: (478) EXT. PARK - DAY For a few seconds we watch A MAN (20s) and a WOMAN (20s) on a park bench. Their names are TOM and SUMMER. Neither one says a word. CLOSE ON her HAND, covering his. Notice the wedding ring. No words are spoken. Tom looks at her the way every woman wants to be looked at. A DISTINGUISHED VOICE begins to speak to us. NARRATOR This is a story of boy meets girl. CUT TO: (1) INT CONFERENCE ROOM - DAY The boy is TOM HANSEN. He sits at a very long rectangular conference table. The walls are lined with framed blow-up sized greeting cards. Tom, dark hair and blue eyes, wears a t- shirt under his sports coat and Adidas tennis shoes to balance out the corporate dress code. He looks pretty bored. NARRATOR The boy, Tom Hansen of Margate, New Jersey, grew up believing that he'd never truly be happy until the day he met his... "soulmate." CUT TO: INT LIVING ROOM - 1989 PRE-TEEN TOM sits alone on his bed engrossed in a movie. His walls are covered in posters of obscure bands. From the TV, we hear: "Elaine! Elaine!" 4. NARRATOR This belief stemmed from early exposure to sad British pop music and a total misreading of the movie, "The Graduate." CUT TO: INT OFFICE CUBICLE - PRESENT DAY The girl is SUMMER FINN. She files folders and answers phones in a plain white office. She has cropped blonde hair almost like a boy's but her face is feminine and pretty enough to get away with it. NARRATOR The girl, Summer Finn of Shinnecock, Michigan, did not share this belief. CUT TO: INT BATHROOM - 1994 Teenage Summer stares at herself in the mirror. Her hair extends down to her lower back. NARRATOR Since the disintegration of her parents' marriage, she'd only loved two things. The first was her long blonde hair. She picks up scissors from the counter and begins to slice. NARRATOR The second was how easily she could cut it off... And feel nothing. CUT TO: SPLITSCREEN. INT BOARDROOM/ INT CUBICLE - SAME On the right side of the screen, Tom continues to listen to some boring presentation. On the left, Summer answers a call, takes a message, and walks out of her cubicle down a long narrow hallway. 5. NARRATOR Tom meets Summer on January 8th in a San Francisco office building. In an instant, he will know she's the one he's been looking for. CU Summer opening the door to the boardroom, about to come face to face with Tom for the first time. NARRATOR This is a story of boy meets girl. But before they do, CUT TO: BLACK. NARRATOR You should know up front, this is not a love story. (240) EXT STREETS OF SAN FRAN - NIGHT A 12 year old GIRL rides her bicycle down the block. She arrives at an apartment complex, jumps off the bike and races up the front stairs. She rings the doorbell. INT TOM'S PLACE - LATER PAUL and MCKENZIE open the door. These are Tom's best friends since birth. Paul is a doctor and wears hospital scrubs. McKenzie works in the cubicle next to Tom. PAUL I didn't know who else to call. The Girl removes her bike helmet. GIRL You did the right thing. Where is he? Tom is in the kitchen breaking things and basically going insane. About to smash a plate on the floor, he's interrupted BY: 6. GIRL Thomas. Tom freezes. TOM Rachel? What are you doing here? GIRL (RACHEL) I'm here to help you. TOM Help me how? RACHEL First, put down the plate. Tom slowly obliges. RACHEL Now come here and sit down. Tom sits next to the young girl. Paul and Mckenzie sit on either side of them. RACHEL The key is not to panic. TOM I think I'm gonna be sick. RACHEL Drink this. She hands him a glass of water. Tom drinks it down. MCKENZIE What is that? RACHEL Vodka. TOM (grimacing at the taste) More. He gulps another down. TOM Does Mom know you're here? It's gotta be past 10. 7. RACHEL Don't worry about it. Start from the beginning. Tell us what happened... Tom takes a deep breath. EXT PARK - DAY Tom and Summer eat sandwiches in the park. TOM (V.O.) We spent the whole day together. EXT OUTDOOR MARKET - DAY Tom and Summer walk through the stalls. TOM (V.O.) We went shopping. EXT COFFEE HOUSE - DAY Tom and Summer seated outside drinking coffee. He reads the newspaper, she reads a novel. TOM (V.O.) We had coffee. EXT MOVIE THEATER - DAY Tom and Summer walk out of a movie theatre. TOM (V.O.) We saw a film. INT RECORD STORE - LATER Tom and Summer shop for music. Tom excitedly shows Summer a Ringo Starr solo album. TOM (V.O.) We bought music. 8. INT TOM'S PLACE TOM I thought it was a great day. RACHEL And then what happened? INT DINER - NIGHT Tom and Summer in a booth ordering dinner. TOM (to WAITRESS) Um...you know what...let's go crazy, I'll have BOTH. (to Summer) God, I love eating pancakes at night. It's like the greatest thing ever. How great is this? SUMMER I think we should stop seeing each other. INT TOM'S PLACE - AS BEFORE RACHEL Just like that? TOM Just like that. PAUL Did she say why? INT DINER - AS BEFORE SUMMER This thing. This whatever it is. You and me. Do you think this is normal? TOM I don't know. Who cares about normal?! I'm happy. Aren't you happy? 9. SUMMER You're happy? TOM You're not? SUMMER All we do is argue! TOM That is such a lie! INT TOM'S PLACE - AS BEFORE RACHEL Maybe she was just in a bad mood. PAUL A hormonal thing. RACHEL P.M.S.? TOM (to Rachel) What do you know about PMS? RACHEL More than you. TOM Oh my god. MCKENZIE Please continue. INT DINER - AS BEFORE SUMMER This can't be a total surprise. I mean, we've been like Sid and Nancy for months. TOM Summer, Sid stabbed Nancy seven times with a kitchen knife. We've had some disagreements but I hardly think I'm Sid Vicious. SUMMER No... I'm Sid. 10. TOM (BEAT) So I'm Nancy?! The Waitress comes out with the food. Tom and Summer stop their discussion until the meal is served and the Waitress leaves. Summer starts to eat. SUMMER Let's just eat and we'll talk about it after. I'm starving. Without another word she goes back to her pancakes. Tom watches her eat like this is the worst travesty in the history of mankind. SUMMER (mouth full) Mmm, you're so right. These are great! Tom looks at his food in disgust. He may never eat again. SUMMER (INNOCENT) What? Tom stands up to go. SUMMER Tom, don't. Come back. You're still my best fr--- THE SCENE FREEZES AND WE ZOOM IN ON TOM'S STUNNED FACE. INT TOM'S PLACE - AS BEFORE Silence for a few beats. PAUL Jesus. MCKENZIE That's harsh. TOM I don't know what I'm gonna do. RACHEL You're gonna be fine. 11. TOM (BEAT) I'm gonna throw up. MCKENZIE Or that. RACHEL Here. Tom drinks more vodka. MCKENZIE Come on Hansen. You'll be ok. You're the best guy I know. You'll find someone. PAUL You know what they say...there's plenty other fish in the sea. TOM No. PAUL Sure they do. They say that. TOM Well they're wrong. It's not true. I've fished in that sea. I've jumped in and swam in that sea! I'm fucking Aquaman! (to Rachel) Sorry. What I mean is... there are no other fish. This was my fish. Paul and McKenzie share a very concerned look. CUT TO: (86) EXT SIDEWALK - DAY Tom walks alongside his friend PAUL. Out of nowhere, he says: TOM I'm in love with Summer. 12. PAUL (BEAT) For real? CUT TO: CU - SUMMER'S SMILE TOM (V.O.) I love her smile. CU - SUMMER'S HAIR TOM (V.O.) I love her hair. CU - SUMMER'S KNEES TOM (V.O.) I love her knees. CU - SUMMER'S EYES TOM (V.O.) I love how one eye is higher up on her face than the other eye. CU - SUMMER'S NECK TOM (V.O.) I love the scar on her neck from this operation she had as a kid. CU - SUMMER'S BREASTS (UNDER A BLACK T-SHIRT) TOM (V.O.) I love how she looks in my Clash T- shirt. CU - SUMMER ASLEEP TOM (V.O.) I love how she looks when she's sleeping. CU - SUMMER'S LAUGH TOM (V.O.) I love the sound of her laugh. OVER BLACK, play the middle 8 of "Every Little Thing She Does is Magic" by The Police. 13. TOM (V.O.) I love how I hear this song every time I think of her. CU - TOM, STARING DIRECTLY AT THE CAMERA. TOM (V.O.) I love how she makes me feel. Like anything's possible. Like, I don't know...like life is worth it. CUT TO: EXT SIDEWALK - SAME Paul and Tom. TOM For real, Paul. I'm madly in love with that girl. Paul is silent for a beat. PAUL Oh shit. (1) INT CONFERENCE ROOM - DAY Tom as we saw him earlier. Bored. In the boardroom. Mckenzie is in mid-presentation. MCKENZIE Now I know this may be a little risque...but if New Hampshire Greetings wants the jump on those conservative, right-wing neo-Nazis at Hallmark, maybe playing it safe is the wrong approach. The nuclear family is dead and we need a new holiday to recognize that. Mckenzie holds up a home-made photoshopped family portrait of Martina Navratilova, Ellen DeGeneres, and the kid from "Jerry Maguire". 14. MCKENZIE May 21st. Other Mother's Day. The co-workers nod and digest this idea. VANCE is the head of the department. VANCE Hmmm. That's an intriguing idea McKenzie. Along with Grossman's "Magellan Day" I'd say we've got some potential here. What do you think Hansen? Could you write up some prototypes for these? Tom is about to answer when... the door opens. SUMMER Excuse me, Mr. Vance? There's a call for you on line 3. And in walks this girl. Summer. We've met her by now but Tom hasn't. This is the first time. His eyes go wide and from that moment on, he can't take them off her. VANCE (to the table) Everyone this is Summer, my new assistant. Summer just moved here from... SUMMER Michigan. VANCE Right. Michigan. Well, Summer, everyone. Everyone, Summer. Excuse me, I have to take this. SUMMER Nice to meet you all. Summer gives a little wave before following Vance out. She doesn't notice Tom whose face looks like he's just seen God. 15. (3, 4, 5) INT. OFFICE - DAY Tom trying to work. And failing. He turns to McKenzie. TOM What do we know about this new girl? MCKENZIE Who? TOM The new girl. Summer. In Vance's office. MCKENZIE Dude. I hear she's a bitch from hell! TOM (DISAPPOINTED) Really? MCKENZIE Patel tried to talk to her in the copy room. She was totally not having it. TOM Maybe she was just in a hurry. MCKENZIE And maybe she's some uppity, better than everyone, superskank. TOM Damn. MCKENZIE I know. She's pretty hot. TOM That makes me so mad! Why is it pretty girls always think they can treat people like crap and get away with it? 16. MCKENZIE Dunno. TOM Like, just cause she has high cheekbones and soft skin... MCKENZIE ...and really good teeth. TOM And maybe the world's most perfect breasts...Just cause of that stuff, she can walk around like she's center of the universe? MCKENZIE (as explanation) Women. TOM Ugh. You know what? Screw her! We haven't even met and I can't stand her already. INT. ELEVATOR - LATER Tom is listening to headphones. Summer enters the elevator and Tom actively puts on a show to ignore her. Summer hears the music. SUMMER The Smiths. Tom, pretending not to hear or care, gives her an unenthusiastic wave. SUMMER I love The Smiths. Tom, still pretending, takes off his headphones. TOM Sorry? SUMMER I said. I love The Smiths. You have good taste in music. A beat as Tom processes this information. 17. TOM (AMAZED) You like the Smiths? SUMMER (SINGING) "To die by your side is such a heavenly way to die." Love it. The elevator doors open and she gets off. TOM (accidentally out loud) Oh my god. (8) INT OFFICE LOBBY - DAY The office sings "Happy Birthday" to a FEMALE CO-WORKER. When they get to the part about her name, Tom is the only one who knows it, everyone else just there for the cake. Song over, everyone digs in. Tom finds himself standing next to Summer. TOM Hi. SUMMER Hello. TOM So, uh, Summer... SUMMER Tom. TOM Yeah! How's it going so far? SUMMER The city or the firm? TOM Both... Either. SUMMER I'm happy. Still getting situated. How long have you worked here? 18. TOM Oh, you know, 4, 5... years. SUMMER Really? Jesus. Did you always want to write greeting cards? TOM Are you nuts? I don't even want to do it now. SUMMER What is it you want to do? TOM I studied to be an architect actually. SUMMER That's so cool! What happened? TOM Eh, you know. Same old story. Moved to the city to work for a company. Company went under. Needed a job. My friend worked here. Got me this. SUMMER And are you any good? TOM (points to a framed card) Well I wrote that one. SUMMER (READING) "Today You're a Man. Mazel Tov on your Bar Mitzvah." TOM It's a big seller. SUMMER I meant, are you any good as an architect? TOM Oh... No. I doubt it. SUMMER Well, I'd say you're a perfectly ...adequate... greeting card writer. 19. TOM Why thank you. That's what they called me in college. "Perfectly adequate" Hansen. SUMMER They used to call me "Anal Girl." Tom does a spit-take and almost chokes. SUMMER (EXPLAINING) I was very neat and organized. There's an awkward silence. SUMMER Anyway, I should get back. TOM Ok, well, I'll see you around. She walks back to her cubicle at the other end of the hall. Tom watches her walk away, completely enamored. He sits down at his desk and sets out to work. But before he does, his eyes fall on a sketch he drew of a house. It's dated 2001 and it's the only architecture sketch on his wall. (11) INT TOM'S PLACE - DAY Tom is playing Playstation with Rachel. TOM And it turns out she's read every Graham Greene novel ever published. Her desk is lined with Magritte posters and Edward Hopper. RACHEL Your favorites. TOM We're so compatible it's insane! Seriously! It doesn't make sense! She's not like I thought at all. She's... amazing. 20. RACHEL Oh boy. TOM What? RACHEL You know...just cause some cute girl likes the same bizarro music you do doesn't make her "the one." TOM (BEAT) Of course it does. SARAH (O.S.) Dinner! SARAH, 50s, Tom and Rachel's mother, stands in the doorway. SARAH Pause and come eat. They do. Tom enters the living room area and sits down next to his stepdad MARTIN, 60s, a quiet, professorial Southern gentleman type. TOM Hey Martin. ANGLE ON RACHEL and Sarah. RACHEL He met a girl. SARAH (EXCITED) Yeah? RACHEL (GRIM) Yeah. Sarah grows serious too. SARAH Oh shit. CUT TO: 21. STOCK FOOTAGE. The Wright Brothers, Galileo, Heaven's Gate, Neil Armstrong. NARRATOR When one strongly believes in something, it takes overwhelming contradictory evidence to change their minds. END ON: LITTLE TOM, age 6, mesmerized by a vinyl album cover of Olivia Newton-John in "Xanadu." NARRATOR Tom had always been a devout believer in the idea of "true love." (BEAT) The evidence did not support him. CUT TO: (-8914) INT CLASSROOM - DAY Little Tom stares at a LITTLE GIRL, 6, who has the same hairstyle and dress as Newton-John on that cover. Tom draws a picture. It's a boy and a girl with a giant heart over them. He stands up and walks over to the girl, putting the picture on her desk. Not a word is spoken. Satisfied, he returns to his seat and waits to see what happens. NARRATOR Exhibit A: Lisa Rayner. The Little Girl stands up and walks the picture over to ANOTHER BOY. Tom is mortified. The OTHER BOY eats the drawing. (-5313) 22. EXT FOOTBALL FIELD - NIGHT A BLONDE CHEERLEADER leads the crowd in a cheer. PAN ACROSS to find TEENAGE TOM, 15, finishing making out with a homely HIGH SCHOOL GIRL. He says goodbye and walks off, looking back longingly. NARRATOR Exhibit B: Wendy Wilson. Once Tom is out of frame, a SECOND BOY approaches Wendy. Then they start making out. (-2825) INT AIRPLANE - DAY COLLEGE TOM sits next to his girlfriend REBECCA MYLES. His smile gleams. TOM I'm so glad we decided to go away together Bec. I know we've only been dating a few months but it's been...awesome. NARRATOR Exhibit C: Rebecca Myles. TOM And now, you and me, 8 days in Mexico... best spring break ever! Across the aisle Rebecca makes eye contact with three COLLEGE DUDES. REBECCA I think we should see other people. (-734) 23. EXT CAR - NIGHT Younger Tom sits in the passenger seat. Raven-haired AMANDA drives. NARRATOR And, finally... Exhibit D: Amanda Heller. AMANDA It's just... it's complicated. TOM What's complicated? Last week you said you loved me! AMANDA I know it's sudden but... TOM No, this can't be. Everything was going so great. I don't understand. AMANDA (BEAT) Here. TOM What's this? She puts a disc into the cd player. AMANDA Because you're, like, the biggest music nerd I've ever met, I think this should really help explain where I'm coming from. A pop song begins to play on the stereo. They listen for a few beats. Tom is confused. AMANDA You remember how much I loved this song when you first played it for me? TOM Sure. It's all you wanted to listen to for weeks. 24. AMANDA Right. And I still like it, don't get me wrong. It's just... When I hear it now, I don't feel the same...rush. TOM (still confused) Ok... AMANDA I press the skip button. Still Tom doesn't understand. TOM What does this have to do with--? AMANDA I'd rather listen to something else. And with that, it slowly sinks in for him. TOM But Amanda... this is a great fucking song! (22) INT LOCAL DIVE BAR - HAPPY HOUR Tom removes his headphones and sits defeated with McKenzie and Paul in a booth. TOM It's off. PAUL What? TOM Me and Summer. MCKENZIE Was it ever on? 25. TOM No. But it could have been. In a world where good things happen to me. PAUL Yeah well, that's not really where we live. TOM No. MCKENZIE So what happened? TOM You ready for this? INT ELEVATOR - THE DAY BEFORE Tom is alone. The door opens. In walks Summer. TOM (V.O.) So there we are. All alone. Nine more floors to ride. Plenty of time. I figure...this is my chance. If not now when, right? They ride in silence for a few beats. TOM Summer... SUMMER Yeah? TOM (BEAT) So how was your weekend? SUMMER It was good. INT LOCAL DIVE BAR - AS BEFORE The friends wait for more. TOM You believe that shit? 26. MCKENZIE What shit? PAUL I think I missed something. TOM "It was good." She didn't say "It was good." She said "It was good." Emphasis on the good. She basically said "I spent the weekend having sex with this guy I met at the gym." Fucking whore. Screw her. It's over. Everyone's silent. MCKENZIE What the hell is wrong with you?! PAUL Dude, you got problems. TOM She's not interested in me. There's nothing I can do. MCKENZIE Based on..."it was good?" TOM And some other things. PAUL Like what, she said "hey" instead of "hi" cause that totally means she's a lesbian. TOM I gave her all sorts of chances. INT OFFICE - DAY Tom types at his desk. Summer approaches the cubicle Tom shares with McKenzie. SUMMER I'm going to the supply room. Anyone need anything? MCKENZIE No thanks. 27. TOM I think you know what I need. There's a beat. TOM Toner. SUMMER Oh ok, sure, no prob. INT OFFICE - LATE IN THE DAY The office is emptying out. Only a few people remain but Tom and Summer are two of them. Tom takes this opportunity to put a CD in his computer and play the song really loud. It's "I Want to Know What Love Is" by Foreigner. No reaction from Summer. Tom turns it up. Still nothing. Tom turns it down, defeated. INT SUMMER'S DESK Tom is there. TOM Do you want to go out with me? A beat. Summer says nothing. TOM And the Priest says, "But we're already out!" They both laugh. SUMMER That is hilarious! TOM I know! And when she walks away, he smacks his head a few times with his palm. INT LOCAL DIVE BAR - AS BEFORE TOM Not once did she take the bait. Not once. Screw it. I'm done with her. It's over. 28. Tom's friends all look at him like he's crazy. (27 & 28) INT OFFICE - TOM'S CUBICLE - DAY Tom sits at his desk with headphones on trying to work. But with Summer down at the end of the hall, he's having a hard time concentrating. McKenzie shares a cubicle with Tom. MCKENZIE This Friday. 10 bucks all you can karaoke at The Well. TOM No way McKenzie. Absolutely not. MCKENZIE Come on! (SINGING) "Take me down to the paradise city where the grass is green and they got big titties!" TOM They won't let you back in there after last time. MCKENZIE I wasn't that bad. TOM Not at all. You just threw up on the stage, tried to fight the bartender, and then threatened to burn the place down before passing out on the sidewalk. Quiet night for you. MCKENZIE (REVERENTIAL) You saved my life that day. TOM We are not going back there. 29. MCKENZIE This is a work thing, Tommy. It won't be like that. The whole office is going. TOM I really can't. Even if I wanted to. There's a lot of stuff I gotta take care of. MCKENZIE You're not listening to me. TOM What? MCKENZIE The whole office is going. Tom looks over to where Summer sits. And realization dawns on him... INT KARAOKE BAR - NIGHT Summer is in a back booth with some co-workers when Tom walks in to the crowded place. McKenzie has the microphone and he's singing "Every Rose Has Its Thorn" by Poison. He's real into it and, well, it's kinda sad. Tom waves to McKenzie and walks over to the booth. TOM Hi. SUMMER Hey! They said you weren't coming. TOM You asked if I was coming? (BEAT) I mean...my plans got cancelled... Tom is at a loss. There's yet another awkward silent beat between them. Thankfully, it's interrupted by... MCKENZIE (already drunk) Goddamn that song is brilliant! What's up Hansen? Summer sees the next song come up on the screen. 30. SUMMER Ooh that's me. She downs a shot and jumps up on stage. SUMMER (into mic) Ok. I'm the new girl so no making fun of me. Her co-workers whistle and cheer her on. She takes a deep breath as the opening bars of "Born to Run" begin to play and Summer starts to sing. Tom sees Summer as the actress in whatever nonsensical karaoke video accompanies the song (it's something to do with an old convertible, the sunset, and a midget in a tuxedo.) LATER. Tom sits in the booth with McKenzie (doing a shot) as Summer chats with co-workers at another table. Tom can't help but stare at Summer. She notices and waves. He smiles, hopeful that she'll come over. She doesn't. He hides his disappointment. LATER. Tom walks back to his table with drinks. Summer is there in mid-conversation with McKenzie. TOM You were great up there, by the way. SUMMER Well you can't go wrong with The Boss. TOM (sitting down) I hear that. MCKENZIE Hey, did you know Tom here's from Jersey? SUMMER Yeah? TOM Lived there til I was 12. SUMMER I named my cat after Springsteen. TOM No kidding? What's his name? 31. SUMMER Bruce. TOM (BEAT) That makes sense. She laughs. She's really cute when she laughs. MCKENZIE So you got a boyfriend? SUMMER Me? No. Tom shoots daggers at McKenzie for that comment. McKenzie mouths "what?" Summer sees nothing. MCKENZIE Why not? SUMMER Don't really want one. MCKENZIE Come on. I don't believe that. SUMMER You don't believe a woman could enjoy being free and independent? MCKENZIE (BEAT) Are you a lesbian? SUMMER No, I'm not a lesbian. I'm just not comfortable being somebody's "girlfriend." I don't want to be anybody's anything, you know? MCKENZIE I have no idea what you're talking about. SUMMER It sounds selfish, I know, but... I just like being on my own. Relationships are messy and feelings are always getting hurt. Who needs all that? We're young. We're in one of the most beautiful cities in the world. (MORE) 32. SUMMER (cont'd) I say, let's have as much fun as we can afford and leave the serious shit for later. TOM But...what if you meet someone and fall in love? SUMMER (LAUGHS) Love? You seriously believe in that stuff? TOM Of course I do. SUMMER Interesting. A real romantic. MCKENZIE Oh you have no idea. This one... embarrassing. There was this one girl, (to Tom) I gotta tell this story -- Tom elbows McKenzie hard in the ribs to shut him up. TOM Summer, hold on... you don't believe in love? SUMMER I don't even know what that word means. I know I've never felt it, whatever it is in all those songs. And I know that today most marriages end in divorce. Like my parents. TOM Well mine too but -- SUMMER Oh yeah, And I read in Newsweek, there were these scientists who found that by stimulating a part of the brain with electrodes you can make a person fall in "love" with a rock. Is that the love you're talking about? TOM Well... 33. SUMMER Why, what's your take on it? CUT TO: AN ANIMATION SEQUENCE, real quick. AN EXPLOSION OF MANY DIFFERENT COLORS, COMPLETE WITH A CHOIR AND A CHURCH ORGAN ALL BUILDING TO A HUGE CRESCENDO. BACK TO: INT BAR On Tom: TOM I think it's...kind of a huge thing. SUMMER (BEAT) Ok. Looks like we're gonna have to agree to disagree on that one. McKenzie senses some discontent. MCKENZIE So, uh, who's singing next? SUMMER (re: singing) I'd say it's your turn loverboy. TOM Nooo. I don't sing in public. SUMMER Sure you do. I see you lip-synching to your headphones every morning on your way in. TOM I don't... MCKENZIE You really do. SUMMER It's ok. I like it. Takes a lot of self-confidence to look ridiculous. 34. MCKENZIE (can't help himself) Self-confidence! Ha! Tom elbows him in the ribs again. TOM Anyway, I'm not near drunk enough to sing in front of all these people. SUMMER Ok then. Let's drink. TOM It would take at least ten shots to get me to sing. SUMMER Bartender! TEN MINUTES LATER. Tom is up there singing The Clash's "Magnificent Seven." You wouldn't think so but Tom is a ROCK STAR up there! He's dancing like Jagger, he's got everyone in the bar singing along to the audience-participation parts. It's a sight to behold. Summer is all smiles watching. LATER. Tom and Summer back at the table. Summer is humming something. TOM That's not it. SUMMER What is that then? TOM I have no idea. They're both having a good time. SUMMER I used to watch it every week. TOM Me too. Why can't we think of the stupid A-Team theme song. SUMMER Pathetic. TOM This is gonna bother me for weeks. 35. SUMMER Totally. They share another laugh and then it gets quiet. In that good way. ANGLE ON McKenzie, wasted, singing the shit out of "Proud to Be an American." He really means it. At any minute he might start to cry. MCKENZIE "And I'd proudly stand UP!" (aggressive drunk) I said stand! BACK ON TOM and SUMMER. TOM Oh here we go. EXT KARAOKE BAR - LATER Tom helps a nearly comatose McKenzie exit the place. Summer is with them. MCKENZIE (to Summer) This guy. (DRAMATICALLY) He's the best. TOM Ok, let's

factly

How many times the word 'factly' appears in the text?

500 Days of Summer Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 500 DAYS OF SUMMER Written by Scott Neustadter & Michael H. Weber First Draft SIMPLE BLACK ON WHITE CREDITS ROLL TO BIG STAR'S "I'M IN LOVE WITH A GIRL." When all is said and done, up comes a single number in parenthesis, like so: (478) EXT. PARK - DAY For a few seconds we watch A MAN (20s) and a WOMAN (20s) on a park bench. Their names are TOM and SUMMER. Neither one says a word. CLOSE ON her HAND, covering his. Notice the wedding ring. No words are spoken. Tom looks at her the way every woman wants to be looked at. A DISTINGUISHED VOICE begins to speak to us. NARRATOR This is a story of boy meets girl. CUT TO: (1) INT CONFERENCE ROOM - DAY The boy is TOM HANSEN. He sits at a very long rectangular conference table. The walls are lined with framed blow-up sized greeting cards. Tom, dark hair and blue eyes, wears a t- shirt under his sports coat and Adidas tennis shoes to balance out the corporate dress code. He looks pretty bored. NARRATOR The boy, Tom Hansen of Margate, New Jersey, grew up believing that he'd never truly be happy until the day he met his... "soulmate." CUT TO: INT LIVING ROOM - 1989 PRE-TEEN TOM sits alone on his bed engrossed in a movie. His walls are covered in posters of obscure bands. From the TV, we hear: "Elaine! Elaine!" 4. NARRATOR This belief stemmed from early exposure to sad British pop music and a total misreading of the movie, "The Graduate." CUT TO: INT OFFICE CUBICLE - PRESENT DAY The girl is SUMMER FINN. She files folders and answers phones in a plain white office. She has cropped blonde hair almost like a boy's but her face is feminine and pretty enough to get away with it. NARRATOR The girl, Summer Finn of Shinnecock, Michigan, did not share this belief. CUT TO: INT BATHROOM - 1994 Teenage Summer stares at herself in the mirror. Her hair extends down to her lower back. NARRATOR Since the disintegration of her parents' marriage, she'd only loved two things. The first was her long blonde hair. She picks up scissors from the counter and begins to slice. NARRATOR The second was how easily she could cut it off... And feel nothing. CUT TO: SPLITSCREEN. INT BOARDROOM/ INT CUBICLE - SAME On the right side of the screen, Tom continues to listen to some boring presentation. On the left, Summer answers a call, takes a message, and walks out of her cubicle down a long narrow hallway. 5. NARRATOR Tom meets Summer on January 8th in a San Francisco office building. In an instant, he will know she's the one he's been looking for. CU Summer opening the door to the boardroom, about to come face to face with Tom for the first time. NARRATOR This is a story of boy meets girl. But before they do, CUT TO: BLACK. NARRATOR You should know up front, this is not a love story. (240) EXT STREETS OF SAN FRAN - NIGHT A 12 year old GIRL rides her bicycle down the block. She arrives at an apartment complex, jumps off the bike and races up the front stairs. She rings the doorbell. INT TOM'S PLACE - LATER PAUL and MCKENZIE open the door. These are Tom's best friends since birth. Paul is a doctor and wears hospital scrubs. McKenzie works in the cubicle next to Tom. PAUL I didn't know who else to call. The Girl removes her bike helmet. GIRL You did the right thing. Where is he? Tom is in the kitchen breaking things and basically going insane. About to smash a plate on the floor, he's interrupted BY: 6. GIRL Thomas. Tom freezes. TOM Rachel? What are you doing here? GIRL (RACHEL) I'm here to help you. TOM Help me how? RACHEL First, put down the plate. Tom slowly obliges. RACHEL Now come here and sit down. Tom sits next to the young girl. Paul and Mckenzie sit on either side of them. RACHEL The key is not to panic. TOM I think I'm gonna be sick. RACHEL Drink this. She hands him a glass of water. Tom drinks it down. MCKENZIE What is that? RACHEL Vodka. TOM (grimacing at the taste) More. He gulps another down. TOM Does Mom know you're here? It's gotta be past 10. 7. RACHEL Don't worry about it. Start from the beginning. Tell us what happened... Tom takes a deep breath. EXT PARK - DAY Tom and Summer eat sandwiches in the park. TOM (V.O.) We spent the whole day together. EXT OUTDOOR MARKET - DAY Tom and Summer walk through the stalls. TOM (V.O.) We went shopping. EXT COFFEE HOUSE - DAY Tom and Summer seated outside drinking coffee. He reads the newspaper, she reads a novel. TOM (V.O.) We had coffee. EXT MOVIE THEATER - DAY Tom and Summer walk out of a movie theatre. TOM (V.O.) We saw a film. INT RECORD STORE - LATER Tom and Summer shop for music. Tom excitedly shows Summer a Ringo Starr solo album. TOM (V.O.) We bought music. 8. INT TOM'S PLACE TOM I thought it was a great day. RACHEL And then what happened? INT DINER - NIGHT Tom and Summer in a booth ordering dinner. TOM (to WAITRESS) Um...you know what...let's go crazy, I'll have BOTH. (to Summer) God, I love eating pancakes at night. It's like the greatest thing ever. How great is this? SUMMER I think we should stop seeing each other. INT TOM'S PLACE - AS BEFORE RACHEL Just like that? TOM Just like that. PAUL Did she say why? INT DINER - AS BEFORE SUMMER This thing. This whatever it is. You and me. Do you think this is normal? TOM I don't know. Who cares about normal?! I'm happy. Aren't you happy? 9. SUMMER You're happy? TOM You're not? SUMMER All we do is argue! TOM That is such a lie! INT TOM'S PLACE - AS BEFORE RACHEL Maybe she was just in a bad mood. PAUL A hormonal thing. RACHEL P.M.S.? TOM (to Rachel) What do you know about PMS? RACHEL More than you. TOM Oh my god. MCKENZIE Please continue. INT DINER - AS BEFORE SUMMER This can't be a total surprise. I mean, we've been like Sid and Nancy for months. TOM Summer, Sid stabbed Nancy seven times with a kitchen knife. We've had some disagreements but I hardly think I'm Sid Vicious. SUMMER No... I'm Sid. 10. TOM (BEAT) So I'm Nancy?! The Waitress comes out with the food. Tom and Summer stop their discussion until the meal is served and the Waitress leaves. Summer starts to eat. SUMMER Let's just eat and we'll talk about it after. I'm starving. Without another word she goes back to her pancakes. Tom watches her eat like this is the worst travesty in the history of mankind. SUMMER (mouth full) Mmm, you're so right. These are great! Tom looks at his food in disgust. He may never eat again. SUMMER (INNOCENT) What? Tom stands up to go. SUMMER Tom, don't. Come back. You're still my best fr--- THE SCENE FREEZES AND WE ZOOM IN ON TOM'S STUNNED FACE. INT TOM'S PLACE - AS BEFORE Silence for a few beats. PAUL Jesus. MCKENZIE That's harsh. TOM I don't know what I'm gonna do. RACHEL You're gonna be fine. 11. TOM (BEAT) I'm gonna throw up. MCKENZIE Or that. RACHEL Here. Tom drinks more vodka. MCKENZIE Come on Hansen. You'll be ok. You're the best guy I know. You'll find someone. PAUL You know what they say...there's plenty other fish in the sea. TOM No. PAUL Sure they do. They say that. TOM Well they're wrong. It's not true. I've fished in that sea. I've jumped in and swam in that sea! I'm fucking Aquaman! (to Rachel) Sorry. What I mean is... there are no other fish. This was my fish. Paul and McKenzie share a very concerned look. CUT TO: (86) EXT SIDEWALK - DAY Tom walks alongside his friend PAUL. Out of nowhere, he says: TOM I'm in love with Summer. 12. PAUL (BEAT) For real? CUT TO: CU - SUMMER'S SMILE TOM (V.O.) I love her smile. CU - SUMMER'S HAIR TOM (V.O.) I love her hair. CU - SUMMER'S KNEES TOM (V.O.) I love her knees. CU - SUMMER'S EYES TOM (V.O.) I love how one eye is higher up on her face than the other eye. CU - SUMMER'S NECK TOM (V.O.) I love the scar on her neck from this operation she had as a kid. CU - SUMMER'S BREASTS (UNDER A BLACK T-SHIRT) TOM (V.O.) I love how she looks in my Clash T- shirt. CU - SUMMER ASLEEP TOM (V.O.) I love how she looks when she's sleeping. CU - SUMMER'S LAUGH TOM (V.O.) I love the sound of her laugh. OVER BLACK, play the middle 8 of "Every Little Thing She Does is Magic" by The Police. 13. TOM (V.O.) I love how I hear this song every time I think of her. CU - TOM, STARING DIRECTLY AT THE CAMERA. TOM (V.O.) I love how she makes me feel. Like anything's possible. Like, I don't know...like life is worth it. CUT TO: EXT SIDEWALK - SAME Paul and Tom. TOM For real, Paul. I'm madly in love with that girl. Paul is silent for a beat. PAUL Oh shit. (1) INT CONFERENCE ROOM - DAY Tom as we saw him earlier. Bored. In the boardroom. Mckenzie is in mid-presentation. MCKENZIE Now I know this may be a little risque...but if New Hampshire Greetings wants the jump on those conservative, right-wing neo-Nazis at Hallmark, maybe playing it safe is the wrong approach. The nuclear family is dead and we need a new holiday to recognize that. Mckenzie holds up a home-made photoshopped family portrait of Martina Navratilova, Ellen DeGeneres, and the kid from "Jerry Maguire". 14. MCKENZIE May 21st. Other Mother's Day. The co-workers nod and digest this idea. VANCE is the head of the department. VANCE Hmmm. That's an intriguing idea McKenzie. Along with Grossman's "Magellan Day" I'd say we've got some potential here. What do you think Hansen? Could you write up some prototypes for these? Tom is about to answer when... the door opens. SUMMER Excuse me, Mr. Vance? There's a call for you on line 3. And in walks this girl. Summer. We've met her by now but Tom hasn't. This is the first time. His eyes go wide and from that moment on, he can't take them off her. VANCE (to the table) Everyone this is Summer, my new assistant. Summer just moved here from... SUMMER Michigan. VANCE Right. Michigan. Well, Summer, everyone. Everyone, Summer. Excuse me, I have to take this. SUMMER Nice to meet you all. Summer gives a little wave before following Vance out. She doesn't notice Tom whose face looks like he's just seen God. 15. (3, 4, 5) INT. OFFICE - DAY Tom trying to work. And failing. He turns to McKenzie. TOM What do we know about this new girl? MCKENZIE Who? TOM The new girl. Summer. In Vance's office. MCKENZIE Dude. I hear she's a bitch from hell! TOM (DISAPPOINTED) Really? MCKENZIE Patel tried to talk to her in the copy room. She was totally not having it. TOM Maybe she was just in a hurry. MCKENZIE And maybe she's some uppity, better than everyone, superskank. TOM Damn. MCKENZIE I know. She's pretty hot. TOM That makes me so mad! Why is it pretty girls always think they can treat people like crap and get away with it? 16. MCKENZIE Dunno. TOM Like, just cause she has high cheekbones and soft skin... MCKENZIE ...and really good teeth. TOM And maybe the world's most perfect breasts...Just cause of that stuff, she can walk around like she's center of the universe? MCKENZIE (as explanation) Women. TOM Ugh. You know what? Screw her! We haven't even met and I can't stand her already. INT. ELEVATOR - LATER Tom is listening to headphones. Summer enters the elevator and Tom actively puts on a show to ignore her. Summer hears the music. SUMMER The Smiths. Tom, pretending not to hear or care, gives her an unenthusiastic wave. SUMMER I love The Smiths. Tom, still pretending, takes off his headphones. TOM Sorry? SUMMER I said. I love The Smiths. You have good taste in music. A beat as Tom processes this information. 17. TOM (AMAZED) You like the Smiths? SUMMER (SINGING) "To die by your side is such a heavenly way to die." Love it. The elevator doors open and she gets off. TOM (accidentally out loud) Oh my god. (8) INT OFFICE LOBBY - DAY The office sings "Happy Birthday" to a FEMALE CO-WORKER. When they get to the part about her name, Tom is the only one who knows it, everyone else just there for the cake. Song over, everyone digs in. Tom finds himself standing next to Summer. TOM Hi. SUMMER Hello. TOM So, uh, Summer... SUMMER Tom. TOM Yeah! How's it going so far? SUMMER The city or the firm? TOM Both... Either. SUMMER I'm happy. Still getting situated. How long have you worked here? 18. TOM Oh, you know, 4, 5... years. SUMMER Really? Jesus. Did you always want to write greeting cards? TOM Are you nuts? I don't even want to do it now. SUMMER What is it you want to do? TOM I studied to be an architect actually. SUMMER That's so cool! What happened? TOM Eh, you know. Same old story. Moved to the city to work for a company. Company went under. Needed a job. My friend worked here. Got me this. SUMMER And are you any good? TOM (points to a framed card) Well I wrote that one. SUMMER (READING) "Today You're a Man. Mazel Tov on your Bar Mitzvah." TOM It's a big seller. SUMMER I meant, are you any good as an architect? TOM Oh... No. I doubt it. SUMMER Well, I'd say you're a perfectly ...adequate... greeting card writer. 19. TOM Why thank you. That's what they called me in college. "Perfectly adequate" Hansen. SUMMER They used to call me "Anal Girl." Tom does a spit-take and almost chokes. SUMMER (EXPLAINING) I was very neat and organized. There's an awkward silence. SUMMER Anyway, I should get back. TOM Ok, well, I'll see you around. She walks back to her cubicle at the other end of the hall. Tom watches her walk away, completely enamored. He sits down at his desk and sets out to work. But before he does, his eyes fall on a sketch he drew of a house. It's dated 2001 and it's the only architecture sketch on his wall. (11) INT TOM'S PLACE - DAY Tom is playing Playstation with Rachel. TOM And it turns out she's read every Graham Greene novel ever published. Her desk is lined with Magritte posters and Edward Hopper. RACHEL Your favorites. TOM We're so compatible it's insane! Seriously! It doesn't make sense! She's not like I thought at all. She's... amazing. 20. RACHEL Oh boy. TOM What? RACHEL You know...just cause some cute girl likes the same bizarro music you do doesn't make her "the one." TOM (BEAT) Of course it does. SARAH (O.S.) Dinner! SARAH, 50s, Tom and Rachel's mother, stands in the doorway. SARAH Pause and come eat. They do. Tom enters the living room area and sits down next to his stepdad MARTIN, 60s, a quiet, professorial Southern gentleman type. TOM Hey Martin. ANGLE ON RACHEL and Sarah. RACHEL He met a girl. SARAH (EXCITED) Yeah? RACHEL (GRIM) Yeah. Sarah grows serious too. SARAH Oh shit. CUT TO: 21. STOCK FOOTAGE. The Wright Brothers, Galileo, Heaven's Gate, Neil Armstrong. NARRATOR When one strongly believes in something, it takes overwhelming contradictory evidence to change their minds. END ON: LITTLE TOM, age 6, mesmerized by a vinyl album cover of Olivia Newton-John in "Xanadu." NARRATOR Tom had always been a devout believer in the idea of "true love." (BEAT) The evidence did not support him. CUT TO: (-8914) INT CLASSROOM - DAY Little Tom stares at a LITTLE GIRL, 6, who has the same hairstyle and dress as Newton-John on that cover. Tom draws a picture. It's a boy and a girl with a giant heart over them. He stands up and walks over to the girl, putting the picture on her desk. Not a word is spoken. Satisfied, he returns to his seat and waits to see what happens. NARRATOR Exhibit A: Lisa Rayner. The Little Girl stands up and walks the picture over to ANOTHER BOY. Tom is mortified. The OTHER BOY eats the drawing. (-5313) 22. EXT FOOTBALL FIELD - NIGHT A BLONDE CHEERLEADER leads the crowd in a cheer. PAN ACROSS to find TEENAGE TOM, 15, finishing making out with a homely HIGH SCHOOL GIRL. He says goodbye and walks off, looking back longingly. NARRATOR Exhibit B: Wendy Wilson. Once Tom is out of frame, a SECOND BOY approaches Wendy. Then they start making out. (-2825) INT AIRPLANE - DAY COLLEGE TOM sits next to his girlfriend REBECCA MYLES. His smile gleams. TOM I'm so glad we decided to go away together Bec. I know we've only been dating a few months but it's been...awesome. NARRATOR Exhibit C: Rebecca Myles. TOM And now, you and me, 8 days in Mexico... best spring break ever! Across the aisle Rebecca makes eye contact with three COLLEGE DUDES. REBECCA I think we should see other people. (-734) 23. EXT CAR - NIGHT Younger Tom sits in the passenger seat. Raven-haired AMANDA drives. NARRATOR And, finally... Exhibit D: Amanda Heller. AMANDA It's just... it's complicated. TOM What's complicated? Last week you said you loved me! AMANDA I know it's sudden but... TOM No, this can't be. Everything was going so great. I don't understand. AMANDA (BEAT) Here. TOM What's this? She puts a disc into the cd player. AMANDA Because you're, like, the biggest music nerd I've ever met, I think this should really help explain where I'm coming from. A pop song begins to play on the stereo. They listen for a few beats. Tom is confused. AMANDA You remember how much I loved this song when you first played it for me? TOM Sure. It's all you wanted to listen to for weeks. 24. AMANDA Right. And I still like it, don't get me wrong. It's just... When I hear it now, I don't feel the same...rush. TOM (still confused) Ok... AMANDA I press the skip button. Still Tom doesn't understand. TOM What does this have to do with--? AMANDA I'd rather listen to something else. And with that, it slowly sinks in for him. TOM But Amanda... this is a great fucking song! (22) INT LOCAL DIVE BAR - HAPPY HOUR Tom removes his headphones and sits defeated with McKenzie and Paul in a booth. TOM It's off. PAUL What? TOM Me and Summer. MCKENZIE Was it ever on? 25. TOM No. But it could have been. In a world where good things happen to me. PAUL Yeah well, that's not really where we live. TOM No. MCKENZIE So what happened? TOM You ready for this? INT ELEVATOR - THE DAY BEFORE Tom is alone. The door opens. In walks Summer. TOM (V.O.) So there we are. All alone. Nine more floors to ride. Plenty of time. I figure...this is my chance. If not now when, right? They ride in silence for a few beats. TOM Summer... SUMMER Yeah? TOM (BEAT) So how was your weekend? SUMMER It was good. INT LOCAL DIVE BAR - AS BEFORE The friends wait for more. TOM You believe that shit? 26. MCKENZIE What shit? PAUL I think I missed something. TOM "It was good." She didn't say "It was good." She said "It was good." Emphasis on the good. She basically said "I spent the weekend having sex with this guy I met at the gym." Fucking whore. Screw her. It's over. Everyone's silent. MCKENZIE What the hell is wrong with you?! PAUL Dude, you got problems. TOM She's not interested in me. There's nothing I can do. MCKENZIE Based on..."it was good?" TOM And some other things. PAUL Like what, she said "hey" instead of "hi" cause that totally means she's a lesbian. TOM I gave her all sorts of chances. INT OFFICE - DAY Tom types at his desk. Summer approaches the cubicle Tom shares with McKenzie. SUMMER I'm going to the supply room. Anyone need anything? MCKENZIE No thanks. 27. TOM I think you know what I need. There's a beat. TOM Toner. SUMMER Oh ok, sure, no prob. INT OFFICE - LATE IN THE DAY The office is emptying out. Only a few people remain but Tom and Summer are two of them. Tom takes this opportunity to put a CD in his computer and play the song really loud. It's "I Want to Know What Love Is" by Foreigner. No reaction from Summer. Tom turns it up. Still nothing. Tom turns it down, defeated. INT SUMMER'S DESK Tom is there. TOM Do you want to go out with me? A beat. Summer says nothing. TOM And the Priest says, "But we're already out!" They both laugh. SUMMER That is hilarious! TOM I know! And when she walks away, he smacks his head a few times with his palm. INT LOCAL DIVE BAR - AS BEFORE TOM Not once did she take the bait. Not once. Screw it. I'm done with her. It's over. 28. Tom's friends all look at him like he's crazy. (27 & 28) INT OFFICE - TOM'S CUBICLE - DAY Tom sits at his desk with headphones on trying to work. But with Summer down at the end of the hall, he's having a hard time concentrating. McKenzie shares a cubicle with Tom. MCKENZIE This Friday. 10 bucks all you can karaoke at The Well. TOM No way McKenzie. Absolutely not. MCKENZIE Come on! (SINGING) "Take me down to the paradise city where the grass is green and they got big titties!" TOM They won't let you back in there after last time. MCKENZIE I wasn't that bad. TOM Not at all. You just threw up on the stage, tried to fight the bartender, and then threatened to burn the place down before passing out on the sidewalk. Quiet night for you. MCKENZIE (REVERENTIAL) You saved my life that day. TOM We are not going back there. 29. MCKENZIE This is a work thing, Tommy. It won't be like that. The whole office is going. TOM I really can't. Even if I wanted to. There's a lot of stuff I gotta take care of. MCKENZIE You're not listening to me. TOM What? MCKENZIE The whole office is going. Tom looks over to where Summer sits. And realization dawns on him... INT KARAOKE BAR - NIGHT Summer is in a back booth with some co-workers when Tom walks in to the crowded place. McKenzie has the microphone and he's singing "Every Rose Has Its Thorn" by Poison. He's real into it and, well, it's kinda sad. Tom waves to McKenzie and walks over to the booth. TOM Hi. SUMMER Hey! They said you weren't coming. TOM You asked if I was coming? (BEAT) I mean...my plans got cancelled... Tom is at a loss. There's yet another awkward silent beat between them. Thankfully, it's interrupted by... MCKENZIE (already drunk) Goddamn that song is brilliant! What's up Hansen? Summer sees the next song come up on the screen. 30. SUMMER Ooh that's me. She downs a shot and jumps up on stage. SUMMER (into mic) Ok. I'm the new girl so no making fun of me. Her co-workers whistle and cheer her on. She takes a deep breath as the opening bars of "Born to Run" begin to play and Summer starts to sing. Tom sees Summer as the actress in whatever nonsensical karaoke video accompanies the song (it's something to do with an old convertible, the sunset, and a midget in a tuxedo.) LATER. Tom sits in the booth with McKenzie (doing a shot) as Summer chats with co-workers at another table. Tom can't help but stare at Summer. She notices and waves. He smiles, hopeful that she'll come over. She doesn't. He hides his disappointment. LATER. Tom walks back to his table with drinks. Summer is there in mid-conversation with McKenzie. TOM You were great up there, by the way. SUMMER Well you can't go wrong with The Boss. TOM (sitting down) I hear that. MCKENZIE Hey, did you know Tom here's from Jersey? SUMMER Yeah? TOM Lived there til I was 12. SUMMER I named my cat after Springsteen. TOM No kidding? What's his name? 31. SUMMER Bruce. TOM (BEAT) That makes sense. She laughs. She's really cute when she laughs. MCKENZIE So you got a boyfriend? SUMMER Me? No. Tom shoots daggers at McKenzie for that comment. McKenzie mouths "what?" Summer sees nothing. MCKENZIE Why not? SUMMER Don't really want one. MCKENZIE Come on. I don't believe that. SUMMER You don't believe a woman could enjoy being free and independent? MCKENZIE (BEAT) Are you a lesbian? SUMMER No, I'm not a lesbian. I'm just not comfortable being somebody's "girlfriend." I don't want to be anybody's anything, you know? MCKENZIE I have no idea what you're talking about. SUMMER It sounds selfish, I know, but... I just like being on my own. Relationships are messy and feelings are always getting hurt. Who needs all that? We're young. We're in one of the most beautiful cities in the world. (MORE) 32. SUMMER (cont'd) I say, let's have as much fun as we can afford and leave the serious shit for later. TOM But...what if you meet someone and fall in love? SUMMER (LAUGHS) Love? You seriously believe in that stuff? TOM Of course I do. SUMMER Interesting. A real romantic. MCKENZIE Oh you have no idea. This one... embarrassing. There was this one girl, (to Tom) I gotta tell this story -- Tom elbows McKenzie hard in the ribs to shut him up. TOM Summer, hold on... you don't believe in love? SUMMER I don't even know what that word means. I know I've never felt it, whatever it is in all those songs. And I know that today most marriages end in divorce. Like my parents. TOM Well mine too but -- SUMMER Oh yeah, And I read in Newsweek, there were these scientists who found that by stimulating a part of the brain with electrodes you can make a person fall in "love" with a rock. Is that the love you're talking about? TOM Well... 33. SUMMER Why, what's your take on it? CUT TO: AN ANIMATION SEQUENCE, real quick. AN EXPLOSION OF MANY DIFFERENT COLORS, COMPLETE WITH A CHOIR AND A CHURCH ORGAN ALL BUILDING TO A HUGE CRESCENDO. BACK TO: INT BAR On Tom: TOM I think it's...kind of a huge thing. SUMMER (BEAT) Ok. Looks like we're gonna have to agree to disagree on that one. McKenzie senses some discontent. MCKENZIE So, uh, who's singing next? SUMMER (re: singing) I'd say it's your turn loverboy. TOM Nooo. I don't sing in public. SUMMER Sure you do. I see you lip-synching to your headphones every morning on your way in. TOM I don't... MCKENZIE You really do. SUMMER It's ok. I like it. Takes a lot of self-confidence to look ridiculous. 34. MCKENZIE (can't help himself) Self-confidence! Ha! Tom elbows him in the ribs again. TOM Anyway, I'm not near drunk enough to sing in front of all these people. SUMMER Ok then. Let's drink. TOM It would take at least ten shots to get me to sing. SUMMER Bartender! TEN MINUTES LATER. Tom is up there singing The Clash's "Magnificent Seven." You wouldn't think so but Tom is a ROCK STAR up there! He's dancing like Jagger, he's got everyone in the bar singing along to the audience-participation parts. It's a sight to behold. Summer is all smiles watching. LATER. Tom and Summer back at the table. Summer is humming something. TOM That's not it. SUMMER What is that then? TOM I have no idea. They're both having a good time. SUMMER I used to watch it every week. TOM Me too. Why can't we think of the stupid A-Team theme song. SUMMER Pathetic. TOM This is gonna bother me for weeks. 35. SUMMER Totally. They share another laugh and then it gets quiet. In that good way. ANGLE ON McKenzie, wasted, singing the shit out of "Proud to Be an American." He really means it. At any minute he might start to cry. MCKENZIE "And I'd proudly stand UP!" (aggressive drunk) I said stand! BACK ON TOM and SUMMER. TOM Oh here we go. EXT KARAOKE BAR - LATER Tom helps a nearly comatose McKenzie exit the place. Summer is with them. MCKENZIE (to Summer) This guy. (DRAMATICALLY) He's the best. TOM Ok, let's

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How many times the word 'air' appears in the text?

500 Days of Summer Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 500 DAYS OF SUMMER Written by Scott Neustadter & Michael H. Weber First Draft SIMPLE BLACK ON WHITE CREDITS ROLL TO BIG STAR'S "I'M IN LOVE WITH A GIRL." When all is said and done, up comes a single number in parenthesis, like so: (478) EXT. PARK - DAY For a few seconds we watch A MAN (20s) and a WOMAN (20s) on a park bench. Their names are TOM and SUMMER. Neither one says a word. CLOSE ON her HAND, covering his. Notice the wedding ring. No words are spoken. Tom looks at her the way every woman wants to be looked at. A DISTINGUISHED VOICE begins to speak to us. NARRATOR This is a story of boy meets girl. CUT TO: (1) INT CONFERENCE ROOM - DAY The boy is TOM HANSEN. He sits at a very long rectangular conference table. The walls are lined with framed blow-up sized greeting cards. Tom, dark hair and blue eyes, wears a t- shirt under his sports coat and Adidas tennis shoes to balance out the corporate dress code. He looks pretty bored. NARRATOR The boy, Tom Hansen of Margate, New Jersey, grew up believing that he'd never truly be happy until the day he met his... "soulmate." CUT TO: INT LIVING ROOM - 1989 PRE-TEEN TOM sits alone on his bed engrossed in a movie. His walls are covered in posters of obscure bands. From the TV, we hear: "Elaine! Elaine!" 4. NARRATOR This belief stemmed from early exposure to sad British pop music and a total misreading of the movie, "The Graduate." CUT TO: INT OFFICE CUBICLE - PRESENT DAY The girl is SUMMER FINN. She files folders and answers phones in a plain white office. She has cropped blonde hair almost like a boy's but her face is feminine and pretty enough to get away with it. NARRATOR The girl, Summer Finn of Shinnecock, Michigan, did not share this belief. CUT TO: INT BATHROOM - 1994 Teenage Summer stares at herself in the mirror. Her hair extends down to her lower back. NARRATOR Since the disintegration of her parents' marriage, she'd only loved two things. The first was her long blonde hair. She picks up scissors from the counter and begins to slice. NARRATOR The second was how easily she could cut it off... And feel nothing. CUT TO: SPLITSCREEN. INT BOARDROOM/ INT CUBICLE - SAME On the right side of the screen, Tom continues to listen to some boring presentation. On the left, Summer answers a call, takes a message, and walks out of her cubicle down a long narrow hallway. 5. NARRATOR Tom meets Summer on January 8th in a San Francisco office building. In an instant, he will know she's the one he's been looking for. CU Summer opening the door to the boardroom, about to come face to face with Tom for the first time. NARRATOR This is a story of boy meets girl. But before they do, CUT TO: BLACK. NARRATOR You should know up front, this is not a love story. (240) EXT STREETS OF SAN FRAN - NIGHT A 12 year old GIRL rides her bicycle down the block. She arrives at an apartment complex, jumps off the bike and races up the front stairs. She rings the doorbell. INT TOM'S PLACE - LATER PAUL and MCKENZIE open the door. These are Tom's best friends since birth. Paul is a doctor and wears hospital scrubs. McKenzie works in the cubicle next to Tom. PAUL I didn't know who else to call. The Girl removes her bike helmet. GIRL You did the right thing. Where is he? Tom is in the kitchen breaking things and basically going insane. About to smash a plate on the floor, he's interrupted BY: 6. GIRL Thomas. Tom freezes. TOM Rachel? What are you doing here? GIRL (RACHEL) I'm here to help you. TOM Help me how? RACHEL First, put down the plate. Tom slowly obliges. RACHEL Now come here and sit down. Tom sits next to the young girl. Paul and Mckenzie sit on either side of them. RACHEL The key is not to panic. TOM I think I'm gonna be sick. RACHEL Drink this. She hands him a glass of water. Tom drinks it down. MCKENZIE What is that? RACHEL Vodka. TOM (grimacing at the taste) More. He gulps another down. TOM Does Mom know you're here? It's gotta be past 10. 7. RACHEL Don't worry about it. Start from the beginning. Tell us what happened... Tom takes a deep breath. EXT PARK - DAY Tom and Summer eat sandwiches in the park. TOM (V.O.) We spent the whole day together. EXT OUTDOOR MARKET - DAY Tom and Summer walk through the stalls. TOM (V.O.) We went shopping. EXT COFFEE HOUSE - DAY Tom and Summer seated outside drinking coffee. He reads the newspaper, she reads a novel. TOM (V.O.) We had coffee. EXT MOVIE THEATER - DAY Tom and Summer walk out of a movie theatre. TOM (V.O.) We saw a film. INT RECORD STORE - LATER Tom and Summer shop for music. Tom excitedly shows Summer a Ringo Starr solo album. TOM (V.O.) We bought music. 8. INT TOM'S PLACE TOM I thought it was a great day. RACHEL And then what happened? INT DINER - NIGHT Tom and Summer in a booth ordering dinner. TOM (to WAITRESS) Um...you know what...let's go crazy, I'll have BOTH. (to Summer) God, I love eating pancakes at night. It's like the greatest thing ever. How great is this? SUMMER I think we should stop seeing each other. INT TOM'S PLACE - AS BEFORE RACHEL Just like that? TOM Just like that. PAUL Did she say why? INT DINER - AS BEFORE SUMMER This thing. This whatever it is. You and me. Do you think this is normal? TOM I don't know. Who cares about normal?! I'm happy. Aren't you happy? 9. SUMMER You're happy? TOM You're not? SUMMER All we do is argue! TOM That is such a lie! INT TOM'S PLACE - AS BEFORE RACHEL Maybe she was just in a bad mood. PAUL A hormonal thing. RACHEL P.M.S.? TOM (to Rachel) What do you know about PMS? RACHEL More than you. TOM Oh my god. MCKENZIE Please continue. INT DINER - AS BEFORE SUMMER This can't be a total surprise. I mean, we've been like Sid and Nancy for months. TOM Summer, Sid stabbed Nancy seven times with a kitchen knife. We've had some disagreements but I hardly think I'm Sid Vicious. SUMMER No... I'm Sid. 10. TOM (BEAT) So I'm Nancy?! The Waitress comes out with the food. Tom and Summer stop their discussion until the meal is served and the Waitress leaves. Summer starts to eat. SUMMER Let's just eat and we'll talk about it after. I'm starving. Without another word she goes back to her pancakes. Tom watches her eat like this is the worst travesty in the history of mankind. SUMMER (mouth full) Mmm, you're so right. These are great! Tom looks at his food in disgust. He may never eat again. SUMMER (INNOCENT) What? Tom stands up to go. SUMMER Tom, don't. Come back. You're still my best fr--- THE SCENE FREEZES AND WE ZOOM IN ON TOM'S STUNNED FACE. INT TOM'S PLACE - AS BEFORE Silence for a few beats. PAUL Jesus. MCKENZIE That's harsh. TOM I don't know what I'm gonna do. RACHEL You're gonna be fine. 11. TOM (BEAT) I'm gonna throw up. MCKENZIE Or that. RACHEL Here. Tom drinks more vodka. MCKENZIE Come on Hansen. You'll be ok. You're the best guy I know. You'll find someone. PAUL You know what they say...there's plenty other fish in the sea. TOM No. PAUL Sure they do. They say that. TOM Well they're wrong. It's not true. I've fished in that sea. I've jumped in and swam in that sea! I'm fucking Aquaman! (to Rachel) Sorry. What I mean is... there are no other fish. This was my fish. Paul and McKenzie share a very concerned look. CUT TO: (86) EXT SIDEWALK - DAY Tom walks alongside his friend PAUL. Out of nowhere, he says: TOM I'm in love with Summer. 12. PAUL (BEAT) For real? CUT TO: CU - SUMMER'S SMILE TOM (V.O.) I love her smile. CU - SUMMER'S HAIR TOM (V.O.) I love her hair. CU - SUMMER'S KNEES TOM (V.O.) I love her knees. CU - SUMMER'S EYES TOM (V.O.) I love how one eye is higher up on her face than the other eye. CU - SUMMER'S NECK TOM (V.O.) I love the scar on her neck from this operation she had as a kid. CU - SUMMER'S BREASTS (UNDER A BLACK T-SHIRT) TOM (V.O.) I love how she looks in my Clash T- shirt. CU - SUMMER ASLEEP TOM (V.O.) I love how she looks when she's sleeping. CU - SUMMER'S LAUGH TOM (V.O.) I love the sound of her laugh. OVER BLACK, play the middle 8 of "Every Little Thing She Does is Magic" by The Police. 13. TOM (V.O.) I love how I hear this song every time I think of her. CU - TOM, STARING DIRECTLY AT THE CAMERA. TOM (V.O.) I love how she makes me feel. Like anything's possible. Like, I don't know...like life is worth it. CUT TO: EXT SIDEWALK - SAME Paul and Tom. TOM For real, Paul. I'm madly in love with that girl. Paul is silent for a beat. PAUL Oh shit. (1) INT CONFERENCE ROOM - DAY Tom as we saw him earlier. Bored. In the boardroom. Mckenzie is in mid-presentation. MCKENZIE Now I know this may be a little risque...but if New Hampshire Greetings wants the jump on those conservative, right-wing neo-Nazis at Hallmark, maybe playing it safe is the wrong approach. The nuclear family is dead and we need a new holiday to recognize that. Mckenzie holds up a home-made photoshopped family portrait of Martina Navratilova, Ellen DeGeneres, and the kid from "Jerry Maguire". 14. MCKENZIE May 21st. Other Mother's Day. The co-workers nod and digest this idea. VANCE is the head of the department. VANCE Hmmm. That's an intriguing idea McKenzie. Along with Grossman's "Magellan Day" I'd say we've got some potential here. What do you think Hansen? Could you write up some prototypes for these? Tom is about to answer when... the door opens. SUMMER Excuse me, Mr. Vance? There's a call for you on line 3. And in walks this girl. Summer. We've met her by now but Tom hasn't. This is the first time. His eyes go wide and from that moment on, he can't take them off her. VANCE (to the table) Everyone this is Summer, my new assistant. Summer just moved here from... SUMMER Michigan. VANCE Right. Michigan. Well, Summer, everyone. Everyone, Summer. Excuse me, I have to take this. SUMMER Nice to meet you all. Summer gives a little wave before following Vance out. She doesn't notice Tom whose face looks like he's just seen God. 15. (3, 4, 5) INT. OFFICE - DAY Tom trying to work. And failing. He turns to McKenzie. TOM What do we know about this new girl? MCKENZIE Who? TOM The new girl. Summer. In Vance's office. MCKENZIE Dude. I hear she's a bitch from hell! TOM (DISAPPOINTED) Really? MCKENZIE Patel tried to talk to her in the copy room. She was totally not having it. TOM Maybe she was just in a hurry. MCKENZIE And maybe she's some uppity, better than everyone, superskank. TOM Damn. MCKENZIE I know. She's pretty hot. TOM That makes me so mad! Why is it pretty girls always think they can treat people like crap and get away with it? 16. MCKENZIE Dunno. TOM Like, just cause she has high cheekbones and soft skin... MCKENZIE ...and really good teeth. TOM And maybe the world's most perfect breasts...Just cause of that stuff, she can walk around like she's center of the universe? MCKENZIE (as explanation) Women. TOM Ugh. You know what? Screw her! We haven't even met and I can't stand her already. INT. ELEVATOR - LATER Tom is listening to headphones. Summer enters the elevator and Tom actively puts on a show to ignore her. Summer hears the music. SUMMER The Smiths. Tom, pretending not to hear or care, gives her an unenthusiastic wave. SUMMER I love The Smiths. Tom, still pretending, takes off his headphones. TOM Sorry? SUMMER I said. I love The Smiths. You have good taste in music. A beat as Tom processes this information. 17. TOM (AMAZED) You like the Smiths? SUMMER (SINGING) "To die by your side is such a heavenly way to die." Love it. The elevator doors open and she gets off. TOM (accidentally out loud) Oh my god. (8) INT OFFICE LOBBY - DAY The office sings "Happy Birthday" to a FEMALE CO-WORKER. When they get to the part about her name, Tom is the only one who knows it, everyone else just there for the cake. Song over, everyone digs in. Tom finds himself standing next to Summer. TOM Hi. SUMMER Hello. TOM So, uh, Summer... SUMMER Tom. TOM Yeah! How's it going so far? SUMMER The city or the firm? TOM Both... Either. SUMMER I'm happy. Still getting situated. How long have you worked here? 18. TOM Oh, you know, 4, 5... years. SUMMER Really? Jesus. Did you always want to write greeting cards? TOM Are you nuts? I don't even want to do it now. SUMMER What is it you want to do? TOM I studied to be an architect actually. SUMMER That's so cool! What happened? TOM Eh, you know. Same old story. Moved to the city to work for a company. Company went under. Needed a job. My friend worked here. Got me this. SUMMER And are you any good? TOM (points to a framed card) Well I wrote that one. SUMMER (READING) "Today You're a Man. Mazel Tov on your Bar Mitzvah." TOM It's a big seller. SUMMER I meant, are you any good as an architect? TOM Oh... No. I doubt it. SUMMER Well, I'd say you're a perfectly ...adequate... greeting card writer. 19. TOM Why thank you. That's what they called me in college. "Perfectly adequate" Hansen. SUMMER They used to call me "Anal Girl." Tom does a spit-take and almost chokes. SUMMER (EXPLAINING) I was very neat and organized. There's an awkward silence. SUMMER Anyway, I should get back. TOM Ok, well, I'll see you around. She walks back to her cubicle at the other end of the hall. Tom watches her walk away, completely enamored. He sits down at his desk and sets out to work. But before he does, his eyes fall on a sketch he drew of a house. It's dated 2001 and it's the only architecture sketch on his wall. (11) INT TOM'S PLACE - DAY Tom is playing Playstation with Rachel. TOM And it turns out she's read every Graham Greene novel ever published. Her desk is lined with Magritte posters and Edward Hopper. RACHEL Your favorites. TOM We're so compatible it's insane! Seriously! It doesn't make sense! She's not like I thought at all. She's... amazing. 20. RACHEL Oh boy. TOM What? RACHEL You know...just cause some cute girl likes the same bizarro music you do doesn't make her "the one." TOM (BEAT) Of course it does. SARAH (O.S.) Dinner! SARAH, 50s, Tom and Rachel's mother, stands in the doorway. SARAH Pause and come eat. They do. Tom enters the living room area and sits down next to his stepdad MARTIN, 60s, a quiet, professorial Southern gentleman type. TOM Hey Martin. ANGLE ON RACHEL and Sarah. RACHEL He met a girl. SARAH (EXCITED) Yeah? RACHEL (GRIM) Yeah. Sarah grows serious too. SARAH Oh shit. CUT TO: 21. STOCK FOOTAGE. The Wright Brothers, Galileo, Heaven's Gate, Neil Armstrong. NARRATOR When one strongly believes in something, it takes overwhelming contradictory evidence to change their minds. END ON: LITTLE TOM, age 6, mesmerized by a vinyl album cover of Olivia Newton-John in "Xanadu." NARRATOR Tom had always been a devout believer in the idea of "true love." (BEAT) The evidence did not support him. CUT TO: (-8914) INT CLASSROOM - DAY Little Tom stares at a LITTLE GIRL, 6, who has the same hairstyle and dress as Newton-John on that cover. Tom draws a picture. It's a boy and a girl with a giant heart over them. He stands up and walks over to the girl, putting the picture on her desk. Not a word is spoken. Satisfied, he returns to his seat and waits to see what happens. NARRATOR Exhibit A: Lisa Rayner. The Little Girl stands up and walks the picture over to ANOTHER BOY. Tom is mortified. The OTHER BOY eats the drawing. (-5313) 22. EXT FOOTBALL FIELD - NIGHT A BLONDE CHEERLEADER leads the crowd in a cheer. PAN ACROSS to find TEENAGE TOM, 15, finishing making out with a homely HIGH SCHOOL GIRL. He says goodbye and walks off, looking back longingly. NARRATOR Exhibit B: Wendy Wilson. Once Tom is out of frame, a SECOND BOY approaches Wendy. Then they start making out. (-2825) INT AIRPLANE - DAY COLLEGE TOM sits next to his girlfriend REBECCA MYLES. His smile gleams. TOM I'm so glad we decided to go away together Bec. I know we've only been dating a few months but it's been...awesome. NARRATOR Exhibit C: Rebecca Myles. TOM And now, you and me, 8 days in Mexico... best spring break ever! Across the aisle Rebecca makes eye contact with three COLLEGE DUDES. REBECCA I think we should see other people. (-734) 23. EXT CAR - NIGHT Younger Tom sits in the passenger seat. Raven-haired AMANDA drives. NARRATOR And, finally... Exhibit D: Amanda Heller. AMANDA It's just... it's complicated. TOM What's complicated? Last week you said you loved me! AMANDA I know it's sudden but... TOM No, this can't be. Everything was going so great. I don't understand. AMANDA (BEAT) Here. TOM What's this? She puts a disc into the cd player. AMANDA Because you're, like, the biggest music nerd I've ever met, I think this should really help explain where I'm coming from. A pop song begins to play on the stereo. They listen for a few beats. Tom is confused. AMANDA You remember how much I loved this song when you first played it for me? TOM Sure. It's all you wanted to listen to for weeks. 24. AMANDA Right. And I still like it, don't get me wrong. It's just... When I hear it now, I don't feel the same...rush. TOM (still confused) Ok... AMANDA I press the skip button. Still Tom doesn't understand. TOM What does this have to do with--? AMANDA I'd rather listen to something else. And with that, it slowly sinks in for him. TOM But Amanda... this is a great fucking song! (22) INT LOCAL DIVE BAR - HAPPY HOUR Tom removes his headphones and sits defeated with McKenzie and Paul in a booth. TOM It's off. PAUL What? TOM Me and Summer. MCKENZIE Was it ever on? 25. TOM No. But it could have been. In a world where good things happen to me. PAUL Yeah well, that's not really where we live. TOM No. MCKENZIE So what happened? TOM You ready for this? INT ELEVATOR - THE DAY BEFORE Tom is alone. The door opens. In walks Summer. TOM (V.O.) So there we are. All alone. Nine more floors to ride. Plenty of time. I figure...this is my chance. If not now when, right? They ride in silence for a few beats. TOM Summer... SUMMER Yeah? TOM (BEAT) So how was your weekend? SUMMER It was good. INT LOCAL DIVE BAR - AS BEFORE The friends wait for more. TOM You believe that shit? 26. MCKENZIE What shit? PAUL I think I missed something. TOM "It was good." She didn't say "It was good." She said "It was good." Emphasis on the good. She basically said "I spent the weekend having sex with this guy I met at the gym." Fucking whore. Screw her. It's over. Everyone's silent. MCKENZIE What the hell is wrong with you?! PAUL Dude, you got problems. TOM She's not interested in me. There's nothing I can do. MCKENZIE Based on..."it was good?" TOM And some other things. PAUL Like what, she said "hey" instead of "hi" cause that totally means she's a lesbian. TOM I gave her all sorts of chances. INT OFFICE - DAY Tom types at his desk. Summer approaches the cubicle Tom shares with McKenzie. SUMMER I'm going to the supply room. Anyone need anything? MCKENZIE No thanks. 27. TOM I think you know what I need. There's a beat. TOM Toner. SUMMER Oh ok, sure, no prob. INT OFFICE - LATE IN THE DAY The office is emptying out. Only a few people remain but Tom and Summer are two of them. Tom takes this opportunity to put a CD in his computer and play the song really loud. It's "I Want to Know What Love Is" by Foreigner. No reaction from Summer. Tom turns it up. Still nothing. Tom turns it down, defeated. INT SUMMER'S DESK Tom is there. TOM Do you want to go out with me? A beat. Summer says nothing. TOM And the Priest says, "But we're already out!" They both laugh. SUMMER That is hilarious! TOM I know! And when she walks away, he smacks his head a few times with his palm. INT LOCAL DIVE BAR - AS BEFORE TOM Not once did she take the bait. Not once. Screw it. I'm done with her. It's over. 28. Tom's friends all look at him like he's crazy. (27 & 28) INT OFFICE - TOM'S CUBICLE - DAY Tom sits at his desk with headphones on trying to work. But with Summer down at the end of the hall, he's having a hard time concentrating. McKenzie shares a cubicle with Tom. MCKENZIE This Friday. 10 bucks all you can karaoke at The Well. TOM No way McKenzie. Absolutely not. MCKENZIE Come on! (SINGING) "Take me down to the paradise city where the grass is green and they got big titties!" TOM They won't let you back in there after last time. MCKENZIE I wasn't that bad. TOM Not at all. You just threw up on the stage, tried to fight the bartender, and then threatened to burn the place down before passing out on the sidewalk. Quiet night for you. MCKENZIE (REVERENTIAL) You saved my life that day. TOM We are not going back there. 29. MCKENZIE This is a work thing, Tommy. It won't be like that. The whole office is going. TOM I really can't. Even if I wanted to. There's a lot of stuff I gotta take care of. MCKENZIE You're not listening to me. TOM What? MCKENZIE The whole office is going. Tom looks over to where Summer sits. And realization dawns on him... INT KARAOKE BAR - NIGHT Summer is in a back booth with some co-workers when Tom walks in to the crowded place. McKenzie has the microphone and he's singing "Every Rose Has Its Thorn" by Poison. He's real into it and, well, it's kinda sad. Tom waves to McKenzie and walks over to the booth. TOM Hi. SUMMER Hey! They said you weren't coming. TOM You asked if I was coming? (BEAT) I mean...my plans got cancelled... Tom is at a loss. There's yet another awkward silent beat between them. Thankfully, it's interrupted by... MCKENZIE (already drunk) Goddamn that song is brilliant! What's up Hansen? Summer sees the next song come up on the screen. 30. SUMMER Ooh that's me. She downs a shot and jumps up on stage. SUMMER (into mic) Ok. I'm the new girl so no making fun of me. Her co-workers whistle and cheer her on. She takes a deep breath as the opening bars of "Born to Run" begin to play and Summer starts to sing. Tom sees Summer as the actress in whatever nonsensical karaoke video accompanies the song (it's something to do with an old convertible, the sunset, and a midget in a tuxedo.) LATER. Tom sits in the booth with McKenzie (doing a shot) as Summer chats with co-workers at another table. Tom can't help but stare at Summer. She notices and waves. He smiles, hopeful that she'll come over. She doesn't. He hides his disappointment. LATER. Tom walks back to his table with drinks. Summer is there in mid-conversation with McKenzie. TOM You were great up there, by the way. SUMMER Well you can't go wrong with The Boss. TOM (sitting down) I hear that. MCKENZIE Hey, did you know Tom here's from Jersey? SUMMER Yeah? TOM Lived there til I was 12. SUMMER I named my cat after Springsteen. TOM No kidding? What's his name? 31. SUMMER Bruce. TOM (BEAT) That makes sense. She laughs. She's really cute when she laughs. MCKENZIE So you got a boyfriend? SUMMER Me? No. Tom shoots daggers at McKenzie for that comment. McKenzie mouths "what?" Summer sees nothing. MCKENZIE Why not? SUMMER Don't really want one. MCKENZIE Come on. I don't believe that. SUMMER You don't believe a woman could enjoy being free and independent? MCKENZIE (BEAT) Are you a lesbian? SUMMER No, I'm not a lesbian. I'm just not comfortable being somebody's "girlfriend." I don't want to be anybody's anything, you know? MCKENZIE I have no idea what you're talking about. SUMMER It sounds selfish, I know, but... I just like being on my own. Relationships are messy and feelings are always getting hurt. Who needs all that? We're young. We're in one of the most beautiful cities in the world. (MORE) 32. SUMMER (cont'd) I say, let's have as much fun as we can afford and leave the serious shit for later. TOM But...what if you meet someone and fall in love? SUMMER (LAUGHS) Love? You seriously believe in that stuff? TOM Of course I do. SUMMER Interesting. A real romantic. MCKENZIE Oh you have no idea. This one... embarrassing. There was this one girl, (to Tom) I gotta tell this story -- Tom elbows McKenzie hard in the ribs to shut him up. TOM Summer, hold on... you don't believe in love? SUMMER I don't even know what that word means. I know I've never felt it, whatever it is in all those songs. And I know that today most marriages end in divorce. Like my parents. TOM Well mine too but -- SUMMER Oh yeah, And I read in Newsweek, there were these scientists who found that by stimulating a part of the brain with electrodes you can make a person fall in "love" with a rock. Is that the love you're talking about? TOM Well... 33. SUMMER Why, what's your take on it? CUT TO: AN ANIMATION SEQUENCE, real quick. AN EXPLOSION OF MANY DIFFERENT COLORS, COMPLETE WITH A CHOIR AND A CHURCH ORGAN ALL BUILDING TO A HUGE CRESCENDO. BACK TO: INT BAR On Tom: TOM I think it's...kind of a huge thing. SUMMER (BEAT) Ok. Looks like we're gonna have to agree to disagree on that one. McKenzie senses some discontent. MCKENZIE So, uh, who's singing next? SUMMER (re: singing) I'd say it's your turn loverboy. TOM Nooo. I don't sing in public. SUMMER Sure you do. I see you lip-synching to your headphones every morning on your way in. TOM I don't... MCKENZIE You really do. SUMMER It's ok. I like it. Takes a lot of self-confidence to look ridiculous. 34. MCKENZIE (can't help himself) Self-confidence! Ha! Tom elbows him in the ribs again. TOM Anyway, I'm not near drunk enough to sing in front of all these people. SUMMER Ok then. Let's drink. TOM It would take at least ten shots to get me to sing. SUMMER Bartender! TEN MINUTES LATER. Tom is up there singing The Clash's "Magnificent Seven." You wouldn't think so but Tom is a ROCK STAR up there! He's dancing like Jagger, he's got everyone in the bar singing along to the audience-participation parts. It's a sight to behold. Summer is all smiles watching. LATER. Tom and Summer back at the table. Summer is humming something. TOM That's not it. SUMMER What is that then? TOM I have no idea. They're both having a good time. SUMMER I used to watch it every week. TOM Me too. Why can't we think of the stupid A-Team theme song. SUMMER Pathetic. TOM This is gonna bother me for weeks. 35. SUMMER Totally. They share another laugh and then it gets quiet. In that good way. ANGLE ON McKenzie, wasted, singing the shit out of "Proud to Be an American." He really means it. At any minute he might start to cry. MCKENZIE "And I'd proudly stand UP!" (aggressive drunk) I said stand! BACK ON TOM and SUMMER. TOM Oh here we go. EXT KARAOKE BAR - LATER Tom helps a nearly comatose McKenzie exit the place. Summer is with them. MCKENZIE (to Summer) This guy. (DRAMATICALLY) He's the best. TOM Ok, let's

either

How many times the word 'either' appears in the text?

500 Days of Summer Script at IMSDb. var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-3785444-3']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); The Internet Movie Script Database (IMSDb) The web's largest movie script resource! Search IMSDb Alphabetical # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Genre Action Adventure Animation Comedy Crime Drama Family Fantasy Film-Noir Horror Musical Mystery Romance Sci-Fi Short Thriller War Western Sponsor TV Transcripts Futurama Seinfeld South Park Stargate SG-1 Lost The 4400 International French scripts Movie Software Rip from DVD Rip Blu-Ray Latest Comments Star Wars: Revenge of the Sith10/10 Star Wars: The Force Awakens10/10 Batman Begins9/10 Collateral10/10 Jackie Brown8/10 Movie Chat Message Yell ! ALL SCRIPTS 500 DAYS OF SUMMER Written by Scott Neustadter & Michael H. Weber First Draft SIMPLE BLACK ON WHITE CREDITS ROLL TO BIG STAR'S "I'M IN LOVE WITH A GIRL." When all is said and done, up comes a single number in parenthesis, like so: (478) EXT. PARK - DAY For a few seconds we watch A MAN (20s) and a WOMAN (20s) on a park bench. Their names are TOM and SUMMER. Neither one says a word. CLOSE ON her HAND, covering his. Notice the wedding ring. No words are spoken. Tom looks at her the way every woman wants to be looked at. A DISTINGUISHED VOICE begins to speak to us. NARRATOR This is a story of boy meets girl. CUT TO: (1) INT CONFERENCE ROOM - DAY The boy is TOM HANSEN. He sits at a very long rectangular conference table. The walls are lined with framed blow-up sized greeting cards. Tom, dark hair and blue eyes, wears a t- shirt under his sports coat and Adidas tennis shoes to balance out the corporate dress code. He looks pretty bored. NARRATOR The boy, Tom Hansen of Margate, New Jersey, grew up believing that he'd never truly be happy until the day he met his... "soulmate." CUT TO: INT LIVING ROOM - 1989 PRE-TEEN TOM sits alone on his bed engrossed in a movie. His walls are covered in posters of obscure bands. From the TV, we hear: "Elaine! Elaine!" 4. NARRATOR This belief stemmed from early exposure to sad British pop music and a total misreading of the movie, "The Graduate." CUT TO: INT OFFICE CUBICLE - PRESENT DAY The girl is SUMMER FINN. She files folders and answers phones in a plain white office. She has cropped blonde hair almost like a boy's but her face is feminine and pretty enough to get away with it. NARRATOR The girl, Summer Finn of Shinnecock, Michigan, did not share this belief. CUT TO: INT BATHROOM - 1994 Teenage Summer stares at herself in the mirror. Her hair extends down to her lower back. NARRATOR Since the disintegration of her parents' marriage, she'd only loved two things. The first was her long blonde hair. She picks up scissors from the counter and begins to slice. NARRATOR The second was how easily she could cut it off... And feel nothing. CUT TO: SPLITSCREEN. INT BOARDROOM/ INT CUBICLE - SAME On the right side of the screen, Tom continues to listen to some boring presentation. On the left, Summer answers a call, takes a message, and walks out of her cubicle down a long narrow hallway. 5. NARRATOR Tom meets Summer on January 8th in a San Francisco office building. In an instant, he will know she's the one he's been looking for. CU Summer opening the door to the boardroom, about to come face to face with Tom for the first time. NARRATOR This is a story of boy meets girl. But before they do, CUT TO: BLACK. NARRATOR You should know up front, this is not a love story. (240) EXT STREETS OF SAN FRAN - NIGHT A 12 year old GIRL rides her bicycle down the block. She arrives at an apartment complex, jumps off the bike and races up the front stairs. She rings the doorbell. INT TOM'S PLACE - LATER PAUL and MCKENZIE open the door. These are Tom's best friends since birth. Paul is a doctor and wears hospital scrubs. McKenzie works in the cubicle next to Tom. PAUL I didn't know who else to call. The Girl removes her bike helmet. GIRL You did the right thing. Where is he? Tom is in the kitchen breaking things and basically going insane. About to smash a plate on the floor, he's interrupted BY: 6. GIRL Thomas. Tom freezes. TOM Rachel? What are you doing here? GIRL (RACHEL) I'm here to help you. TOM Help me how? RACHEL First, put down the plate. Tom slowly obliges. RACHEL Now come here and sit down. Tom sits next to the young girl. Paul and Mckenzie sit on either side of them. RACHEL The key is not to panic. TOM I think I'm gonna be sick. RACHEL Drink this. She hands him a glass of water. Tom drinks it down. MCKENZIE What is that? RACHEL Vodka. TOM (grimacing at the taste) More. He gulps another down. TOM Does Mom know you're here? It's gotta be past 10. 7. RACHEL Don't worry about it. Start from the beginning. Tell us what happened... Tom takes a deep breath. EXT PARK - DAY Tom and Summer eat sandwiches in the park. TOM (V.O.) We spent the whole day together. EXT OUTDOOR MARKET - DAY Tom and Summer walk through the stalls. TOM (V.O.) We went shopping. EXT COFFEE HOUSE - DAY Tom and Summer seated outside drinking coffee. He reads the newspaper, she reads a novel. TOM (V.O.) We had coffee. EXT MOVIE THEATER - DAY Tom and Summer walk out of a movie theatre. TOM (V.O.) We saw a film. INT RECORD STORE - LATER Tom and Summer shop for music. Tom excitedly shows Summer a Ringo Starr solo album. TOM (V.O.) We bought music. 8. INT TOM'S PLACE TOM I thought it was a great day. RACHEL And then what happened? INT DINER - NIGHT Tom and Summer in a booth ordering dinner. TOM (to WAITRESS) Um...you know what...let's go crazy, I'll have BOTH. (to Summer) God, I love eating pancakes at night. It's like the greatest thing ever. How great is this? SUMMER I think we should stop seeing each other. INT TOM'S PLACE - AS BEFORE RACHEL Just like that? TOM Just like that. PAUL Did she say why? INT DINER - AS BEFORE SUMMER This thing. This whatever it is. You and me. Do you think this is normal? TOM I don't know. Who cares about normal?! I'm happy. Aren't you happy? 9. SUMMER You're happy? TOM You're not? SUMMER All we do is argue! TOM That is such a lie! INT TOM'S PLACE - AS BEFORE RACHEL Maybe she was just in a bad mood. PAUL A hormonal thing. RACHEL P.M.S.? TOM (to Rachel) What do you know about PMS? RACHEL More than you. TOM Oh my god. MCKENZIE Please continue. INT DINER - AS BEFORE SUMMER This can't be a total surprise. I mean, we've been like Sid and Nancy for months. TOM Summer, Sid stabbed Nancy seven times with a kitchen knife. We've had some disagreements but I hardly think I'm Sid Vicious. SUMMER No... I'm Sid. 10. TOM (BEAT) So I'm Nancy?! The Waitress comes out with the food. Tom and Summer stop their discussion until the meal is served and the Waitress leaves. Summer starts to eat. SUMMER Let's just eat and we'll talk about it after. I'm starving. Without another word she goes back to her pancakes. Tom watches her eat like this is the worst travesty in the history of mankind. SUMMER (mouth full) Mmm, you're so right. These are great! Tom looks at his food in disgust. He may never eat again. SUMMER (INNOCENT) What? Tom stands up to go. SUMMER Tom, don't. Come back. You're still my best fr--- THE SCENE FREEZES AND WE ZOOM IN ON TOM'S STUNNED FACE. INT TOM'S PLACE - AS BEFORE Silence for a few beats. PAUL Jesus. MCKENZIE That's harsh. TOM I don't know what I'm gonna do. RACHEL You're gonna be fine. 11. TOM (BEAT) I'm gonna throw up. MCKENZIE Or that. RACHEL Here. Tom drinks more vodka. MCKENZIE Come on Hansen. You'll be ok. You're the best guy I know. You'll find someone. PAUL You know what they say...there's plenty other fish in the sea. TOM No. PAUL Sure they do. They say that. TOM Well they're wrong. It's not true. I've fished in that sea. I've jumped in and swam in that sea! I'm fucking Aquaman! (to Rachel) Sorry. What I mean is... there are no other fish. This was my fish. Paul and McKenzie share a very concerned look. CUT TO: (86) EXT SIDEWALK - DAY Tom walks alongside his friend PAUL. Out of nowhere, he says: TOM I'm in love with Summer. 12. PAUL (BEAT) For real? CUT TO: CU - SUMMER'S SMILE TOM (V.O.) I love her smile. CU - SUMMER'S HAIR TOM (V.O.) I love her hair. CU - SUMMER'S KNEES TOM (V.O.) I love her knees. CU - SUMMER'S EYES TOM (V.O.) I love how one eye is higher up on her face than the other eye. CU - SUMMER'S NECK TOM (V.O.) I love the scar on her neck from this operation she had as a kid. CU - SUMMER'S BREASTS (UNDER A BLACK T-SHIRT) TOM (V.O.) I love how she looks in my Clash T- shirt. CU - SUMMER ASLEEP TOM (V.O.) I love how she looks when she's sleeping. CU - SUMMER'S LAUGH TOM (V.O.) I love the sound of her laugh. OVER BLACK, play the middle 8 of "Every Little Thing She Does is Magic" by The Police. 13. TOM (V.O.) I love how I hear this song every time I think of her. CU - TOM, STARING DIRECTLY AT THE CAMERA. TOM (V.O.) I love how she makes me feel. Like anything's possible. Like, I don't know...like life is worth it. CUT TO: EXT SIDEWALK - SAME Paul and Tom. TOM For real, Paul. I'm madly in love with that girl. Paul is silent for a beat. PAUL Oh shit. (1) INT CONFERENCE ROOM - DAY Tom as we saw him earlier. Bored. In the boardroom. Mckenzie is in mid-presentation. MCKENZIE Now I know this may be a little risque...but if New Hampshire Greetings wants the jump on those conservative, right-wing neo-Nazis at Hallmark, maybe playing it safe is the wrong approach. The nuclear family is dead and we need a new holiday to recognize that. Mckenzie holds up a home-made photoshopped family portrait of Martina Navratilova, Ellen DeGeneres, and the kid from "Jerry Maguire". 14. MCKENZIE May 21st. Other Mother's Day. The co-workers nod and digest this idea. VANCE is the head of the department. VANCE Hmmm. That's an intriguing idea McKenzie. Along with Grossman's "Magellan Day" I'd say we've got some potential here. What do you think Hansen? Could you write up some prototypes for these? Tom is about to answer when... the door opens. SUMMER Excuse me, Mr. Vance? There's a call for you on line 3. And in walks this girl. Summer. We've met her by now but Tom hasn't. This is the first time. His eyes go wide and from that moment on, he can't take them off her. VANCE (to the table) Everyone this is Summer, my new assistant. Summer just moved here from... SUMMER Michigan. VANCE Right. Michigan. Well, Summer, everyone. Everyone, Summer. Excuse me, I have to take this. SUMMER Nice to meet you all. Summer gives a little wave before following Vance out. She doesn't notice Tom whose face looks like he's just seen God. 15. (3, 4, 5) INT. OFFICE - DAY Tom trying to work. And failing. He turns to McKenzie. TOM What do we know about this new girl? MCKENZIE Who? TOM The new girl. Summer. In Vance's office. MCKENZIE Dude. I hear she's a bitch from hell! TOM (DISAPPOINTED) Really? MCKENZIE Patel tried to talk to her in the copy room. She was totally not having it. TOM Maybe she was just in a hurry. MCKENZIE And maybe she's some uppity, better than everyone, superskank. TOM Damn. MCKENZIE I know. She's pretty hot. TOM That makes me so mad! Why is it pretty girls always think they can treat people like crap and get away with it? 16. MCKENZIE Dunno. TOM Like, just cause she has high cheekbones and soft skin... MCKENZIE ...and really good teeth. TOM And maybe the world's most perfect breasts...Just cause of that stuff, she can walk around like she's center of the universe? MCKENZIE (as explanation) Women. TOM Ugh. You know what? Screw her! We haven't even met and I can't stand her already. INT. ELEVATOR - LATER Tom is listening to headphones. Summer enters the elevator and Tom actively puts on a show to ignore her. Summer hears the music. SUMMER The Smiths. Tom, pretending not to hear or care, gives her an unenthusiastic wave. SUMMER I love The Smiths. Tom, still pretending, takes off his headphones. TOM Sorry? SUMMER I said. I love The Smiths. You have good taste in music. A beat as Tom processes this information. 17. TOM (AMAZED) You like the Smiths? SUMMER (SINGING) "To die by your side is such a heavenly way to die." Love it. The elevator doors open and she gets off. TOM (accidentally out loud) Oh my god. (8) INT OFFICE LOBBY - DAY The office sings "Happy Birthday" to a FEMALE CO-WORKER. When they get to the part about her name, Tom is the only one who knows it, everyone else just there for the cake. Song over, everyone digs in. Tom finds himself standing next to Summer. TOM Hi. SUMMER Hello. TOM So, uh, Summer... SUMMER Tom. TOM Yeah! How's it going so far? SUMMER The city or the firm? TOM Both... Either. SUMMER I'm happy. Still getting situated. How long have you worked here? 18. TOM Oh, you know, 4, 5... years. SUMMER Really? Jesus. Did you always want to write greeting cards? TOM Are you nuts? I don't even want to do it now. SUMMER What is it you want to do? TOM I studied to be an architect actually. SUMMER That's so cool! What happened? TOM Eh, you know. Same old story. Moved to the city to work for a company. Company went under. Needed a job. My friend worked here. Got me this. SUMMER And are you any good? TOM (points to a framed card) Well I wrote that one. SUMMER (READING) "Today You're a Man. Mazel Tov on your Bar Mitzvah." TOM It's a big seller. SUMMER I meant, are you any good as an architect? TOM Oh... No. I doubt it. SUMMER Well, I'd say you're a perfectly ...adequate... greeting card writer. 19. TOM Why thank you. That's what they called me in college. "Perfectly adequate" Hansen. SUMMER They used to call me "Anal Girl." Tom does a spit-take and almost chokes. SUMMER (EXPLAINING) I was very neat and organized. There's an awkward silence. SUMMER Anyway, I should get back. TOM Ok, well, I'll see you around. She walks back to her cubicle at the other end of the hall. Tom watches her walk away, completely enamored. He sits down at his desk and sets out to work. But before he does, his eyes fall on a sketch he drew of a house. It's dated 2001 and it's the only architecture sketch on his wall. (11) INT TOM'S PLACE - DAY Tom is playing Playstation with Rachel. TOM And it turns out she's read every Graham Greene novel ever published. Her desk is lined with Magritte posters and Edward Hopper. RACHEL Your favorites. TOM We're so compatible it's insane! Seriously! It doesn't make sense! She's not like I thought at all. She's... amazing. 20. RACHEL Oh boy. TOM What? RACHEL You know...just cause some cute girl likes the same bizarro music you do doesn't make her "the one." TOM (BEAT) Of course it does. SARAH (O.S.) Dinner! SARAH, 50s, Tom and Rachel's mother, stands in the doorway. SARAH Pause and come eat. They do. Tom enters the living room area and sits down next to his stepdad MARTIN, 60s, a quiet, professorial Southern gentleman type. TOM Hey Martin. ANGLE ON RACHEL and Sarah. RACHEL He met a girl. SARAH (EXCITED) Yeah? RACHEL (GRIM) Yeah. Sarah grows serious too. SARAH Oh shit. CUT TO: 21. STOCK FOOTAGE. The Wright Brothers, Galileo, Heaven's Gate, Neil Armstrong. NARRATOR When one strongly believes in something, it takes overwhelming contradictory evidence to change their minds. END ON: LITTLE TOM, age 6, mesmerized by a vinyl album cover of Olivia Newton-John in "Xanadu." NARRATOR Tom had always been a devout believer in the idea of "true love." (BEAT) The evidence did not support him. CUT TO: (-8914) INT CLASSROOM - DAY Little Tom stares at a LITTLE GIRL, 6, who has the same hairstyle and dress as Newton-John on that cover. Tom draws a picture. It's a boy and a girl with a giant heart over them. He stands up and walks over to the girl, putting the picture on her desk. Not a word is spoken. Satisfied, he returns to his seat and waits to see what happens. NARRATOR Exhibit A: Lisa Rayner. The Little Girl stands up and walks the picture over to ANOTHER BOY. Tom is mortified. The OTHER BOY eats the drawing. (-5313) 22. EXT FOOTBALL FIELD - NIGHT A BLONDE CHEERLEADER leads the crowd in a cheer. PAN ACROSS to find TEENAGE TOM, 15, finishing making out with a homely HIGH SCHOOL GIRL. He says goodbye and walks off, looking back longingly. NARRATOR Exhibit B: Wendy Wilson. Once Tom is out of frame, a SECOND BOY approaches Wendy. Then they start making out. (-2825) INT AIRPLANE - DAY COLLEGE TOM sits next to his girlfriend REBECCA MYLES. His smile gleams. TOM I'm so glad we decided to go away together Bec. I know we've only been dating a few months but it's been...awesome. NARRATOR Exhibit C: Rebecca Myles. TOM And now, you and me, 8 days in Mexico... best spring break ever! Across the aisle Rebecca makes eye contact with three COLLEGE DUDES. REBECCA I think we should see other people. (-734) 23. EXT CAR - NIGHT Younger Tom sits in the passenger seat. Raven-haired AMANDA drives. NARRATOR And, finally... Exhibit D: Amanda Heller. AMANDA It's just... it's complicated. TOM What's complicated? Last week you said you loved me! AMANDA I know it's sudden but... TOM No, this can't be. Everything was going so great. I don't understand. AMANDA (BEAT) Here. TOM What's this? She puts a disc into the cd player. AMANDA Because you're, like, the biggest music nerd I've ever met, I think this should really help explain where I'm coming from. A pop song begins to play on the stereo. They listen for a few beats. Tom is confused. AMANDA You remember how much I loved this song when you first played it for me? TOM Sure. It's all you wanted to listen to for weeks. 24. AMANDA Right. And I still like it, don't get me wrong. It's just... When I hear it now, I don't feel the same...rush. TOM (still confused) Ok... AMANDA I press the skip button. Still Tom doesn't understand. TOM What does this have to do with--? AMANDA I'd rather listen to something else. And with that, it slowly sinks in for him. TOM But Amanda... this is a great fucking song! (22) INT LOCAL DIVE BAR - HAPPY HOUR Tom removes his headphones and sits defeated with McKenzie and Paul in a booth. TOM It's off. PAUL What? TOM Me and Summer. MCKENZIE Was it ever on? 25. TOM No. But it could have been. In a world where good things happen to me. PAUL Yeah well, that's not really where we live. TOM No. MCKENZIE So what happened? TOM You ready for this? INT ELEVATOR - THE DAY BEFORE Tom is alone. The door opens. In walks Summer. TOM (V.O.) So there we are. All alone. Nine more floors to ride. Plenty of time. I figure...this is my chance. If not now when, right? They ride in silence for a few beats. TOM Summer... SUMMER Yeah? TOM (BEAT) So how was your weekend? SUMMER It was good. INT LOCAL DIVE BAR - AS BEFORE The friends wait for more. TOM You believe that shit? 26. MCKENZIE What shit? PAUL I think I missed something. TOM "It was good." She didn't say "It was good." She said "It was good." Emphasis on the good. She basically said "I spent the weekend having sex with this guy I met at the gym." Fucking whore. Screw her. It's over. Everyone's silent. MCKENZIE What the hell is wrong with you?! PAUL Dude, you got problems. TOM She's not interested in me. There's nothing I can do. MCKENZIE Based on..."it was good?" TOM And some other things. PAUL Like what, she said "hey" instead of "hi" cause that totally means she's a lesbian. TOM I gave her all sorts of chances. INT OFFICE - DAY Tom types at his desk. Summer approaches the cubicle Tom shares with McKenzie. SUMMER I'm going to the supply room. Anyone need anything? MCKENZIE No thanks. 27. TOM I think you know what I need. There's a beat. TOM Toner. SUMMER Oh ok, sure, no prob. INT OFFICE - LATE IN THE DAY The office is emptying out. Only a few people remain but Tom and Summer are two of them. Tom takes this opportunity to put a CD in his computer and play the song really loud. It's "I Want to Know What Love Is" by Foreigner. No reaction from Summer. Tom turns it up. Still nothing. Tom turns it down, defeated. INT SUMMER'S DESK Tom is there. TOM Do you want to go out with me? A beat. Summer says nothing. TOM And the Priest says, "But we're already out!" They both laugh. SUMMER That is hilarious! TOM I know! And when she walks away, he smacks his head a few times with his palm. INT LOCAL DIVE BAR - AS BEFORE TOM Not once did she take the bait. Not once. Screw it. I'm done with her. It's over. 28. Tom's friends all look at him like he's crazy. (27 & 28) INT OFFICE - TOM'S CUBICLE - DAY Tom sits at his desk with headphones on trying to work. But with Summer down at the end of the hall, he's having a hard time concentrating. McKenzie shares a cubicle with Tom. MCKENZIE This Friday. 10 bucks all you can karaoke at The Well. TOM No way McKenzie. Absolutely not. MCKENZIE Come on! (SINGING) "Take me down to the paradise city where the grass is green and they got big titties!" TOM They won't let you back in there after last time. MCKENZIE I wasn't that bad. TOM Not at all. You just threw up on the stage, tried to fight the bartender, and then threatened to burn the place down before passing out on the sidewalk. Quiet night for you. MCKENZIE (REVERENTIAL) You saved my life that day. TOM We are not going back there. 29. MCKENZIE This is a work thing, Tommy. It won't be like that. The whole office is going. TOM I really can't. Even if I wanted to. There's a lot of stuff I gotta take care of. MCKENZIE You're not listening to me. TOM What? MCKENZIE The whole office is going. Tom looks over to where Summer sits. And realization dawns on him... INT KARAOKE BAR - NIGHT Summer is in a back booth with some co-workers when Tom walks in to the crowded place. McKenzie has the microphone and he's singing "Every Rose Has Its Thorn" by Poison. He's real into it and, well, it's kinda sad. Tom waves to McKenzie and walks over to the booth. TOM Hi. SUMMER Hey! They said you weren't coming. TOM You asked if I was coming? (BEAT) I mean...my plans got cancelled... Tom is at a loss. There's yet another awkward silent beat between them. Thankfully, it's interrupted by... MCKENZIE (already drunk) Goddamn that song is brilliant! What's up Hansen? Summer sees the next song come up on the screen. 30. SUMMER Ooh that's me. She downs a shot and jumps up on stage. SUMMER (into mic) Ok. I'm the new girl so no making fun of me. Her co-workers whistle and cheer her on. She takes a deep breath as the opening bars of "Born to Run" begin to play and Summer starts to sing. Tom sees Summer as the actress in whatever nonsensical karaoke video accompanies the song (it's something to do with an old convertible, the sunset, and a midget in a tuxedo.) LATER. Tom sits in the booth with McKenzie (doing a shot) as Summer chats with co-workers at another table. Tom can't help but stare at Summer. She notices and waves. He smiles, hopeful that she'll come over. She doesn't. He hides his disappointment. LATER. Tom walks back to his table with drinks. Summer is there in mid-conversation with McKenzie. TOM You were great up there, by the way. SUMMER Well you can't go wrong with The Boss. TOM (sitting down) I hear that. MCKENZIE Hey, did you know Tom here's from Jersey? SUMMER Yeah? TOM Lived there til I was 12. SUMMER I named my cat after Springsteen. TOM No kidding? What's his name? 31. SUMMER Bruce. TOM (BEAT) That makes sense. She laughs. She's really cute when she laughs. MCKENZIE So you got a boyfriend? SUMMER Me? No. Tom shoots daggers at McKenzie for that comment. McKenzie mouths "what?" Summer sees nothing. MCKENZIE Why not? SUMMER Don't really want one. MCKENZIE Come on. I don't believe that. SUMMER You don't believe a woman could enjoy being free and independent? MCKENZIE (BEAT) Are you a lesbian? SUMMER No, I'm not a lesbian. I'm just not comfortable being somebody's "girlfriend." I don't want to be anybody's anything, you know? MCKENZIE I have no idea what you're talking about. SUMMER It sounds selfish, I know, but... I just like being on my own. Relationships are messy and feelings are always getting hurt. Who needs all that? We're young. We're in one of the most beautiful cities in the world. (MORE) 32. SUMMER (cont'd) I say, let's have as much fun as we can afford and leave the serious shit for later. TOM But...what if you meet someone and fall in love? SUMMER (LAUGHS) Love? You seriously believe in that stuff? TOM Of course I do. SUMMER Interesting. A real romantic. MCKENZIE Oh you have no idea. This one... embarrassing. There was this one girl, (to Tom) I gotta tell this story -- Tom elbows McKenzie hard in the ribs to shut him up. TOM Summer, hold on... you don't believe in love? SUMMER I don't even know what that word means. I know I've never felt it, whatever it is in all those songs. And I know that today most marriages end in divorce. Like my parents. TOM Well mine too but -- SUMMER Oh yeah, And I read in Newsweek, there were these scientists who found that by stimulating a part of the brain with electrodes you can make a person fall in "love" with a rock. Is that the love you're talking about? TOM Well... 33. SUMMER Why, what's your take on it? CUT TO: AN ANIMATION SEQUENCE, real quick. AN EXPLOSION OF MANY DIFFERENT COLORS, COMPLETE WITH A CHOIR AND A CHURCH ORGAN ALL BUILDING TO A HUGE CRESCENDO. BACK TO: INT BAR On Tom: TOM I think it's...kind of a huge thing. SUMMER (BEAT) Ok. Looks like we're gonna have to agree to disagree on that one. McKenzie senses some discontent. MCKENZIE So, uh, who's singing next? SUMMER (re: singing) I'd say it's your turn loverboy. TOM Nooo. I don't sing in public. SUMMER Sure you do. I see you lip-synching to your headphones every morning on your way in. TOM I don't... MCKENZIE You really do. SUMMER It's ok. I like it. Takes a lot of self-confidence to look ridiculous. 34. MCKENZIE (can't help himself) Self-confidence! Ha! Tom elbows him in the ribs again. TOM Anyway, I'm not near drunk enough to sing in front of all these people. SUMMER Ok then. Let's drink. TOM It would take at least ten shots to get me to sing. SUMMER Bartender! TEN MINUTES LATER. Tom is up there singing The Clash's "Magnificent Seven." You wouldn't think so but Tom is a ROCK STAR up there! He's dancing like Jagger, he's got everyone in the bar singing along to the audience-participation parts. It's a sight to behold. Summer is all smiles watching. LATER. Tom and Summer back at the table. Summer is humming something. TOM That's not it. SUMMER What is that then? TOM I have no idea. They're both having a good time. SUMMER I used to watch it every week. TOM Me too. Why can't we think of the stupid A-Team theme song. SUMMER Pathetic. TOM This is gonna bother me for weeks. 35. SUMMER Totally. They share another laugh and then it gets quiet. In that good way. ANGLE ON McKenzie, wasted, singing the shit out of "Proud to Be an American." He really means it. At any minute he might start to cry. MCKENZIE "And I'd proudly stand UP!" (aggressive drunk) I said stand! BACK ON TOM and SUMMER. TOM Oh here we go. EXT KARAOKE BAR - LATER Tom helps a nearly comatose McKenzie exit the place. Summer is with them. MCKENZIE (to Summer) This guy. (DRAMATICALLY) He's the best. TOM Ok, let's

high

How many times the word 'high' appears in the text?